Mojada / A Christmas Memory / Twist Your Dickens

BY

DIRECTED BY

LUIS ALFARO

JULIETTE CARRILLO

BY

Truman Capote

– PA I R E D W I T H –

C R E AT E D BY

Merideth Kaye Clark & Brandon Woolley

THE SECOND CITY’s A CHRISTMAS CAROL

PETER GWINN A N D BOBBY MORT BY

DIRECTED BY

RON WEST

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WELCOME TO OUR 30TH ANNIVERSARY SEASON!

FROM THE ARTISTIC DIRECTOR CHRIS COLEMAN

MOJADA: A MEDEA IN LOS ANGELES

A CHRISTMAS MEMORY & WINTER SONG

A shrine to Hygeia, goddess of good health, was situated just outside the theater of Epidaurus in Greece. I think the Athenians were on to something with that juxtaposition. Each year, citizens came together for an annual ritual of sharing stories on the hillside.

The ancient theater seated as many as 17,000 and the proximity of the shrine suggests to me a belief that the gathering to hear tales of inexplicable terror and suffering held within it a power to heal.

“On this, the longest night of the year, we welcome the return of the light.” This came as a card from an actress I was working with some 10 years ago, and I’d never heard the winter solstice called out in such elegant fashion. It is with good reason that, for centuries, people have celebrated this moment in our year with festivals and dancing: it can get hard in the middle of the darkness to believe the light will ever find its way back to us.

It’s no surprise that playwrights throughout the ages have found themselves drawn to the earliest stories the theater brought to the surface. And how fortunate we are that Luis Alfaro took on Medea in this searing new drama.

Playbill

Alfaro uses a story that might be very close to us, or might be merely a headline in a passing newspaper article — a family that has sacrificed all to emigrate to the United States for a better life — and interweaves the tensions they face with the ancient Greek tale.

In feeling the ripples reverberate across centuries and cultures, we may glimpse some aspect of our own family’s journey and the fundamental sameness alive beneath the surface of our differences.

In this, our 30th season, it’s a particular honor to bring this production to Portland from our friends at Oregon Shakespeare Festival, who gave birth to this theater company.

So this year, we begin what we hope will become a tradition of celebrating this particular moment in the year together: by looking back. First, with Truman Capote’s exquisite short memoir of his dearest friend in the Deep South of his youth and their giddy anticipation of celebrating Christmas together. And then, with a journey in song through the longings and heartaches that find their way into our minds at this time of year.

TWIST YOUR DICKENS Whatever tradition(s) you celebrate, cherish, make fun of, ignore or rebel against, we all have memories of this time of year. What I love about what The Second City has done with Twist Your Dickens is that they’ve found a way to include so many holiday stories that might have made their way into our psyches, and no one and nothing gets out of jail free. Sometimes laughter offers the perfect light in this dark season.

At this time of year, I find myself giving thanks for the year in the rearview mirror. And one of the things I am most grateful for is that you continue to be willing to gather with us here in The Armory to share stories.

THE ARMORY

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ARTISTIC DIRECTOR | CHRIS COLEMAN

NOVEMBER 4–26, 2017 ON THE U.S. BANK MAIN STAGE

PRESENTS

The Oregon Shakespeare Festival production of

MOJADA: A MEDEA IN LOS ANGELES

By Luis Alfaro Directed by Juliette Carrillo

Scenic & Costume Designer Christopher Acebo

Lighting Designer Lonnie Rafael Alcaraz

Composer & Sound Designer David Molina

Video Designer Kaitlyn Pietras

Dramaturg Tiffany Ana López

Voice & Text Director Michelle Lopez-Rios

Fight Director U. Jonathan Toppo*

Stage Manager D. Christian Bolender*

Rehearsal Assistant Stage Manager Mary Meagan Smith*

Production Assistant Katie Nguyen

Repertory Producer Mica Cole

Casting Director Joy Dickson

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

This production of Mojada: A Medea in Los Angeles was originally produced at Oregon Shakespeare Festival, Bill Rauch, Artistic Director, Cynthia Rider, Executive Director.

The world premiere of Mojada was produced by Victory Gardens Theater, Chicago, IL, Chay Yew, Artistic Director, Chris Mannelli, Managing Director.

Bruja, a first adaptation of Medea, was commissioned, developed and received its world premiere by Magic Theatre, San Francisco, CA, Loretta Greco, Producing Artistic Director.

PERFORMED WITHOUT INTERMISSION. Videotaping or other photo or audio recording of this production is strictly prohibited.

SEASON SUPERSTARS

SUPPORTING SEASON SPONSORS

SHOW SPONSORS Ronni S. Lacroute Steven & Deborah Wynne

®

Portland Center Stage at The Armory receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.

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THE CAST Medea......................................................................Sabina Zuniga Varela* Jason..................................................................................Lakin Valdez* Tita..............................................................................................VIVIS* Josefina.............................................................................Nancy Rodriguez* Armida..................................................................................Vilma Silva* Acan................................................................................Jahnangel Jimenez Soldier..................................................................................Ken Yoshikawa *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

JAHNANGEL JIMENEZ Acan

Jahnangel (JJ) is an 11-year-old in sixth grade at Talent Middle School.

He is passionate about school and enjoys playing sports such as football, basketball, boxing and baseball.

JJ loves spending time with his family and friends. He is excited to make his debut at The Armory after performing this role at Oregon Shakespeare Festival. JJ hopes he inspires other kids to join the theater.

NANCY RODRIGUEZ Josefina

FROM THE DIRECTOR | Juliette Carrillo You can prepare for directing a play by researching, imagining and planning, but nothing can prepare you for the discoveries you will undoubtedly encounter once you enter a rehearsal room. Every day you see the play anew; an actor’s comment, an image a designer creates, or a writer changing a sentence can all contribute to an awakening of thoughts and ideas.

Early in our rehearsal period, our youngest cast member — the actor playing Acan, “JJ” (Jahnangel) Jimenez, an 11-year-old whose Mexican immigrant parents spoke only Spanish to him as a young child — shared what it was like to enter kindergarten as a monolingual Spanishspeaker. He was surprisingly open and very articulate when he spoke about it, which made it all the more painful. He told us of the bullying he received: “Go back to where you came from!” the kids would yell. I imagined “JJ” as a California-born, innocent five-year-old hearing this, and it was a soulcrushing image. An incredibly astute and observant little boy, he continued by saying that with our new administration, he fears it’s only getting worse.

Yes, this is a play about the painful experience of an immigrant, but to hear about the experience from the perspective of a child in the room made it all the more real.

In Mojada, an ambitious Jason says to Medea: “Everyone pays in this country.” If you want to live in America, you’ve got to give up part of yourself. “It all comes with a price,” he says.

How is it that, as Americans, we can so easily undervalue our layered history? How is it that the intense pressure to conform overshadows the opportunity to welcome our rich cultural differences? Treasured values, legacies and traditions are bulldozed all in the name of progress, without the blink of an eye. What are we afraid of?

Nancy is happy to be returning to Portland Center Stage at The Armory, where she was last seen in for colored girls ... as Lady in Yellow. Broadway: Lincoln Center (Cymbeline). Off-Broadway: Puerto Rican Traveling Theatre, INTAR, Schoolhouse Theater, Abingdon Theatre Company.

Oregon Shakespeare Festival: Nancy will enter her ninth season in 2018, playing Elinor in Sense and Sensibility; favorite OSF shows are Water by the Spoonful, The Happiest Song Plays Last, The Riverbride, Mojada: A Medea in Los Angeles, Fingersmith, The Cherry Orchard, The Tempest, Romeo and Juliet, Two Sisters and a Piano. Other regional: Guthrie Theater, Two River Theater, Shakespeare Theatre Company, Studio Theatre. Film/ Television: Detachment, Indigo, Into Me See, The Promise, Cricket Head, Bored of Education, Law & Order: Criminal Intent, Law & Order: SVU, Mercy, One Life to Live.

Awards: HOLA Award for Outstanding Achievement by an Ensemble. Education: B.F.A., Boston University.

VILMA SILVA Armida

The painful and complicated event at the end of the play is much more than simply an act of rage; it is a desperate act of declaration. Medea is saying, “I am here! As an indigenous person, as a woman, as a mother and as an immigrant! We belong here, all of us, with our cultural identity and our history! We are American!”

She is a warrior declaring war.

MOJADA: A MEDEA IN LOS ANGELES | CAST

Oregon Shakespeare Festival: Armida in Mojada: A Medea in Los Angeles; Mistress Page in The Merry Wives of Windsor; Senhora Costa in The River Bride; Apemantus in Timon of Athens; Haikumom in Water by the Spoonful; Goneril in King Lear; Sor Rufina in The Tenth Muse; Julius Caesar in Julius Caesar; Portia in The Merchant of Venice; Katherine in Henry VIII; Emilia in Othello; Beatrice in A View from the Bridge; Katherina in The Taming of the Shrew;

MOJADA: A MEDE A IN LOS ANGELES • THE ARMORY

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MOJADA: A MEDEA IN LOS ANGELES | CAST & CREATIVE TEAM Amy in Gibraltar; Maria Celia in Two Sisters and a Piano; China in El Paso Blue; Isabella in Measure for Measure; Lise in The Magic Fire; Governess in The Turn of the Screw; Juliet in Romeo and Juliet; Bride in Blood Wedding, among others. Other theaters: Steppenwolf, TheatreWorks, Actors Theatre of Louisville, Dallas Theater Center, American Conservatory Theater, El Teatro Campesino, Sundance Institute Playwrights Lab. Awards: LuntFontanne Fellowship.

Woman (Stanford University); Watsonville ... (The York Theatre Company); The Lady from Havana (Theatreworks); A Streetcar Named Desire (American Conservatory Theatre); Zoot Suit (tour). Film: Ouija, Mojave, Chávez, Paranormal Activity 2, Rent, Patch Adams, Dangerous Minds, Mi Vida Loca, Gas, Food and Lodging, Strawberry Road, Primo. Television: NCIS LA, Adam Ruins Everything, Jane the Virgin, East Los High (4 seasons), Workaholics, Past Life and Medium.

LAKIN VALDEZ Jason

Lakin Valdez is thrilled to make his debut at The Armory with Mojada: A Medea in Los Angeles. Born and raised in the extended family of El Teatro Campesino, Lakin served as the company’s associate artistic director from 2000-2005. He is the recipient of two National Performance Network Awards, and an NEA Access to Excellence Award, among others. Lakin has performed with Oregon Shakespeare Festival (Mojada: A Medea in Los Angeles), San Jose Stage (Valley of the Heart), Goodman Theatre (Mother Road, New Stages), American Conservatory Theatre (Between Riverside and Crazy), La Jolla Playhouse (El Henry), San Diego Repertory Theatre (Oedipus El Rey), Marin Theatre Company (Lydia) and El Teatro Campesino (Victor in Shadow).

Film/Television: The Brave (NBC), Slice (A24 Films), The Narc (Prospect), Crisis (NBC), The Cisco Kid (TNT) and Fort Figueroa (CBS).

VIVIS Tita

L.A. Ovation Award nomination for Featured Actress in a Play for the role of Tita in Mojada: A Medea in Los Angeles at The Getty Villa.

Theater: Tita in Mojada: A Medea in Los Angeles (Oregon Shakespeare Festival, The Getty Villa); Gibraltar (Thick Description); ¡CANTINFLAS! (Yerba Buena Center for the Arts, John Anson Ford Theater, The Alley, NY National Arts Festival); I Don’t Have ... Stinking Badges, La Pastorela, La Virgen del Tepeyac (Teatro Campesino); Blood Wedding (Teatro Visión); Mummified Deer (world premiere, San Diego Repertory Theatre); Burning Patience (Alliance Theatre, Sacramento Theatre Company); Medea in Medea, the Hungry 8

KEN YOSHIKAWA Soldier

Ken is delighted to appear for the first time at The Armory in the Oregon Shakespeare Festival production of Mojada: A Medea in Los Angeles. Recent credits: Malvolio/ Antonio in Twelfth Night (Oregon Adventure Theatre); Doctor/Clerk in You For Me For You (Portland Playhouse); Ensemble in The Last Bell Rings for You (Performance Works NW); The Artist in The Courtesan (MediaRites); Edgar in King Lear (Oregon Adventure Theatre); Mr. Oji in After the War Blues (Theatre Diaspora); George and Ensemble in Gambatte (Vanport Mosaic); Fool in King Lear (Reed College Shoestring Theatre); Bunce in One Flea Spare (Reed College Theatre). After growing up in Japan, England, the Netherlands and Australia, Ken lives in Portland, where he frequently collaborates with Oregon Adventure Theatre, co-leads workshops in commedia dell’arte, and writes and performs slam poetry. Ken is a 2007 OSF Semmie and he received his B.A in Theater at Reed College. He would like to express gratitude for his family, his friends, and his teachers for their kindness and wisdom.

SABINA ZUNIGA VARELA Medea

Sabina is honored to be making her debut at The Armory! She has been exploring Luis Alfaro’s Medea journey since the world premiere of Bruja at Magic Theatre. Since then, she has performed in Mojada: A Medea in Los Angeles at both The Getty Villa (Los Angeles Drama Critics Circle Award for Lead Performance) and Oregon Shakespeare Festival. With this role, she completes all three of Luis Alfaro’s Greek

THE ARMORY • MOJADA: A MEDE A IN LOS ANGELES

adaptations, including the title role in Electricidad at The National Hispanic Cultural Center and Jocasta in Oedipus El Rey at Dallas Theater Center. Her regional credits include: You Never Can Tell (CalShakes), Native Gardens (world premiere, Cincinnati Playhouse), Chavez Ravine: An L.A. Revival (Kirk Douglas Theatre), A Christmas Carol (Dallas Theater Center), Water by the Spoonful (TheatreWorks), Still Life (NHCC). She received her M.F.A. in Acting at USC and holds an M.A. in Special Education from UNM. She is forever thankful to her parents and loved ones for their support!

LUIS ALFARO Playwright

Luis Alfaro is a Chicano writer/performer known for his work in poetry, theater, short stories, performance and journalism.

His plays and performances have been seen at The Public Theater, Oregon Shakespeare Festival, Magic Theatre, The Theatre at Boston Court, Woolly Mammoth Theatre Company, Goodman Theatre, Victory Gardens Theater, Mark Taper Forum, Kirk Douglas Theatre, South Coast Repertory, Primary Stages and The Kennedy Center, among others. He is the recipient of a John D. and Catherine T. MacArthur Foundation Fellowship, popularly known as a “genius grant,” and is the first-ever resident playwright of Oregon Shakespeare Festival, courtesy of an Andrew W. Mellon Foundation grant.

Alfaro is currently under commission from Center Theatre Group, Victory Gardens Theater, Magic Theatre and Oregon Shakespeare Festival for the THIS GOLDEN STATE trilogy, and also from South Coast Repertory. Alfaro is also a producer/director who spent 10 years at the Mark Taper Forum as associate producer, director of new play development and co-director of the Latino Theatre Initiative. He is an Assistant Professor at the USC School of Dramatic Arts.

JULIETTE CARRILLO Director

Oregon Shakespeare Festival: Mojada: A Medea in Los Angeles, The Sign in Sidney Brustein’s Window. Regional: Many premieres, including Lydia (Mark Taper Forum, Yale Repertory Theatre, Denver Center Theatre Company); Brownsville Song, The Brothers Size, The Cook (Seattle Repertory Theatre); Plumas Negras, Ghost Town (as writer), It’s All Bueno, Touch

MOJADA: A MEDEA IN LOS ANGELES | CREATIVE TEAM the Water, Lethe, As Vishnu Dreams, Los Faustinos, Bliss Point (Cornerstone Theater Company); References to Salvador Dali Make Me Hot, Anna in the Tropics, California Scenarios, Nostalgia, The Countess, Sidney Bechet Killed A Man, Jane of the Jungle (South Coast Repertory); Oliverío (The Kennedy Center), Cloud Tectonics (Alliance Theatre); The Eviction, Eyes for Consuela (Magic Theatre); Sonia Flew (Laguna Playhouse); El Paso Blue (Summer Play Festival, New York); The Play that Knows What You Want (Women’s Project Theater); and others. Awards and honors: Gypsy Rose Lee Awards (Seattle Repertory Theatre, The Brothers Size); Examiner Awards (Arizona Theatre Company, The Glass Menagerie); GLAAD Award (Mark Taper Forum, Lydia); Ovation Awards and Henry Awards (Denver Center Theatre Company, Lydia); Alan Schneider Award nomination; Zelda Fichandler Award nomination; Drama-Logue Awards; NEA/ TCG Directing Fellowship; Princess Grace Award; among others. Education: M.F.A., Yale School of Drama. juliettecarrillo.com CHRISTOPHER ACEBO Scenic and Costume Designer

In 12 seasons at Oregon Shakespeare Festival: scenic designs for Mojada: A Medea in Los Angeles; UniSon; Disney’s Beauty and the Beast; Twelfth Night; The Wiz; Fingersmith; Long Day’s Journey into Night; Head Over Heels; All the Way (Broadway, Seattle Repertory Theatre, American Repertory Theater); The Great Society; A Streetcar Named Desire; King Lear; Seagull; The Imaginary Invalid; Equivocation.

Other theaters: World premieres include Cuba Libre (Artists Repertory Theatre); Throne of Blood (Brooklyn Academy of Music); The Clean House (Yale Repertory Theatre); Zorro in Hell (Berkeley Repertory Theatre, La Jolla Playhouse); My Wandering Boy, The Further Adventures of Hedda Gabler, The Beard of Avon, Hold Please (South Coast Repertory); Living Out, Chavez Ravine, Breakfast, Lunch and Dinner (Mark Taper Forum); and Electricidad (Goodman Theatre). Education: M.F.A., University of California, San Diego. Chris serves as chair of the Oregon Arts Commission and on the board of directors for Theatre Communication Group.

