In The Heights / Macbeth - Portland Center Stage at The Armory by Artslandia

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FROM ARTISTIC DIRECTOR MARISSA WOLF

IN THE HEIGHTS

IN THE HEIGHTS: SALUDOS Y BIENVENIDOS A WASHINGTON HEIGHTS

BEHIND THE CURTAIN: RYAN ALVARADO

IN THE HEIGHTS: 10 THINGS TO KNOW ABOUT LIN-MANUEL MIRANDA & QUIARA ALEGRÍA HUDES

MACBETH

MACBETH: AN INTERVIEW WITH DIRECTOR ADRIANA BAER

BEHIND THE CURTAIN: CHANTAL DEGROAT, DANA GREEN & LAUREN BLOOM HANOVER

ASK URSULA THE USHER

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Everything is more dramatic inFrench. From Molière, Racine, Hugo, Feydeau, Artaud, and Sartre to Reza and Zeller, works by French playwrights have astounded, amused, and touched audiences with their inspired language and insights for centuries. Rehearse your French at the Alliance Française with a free half-hour of oneon-one conversation with one of our profs. Mention pourquoi pas when you call us at 503.223.8388.

CONTRIBUTORS Simone Fischer, Photographer Heidi Rush, Designer PORTLAND CENTER STAGE AT THE ARMORY CONTRIBUTORS & EDITORS

Claudie Jean Fisher, Associate Director of Marketing & Communications

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FROM ARTISTIC DIRECTOR

MARISSA WOLF Dear friends, Welcome to the 2019–2020 season! I’m so thrilled to be launching my first full season and this new chapter in the life of Portland Center Stage at The Armory together with you. This fall, both In the Heights and Macbeth offer enthralling theatrical experiences. In the Heights lifts us out of our seats with non-stop beats and urgent anthems; The energy this team throws down bursts open The Armory and invites everyone inside. Downstairs, Macbeth grips us with its fierce, fast, riveting storytelling. With only three actors, and haunting guttural melodies, this production draws us into its fire. In the Heights and Macbeth are sister pieces. While In the Heights celebrates the visibility and full-throated vitality of a community that refuses to be silenced in the face of gentrification and displacement, Macbeth wrestles with the insidious nature of power, greed, and dominion in a system that rewards those who have seized victory through violence. The nuanced structures of power and visibility are in conversation with each other on both stages at The Armory, and they resound throughout the building as we seek to understand our own lives — how we can lift each other up, and how we can become complicit in systems of destruction. May Adrales (In the Heights) and Adriana Baer (Macbeth) are two directors I’ve long admired. Ten years ago, and a coast apart, I first had the chance to fall in love with their work, as Adrales cracked open a hard and thorny new play with brilliant humor, and Baer rendered an early 20 th-century German play immediate and visceral in breathtaking ways. These directors are the shimmering future, and I’m honored to have their work at Portland Center Stage at The Armory. Whether you’ve been coming to Portland Center Stage at The Armory for decades or whether this is your first time with us, welcome! Enjoy the show! All my best,

Photo by Gary Norman.

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August 31–October 13, 2019 On the U.S. Bank Main Stage

Marissa Wolf

Cynthia Fuhrman

Artistic Director

Managing Director

IN THE HEIGHTS Music & Lyrics by

Lin-Manuel Miranda

Book by

Quiara Alegría Hudes

Conceived by

Directed by

Lin-Manuel Miranda

May Adrales

Choreographer

Musical Director & Conductor

Scenic Designer

Costume Designer

William Carlos Angulo

Eugenio A. Vargas

Tim Mackabee

David Israel Reynoso

Lighting Designer

Sound Designer

Associate Director

Associate Choreographer

Robert J. Aguilar

Sharath Patel

Nancy Lemenager

Gabriella Pérez*

Associate Musical Director

Associate Lighting Designer

Stage Manager

Assistant Stage Manager

Mont Chris Hubbard

Emily Schmit

Mark Tynan*

Kristen Mun*

Production Assistants

Fight Captain

Dance Captain

Casting

Macarena Subiabre Dana Petersen

Eddie Martin Morales*

Emily Madigan*

Musical Supervisor

Original Music Director

Original Sound Designer

John Tanner

Daniel Kazemi

Megan B. Henninger

Dale Brown Kaytlin McIntyre Frank Honts Andrea Zee

Performed with one intermission. This production of In the Heights was originally a co-production between Milwaukee Repertory Theater, Seattle Repertory Theatre, and Cincinnati Playhouse in the Park. Milwaukee Repertory Theater Seattle Repertory Theatre Cincinnati Playhouse in the Park Mark Clements, Artistic Director Braden Abraham, Artistic Director Blake Robison, Artistic Director Chad Bauman, Executive Director Jeffrey Herrmann, Managing Director Buzz Ward, Managing Director Development of In the Heights was supported by the Eugene O’Neill Theater Center during a residency at the Music Theater Conference of 2005. Initially developed by Back House Productions. Originally produced on Broadway by Kevin McCollum, Jeffrey Seller, Jill Furman Willis, Sander Jacobs, Goodman/Grossman, Peter Fine, and Everett/Skipper. In the Heights is presented through special arrangement with R & H Theatricals: rnh.com. The video or audio recording of this performance by any means is strictly prohibited. If you photograph the set before or after the performance, please credit the designers if you share the image. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SEASON SUPERSTARS

SEASON SUPPORTING SPONSORS

SHOW SPONSORS HELEN STERN & FAMILY DAN WIEDEN & PRISCILLA BERNARD WIEDEN BRENDA ASHWORTH & DONALD WELCH

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Ryan Alvarado

Yassmin Alers

Karmine Alers

THE CAST (in alphabetical order)

Karmine Alers*

Camila,

u/s Abuela Claudia

Yassmin Alers*

Abuela Claudia

Ryan Alvarado*

Usnavi

Lillian Castillo*

Daniela,

Tony Chiroldes

Debra Cardona

Lillian Castillo

u/s Camila

Debra Cardona*

Abuela Claudia (Cover 8/31–9/6)

Tony Chiroldes*

Kevin

Chaz Alexander Coffin* Partial Swing, Alexander Gil Cruz*

Jose, Ensemble, u/s Usnavi

Henry Gainza

Alexander Gil Cruz

Chaz Alexander Coffin

u/s Benny

Henry Gainza*

Piragua Guy, u/s Kevin

Nicolas Garza*

Sonny

Alyssa V. Gomez*

Vanessa

Paola Hernández*

Carla,

Paola Hernández

Alyssa V. Gomez

Nicolas Garza

u/s Nina

Lily Leyva

Yolanda, Ensemble

Sophia Macías*

Nina

Emily Madigan*

Ensemble, u/s Carla, Daniela

UJ Mangune*

Graffiti Pete

Eddie Martin Morales*

Ensemble, u/s Sonny, Piragua Guy,

Emily Madigan

Sophia Macías

Lily Leyva

Claudia Mulet*

Ensemble, u/s Vanessa

Alex Nicholson*

Benny

Gabriella Pérez*

Swing

Julien Valme

Ensemble,

Claudia Mulet

THE BAND

Julien Valme

Eddie Martin Morales Gabriella Pérez

Alex Nicholson

UJ Mangune

u/s Jose, Graffiti Pete

Eugenio A. Vargas

Musical Director, Conductor, Keys 1

Mont Chris Hubbard

Associate Musical Director, Keys 2

Mieke Bruggeman-Smith

Reeds

Ryan Meagher

Guitar

Levis Dragulin

Trumpet

Amy Roesler

Bass

Darian Anthony Patrick

Drums, Percussion

Marc Grafe

Reeds sub

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

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SALUDOS Y BIENVENIDOS

A WA S H I N G T O N H E I G H T S ! By Benjamin Fainstein, Literary Manager Much like Portland, New York is a city of dynamic neighborhoods. Each has its own vibe, its own rich history, and its own sense of ultra-local pride. Washington Heights, where our story takes place, is one of Manhattan’s most northward (or “upper”) neighborhoods. Situated about 100 blocks uptown from the lights of Broadway and the tourist traffic of Times Square, Washington Heights is a narrow area, flanked by the Hudson and Harlem rivers, that stretches about 40 blocks up from 155th Street. The “Washington” of the neighborhood’s name honors the United States’ first president and the fort that bears his name, which he lost in a major battle against the British military there in 1776. The “Heights” of the name refers not only to the northern latitude of the neighborhood but also to how hilly it is — in fact, Manhattan’s point of highest elevation is Washington Heights’ Bennett Park.

“Washington Heights has seen vast changes in its demographic makeup, not only over the course of the last century, but ever since Europeans arrived on North American shores.”

area where wealthy New Yorkers could construct expansive mansions, some of which still stand amongst New York’s architectural jewels. During the years leading up to and following World War I, Washington Heights welcomed an influx of Armenian immigrants, who were fleeing genocide in their home country, and Irish immigrants, who had come to America to escape the economic collapse of the devastating Potato Famine back home. It was at this time, too, that the neighborhood welcomed its first wave of Puerto Rican immigrants, following the passage of the 1917 Jones-Shafroth Act, which gave U.S. citizenship to Puerto Ricans and allowed tens of thousands of families an opportunity to escape the economic and environmental hardships on the island. A few decades later in the 1950s and ‘60s, there would be a second “Great Migration” of Puerto Ricans to New York, concurrent with the arrival of more than 100,000 Cuban immigrants looking for refuge from military dictatorship.

The ousting of George Washington’s infantry from their base was hardly the only time, as historian Robert W. Snyder says, that the “residents of Northern Manhattan found their world turned upside down by the arrival of new people.”1 Washington Heights has seen vast changes in its demographic makeup, not only over the course of the last century, but ever since Europeans arrived on North American shores. The Indigenous people who lived on the land, the Munsee, had an established settlement and thriving community but were forced out of their homes in the years after Dutch colonist Pieter Minuit “purchased” Manhattan island from another Native tribe, the Lenape.

In the 1930s and ’40s, huge numbers of European Jews who managed to evade the Nazi regime found refuge in Washington Heights, and there was such a sizeable community of German Jews that, for a time, the neighborhood was nicknamed Frankfurt-on-the-Hudson. After the end of World War II, more European immigrants arrived, as did a large number of Greek immigrants in need of a new home in the wake of the Grecian Civil War and economic chaos. Due to the explosion of cultural innovation and community-building of the Harlem Renaissance — Harlem being Washington Heights’ adjacent neighbor to the south — the neighborhood was likewise enriched by the presence of New York’s African American community. Between the infusion of diverse immigrant cultures and the paradigm-shifting momentum of Black American scholars, artists, and activists propelling the Harlem Renaissance, Upper Manhattan became a locus for cultural innovations and political progressivism led by communities of color.

Between the early days of appropriation of the land by white colonists and the construction of the New York City subway system circa 1906, Upper Manhattan was considered practically farmland — an isolated and remote expanse barely thought of as a city “neighborhood.” The subway created access and opportunity, and by the 1930s, the undeveloped Heights were rapidly built up. It became a haven for poor immigrants looking for affordable housing, as well as an

Today, Washington Heights has been officially dubbed by the city as “Little Dominican Republic,” due to its density of Dominican residents. This new majority group’s roots in the neighborhood extend back to the 1960s, when thousands of Dominicans fled their country amid the dangerous circumstances following the assassination of the dictator Rafael Trujillo. As the size of the Puerto Rican and Cuban populations grew, they eventually settled in East Harlem,

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creating space for the Dominican community to flourish in the Heights, which it did until the 1980s, when the neighborhood was nearly torn apart by violence and fear. Washington Heights became an epicenter of the crack trade and resulting city-wide drug war. Dominican community organizers and neighborhood guardians fought this plague of brutality and crime, and it took two decades of their concentrated effort and resistance to restore a sense of safety to the neighborhood. The community’s work in restoring pride and hope was so successful, in fact, that now the resilient neighborhood is facing another sea change in its population.

“ ... Upper Manhattan became a locus for cultural innovations and political progressivism led by communities of color” Since 2010, educated and entrepreneurial young adults — including a significant percentage of affluent white professionals — have begun moving into the neighborhood, where rent is relatively inexpensive and square footage is relatively large. These newcomers, aged 20 to 34, now make up 10% of the area’s population, making it the neighborhood of New York City that is most densely populated by members of the millennial generation. Statistically, this group, as a whole, has identified an interest in embracing the immigration ideals of the Ellis

Island era by seeking out living spaces where diverse peoples cohabitate and share their cultures with one another. Yet, these new inhabitants have more collective upward socioeconomic mobility than the longtime residents, and the cost of living in the Heights is rising accordingly. It remains to be seen what will happen to this historic neighborhood as contemporary gentrification progresses. Lin-Manuel Miranda and Quiara Alegría Hudes composed their musical over a number of years in the mid2000s, during a moment in which the neighborhood was standing on the cusp of change. When the show opened on Broadway in 2008, the residents of the Heights — approximately 74% of whom are of Dominican heritage, many of whom were immigrants themselves or first-generation Americans aspiring to a more stable life and the fulfillment of their dreams — were nearly, but not quite, free of the crises of the crack epidemic while looking ahead at the advent of potentially problematic new neighbors. Today, the musical stands as a living snapshot of this neighborhood’s rich history, its momentous diversity, and its ongoing daily challenges. By introducing us to the residents of the Heights, Miranda and Hudes theatricalize a vibrant and fiercely interconnected community propelled by Americans of color. In the Heights invites us uptown to see their city — and, through it, our country — from their perspectives. Michaud, Jon. “Walking the Heights.” The New Yorker, January 16, 2015.

FROM THE DIRECTOR: MAY ADRALES This production of In the Heights is a celebration of community, filled with some of the most vibrant, energetic, and soulful performances. We are proud to bring this urgent and important story to Portland right now. In today’s hostile political environment, the word “immigrant” has become synonymous with every derogatory and dehumanizing insult. But as a first generation daughter of immigrants, those words are the very opposite of what I know and understand an immigrant to be. Immigrants make a home here against impossible odds, and make a place better than when they found it. They are some of the most patriotic Americans, because often they are fleeing countries in which their civil liberties and their lives were endangered — they know the value of freedom. They understand the value of citizenship. Right now, it’s urgent and necessary to show that immigrants are an intrinsic part of the fabric and DNA of this country. They are not faceless entities that are a scourge on our nation. They are our neighbors, friends, and families.

IN THE HEIGHTS SONG LIST ACT I In the Heights Usnavi, Company Breathe Nina, Company Benny’s Dispatch Benny, Nina It Won’t Be Long Now Vanessa, Usnavi, Sonny Inútil Kevin No Me Diga Daniela, Carla, Vanessa, Nina 96,000 Usnavi, Benny, Sonny, Vanessa, Daniela, Carla, Company Paciencia y Fe Abuela Claudia, Company When You’re Home Nina, Benny, Company Piragua Piragua Guy The Club Company Blackout Company

ACT II Sunrise Nina, Benny, Company Hundreds of Stories Abuela Claudia, Usnavi Enough Camila Carnaval del Barrio Daniela, Company Atención Kevin Alabanza Usnavi, Nina, Company Everything I Know Nina No Me Diga (Reprise) Daniela, Carla, Vanessa Piragua (Reprise) Piragua Guy Champagne Vanessa, Usnavi When the Sun Goes Down Nina, Benny Finale Usnavi, Company ARTSLANDIA.COM

MEET THE CAST Karmine Alers, Camila u/s Abuela Claudia Karmine is so excited to be joining the In the Heights family here at Portland Center Stage at The Armory, especially to once again share the stage with her sister Yassmin. Broadway: On Your Feet! (u/s Gloria Fajardo, Consuelo), Rent (Mimi). National Tour: On Your Feet! (Ensemble, Gloria Fajardo). Regional: In the Heights at Milwaukee Repertory Theater, Seattle Repertory Theatre, and Cincinnati Playhouse (Camila), Aida (Aida), On Your Feet! (Gloria Fajardo). TV/Film: Bull (CBS), Fosse/Verdon (Fox), Naked As We Came (Netflix), Blood Bound (Independent), and Unbreakable Kimmy Schmidt (Netflix). To the Romeos for their love. To her siblings, Jo-Ann, Yassmin, Papito, and Wally. The hydrants are always open with love. This and every performance is dedicated to her parents, with adoration, #5. Para Siempre. Yassmin Alers, Abuela Claudia Yassmin is thrilled beyond belief to be reunited with this loving cast and her sister Karmine. Theater credits include On Your Feet! (Broadway, Gateway Playhouse), In the Heights (Milwaukee Repertory Theater, Seattle Repertory Theatre, Cincinnati Playhouse in the Park), Women on Fire (Royal Family Productions, New York), The Rocky Horror Show (Broadway), Paul Simon’s The Capeman (Broadway), Rent (Broadway, National Tour), The Ten Commandments (Dolby Theatre, Los Angeles), The Who’s Tommy (European premiere), As Much as You Can (Celebration Theatre, Los Angeles), The Third From the Left (Edinburgh, Scotland). Film/TV credits include West Side Story (Steven Spielberg, Dir.), The Code, Madame Secretary, The God Committee, The Americans, High Maintenance, Elementary, The American Mall, and Across the Universe. Represented by Avalon Artists Group. Yassmin dedicates every performance to her parents: “Seguiras en mis recuerdos para siempre.” Ryan Alvarado, Usnavi Ryan is thrilled to be back in the barrio! National Tour: Hamilton: An American Musical (1st Broadway National Tour). Regional: In the Heights (Midtown Arts Center, Westchester Broadway Theatre,

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Toby’s Dinner Theatre, Milwaukee Repertory Theater, Seattle Repertory Theatre, Cincinnati Playhouse in the Park); The Tempest, Antigone, and Macbeth (Classical Theatre of Harlem); American Idiot, Henry V, and The Rocky Horror Show (Roxy Regional Theatre); Salomé and Much Ado About Nothing (Shakespeare Theatre Company); Hair and Godspell (Seacoast Repertory Theatre); Guys and Dolls, The Music Man, and Young Frankenstein (MacHaydn Theatre); and Will Power’s The Seven (Columbia Stages). All love and thanks to his family and friends, te amo mucho! @_ryanalvarado_ ryanalvarado.net Lillian Castillo, Daniela, u/s Camila Lillian’s heart is super stoked to make her Portland Center Stage at The Armory debut. Goodman Theatre: Music Man. Milwaukee Repertory Theater: Why Do Fools Fall in Love?, In the Heights. MCC Theater: Ride the Cyclone. Alliance Theatre: Ride the Cyclone. Chicago Shakespeare Theater: The Taming of the Shrew, Seussical the Musical, and Ride the Cyclone. Marriott Theatre: Mamma Mia!, She Loves Me, Man of La Mancha, and Sister Act. Drury Lane Theatre: Hairspray and West Side Story. Paramount Theatre: In the Heights. Arkansas Repertory Theatre: Glorious! and Hairspray. ACT: Ride the Cyclone. Phoenix Theatre: Hairspray. Utah Shakespeare Festival: The School for Wives, H.M.S. Pinafore, The Taming of the Shrew, and Macbeth. Thank you to her husband, family, and Stewart Talent for all their support. @lilithca5tl3_ Debra Cardona, Abuela Claudia (Cover) New York credits include A Christmas Carol (Madison Square Garden), Temple of the Souls (Innovative Theater Award nomination) and Soul Doctor (OffBroadway). Debra has toured the U.S. with On Your Feet!, Mary Poppins, Guys and Dolls, My Fair Lady, and Fiddler on the Roof. Favorite regional credits include In the Heights (Ordway, Fulton Theatre, Pioneer Theatre Company, PCPA Theaterfest), Ragtime (Paper Mill Playhouse), Candide (Guthrie Theater), and The Light in the Piazza (Pioneer Theatre Company). TV credits include Hector’s Mom on Crazy Ex-Girlfriend,

RENT: LIVE, Pose, Fresh Off the Boat, and Scandal. Twitter/Instagram: @debracardona. Chaz Alexander Coffin, Partial Swing, u/s Benny Portland Center Stage at the Armory Debut. Originally from Northern Virginia. National Tour: ELF the Musical; Regional: John W. Engeman Theater at Northport: Aida; Signature Theatre: The Scottsboro Boys; Arizona Broadway Theatre: Hair; Short North Stage: Dreamgirls; Derby Dinner Playhouse: Sister Act, The Addams Family; Westcoast Black Theatre Troupe: The Wiz; Bigfork Summer Playhouse: Shrek the Musical, Grease, 42nd Street, Young Frankenstein; ECU/Loessin Playhouse, Machinal, Las Meninas, RENT, Kiss Me, Kate, The Great God Brown; Interlakes Summer Theatre, 42nd Street, Miss Saigon, Hello, Dolly!, The Wiz. B.F.A. East Carolina University. chazalexandercoffin.com @chizzie82 #blacklivesmatter Tony Chiroldes, Kevin Tony is an original Broadway cast member of In the Heights and Paul Simon’s The Capeman. This is his Portland Center Stage at The Armory debut, having performed in this production at Milwaukee Repertory Theater, Seattle Repertory Theatre, and Cincinnati Playhouse in the Park. International/regional credits: Carmen La Cubana (Théâtre du Châtelet, arranged by Alex Lacamoire), Señor Discretion Himself (Arena Stage), Elemeno Pea (Pittsburgh’s City Theatre). He’s the Hulamouse in Mister Rogers’ Neighborhood. Voice-over work: hundreds of English/Spanish commercials, audiobooks including The Dreamer by Pam Muñoz Ryan (Earphones Award for narration) and Ricky Martin’s autobiography Yo, as well as the video games Grand Theft Auto: Vice City, Bioshock, The Walking Dead, and Red Dead Redemption 2. He regularly performs simultaneous translation into Spanish on HBO’s Real Sports. tonychiroldes.com Alexander Gil Cruz, Jose, Ensemble, u/s Usnavi Alexander is thrilled to be living his American dream in such an important show with an even more important

message. His past roles include Bernardo in West Side Story (Lyric Theatre of Oklahoma, North Shore Music Theatre, Ordway, Theatre By The Sea), Paul in A Chorus Line (National Tour, North Carolina Theatre, Surflight), Ensemble and Hook u/s in Peter Pan (North Shore Music Theatre), Mercedes and Jean Michael/Jacob u/s in La Cage Aux Folles (Goodspeed Musicals), Ensemble in In the Heights (Ordway), and Ensemble/Diesel Cover in West Side Story (National Tour). TV: The Marvelous Mrs. Maisel (Amazon), The Get Down (Netflix), Saturday Night Live. Alexander is also a budding choreographer with credits such as Holiday Inn (The 5th Avenue Theatre) and In the Heights (Ordway). He will be the associate choreographer for the 2020 production of Evita (The 5th Avenue Theatre). He’s beyond proud to tell this story and to be a part of the legacy. Thanks to Derick and Dom. Henry Gainza, Piragua Guy, u/s Kevin Broadway: On Your Feet! (Original Cast/Cast Album). Off-Broadway/NYC: 4 Guys Named Jose … (Original Cast/ Cast Album), I Am Harvey Milk (Lincoln

Center), Jose Limon (Symphony Space), The Mapmaker’s Opera (Pearl Theatre Company), Zapata (Signature Theatre). International: Grease, Joseph and the Amazing Technicolor Dreamcoat. Regional: The Kennedy Center (In the Heights), Goodspeed Opera House, Arena Stage, Seattle Repertory Theatre, Cincinnati Playhouse in the Park, Milwaukee Repertory Theater, Zoetic Stage, Actor’s Playhouse. TV: Saturday Night Live, Throwdown with Bobby Flay, GMA, The View, the Macy’s Thanksgiving Day Parade, Stephen Colbert, and the Tony Awards. Concept Albums: Frank Wildhorn’s Wonderland and Tears of Heaven. Henry is also an award-winning songwriter, having been honored by the John Lennon Songwriting Contest, the USA Songwriting Contest, and the International Songwriting Contest. ¡Para Papi ... Para Siempre! Nicolas Garza, Sonny Nicolas is from Helotes, Texas, and is making his Portland Center Stage at The Armory debut. National Tour: Nickelodeon’s PAW Patrol Live!. Regional Theater: The Buddy Holly Story (The New Theatre), In the Heights (Milwaukee

Repertory Theater, Seattle Repertory Theatre, Cincinnati Playhouse in the Park, Lyric Theatre of Oklahoma, ZACH Theatre), Peter and the Starcatcher, Evita, and A Christmas Carol (ZACH Theatre). Other credits include Forever Plaid (Mountain Repertory Theatre); Avenue Q, Altar Boyz, and Godspell (Jean’s Playhouse); West Side Story (Georgetown Palace); and three summer seasons at SeaWorld San Antonio. B.F.A. in Theater Education from The University of Texas at Austin. nicolas-garza.com @nicolasgarza Alyssa V. Gomez, Vanessa Alyssa is honored to make her Portland Center Stage at The Armory debut in a show so close to her heart! Originally from New York with a B.A. in Acting/ Directing from Emerson College, Alyssa was last seen on Samantha Bee’s “Not the White House Correspondents’ Dinner.” Tour: Motown the Musical (2nd Broadway National Tour). Regional: In the Heights (Milwaukee Repertory Theater, Seattle Repertory Theatre, Cincinnati Playhouse in the Park, Musical Theatre West), Rent (Ivoryton Playhouse), American Idiot (Roxy Regional Theatre). Much love to mi

Portland Center Stage at

Do our roots define us?

A BEAUTIFUL, HUMOR-FILLED EXCAVATION OF OUR SHARED HISTORY.

D ORL ! AW IE R E PREM

When Steve Durbin sets out to chart his Black family’s ancestry online, his revelations unwittingly throw his entire family into turmoil. Chiefly: his niece, Meg, is forced to consider her relationship with Drew (her white boyfriend) in an unsettling new light. Guided by a hip-hop dance class chorus, this singular American family must find a way to live in a present that’s overpopulated with ghosts.

Written by and starring Brittany K. Allen OCT. 26 - NOV. 17, 2019 503.445.3700 | PCS.ORG

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Now Enrolling K–8

A Renaissance School of Arts & Sciences

0234 SW Bancroft Ave | PDX

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familia and many thanks to Avalon Artists Group. “No pare, sigue sigue!” alyssavgomez.com @alyssavgomez Paola Hernández, Carla, u/s Nina Making her Portland Center Stage at The Armory debut, Paola is really excited to be part of this beautiful familia! Born and raised in Puerto Rico. Proud Circle in the Square Theater School Alumna. Recent credits: Man of La Mancha (Antonia) at Westport Country Playhouse, Rent National Tour (Mimi Marquez), Rent National Tour (Swing, u/s Mimi, Maureen), Twelfth Night (Viola) at Circle in the Square Theatre, Spring Awakening (Martha) at the Victoria Espinoza Theater, Legally Blonde (Vivienne), Hairspray (Dynamite), Godspell at Centro de Bellas Artes, Hair at Manship Theater. Gracias to her familia. This is for the dreamers. Paciencia y Fe, siempre. paola-hernandez.com @p_vhernandez Lily Leyva, Yolanda, Ensemble Lily is originally from Las Vegas, Nevada where she grew up training at Inspire Dance Company and Las Vegas Academy of the Arts. She graduated from Marymount Manhattan College with a B.F.A in dance and currently resides in New York City. She has performed works by Robert Battle, Travis Wall, Stacey Tookey, and Alexandra Damiani. Her professional credits include: Mr. Abbott Awards, Billboard Music Awards, Madonna’s MDNA Skin, and Sonya Tayeh’s “You’ll Still Call Me By Name.” Lily is thrilled to be making her musical theater debut with In the Heights and she is so grateful for the constant support from her family, friends, and agents at MSA! @lily_leyva_ Sophia Macías, Nina Sophia is so very grateful to be returning to this powerful story of family, legacy, and heritage at Portland Center Stage at The Armory! Based in Los Angeles, Sophia earned a Bachelor of Music in Music Theater at Oklahoma City University. Credits include The Crucible (Abigail u/s) at Steppenwolf Theatre; In the Heights (Nina) at Seattle Repertory Theatre, Milwaukee Repertory Theater, and Cincinnati Playhouse in the Park; Romeo and Juliet (Juliet u/s) at Chicago Shakespeare Theater; Untranslatable Secrets of Nikki Corona at Goodman Theatre; When You Wish (Pocahontas/ Ensemble) and Rocky Horror Picture Show (Phantom Ensemble) at Lyric

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Theatre of Oklahoma. All her love and gratitude to Jim McCaffrey and the Stewart Talent gang, the amazing cast, crew, and creative team, and to her greatest inspiration and reason she lives to tell stories — her familia. Alabanza! @sophialinnmacias Emily Madigan, Ensemble, u/s Carla, u/s Daniela, Dance Captain Theater credits include West Side Story (Guthrie Theater and Ordway); In the Heights (Ordway, Milwaukee Repertory Theater, Seattle Repertory Theatre, Cincinnati Playhouse in the Park); Cabaret (Theater Latté Da); Footloose (Marriott Theatre); Micha: Visions (Joe’s Pub); Still Dance the Stars (Yellow Tree Theatre); Hairspray (Chanhassen Dinner Theatres and Artistry); Bye Bye Birdie, Joseph and the Amazing Technicolor Dreamcoat, and The Little Mermaid (Chanhassen Dinner Theatres); Promise Land (Transatlantic Love Affair); Queens (Sandbox Theatre Company); Calvin Berger (Minneapolis Musical Theatre); and CABARAVE: #sexuality, MadHaus, Love.Trumps.Hate, Light the World, and Love Languages (Rathaus Productions). Choreography credits include A Raisin in the Sun (Park Square Theatre); Leap of Faith and Toxic Avenger (Minneapolis Musical Theatre); and CABARAVE: #sexuality, MadHaus, Love.Trumps.Hate, Light the World, and Love Languages (Rathaus Productions). @emilydmads UJ Mangune, Graffiti Pete A proud artist and activist from Seattle, UJ is honored to share such an important American story with this talented cast. After moving to a rural city, UJ found an outlet in dance training through YouTube videos. His work has since been featured at The Fifth Avenue Theatre, Seattle Repertory Theatre, Village Theatre, Ordway, Milwaukee Repertory Theater, Cincinnati Playhouse in the Park, Finger Lakes Musical Theatre Festival, and the Marriott Theatre. Commercial credits include Amazon, Macklemore, T-Mobile, and the Filipino game show Wowowee. These experiences provided him with the education he never would have been afforded, and he has since prioritized providing youth and youth of color the same opportunities. Shout out to them and love to his mentors Ioana and William. Make him check his Instagram: @ooo.jayyy.

Eddie Martin Morales, Ensemble, u/s Sonny, u/s Piragua Guy, Fight Captain Eddie is ecstatic to be back en el barrio and making his Portland Center Stage at The Armory debut in In the Heights! Eddie is an alumni of the New World School of the Arts Conservatory, where he received a B.F.A. in Music Theater. Eddie is from south Florida and was last seen as Abe in The Maltz Jupiter’s production of Disgraced. Some of his other credits include Into the Woods (Baker), Gypsy, Sweet Charity, and Curtains (Ensemble). He would like to thank the incredible team at The Armory for giving him the opportunity to tell this beautiful story about family and community once more! You can follow Eddie and all of his future endeavors on Instagram: @spaghedddiee. Claudia Mulet, Ensemble, u/s Vanessa Claudia was born and raised in Havana, Cuba. She is a graduate of Cuba’s prestigious Superior Institute of Arts and soon after graduation was cast in The Nederlander’s historic Cuban production of RENT in Havana, directed by Andy Señor Jr. in collaboration with Michael Greif. Three years after arriving from

Cuba, Claudia made her U.S. professional debut in the First National Tour of On Your Feet!. She is thrilled to be part of the In the Heights family! @claudiamulet89 claudiamulet.com Alex Nicholson, Benny Alex is beyond grateful for the opportunity to step into the world of a dream role like Benny. This is his Portland Center Stage at The Armory debut! OffBroadway: Vanity Fair (Pearl Theatre), The Mutilated (New Ohio Theatre), The Taming of The Shrew (TP&co), As You Like It (Shakespeare Off Broadway). Regional: Ragtime (Barrington Stage Company). National Tour: We The People (TheaterWorksUSA). Many thanks to his friends and family who continue to support this crazy dream, especially his beautiful wife, Amanda. Shout out to his Talenthouse team (Megan Lohne, Peter Kaiser). Proud Circle in the Square graduate. alex-nicholson.com Twitter/ Instagram: @cyrus_alexander Gabriella Pérez, Swing, Associate Choreographer Gabriella is an actor, singer, dancer, and choreographer. National Tour: Kathleen Marshall’s Anything Goes. Off-Broadway: Prospect Theatre’s 1000 Nights and One

Day. Concerts: Radio City Music Hall, Joe’s Pub, Newport Music Festival, and Second Stage. Regional experiences include Arkansas Shakespeare Theatre, PCPA TheatreFest, Geva Theatre, Westchester Broadway Theatre, In The Heights (Nina; Carla in the U.S. Spanish premiere), My Fair Lady (Eliza Doolittle), West Side Story (Anita), The Music Man (Marian Paroo), Henry IV, and Julius Caesar. Gabby teaches at Geva Theatre, and her choreography has been seen at Forestburgh Playhouse, Geva Theatre, and The Tank. A Helen Hayes nominee, Gabby holds a B.F.A. from New York University. She thanks her parents, Sean, Dulcina Eisen, May, and William for bringing her into this family. gabbyperez.com Julien Valme, Ensemble, u/s Jose, u/s Graffiti Pete Julien is from Miami, Florida. Julien graduated with a Bachelor of Fine Arts in Ballet Performance at the University of South Florida. After college, Julien moved to Chicago to dance with River North Dance Chicago and DanceWorks Chicago, with Julie Nakagawa. Most recently, Julien has been working with Dance Lab New York, as well as the Radio City Christmas Spectacular.