LONNIE RAFAEL ALCARAZ Lighting Designer

Lonnie is a professor at University of California, Irvine. He has designed at regional theaters across the country, including Oregon Shakespeare Festival, South Coast Repertory, Berkeley Repertory Theatre, Arena Stage in Washington, D.C., Laguna Playhouse, Alabama Shakespeare Festival, Pasadena Playhouse, Great River Shakespeare Festival and The Utah Shakespeare Festival. Recent design experience includes Mojada: A Medea in Los Angeles at Oregon Shakespeare Festival; Peter Pan and Deathtrap at Syracuse Stage; The Crucible at Arkansas Repertory Theatre; The Whipping Man at Pasadena Playhouse; Ghost Town with Cornerstone Theater Company (where he is an associate artist); and Richard III and The Comedy of Errors for Great River Shakespeare Festival’s 2017 summer season. He is a member of the United Scenic Artists/IATSE, Local 829. lradesigns.com DAVID MOLINA Composer and Sound Designer

Theater: Oregon Shakespeare Festival, Yale Repertory Theatre, Mark Taper Forum, Cornerstone Theater Company, Yerba Buena Center for the Arts, Campo Santo, Teatro Campesino. As a resident artist: Brava Theater Center, Naka Dance Theater, USF’s Performing Arts and Social Justice Program, Magic Theatre (1997 to 2004), Lorraine Hansberry Theatre, Teatro Jornalero, Soapstone Theater Company, Drum Machine Museum.

Multimedia and sound art: SF MOMA, Oakland Museum of California, Sundance Film Festival, SOMarts, Mcloughlin Gallery, Counter Pulse. Film/TV/video: PBS, Not in Our Town, Spots Unknown, Tolleson Design, Unity Lab, Cause Collective. Frequent collaborators: Violeta Luna, Roberto Gutiérrez Varea, Rhodessa Jones. Other credits: founding member of Secos y Mojados, 2013 Asterisk Magazine feature, Behind the Dream (audio book).

Awards: L.A. Ovation 2009, Creative Capital 2009, Phyllis Wattis 2011, Musical Grant Program 2016. Bands: Impuritan, Idris Ackamoor and The Pyramids, Ackamoor/Molina Duet, Ghosts and Strings, Transient. drmsound.com

KAITLYN PIETRAS Video Designer

Regional: Smart People (Denver Center for the Performing Arts); Mojada: A

Medea in Los Angeles and UniSon (Oregon Shakespeare Festival); Flora & Ulysses and OZ 2.5 (South Coast Repertory); Breaking Through (Pasadena Playhouse); Cuba Libre (Artists Repertory Theatre). New York: A Fable (Cherry Lane Theatre); The Gin Baby (IRT Theater); Do Like the Kids Do and Shiner (IAMA Theatre Company).

Opera: Young Caesar (The Industry/ Los Angeles Philharmonic). Los Angeles: The Other Place, The English Bride and Melissa Arctic (Road Theatre Company); RII (The Theatre at Boston Court); Thieves and Slipping (Rattlestick West). Dance: The Jungle Book, Grease, Aladdin and Land of Oz (Owensboro Dance Theatre). Awards: LA Drama Critics Circle Award for RII, LA Weekly Award nominations for RII and Slipping, New York Innovative Theatre Award nomination for The Gin Baby. USA Local 829 member. pxtstudio.com, @pxtstudio TIFFANY ANA LÓPEZ Dramaturg

Oregon Shakespeare Festival: Mojada: A Medea in Los Angeles. Playwrights workshops: Latina/o Theater Alliance of Los Angeles; L.A. Views, Downtown Curren(t)cy, Lives Looking for Change, In the Shadow of Hollywood, The LA Uprising. Production dramaturg: Hungry Woman (CASA 0101). Script dramaturg: Angel of the Desert (South Coast Repertory). Production and script consultant: Digging Up the Dirt (Breath of Fire Latina Theater Ensemble).

Monograph author, audience and educator guides, teaching artist: Center Theatre Group; The Civilians, This Beautiful City, Edward Scissorhands, Water and Power, iWitness, Lewis and Clark Reach the Euphrates, Electricidad, Discovery Journal: Chavez Ravine, Sez She: The Solo Performance Work of Kate Rigg, Ann Stocking and Denise Uyehara. Other credits: director of the School of Film, Dance and Theatre and professor of theater at Arizona State University; founding artistic director of Latina/o Play Project at the Barbara and Art Culver Center for the Arts; professor of theater at University of California, Riverside; teaching artist for Mark Taper Forum; member of the National Latina/o Theater Alliance. Awards: Fulbright Fellow, grants from the National Endowment for the Humanities, Ford Foundation and Rockefeller Foundation.

MOJADA: A MEDE A IN LOS ANGELES • THE ARMORY

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MOJADA: A MEDEA IN LOS ANGELES | CREATIVE TEAM MICHELLE LOPEZ-RIOS Voice and Text Director

Regional: Mojada: A Medea in Los Angeles, Julius Caesar (Oregon Shakespeare Festival); Measure for Measure (Goodman Theatre); Othello, Hamlet, The Taming of the Shrew, Comedy of Errors (Houston Shakespeare Festival); A Lovely Sunday for Creve Coeur, The Train Driver, Boeing, Boeing, The Good Father, Talking Heads, Duet for One, Driving Miss Daisy, Picnic, The Sum of Us (Milwaukee Chamber Theatre); Educating Rita, Crumbs from the Table of Joy (Renaissance Theaterworks); James and the Giant Peach, Luchadora (First Stage); and others. Founder of The Royal Mexican Players. Teaching: associate professor of Voice & Speech at The Theatre School at DePaul, adjunct voice professor at University of Houston.

Directing: One Hot Texican Summer (or the summer I found out I was Mexican) (The Royal Mexican Players); The Mole Hill Stories (First Stage); Enfrascada (Renaissance Theaterworks); Precious Lives (371 Productions); and others.

Board Member: Voice and Speech Trainers Association. Education: M.F.A., University of Houston; B.F.A., University of Southern California.

U. JONATHAN TOPPO Fight Director

In 27 seasons at Oregon Shakespeare Festival: fight director for Julius Caesar, Shakespeare in Love, UniSon, Off the Rails, Hannah and the Dread Gazebo, Henry IV, Part Two, The Merry Wives of Windsor, Disney’s Beauty and the Beast, The Odyssey, Hamlet, The Wiz, Richard II, Guys and Dolls, Fingersmith, Secret Love in Peach Blossom Land, Sweat, Pericles, Long Day’s Journey into Night, The Happiest Song Plays Last, Cocoanuts, A Wrinkle in Time, The Comedy of Errors, Water by the Spoonful, Richard III, Into the Woods, The Taming of the Shrew, A Streetcar Named Desire, King Lear, The Unfortunates, The Liquid Plain, Cymbeline, Romeo and Juliet, Animal Crackers, All the Way, Henry V, August: Osage County, The Pirates of Penzance, To Kill a Mockingbird, Cat on a Hot Tin Roof, Ruined, Henry IV, Part One, The Merchant of Venice, American Night, Macbeth, The Music Man, among others.

D. CHRISTIAN BOLENDER Stage Manager

In 16 seasons at Oregon Shakespeare Festival: production stage manager for

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over 30 productions, most recently Mojada: A Medea in Los Angeles, Off the Rails, Great Expectations, The Winter’s Tale, Timon of Athens, Fingersmith, Antony and Cleopatra, The Sign in Sidney Brustein’s Window, The Great Society, The Liquid Plain, Two Trains Running, Medea/Macbeth/Cinderella, All the Way. Other theaters: Seattle Repertory Theatre (ATW/TGS), Alley Theatre, Utah Shakespeare Festival, Missouri/ Kansas City Repertory Theater, TheatreWorks, Struther’s Library Theatre, Interlochen, Houston Grand Opera, Kansas City Ballet, Opera Ateliér.

Other credits: stage manager, O (Cirque du Soleil); production stage manager, Notre Dame de Paris (Las Vegas); Dido and Aeneas (European tour); production manager, Shakespeare Santa Cruz.

MARY MEAGAN SMITH Rehearsal Assistant Stage Manager

In four seasons at OSF: assistant stage manager for Mojada: A Medea in Los Angeles, Off the Rails, The Merry Wives of Windsor; production assistant for Great Expectations, Hamlet, Much Ado About Nothing, Long Day’s Journey into Night, The Great Society, The Two Gentlemen of Verona, Water by the Spoonful; FAIR stage management intern for The Sign in Sidney Brustein’s Window. Other theaters: production assistant for All the Way, The Great Society (Seattle Repertory Theatre); stage manager for Avenue Q, Our Town (Southern Oregon University); Machinal, In Your Eyes (Arizona Theatre Company). Education: B.F.A., Southern Oregon University.

KATIE NGUYEN Production Assistant

Katie Nguyen is a stage manager from Fairfax, Virginia, and a recent graduate of Virginia Tech. While pursuing a degree in business management, she served as a stage manager, festival producer and production manager for Virginia Tech’s School of Performing Arts. She is humbled to be at The Armory as one of two stage management apprentices for the 2017-2018 season.

Prior to moving to Portland, she cofounded a non-profit theater collective in Washington, D.C. (Who What Where Theater) and worked as a summer camp teaching artist for Acting For Young People in Fairfax, Virginia.

THE ARMORY • MOJADA: A MEDE A IN LOS ANGELES

MICA COLE Oregon Shakespeare Festival Repertory Producer

Mica joined Oregon Shakespeare Festival in 2013 and has since overseen more than 40 productions as repertory producer, including a dozen transfers and co-productions. These include the world premieres of Lynn Nottage’s Sweat, which was later produced at The Public Theater and on Broadway; Lisa Loomer’s Roe, which moved to Arena Stage and Berkeley Repertory Theatre; Robert Schenkkan’s The Great Society, a co-production with Seattle Repertory Theatre; and Alexa Jung’s adaptation of Fingersmith, which was later seen at American Repertory Theater. Additionally, as a member of the company’s executive leadership, she shares responsibility for strategic planning, season selection, budgeting and the organizational commitment to social justice. Prior to OSF, Mica worked in Chicago as the executive director of Free Street Theater for five seasons. Other Chicago ventures include collaborations with Writers Theatre, Teatro Luna, MPAACT and Collaboraction. She is a graduate of The Theatre School at DePaul University.

JOY DICKSON Oregon Shakespeare Festival Casting Director

Ten seasons at Oregon Shakespeare Festival. Other theaters: Seattle Repertory Theatre, Berkeley Repertory Theatre, Mark Taper Forum (including Taper Too, Taper New Works, Juneteenth, P.L.A.Y.), Ojai Playwrights Conference, Geffen Playhouse, Huntington Theatre Company, La Jolla Playhouse, Goodman Theatre, Missouri Repertory Theatre, Portland Center Stage at The Armory, Cleveland Play House, Ahmanson Theatre, Dallas Theater Center, Pasadena Playhouse, Intiman Theatre, A.S.K. Theatre Projects. Film/TV: Terri (Sundance Film Festival), Easier with Practice (Cinevegas, Edinburgh Film Festivals), Stephanie Daley (Sundance, Deauville Film Festival), The Business of Strangers (Sundance, Deauville), Interview with the Assassin (Tribeca Film Festival), The Tao of Steve (Sundance), Lush (Sundance), The Independent (HBO/U.S Comedy Arts Festival), Perdita Durango (Toronto Film Festival), Quarterlife (Bedford Falls Productions/NBC), The

Men’s Room (NBC), Off Centre (The WB), The Mullets (UPN). Teaching: adjunct professor, California Institute of the Arts. Education: B.A., Smith College.

OREGON SHAKESPEARE FESTIVAL

Founded by Angus Bowmer in 1935, the Oregon Shakespeare Festival (OSF) has grown from a three-day festival of two plays to a major theater arts organization that presents an eightmonth season consisting of 11 plays that include works by Shakespeare as well as a mix of classics, musicals, and new works. The Festival draws attendance of more than 400,000 to approximately 800 performances every year and employs approximately 575 theater professionals. OSF’s mission statement: “Inspired by Shakespeare’s work and the cultural richness of the United States, we reveal our collective humanity through illuminating interpretations of new and classic plays, deepened by the kaleidoscope of rotating repertory.” OSF is committed to diversity and inclusion in all areas of its work and in its audiences.

MOJADA: A MEDEA IN LOS ANGELES | SPONSOR STATEMENTS ARGYLE WINERY

At this time more than ever, Argyle Winery is proud of its support of Portland Center Stage at The Armory. This important and timely production of Mojada demonstrates the critical role the arts play in our local community.

CTA LAB

CTA Lab is proud to support the arts and Portland Center Stage at The Armory as it begins a new and exciting season. At a poignant time in this country composed of immigrants, Mojada challenges us to contemplate who we are and who we want to be as a society and a nation.

RONNI LACROUTE

I have been interested in the work of playwright Luis Alfaro for several years because of his ability to tell a modern story within the structure of a classic Greek tragedy. Mojada is a brilliant piece of theatrical writing that shines a spotlight on the determination of immigrants to succeed despite the many challenges they face and sacrifices they must make. Given the

current political climate regarding immigration policy in the United States, as well as in many other countries, this is the perfect time for this play. I hope it inspires meaningful conversations about the tragic fate of many immigrants and the possible solutions to immigration policies worldwide.

MODA

You likely already know that exercise is good for you.

At Moda, we believe being healthy demands regular stretching of more than your muscles. So sit up straight and enjoy your workout with live theater. Think of it as a yoga class for your mind.

STOEL RIVES

Stoel Rives fosters diversity and inclusion at our firm and in our communities; our support for these principles is the reason we chose to sponsor this production. Mojada explores family, tradition and culture through the lens of immigration; it is an epic journey with a timely and provocative message. We are proud to support Portland Center Stage at The Armory and this amazing play.

MOJADA: A MEDE A IN LOS ANGELES • THE ARMORY

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EVERY WHICH WAY BUT HOME: MOJADA’S

MYTHOLOGICAL

ROOTS

By Benjamin Fainstein, Literary Manager

A

ncient Greek mythology abounds with the names of women caught in complex moral struggles. They frequently come to dismal ends and are usually punished by the gods for their all-too-human failings. Pandora, Clytemnestra, Phaedra ... the list goes on.

One name, Medea, has become synonymous with its bearer’s infamous crimes though not necessarily with the context that led to her transgressions.

Discrepancies in Medea’s story exist alongside discordant versions of what actually happened on the fateful day she fled her unfaithful husband, Jason, the Greek hero of the Argonauts. Certain details aside, the accepted circumstances of Medea’s life provide insight into the climax of her tragedy, as written by the dramatist Euripides, and illuminate some of the choices Luis Alfaro has made in crafting his contemporary adaptation, Mojada: A Medea in Los Angeles.

First and foremost, Medea was not Greek. She was a native of Colchis, a territory on the eastern shore of the Black Sea exoticized by Greek traders and colonists as a lush land of dark magic. Medea, the Colchian princess of possibly divine ancestry, was a sorceress, healer and weaver. When Jason arrived hunting for her father’s Golden Fleece, she fell in love at first sight. Many sources indicate that Medea was a

I

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puppet of the gods, pierced by Eros’ arrow so she would kill Jason’s usurper at his home in Iolcus. Medea guided Jason safely through her father’s trials for the fleece and, in most tellings, went so far as to kill her brother so he wouldn’t thwart their escape.

In Iolcus, Medea concocted a scheme to restore Jason’s birthright to him: she deceived King Pelias’ daughters into dismembering their father and boiling him into a soup. Medea and Jason then fled to Corinth, where they raised a family. Medea was ultimately disdained, however, due to Greek xenophobia that vilified “barbarian” foreigners. Jason — whether tired of his wife or seeking to restore his children to noble status within the hierarchy of Greek society — seduced his way into an engagement with the Corinthian princess, Glauce.

Facing ostracization and abandonment, the loss of her children, and the perilous state of being an unmarried foreign woman, Medea avenged herself by weaving a poisoned garment that killed the princess and the king. She confronted an aghast Jason before fleeing to Athens, and there are divergent accounts of her final act in Corinth. To preserve the impact of the ending for those unfamiliar with the myth, suffice it to say that some sources report Medea committed one of humanity’s most heinous crimes,

while others say she was framed by the Greeks. Euripides took the former, more harrowing version as the ending of his play and in doing so cemented his protagonist’s legacy.

Medea, one of his early plays, heralded Euripides’ developing reputation as the iconoclastic poet of Athens with a penchant for extreme and visceral tragedies. He often broke with hallmarks of traditional Greek drama, and perhaps the biggest shift he spurred on was summed up by his elder artist: Aristotle reported that Sophocles said he himself “drew men as they ought to be, while Euripides drew them as they were.”

Medea’s fate is left uncertain at the play’s conclusion. She flies to Athens on a dragon-powered chariot to beg sanctuary. Given that Euripides’ audiences were Athenians, the author leaves them with a question: What would you do with this woman and her story?

Alfaro seizes on the political inquiry and profound humanity with his adaptation.

His Medea is likewise a consummate outsider, who in extreme circumstances struggles to make the right choices for her family. By transposing Corinth to Los Angeles and turning Athenians into Americans, his tragedy speaks with undeniable immediacy and smolders with a fire only found when opposing moral imperatives collide and spark.

M E D E A’ S P E R I L O U S J O U R N E Y

n Mojada: A Medea in Los Angeles, Medea and her family emigrate from Michoacán, a Mexican region plagued with violence, from which half the avocados consumed in the U.S. are harvested. That billion-dollar industry is largely controlled by drug cartels who use the avocado plantations to launder money.

destitute become drug mules. Amnesty International reports that more than 60% of women who cross into the United States are raped during the journey. As Luis Alfaro says, “that’s a terrible cost to pay for fleeing desperate circumstances to obtain a better life for your children.”

Leaving Michoacán is dangerous: cartel activity is enmeshed with the human trafficking circuit. Many emigrants must pay coyotes (smugglers) for help, who may not be trustworthy. The most

The word mojado/a translates literally as “wet” and is also a slur akin to “wetback” for Mexican immigrants. In the 1940s, immigrants were valued as farmhands during the bracero program,

but social anxiety after World War II led to Operation Wetback in 1954.

The rules for employing immigrants changed; within 10 years, more than a million Mexicans had been arrested and deported.

Alfaro’s title provocatively recalls the trauma surrounding the issue of immigration in this country. It casts a reflective shadow on Medea’s identity, while opening a dialogue about the risks unauthorized immigrants undertake.

ARTISTIC DIRECTOR | CHRIS COLEMAN

NOVEMBER 18–DECEMBER 31, 2017 IN THE ELLYN BYE STUDIO

PRESENTS

A CHRISTMAS MEMORY

By Truman Capote –paired with–

WINTER SONG

By Merideth Kaye Clark & Brandon Woolley

Directed by Brandon Woolley Music Director Mont Chris Hubbard

Scenic Designer Daniel Meeker

Sound Designer Casi Pacilio

Costume Designer Paula Buchert

Stage Manager Janine Vanderhoff

Lighting Designer Sarah Hughey

Production Assistant Jordan Affeldt

Featuring Merideth Kaye Clark & Leif Norby Accompanied by Mont Chris Hubbard Original Underscore Music by Mont Chris Hubbard Arrangements by Merideth Kaye Clark & Mont Chris Hubbard PERFORMED WITHOUT INTERMISSION. Videotaping or other photo or audio recording of this production is strictly prohibited.