MEET THE BAND Eugenio A. Vargas, Musical Director, Conductor, Keys 1 Eugenio is so glad to be back in the barrio with this amazing company. Music direction credits include In the Heights (Ordway, Milwaukee Repertory Theater, Seattle Repertory Theatre, Cincinnati Playhouse in the Park); The Wedding Singer (The Secret Theatre, NYC); Women of the World (Feinstein’s/54 Below); My Whitelist Cabaret (The Thalia at Symphony Space); Carousel, The Rocky Horror Show, and You’re a Good Man, Charlie Brown (Northwestern University); among others. Acting credits include Evita (Che) at Arts Center of Coastal Carolina and Actors’ Playhouse, Carousel (Enoch Snow) at Olney Theatre Center, and Altar Boyz (Juan) at Tent Theatre. Thanks to this incredible familia for all the love and support. To Mom and Dad, thank you for everything I know. Proud member of Actors’ Equity Association and the American Federation of Musicians. eugeniovargas.com @DMJazzyHands

Mont Chris Hubbard, Associate Musical Director, Keys 2 Mont Chris is an accomplished Portland composer, performer, 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 an occasional late-night piano bar around town. He has released five CDs of solo piano improvisations, and his band Scotland Barr & The Slow Drags won the 2012 Portland Music Award for their final album, We Will Be Forgotten. He is a proud member of the American Federation of Musicians, the union of professional musicians, and a proud supporter of the labor movement. montchrishubbard.com Mieke Bruggeman-Smith, Reeds Mieke is a performer, educator, composer/arranger, and the education coordinator for the Portland Jazz Composers’ Ensemble (PJCE). She performs regularly with the all-female sax quartet, Quadraphonnes; the AfroCuban band, Melao de Cuba; the 12-piece

jazz chamber orchestra, PJCE; the Ezra Weiss Big Band; as well as performing in musicals. Recent Portland Center Stage at The Armory productions include: The Color Purple, Fun Home, and Ain’t Misbehavin’. Mieke also enjoys teaching private lessons at her home studio and co-teaching at Roosevelt High School, Beaumont Middle School, and the Portland Youth Jazz Orchestra. She is heavily involved in promoting music education and loves collaborating with her music community. Music is the one outlet that (as author Tom Robbins might say) keeps the oxygen from leaking out of her life! Ryan Meagher, Guitar Originally from San Jose, California, Ryan launched his international reputation as a jazz guitarist and composer in New York City in 2003. He has seven albums under his own direction and has been an in-demand sideman for a wide range of notable and legendary jazz artists. He is currently based in Portland, Oregon, where he is active in the jazz and creative

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MEET THE BAND & CREATIVE TEAM music scenes as an artist, educator, and organizer. He teaches guitar at the University of Portland and Mt. Hood Community College, and runs the jazz programs at Lower Columbia College and the Metropolitan Youth Symphony. In addition to his teaching duties, he is also active as an administrator in important cultural outlets like the Portland Jazz Composers Ensemble as its director of operations and director of the PJCE Records label. He is also a co-founder of Montavilla Jazz Festival, where he is the programming director. Levis Dragulin, Trumpet Levis began performing on trumpet when he was 11 years old. In 2006, he was awarded a Bachelor of Science in Music from Portland State University. His work on Royal Caribbean cruise lines as lead trumpet for the theater band allowed him to travel the world for four years to places such as Australia, New Zealand, Alaska, Mexico, the Caribbean, and the Mediterranean. In the last six years, Levis has been involved in around 30 musical productions in the Portland area, including Annie Get Your Gun, Bye Bye Birdie, South Pacific, La Cage aux Folles, Cats, My Fair Lady, Beauty and the Beast, Show Boat, The Music Man, Dreamgirls, Thoroughly Modern Millie, Oklahoma!, Anything Goes, Ain’t Misbehavin’, Chicago, Man of La Mancha, Gypsy, and Billy Elliot. Amy Roesler, Bass Amy is thrilled to be making her debut with Portland Center Stage at The Armory. Favorite past highlights include being in the pit for West Side Story and Guys and Dolls at Broadway Rose Theater Company. Since moving back to Portland, Amy has also performed on violin, viola, and bass for shows at Lakewood Center for the Arts, Stumptown Stages, and Pixie Dust Productions. She has also played for cabarets and variety shows, as well as local orchestras, with genres ranging from classical, jazz, rock, and bluegrass. Amy is especially grateful for the many people in the theater community who have helped her find her footing in Portland. Darian Anthony Patrick, Drums, Percussion Darian is a multi-instrumentalist based in Portland. Focusing on percussion, 20

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with training in classical and jazz vocal performance as well as electric and bass guitar, Darian performs a broad range of musical styles with specialization in African diasporic traditions, including Afro-Cuban and Afro-Brazilian styles. He has studied percussion in Portland with masters Israel Annoh (Ebo Taylor, E.T. Mensah, Obo Addy, Ghana Broadcasting Orchestra) and Caton Lyles (Obo Addy, Nu Shooz, Janice Scroggins, Mel Brown), and performs regularly throughout the Pacific Northwest. Marc Grafe, Reeds sub Marc hails from Portland and is a performer, conductor, composer, and sound designer. While working at The Kitchen in New York, he toured with the Robert Ashley Ensemble and John Cage’s Song Books. Locally, he has worked with Columbia Symphony, Newport Symphony, Ne Plus Ultra Jass Orchestra, Felicidades, and Arundo!, a reed quintet. Pit work includes The Color Purple, Guys and Dolls, Beauty and the Beast, Billy Elliot, Addams Family, West Side Story and Man of La Mancha. Marc has taught at Warner Pacific University and Reed College; is the recipient of a Meet the Composer, Inc. grant; collaborated with Ursula K. Le Guin; and recorded for Lyrichord, Nonesuch Records, and CRi: Music. A specialist in the repair of professional flutes and clarinets, his favorite music is what’s on the stand in front of him. Lin-Manuel Miranda, Music & Lyrics Lin-Manuel Miranda is an award-winning composer, lyricist, and performer, as well as a 2015 MacArthur Foundation Award recipient. Broadway: composer/ lyricist/Alexander Hamilton of Hamilton (11 Tony Awards, Pulitzer Prize, Grammy Award, Drama League Awards for Distinguished Performance and Outstanding Production of a Musical), composer/lyricist/Usnavi of In the Heights (four Tony Awards including Best Musical and Best Score, Grammy Award, Pulitzer Prize finalist), Bring It On: The Musical (co-composer/ co-lyricist, Tony nomination for Best Musical), West Side Story (2009 revival, Spanish translations). Off-Broadway: Hamilton (ten Lortel Awards, eight Drama Desk Awards, among others). With Tom Kitt, Lin-Manuel received an Emmy Award for “Bigger” from “The 67th Annual Tony Awards.” TV/Film:

Freestyle Love Supreme, How I Met Your Mother, Smash, Do No Harm, Modern Family, House, The Electric Company, Sesame Street, The Sopranos, The Odd Life of Timothy Green, 200 Cartas, and Disney’s Moana (2017 Academy Award nomination for Best Song, “How Far I’ll Go.”). linmanuel.com Quiara Alegría Hudes, Book Quiara Alegría Hudes is a playwright, professor of writing and theater at Wesleyan University, and native of West Philly, U.S.A. Hailed for her work’s exuberance, intellectual rigor, and rich imagination, her plays and musicals have been performed around the world. They are Water By the Spoonful, winner of the Pulitzer Prize for Drama; In the Heights, winner of the Tony Award for Best Musical and Pulitzer finalist; Elliot, A Soldier’s Fugue, another Pulitzer finalist; Daphne’s Dive; The Good Peaches; Miss You Like Hell; and The Happiest Song Plays Last. Hudes is a playwright in residence at New York’s Signature Theater and a proud alum of Philadelphia Young Playwrights. May Adrales, Director May is thrilled to be back at Portland Center Stage at The Armory after directing Chinglish. She has worked nationally, primarily directing new plays, including Qui Nguyen’s awardwinning Vietgone (Manhattan Theatre Club, South Coast Repertory, Oregon Shakespeare Festival, and Seattle Repertory Theatre). Her work has been seen at Lincoln Center Theater, The Public Theater, Signature Theatre, Second Stage Theater, Old Globe, Actors Theatre of Louisville, Goodman Theatre, Two River Theater, Cincinnati Playhouse, Cleveland Play House, and Syracuse Stage. She proudly serves as an associate artistic director at Milwaukee Repertory Theater. She is a former director of on-site programs at the Lark Play Development Center and artistic associate at The Public Theater. She received an Alan Schneider Director Award, TCG New Generations Grant, Josephine Abady Award, Denham Fellowship, and Drama League Fellowship. She has taught and directed at Juilliard, ACT, ART/Harvard, Brown and served as an adjunct professor at Yale. M.F.A., Yale School of Drama. mayadrales.net

William Carlos Angulo, Choreographer Choreography includes Seattle Repertory Theatre, The Goodman Theatre, Steppenwolf Theatre Company, Cincinnati Playhouse in The Park, Chicago Shakespare Theatre, Marriott Theatre, Milwaukee Repertory Theater, Paramount Theatre and more. He was given a Joseph Jefferson Award for his original choreography for Paramount Theatre’s revival of West Side Story, and he was honored with an ALTA Award for his work on La Havana Madrid at Steppenwolf 1700 and The Goodman Theatre. Directorial credits include East O’ West O’ at Steppenwolf 1700, MICHA: VISIONS at The Public Theatre’s Joe’s Pub, and Seussical! at Marriott Theatre. He has served as Teaching Artist and Choreographer at Indiana University, Millikin University, and Northwestern University. He was a founding teaching artist and developed dance curriculum for the first ever musical theatre training programs at The Goodman Theatre’s Center for Education and The Arts Academy of Banja Luka in Bosnia and Herzegovina. He holds a BFA in Musical Theatre and Drama from Indiana University and trained on scholarship at Hubbard Street Dance Center and Ballet Chicago. Para Elena y Édmond. Tim Mackabee, Scenic Designer Portland Center Stage at The Armory: Chinglish. Broadway: The Elephant Man (starring Bradley Cooper), Mike Tyson: Undisputed Truth (dir. Spike Lee). West End: The Elephant Man. Off-Broadway: Describe the Night, Guards at the Taj (2016 Lucille Lortel Award for Outstanding Set Design); Our New Girl (Atlantic), Vietgone, Important Hats of the Twentieth Century (Manhattan Theatre Club); Heathers: The Musical, Luce (Lincoln Center Theater); Gigantic (Vineyard); Much Ado About Nothing (The Public Theater). Regional: Geffen, A.C.T. San Francisco, Ford’s Theatre, Seattle Repertory Theatre, The Old Globe, Center Stage Baltimore, DCPA Theatre Company, Cleveland Play House, Dallas Theater Center, Geva Theatre Center, and Yale Repertory Theatre. Dance: Doug Varone and Dancers, Cedar Lake Dance. TV: Amy Schumer: Live at the Apollo, Gotham, Smash, and The Today Show. Education: North Carolina School of the Arts, Yale School of Drama. timothymackabeedesign.com

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David Israel Reynoso, Costume Designer David is an internationally renowned costume, scenic, exhibit, and immersive designer pleased to be making his Portland Center Stage at The Armory debut. He is the Obie Award-winning costume designer for Punchdrunk’s Off-Broadway sensation Sleep No More (New York and Shanghai) and is also the creator/director of the innovative Waking La Llorona (Optika Moderna). David is recognized for his widespread theatrical designs for The Old Globe, La Jolla Playhouse, American Conservatory Theater, American Repertory Theater, Arena Stage, The Finnish National Ballet, Moscow Art Theater, The Kennedy Center, Milwaukee Repertory Theater, Seattle Repertory Theatre, Cincinnati Playhouse in the Park, Commonwealth Shakespeare Company, The Gloucester Stage Company, and Lyric Stage Company, among others. Concert Tours: Amanda Palmer Goes Down Under, Juan Son’s Mermaid Sashimi. His scope of work extends beyond theater to include exhibit designs such as PostSecret and Living with Animals (The San Diego Museum of Man) as well

as immersive/experiential design for brands and theme parks. davidreynoso. com IG:@designreynoso Robert J. Aguilar, Lighting Designer This is Robert’s first design for Portland Center Stage and he’s delighted to be here! Other Pacific Northwest credits include: In the Heights, Tiny Beautiful Things, MAC BETH, A Raisin in the Sun, I Am My Own Wife and Lizard Boy (Seattle Rep); Bulrusher, Native Gardens, Hir, Barbeque, and Angels in America (Intiman Theatre); The Year of Magical Thinking, Romeo and Juliet and The Wolves (ACT); Urinetown and Little Shop of Horrors (ACT/The 5th Avenue Theatre); The Pajama Game, How to Succeed in Business..., and Jasper in Deadland (The 5th Avenue Theatre); Spelling Bee, String, Trails, and Afterwords (Village Theatre); Uncle Vanya, The Cherry Orchard, and The Three Sisters (The Seagull Project); Next to Normal (Contemporary Classics). Regional credits include Marjorie Prime (Pittsburgh Public); Dancing at Lughnasa (Tantrum Theatre); Full Gallop (The Old Globe); In the Heights, Seven Spots on the Sun (Cincinnati Playhouse in the Park);

In the Heights (Milwaukee Repertory Theater). Robert is the managing director and resident lighting designer of Contemporary Classics. He is the lighting director of Seattle Repertory Theatre. robertjaguilar.com @fake_robert Sharath Patel, Sound Designer Before arriving in the Pacific Northwest, Sharath spent nearly a decade as a lead sound designer in New York City. Recent work includes The Breath of Life, The Color Purple (Portland Center Stage at The Armory); Wolf Play, Teenage Dick, Skeleton Crew (Artists Repertory Theatre); Nina Simone: Four Women (Alabama Shakes); Christmas at Pemberley Pt. 2 (Marin Theater Company); Ibsen in Chicago, Tiny Beautiful Things (Seattle Repertory Theatre); Pass Over, The Crucible, The Royale (ACT Theatre); As You Like It (California Shakespeare Theater); Free Outgoing (East West Players); WIG OUT! (American Rep/CompanyONE). Regional/international credits include designs in Washington, D.C., Norfolk, Raleigh, Aspen, Dublin, India, France, England, Germany, and Romania. Sharath is a member of United Scenic

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Artists Local 829, IATSE, as well as the Theatrical Sound Designers and Composers Association. He is an Arts Envoy for the U.S. Department of State and a resident artist at Artists Repertory Theatre. M.F.A. from Yale School of Drama. sharathpatel.com. Nancy Lemenager, Associate Director Nancy’s theater credits, as a performer, include the Broadway productions of Chicago, Movin’ Out, Never Gonna Dance, Kiss Me Kate, Dream, How to Succeed in Business …, and Guys and Dolls. Regionally she has appeared in Sweat (Cleveland Playhouse), Sex with Strangers (Cincinnati Playhouse in the Park), Other Desert Cities (Pioneer Theatre Company), God of Carnage (John Engeman Theatre), and Sense and Sensibility (Actors Theatre of Louisville). Nancy has been seen on film/TV in Ocean’s 8, The First Purge, FBI, Blindspot, Power, Jessica Jones, Madame Secretary, Gypsy, Elementary, Girls, The Good Wife, Nurse Jackie, 30 Rock, and Law and Order. As an associate director or choreographer, Nancy has worked on Animal Farm (Milwaukee Repertory theater), Camelot (Lincoln Center), and In the Heights (Cincinnati Playhouse in the Park). Emily Schmit, Associate Lighting Designer Emily is a lighting designer and assistant designer raised in Lake Oswego and living in Brooklyn. She has worked with Seattle Repertory Theatre, The 5th Avenue Theatre, Intiman Theatre, Guthrie Threatre, and Cincinnati Playhouse in the Park. She has designed for the Downtown Urban Arts Festival NY and collaborates on immersive events, fashion shows, and festivals in New York and around the country. She is excited to be returning to her hometown to share this production. Mark Tynan, Stage Manager Imagine being in a room full of artists, watching the birth of an idea, a movement given purpose, a sentence, phrase, scene, act given life. Then imagine that room translating to the stage with lighting, sound, costumes, scenery, and props; then you can imagine what Mark’s job is like. Special thanks to the stage management apprentices, Dana Petersen and Macarena Subiabre. Prior to Portland Center Stage at The Armory, Mark toured nationally and internationally

with musicals including Dreamgirls, The King and I with Rudolf Nureyev, How to Succeed …, Grand Hotel, The Phantom of the Opera, Rent, and Jersey Boys. Other Portland credits include several summers with Broadway Rose Theatre Company in Tigard. Regional credits include Alley Theatre, La Jolla Playhouse, and Casa Mañana Theatre.