The Actors and Stage Manager in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SEASON SUPERSTARS

SUPPORTING SEASON SPONSORS

SHOW SPONSORS Judy Carlson Kelley

®

Portland Center Stage at The Armory receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.

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Florence Events Center, host of the 2nd Star Festival. Funded by the Oregon Cultural Trust.

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A CHRISTMAS MEMORY & WINTER SONG | CAST & CREATIVE TEAM TRUMAN CAPOTE Author of A Christmas Memory

Truman Capote (September 30, 1924-August 25, 1984) was born in New Orleans, LA. He was a novelist, journalist, screenwriter, playwright and celebrated man-about-town. Early writings include his novel of alienated youth, Other Voices, Other Rooms (1948); a collection of Gothic short stories, A Tree of Night and Other Short Stories (1949); and the tender novel The Grass Harp (1951), which Capote adapted into a play that debuted on Broadway in 1952. The novella Breakfast at Tiffany’s (1958; film adaptation by George Axelrod released in 1961) introduced the charming, hedonistic Holly Golightly as a heroine. Childhood reflections formed the basis of two short stories, A Christmas Memory (1956) and The Thanksgiving Visitor (1968). Capote’s groundbreaking novel In Cold Blood (1966) was a pioneering work in the true crime genre and the basis for three film adaptations, including the 2005 film Capote, starring Philip Seymour Hoffman. Other works include The Dogs Bark: Public People and Private Places (1973) and Answered Prayers, an unfinished novel, published posthumously in 1987.

MERIDETH KAYE CLARK Performer Co-Creator of Winter Song

Merideth Kaye Clark has played definitive leading theatrical roles nationwide, such as Elphaba in the First National Tour of Wicked, Eva Perón in Evita (Northern Stage), Nancy in Oliver! (5th Avenue Theatre), and has originated roles in two Off-Broadway musicals. Clark is a sought after concert artist described as “plain astonishing” and “a masterful performer” with “powerhouse pipes.” She is a multiinstrumentalist and plays anything with strings, most notably the guitar, dulcimer and viola. Her solo album Young Stellar Object garnered critical praise from New York theater reviewers and the studio recording of her acclaimed Joni Mitchell’s BLUE concert was successfully funded on Kickstarter in only four days. Portland credits include: Cathy, The Last Five Years (The Armory); Tzeitl, Fiddler on the Roof (The Armory); Clara, The Light in the Piazza (Portland Playhouse); and Lilli/Kathryn, Kiss Me Kate (Clackamas Repertory Theatre). Many thank yous to everyone who helped create this show!

LEIF NORBY Performer

Leif was last seen in Wild and Reckless, Astoria: Part One and The Oregon Trail.

Other appearances at The Armory include: Professor Willard/ Joe Stoddard in Our Town, De Guiche in Cyrano, Rodrigo in Othello, ensemble in 16

both Anna Karenina and Sunset Boulevard, Richard Hannay in The 39 Steps, Tateh in Ragtime, and Benny Southstreet in Guys and Dolls. Other recent Portland appearances include: Cervantes in Man of La Mancha (Lakewood Theatre Company), Dr. Givings in In the Next Room (Profile Theatre), Tom in The God Game (Brandon Woolley prod.), Bastion in Mr. Kolpert and Jane/Edgar in Mystery of Irma Vep (Third Rail Repertory Theatre), Verne/George in And So It Goes … and Frank Keller in Red Herring (Artists Repertory Theatre), Charlie in The Scene (Portland Playhouse) and Beast in Beauty and the Beast (Pixie Dust). TV credits include Portlandia and Leverage. Leif is a proud member of Actors’ Equity, sends love to his wife Susie, and thanks you for supporting live theater.

BRANDON WOOLLEY Director Co-Creator of Winter Song

Brandon is a director and producer in Portland, Oregon. He is so grateful for the opportunity to collaborate and work on two productions in one this holiday season. Directing credits include: Mary’s Wedding and Sex with Strangers (The Armory); Luna Gale (spring, 2018), International Falls and The Few (CoHo Productions); The God Game (selfproduced); The End of Sex (Theatre Vertigo); Dial M for Murder (Bag&Baggage Productions). Brandon has worked on multiple shows at The Armory as an assistant director (Astoria: Part One and the upcoming Part Two, LIZZIE, The Whipping Man, Red, One Flew Over the

THE ARMORY • A CHRISTM A S MEMORY & WINTER SONG

Cuckoo’s Nest and A Christmas Story). He has also collaborated with Michael Curry and Oregon Symphony on Persephone, which will travel to Seattle in the spring, Third Rail Repertory Theatre, Broadway Rose Theatre Company and Live On Stage.

Brandon is the producing associate and JAW co-producer at Portland Center Stage at The Armory. Much love to Sean.

MONT CHRIS HUBBARD Music Director/Accompanist

Mont Chris Hubbard is a Portland performer, composer and music director.

He is the creator and host of Portland’s most endearingly strange variety show, The Mont Chris Hubbard Bonus Show, and hosts a monthly late night piano bar at Artists Repertory Theatre. He has released five CDs of solo piano improvisations and is excited for the opportunity to create the musical palette (not improvised!) for A Christmas Memory. He is pleased to work with Brandon Woolley and Leif Norby again, and positively chuffed to collaborate with Merideth Kaye Clark again and again and again and again. He is a proud member of the American Federation

Don’t miss a moment of the 30th Anniversary Season!

Create Your Own packages on sale now.

PCS.ORG Alex J. Gould in Mary's Wedding. Photo by Patrick Weishampel/blankeye.tv.

A CHRISTMAS MEMORY & WINTER SONG | CREATIVE TEAM of Musicians, the union of professional musicians, and a proud supporter of the labor movement. montchrishubbard.com DANIEL MEEKER Scenic Designer

Previously at The Armory: lighting for Lauren Weedman Doesn’t Live Here Anymore and Wild and Reckless; scenery for The People’s Republic of Portland and Red (Drammy Award); and set and lighting for Vanya and Sonia and Masha and Spike, The Typographer’s Dream, LIZZIE (Drammy Award for Best Lighting), The Last Five Years and The Mountaintop. Recent projects: Big Night Out, Così fan tutte, The Difficulty of Crossing a Field and The Little Match Girl Passion (Portland Opera); The Talented Ones (Artists Repertory Theatre); The Language Archive (Portland Playhouse); Judy Moody and Stink: The Mad, Mad, Mad, Mad Treasure Hunt (Oregon Children’s Theatre); 26 Hours (Profile Theatre); The Curious Incident of the Dog in the Night-Time (Pioneer Theatre); How I Learned What I Learned and Peter and the Starcatcher (Portland Playhouse); The How and The Why (COHO Productions); and lighting director for the Pickathon festival. Daniel is a graduate of Ithaca College and The Yale School of Drama, and a member of United Scenic Artists.

PAULA BUCHERT Costume Designer

Paula has been employed as a cutter/draper in the costume shop for Portland Center Stage at The Armory for the past 15 seasons.

She has also had the privilege of creating garments for singers, dancers and actors at such venues as Seattle Opera, American Players Theatre, Seattle Repertory Theatre, Glimmerglass Opera, Pacific Northwest Ballet, The Shakespeare Theatre and Portland Opera. She holds a degree in Fine Arts with a theater emphasis from the University of Wisconsin, as well as a degree in Fashion Design with a lingerie emphasis from the Fashion Institute of Technology.

Paula lives in North Portland with her five companion house rabbits. This is her first design project at The Armory. She would like to thank her family for their love, support and encouragement.

SARAH HUGHEY Lighting Designer

Sarah Hughey is proud to make her debut at The Armory. Design credits include Blair Thomas & Co., Steppenwolf Theatre,

Lookingglass Theatre, City Theatre (Pittsburgh), Kansas City Repertory Theatre, St. Louis Black Repertory Company, Writers’ Theatre, Northlight Theatre, Victory Gardens, and many little rooms across Chicago. Upcoming projects include Major Barbara (The Armory) and Lifeboat (Corrib Theatre w/ Northwest Children’s Theatre). Ms. Hughey is the recipient of a Joseph Jefferson Award and the Michael Maggio Emerging Designer Award at the Merrit Awards for Design and Collaboration. She has taught lighting design at Northwestern University, Columbia College Chicago and Willamette University. She holds an M.F.A. from Northwestern University and is a member of USA Local 829. Ms. Hughey lives in Portland. skhugheylighting.com CASI PACILIO Sound Designer

Casi’s home base is The Armory, where recent credits include Lauren Weedman Doesn’t Live Here Anymore, Wild and Reckless, His Eye is on the Sparrow, The Oregon Trail, Little Shop of Horrors, A Streetcar Named Desire, Great Expectations, Ain’t Misbehavin’, Three Days of Rain; A Small Fire, Constellations and Chinglish with composer Jana Crenshaw; and 11 seasons of JAW. National shows: Holcombe Waller’s Surfacing and Wayfinders; Left Hand of Darkness, My Mind is Like an Open Meadow (Drammy Award, 2011), Something’s Got Ahold Of My Heart and PEP TALK for Hand2Mouth Theatre. Other credits include Squonk Opera’s BigsmorgasbordWunderWerk (Broadway, PS122, national and international tours); I Am My Own Wife, I Think I Like Girls (La Jolla Playhouse); Playland, 10 Fingers and Lips Together, Teeth Apart (City Theatre, PA). Film credits include Creation of Destiny, Out of Our Time and A Powerful Thang. Imagineer/maker of the Eat Me Machine, a dessert vending machine.

JANINE VANDERHOFF Stage Manager

Janine is glad to be back for her third season at The Armory. Previous credits at The Armory include: Wild and Reckless, Lauren Weedman Doesn’t Live Here Anymore, The Santaland Diaries, The Oregon Trail, Little Shop of Horrors, JAW, Great Expectations, Ain’t Misbehavin’, Our Town. Other Portland credits include Portland Opera’s Sweeney Todd (followspot caller); DC Copeland’s Play (stage manager/production manager); Portland Playhouse’s How to End Poverty in 90 Minutes and The Other Place (stage manager). Touring stage management credits include: The Graduate (starring Morgan Fairchild), Cats, The Vagina Monologues, Jekyll & Hyde and Show Boat. While in New York, Janine had the opportunity to work on The Lion King on Broadway, as well as with many Off-Broadway and regional companies. Production management credits include: The Daily Show with Jon Stewart for “Democalypse 2012 Republican National Convention” (Tampa, FL); Straz Center (Tampa, FL); The Fox Theatre (Atlanta, GA). Proud NYU graduate and AEA member.

JORDAN AFFELDT Production Assistant

Jordan is a stage manager from the small mountain town of Julian, CA. She completed her bachelor’s degree at Northern Arizona University, majoring in theater studies and psychology. Her recent work includes a stage management internship at Pacific Conservatory Theatre (PCPA), where she assistant stage managed Beauty and the Beast, Lend Me a Tenor and You Can’t Take It With You. Prior to PCPA, she completed stage management internships with The Shakespeare Theatre of New Jersey and ion theatre company. She spends her free time playing and writing music in the Portland area.

SPONSOR STATEMENT JUDY CARLSON KELLEY

I am looking forward to watching and supporting A Christmas Memory at The Armory. This production will remind us of Truman Capote’s rare ability to describe events — this time, Christmas — through a child’s eyes.

A CHRISTM A S MEMORY & WINTER SONG • THE ARMORY

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Story Song: and

Meet the artists behind our winter offering in the Ellyn Bye Studio

BRANDON WOOLLEY

MERIDETH KAYE CLARK

How did the pairing of A Christmas Memory and Winter Song come about?

A Christmas Memory was performed at this theater in the early aughts. It was an audience favorite and a story that people have been asking for again and again. However, it’s not quite long enough for a full meal deal. So we were actively looking for something to pair it with during season planning. Someone suggested a collaboration with Merideth Kaye Clark. From there we brought Merideth in and started brainstorming.

What was it about the winter season that appealed to you as a source of inspiration?

Winter is the most emotionally complicated season.

The music that it inspires is rich. There are, of course, holiday songs. But we were more interested in the music that captures other winter feelings. Traveling home or hunkering down in the cold. The loneliness and isolation the darkness brings. The gatherings of families and communities. The first day of winter, the solstice, is the shortest and darkest of the whole year. From there, every day is longer and brighter than the one before. Knowing that, feeling that, brings hope.

What has the development process been like so far for Winter Song?

One of the key points of the process was a workshop we had in June. It was completely eye-opening and so helpful.

We were able to have all the collaborators in the room to try new ideas each day. New songs, new scenes, new structure. We needed to pare it down and get back to the heart of what we were after. Community, connection, conversation. From the workshop we threw a lot out.

Kept some. And listened to more songs. We polled friends, families and strangers for their memories of winter. And then we carefully put it all back together.

Last season, you directed Mary’s Wedding in this space and also celebrated a wedding of your own. What are some of the wintertime activities that you and your husband are looking forward to this year?

Sean and I are just starting to create our own traditions. One of the things we’ve done the past few years is host a Holiday Cocktail Party and then on Christmas Day we get together with Sean’s family and have AlcoHolidays, where each couple brings a cocktail recipe and makes it for the whole family. It’s boozy and festive and SO MUCH FUN. We are also going to return to our wedding venue (Edgefield!) on Christmas Eve this year.

This season is Portland Center Stage at The Armory’s 30th anniversary. What is one of your favorite memories of this theater company?

Working on One Flew Over the Cuckoo’s Nest in my first season. I had just transitioned from being an intern to company manager and was able to assistant direct the show under Rose Riordan. It was such a tricky play, and I just loved being in the room to help figure it all out. It’s a show that I think back on and still get chills. From the set to the actors to the lessons learned. It had a profound impact on me.

One of the songs you perform in this show is an E. E. Cummings poem that you set to music. How did you land on that poem? Did the original music come naturally?

A couple of years ago I was asked by a friend to set a poem to music to be part of a collection of songs inspired by the soprano Rebecca Luker. My contribution was a song set to E. E. Cummings’ “i carry your heart with me (i carry it in my heart).” Composing that song reignited my love for Cummings’ poetry. I re-read “little tree” a few winters ago and the music came in an afternoon, easily. Like it had always been written but never performed. [Music Director] Mont Chris and I worked on this new arrangement over the summer, oddly, on one of the hottest days of the year. I am tickled I get to perform an original composition in this show.

What are some of the wintertime activities you are looking forward to this year with your husband and two daughters?

I just bought a new sled. Maybe there’ll be some snow again this year? I love baking and sharing treats. The corner where our Christmas tree lives seems empty all year until we get the new one and decorate it. I am looking forward to cozy Saturday mornings and wearing pajamas with a fire in the fireplace.

What is one of your favorite memories of working at The Armory?

Watching the Bottle Dance in Fiddler on the Roof! I was playing Tzeitl and I had a seat right in the front facing the dancers. The cast was in suspense every night, hopeful the dancers could balance the bottles to the end. Seeing the wood chips flying and the dancers spinning is still one of my favorite theatrical memories.

Interviews by Claudie Jean Fisher, Public Relations and Publications Manager

Merideth Kaye Clark and Brandon Woolley first collaborated on Clark’s performances of Joni Mitchell’s album BLUE, which debuted in this space in 2015. They’ve teamed up once again to create Winter Song for this world premiere run paired with Truman Capote’s beloved holiday gem, A Christmas Memory, which Woolley is also directing.

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ARTISTIC DIRECTOR | CHRIS COLEMAN

DECEMBER 5–31, 2017 ON THE U.S. BANK MAIN STAGE

PRESENTS

The Second City’s A Christmas Carol:

TWIST YOUR DICKENS

By Peter Gwinn & Bobby Mort Directed by Ron West Scenic Designer Tom Buderwitz

Costume Designer Jeff Cone

Lighting Designer Daniel Meeker

Sound Designer Casi Pacilio

Vocal Arranger & Music Consultant Rick Lewis

Stage Manager Kelsey Daye Lutz*

Production Assistant Bailey Anne Maxwell & Katie Nguyen

The Second City Casting Beth Kligerman

Local Casting Rose Riordan & Brandon Woolley

THE CAST Scrooge.....................................................................Craig Cackowski*

Mrs. Cratchit and others...........................Lauren Modica*

Belle and others.......................................................Chantal DeGroat*

Ghost of Christmas Present and others.......Jaime Moyer*

Ghost of Christmas Past and others................................Sam Dinkowitz

Marley and others........................................Darius Pierce*

Ghost of Christmas Future, Bob Cratchit and others.......Nicholas Kessler *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

A Christmas Carol: Twist Your Dickens was originally produced by The Second City and Center Theatre Group and received its world premiere at Kirk Douglas Theatre in Los Angeles, November, 2012.

PERFORMED WITH ONE INTERMISSION. Videotaping or other photo or audio recording of this production is strictly prohibited.

SEASON SUPERSTARS

SUPPORTING SEASON SPONSORS

®

Portland Center Stage at The Armory receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.

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SHOW SPONSORS

TWIST YOUR DICKENS | CAST CRAIG CACKOWSKI Scrooge

Craig Cackowski is excited to be returning to The Armory and reprising his role as Scrooge in Twist Your Dickens for the fourth time! He has performed with The Second City in various capacities since 1995. He has also been seen on TV as Officer Cackowski in Community and in every episode of Comedy Central’s Drunk History. Other film and TV appearances include The Mayor, Shrink, Bajillion Dollar Properties, Girlboss, Veep, How I Met Your Mother, Comedy Bang Bang, The Kings of Summer and Year of the Dog. Craig may often be seen touring the country with his improv duo, Orange Tuxedo (with his wife Carla), and heard on the podcast Craig’s List (where he makes Carla watch his 100 favorite movies).

CHANTAL DEGROAT Belle and others

Chantal is stoked to twist the heck out of 2017 with the hilarious TYD team for the fourth time! Chantal resides in Seattle and is a company member with Third Rail Repertory Theatre. Seattle productions and workshops: Well (Seattle Repertory Theatre), Stick Fly (Intiman Theatre), Julius Caesar (Seattle Shakespeare Company); The Grove (Seattle Repertory Theatre, The Hansberry Project), Bright Half Life (The Hansberry Project), Richard III (upstart crow collective, Seattle Shakespeare Company), String (Village Theatre). The Armory: JAW, Visions and Voices, All’s Fair in Love and Shakespeare.