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Kristen Mun, Assistant Stage Manager Kristen was born and raised on the island of Oahu and holds a B.F.A. from Southern Oregon University. She is excited to return for her seventh season at Portland Center Stage at The Armory. Previous credits at The Armory include stage manager for Native Gardens, Until The Flood, Sense and Sensibility, Constellations, and Major Barbara; assistant stage manager for The Color Purple, Fun Home, and Astoria: Part Two; and production assistant on many others. Kristen is a proud member of Actors Equity and is a freelance violence designer and teacher. She sends her love to Adam and her family for always having her back. Macarena Subiabre, Production Assistant Macarena is excited to join Portland Center Stage at The Armory as a production assistant this season. She graduated in 2018 with a B.F.A. in Stage Management from the University of Utah where she stage managed productions such as: Arcadia, Cats, Into the Woods, Good Kids, and the U.S. premiere of The Beautiful Game. Other credits include: A Comedy of Tenors (Pioneer Theatre Company); How I Learned to Drive (Salt Lake Fringe Festival); You’re a Good Man, Charlie Brown (Salt Lake Shakespeare); and Steel Pier, Dogfight, and A Funny Thing Happened … (University of Utah). She was also lucky to complete an internship with Cirque du Soleil where she worked on Zumanity and the Cirque Cabaret 2018. She thanks her family, Bruce, and cat for all their love and support. Dana Petersen, Production Assistant Dana is thrilled to beginning her first season at The Armory as a stage management apprentice! Dana graduated from The Ohio State University in May 2019, where she stage managed shows such as: The Curious Incident of the Dog in the Night-Time, Michael Von Siebenberg Melts Through the Floorboards, Four People, Execution

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of Justice, Beyond all Recognition, Stupid F***ing Bird, and 7 Ways to Say I Love You. In addition, Dana interned at The Old Globe where she was a production assistant on Much Ado About Nothing. Dana sends all of her love to Mom, Dad, Carmen, and Murphy! Andrea Zee, CSA, Additional Casting Off-Broadway/New York City: Neurosis; Syncing Ink; Elf. National Tours: The Sound of Music; Bullets Over Broadway; Elf; Finding Neverland (Youth Casting). Regional: In The Heights (TUTS); Around the World in 80 Days (Alley Theatre); The Christians (Alley Theatre). Credits as Casting Associate include Broadway: Chicago; Natasha, Pierre & The Great Comet of 1812; On The Town; Pippin. Off-Broadway/New York City: Puffs; The Apple Boys; Radio City Christmas Spectacular. National Tours: Fiddler on the Roof; The King and I; Rodgers + Hammerstein’s Cinderella; A Gentleman’s Guide to Love and Murder. Film/TV: Ma Rainey’s Black Bottom (Netflix); Y: The Last Man (FX); Blue’s Clues and You (Nickelodeon). Commercials: Comcast; Grammarly. Proud member of the Casting Society of America and Artios Award nominee. For Filff and Alan of OR/ME.

John Tanner, Musical Supervisor John scores, arranges, and composes music for television, radio, advertising, film, and theater. He creates original music and sound design for many of the world’s most well-known brands and companies. His work has won numerous international Golden Reel Awards; Telly Awards; national, regional, and local American Advertising Federation “Addys,” Silver Microphone, and RAC awards. John has also garnered both Gold and Platinum sales certification for his studio engineering work. Daniel Kazemi, Original Music Director Dan is a New York-based composer, actor, music director, director, and is an associate artist at Milwaukee Repertory Theater. His recent credits include Murder for Two, Guys and Dolls, Man of La Mancha, Dreamgirls, and A Christmas Carol at Milwaukee Repertory Theater. In Philadelphia, Dan recently musically directed See What I Want to See (Barrymore nomination) and Herringbone (Barrymore nomination), and orchestrated and musically directed the world premieres of Queens of the Night (Opera Philadelphia), Field Hockey Hot (Barrymore nomination),

THANKS TO OUR GENEROUS SPONSORS OF IN THE HEIGHTS HELEN STERN AND FAMILY I am proud to have been associated as a donor for more than 30 years — beginning with the Oregon Shakespeare Festival in Portland. From those beginnings, Portland Center Stage at The Armory has become one of the biggest and greatest theaters in the Northwest in its own right. It is an honor to be a supporter, a fan in the audience, and a booster for In the Heights. Here’s to the next 30 years!

PRISCILLA BERNARD WIEDEN AND DAN WIEDEN We are delighted that Marissa is the artistic director of Portland Center Stage at The Armory. Her vision, experience, skills, intelligence, and openness to fresh programming will help to elevate Portland’s theater community.

CURTIS THOMPSON, M.D. AND ASSOCIATES Canta, baila y sueña! Gracias a Lin-Manuel Miranda y Portland Center Stage at The Armory por traer este programa a Portland! (Sing, dance and dream! Thanks to Lin-Manuel Miranda and Portland Center Stage at The Armory for bringing this production to Portland!)

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and Tulipomania. He received Barrymore Awards for 11th Hour Theatre Company’s Avenue X and LIZZIE. Dan’s music has been performed at the Cirque de Demain in Paris, Ballet Fleming, and in 213 Productions collaborations Untitled Project #213 and Your Attention Please!. Dan is also the composer of a new musical, The Tapioca Miracle. Megan B. Henninger, Original Sound Designer Megan is a Milwaukee-based designer and has served as designer and assistant designer on shows large and small. Favorite designs include In the Heights (Milwaukee Repertory Theater, Seattle Repertory Theatre, Cincinnati Playhouse in the Park), The Bridges of Madison County (Peninsula Players), Sweeney Todd (Skylight Music Theatre), A Streetcar Named Desire (Williams Street Rep), R.R.R.E.D (New York Musical Theatre Festival), The Martian Chronicles (Fordham University), and The Turn of the Screw (Lyric Opera, Kansas City). Assistant designs include You’re Welcome America, Ghetto Klown, Stick Fly, and Blithe Spirit (Broadway) and Company (Lincoln Center).

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THE STANDARD The Standard is an insurance and financial services company founded in Portland, Oregon, in 1906 by a man named Leo Samuel. Leo arrived in New York in 1860, a penniless 13-yearold immigrant with a dream of a better life — much like the characters of In the Heights. He founded the company that would become The Standard to better serve local customers and to maximize economic benefits for the community he loved so much. We support organizations like Portland Center Stage at The Armory because we believe in the vital role arts and cultural organizations play in creating vibrant communities. We hope you enjoy the show!

STOEL RIVES, LLP 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 Portland Center Stage at The Armory’s production of In the Heights. This story explores culture, community, and hope in times of adversity; it is an inspiring journey of friends and neighbors pursuing their dreams through patience and faith: Paciencia y Fe. This sizzling musical has a timely and provocative message, and we are proud to support it.

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BEHIND THE CURTAIN

Ryan Alvarado, who plays Usnavi in Portland Center Stage at The Armoryâ&#x20AC;&#x2122;s production of In the Heights, soaks in the lobby scene at The Society Hotel. The past, present, and future intersect at this Old Town/ Chinatown boutique hotel for avid explorers and true originals. Guests will delight in the bright lounge and cafe at street level, the panoramic vista from the rooftop deck, and the remarkably affordable eurostyle rooms. The Society Hotel is a proud supporter of the arts in Portland. THESOCIETYHOTEL.COM

RYAN ALVARADO 26

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Photo by Simone Fischer.

MEET USNAVI OF IN THE HEIGHTS:

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How did you prepare to play Usnavi? In some way or another, I’ve been preparing for this role my whole life. Being born in the Bronx made hip-hop the soundtrack of my life, and I wouldn’t have it any other way. I grew up with the same fusion of hip-hop, R&B, pop, salsa, merengue, and bachata that In the Heights beautifully showcases. Our show is set in 2008, so I shared with the cast a playlist of the music I remember listening to in New York around that time. It was over 100 songs and almost eight hours long! I’ve also understudied the role of Usnavi in past productions, and that provided me the opportunity to learn from brilliant friends and collaborate with incredible directors, choreographers, and musicians. What, for you, is the most fulfilling aspect of your life as an actor? The most fulfilling part of what we do is making everlasting bonds with the people we work and play with. I’ve made so many lifelong friends while doing shows. I’ve found writing partners and collaborators while on contract, and so many constant sources of love and support that reaffirm my belief that we’re always right where we’re supposed to be. What advice do you have for someone wanting to follow in your footsteps? Never stop growing! Never stop learning! Keep challenging yourself in your work. As artists, we push ourselves out of our comfort zones to find new ways to tell stories. Try to find the stories that speak to you and that you connect with. If you can’t find them, then write your own and find people to collaborate and share with — make every excuse to create! In this business, we meet and get to know so many people. I’d encourage you to find or create a friend circle. Not one of exclusivity but one built on trust, sharing ideas, and supporting each other on the journey. Surround yourself with people you admire and who admire you. How do you handle mistakes during a performance? Mistakes are going to happen, especially in live theater. Everyone knows it’s not about the mistake but how you bounce

back from it. The first rule of show biz is “the show must go on,” and it’s always best not to dwell on a flub. An actor’s main responsibility to any piece is to live in every moment as truthfully as possible. As long as you work with that goal in mind, then there is truly no such thing as a mistake.

Live theater has to, and will, live on because its legacy is too rich to let die. From Ethel Merman and Rita Moreno to Audra McDonald and Lin-Manuel Miranda, we have to continue these stories for the generations to come.”

Do you get nervous before a performance? Do you have any pre-show rituals? Not as much as I used to. I just focus on the preparation and try my best to trust it. There’s always some form of vocal warmup, and its usually equal parts rapping and singing. Water and tea are my preferred pre-show fluids. If there’s time, I’ll usually steam my voice or phonate through a cocktail straw to expand my breath support. And I always save some time to be alone with my thoughts and center myself before I’m ready to go. How do you rehearse? What does a typical session entail? It depends on what we’re rehearsing. If it’s for a scene, we usually read it a few times with the director and talk about it to get ideas out and start the conversation about what we’re trying to accomplish. Then, our director will give us the blocking for how they want the scene to look. We practice it over and over to figure out how to live it honestly while delivering the text truthfully. It takes some time, but the process is so rewarding. If we’re rehearsing a musical number, however, it’s much more involved. The choreographers and dance captains deliver information to the ensemble; the music director crafts the song and sounds with the vocalists; and the director makes sure all the parts are moving in harmony. I love it. With the proliferation of digital everything, why do you think live theater must live on? Live theater has to, and will, live on because its legacy is too rich to let die. From Ethel Merman and Rita Moreno to Audra McDonald and Lin-Manuel Miranda, we have to continue these stories for the generations to come. I found the thing I love to do most, and I don’t think we should rob kids in the future of the same opportunity.

Actors try to bring worlds to life around you and benefit from having you present while we’re doing it. You’re out of your home, off your couch, actively participating in make-believe. Especially in this day and age, we devote so much attention to our phones (which I’m guilty of as well) that we have to engage in activities to counteract that behavior. Live theater engages us in critical thought and conversation more than TV and movies because we experience it together. If those aren’t reasons enough to make sure live theater lives forever, then I don’t know what is. What do you find to be the most challenging part of being an actor? The most challenging part of being an actor, in my opinion, is letting go. We spend so much time training and preparing that we forget to just trust all that work and be free, open, and vulnerable when we’re onstage. There’s so much technique involved in our craft that we often forget to go out there and play. All the greatest rewards and best moments onstage come when we’re really playing and living in the moment. Sounds easy, but it’s one of the hardest things. Artslandia’s theme for the 2019–20 season is “A Night Out.” Describe for our readers your perfect night out. My perfect night out consists of good music, good food, and even better company. If I go out, it’s either downtown to Escape The Room NYC or to the AMC Magic Johnson in Harlem to catch a new movie. But oftentimes, I love to just stay in with my girlfriend, our dog, and friends from past productions to play board games and Nintendo. .

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Portland Center Stage at

IN THE HEIGHTS Lin-Manuel Miranda’s (Hamilton) sizzling, awardwinning musical takes us to Washington Heights in NYC, where a community on the brink of change struggles to achieve their dreams.

MACBETH Three women tackle all the roles in this piercing, stripped-down adaptation of Shakespeare’s infamous tale of the notorious royal assassin.

REDWOOD Humorous and biting! After a Black family explores their ancestry online, they must learn how to live in a present that’s overpopulated with ghosts.

ANNOUNCING THE 2019-2020 SEASON! SCHOOL GIRLS; OR, THE AFRICAN ME AN GIRLS PL AY A beauty pageant at a Ghanian boarding school sets teenage girls against each other and cautions that while beauty may be only skin deep, its pursuit can cut much deeper.

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME This Broadway smash hit takes us inside the mind of an extraordinary boy trying to solve the murder of his neighbor’s dog.

9 PARTS OF DESIRE MISS BENNET: CHRISTMAS AT PEMBERLEY

An intimate and complex portrait of nine Iraqi women, this remarkable solo work offers a meditation on what it means to be a woman in a country overshadowed by war.

This clever sequel to Jane Austen’s Pride and Prejudice puts Mary Bennet front and center as she endeavors to find independence and perhaps even love.

HOWARDS END

HEDWIG AND THE ANGRY INCH Part rock concert, part cabaret, part stand-up comedy routine, this one-of-a-kind musical proves time and again that an indomitable spirit can’t ever be tied down.

See the gorgeous heart of E.M. Forster through a playful 21st century lens. Follow the Schlegel sisters as their lives are upturned by two very different men.

CAMBODIAN ROCK BAND Fierce and funny, a woman explores her roots 30 years after her father fled the Khmer Rouge’s brutal regime. Featuring a cast performing Dengue Fever hits and Cambodian oldies!

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503.445.3700 • PCS.ORG Photo: Select cast members in In the Heights, courtesy of Michael Brosilow/Milwaukee Repertory Theater.

Photo by Michael Brosilow.

10 THINGS TO KNOW ABOUT

LIN-MANUEL MIRANDA & QUIARA ALEGRÍA HUDES BY ARTSLANDIA

With plans of a feature film since 2008, the move from stage to movie screen for In the Heights has been fraught with issues. After the project stalled at two previous studios, Warner Bros. picked it up and is scheduled to release the film next year. THE MOVIE ADAPTATION OF IN THE HEIGHTS WILL PREMIERE IN JUNE 2020.

HUDES’ BACKGROUND IN MUSIC HAS ALWAYS SHAPED AND INFLUENCED HER WORK. She grew up surrounded by music, studied classical and AfroCaribbean piano as well as music composition, and majored in music at Yale.

Well-known for his Twitter feed, Miranda treats his followers to inspiring, original bits of conventional wisdom, pithy observations, and poems at the beginning and end of each day. In 2018, with the help of illustrator Jonny Sun, MIRANDA COMPILED THESE TWEETS INTO A NEW YORK TIMES BESTSELLER, GMORNING, GNIGHT!: LITTLE PEP TALKS FOR ME & YOU.

Hudes also speaks and inspires on social media, although she shares her platform with other voices. HUDES AND HER COUSIN, SEAN ORTIZ, WHO IS IN PRISON, FOUNDED EMANCIPATED STORIES. The project is an online platform for individuals who are or have been incarcerated to share their stories through poetry, art, and writing.

MIRANDA AND HUDES ARE NOW NEIGHBORS IN WASHINGTON HEIGHTS, NEW YORK. THEY LIVE IN THE SAME APARTMENT BUILDING.