Other Portland theaters: Artists Repertory Theatre, Profile Theatre, Portland Playhouse, Badass Theatre, Clackamas Repertory Theatre, Jewish Theatre Collaborative. She is an educator for the August Wilson Monologue Competition with two years on The Armory stage and at Seattle Repertory Theatre for the August Wilson Red Door Project.

Chantal commits her artistic life to the social justice movement. Gratitude for the endless support from fam and friends!

SAM DINKOWITZ Ghost of Christmas Past and others

Sam is filled with Christmas joy to be back with the Twist cast and

crew. When he’s not working at JOANN Fabric, Sam is teaching high school students how to safely hit each other with swords. Recent local credits include Year of the Rooster with CoHo Productions and Coyote on a Fence with Post5 Theatre.

Regional credits include seasons with Oregon Shakespeare Festival, The Utah Shakespeare Festival and Idaho Repertory Theatre. TV credits: TNT’s Leverage and The Librarians. Sam is also the founder of Spectravagasm Sketch Comedy. He received his B.F.A. in Performance from Southern Oregon University.

NICHOLAS KESSLER Ghost of Christmas Future, Bob Cratchit and others

Nicholas is an actor, improviser and teacher here in Portland. He’s thrilled to return to the Twist cast and company at The Armory. Nicholas is the host of NPR/OPB’s live storytelling show The Moth. Nicholas is an improviser and ensemble member at The Siren Theater, with Improv Giants, Leviathan and The Liberators. Nicholas’ television credits include roles on Portlandia, Grimm and The Librarians. Nicholas is an educator for Portland Center Stage at The Armory, and an executive communications coach throughout the region. He plays the role of husband/ father in real life, and is proud to raise a family of Portlanders.

LAUREN MODICA Mrs. Cratchit and others

Lauren is thrilled to return to The Armory for a fourth helping of Dickens, and sends all her love to those she loves, the audiences, Rose, Brandon, Ron and all her favorites at the company for making this tradition so wonderful.

Regional: Glendower/Peto in Henry IV: I and II (Oregon Shakespeare Festival), Cook/Nurse Spiller in Fingersmith (American Repertory Theatre), Twist Your Dickens, Our Town and JAW (The Armory), The Skin of Our Teeth (Artists Repertory Theater). Portland credits include: Antigone Project (Profile Theater), In the Forest, She Grew Fangs and Undiscovered Country (Defunkt Theatre), King Lear (Northwest Classical Theatre Company), Cymbeline (Portland Actors Ensemble), Much Ado About Nothing (Willamette Shakespeare), No Man’s Land (Action/Adventure Theatre),

Gretchen Icenogle’s Trailing Colors, DC Copeland’s Play, and others. lauren-modica.squarespace.com JAIME MOYER Ghost of Christmas Present and others

Jaime recently appeared on Modern Family, and has had guest starring roles on Parks and Recreation, 2 Broke Girls, Jennifer Falls, and has a recurring role as Mrs. Goldfeder on Disney’s hit show KC Undercover. She is the creator of the viral hit “Fancy Catz” which can be seen on YouTube at The Second City Network, and has appeared in several short and feature length films. Jaime is delighted to return to The Armory with this production. She has also appeared in Twist Your Dickens at The Kennedy Center in D.C. and Kirk Douglas Theater in Los Angeles. She is a graduate of The University of Detroit Mercy, and an alum of The Second City in Detroit. Thanks always to her amazing parents and friends!

DARIUS PIERCE Marley and others

Darius is happy to be spending his tenth consecutive year celebrating the holidays at The Armory after five years of The Santaland Diaries, and two each of A Christmas Story and A Christmas Carol.

Other productions at The Armory include Stupid F**king Bird, Cyrano, Beard of Avon (Drammy Award for Outstanding Lead Actor), Twelfth Night, 25th Annual Putnam County Spelling Bee, The 39 Steps, Frost/Nixon and JAW. Elsewhere, favorite shows include Stupid F**king Bird (world premiere, Woolly Mammoth Theatre Company); The Gaming Table and Comedy of Errors (Folger Theatre); Lungs (Third Rail Repertory Theatre); Les Misérables (Broadway Rose Theatre Company); and 1776 (Lakewood Theatre Company).

Darius is a company member at Third Rail Repertory Theatre and a co-founder of Anonymous Theatre Company.

PETER GWINN Co-Writer

Peter is one of the original writers for The Colbert Report, for which he won two Emmy Awards, and the Amazon series Alpha House. He has also written three musicals: The Story of a Story (The Untold Story) (Underscore Theater, Chicago); T WIST YOUR DICKENS • THE ARMORY

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TWIST YOUR DICKENS | CREATIVE TEAM Moulin Scrooge! (The iO Theater, Chicago; WreckingBall Theater Lab, Denver) and Listen, Kid! (UCB Theatre, NYC; The iO Theater, Chicago). Peter is also an actor, improviser and stand-up comedian. He is a founding member of Baby Wants Candy, a comedy troupe that creates fully improvised hour-long musicals, which was The New York Times Critic’s Pick and has sold out multiple runs at Edinburgh Fringe Festival. He can also be seen in the Netflix series Easy and in Chicago Fire.

BOBBY MORT Co-Writer

Bobby wrote for The Colbert Report during the 2012-2013 season, where he received an Emmy Award for his work, and he’s the co-creator (with Peter Farrelly) of the television series Loudermilk. He grew up in South Carolina before moving to Chicago, where he trained at The iO Theater and performed for a number of years with the improv group People of Earth and

BIKE TO BIKE

BY WAY OF PLANE.

Nonstop flights from PDX to Amsterdam.

the sketch comedy trio Maximum Party Zone. Bobby is extremely excited to be working with Peter Gwinn, the fine folks of The Second City and Portland Center Stage at The Armory on Twist Your Dickens.

RON WEST Director

Ron is happy to return to Portland to helm Twist Your Dickens for the third time. He has directed “a jillion” shows for The Second City, including the award-winning Curious George Goes to War and the international tour of Sex & The Second City. He recently provided additional dialogue for The Taming of the Shrew at Chicago Shakespeare Theater, a production devised by Barbara Gaines and performed by an all-female cast. His adaptation of The Comedy of Errors, also for Ms. Gaines and Chicago Shakespeare Theater, won him the 2008 Jeff Award for Best Production. With Phil Swann, West is the co-author of The People Vs. Friar Laurence, which premiered at Chicago Shakespeare Theater, and Musical Fools, based on the play by Neil Simon. Both titles are published by Samuel French. Also with Mr. Swann, Mr. West co-authored the musical deLEARious, recently restaged by Mr. West at Open Fist Theater in Los Angeles. Other recent directing credits include: Twist Your Dickens (Goodman Theatre, where he also appeared as Scrooge; Life Expectancy (Hollywood Fringe); and The 39 Steps (Malibu Playhouse). He bats right and throws right.

TOM BUDERWITZ Scenic Designer

Tom previously designed I Love To Eat at The Armory. Tom designed the world premiere of The Second City’s A Christmas Carol: Twist Your Dickens for Center Theatre Group in Los Angeles, as well as the Goodman Theatre and The Kennedy Center productions. Tom has also designed for South Coast Repertory, Geffen Playhouse, Pasadena Playhouse, Denver Center Theatre Company, Intiman Theatre, Laguna Playhouse, Chautauqua Theater Company, Arizona Theatre Company, San Diego Repertory, Artists Repertory Theatre, The Antaeus Company, Reprise Theatre and The Theatre at Boston Court, among many others. Tom has been honored with six Los Angeles Stage Alliance Ovation

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THE ARMORY • T WIST YOUR DICKENS

TWIST YOUR DICKENS | CREATIVE TEAM Awards and three Los Angeles Drama Critics Circle Awards. For television, Tom has designed specials and series for every major broadcast and cable network, and has three Emmy Award nominations and an Art Director’s Guild Award nomination. tombuderwitz.com JEFF CONE Costume Designer

Jeff Cone is a freelance costume designer based in Atlanta, Georgia.

Before moving to Atlanta, Jeff spent 16 seasons as Portland Center Stage at The Armory’s resident costume designer and costume shop manager. In that time, he designed costumes for over 75 productions. Of those shows, over 50 were in the company’s first eight seasons at The Armory. Favorite productions include West Side Story, Cabaret, The 39 Steps, One Flew Over the Cuckoo’s Nest, Sometimes a Great Notion, Snow Falling on Cedars, The Imaginary Invalid, Black Pearl Sings!, Venus in Fur and Clybourne Park. Jeff received Drammy Awards for his costume designs for Dirty Blonde, Act A Lady and Shakespeare’s Amazing Cymbeline.

DANIEL MEEKER Scenic Designer

Previously at The Armory: lighting for Lauren Weedman Doesn’t Live Here Anymore and Wild and Reckless; scenery for The People’s Republic of Portland and Red (Drammy Award); and set and lighting for Vanya and Sonia and Masha and Spike, The Typographer’s Dream, LIZZIE (Drammy Award for Best Lighting), The Last Five Years and The Mountaintop. Recent projects: Big Night Out, Così fan tutte, The Difficulty of Crossing a Field and The Little Match Girl Passion (Portland Opera); The Talented Ones (Artists Repertory Theatre); The Language Archive (Portland Playhouse); Judy Moody and Stink: The Mad, Mad, Mad, Mad Treasure Hunt (Oregon Children’s Theatre); 26 Hours (Profile Theatre); The Curious Incident of the Dog in the Night-Time (Pioneer Theatre); How I Learned What I Learned and Peter and the Starcatcher (Portland Playhouse); The How and The Why (COHO Productions); and lighting director for the Pickathon festival. Daniel is a graduate of Ithaca College and The Yale School of Drama, and a member of United Scenic Artists.

CASI PACILIO Sound Designer

Casi’s home base is The Armory, where recent credits include A Christmas Memory, Winter Song, Lauren Weedman Doesn’t Live Here Anymore, Wild and Reckless, His Eye is on the Sparrow, The Oregon Trail, Little Shop of Horrors, A Streetcar Named Desire; A Small Fire, Constellations and Chinglish with composer Jana Crenshaw; and 11 seasons of JAW. National shows: Holcombe Waller’s Surfacing and Wayfinders; Left Hand of Darkness, My Mind is Like an Open Meadow (Drammy Award, 2011), Something’s Got Ahold Of My Heart and PEP TALK for Hand2Mouth Theatre. Other credits include Squonk Opera’s BigsmorgasbordWunderWerk (Broadway, PS122, national and international tours); I Am My Own Wife, I Think I Like Girls (La Jolla Playhouse); Playland, 10 Fingers and Lips Together, Teeth Apart (City Theatre, PA). Film credits include Creation of Destiny, Out of Our Time and A Powerful Thang. Imagineer/maker of the Eat Me Machine, a dessert vending machine.

RICK LEWIS Vocal Arranger and Music Consultant

Rick has music directed over 25 productions at Portland Center Stage at The Armory, most recently the acclaimed production of Fun Home.

Creator of the hit Off-Broadway musicals The Taffetas and The Cardigans (NYC Bistro Award for Outstanding Musical Revue); music supervisor for the West Coast premiere of Next to Normal

(Artists Repertory Theatre); assistant conductor/vocal director for the preBroadway workshop of Cy Coleman’s The Life; music director/arranger for BelloVoci; writer/arranger for Disney Live Family Entertainment, American Hawaii Cruises and American Classic Voyages; developer of The Cinnamon Bear Cruise; and founder/artistic director of Bridgetown Conservatory of Musical Theatre. rlewismusic.com KELSEY DAYE LUTZ Stage Manager

The Armory credits include: stage manager for His Eye is on the Sparrow, Hershey Felder as Irving Berlin, Hold These Truths, The Pianist of Willesden Lane (2016 and 2017), Each and Every Thing, Forever, The Santaland Diaries, The Lion, The People’s Republic of Portland (second engagement), Vanya and Sonia and Masha and Spike, The Typographer’s Dream, The Last Five Years and A Small Fire; and production assistant for Clybourne Park, Venus in Fur, A Midsummer Night’s Dream, The North Plan and Anna Karenina.

Kelsey Daye is a graduate of University of North Carolina at Greensboro. She would like to thank her pups for all their unconditional love, and Shamus for being wonderful.

BAILEY ANNE MAXWELL Production Assistant

Bailey is thrilled to be back for another production of Twist Your Dickens.

In previous seasons at The Armory, Bailey has worked as the production

TWIST YOUR DICKENS SPONSOR STATEMENT GERDING EDLEN

At Gerding Edlen, we are committed to owning, developing and managing properties that strengthen our neighborhoods. Part of that process includes recognizing and supporting arts in this community. We believe that art improves not only our buildings and neighborhoods, but also our lives.

We are proud to support Portland Center Stage at The Armory this season for Twist Your Dickens. We look forward to the transformational power of theater to inspire, entertain and help us celebrate this holiday season.

T WIST YOUR DICKENS • THE ARMORY

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The

Wyeths

THREE GENERATIONS

Works from the Bank of America Collection Through January 28, 2018

TWIST YOUR DICKENS

CREATIVE TEAM (CONT.) assistant for Mary’s Wedding, Little Shop of Horrors, Stupid F**king Bird, Other Desert Cities, Twist Your Dickens (2014 and 2015) and Dreamgirls. She also served as a crew member for Great Expectations. Bailey has worked as a production assistant with Artists Repertory Theatre on The Motherf **ker with the Hat, Foxfinder, Ten Chimneys, The Lost Boy and Seven Guitars. Bailey has recently enjoyed being the stage manager for Up the Fall with PHAME and The Wizard of Oz with Broadway Rose. She has also worked with Profile Theatre as a stage management apprentice on Buried Child, Eyes for Consuela and In the Next Room. Bailey is a proud Linfield College graduate and a member of the EMC program.

KATIE NGUYEN Production Assistant

portlandartmuseum.org N. C. Wyeth (American, 1882–1945), Printing plates for Phoenician Biremes, Created by N. C. Wyeth for Ladies’ Home Journal, 1925, Bank of America Collection

Katie Nguyen is a stage manager from Fairfax, Virginia, and a recent graduate of Virginia Tech. While pursuing a degree in business management, she served as a stage manager, festival producer and production manager for Virginia Tech’s School of Performing Arts. She is humbled to be at The Armory as one of two stage management apprentices for the 2017-2018 season.

Prior to moving to Portland, she cofounded a non-profit theater collective in Washington, D.C. (Who What Where Theater) and worked as a summer camp teaching artist for Acting For Young People in Fairfax, Virginia.

SECOND CITY THEATRICALS

Second City Theatricals is the live entertainment arm of the legendary comedy institution that produces an eclectic array of entertainment in venues worldwide. Recent productions include the Jeff Award-winning Second City Guide to the Opera with Lyric Opera Chicago and the Helen Hayes Award-nominated production America All Better!! at Woolly Mammoth Theatre in Washington, DC. Other productions include a collaboration with Hubbard Street Dance Chicago that premiered at the Harris Theater in 2014 and was remounted in Chicago in 2016, and Death of a Streetcar Named Virginia Woolf: A Parody that premiered in 2016.

Second City Theatricals also maintains three full-time ensembles aboard Norwegian Cruise Line.

24

THE ARMORY • T WIST YOUR DICKENS

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T WIST YOUR DICKENS • THE ARMORY

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Portland Center Stage at

CHRIS COLEMAN Artistic Director

Chris joined Portland Center Stage at The Armory as artistic director in 2000. Before coming to Portland, Chris was the artistic director at Actor’s Express in Atlanta, a company he co-founded in the basement of an old church in 1988. Chris returned to Atlanta in 2015 to direct the world premiere of Edward Foote at Alliance Theatre (Suzi Bass Award for Best Direction, Best Production and Best World Premiere). Other recent directing credits include the Off-Broadway debut of Threesome at 59E59 Theaters; a production that had its world premiere at The Armory.

Favorite directing assignments for The Armory include Fun Home, Constellations, Astoria: Part One (which he also adapted), A Streetcar Named Desire, Ain’t Misbehavin’, Three Days of Rain, Threesome, Fiddler on the Roof, Clybourne Park, Shakespeare’s Amazing Cymbeline (which he also adapted), Anna Karenina, Oklahoma!, Snow Falling on Cedars, Crazy Enough, King Lear, Outrage and The Devils. Chris has directed at theaters across the country, including Actor’s Theater of Louisville, Oregon Shakespeare Festival, ACT Theatre (Seattle), The Alliance, Dallas Theatre Center, Pittsburgh Public Theatre, New York Theatre Workshop and Center Stage (Baltimore). A native Atlantan, Chris holds a B.F.A. from Baylor University and an M.F.A. from Carnegie Mellon. He is currently the board president for the Cultural Advocacy Coalition. Chris and his husband, Rodney Hicks – who recently appeared on Broadway in the new musical Come From Away – are the proud parents of an 18-lb Jack Russell/Lab mix and a 110-lb English Blockhead Yellow Lab. For the past three years, Chris has had the honor of serving as the director for the Oregon Leadership Summit.

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THE ARMORY

LEAVE A LASTING LEGACY Discover Planned Giving

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THANK YOU, DONORS!

We gratefully acknowledge the supporters of our 2017–2018 season. generosity Portland Center Stage gratefully acknowledges the supporters of our Their 2013–14 season. allows us to inspire our community Their generosity allows us to inspire our community by bringing stories stories to life intounexpected ways. We thank by bringing life in unexpected ways.

Wethem. thank them.

CORPORATE GIFTS SEASON SUPERSTAR ($150,000+)

OVATION SOCIETY ($100,000+)

U.S. Bank

PLAYMAKERS ($5,000+)

Glumac KPFF Mentor Graphics Perkins Coie Troutman Sanders LLP Wieden + Kennedy

PRODUCERS ($2,000+)

LEADERSHIP CIRCLE ($25,000+)

D’Amore Law Group Klarquist PCC Structurals, Inc. Portland Timbers Vernier Software & Technology

SEASON STARS ($10,000+)

Downtown Development Group Pacific Office Automation

Express Employment Professionals The Standard Curtis T. Thompson, M.D. and Associates, LLC Wells Fargo

Bank of America Boeing Company Davis Wright Tremaine LLP Delta Air Lines GBD Architects Hobbs, Straus, Dean & Walker Moda NW Natural Stoel Rives LLP Work for Art, including contributions from more than 75 companies and 2,000 employees

BENEFACTORS ($1,000+) STARS ($250+)

Cupcake Jones Graphic Arts Building ShadewoRx

IN-KIND

All Wright Music Argyle Winery Art of Catering Artemis Foods Astoria Bistro

Keith & Sharon Barnes Ben & Jerry’s Bluehour Boeing Company Cannery Pier Hotel & Spa Chris Carriker Chehalem Wines Columbia River Maritime Mueseum Conundrum Trail Mix Cupcake Jones Daimler Aishwarya Deenadayalu Delta Air Lines Devil’s Food Catering De Ponte Cellars DeSoto Rooftop Terrace Diana Gerding Eastside Distilling Everything’s Jake Free Geek Food in Bloom Footwear Specialties International Gearhart Golf Links Geranium Lake Flowers Rosemond Graham Rodney Hicks Hunt & Gather Catering Irving St. Kitchen

FOUNDATION & GOVERNMENT SUPPORT

(AS OF OCTOBER 17, 2017)

OVATION SOCIETY ($100K+)

Collins Foundation The Fred W. Fields Fund of The Oregon Community Foundation Meyer Memorial Trust James F. & Marion L. Miller Foundation The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County, and the Arts Education and Access Fund The Wallace Foundation

LEADERSHIP CIRCLE ($25K+)

The Hearst Foundations The Kinsman Foundation Marie Lamfrom Charitable Foundation National Endowment for the Arts The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer & Jordan Schnitzer Shubert Foundation

SEASON STARS ($10K+)

Anonymous Sheri & Les Biller Family Foundation The Holzman Foundation/Renée & Irwin Holzman Jackson Foundation

Isabel Pearl Rebekah Johnson Photography Craig & Lynne Johnston Drs Skye & Jane Lininger Richard Linn Rebecca MacGregor Maurice Marlene Montooth Meyer Creative New Deal Distillery NIKE, Inc. Oregon Shakespeare Festival Park Kitchen Pearl Catering Pearl Gallery & Framing Performance Promotions Portland Timbers FC Precision Graphics Pat & Trudy Ritz Royalton NYC Sellwood Consulting LLC Kyle Spencer Street 14 Cafe Tanner Creek Tavern Umpqua Bank

SEASON SUPERSTARS

Maybelle Clark Macdonald Fund Oregon Arts Commission, a state agency PGE Foundation The Rose E. Tucker Charitable Trust Travel Oregon

ARTISTIC DIRECTOR’S CIRCLE ($3K+)

Autzen Foundation H.W. & D.C.H. Irwin Foundation Samuel S. Johnson Foundation Spirit Mountain Community Fund Herbert A. Templeton Foundation Travel Portland

SUPPORTING SEASON SPONSORS

PRODUCERS ($2K+)

D. Margaret Studley Foundation Union Pacific Foundation

BENEFACTORS ($1K+)

Big Sky Fund of Equity Foundation Leupold & Stevens Foundation

STARS ($250+)

®

Portland Center Stage at The Armory receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.

Swigert-Warren Foundation

THE ARMORY

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INDIVIDUAL GIFTS (AS OF OCTOBER 17, 2017) The membership levels and names listed below are determined by our individual gift membership renewal date and are recognized for twelve months. Every effort has been made to ensure that this list is accurate and complete. We apologize if your name has been omitted or improperly recorded. If so, please contact giving@pcs.org, so we can correct our records.

Those donors whose names are in bold are a part of our Sustaining Supporters group.

We want to honor those donors who have given every year for the last five years. Your consistent support means a great deal to us and keeps our theater thriving.

Thank you for your loyalty and generosity.

OVATION SOCIETY ($100,000+) Don & Mary Blair Mary & Tim Boyle

LEADERSHIP CIRCLE ($25,000–$99,999)

Keith & Sharon Barnes Andy & Nancy Bryant Ginger Carroll Roger Cooke & Joan Cirillo Dream Envision Foundation Martin & Karin Daum Brigid Flanigan Rob Goodman Dr. Barbara Hort & Mark Girard Heather Killough Ronni S. Lacroute Pat Reser & Bill Westphal Pat & Trudy Ritz/Ritz Family Foundation Barbara & Phil Silver The Stern Family Bill & Larue Stoller Elaine Whiteley Dan Wieden & Priscilla Bernard Wieden

SEASON STARS ($10,000–$24,999)

Anonymous Dr. Don & Jessie Adams John & Linda Carter CLF Family Charitable Foundation Sarah Crooks Ray & Bobbi Davis Jess Dishman Kelly K. Douglas & Eric H. Schoenstein Mark & Ann Edlen The Wayne & Sandra Ericksen Charitable Fund Mary & Ryan Finley Diana Gerding Tasca & Paul Gulick Steven & Marypat Hedberg The Holzman Foundation/ Renee & Irwin Holzman Marilyn & Ed Jensen Craig & Y. Lynne Johnston Judy Carlson Kelley James & Morley Knoll Hilary Krane & Kelly Bulkeley Charles & Carol Langer Dedre J. Marriott Michael E. Menashe J. Greg & Terry Ness Dorothy Piacentini Reynolds Potter & Sharon Mueller Dana Rasmussen Richard & Marcy Schwartz Drs. Ann Smith Sehdev &

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THE ARMORY

Paul Sehdev Douglas & Teresa Smith Walter & Carol Smith

PLAYMAKERS ($5,000–$9,999)

Anonymous (2) Scott & Linda Andrews Peter & Susan Belluschi Family Fund of The Oregon Community Foundation Phil & Julie Beyl Rick Caskey & Sue Horn-Caskey Glenn Dahl & Linda Illig David Dotlich & Doug Elwood Greg Hazelton & Dori Flame Tom & Betsy Henning Gregg & Diane Kantor Ms. Kirsten Lee & Mr. Joseph Sawicki Drs. Dolores & Fernando Leon Skye & Jane Lininger Chrys A. Martin & Jack Pessia Doris G. & Richard K. Martin Trust Peter K. McGill Lois Seed & Dan Gibbs Mark Schlesinger & Patti Norris Barbara A. Sloop Jan & John Swanson John Taylor & Barbara West Christine & David Vernier

ARTISTIC DIRECTOR’S CIRCLE ($3,000– $4,999)

Carol Alexander Kathi & Ted Austin Bill Byrne & Dennis Scolard Cogan Family Fund of the Oregon Jewish Community Foundation Joan & Jim English Robert Falconer Randy Foster Mike Golub & Sam Shelhorse Sharon & Henry Hewitt Kevin Hogan & Aron Larson Jina Kim & Hyung-Jin Lee Regan & Gina Leon Steven C. Neighorn Allan & Madeline Olson Jim & Linda Patterson Brenda Peterson Fred L. Ramsey Dennis & Diane Rawlinson Robert Reed Raj Sarda MD CollierTrust

Randy & Janet Smith Sue & Drew Snyder Dave Underriner & Barbara Rossi-Underriner Steven & Deborah Wynne Mort & Audrey Zalutsky

PRODUCERS ($2,000–$2,999)

Anonymous Ruth & Jim Alexander Azin V. Alebeek Michael & Margie Anton Brenda K. Ashworth & Donald F. Welch Julia & Robert S. Ball Daniel Bergsvik & Donald Hastler Jack Blumberg & Tom Anderson Richard Louis Brown Marianne Buchwalter Lee Anne & George Carter Judy Dauble Edward & Karen Demko Margaret Dixon Carol Edelman Ron & Becky Eiseman John & Jane Emrick Heather Guthrie & Gil Parker Paul & Samantha Harmon Dale Hottle Dennis C. Johnson Thom King Ruth Knepell Brian D. Kronstad Cindy & Keith Larson Edwards Lienhart Family Foundation Jim & Jennifer Mark Shelly McFarland Mary Katherine Miller John D. & Nancy J. Murakami Nathan Family Hester H. Nau Joan Peacock Bobbie & Joe Rodriguez Teri Rowan Stephen & Trudy Sargent Roy Schreiber & Carole Heath George & Molly Spencer Trina & Michael Sheridan Geoff & Susie Strommer Burt & Barbara Stein Don & Judy Thompson Katherine & Nickolas Tri E. Walter Van Valkenburg & Turid L. Owren Ted & Julie Vigeland Trudy Wilson & Terry Brown Mary Wolfe Mary & Pat Wolfe David & Sherri Zava

CORPORATE CHAMPIONS WE SUPPORT OUR CORPORATE CHAMPIONS WHO GIVE MORE THAN $10,000 ANNUALLY

Umpqua Bank

Bank of America Boeing Company Curtis T. Thompson, M.D. and Associates, LLC Davis Wright Tremaine LLP

BENEFACTORS ($1,000–$1,999)

Anonymous (2) Phyllis Arnoff Cheryl Balkenhol & James Alterman Barbara Baker Dr. Gene Baker & Regina Brody Dave Bennett Christian, Lisa & Ella Bisgard Sam & Adriane Blackman Earl & Jan Bliven William Blosser Kate & Bill Bowman Linda & William Brown Tim O’Leary & Michelle Cardinal Dr. Richard & Nancy Chapman Brenda & Duke Charpentier Leslie Copland Betsy Cramer & Greg Kubecek Gustavo J. Cruz, Jr. Leslie & James Culbertson Tracy A. Curtis & Rick Nagore Gail & Mike Davis Kirk & Marsha Davis Gerard & Sandra Drummond Richard & Betty Duvall John Briggs & Jeffrey Feiffer Mike & Chris Feves Larry & Deborah Friedman Daniel & Leah Frye Jasmine Fullman Cynthia Fuhrman Katie & David Gold Ann Gray John & Jacque Guevara Dylan Gulick Donald F. Hammond Lani Hayward Patsy Heinlein Herman Charitable Foundation Mr. Arthur Hung & Dr. Jim Watkins Don & Claudia Hutchison Jessie Jonas Stephen & Marjorie Kafoury Dr. Laurie Kash & Michael Carter Tom & Barbara Kelly Kevin & Karen Kelly Paul Dockter & Pamela KelleyDockter Willie Kemp Jon & Karen Kruse Ray & Terry Lambeth Dorothy Lemelson Shari & Frank Lord Bruce & Louise Magun Jean & Steve Mann Stephen Mason &

Express Employment Professionals GBD Architects Hobbs, Straus, Dean & Walker Moda NW Natural

Christine Fisher Lindsey & Marilen McGill Dan & Christina McMillan Jack & Carolyn McMurchie Lora & Jim Meyer Bill Moffat Bryan Nakagawa Betsy Natter Ranata Niederloh Neilsen Family Fund of The Oregon Community Foundation Lucas Newman Paul & Lisa Nourigat Steven P. & Eileen O’Neill Odum Thomas Palmer & Ann Carter Irene Parikhal Duane & Corinne Paulson Stanley & Susanne Penkin Amy Polo Dr. & Mrs. Charles Poindexter John & Catherine Ridenour Bob & Marilyn Ridgley Kelly Ritz-Eisenstein & Scott Eisenstein Dianne Rodway Mary & Craig Ruble Halle & Rick Sadle Carol Schnitzer Lewis Fund of The Oregon Community Foundation Michael & Karen Sherman Carl Snook Kim & Doug Strand Ray & Pat Straughan Carol Streeter & Harold Goldstein Mary & Jeff Strickler Donald & Roslyn Sutherland W R Swindells Calvin & Mayho Tanabe Kenneth & Marta Thrasher Ronald E. & Ivy L. Timpe Fund of The Oregon Community Foundation Glen Ulmer Eleanor & Peter van Alderwerelt Wendy Ware & Dan Gleason Dennis & Jean Wilde Jay Wilt Jeff & Jaynie Wirkkala

STARS ($500–$999)

Charles & Gloria Adams Margaret & Stuart Albright Richard & Kristin Allan Joan & Brian Allen Stacy Allison Janis Avidan Thomas & Brada Bailey Robin & Thomas Barrett Susanne Baumann &

Stoel Rives LLP U.S. Bank The Standard Wells Fargo Work for Art

John Gragg Benjamin Buckley Young Actors Fund of The Oregon Community Foundation David Bennett Dr. Janet Bennett Jamie & John Birkett Cheryl A. Bittle Bob Schuler & Debra Blanchard Jill Blanchard Lesley Bombardier Craig Boretz Norma Bradfish Larry Brigham Robert & Stasia Burt Mary Beth Butkovic Clifford & Doris Carlsen Family Fund of The Oregon Community Foundation Erik Cubbage Amy & Bruce Dobbs Beverly Downer Stephen Early & Mary Shepard James & Patricia Edwards Christina Flaxel & B. Randall Gregory Flick Ronald Fraback Gail & Kim Frederick Lisa M. Freiley Charles & Kyle Fuchs Don & Judy Fuller Richard & Kristine Gates Paul & Faye Gilbarg Michael & Nancy Graham Gail & Walter Grebe Rick & Susan Gustafson Del Hall Bill & Elaine Hallmark Kregg & Andrea Hanson MJ & Lee Alan Helgerson Paul & Ruth Herrington Jay Howell Ms. Carroll Hutchinson Susan Immer & Larry Juday Christina Isacson Per-Olof Jarnberg & Joan Foley Cecily Johns Susan E. Jossi & Bob Conners Nancy Keystone & Michael Schlitt Mr. Rudy Kohnle & Ms. Krista Larson Kohnstamm Family Foundation Bruce & Cathy Kuehnl Susan Lair & Doug Trobough Bonnie & Mike Leiser Jon & Sheila Levine Elaine & Richard Lycan JS & Robin May

DONOR LIST (CONTINUED) Ann Mccabe Jim & Maureen McCartin Karen & Brent McCune Jessica McVay Rob & Kate Melton Robert & Violet Metzler Bruce W. Miller Timothy Mott Michael & Susan Mueller Deborah Neft & Salvatore D’Auria Ward & Pamela Nelson David & Anne Noall Susan & Peter Norman John & Carolyn Parchinsky Elizabeth Perris & Beverly Schnabel Jim & Pam Phillips Wallace & Elizabeth Preble Judson Randall Dick & Linda Reedy Drs. Scott & Kay Reichlin Leslie Rennie-Hill & Ken Hill Dr. Mark & Angela Reploeg Tony & Sherryl Reser Dave & Lori Robertson Rebecca Ross Steven & Carol Sandor Aurora WindDancer Peter C. & Jeanette M. Scott Therese Scott Peter Shinbach Virginia Shipman & Richard Kaiser Brad Simmons & Shannon Hart J & C Skuster Kyle & Sophia Spencer Rick & Denyse Stawicki Janice Stewart & Gordon Allen John & Shirley Sutton Dan & Linda Sullivan Dr. Jeffrey & Mrs. Roberta Swanson Beverly Terry Marcia K. Timm Libbi Layton & Lawrence Tamiyasu Kara & Tyler Tatman Paul Tucker & Blake Walter Andrew Tweedie Paul Tucker & Blake Walter Paul J. Utz & Lory Cogan Utz Lewis & Susan Van Winkle Virginia Vanderbilt & Michael Garrison Dan Volkmer & Frank Dixon Richard Wallace & Patricia White Ms. Shu-Ju Wang & Mr. Mike Coleman Joan & David Weil Dr. & Mrs. Bennett Wight Andrew Wilson Fabian & Julie Yeager

PATRONS ($150–$499)

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Mr. & Mrs. John K. Ankeney Nigel & Kerry Arkell Lee & Lynn Aronson Linda Aso Jean & David Avison Susan Bach & Douglas Egan Mrs. Bernice Bagnall Thayne & Mary Anne Balzer Bill & Donna Baily Gary & Christine Barbour Don & Jo Barney Mr. & Mrs. Peter Barnhisel Diane & Arthur Barry Sidney & Barbara Bass Dawn Bauman Richard Baumann Donald C. & Doris Beard Rob & Sharon Bennett Maggie Bennington-Davis Anita & Clark Blanchard Chris Blattner & Cindy McCann Ms. Catherine Blosser & Mr.Terry Dolan Jeffrey Bluhm Robert E Blum & Carol M. Black Jacquelyn & John Boardman Lynne & Frank Bocarde Brian & Karen Borton Jerry Brask Betty G. Lavis & Charles Brasher Kay Bristow Douglas Browning & Jo Shapland Patsy Bruggere Ms. Kathryn Bussman & Mr. Char Curry Mary Butler Tim & Susan Carey Clay & Carolyn Carter Michael Carter & Teresa Ferrer Jean Carufo & Barb Engelter Sue Caulfield & Mary Mack Brent & Barbara Chalmers Gordon B. Chamberlain Valri & Vincent Chiappetta Candice & Russ Chapman John & Lou Chapman Tim Chapman Philip F. Copenhaver Bob & Patty Chestler Susan F. Christensen Rhonda Cohen Bruce & Janis Collins Rick & Jean Collins Lisa & Skip Comer Sonja L. Connor William & Harriet Cormack Jerry & Jean Corn Karen Costello John & Ann Cowger Steve Cox & Vikki Mee Allen & Sue Craig Marian & Neale Creamer Karen & Ward Cunningham Jill & Tony Daniels Arthur & Winnifred Danner Betty Daschel Sharon Davidson Maureen Sproviero Davis & Kerwin Davis Carolyn DeLany-Reif Duane & Prudence Denney Bill & Brenda Derville Linda & Jerry Dinan Ken & Laura Dobyns