QUIARA ALEGRÍA HUDES WAS IN THE 10TH GRADE WHEN THE PHILADELPHIA YOUNG PLAYWRIGHTS PRODUCED HER FIRST PLAY.

IN THE HEIGHTS, WHICH RECEIVED A TONY AWARD FOR BEST MUSICAL, A TONY NOMINATION FOR BEST BOOK OF A MUSICAL, AND WAS NAMED A PULITZER FINALIST, IS NOT THE ONLY AWARD-WINNING WORK BY HUDES. Her play, Water by the Spoonful, received the 2012 Pulitzer Prize for Drama, and Elliot, A Soldier’s Fugue was a 2007 Pulitzer finalist.

MIRANDA WAS ONLY A SOPHOMORE AT WESLEYAN UNIVERSITY WHEN HE BEGAN TO WRITE AND STAGE IN THE HEIGHTS. After graduation in 2002, Miranda continued to shape his musical, bringing on Hudes as a writer to help expand the show. In 2007, the play was produced Off-Broadway at the 37 Arts Theatre, now known as the Baryshnikov Arts Center.

MIRANDA GREW UP IN NORTHERN MANHATTAN AND HUDES IN NORTHERN PHILADELPHIA. These neighborhoods share similarly diverse and artistic profiles. Their respective upbringings informed the way the play depicts life and community.

With many theater credits to his name, Miranda works tirelessly in film as well. One of the composers for Disney’s Moana, MIRANDA HAS ALSO COLLABORATED ON A SONG FOR STAR WARS: EPISODE VII - THE FORCE AWAKENS AND WRITTEN ORIGINAL SONGS FOR TONY AWARD PERFORMANCES. .

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September 28–November 24, 2019 In the Ellyn Bye Studio

Marissa Wolf

Cynthia Fuhrman

Artistic Director

Managing Director

MACBETH by William Shakespeare Edited Script by

Original Music by

Lee Sunday Evans

Heather Christian

Directed by

Adriana Baer Musical Director

Scenic Designer

Costume Designer

Lighting Designer

Amir Shirazi

Stephen Dobay

Sarah Marguier

Carl Faber

Sound Designer

Movement & Intimacy Director

Dramaturg

Stage Manager

Sharath Patel

Amanda K. Cole

Elizabeth E. Tavares

Janine Vanderhoff*

Production Assistant

Casting

Sarah Stark

Will Cotter

THE CAST Chantal DeGroat* Dana Green* Lauren Bloom Hanover* Beth Thompson Understudy, all roles The text of this edited version of Macbeth was first directed by Lee Sunday Evans and produced by Hudson Valley Shakespeare Festival, opening June 24, 2016, (Davis McCallum, Artistic Director; Kate Liberman, Managing Director). Videotaping or other photo or audio recording of this production is strictly prohibited. If you photograph the set before or after the performance, please credit the designers if you share the image. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SEASON SUPERSTARS

SEASON SUPPORTING SPONSORS

SHOW SPONSORS JESS DISHMAN HAROLD GOLDSTEIN & CAROL STREETER TERESA & DOUG SMITH

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AN INTERVIEW WITH DIRECTOR

A D R I A NA BA E R Interview by Claudie Fisher, Associate Director of Marketing & Communications

BEFORE REHEARSALS BEGAN, DIRECTOR ADRIANA BAER TOOK A MOMENT TO REFLECT ON HER LONG RELATIONSHIP WITH SHAKESPEARE’S TALE OF POLITICAL GLUTTONY, AND HER APPROACH TO DIRECTING THIS THREE-WOMAN, MUSIC-INFUSED STAGING.

Share a little about the impact the Scottish play has had on you in the past, and what new ways it has been resonating with you as you’ve been working on this production. Macbeth was the first Shakespeare play I studied. I had a wonderful teacher in 7th grade who believed that in order to understand Shakespeare, it should be read aloud. She helped us see that the plays were meant to be performed, not just read silently on a page, and it was this play that broke open my brain and showed me how magnificent Shakespeare’s language could be and how powerful. (Thanks, Jean!) I studied the play again in high school and college and eventually produced it when I was the associate artistic director at The Cutting Ball Theater in San Francisco. This play was one of the most important works for me in becoming a director interested first and foremost in text. What I love about Macbeth is that, while it’s so straightforward in terms of plot, it constantly reveals new layers and new meanings as I revisit it at different times in my own life. As a teenager, I was most interested in the weird sisters and the violence. In my twenties, I was interested in the idea of ambition and how that manifests. Now, I find myself drawn to the fact that the Macbeths have lost at least one child and are childless. As a parent, I find that loss to be deeply informative. This production places three women in all of the roles. What does this approach bring to the story? In our production, the audience is welcomed in by three women who seem at once ancient, wise, and vital. This landscape is a place of former glory. We see the ruins of a

once luxurious building, and we feel that the environment has slowly but deliberately crept back in to reclaim the land. The sisters begin to tell us the story of what happened here. As they do, they transform into the characters of Macbeth, sharing with us the tale of this ancestral place. When I first read this adaptation, something hit me right away. I was startled by how shocking it was to think about women’s bodies executing the violence this play requires. It seems that in our country right now, we have become broadly desensitized to men executing violence upon groups of people and upon each other. So after a casual reading of Macbeth in 2019, we don’t even necessarily stop to reflect on the multiple murders of men, women, and children that this play presents. We focus more on the plot, on Macbeth as a character, and on Malcolm and Macduff as future leaders. But as soon as we put the responsibility of enacting this violence onto women, we are shocked in the way I believe we are supposed to be by the actions of this play. We become sensitive once again. It makes us think about why as a culture we have come so far away from a deep empathy which places the value of human life above the value of bold, blind ambition. Music has been composed specifically for this production. What was your response when you first heard excerpts of the music? How do you think it will serve the production? Before I heard the music, I had a totally different notion of how to frame the idea of three women telling this story. I thought about three separate modern women somehow accidentally telling this story together. But when I heard Heather’s incredible compositions, I was hit with a completely different take on this adaptation. The music grounded me immediately in the earth, and I felt like I was standing with my own bare feet in the dirt. I saw that the story I wanted to tell was much more ancient than so many contemporary adaptations. I knew immediately that

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THANKS TO OUR GENEROUS SPONSORS OF MACBETH JESS DISHMAN I am pleased to be a sponsor of Macbeth. This production in the Ellyn Bye Studio with a cast of three will bring to life Shakespeare’s words. We are in for a memorable theater experience.

HAROLD GOLDSTEIN AND CAROL STREETER We are delighted that Marissa Wolf is the artistic director of Portland Center Stage at The Armory. Her vision, experience, skills, intelligence, and openness to fresh programming will help lift all of Portland’s theater community. Adriana Baer has been a standout director throughout our city. Every performance has been challenging in the best ways and executed at a high level of expertise. We are eager to see what Marissa and Adriana will produce with this bold new interpretation of Macbeth. Great actors, director, production team, artistic leadership. What a treat!

TERESA AND DOUG SMITH We are proud to be sponsoring Portland Center Stage at The Armory’s Macbeth, making this our 15th year supporting a stage production at The Armory. We believe in The Armory and continue to be pleased at how it enriches the community with interesting and diverse stories. Please enjoy the show!

NW NATURAL NW Natural grew up in the Pacific Northwest, and we feel a responsibility to support the community. Along with our employees, we have a long history of working to make the communities we serve better places to live, work, and learn. Investing in the arts and cultural institutions that serve our region is one way we do this. We are proud to support Portland Center Stage at The Armory and this innovative production of Shakespeare’s Macbeth.

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INTERVIEW CONTINUED FROM PAGE 31 these women were inextricably woven together, and that they were sharing the wisdom of their ancestors. There is an oral history at play here. I want the audience to see that this story is about all of us. I also love that the music gives us pause and breath, and moments of femininity in a play that is otherwise very masculine and very, very fast. How have you prepared for rehearsals and what do you see as some of the big challenges or puzzles to solve with this production? The most prep work on a Shakespeare play is always the text. I do many deep-dives into the text to understand all the meter and punctuation, define every word, and to examine why Shakespeare has written what he’s written in the way that he has. I compare different publications and the First Folio to make sure that I’m interpreting the text with as much nuance as possible. This takes a long time! Then with this production, there’s also the work of understanding the adaptation, tracking who says what, and figuring out how we can make the storytelling clear. Of course, one of the biggest challenges with this production is that each actor plays so many parts. One of our performers plays 15 roles! So how can I make sure that the audience is tracking the plot, the motivation of the characters, and the emotional impact of this play? What I’ve told the actors is that the best way to work on this adaptation is exactly how we would work on any production of this play: Figure out what each character wants and play the truth of each moment. That clarity is incredibly important. I am also working with my designers on mapping out the physicality of the space, costumes, and fights and movement, so we can head into rehearsals all on the same page about how to move this adaptation from two to three dimensions. As you’ve been collaborating with the design team, what is the visual world you’ve been interested in evoking? What themes are emerging? Stephen Dobay [scenic designer] and I started the design conversation talking about this story taking place in a space that acknowledges both the ancient and the now. We wanted the earth to dominate the space and to show that

there was a clash between the manmade and the environment. Once we knew we were interested in the image of sand “taking back over” a place of former architectural glory, I did some research about the Scottish coast and realized that it looks almost identical to the Oregon coast. So that was an easy choice: The coast setting brings this story home to our audience and also allows us to get all four elements (earth, air, water, fire) onto the stage. The elements are really important to us since the frame of this is three women (colloquially called “witches” but actually never referred to as anything other than “women” or “sisters” in the text) using their environs to conjure up this story. All of the costumes are made from organic materials, and everything that is used in the play comes from the ground — either naturally (like pigment or wood) or from the ruins of the nowabandoned castle. It’s really exciting that you are making your debut at The Armory with this muscular production to kick off the very first season Marissa Wolf has selected as our new artistic director. What does it mean to you to be one of the trail blazers of her first season? I am so proud and honored to be a part of Marissa’s first season. Marissa and I met in San Francisco in 2005 when we were both producing and leading theater companies. It took until 2011 for us to actually collaborate on something: Christopher Chen’s The Hundred Flowers Project, which Marissa’s company Crowded Fire was commissioning. I did some workshops and was slated to direct the world premiere when I was hired here in Portland as the artistic director of Profile Theatre and had to back out. It’s taken until now for us to finally get to collaborate on a full production! As a woman, mother, and working director, it is so important to me to be able to celebrate and support Marissa as she leads this company to the next level. There still aren’t a lot of women running major institutions, so I am additionally proud that both of our major theaters in Oregon (PCS and OSF) are now being helmed by women who are smart, boundarypushing artistic producers.

The world is my field. The Symphony is my source. WAVE MAKER

D E N N I S D I XO N “Mahler hit his head against walls until the walls gave way. I thrive off the wall-breaking powers of my heart, my mind, my spirit. We’re both sprinting through history.”

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MEET THE CAST AND CREATIVE TEAM Chantal DeGroat Chantal is honored to return to Portland Center Stage at The Armory after five seasons of The Second City’s Twist Your Dickens! Chantal resides/works in Portland and Seattle, and is a company member of Third Rail Repertory Theatre. Seattle/Portland productions: Tiny Beautiful Things and Well (Seattle Repertory Theatre), Richard III (Seattle Shakespeare Company with upstart crow collective), Julius Caesar (Seattle Shakespeare Company), We Are Proud… and The Liar (Artists Repertory Theatre), The Piano Lesson (Portland Playhouse), The Nether and Belleville (Third Rail Repertory Theatre), Winter’s Tale and Much Ado About Nothing (Northwest Classical Theatre Company). Los Angeles: The Arsonists (Odyssey Theatre Ensemble), This, That, and the Other Thing and Hey, Hey, That’s My Tractor (Hollywood Refugees). She dedicates her work to the movement for equity. Dana Green Dana is delighted to be back at Portland Center Stage at The Armory. Other credits at The Armory include Tiny Beautiful Things, A Life, Major Barbara, Constellations, Great Expectations, Othello, and A Midsummer Night’s Dream. Portland credits include Scarlet (Portland Playhouse), d.b. (Coho Productions), Gidion’s Knot, The Realistic Joneses (Third Rail), and Dead Man’s Cell Phone (Profile Theatre). She has spent four seasons with the Stratford Shakespeare Festival and has performed at numerous regional theaters including The

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Old Globe, South Coast Repertory, Yale Repertory Theatre, Chicago Shakespeare Theatre, California Shakespeare Theatre, Shakespeare Santa Cruz, Asolo Repertory Theatre, Court Theatre, Meadow Brook Theatre, and Shakespeare Festival of Dallas. Television credits include Early Edition, Grimm, The Librarians, Here and Now, and Trinkets. Lauren Bloom Hanover Lauren is proud to be making her Portland Center Stage at The Armory debut in this production. New York credits include The Actors Company Theatre, Columbia Stages, and Studio 12 Ensemble. She has worked with several regional companies, including the Alabama Shakespeare Festival, Berkeley Repertory Theatre, Capital Stage, and Just Theater. Locally, she has appeared with Profile Theatre, CoHo Productions, and in staged readings at Artists Repertory Theatre and Portland Shakespeare Project. She received her M.F.A. from the Alabama Shakespeare Festival. Beth Thompson, Understudy, All Roles Beth has collaborated with many local companies as an actor, deviser, teacher, and producer. Favorite roles include Woman in Tender Napalm with Dancing Brain Productions, Orlando in Orlando at Profile Theatre, Miss Julie in Miss Julie and Catherine in Suddenly Last Summer at Shaking the Tree, and Bear in The Snowstorm with Many Hats Collaboration/ CoHo Theatre. She looks forward to reprising her role in the original dance theater work The Undertaking with

Many Hats Collaborations this winter. Beth is grateful to observe and learn from the work of this impressive ensemble of women. Lee Sunday Evans, Edited Script Lee Sunday Evans is a two-time Obie Award winning director/ choreographer. Recent credits include: In the Green by Grace McLean (LCT3), The Courtroom (Waterwell), Dance Nation by Clare Barron (Obie Award - Playwrights Horizons), Intractable Woman by Stefano Massini, Caught by Christopher Chen (The Play Compony), [Porto] by Kate Benson (WP Theater/The Bushwick Starr), HOME by Geoff Sobelle, Farmhouse/ Whorehouse by Suzanne Bocanegra (BAM Next Wave), A Beautiful Day in November on the Banks of the Greatest of the Great Lakes by Kate Benson (Obie Award - New Georges/ WP Theater). She is the resident director for CollaborationTown and was recently appointed Artistic Director of Waterwell. Heather Christian, Original Music An Obie Award winning composer/ performer, Heather Christian is a Sundance Fellow and Ars Nova Uncharted Member with new musical Annie Salem, alongside Rachel Chavkin. Recent composing/performing credits include her own multi-media concerts Animal Wisdom and North (LaMama NYC), the TEAM’s Mission Drift, (National Theater in London) Ripe Time’s The World is Round (BAM NYC), Of Mice and Men (West Yorkshire Playhouse), the entire summer ’16 season at Hudson Valley Shakespeare (Macbeth, As you Like It, Measure for Measure) as well as numerous compositions for plays with music and experimental soundscape operas for dance. Short film scores include Man Rots from Head, Eat, Pauline Alone, Woman in Deep, and Gregory Go Boom (2014 Sundance Grand Jury Prize). Her first feature film score, Lemon, premiered at Sundance Film Festival 2017. She is a collaborator in devised theater with the TEAM, Jane Comfort Company, Mark Dendy, Mac Wellman, Big Dance Theater, Taylor Mac, and Witness Relocation.