Michael Doherty & Daphne Cooluris Steve Dotterrer & Kevin Kraus Mark & Denise Downing Sharon Durant Julie & Jim Early Janet & Barry Edwards John H. Eft & Darlene Russ-Eft Mary A. & Peter Eisenfeld Kris & R. Thomas Elliott Ed & Marilyn Epstein Jean Erickson Wes Evans & Lou Scorca Sharon Ewing-Fix Sandy Feeny Gil & Ellen Feibleman Renee Ferrera & James Johnson Terry Ferrucci Colleen Finn Sally & Jerry Fish Sherry & Paul Fishman Greg & Susan Fitz-Gerald Mary Flahive & David Finch George H. Fleerlage Steve & Susan Ford Sharon Frank Marc Franklin Terry Franks & Carolyn Duran Jerome & Mary Fulton William & Beverly Galen Susan & Seth Garber Colleen Gekler Merry Gilbertson & Larry Frank Lisa Goldberg Lynn Goldstein Melissa & Robert Good Barbara & Marvin Gordon-Lickey Richard & Janis Gottlieb Patricia & Tim Gray Mr. Mark Greenfield & Jane Hartline Nancy & Ron Gronowski Frank & Margery Guthrie Irv & Gail Handelman Britney & Ryan Hardie Ulrich H. Hardt & Karen Johnson Lynne & John Hart Tom & Jan Harvey Fred & Sara Harwin Mark & Paige Hasson Marcia Hauer & Jeanne Knepper Tom & Verna Hendrickson Sudee & J. Clayton Hering Diane M. Herrmann Gary & Jane Hibler Barbara & Mark Hochgesang Mrs. Beverly Hoeffer & Mrs. Carol Beeston Laurie Holland Barry & Fanny Horowitz Donald & Lynnette Houghton Dr. Hal Howard Patricia G. Howell Dixie & Patrick Huey Nancy Hull & Chris Sproul Kathy & Tom Iberle Tom & Laura Imeson Robina & Tim Ingram-Rich Joanne Jene, M.D. Sonny Jepson & Felice Moskowitz Becky & Jarrett Jones

Dolores Judkins Jack & Farol Kahle Ross Kaplan & Paula Kanarek Rebecca & Gerald Karver Ron & Ruth Katon Franki Keefe Katherine Keene Jane Kennedy Marion & Bart Kessler Heather Kientz Jim & Lois King Nancy Kingston Frederick Kirchhoff & Ronald Simonis Lucien & Sally Klein Romy Klopper Michael Knebel & Susan Shepard Paul & Sue Knoll Ed & Margaret Kushner Robert & Sally Landauer David Lapof Robert & Nancy Laws Anita Saalfeld Bob & Sally LeFeber Roger & Joy Leo Brian & Chris Lewis Judy & Lloyd Lindley Bob & Debbie Lindow Peter & Janice Linsky Steve Rosenberg & Ellen Lippman Bill Bagnall & Clayton Lloyd Joyce & Stanley Loeb Ralph London Sharon W. & E. Theodore Lukasevich Marvin & Sylvia Lurie John D. Lynch Carol & Charles Mackey Jeanne & Jim Magmer Tim & Barbara Mahoney Caroline Mann Linda & Ken Mantel Mr. Joe Marrone & Ms. Ann Balzell Joe Marrone & Ann Balzell Kenneth & Nancy Martin Mr. & Mrs. Mason Pamela Matheson Anne Matson Kendra Matthews Oscar & Mary Mayer Annie & Dennis McCarthy Betty McDonald & William Hansen Charles McGee & Serilda Summers-McGee Charles & Kathleen McGee Gretchen McLellan Steven McMaster & Kathleen Brock Bart McMullan Jr. & Patricia Dunahugh Gayle & George McMurriaBachik Julia Meck Ruth E. Medak Mariellen Meisel & Steve Glass Peter & Joan Melrose Patty Merrimon Susan Sammons Meyer & Dennis Meyer Frances & Peter Meyers Louis R. Miles Pamela G. & Fred B. Miller

Mr. Jay Miller & Ms. Elise Menashe Roger & Karen Miller Michael Mills & Amie Abbott Sherry Mills Tom & Lia Mills Thomas & Rosemary Mitchell David & Machteld Mok Grant Molsberry & William Apt Brandon Monroe Bridget Montero Douglas & Malinda Moore Jane Moore Clint & Donna Moran Marjory S. Morford Mike & Jan Morgan David Morganstern Laura & Joseph Munoz Fran Nay Bill & Pat Nelson Jeanne Newmark Ann Nickerson Landscape Design Gloria Norton Ron & Janet O’Day Teri Obye Ric Oleksak Barry D. Olson Eileen & Alfred Ono Juris V. & Silvia Orle Beverly J. Orth Paul & Lynn Otto Lynda Paige Jennifer Peery Jeanne Provost & R. Brian Hough Susan & Milt Parker Gail & Alan Pasternack Janet Peek Steve & Melissa Peterman Francis Peters John M. & Suzy J. Petersen Kevin Phaup Donna Philbrick Mr. Joe Phillippay & Kris Phillippay Sue Pickgrobe & Mike Hoffman Rick Kunz & Brigette Piniewski Nancy Pitney Jennifer Politsch Michael Ponder & Bea Davis David & Margo Price Christopher Prosser Jay & Barbara Ramaker Michael R. Rankin Richard A. Rawlinson Bonnie & Peter Reagan Helen Richardson & Don S. Hayner George W. & E. Joan Robinson Lucinda Rodgers Charles & Judith Rooks Ted & Holly Ruback Davia & Ted Rubenstein Alise R. Rubin & Wolfgang Dempke Jim & Joanne Ruyle Bunny & Jerry Sadis Linda & Michael Salinsky Lisa Sanman Ron & Vicki Sarazin Lia Saroyan & Michael Knapp Christine & Steven Satterlee John & Stephanie Saven Dianne Sawyer &

Richard Petersen Jim Scherzinger & Claire Carder Sheldon & Jean Schiager Martha M. Schostal Michael & Pam Shanahan Karen Sheridan Ron & Lynn Sherwood Carl R. Shinkle Jonathan Singer Jaymi & Francis Sladen Henrianne Slattery Rodger Sleven & Marcella Flores Richard Smith & Patricia Frobes Charles E. Smith Constance Smith Kimberly Smith-Cupani Neil Soiffer & Carolyn J. Smith George Soule & Maurice Horn Doug Sparks & Casey Bass Mirnie & Mike Stapleton Zach & Vassie Stoumbos Rhonda Studnick Kaiser Ms. Valda Summers & Mr. Tom Phelan Roger & Gale Swanson John & Jan Switzer Amy & Emanuel Tanne Ellen Tappon & Ted Wilson Leif & Marjorie Terdal Jane Thanner & Tim Smith Larie Thomas James & Linda Thomas Grant & Sandra Thurston Robert Todd David Toovy Sandra Teel Trainer Phil & Mimi Underwood Cathy Unis David & Julie Verburg Dawn Vermeulen James N. Stamper & Jennifer P. Villano Mark & Mary Ann Vollbrecht The John & Frances Von Schlegell Family Fund James & Nancy Vondran Drs. Bastian & Barb Wagner George & Marilou Waldmann John N. & Betty K. Walker Nancy Walker & Terry Foty Sheila Walty Michael Weiner & Kathy Davis-Weiner Chris & Jana White JD & D’Alene White Maurice & Lauretta Williams Marjorie & Tom Wilson Callie & Ana Winner Alan Winders Greg Winterowd Don & Jan Wolf Richard & Leslie Wong Linda M. Wood Robert & Vickie Woods Paul Wrigley Jack Wussow & Kyle Adams Russ & Mary Youmans Alan & Janet Zell

THE ARMORY

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IN TRIBUTE

Tribute Gifts as of October 17, 2017.

BOARD OF DIRECTORS

Elaine and Mel Ball in honor of our precious and talented granddaughters, Kamilla and Madelen Hrubesova

Ted Austin, Chair Senior Vice President, U.S. Bank Private Wealth Management

Ginger Carroll in memoriam for J. Michael Carroll

Betsy Henning, Vice Chair CEO and Founder, AHA! Strategic Communications

Leslie Copland in honor of Richelle Luther John and Jan Emrick in memory of our beloved storyteller and dear friend, Brian Doyle Cynthia Fuhrman in honor of Sandy Japel Dr. Hal Howard in memory of Carol Howard Jane and Paul Jacobsen honoring Betsy Henning Jina Kim in honor of Hyung-Jin Lee and Jina Kim Patricia and Peter Medeiros in memory of Joyce Helgerson Richard H. Meeker in honor of Ellen Rosenblum Bridget Montero in honor of Carina Montero Terry and Greg Ness in memory of Ben Whiteley Performance Promotions in honor of David Niederloh All of us at Portland Center Stage at The Armory will miss Ben Whiteley. We send our love and support to Elaine.

All of us at Portland Center Stage at The Armory will miss our friend Sam Blackman.

Portland is so much richer because of Maribeth Collins. We honor her legacy.

Joan Peacock in loving memory of Ben Buckley Julie and Ted Vigeland: Portland Center Stage at The Armory has lost a strong supporter and friend with the passing of Prue Miller Julie and Ted Vigeland in memory of the wonderful years of support by Pete and Mary Mark to Portland Center Stage at The Armory Julie and Ted Vigeland in memory of Ben Whiteley. Ben Whiteley was a supporter, in every sense of the word, of Portland Center Stage at The Armory from its inception. Ben will be missed in so many ways. For us especially, opening nights will not be the same without Ben.

TRIBUTE GIFTS Why not try something different? Instead of searching for that perfect gift or struggling over how to acknowledge a special achievement, you can recognize someone with a 100% tax deductible Tribute Gift. We’ll make it even easier for you by specially notifying the appropriate person that a Tribute Gift was made in honor or memoriam and list your gift in the playbill.

If you would like to make a Tribute Gift, please contact 503.445.3744 or giving@pcs.org.

Brigid Flanigan, Treasurer President, Shamrock Holdings, LLC Steven E. Wynne, Secretary Executive Vice President, Moda Health Mary Boyle, Immediate Past Chair Civic Volunteer Chris Coleman, President Artistic Director, Portland Center Stage at The Armory Sharon Barnes, Community Volunteer Phil Beyl, President, GBD Architects Sarah J. Crooks, Partner, Perkins Coie LLP Gustavo J. Cruz, Jr., Senior Counsel, Farleigh Wada Witt Kelly K. Douglas, Manager, State Investments LLC Lana Finley, Community Activist Diana Gerding, Community Volunteer Mike Golub, President of Business, Portland Timbers Tasca Gulick, Community Activist Lani Hayward, Executive VP, Creative Strategies, Umpqua Holdings Corp Linda Illig, Retired, Community Volunteer Yuki “Lynne” Johnston, Advocate for the Arts Kevin Kelly, Retired Jim Knoll, President, Knoll Mediation Karen O’Connor Kruse, Partner, Stoel Rives LLP Dedre Marriott, Community Volunteer Charles McGee, President and CEO, Black Parent Initiative Sanjay Mirchandani, President & CEO, Puppet Dana Rasmussen, Retired Dennis Rawlinson, Firm Chair and Partner, Miller Nash Graham & Dunn, LLP Joe Sawicki, Vice President and General Manager, Mentor Graphics, Design-To-Silicon Division Marcy Schwartz, Senior Vice President, CH2M HILL Ann E. Smith Sehdev, Physician, Cascade Pathology Doug Smith, Retired, Senior Vice President, AMEC Tyler Tatman, Finance Controller, Intel Corporation Dave Underriner, Regional Chief Executive, Oregon, Providence Health & Services J. Greg Ness, Director Emeritus, Chairman, President and CEO, Standard Insurance, StanCorp Financial Group Pat Ritz, Director Emeritus, Chairman and CEO, Footwear Specialties International Julie Vigeland, Director Emeritus, Civic Volunteer In Memoriam Bob Gerding

30

THE ARMORY

LEAD CORPORATE CHAMPION

WELCOME TO PLAYMAKER

Umpqua Bank

ACTORS TAKE CHANCES.

Sometimes they work.

Sometimes they don’t.

But none of these actors would be on stage today without taking chances. It’s part of growth, and we’re all made to grow. That’s why we’re such a proud supporter of Portland Center Stage at The Armory.

Let this performance inspire you to take the chances that power your own growth.

We’d like to introduce you to PlayMaker, our new free online loyalty program. Earn points for things you already love to do, like attending shows and events at The Armory, and redeem those points for cool things like V.I.P. backstage access, free drinks and more.

Sign up at pcsplaymaker.org. Questions? Email playmaker@pcs.org.

p o r t l a n d ’ s h o t e l t o th e ar t s

IN THE HEART OF PORTLAND’S WEST END DISTRICT

409 SW 11TH AVE PORTLAND | 503.224.3293 | MARKSPENCER.COM THE ARMORY

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STAFF Artistic Director: Chris Coleman

Managing Director: Cynthia Fuhrman

ARTISTIC Associate Artistic Director: Rose Riordan Associate Producer: Brandon Woolley Literary Manager: Benjamin Fainstein Company Manager: Will Cotter

FACILITY & EVENT RENTALS Events & Rentals Manager: Elizabeth Hjort Rentals Assistant: Katie Martens

EDUCATION & COMMUNITY PROGRAMS Education & Community Programs Director: Kelsey Tyler Education & Community Programs Associate: Clara-Liis Hillier Education & Community Programs Coordinator: Eric Werner Resident Teaching Artist: Matthew B. Zrebski ADMINISTRATION & FINANCE General Manager: Creon Thorne Finance Director: Lisa Comer Director of HR, Equity & Inclusion: Caitlin Upshaw Accounting Manager: Aurora Sanquilly Accountant: Alan King Executive Assistant & HR Coordinator: Nia Fillo IT Administrator: Chris Beatty IT Associate: Dylan Howe Database Administrator: Bob Thomas DEVELOPMENT Development Director: Lisa Sanman Associate Development Director: Jennifer Goldsmith Grants Manager: Marlene A. Montooth Development Events Manager: Kate Bowman Development Associate: Jack Ridenour MARKETING & COMMUNICATIONS Director of Marketing & Communications: Cynthia Fuhrman Associate Director of Marketing: Mandy Morgan Public Relations & Publications Manager: Claudie Jean Fisher Marketing & Communications Associate: Alice Hodge Group Sales Coordinator: Liz Brown Interim Group Sales Coordinator: Katie Watkins Graphic Designer: Mikey Mann Multimedia Designer: Kate Szrom Webmaster: Christian Bisgard Production Photographer: Patrick Weishampel PATRON SERVICES Patron Services Manager: Luke Robertson Patron Services Assistant Managers: Klint Keys, Sierra Walker Senior Patron Services Associate: Emily S. Ryan Patron Services Associates: Madelyn Clement, David Harper, Kirstie Opel Sales Associates: Colm Kirk, Charley Praither, Jack Ridenour, Mark Woodlief OPERATIONS Interim Operations Manager: Katie Cronin Operations Assistants: Destry Cloud, Eric Murray Custodians: Gregery Lee, Tim Taylor 32

FOR THIS PRODUCTION

THE ARMORY

PRODUCTION Production Manager: Liam Kaas-Lentz Production Coordinator: Lydia Comer Stage Managers, AEA: Kelsey Daye Lutz, Kristen Mun, Mark Tynan, Janine Vanderhoff Stage Management Apprentices: Jordan Affeldt, Katie Nguyen Technical Director: Derek Easton Scene Shop Manager: Seth Chandler Master Carpenter: Nick Foltz Staff Carpenters/Welders: Christian Cheker, Nathan Crosby, Michael Hall, Phil A. Shaw Properties Master: Michael Jones Lead Props Artisan: Rachel Peterson Schmerge Props Artisan: James Tait Scenic Charge Artist: Kate Webb Lead Scenic Painter: Shawn Mallory Scenic Painter: Kiona McAlister Costume Shop Manager: Alex Wren Meadows Cutters/Drapers: Paula Buchert, Eva Steingrueber-Fagan Associate Draper: Larissa Cranmer Costume Crafts Artisan: Barbara Casement Wig Supervisor: Jessica Carr Wardrobe Supervisor: Bonnie Henderson-Winnie Associate Lighting Supervisor & Main Stage Master Electrician: Alexz Eccles Associate Lighting Supervisor & Studio Master Electrician: Em Douglas Assistant Master Electrician: Alex Agnes Resident Sound Designer & Sound/Video Supervisor: Casi Pacilio Sound Engineer & Programmer, U.S. Bank Main Stage: Ryan Chapman Sound Engineer & Programmer, Ellyn Bye Studio: Mitchell Bohanan Deck Manager: Tim McGarry FRONT OF HOUSE Lead Concierge: Miles B. Lewis Concierges: Nsilo Berry, Wynee Hu Volunteer Coordinator: RaChelle Schmidt Lead House Manager: Michael Rocha House Managers: Jenna Barganski, Nhu Nguyen, RaChelle Schmidt Café Manager: Gregory Couper Catering Manager: Logan Starnes Kitchen Supervisor: Erik Sanchez Kitchen Assistant: Matt Couper Bar Supervisor: Melissa Larrabee Café Lead: Erin Rubin Food & Beverage Service Staff: Jenna Anderson, Leesidhe Blackburn, Arianna DiMarco, Joshua Moody Green, Katrina Hall, Beau Hommel, Rebekah Parker, Drew Patton, Lynna Vu VOLUNTEER COMMITTEE Office Assistants Chair: Connie Guist Entertainers Chair: Jo McGeorge Supporting Cast Chair: Karen Watson

MOJADA: A MEDEA IN LOS ANGELES ASSISTANT LIGHTING DESIGNER Marissa Diaz

SOUND BOARD OPERATOR Ryan Chapman

FOLLOW SPOT OPERATOR Liz Carlson

YOUNG ACTOR MONITOR Nicole Seeley

ELECTRICS CREW Lannie Alexander Duncan Lynch Liz Carlson Elisabeth Maiano Gabe Costales Catherine Miller Don Crossley Ben Rosenthal Rob Forrester Connor Ward

A CHRISTMAS MEMORY & WINTER SONG SCENIC PAINTER Elecia Beebe

DIALECT COACH Karl Hanover

LIVE FRONT OF HOUSE MIXER Mitchel Bohanan

SPECIAL THANKS Pendleton Woolen Mills

TWIST YOUR DICKENS COSTUME COORDINATOR Eva Steingrueber-Fagan

DRESSERS Julio Maxwell Kat Reid

STITCHER Morgan Reaves

SOUND BOARD OPERATOR Ryan Chapman

Cover art designed by Mikey Mann.

Portland Center Stage at The Armory operates under an agreement among the League of Resident Theatres (LORT), Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States, and the Society of Stage Directors and Choreographers. Portland Center Stage at The Armory is a member of LORT, Theatre Communications Group, Portland Business Alliance and Travel Portland.

Portland Center Stage at The Armory is a participant in the Audience (R)Evolution Program, funded by the Doris Duke Charitable Foundation and administered by Theatre Communications Group, the national organization for the professional not-forprofit American theater.

The Scenic, Costume, Lighting and Sound Designers in LORT are represented by United Scenic Artists Local USA-829, IATSE

WHAT TO SEE IN ARTSLANDIA ARTS CALENDAR

BOLERO + BILLIE

NW DANCE PROJECT A company-created, delightful holiday(ish) tradition with a bonus. This winter, NW Dance Project is putting a little Billie Holiday into their annual seasonal show and spicing it up nice with the return of Ihsan Rustem’s Boléro.