Adriana Baer, Director Portland credits include Between Riverside and Crazy by Stephen Adly Guirgis, Marjorie Prime by Jordan Harrison, The Price by Arthur Miller (Artists Repertory Theatre); The Language Archive by Julia Cho (Portland Playhouse); Dead Man’s Cell Phone and In the Next Room … or the Vibrator Play by Sarah Ruhl, Buried Child and True West by Sam Shepard, and The Road to Mecca and My Children! My Africa! by Athol Fugard (Profile Theatre, Artistic Director 2012–2015). Other credits include Woyzeck (Bay Area Critics Circle Award for Best Direction), The Maids, and No Exit at Cutting Ball Theater (Associate Artistic Director 2004-2007), and productions in New York including Romeo and Juliet, A Streetcar Named Desire, The Seagull, and The Hairy Ape. New play development workshops include Ensemble Studio Theatre, Bay Area Playwrights Festival, Primary Stages, and The Lark Play Development Center, among others. Next up: Sense and Sensibility at the Alley Theatre in Houston. B.A., Sarah Lawrence College. M.F.A., Columbia University. Adriana is a resident artist at Artists Repertory Theatre and a proud member of SDC. adrianbaercreative.com Amir Shirazi, Musical Director Amir (he/him, they/them) is an active composer, arranger, sound designer, music director, and songwriter. His theatrical credits include productions with Portland Actors Ensemble (for which he won the Outdoor Shakespeare Festival Award in 2012 for Best Sound Design for their production of Twelfth Night), Post5 Theatre Company, Milagro Theatre (for which he won a Drammy Award in 2015 for Outstanding Achievement in Original Music for their production of ¡O Romeo!), Jewish Theatre Collaborative, and Corrib Theatre. Amir serves as artistic director to Transpose PDX, which is a non-profit choral arts organization serving the transgender, non-binary, and gender nonconforming community. He graduated from Boston College with a B.A. in Music, concentrating in composition and theory. amirbshirazi.com

Stephen Dobay, Scenic Designer Stephen is a designer based in New York. Previously with Adriana Baer: In the Next Room (Profile Theater Company). Other theater credits include Come Back Little Sheba directed by David Cromer at The Huntington Theater Company; Our Town (Huntington Theater Company, Almeida Theatre London, Broad Stage, Kansas City Repertory Theatre); God of Carnage and Miracle on 34th Street (John Engeman Theatre); Under My Skin (Little Shubert Theatre); Adult (Abrons Arts Center); The Realists (HERE); The Cottage and To Kill a Mockingbird (Queens Theatre in the Park); Gidion’s Knot (59E59 Theaters); Long Day’s Journey into Night (The York Shakespeare Company); Holy Crap!! (La MaMa); and Allegro, The Cottage, Blood Brothers, A Hard Wall at High Speed, and The Pillowman (APAC). Sarah Marguier, Costume Designer Sarah is a French designer for performing arts, currently based in Portland. Sarah has collaborated with dance companies, theaters, choreographers, directors, and visual artists in the U.S. and Europe. Her work has been shown at Hand2Mouth Theatre (Dream/Logic, A Fond Farewell, Psychic Utopia), Performance Works NW (A World, A World), Corrib Theatre (Quietly), Broadway Rose Theatre Company (Ordinary Days), Culture Mill (They Are All, American Heroes, Brown), American Dance Festival, NW Children’s Theater, On The Boards, The Instrument, Theater Freiburg. She has toured with Bruce Springsteen and the E Street Band in the U.S., Europe, Australia, and New Zealand. Sarah studied at l’École Nationale Supérieure des Arts Décoratifs de Paris and earned an M.F.A. in Critical Theory and Creative Research at PNCA. sarahmarguier.com Carl Faber, Lighting Designer Recent designs in Portland with Artists Repertory Theatre (Magellanica, Between Riverside and Crazy), Broadway Rose Theatre Company (Ordinary Days, Trails, Beehive), Portland Opera (In the Penal Colony), Profile Theatre (Fires in the Mirror, Water by the Spoonful), Third Rail Repertory Theatre (John,

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The Angry Brigade), NW Children’s Theater (Mary Poppins, Chitra). Outside of Portland: Arena Stage, Boston Institute of Contemporary Art, Ars Nova, Williamstown Theatre Festival, American Dance Festival, Uferstudios Berlin, Shanghai Centre Grand. Touring Production for Bruce Springsteen and the E Street Band, Bon Iver, The National. Resident light artist at Eaux Claires Festival. Founding member of Woodshed Collective, NYC. Education: The Catlin Gabel School, Vassar College. Awards: Drammy (2017, 2018, 2019), PAMTA (2019). Member: United Scenic Artists Local USA-829. carlfaber.com

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Sharath Patel, Sound Designer Before arriving in the Pacific Northwest, Sharath spent nearly a decade as a lead sound designer in New York City. Recent work includes In the Heights, The Breath of Life, The Color Purple (Portland Center Stage at The Armory); Wolf Play, Teenage Dick, Skeleton Crew (Artists Repertory Theatre); Nina Simone: Four Women (Alabama Shakes); Christmas at Pemberley Pt. 2 (Marin Theater Company); Ibsen in Chicago, Tiny Beautiful Things (Seattle Repertory Theatre); Pass Over, The Crucible, The Royale (ACT Theatre); As You Like It (California Shakespeare Theater); Free Outgoing (East West Players); WIG OUT! (American Rep/CompanyONE). Regional/international credits include designs in Washington, D.C., Norfolk, Raleigh, Aspen, Dublin, India, France, England, Germany, and Romania. Sharath is a member of United Scenic Artists Local 829, IATSE, as well as the Theatrical Sound Designers and Composers Association. He is an Arts Envoy for the U.S. Department of State and a resident artist at Artists Repertory Theatre. M.F.A. from Yale School of Drama. sharathpatel.com. Amanda K. Cole, Movement & Intimacy Director Amanda is ecstatic to join the team for Macbeth at Portland Center Stage at The Armory. Amanda is a movement director, intimacy director, and fight choreographer whose work has been seen throughout the Los Angeles area and the Pacific Northwest. Currently, Amanda is choreographing intimacy for

the 2019–2020 season at Artists Repertory Theatre, where past work includes Teenage Dick, Everybody, Small Mouth Sounds, Skeleton Crew, and Between Riverside and Crazy. Amanda is a fierce advocate for safe, sustainable, and respectful practice around the staging of intimacy and violence. Amanda is recommended by the Society of American Fight Directors (SAFD) as an advanced actor/combatant. Amanda is also an intimacy director with elemental movement and is an apprentice with Intimacy Directors International. Amanda holds an M.F.A. in Acting from California Institute of the Arts. Elizabeth E. Tavares, Dramaturg Elizabeth E. Tavares, Ph.D., is assistant professor of Medieval and Renaissance Literature at Pacific University. Specializing in early English drama, her research foci include playing companies, theater history, and Shakespeare in performance. Completing her book, The Elizabethan Repertory System before Shakespeare: Playing the Stock Market, Tavares’ prize-winning scholarship has appeared in Shakespeare Studies,

Shakespeare Bulletin, and several edited collections. A three-time Mellon Foundation fellow, she has received grants from the National Endowment for the Humanities, Society for Theatre Research, as well as the Newberry, Folger, and Huntington libraries. Dramaturgy credits include Back Room Shakespeare Project, What You Will Shakespeare Company, and blog series for Artists Repertory Theatre’s Feathers & Teeth, Magellanica, Teenage Dick, and The Strange Undoing of Prudencia Hart. Elizabeth is scholarin-residence with the Original Practice Shakespeare Festival. Janine Vanderhoff, Stage Manager Janine is thrilled to be back for her fifth season at Portland Center Stage at The Armory. She recently stage managed The Breath of Life, Tiny Beautiful Things, A Christmas Memory/Winter Song, and The Color Purple. Other favorites include: Wild and Reckless, The Oregon Trail, and Lady Day at Emerson’s Bar and Grill. In New York, Janine worked on The Lion King, as well as with many OffBroadway and regional companies. Portland credits: Sweeney Todd

(Portland Opera), Play, How to End Poverty in 90 Minutes, and The Other Place (Portland Playhouse). Touring: The Graduate, Cats, The Vagina Monologues, Jekyll & Hyde, and Show Boat. Production management: The Daily Show with Jon Stewart “Democalypse 2012 Republican National Convention” (Tampa, FL); Straz Center (Tampa, FL); The Fox Theatre (Atlanta, GA). Proud NYU graduate and AEA member. Sarah Stark, Production Assistant Sarah is thrilled to be returning to Portland Center Stage at The Armory after working as a stage management apprentice last season. Previous credits at The Armory include The Breath of Life, Tiny Beautiful Things, Twist Your Dickens, and A Life. She also works as an assistant stage manager at Portland Opera. Regional credits include: In the Penal Colony (Portland Opera); Silent Night (Austin Opera); The Cunning Little Vixen, Porgy and Bess, Robin Hood (The Glimmerglass Festival); Little Shop of Horrors (American Blues Theater); Ellen Bond, Union Spy (The House Theatre of Chicago); Civility! (The Syndicate).

CO MI NG SO ON

“I BELIEVE WE HAVE A ONCE-IN-A-GENERATION OPPORTUNITY TO TRANSFORM THE FUTURE OF THIS COMMUNITY AND REGION. THIS CENTER WILL BE A PLACE TO CELEBRATE ARTISTIC EXPRESSION IN ALL ITS FORMS. MY HOPE IS THAT IT WILL HELP ARTISTS AND ARTS FLOURISH AND WILL IMPACT RESIDENTS POSITIVELY FOR GENERATIONS TO COME.” - Pat Reser, Lead Donor and Chair of the Capital Campaign for the Patricia Reser Center for the Arts

CAMPAIGN FOR THE

PATRICIA RESER CENTER FOR THE ARTS

centerfortheartscampaign.org

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BEHIND THE CURTAIN

MEET THE THREE LADIES OF MACBETH:

CHANTAL DEGROAT, DANA GREEN & LAUREN BLOOM HANOVER BY ARTSLANDIA

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Photo by Kate Szrom.

What constitutes an extraordinary live performance, in your opinion?

How did you prepare to play these characters, in particular?

Chantal DeGroat (CD): An extraordinary live performance feels like a dream, or meditation to me. Everything outside the room goes away, and all that’s left is me, the rest of the audience, and the performers to twist and dive into the world we created together in the space.

CD: I asked female friends about miscarriage. I looked to the elements to whisper in my ear and energize the quality of my awareness and took a big ol’ breath before I leaped into this ethereal work. Also, I moved one foot in front of the other while feeling a continuous, low modality of fear.

Dana Green (DG): Those special nights when the audience and performers feed off each other. Nights when you can hear a pin drop, a gasp, a sob, or (conversely) a snort of laughter that starts a laughing loop between the audience and the actors that goes on for two minutes. Lauren Bloom Hanover (LBH): Something that engages an audience, that surprises and moves them, that challenges while also inspiring empathy. What’s the best advice you’ve ever been given about anything? CD: I remember two pieces of advice my grandfather gave, both have resurfaced many a time as a helping hand: “You never know until you try” and “You gotta eat a little dirt before ya die.” DG: During a speech at my theater school graduation, a wise playwright said, “Keep your eyes on your own paper.” In other words, let go of comparisons. Focus on your own career path. In the competitive and often baffling world of employment in the arts, never were truer words spoken. LBH: Don’t wait for permission to do what you love. How do you rehearse? What does a typical session entail? CD: Rehearsal, for me, is all about finding the connective tissue between words and movement, my character, and those of my fellow actors. It’s about searching for the rules and form of our ‘dance’ together, trusting my impulses to fly me from moment to moment. How does that happen? I need a mountain of repetition. DG: I come in with all my homework and script analysis I’ve done prior to the first day and then start the amazing work of collaboration. That’s when I get to see where the director’s vision guides us and how my fellow actors surprise and push me in different directions that I’d never find on my own.

Read the rest of the interview at

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LBH: How I rehearse is determined by the script and the character. But I suppose in every process, I try to have fun, play, and discover something surprising about the character or how to tell the story. Also, I try to be present, to listen and respond in the moment to what other people are bringing to the table. Some days are more successful than others.

DG: With Shakespeare, I love to look at as many editions as I can. I sift through different editors’ notes on interpretation and punctuation for as many options as possible. With every role, it’s exploring step by step until a full picture emerges. LBH: Well, I think I am playing nine characters. I prepared by doing a lot of text work. I tried to get my lines memorized before we began the rehearsal process so that I could quickly focus on exploring and playing with the director and other actors. I also spent some time formulating a few loose ideas about each character and how I might be able to differentiate one from another. Who or what inspires you? CD: People who have a ‘knowing’ about life, who have a twinkle in their eyes. The wind blowing wildly through my hair. For some reason, it feels like I become enlightened to a secret of being alive. DG: The language of the plays themselves, Whether it’s Shakespeare or a more contemporary piece, I love looking for clues in the punctuation and the structure of the play to help guide my performance. There are so many ways to approach a role. For me, the answers always lie in the play itself. LBH: Time out in nature. Activists and advocates. Really wonderful scripts, gifted performers. My daughter. What, for you, is the most fulfilling aspect of your life as an actor? CD: When a performance is really good, really in the pocket, it sometimes feels as if I can transcend time, history and boundaries. It can feel as if there is no separation between me and the audience. All agreed rules of society fall away, and everyone in the theater lives in harmony for that brief time — a living, breathing dream. DG: The chance to slip into many different skins and stories. Making people laugh. Helping people reflect on their own experiences in a new way. Expanding empathy in myself and others. LBH: The opportunity to collaborate with talented and wonderful human beings. Then, to tell the story we’ve put together to a room full of people, who directly impact how the story is told, making it different every time. .i

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DREAM·DESIGN·BUILD

(503) 251-9900 CCB# 174360

What are you dreaming of?

OCT 5  12 | KELLER AUDITORIUM FEATURING THE OBT ORCHESTRA The season opens with a resounding roar, reflecting three distinct eras of OBT’s repertory. Each a masterwork in its own right, together they represent the heart and soul of OBT’s past and future. A riveting emotional experience you won’t want to miss!

In the Middle, Somewhat Elevated William Forsythe | Thom Willems

Stravinsky Violin Concerto George Balanchine | Igor Stravinsky Nelly Kovalev, violin soloist

Scheherazade Dennis Spaight | Nikolai Rimsky-Korsakov

TICKETS START AT $29 40

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OBT.ORG | 503.222.5538

MEET THE ARTISTIC & MANAGING DIRECTORS

PORTLAND CENTER STAGE AT THE ARMORY

MARISSA WOLF ARTISTIC DIRECTOR

Portland Center Stage at The Armory is the largest theater company in Portland and among the top 20 regional theaters in the country. Established in 1988 as a branch of the Oregon Shakespeare Festival, the company became independent in 1994. An estimated 160,000 people visit The Armory annually to enjoy a mix of classic, contemporary, and world premiere productions, along with a variety of high quality education and community programs. Ten productions are offered this season, in addition to hundreds of community events created to serve the diverse populations in the city. As part of its dedication to new play development, the company has produced 27 world premieres and presents an annual new works festival, JAW: A Playwrights Festival. Home to two theaters, The Armory was the first building on the National Register of Historic Places, and the first performing arts venue in the country, to achieve a LEED Platinum rating.

Currently in her second season as artistic director of Portland Center Stage at The Armory, Marissa previously served as associate artistic director/ new works director at Kansas City Repertory Theatre and artistic director of Crowded Fire Theater in San Francisco. Select directing credits include Fire in Dreamland by Rinne Groff (The Public Theater; world premiere at KCRep); Man in Love by Christina Anderson and The Curious Incident of the Dog in the Night-Time by Simon Stephens (KCRep); 77% by Rinne Groff (San Francisco Playhouse); Precious Little by Madeleine George (Shotgun Players); The Lily’s Revenge (Act II) by Taylor Mac (Magic Theatre); and The Late Wedding by Christopher Chen (Crowded Fire Theater). She’s been nominated for Best Director by Broadway World San Francisco and the Bay Area Critics Circle. Marissa held the Bret C. Harte Directing Fellowship at Berkeley Repertory Theatre and has a degree in drama from Vassar College, with additional training from the Royal Academy of Dramatic Art in London.

CYNTHIA FUHRMAN MANAGING DIRECTOR Cynthia has worked in professional theater since 1982 (with two detours, which she highly recommends). She was manager of public relations at Oregon Shakespeare Festival in Ashland and, as director of marketing and communications, was among the staff who traveled north to open OSF’s Portland branch and eventually transitioned it to become the independent Portland Center Stage. She also spent five seasons as director of marketing and communications at Seattle Repertory Theatre. Theater detours include her roles as COO for eyescream interactive, the Northwest’s largest internet marketing agency at the time, and communications director for Portland’s Office of Sustainable Development, a crash course in promoting all things green. In 2008, she returned to Portland Center Stage at The Armory as director of marketing and communications and was named managing director in 2017. Cynthia holds B.A. and M.A. degrees in humanities and attended the University of Oregon, the American University of London, and Southern Oregon University.

MARISSA WOLF ARTISTIC DIRECTOR

We welcome all races, all countries of origin, all sexual orientations, all gender identities, and people of any religion or none at all. We at The Armory acknowledge that the Portland metropolitan area rests on the traditional village sites and summer encampments of the numerous Tribes who made their homes along the Columbia (Wimahl) and Willamette (Whilamut) rivers. Today, Portland’s diverse and vibrant Native communities are 70,000 strong, descended from more than 380 Tribes, both local and distant. We take this opportunity to offer respectful recognition to the many people of the river, and their summer guests — and to the Native communities in our region today, the Oregon Tribes, and those who have stewarded this land throughout the generations.