DECEMBER 7–9; LINCOLN PERFORMANCE HALL, PSU

RHAPSODY IN BLUE

OREGON SYMPHONY The Oregon Symphony is proud to present the first of the Sounds of Home series, focusing on immigration, and they invite you to join them in thinking about this topic central to American identity. Gershwin’s legendary work revolutionized classical music with its jazzy riffs, clarinet wails, and blue notes. Gershwin was also the son of immigrants. Symphony favorite Kirill Gerstein, hailed by The New York Times as “one of the most respected pianists of his generation,” stuns with a rare and special two-concerto program. Composer Chris Rogerson and award-winning immigrant playwright Dipika Guha will also premiere a linked work, commissioned by the Oregon Symphony, that focuses on the immigrant experience.

NOVEMBER 4–6; ARLENE SCHNITZER CONCERT HALL

MOJADA: A MEDEA IN LOS ANGELES

PORTLAND CENTER STAGE AT THE ARMORY In this retelling of Medea, playwright Luis Alfaro blends tragedy, wry humor, Mexican folklore, and a bracingly modern setting to unleash the power of Euripides’ ancient tale of love, transformation, and betrayal. A coproduction with the Oregon Shakespeare Festival, Mojada comes to Portland after a triumphant six-month run in Ashland.

NOVEMBER 4–26; PORTLAND CENTER STAGE AT THE ARMORY, U.S. BANK MAIN STAGE

THE MUSIC OF MICHAEL JACKSON

OREGON SYMPHONY The Oregon Symphony, a full rock band, and an electrifying vocalist team up to take you through hit after hit from the King of Pop! With I’ll Be There, Thriller, The Way You Make Me Feel, and many more, you’ll rock the night away as the Symphony celebrates Michael Jackson’s multiplatinum career. Conducted by Brent Havens with vocals by James Delisco.

NOVEMBER 9; ARLENE SCHNITZER CONCERT HALL

BEETHOVEN’S SECOND SYMPHONY

OREGON SYMPHONY Discover another side of Beethoven in his Symphony No. 2, full of cheerful energy and humor. The Symphony also welcomes the renowned St. Lawrence String Quartet who 34

ARTSL ANDIA AT THE PERFORM ANCE

MUSIC

DANCE

THEATER

join the orchestra for the performance of John Adams’ intriguing string quartet concerto.

Conducted by Johannes Debus.

NOVEMBER 18–20; ARLENE SCHNITZER CONCERT HALL

A CHRISTMAS MEMORY & WINTER SONG

PORTLAND CENTER STAGE AT THE ARMORY An autobiographical recollection of Truman Capote’s rural Alabama boyhood, A Christmas Memory is a tiny gem of a holiday story, offering an unforgettable portrait of an odd but enduring friendship between two innocent souls—one young and one old—and their shared memories of beloved holiday rituals.

The brilliant singer Merideth Kaye Clark and Director Brandon Woolley present Winter Song, an original production of favorite songs that celebrate winter and all it represents: love, loss, family, solitude, renewal, and friendship.

NOVEMBER 18–31; PORTLAND CENTER STAGE AT THE ARMORY, ELLYN BYE STUDIO

VSO LEGACY SERIES

VANCOUVER SYMPHONY ORCHESTRA Now in its seventh season, the series was co-created by Dr. Michael C. Liu, the VSO pianist and board member, and Dr. Igor Shakhman, VSO Executive Director and Principal Clarinet, to present great musicians playing in a very intimate setting. The content of each concert is unique, and most of the participating musicians are members of The Vancouver Symphony Orchestra.

NOVEMBER 19; KIGGINS THEATRE, 1011 MAIN ST., VANCOUVER

THE TENORS CHRISTMAS

OREGON SYMPHONY The powerhouse trio returns, this time using their soaring voices to get your holiday season off to an electrifying start. They sold out the ‘Schnitz in their last time with the Symphony. No wonder. Their charm and diverse vocal styles thrill audiences wherever they go around the globe. Conducted by Norman Huynh.

NOVEMBER 21; ARLENE SCHNITZER CONCERT HALL

MANNHEIM STEAMROLLER

OREGON SYMPHONY Since 1984, Mannheim Steamroller’s distinctive blend of acoustic and synthesized sounds has been a hallmark of the holiday season. Now, members of the Oregon Symphony join forces with the world’s top Christmas recording ensemble to perform their contemporary twists on Yuletide classics.

NOVEMBER 24; ARLENE SCHNITZER CONCERT HALL

A POPS HOLIDAY

OREGON SYMPHONY Pops Conductor Jeff Tyzik and the band are

CULTURE

ONE NIGHT ONLY

FAMILY SHOW

joined by the Pacific Youth Choir and Ashley Brown (Broadway’s Mary Poppins) to get the holidays off to a rollicking start with favorite carols and beloved holiday tunes that will send you out into the season in the perfect spirit.

NOVEMBER 24–25; ARLENE SCHNITZER CONCERT HALL

ANDRÉ WATTS PLAYS GRIEG

OREGON SYMPHONY All the ingredients for a perfect winter’s night of music with a Scandinavian-themed evening.

Powerhouse pianist André Watts returns to play Grieg’s magnificent piano concerto. Conducted

by Leo Hussain.

DECEMBER 2–4; ARLENE SCHNITZER CONCERT HALL

THE SECOND CITY’S A CHRISTMAS CAROL: TWIST YOUR DICKENS

PORTLAND CENTER STAGE AT THE ARMORY A complete sendup of the holiday classic, this adult comedy is adorned with the improvisational genius of the legendary comedy troupe The Second City. Twist includes zany holiday sketches and uproarious improv based on audience participation—it’s never the same show twice! The production has become a Portland holiday favorite and returns from runs this past season at the Kennedy Center in Washington, D.C. and Goodman Theatre in Chicago. Twist is recommended for ages 14 and up.

DECEMBER 5–31; PORTLAND CENTER STAGE AT THE AMORY, U.S. BANK MAIN STAGE

GOSPEL CHRISTMAS

OREGON SYMPHONY This 19-year tradition keeps getting bigger and better. The region’s premier gospel singers and the Oregon Symphony orchestra will have you on your feet, clapping and shouting, celebrating the true spirit of the season. Don’t miss out on this exhilarating experience! Conducted by Charles Floyd.

DECEMBER 8–10; ARLENE SCHNITZER CONCERT HALL

VSO HOLIDAY POPS SERIES: WINTER CLASSICS

VANCOUVER SYMPHONY ORCHESTRA Featuring music from Frozen, The Nutcracker, Viennese waltzes, and other seasonal favorites.

Please visit the VSO website for additional information.

DECEMBER 9–10; SKYVIEW CONCERT HALL, 1300 NW 139TH ST., VANCOUVER

BIG BAD VOODOO DADDY

OREGON SYMPHONY Get into the swing of things with Big Bad Voodoo Daddy, whose high-energy, deliriously fun shows have entertained sold-out crowds around the world. Now they join the Oregon Symphony

NOVEMBER & DECEMBER 2017 orchestra for an evening of spirited flair that’s sure to have you singing and dancing all night long! Conducted by Norman Huynh.

DECEMBER 16; ARLENE SCHNITZER CONCERT HALL

COMFORT AND JOY: A CLASSICAL CHRISTMAS

OREGON SYMPHONY Light holiday classics, seasonal favorites, and a very merry singalong make for a jubilant evening shared with friends. Conducted by Norman Huynh.

DECEMBER 17; ARLENE SCHNITZER CONCERT HALL

GEORGE BALANCHINE’S THE NUTCRACKER®

OREGON BALLET THEATRE Sometimes the best journeys are the ones we take to familiar places—filled with warmth, tradition, and new memories waiting to be made. Oregon Ballet Theatre’s annual performance of George Balanchine’s The Nutcracker® has brought joy to the holidays for 14 years. Join Marie and her Nutcracker Prince as they are swept away by dancing snowflakes to a magical land of sweets ruled by the Sugarplum Fairy—all to Tchaikovsky’s brilliant score!

Oregon Ballet Theatre’s Nutcracker features magnificent scenery and elaborate costumes. The company remains one of only a handful in the nation with the rights to produce George Balanchine’s version of this holiday classic. OBT is pleased to announce the addition of two more shows this year featuring the OBT Orchestra performing Tchaikovsky’s magical score live.

Please visit the OBT website for tickets.

DECEMBER 9–24; KELLER AUDITORIUM

PINK MARTINI NEW YEAR’S EXTRAVAGANZA

OREGON SYMPHONY Could there be a better way to ring in the New Year than with Pink Martini and the Oregon Symphony? Especially when Pink Martini has a brand new CD—Je Dis Oui!—in its arsenal.

And in keeping with the Symphony’s Ode to Joy tradition, the concert will include the full-throated final movement of Beethoven’s Symphony No. 9. Conducted by Carlos Kalmar with vocals by China Forbes. Catch the show on the 31st for vocals by Storm Large. Special guests Ari Shapiro, The von Trapps, and Cantor Ida Rae Cahana round out the production, ensuring that this is one extravaganza not to be missed.

DECEMBER 30–31; ARLENE SCHNITZER CONCERT HALL

SPONSORED BY Photo by James McGrew.

®

AT TH E P E R FO R M A N C E A CIT Y PL AYBILL AND PERFORMING ARTS MAGA ZINE

51

FEATURES 39 FROM THE EDITOR-AT-LARGE 43 TWIST YOUR DICKENS

46

A full accounting of The Second City’s holiday delight

46 BAG&BAGGAGE VAULTS INTO THE FUTURE New space, new possibilities

51 PORTLAND’S GRAND CENTRAL STATION

Musings on the City of Books inspired

by K.B. Dixon’s photography

54

N OV E MB ER | DECE MB ER 2017

54 WHO IS POISON WATERS? The “fun” in “fundraiser”

A R T S L A N D I A .COM

NOVEMBER | DECEMBER 2017

37

“SOME OF THE BEST DANCERS YOU WILL EVER SEE”

®

– CALGARY HERALD

BOLERO + BILLIE

AT TH E P E R FO R M A N C E

TICKETS

NWDANCEPROJECT.ORG 503.828.8285

DEC 7 - 9 / 7:30PM LINCOLN PERFORMANCE HALL

PHOTO / CHRISTOPHER PEDDECORD DANCERS / WILLIAM COUTURE + LINDSEY MCGILL

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ARTSL ANDIA AT THE PERFORM ANCE

PUBLISHER + FOUNDER Misty Tompoles EDITOR-AT-LARGE Barry Johnson COPY EDITOR Kristen Seidman DESIGNERS Lisa Johnston-Smith Dan Le MEDIA DIRECTOR Chris Porras SALES DIRECTOR Lindsey Ferguson PUBLISHING COORDINATOR Bella Showerman CONTRIBUTING WRITERS Brett Campbell Bob Hicks PHOTOGRAPHER Christine Dong PODCAST HOST Susannah Mars

Artslandia at the Performance is published by Rampant Creative, Inc. ©2017 Rampant Creative, Inc. All rights reserved. This magazine or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher.

Rampant Creative, Inc. /Artslandia Magazine 6637 SE Milwaukie Ave. #207 | Portland, OR 97202

ARTSLANDIA.COM

MEDIA SPONSOR The Autzen Foundation

FROM THE EDITOR-AT-LARGE

T

oday’s subject is the contradiction between Oregon’s obvious love for the arts and our tepid support for them at the state level. Well, actually, the subject is how you and I, dear reader, can help solve that contradiction.

Don’t worry. I’m not going to ask us to lobby our representatives. I’m not even going to suggest that we peel some greenbacks from our bankrolls and slide them into the collection plate. I’ve got a better solution in mind.

A bit of info to bring us up to date: The glorious state of Oregon ranks 35th in funding for the arts through its arts agencies—the Oregon Arts Commission and the Oregon Cultural Trust. That’s a little weird. The state always ranks near the very top in attendance at its arts events. You would think, all things being equal, that we’d be happier to support the arts than most other places.

That’s not the case. I’m going to focus on the states that start with the letter “O” for a moment, a universe of three states. According to the complex calculations of the National Assembly of State Arts Agencies, Oregon state government spends a grand total of 84 cents per state resident on the arts. Let that sink in a moment. Eighty-four cents. A grand total of $3,422,588.

Now, I hear people complain about government support for the arts a lot, but complaining about 84 cents is complaining about nickels and dimes. Actual nickels and dimes. Even if one is ideologically opposed to it, there are much bigger targets around for slings and arrows. (For the record, I think the same thing about people who complain about the Arts Tax in Portland. That $35 is going directly toward something we actually voted for—arts education at the primary school level and support for our nonprofit arts organizations.

But that’s another story.)

Oregon is most dependent on its creative economy—the design, tech, new knowledge companies that drive our economy now. The arts are crucial for attracting the talent that sharpens the edge of those companies and for keeping them engaged with their creative side when they get here.

Back to the O states. The other two are Ohio and Oklahoma. Ohio is a much bigger state, and during the 20th century, it was one of the nation’s richest, home to behemoth national corporations, from Procter & Gamble and Kroger in Cincinnati to Goodyear Tire and Rubber Company in Akron. It’s still an industrial center of major national importance, but its per capita income has slipped below Oregon’s. We’re 26th nationally, at $54,148 per household. They are 34th, at $51,075. Still, they are ahead of us in state funding for the arts: They spend $1.39 per capita for a total of $16,173,750.

Oklahoma is more our size, and for much of its history, its wealth was built on an extractive industry, just like ours—oil in their case, timber in ours. The average household income in Oklahoma is $48,568, which ranks 39th nationally. So, they give less of their state budget to the arts than we do, surely? Uh, no. It’s close, but they contribute 99 cents per capita to their state arts agencies, which ranks 26th nationally.

Among the O states, Oregon is last. »»» NOVEMBER | DECEMBER 2017

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»»» Some might say this is a brilliant economy of resources—we invest little and get a lot. Unfortunately for us, among the O states, Oregon is most dependent on its creative economy—the design, tech, new knowledge companies that drive our economy now. The arts are crucial for attracting the talent that sharpens the edge of those companies and for keeping them engaged with their creative side when they get here. We can’t afford to be penny-wise and pound-foolish.

Fortunately, the Oregon Cultural Trust allows us to rectify an ongoing error of the state Legislature—in this case, its reluctance to fund the arts sufficiently. As I said at the top, it doesn’t cost us any money. And though it’s been around for a while now, many of us don’t take advantage of its unique provisions.

Many do: Oregonians invested more than $4.55 million in the Oregon Cultural Trust in 2016, after all. For good reason: It distributes money to every corner of the state and funds tribal and historical organizations, as well.

So, if you’re taking advantage already, this is just a refresher.

The process isn’t difficult, but it does involve a few steps. The subject of taxes makes my head swim, my eyes blurry, and my knees weak. But we can do this!

1. It starts with a gift to one or more of the 1,400 or so arts and cultural groups in the state. You can find the list of qualifying groups on the Oregon Cultural Trust’s website, though nearly anyone you can think of qualifies.

2. Make a matching gift to the Oregon Cultural Trust. You can do it online. Print the confirmation screen for your records to claim your tax credit. You can also donate by telephone (503-986-0088).

3. Claim your entire contribution to the Oregon Cultural Trust as a tax credit on your Oregon income tax—up to $500 for an individual, $1,000 for couples filing jointly, and $2,500 for corporations.

4. Much of that money will be distributed to Oregon arts groups directly, and some will go to the Oregon Cultural Trust’s permanent fund.

Let’s compress that: You gift your favorite arts group(s); you give to the Oregon Cultural Trust; you take a tax credit for the gifts; you enjoy great art the rest of the year.

Not so hard, is it? Ohio and Oklahoma, we’re coming for you! .

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ARTSL ANDIA AT THE PERFORM ANCE

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Unlock the world for your child—learn more about FAIS at an upcoming open house (November and January) or on a campus tour. Details at www.faispdx.org/visit.

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ARTSL ANDIA AT THE PERFORM ANCE

10/23/17 1:03 PM

MBERS U N E H T Y B

1

As in #1. Twist Your Dickens was the very first show created by The Second City that features full production values (most of their shows include only a few props and costumes). Portland Center Stage at The Armory was also the very first company in the country to secure the rights to the show after it premiered in Los Angeles in 2012.

35

The number of costume changes that happen in the first 15 minutes alone. There are 80+ costumes in the show and 27 wigs.

$100,000

The amount of fake money needed for Scrooge’s bankroll. The fake bills were ordered from a company authorized to print near-perfect replicas. The only difference is that “Cinema Use Only” is printed where “United States of America” is on real money.

1,000

Roughly the number of handpainted bricks featured in the set. The Armory’s scenic artists painted eco-friendly sheets of molded Pulp Art to achieve the appearance of brick walls.

1959

The year The Second City first opened its doors in Chicago. This improv giant created Twist Your Dickens and also trained comedic greats such as Dan Aykroyd, Gilda Radner, Stephen Colbert, Tina Fey and many others.

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ARTSL ANDIA AT THE PERFORM ANCE

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Bag&Baggage

VAULTS FUTURE INTO THE

By Brett Campbell Photos by Casey Campbell Photography

R

ecently, Bag&Baggage Productions’ Artistic Director Scott Palmer and the actors in the company’s fall production returned briefly to their old home, downtown Hillsboro’s Venetian Theatre, for a quick rehearsal when their new home, The Vault Theater & Event Space, was unavailable. Nine months after departing, they found the old theater almost unchanged, even with copies of the program from the final production there last Christmas.

“It felt like walking into a museum,” Palmer remembers. “There was a huge feeling of coming home and familiarity. I spent the last decade in my life in that building. It was very emotional, bittersweet. It did remind me of how grateful we are to the Venetian for having allowed us to explore our style of theater there.

We owe so much to that building, but after the rehearsal was over, it felt so great, being able to walk back over here [to The Vault]—and close the door to my office.”

Just steps down Main Street from their old home, they now own a purpose-built, 21stcentury theater, the former Wells Fargo building, which opened in September. Even their first show that same month demonstrated just what a tremendous transformation the new space sparks in one of Oregon’s most artistically accomplished companies.

The Vault opening culminated a frenetic year for Bag&Baggage. At 9:30 p.m. last November 5, Palmer got the phone call he’d been dreading for years. The Venetian had been put up for sale, forcing the company to move its penultimate show of the season to a small venue and cancel its big season-ending moneymaker, the ever-popular comedy Noises Off. 46

ARTSL ANDIA AT THE PERFORM ANCE

The resulting $80,000-plus loss stunned a company that had always run in the black—a rarity in Portland-area theater. But after an intensely stressful winter, which Palmer said he might not have endured without other company members stepping up to take on new roles, the company survived (barely).

Aware that a sale could happen, Palmer had already taken steps to secure a new venue, much better suited to the plucky company’s style and audience.

A year since that fateful phone call, the company has bounced back smartly, offering discounts to subscribers and disappointed ticket holders for the canceled and moved shows. Its audience has responded: “We’re up 25 percent in season ticket sales from last year,” Palmer says.

The company’s 18-month capital campaign to remodel the building is already complete, having exceeded its $1.5 million goal by $25,000.

Their future looks auspicious, giving a double meaning to the name of its new home—the old bank vault and the company’s leap into a promising (and very different) future.

Intimacy and Intensity Designed by Portland’s highly regarded Opsis Architecture, whose name comes from the Greek word for “theatrical spectacle,” The Vault is the kind of flexible “black box” space beloved of innovative theater companies because it’s adaptable to any kind of production, including perhaps someday even augmented or virtual reality. While some of the 1948 building’s industrial chic, midcentury modern fea-

tures remain, from exposed nails to giant steel trusses, it boasts improvements in lighting, projection capability, accessibility, rehearsal space, and storage. The spiffy lobby features a baggage-themed art installation, and there’s even office space, including (for the first time) an office for Palmer himself. The company plans to employ the adjacent outdoor area as both an event and adjunct theatrical space.

“We’re going to use the fabric of the building as a blank canvas for our work,” Palmer says.

The most obvious difference between the company’s old and new homes is size. The Vault’s 165-seat capacity—less than half of the Venetian’s—is close to the company’s average attendance, making each show feel more crowded and lively, the audience just a few feet from the performers. Audiences will now be able to see more nuances than the broad-brush comedy and drama that made the company’s reputation. And that, in turn, changes the style of acting and directing.

“We’re known for doing big stuff,” Palmer acknowledges. “This gives us the opportunity to respond to people who think the only thing we know how to do is big and brash. That has largely been a necessity of our old space.

I’m a fan of the giant farces we’ve done for Christmas. But they’re also the kind of show that fits in the Venetian. You’ve got to big it up.”

It didn’t necessarily fit Palmer, though. “I’m trained to do up-close, intimate theater, so this is kind of a second life for me. We’ll shift attention to smaller cast shows, five- or six-handers.

Everyone’s moving toward small casts now.”

The transformation was evident in the very first production in the new space, Rebecca Gilman’s 1999 play Spinning into Butter, an

The most significant news about The Vault is how its impact is already extending beyond the company that calls it home. Owning its own space, at last, has opened opportunities for Bag & Baggage-and for its community. intense, character-driven play that Palmer had wanted to stage for years. “That show would never have worked in the Venetian,” Palmer says. Nor would the three-actor March production, Ariel Dorfman’s intense 1991 classic, Death and the Maiden.

performances, the actors admitted that there was “no room to hide” in such a confined space.

But they praised the “instant feedback” from the audience that the close quarters made possible, seeing it as an opportunity to explore subtlety and nuance in their acting.

The change in content goes hand in hand with a shift in style. “For 10 years, I’ve been telling people ‘be bigger, be louder.’ But in Spinning into Butter, I spent most of my time telling people to be smaller, more internal,” Palmer says. He was gratified to see the company’s actors embracing the welcome new challenges of “a radically different set of acting chops.”

Instead of constantly worrying whether they were loud enough for the people in the back rows to hear them, the question became, “Am I clear enough and specific enough for people to believe me?” Palmer explains.

Audiences members so far agree. According to Palmer, a survey taken during Spinning’s run revealed that 96 percent of respondents said they preferred the intimacy of The Vault to previous locations, especially noting the ability to hear the actors clearly. While that’s a biased selection—presumably, some of those who preferred the old space might not have attended—it still reflected the views of hundreds of respondents and exceeded the company’s hopes.

It certainly worked. Audience members almost felt like they were participating in the tense meetings among college administrators striving to deal with racial harassment incidents at a small college. At a talkback session after one of the opening weekend

Set design will also adapt. “No one could see the set in the Venetian,” Palmer says. “We were constantly painting with broad brushes, just like the actors. Now we can turn our attention to detail and be more specific in our designs.”

This season’s other productions will each demonstrate a different, new theatrical facet to one of the Portland area’s gems. »»»

NOVEMBER | DECEMBER 2017

47

»»» A revival of David McGillivray and Walter

Zerlin Jr.’s farce The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society’s Production of “Murder At Checkmate Manor” is “a big spectacle that shows off all the toys, more about the special lighting effects and the sound system,” Palmer says about the venue’s new state of the art technical capabilities.

“Charles Dickens Writes A Christmas Carol is all about the projections—360-degree immersive stuff,” he says. “We’re taking advantage of what the space offers one piece at a time rather than throwing it all at them at once.”

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ARTSL ANDIA AT THE PERFORM ANCE

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The most significant news about The Vault is how its impact is already extending beyond the company that calls it home. Owning its own space, at last, has opened opportunities for Bag&Baggage—and for its community.

Palmer intends to host improv comedy and the company’s annual Robert Burns holiday dinner fundraiser at The Vault. Much as downtown Portland’s Armory and Artists Repertory Theatre host events separate from their resident companies, The Vault is already taking a variety of bookings. The space provides fast-growing Hillsboro (Oregon’s fifth-largest city, with more than 100,000 residents) with a much-needed venue for everything from parties to performances. It also supplies Bag&Baggage a separate income stream (about a quarter of its total) from rentals and, thanks to a kitchen and wine bar, concessions.

“We’re thinking about the venue itself becoming a huge resource for us and the community.

I want people to think of it as a place to go to have a wide range of experiences, not just Bag&Baggage.” The community has embraced the notion. “Our community is delighted that Bag&Baggage and The Vault will help ensure that Hillsboro remains a thriving hub for arts and cultural activities,” says Hillsboro Public Affairs Manager Patrick Preston. “This high-quality venue is a wonderful addition.

[It] enhances downtown Hillsboro’s reputation as a regional arts destination and increases opportunities for downtown restaurants and retailers to welcome patrons before and after performances and other events.”

Recognizing the company’s fiscal soundness and contributions to the local culture and economy, Hillsboro chipped in with a 25-year loan, and the state followed suit with a $50,000 grant to support the company’s Cultural Innovation Program. “These funds will allow us to create one of the most flexible and advanced digital projection laboratories on the West Coast,” Palmer says. The 360-degree digitally immersive projection system will give “our artists, students from throughout the state, animators, innovators, and digital content creators a playground where they can experiment, develop new applications, and perfect their skills.”

The company may even reduce the number of productions, going to five shows per season. “We may do fewer things but increase our overall production values,” Palmer says, “[and] give ourselves a bit of breathing room to explore the options the building presents to us.” It’s a lesson taught by the company’s old home, the one they briefly revisited this fall. In the Venetian, Palmer explains, “I learned more than anything how much you have to adapt to a space rather than having the space adapt to you. That’s been incredibly valuable.” .

Bag&Baggage Productions stages its Christmas show, Charles Dickens Writes A Christmas Carol, November 30–December 23 at The Vault, 350 E. Main Street, Hillsboro.

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49

NOV. 18 – DEC. 31

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PORTLAND’S GRAND CENTRAL STATION Everybody comes to Powell’s. Photographer K.B. Dixon’s new exhibition and book find volumes in the mix of people and place. people finding, people headed straight to

POWELL’S CITY OF BOOKS is Portland’s Grand Central Station, the teeming crossroads of the city’s cultural life: not just one of the nation’s great commercial repositories of literature and language, but a busy transit center of people and ideas. Kids, teens, singles, doubles, parents, grandparents. Locals who drop in for an hour and spend the day. Serious scholars doing research. Tourists who treat it like a shrine. Foreign visitors looking for something in their native language or something to help them brush up on their English skills.

People on their way to someplace else. People on their way back from someplace else. Browsers, buyers, passersby. Like Rick’s, it seems, eventually everybody comes to Powell’s.

IT IS ALSO, LIKE THE MULTNOMAH County Central Library just a few blocks away, one of Portland’s best people-watching places, an almost endless fascination of faces, connections, and enthusiasms. Something about a great bookstore encourages people to be very public and very private at once—lost, publicly, in the obsessions and curiosities of their own minds. Portland photographer and writer K.B. Dixon believed Powell’s was an ideal spot to pursue his own obsession for creating interesting and culturally telling black and white images. He gained permission to spend hours and hours in the aisles, following his eye where it led. The results of his project are now on view in a sort of meta-exhibition: images of Powell’s at Powell’s, in the bookstore’s Basil Hallward Gallery, upstairs in the Pearl Room, through October. Images here are from the exhibition or the larger selection of photographs in Dixon’s accompanying book, titled simply The Bookstore.

WHAT DIXON DISCOVERED was a small city of intersecting interests. People seeking,

what they’re looking for or wandering into unexpected territories of the mind and spirit, places they’ve never been before. People pursuing graphic novels, history, cookbooks, art or architecture, the craft of governance, religious studies, geography or geology or astrophysics, French philosophy of the 19th century, numismatics, African influences on the emerging culture of ancient Greece, classic science fiction, or any of a thousand other topics tumbling together in a quietly raucous

tussle for attention. What might be inside these covers? Is this a world I want to explore?

YOU CAN ENTER POWELL’S on a solitary mission or in a partnership. You can map out a trip you’re taking, or a trip you’d like to take, or simply figure out your way around this rambling conglomeration of literary spaces.

And you can sit a spell while you’re doing it.

Powell’s isn’t one of those comfy-armchairand-a-cup-of-tea bookshops that pop up in cozy murder mysteries set in quirky villages in the countryside or little coastal getaway towns above the stormy sea. Powell’s is big and brawny and busy, and the seats you can find tend to be hard and basic, requiring a

By Bob Hicks Photos by K.B. Dixon

certain gluteal rigor. But they are there, and you can rest. If you can’t find a seat, there’s always the floor, where squatting is both a challenge and a tradition.

LIKE VIRGINIA, POWELL’S IS FOR LOVERS. Lovers of books, lovers of ideas, lovers of possibilities, lovers of people, lovers of romance.

People make dates here: “Meet you at Powell’s, 8 o’clock?” Turning pages side by side in the poetry aisles or among the outdoors guidebook shelves, they nudge each other: “Oh, listen to this!” They meet unawares, not knowing or expecting anything to happen, except that something does: They reach for the same book; they sit across from each other in the coffee shop and fix their eyes on each other’s pile of books; they go to a reading by an author they both admire. Maybe it’s the intimacy of shared purpose, the happiness of a mutual thirst for the peculiar pleasure that comes with the exploration of new intellectual territories. Pleasure; yes. In an odd but important way, Powell’s is a pleasure palace. Marriages, no doubt, have come out of all this. Marriages of true minds.

“WHEN WE READ, WE HEAR A VOICE IN OUR HEADS,” Dixon writes in the preface to his book, “—it is a voice of our own imagining, an individual translation of the language, of the text, of the writer’s stylistic voice. It is cognitively tailored in a way no other voice can be. Reading is savoring, reflecting, free-associating.

There is no substitute for it. It is a singular adventure. Its reward is not only the uniqueness of the experience it offers but the depth of understanding it allows.”

When we enter a Powell’s or another bookstore or a public library, we are hunters on a lone but far from lonely quest, for we are intimate with our prey, which in the end is not prey at all but a fundamental part of ourselves: It feeds us and becomes a part of us, and we become a part of it, part of a greater consciousness, yet always holding on to our own voices and our own selves. Even if the person standing next to us is reading the same passage from another copy of the same book, she is reading in another singularity, in another voice, from another set of experiences. At a place as sprawling as Powell’s, such singularities multiply. »»» 51

»»» “The largest independent bookstore in

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ARTSL ANDIA AT THE PERFORM ANCE

the country,” Dixon writes, “it is a vital part of this city’s cultural and intellectual life. It is not ‘a’ bookstore—it is ‘the’ bookstore. It has been my bookstore for more than 30 years.”

WANDER INTO THE RARE BOOK ROOM on any given day, and who knows what you might find? An old and unusual pop-up book. An early, signed edition of an important classic. A history of the world as it was known and experienced in 1659. T.E. Lawrence’s Seven Pillars of Wisdom, rising from the sands of time. The attractions in this room are magnifications of what you’ll find throughout the store. First, a veneration of the physical object itself, which in some cases might take precedence over the actual contents of the pages. The patina, the age, the heft, the feel of the thing. The shape and smell of the paper: Is it that old faint perfume that lingers like a friend, beguiling and elusive in its presence? Or is it sharp and chemical like a cheap wine, in which case it is unlikely to be in this room and probably won’t tempt you on the shelves of newer books, either? Does the binding give to your touch? Are there inscriptions that suggest the presence of another soul from another time?

Do you hear the crinkle of old and delicate pages, translucent like the shedding skin of insects, when you gently turn them and note the yellowing like soft shellac that can only come from age? A book can be a sculpture from a garden lost in time.

AH, BUT THE PEOPLE, THE PEOPLE. Such a splendid array! What is inside the cover of these books, of course, is written and arranged by people, in all of their variety and disputation and enthusiasm and anger and envy and wisdom and folly and humor and expectation and dryness and devotion to the pursuit of knowledge—for if one isn’t seeking some sort of truth, why make a book? If one isn’t seeking some sort of truth, why buy or read a book? Powell’s is a hall of mirrors, openly reflecting our hopes and fears about ourselves, and the promise of something new just around the corner. Someone new, in the flesh or its reflection on a page. It isn’t just the books we try to read here. It’s the other people, too. Who are you? What brings you to this place, this crossroads, this station of enduring ideas and passing fancies in rapid transit?

Artslandia: Half (7.0625 x 4.75) Runs: November–December Artist: Pink Martini

WHEN WE CALL A PLACE OR THING AN INSTITUTION, we mean it’s larger than this moment: It has a past; it has a present; it has a future. It’s one of those things we count on, one of those places that help us know who and what and why we are, or at the least what this particular place is where we have come to live:

something of the shape and belief and habit and consequence of it. In Portland, Powell’s is a generational place. People come here as babies, and learn to look and read, and grow up here, and move on to make their own families and bring them here, and grow old here, and mingle across the generations, bound in a not-so-secret sharing of the word.

In a city that is not particularly religious compared to other parts of the nation, Powell’s is something of a church: a touchstone, a ritual, a meeting-place, a molder of belief, a monument to the mysteries, a tie that binds.

It’s where we come together, where we shape the particular culture of this particular place as it, in turn, shapes us. It’s grand. It’s central.

It’s the station of our lives. .

K.B. Dixon’s photography exhibit The Bookstore continues through October 31 at the Basil Hallward Gallery in the Pearl Room of Powell’s City of Books, 1005 West Burnside Street, Portland. His book by the same name is available at the store.

PINK MARTINI NEW YEAR’S EXTRAVAGANZA SATURDAY, DECEMBER 30, 7:30 PM SUNDAY, DECEMBER 31, 7 PM & 10:30 PM Carlos Kalmar, conductor Could there be a better way to ring in the New Year than with Pink Martini and the Oregon Symphony? Especially when Pink Martini has a brand new CD – Je Dis Oui! – in its arsenal. And, in keeping with our Ode to Joy tradition, the concert will include the full-throated final movement of Beethoven’s Ninth.

orsymphony.org | 503-228-1353 arlene schnitzer concert hall

NOVEMBER | DECEMBER 2017

53

POISON WATERS?

Photos by Christine Dong.

POISON WATERS, Portland’s extremely fabulous, wildly hilarious drag queen event hostess puts the “fun” in “fundraiser.” Her larger-than-life, feathered and sequined, demographic-bridging presence can loosen up the mood (and wallets) of the staidest of crowds, with clients ranging from the Portland Art Museum to Habitat for Humanity to Nordstrom. Kevin Cook, the man behind the woman, is a self-described multiethnic, multitalented, multitasker from Santa Monica who brought Ms. Waters to life nearly 30 years ago and has since amassed an unparalleled record of service and community leadership, particularly in the HIV and AIDS community.

If you’re sitting here a year from now celebrating what a great year it’s been for you, what happened?

I’ll be celebrating another year chock-full of events for awesome organizations that benefit the arts and groups who work for social change. I’ll raise a glass to the folks who took a chance bringing my type of art into their circles, exposing guests to the world of drag!

54

What accomplishment or project has been the most significant in your career?

Becoming the Volunteer Camp Director for Cascade AIDS Project’s HIV-affected children’s camp, Camp KC (Kids Connection).

While I don’t do it in drag, I wouldn’t have been introduced to it if it weren’t for a fundraiser show I was invited to participate in.

Also, getting to play Mother Ginger in Oregon Ballet Theatre’s The Nutcracker these past seven years (2017 is my eighth season!) is amazing fun and definitely a highlight! I’m very fortunate and have worked with fabulous folks in Portland and throughout the Pacific Northwest. I mean, Kristin Chenoweth at Portland Opera’s Baroque Ball last month? Wow! What have you done that has scared you?

This summer I rappelled down the 1000 SW Broadway building in drag as a fundraiser for Girls Inc. of the Pacific Northwest…

24 stories! Yikes!

When have you been most satisfied in your life? Why? I’m constantly in a state of satisfaction, [especially so at] the end of every show or event when the client is happy, when the guests are congratulating and complimenting me. A job well done is the greatest feeling!

What makes you happiest?

Knowing I’ve helped raise a lot of money for worthy organizations and that their programs and services will be accessible to the communities that need them. And glitter. Glitter makes me happy.

Who were your role models growing up?

I was always drawn to the glitz and glamour of Diana Ross and Dolly Parton. I loved the idea of celebrity in all forms.

What did you do on your most recent arts adventure in Portland?

The last nonworking event I experienced was the fantastic Idina Menzel concert at the ‘Schnitz. She was awesome! .

ARTSL ANDIA AT THE PERFORM ANCE

Info Evening

Thursday, January 4, 2018 7–8:30 p.m.

Pre-K through Grade 12 Event open to parents and students fifth grade and older.

MIND OPENING SINCE 1869 6300 SW Nicol Road

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Po r t l a n d , O re go n 9 7 2 2 3

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503-768-3115

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oes.edu

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