Photo by Gary Norman.

Portland Center Stage at The Armory operates under an agreement between 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 part of LORT, Theatre Communications Group, Portland Business Alliance, and Travel Portland.

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

CYNTHIA FUHRMAN MANAGING DIRECTOR

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THANK YOU PORTLAND CENTER STAGE AT THE ARMORY is honored to collaborate with corporate and community partners who demonstrate a commitment to civic leadership, and advocate for our value as a vital community and cultural resource. We would like to recognize the generosity and support of the businesses, foundations, organizations, and individuals that help make the 2019–2020 season possible. As of August 5, 2019

$25,000+ Curtis T. Thompson, M.D. & Associates, LLC GBD Architects James F. & Marion L. Miller Foundation Meyer Memorial Trust Oregon Cultural Trust The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County, the Arts Education & Access Fund, and more than 1,000 donors to RACC’s Arts Impact Fund Stoel Rives LLP The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer & Jordan Schnitzer The Shubert Foundation The Standard The Wallace Foundation U.S. Bank

$10,000–$24,999 Advance Gender Equity in the Arts Sheri & Les Biller Family Foundation Broughton & Mary Bishop Foundation Jackson Foundation KeyBank The Kinsman Foundation M Financial Group Maybelle Clark Macdonald Fund Microsoft Corporation

SEASON SUPERSTARS

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National Endowment for the Arts NW Natural Oregon Arts Commission, a state agency PGE Foundation The Rose E. Tucker Charitable Trust Wells Fargo

$500–$999

$5,000–$9,999

Adelsheim Vineyard Al’s Garden Center Argyle Winery Art of Catering Artemis Foods Ben & Jerry’s Delta Air Lines Devil’s Food Catering Diana Gerding Eastside Distilling Higgins Restaurant & Bar Keith & Sharon Barnes Kyle & Sophia Spencer Mary & Tim Boyle McDonald Jacobs, P.C. Microsoft Corporation Mike Golub & Sam Shelhorse New Deal Distillery Owen Roe Pearl Catering Precision Graphics Roger Gertenrich Rombauer Vineyards Rosemarie & Wes Thompson Tasca & Paul Gulick Umpqua Bank West Coast Event Productions

Davis Wright Tremaine LLP Herbert A. Templeton Foundation Tonkon Torp LLP Troutman Sanders, LLP Wieden+Kennedy Juan Young Trust

$2,500–$4,999 The Boeing Company D. A. Davidson & Co. Goulder Family Foundation H.W. Irwin & D.C.H. Irwin Foundation Leupold & Stevens Foundation Reser Family Foundation Starseed Foundation

$1,000–$2,499 Classic Sash & Door Dunn Carney Allen Higgins & Tongue LLC Global Incentive Group Klarquist McDonald Jacobs, P.C. Michael Allen’s Clothier PCC Structurals, Inc. Riverview Trust Company SP Plus Corporation Squarespace

Sofar Sounds

$250–$499 J. Thayer Company

In-Kind

SEASON SUPPORTING SPONSORS

DONORS $25,000+ Don & Mary Blair Mary & Tim Boyle Roger Cooke & Joan Cirillo Glenn Dahl & Linda Illig Jess Dishman Dream Envision Foundation Brigid Flanigan Judi Goldsmith Rob Goodman* James & Morley Knoll Hilary Krane & Kelly Bulkeley Ronni S. Lacroute Pat & Trudy Ritz/Ritz Family Foundation The Stern Family

$10,000–$24,999 Anonymous (2) Scott & Linda Andrews Brenda K. Ashworth & Donald F. Welch Keith & Sharon Barnes Phil & Julie Beyl Broughton & Mary Bishop Family Advised Fund Bill Byrne & Dennis Scollard John & Linda Carter Greg & Gina Chandler Ray & Bobbi Davis Kelly K. Douglas & Eric H. Schoenstein William & Karen Early Finley Family Foundation Diana Gerding Carol Streeter & Harold Goldstein Tom & Betsy Henning Kevin Hogan & Aron Larson Marilyn & Ed Jensen Heather Killough Cindy & Keith Larson Dedre J. Marriott J. Greg & Terry Ness The Franklin & Dorothy Piacentini Charitable Trust Reynolds Potter & Sharon Mueller* Ralph & Jean Quinsey Dana Rasmussen Richard & Marcy Schwartz Douglas & Teresa Smith Rosemarie & Wes Thompson Christine & David Vernier Dan Wieden & Priscilla Bernard Wieden

Benjamin R. & Elaine M.Whitely Family Fund of the Oregon Community Foundation

$5,000–$9,999 Anonymous (2) Peter & Susan Belluschi Family Fund of The Oregon Community Foundation Rick Caskey & Sue Horn-Caskey Sarah J. Crooks Lois Seed & Dan Gibbs Tasca & Paul Gulick Robert & Nancy Hatch Roy Schreiber & Carole Heath Steven & Marypat Hedberg Yuki & Craig Johnston Judy Carlson Kelley Joseph Sawicki & Kirsten Lee Chrys A. Martin & Jack Pessia* Peter K. McGill Patti Norris & Mark Schlesinger Barbara & Phil Silver Marilyn Slotfeldt Jan & John Swanson Tyler & Kara Tatman John Taylor & Barbara West Wally Van Valkenburg & Turid Owren*

$2,500–$4,999 Ted & Kathi Austin Julia & Robert S. Ball Daniel Bergsvik & Donald Hastler Ann Brayfield & Joe Emerson* Duke & Brenda Charpentier Judy Dauble Edward & Karen Demko Joan & Jim English* Randy Foster Julia & John Hall Ken Hitz Barbara & Mark Hochgesang Tony & Carla Hopson Dale Hottle Dennis C. Johnson Gregg & Diane Kantor Jina Kim & Hyung-Jin Lee Drs. Dolores & Fernando Leon Jean & Steve Mann* Lindsey & Marilen McGill Laurie & Gilbert Meigs Madeline & Allan Olson Jim & Linda Patterson Fred L. Ramsey

Bobbie & Joe Rodriguez Stephen & Trudy Sargent* Marian & Elihu Schott Family Fund of The Oregon Community Foundation CollierTrust Randy & Janet Smith Sue & Drew Snyder Ray & Pat Straughan Dennis & Jean Wilde Trudy Wilson & Terry Brown Steven & Deborah Wynne Mort & Audrey Zalutsky

$1,000–$2,499 Anonymous (3) Jose Alcarez Ruth & Jim Alexander Joan & Brian Allen Phyllis Arnoff* Cheryl Balkenhol & James Alterman Missy & Peter Bechen David & Ginny Bennett Saskia de Boer Norma Bradfish Dr. Gene Baker & Regina Brody Linda & William Brown Cormac M. Burke Tim O’Leary & Michelle Cardinal M. Allison Couch & Tom Soals* Dave & Debbie Craig Gustavo J. Cruz, Jr. Bill Dickey Gerard & Sandra Drummond Richard & Betty Duvall Carol Edelman Janet & Barry Edwards John Briggs & Jeffrey Feiffer Mike & Chris Feves Larry & Deborah Friedman Daniel & Leah Frye Katie & David Gold Ed Grosswiler & Sammye Sanborn John & Jacque Guevara Andrew Gustely Heather Guthrie & Gil Parker Bill & Elaine Hallmark Donald Hammond & Georgena Eggleston Paul & Samantha Harmon Marcia Hauer & Jeanne Knepper Donald Helfgott Bryce Helgerson & John Lowe

MJ & Lee Alan Helgerson* Herman Charitable Foundation Paul & Ruth Herrington* Patricia G. Howell Dr. Arthur Hung & Dr. Jim Watkins Carroll Hutchinson Susan Immer & Larry Juday* Bill & Dawn Irwin Brad & Judy Johnson Kathy & Steve Johnson Jessie Jonas Timothy A. Kalberg Steven & Nancy Kassel Jody Klevit Ruth Knepell Susan Lair & Doug Trobough Ray & Terry Lambeth Dorothy Lemelson Edwards Lienhart Family Foundation Jerry & Marjorie Long David & Julie Machado Jim & Jennifer Mark Katherine McCoy of West Portland Physical Therapy Clinic Shelly McFarland Kathy & Charles McGee Nancie S. McGraw JoAnne McMahan Carolyn McMurchie Ruth E. Medak Lora & Jim Meyer Julie Mitchoff Mike and Amy Mitchoff Michael & Susan Mueller Virginia S. Mullen Hester H. Nau David & Ranata Niederloh Bob & Beth Nist Paul & Lisa Nourigat Duane & Corinne Paulson Joan Peacock Stanley & Susanne Penkin Amy & Oscar Polo Brad & Trisha Rabe Michael R. Rankin Pat Reser & Bill Westphal Bob & Marilyn Ridgley John B. Rissi Kelly Ritz-Eisenstein & Scott Eisenstein Teri Rowan James M. Russell Halle & Rick Sadle Raj Sarda, MD*

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Exceptional Food, Drink, and Service Every Single Time.

Est. 2003

www.devilsfoodcatering.com

503.233.9288

DONORS Carol Schnitzer Lewis Fund of The Oregon Community Foundation Peter Shinbach Geoff & Susie Strommer George & Molly Spencer Rick & Denyse Stawicki E. Kay Stepp Brandon Stokes & Kristi Lang-Brown Mary & Jeff Strickler Donald & Roslyn Sutherland W. R. Swindells John & Sandra Swinmurn Libbi Layton & Lawrence Tamiyasu Calvin & Mayho Tanabe Beverly Terry Joe Mitchoff & Curtis Thompson Don & Judy Thompson* Lewis & Susan Van Winkle Ted & Julie Vigeland Joan & David Weil Michelle Weisenbach & Michael Penfield Jay Wilt David & Sherri Zava

$500–$999

“GLORIOUS and INSPIRING” – Time Out New York

WINNER OF EIGHT TONY AWARDS INCLUDING

BEST MUSICAL

“IMPECCABLE. A rhapsodic, unique musical that’s TENDER, FUNNY, AND SOARING.”

“PURE, MOVING, INVENTIVE AND IRRESISTIBLE. Once makes a lasting connection.

– Variety

OCTOBER 3 - 27

– Associated Press

503.620.5262 • www.broadwayrose.org Marilyn and Ron Nutting

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BOX OFFICE 12850 SW GRANT AVE, TIGARD

Anonymous (2) Charles & Gloria Adams Richard & Kristin Allan Phil Allen & Peny Van Abkoude* Stacy Allison Gavin Amato Susan Bach & Douglas Egan Thomas & Brada Bailey Gary & Christine Barbour Robin & Thomas Barrett Susanne Baumann & John Gragg The Baxter Family Dr. Janet Bennett Tara Bergeron Lawrence S. & Susan W. Black Fund of The Oregon Community Foundation Bob Schuler & Debra Blanchard Chris Blattner & Cindy McCann Lesley Bombardier Michael Bonner & Jeff Pera* Kate & Bill Bowman* Betty Brace Stephen & Marge Brenneke John Bush & Greg Zarelli Melissa A. Charbonneau Sonja L. Connor Erik Cubbage Bryan Concannon & Debi Dereiko

Eric Dishman Amy & Bruce Dobbs Steve Dotterrer & Kevin Kraus Beverly Downer Stephen Early & Mary Shepard Ken & Ann Edwards Abby Farber Gregory Flick Per-Olof Jarnberg & Joan Foley Charles & Kyle Fuchs Jerome & Mary Fulton William & Beverly Galen Paul Gehlar Melissa & Robert Good Ann Gray Emily Groth Rick & Susan Gustafson Jennifer Tucker & Bruce Haack Richard L. Hay Lani Hayward Pierce Henley Frances & Hunter Hicks* Laurie Holland The Holzman Foundation/ Renee & Irwin Holzman Leslie S. Homer Charitable Fund Arnold & Virginia Israelit Sonny Jepson & Felice Moskowitz Cecily Johns Jeffrey & Carol Kilmer BettyLou Koffel & Philip Moyer Rudy Kohnle & Krista Larson Ed & Margaret Kushner Sally & Robert Landauer Paul and Sue Laughlin Bonnie & Mike Leiser Sharon W. Lukasevich David Lutz Elaine & Richard Lycan Carol & Charles Mackey Stephen & Christine Mason Robert Matheson & Kimberly Porter Fran Matson Karen & Brent McCune* Jessica McVay Steve Cox & Vikki Mee Robert & Violet Metzler Heather Moore Bradford & Linda Needham* Deborah Neft & Salvatore D’Auria Lisa & Larry Norman Steven P. & Eileen O’Neill Odum Brian & Emily Owendoff John & Carolyn Parchinsky Elizabeth Perris Steve & Melissa Peterman Ellie Picologlou Jennifer Politsch Wallace & Elizabeth Preble

Airs Wednesdays on KATU’s AM Northwest from 9–10 AM & Afternoon Live from 3–4 PM

OPENING THIS WEEK

in ®

WITH ASHLEY COATES

WEEKLY VIDEO ARTS CALENDAR PRESENTED ON KATU, AT ARTSLANDIA.COM, BY E-MAIL TO ARTSLANDIA SUBSCRIBERS

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DONORS David & Margo Price Jay & Barbara Ramaker Dick & Linda Reedy Drs. Scott & Kay Reichlin Leslie Rennie-Hill & Ken Hill* Dr. Mark & Angela Reploeg Stephanie & Paul Rollins Steven & Carol Sandor Dianne Sawyer & Richard Petersen Michael & Karen Sherman Carl R. Shinkle Virginia Shipman & Richard Kaiser Amelia Simpson Rodger Sleven & Marcella Flores Walter & Carol Smith Kimberly Smith-Cupani Burt & Barbara Stein Janice Stewart & Gordon Allen Margie Sunderland, MD Mr. & Mrs. Stephen L. Taylor Ronald E. & Ivy L. Timpe Fund of The Oregon Community Foundation Andrew Tweedie & Brice Terrible*

Paul J. Utz & Lory Cogan Utz Lori Van Gordon Virginia Vanderbilt & Michael Garrison Karen & Charles Waibel Richard Wallace & Patricia White Shu-Ju Wang & Mike Coleman Wendy Ware & Dan Gleason Bert A. Waugh Johnna Wells Vikki Wetle* JD & D’Alene White Lindsey & Colin Williams Lisa & Lou Williams Andrew Wilson DJ Wilson & Bill Hoadley Alan Winders & Michael Mase Susan & Jim Winkler Jeff & Jaynie Wirkkala Ruth Fischer-Wright & Craig Wright Fabian Yeager

$250–$499 Anonymous (2) Anonymous*

Thomas R. Anderson & Joan Montague Lee & Lynn Aronson Jean & Ray Auel Jean & David Avison Thayne & Mary Anne Balzer* Mr. & Mrs. Peter Barnhisel Gustav A. Baum John & Cristi Bishop Cheryl A. Bittle William Blosser Brian & Karen Borton Douglas Browning & Jo Shapland Mary Butler Tim & Susan Carey Jennifer Carson Michael Carter & Teresa Ferrer John & Lou Chapman Valri & Vincent Chiappetta Cynthia Church Rhonda & Kenny Cohen Bruce & Janis Collins* Rick & Jean Collins Jeffrey Condit Donald Berg & Carol Cooke John Cornyn Paul & Kathleen Cosgrove

Karen & Ward Cunningham Betty Daschel Maureen Sproviero Davis & Kerwin Davis Alise R. Rubin & Wolfgang Dempke Craig & Julie Dewey* Linda & Jerry Dinan Michael Doherty & Daphne Cooluris Jessica Douglas Robert Dyson Julie & Jim Early Mary A. & Peter Eisenfeld Kris & R. Thomas Elliott Blake Ellis & Scott Ewers Ed & Marilyn Epstein Sandy Feeny* Gilbert & Ellen Feibleman Terry Ferrucci Colleen Finn Greg & Susan Fitz-Gerald Jerry Fong Sharon Frank Terry Franks & Carolyn Duran Richard & Janis Gottlieb Becky Graham

OUR 2019-2020 SEASON

LAST STOP ON MARKET STREET

“LIKE HAMILTON FOR KIDS”

ME... JANE:

THE DREAMS & ADVENTURES OF YOUNG JANE GOODALL

Oct. 19-Nov. 17, 2019 • Ages 5+

DRAGONS LOVE TACOS

Jan. 18-Feb. 16, 2020 • All Ages

–Minneapolis Star Tribune

THE JOURNAL OF BEN UCHIDA: CITIZEN 13559

Feb. 29-Mar. 22, 2020 • Ages 10+

THE VERY HUNGRY CATERPILLAR SHOW Mar. 28-May 17, 2020 • All Ages 503.228.9571 • octc.org

Recommended for all LAST STOP ON ages MARKET STREET

May 2-May 31, 2020 • Ages 5+

503.228.9571 • octc.org 46

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Gail & Walter Grebe Polly Grose Lorraine Guthrie & Erik Kiaer Valerie Halpin Patsy Heinlein Beverly Hoeffer & Carol Beeston Barry & Fanny Horowitz Donald & Lynnette Houghton Dr. Hal Howard Robert & Jill Hrdlicka Kathy & Tom Iberle Peter & Anne Jarvis Becky & Jarrett Jones Susan Jossi & Bob Connors Ross Kaplan & Paula Kanarek Frederick Kirchhoff & Ron Simonis Lucien & Sally Klein Kohnstamm Family Foundation Keith & Merle Koplan Dave Lapof Bob & Sally LeFeber Bob & Debbie Lindow Peter & Janice Linsky Marvin & Sylvia Lurie Rod & Priscilla MacMillan Linda & Ken Mantel Joe Marrone & Ann Belzell Pamela Matheson Oscar & Mary Mayer

Betty McDonald & William Hansen Steven McMaster & Kathleen Brock Bart McMullan Jr. & Patricia Dunahugh Gayle & George McMurria-Bachik Karolyn Meador Charitable Fund Susan Sammons Meyer & Dennis Meyer David & Machteld Mok William Apt & Grant Molsberry Doug & Malinda Moore Jane Moore Clint & Donna Moran Ann Nickerson Landscape Design Gloria Norton Stumped Town Dementia Mary Lou Obloy Bonnie & Robert Olds Ric Oleksak* Eileen & Alfred Ono Beverly J. Orth Paul & Lynn Otto Susan & Milt Parker Brian Henry Pater Sue Pickgrobe & Mike Hoffman Karen Piper

Dee Poujade Andrew & Veronica Proctor Bonnie & Peter Reagan David Rice Helen Richardson & Don S. Hayner Charles & Judith Rooks Don Caniparoli & Sarah Rosenberg Ted & Holly Ruback Mary & Craig Ruble Deborah Santomero & Lisa Hoffman John & Stephanie Saven Connie Schwendemann & Pete Peterson J & C Skuster Neil Soiffer & Carolyn J. Smith Kevin Soto & Michele Cobain-Soto Eve Stern & Les Gutfreund Zach & Vassie Stoumbos Chaline & Caitlin Strickland Samantha Schoenfeld & Douglas Stuart* John & Jan Switzer Ellen Tappon & Ted Wilson Jane Thanner & Tim Smith William & Lori Thayer Grant & Sandy Thurston Lou Ann Tiedemann Peter & Cathy Tronquet Cathy Unis

Dawn Vermeulen Nancy Walker & Terry Foty Create Change, LLC Michael Weiner & Kathy Davis-Weiner Catrin and Mark Williams Maurice & Lauretta Williams Richard & Leslie Wong Robert & Vickie Woods Paul Wrigley & Deborah Cross Jack Wussow & Kyle Adams* Fabian & Julie Yeager Alan & Janet Zell Steven & Kris Zika *Sustaining Donors have opted to give through monthly contributions

For more information about supporting Portland Center Stage at The Armory, please contact Jack Ridenour at 503-445-3744 or jackr@pcs.org.

October 5-12, 2019

MOTHER, COME HOME An immersive, multimedia reading adapted from the graphic novel by Paul Hornschemeier Third Rail at CoHo Theatre Âˇ 2257 NW Raleigh St, Portland Purchase your tickets today at www.thirdrailrep.org or call 503-235-1101

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STAFF MARISSA WOLF

CYNTHIA FUHRMAN

Artistic Director

Managing Director

ARTISTIC

Madelyn Clement, David Harper,

Chip Miller, Associate Producer Benjamin Fainstein, Literary Manager Noelle Simone, Company Manager & Artistic Assistant

ADMINISTRATION & FINANCE Lisa Comer, Finance Director Caitlin Upshaw, Director of HR, Equity & Inclusion

Lydia Comer, HR Manager Ticia Evans, Accounting Manager Alan King, Accountant Chris Beatty, IT Administrator Clement Mugabo, IT Associate

EDUCATION & COMMUNITY PROGRAMS Kelsey Tyler, Education & Community Programs Director

Jonas Angelet, Community Programs Manager Clara-Liis Hillier, Education & Community Programs Associate, Teaching Artist

Matthew B. Zrebski,

Resident Teaching Artist

Senior Patron Services Representatives

Meg Morrigan, Charley Praither, Patron Services Representatives

Hannah Fulop, Virginia Johnson, Megan Schenk, Patron Services Sales Associates

Clarinda Hanson White, Interim Development Director

Eric Steinhauser, Individual & Planned Giving Manager

Marlene A. Montooth, Grants Manager Jack E. Ridenour,

FOOD & BEVERAGE

Liam Kaas-Lentz, Director of Production Katie Nguyen, Associate Production Manager Kristen Mun, Mark Tynan, Janine Vanderhoff, Stage Managers, AEA Dana Petersen, Maca Subiabre,

Melissa Larrabee, CafĂŠ & Bar Manager Erin Rubin, Kitchen & Catering Manager Ryan Smith, CafĂŠ Lead Katrina Hall, Bar Lead Leesidhe Blackburn, Natalie Myers-Guzman, Kitchen Assistants Ari Binks, Justin Charles, Dana Carey, Starla Cummins, Natalie Fund, Kim Gautier, Jamie Inman, Jeremy Laney, Marguerite McLean, Will Ramis, Andrew Rubin, Vanessa VanHardenburg, Jon Verkler, Dani White,

Stage Management Apprentices

Derek Easton, Technical Director Amanda Nelsen, Scene Shop Coordinator Nick Foltz, Master Carpenter Nathan Crosby, Michael Hall, Phil A. Shaw, Carpenters Mary Reischmann, Scenic Charge Artist Shawn Mallory, Kiona McAlister Scenic Painters

Michael Jones, Properties Supervisor Lauren Chilton, Lead Properties Artisan Jamie Tait, Emma Van Halsema,

MARKETING & COMMUNICATIONS Director of Marketing & Communications Associate Director

of Marketing & Communications

Aiyana Cunningham,

Group Sales &

Promotions Manager

Kate Kerns,

Cutters/Drapers

Larissa Cranmer, Associate Draper Barbara Casement, Costume Crafts Artisan Bonnie Henderson-Winnie, Wardrobe Supervisor

& Programmer, U.S. Bank Main Stage

Alex Agnes, Master Electrician & Programmer, Ellyn Bye Studio

Sharon Martell, Claudie Jean Fisher,

Alex Wren Meadows, Costume Shop Manager Paula Buchert, Eva Steingrueber-Fagan,

Em Douglas, Lighting Supervisor Trent Alexz Eccles, Master Electrician

Development Associate

Marketing &

Communications Associate

Hannah Rice, Lead Concierge Nsilo Berry, Wynee Hu, Concierges RaChelle Schmidt, Volunteer Coordinator Michael Rocha, Lead House Manager Jenna Barganski, Nhu Nguyen, Hannah Rice, House Managers

PRODUCTION

Properties Artisan

DEVELOPMENT

FRONT OF HOUSE

Casi Maxwell Pacilio, Resident Sound Designer & Sound/Video Supervisor

Evan Duckworth, Associate Sound & Video Supervisor

Sammi Kelly, Sound & Video Apprentice Tim McGarry, Deck Manager

Mikey Mann, Graphic Designer Kate Szrom, Multimedia Designer Christian Bisgard, Webmaster

OPERATIONS

PATRON SERVICES

Jacob Foster, Tim Taylor,

Luke Robertson, Audience Services Direcor Sierra Walker,

Facilities Assistants

Katie Cronin, Operations Manager Gregery Lee, Eric Murray, Stewart Towle,

Food & Beverage Staff

FOR THIS PRODUCTION In the Heights Garrett Brown, Lauren Williams, Carpenters

Heather Taylor, Wardrobe Day Work Rose Barclay, Vanessa Elsner, Melinda Rodd, Dressers Ken Potts, Michael Wax, Spot Operators Gavin Burgess, Bayley Brown, Kelly Cullom, Gabe Costales, Cody Decker, Joel Ferraro, Ian Hale, Dug Martell, Mary Michels, Megan Moelhman, Kai Rain, Myke Rodrigeuz, Christopher Stull, Megan Thorpe, Laurel Jane Vonderau, Connor Ward, Michael Wax, Lauren Williams, Lisa Yimm, Claire Zaro Electricians

Ryan Gamblin, A2 Montserrat Andreys, Chiropractic Sports Physician

Macbeth Jamie Hammon, Wardrobe Rob Forrester, Christopher Stull, Claire Zaro, Electricians

Operations Assistants

Patron Services Manager

Emily S. Ryan, Patron Services Assistant Manager

PCS.ORG

VOLUNTEER COMMITTEE Connie Guist, Office Assistants Chair Karen Watson, Supporting Cast Chair

EVENTS & RENTALS Elizabeth Hjort, Events & Rentals Manager Jenn Thompson, Events & Rentals Assistant

SUPERSTAR STAFF EMERITUS Sarah E. Mitchell, Rest in Power, Smitch

Life is the world’s greatest improv performance.

The best thing about live theatre is it’s live. Actors can flub a line or start laughing uncontrollably but the show must go on. You improvise, figure it out and keep moving forward. When life changes, it helps to have a trusted financial advisor who can change and adapt right along with you. Umpqua is proud to support Portland Center Stage at The Armory and all the people in the audience who aren’t afraid to improvise a little when things don’t go as planned.

CSG18.0519

DONOR TRIBUTES

BOARD OF DIRECTORS

Tribute gifts for 19–20 Season as of August 5, 2019

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

In memory of Alan Beard Julie & Ted Vigeland In memory of Alan Beard GBD Architects In loving memory of Ben Buckley Joan Peacock In memory of Carol Howard Hal Howard In memory of Kory Mahaffy Julie & Ted Vigeland In loving memory of Sarah E. Mitchell The Armory In honor of Sharon Mueller Reynolds Potter In honor of Rose Riordan Tim & Mary Boyle In memory of Julianna Waibel PCS Investment Committee In honor of David E. Wagner Bill Dickey In memory of Elaine Whiteley The Armory

Sarah J. Crooks Vice Chair and Chair-Elect, Partner, Perkins Coie, LLP Betsy Henning Vice Chair, CEO & Founder, AHA! Strategic Communications Tyler Tatman Treasurer, Finance Controller, Intel Corporation Mike Golub, Secretary, President Of Business, Portland Timbers Mary Boyle, Immediate Past Chair, Civic Volunteer Scott Andrews, Principal, Melvin Mark Companies Phil Beyl, President, GBD Architects Saskia M. de Boer, Partner, Stoel Rives, LLP Greg Chandler, Vice President, IT, The Standard Gustavo J. Cruz Jr., Senior Counsel, Farleigh Wada Witt Kelly K. Douglas, Manager, State Investments, LLC Lana Finley, Community Activist Jeff Gardner, Chief Marketing Officer, Umpqua Bank Renée Holzman, Community Volunteer Linda Illig, Retired, Community Volunteer Jim L. Knoll, President, James L Knoll, PC Aron Larson, Senior Technical Project Manager, Amazon Web Services

LEGACY CIRCLE

Cindy Larson, Owner, Scale Asset Management

The Armory Legacy Circle honors those who have

Joseph F. Mitchoff, CEO, Viridian Reclaimed Wood

included The Armory in their will or estate plans.

Anonymous (2) Keith & Sharon Barnes

Turid Owren, Partner, Tonkon Torp, LLP Alison Page, Vice President Center of Excellence, Brand Operations, adidas

Judy Bradley & Dave Mitchell

Dana Rasmussen, Retired, Attorney

Dr. Gene Baker & Regina Brody

Shelli Romero, President, Rose City Chica

John Maul & Kay Campbell Jess Dishman William & Karen Early

Joseph Sawicki, Vice President & General Manager, Design-To-Silicon Division, Mentor Graphics

Cynthia M. Fuhrman

Dr. Ann E. Smith Sehdev, Physician, Cascade Pathology

Diana Gerding

Rosemarie Thompson, Managing Partner,

Jennifer & Tim Goldsmith Leslie S. Homer Charitable Fund

Roselake Property & Designs, LLC

Dr. Barbara Hort

Dan Watson, CFO, Neil Kelly Company

Carol & Charles Mackey

Michelle Weisenbach, Oregon & SE Washington Market

Virginia S. Mullen

President & Commercial Bank Leader, Key Bank

Jean O’Neill Joan Peacock Diane Quiring

J. Greg Ness, Armory Theater Fund Chair, Director Emeritus, Chairman, CEO & President, Standard Insurance Stancorp Financial Group

Michael Sands & Jane Robinson

H. Pat Ritz, Director Emeritus, Chairman & CEO,

Lisa Sanman

Footwear Specialties International

Douglas & Teresa Smith

Julie Vigeland, Director Emeritus, Civic Volunteer

Eric Steinhauser & Gregg Macy Joe Mitchoff & Curtis Thompson Larry & Elizabeth Volchok

Dedre Marriott, Retired, Former CEO & Professor

PCS.ORG

Diana Gerding, Member Emeritus, Community Volunteer In Memoriam: Bob Gerding

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She’s not the sweetest usher in town (for which competition is fierce), but she knows her stuff.

Greetings, Artslandians.

Send me your questions on the computer or on the Facebook. URSULA@ARTSLANDIA.COM

DEAR URSULA, I’m so sick of the “turn off your cell phone” announcement at every show I attend. I mean, they can’t be serious. I negotiate high-level contracts and must be reachable at all times. Have these people ever heard of turning off a ringer? What about people who have children? Or dogs? What if there’s an emergency? It seems excessive to completely turn off our phones. —My Cell’s My Life

DEAR MY CELL’S MY LIFE, Clearly this is a touchy subject given your dramatic overreaction. Alas, I guess this is the theater. If it were up to me, I would make every patron check their cell phone at the door. Imagine you are in a very contentious, intense contract negotiation, and I decided that I would join you and sit quietly at the back of the room. I have brought my luggage-sized purse that holds my tissues, glasses, Tums, coupons, TriMet map, cardigan, nail clippers, checkbook, and my cell phone. Right at the climax of your big negotiation, just moments from pen meeting paper, my cell rings. I become visibly shaken by the sound and leap to feet to snatch my purse and begin the furious search for that betraying phone, the one I am certain I muted. But my purse has pulled a Mary Poppins, and all I am finding are lamps and antique water pitchers. The phone continues blaring, bringing all of the attention in the room to me and my purse. The mood has changed, and your contract has not been signed. But none of it matters to

I’m Portland’s foremost and awardwinning expert in propriety, crowd management, security, and patron services administration. I’m Ursula the Usher. Yes, that’s right. What’d you think? That ushers just stand around handing out the playbills and pointing to seats? You don’t even know the things we do to keep you safe and comfortable. Ushers are the unsung heroes of the performing arts. .

me, because when I do get to my phone way down in the bottom of my purse, I see a voicemail from my salon confirming my appointment on Monday. Thank goodness, I am confirmed. All is right in the world. As for your contract... Get my point? These actors are professionals whose job it is to focus on the moment. Your phone blowing up also blows up their concentration. It’s just wrong. At that moment, the world does not revolve around you, but it does revolve around the actor who has the spotlight on them. The point is to give yourself permission to be unreachable for an hour or two. You might even find you like it. But, your recognition of the plight of parents makes me think of my 5 children, 14 grandchildren, and 7 great-grandchildren. Of course, some people have situations in their lives and need to be reachable in case of an emergency. Here’s my advice for them. Most, if not all, of these places with the shows will have a telephone number for emergencies outside the four walls. The number for The Armory is (503) 4453727. For all of the Portland’5 venues (Newmark, Keller, Schnitzer, Brunish, and Winningstad), it’s (503) 248-4335. People with real emergencies (not you), can call the box office or check the computer to get this information for any place with the shows. The caller needs the seat number of the person to be notified, so people on whom lives depend should be sure to share that info. Now turn off your cell phone when you’re told, or I’ll throw you right out. —Ursula the Usher ARTSLANDIA.COM

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