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KRISTIN CHENOWETH IN CONCERT – FOR THE GIRLS The star of Broadway, film, and tv joins the Oregon Symphony for a spectacular evening featuring songs from her latest album, For The Girls. Celebrated for originating the role of Glinda the Good Witch in the Broadway hit Wicked, the Emmy and Tony award-winning actress will pay tribute to remarkable women singers, including Dolly Parton, Ariana Grande, and Reba McEntire.
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Artslandia Magazine at the Performace PCS: Full (7.5 x 9.875)
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PAGLIACCI JUNE 5, 7m, 11, 13 KELLER AUDITORIUM
The enduring classic drama Based on a real story from a newspaper clipping in the late nineteenth century, Leoncavallo’s “Clowns” tells the story of a traveling troupe of entertainers who perform for an Italian village. They present a show that becomes increasingly parallel to their actual tumultuous lives—resulting in blurred lines between comedy, tragedy, reality, and performance. With captions, you don’t have to miss a word or moment. So celebrate the art of opera: get fancy with friends, treat yourself, or enjoy a romantic date—this music will move you.
May 9
UP NEXT: A SPECIAL CONCERT
BIG NIGHT KELLER AUDITORIUM
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VOLCANO! Mount St. Helens in Art FEBRUARY 8 - MAY 17, 2020
portlandartmuseum.org Emmet Gowin, American, born 1941, Mount St. Helens, Washington, 1980, Gelatin silver print, ©Emmet Gowin, Courtesy of Pace/MacGill, New York
Don’t miss the final two plays of the season! BASED ON THE ENDURINGLY IRRESISTIBLE NOVEL. Apr. 18 – May 17 Two sisters. Two men. Four radically different views of the world. Follow the defiant Schlegel sisters as they make their mark in a social landscape that seeks to silence them.
All the heart of E.M. Forster’s novel, with a playful style, and 21st century lens! Set model by Scenic Designer Kimie Nishikawa.
“FIERCE AND FUNNY.” - LOS ANGELES TIMES
May 30 – Jun. 28 Award-winning playwright Lauren Yee vividly brings to life the Cambodian rock scene of the ‘60s and ‘70s — a movement cut short by the Khmer Rouge’s brutal regime, which nearly erased the music and the musicians.
“Contemporary theater at its most electrifying, edifying, and emotionally affecting.” - Stage Scene LA Photo of members of the cast by Jim Carmody/La Jolla Playhouse.
It’s the dawning of a new season. Join us for Hair and more! Portland Center Stage at
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SEASON SUPERSTARS MARY & DON BLAIR
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AT TH E P E R FO R M A N C E A C I T Y P L AY B I L L A N D P E R F O R M I N G A R T S M A G A Z I N E
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FROM ARTISTIC DIRECTOR MARISSA WOLF
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THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME
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AN INTERVIEW WITH JAMIE SANDERS
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CURIOUS MISINFORMATION: DISPELLING COMMON MYTHS ABOUT AUTISM SPECTRUM DISORDER
26 BEHIND THE CURTAIN: TREASURE LUNAN
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28 FASCINATING FACTOIDS: MARISSA WOLF 30 9 PARTS OF DESIRE 37 BEHIND THE CURTAIN: NORA EL SAMAHY
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FROM ARTISTIC DIRECTOR
MARISSA WOLF Welcome to spring at Portland Center Stage at The Armory! Our two shows, The Curious Incident of the Dog in the NightTime on the U.S. Bank Main Stage and 9 Parts of Desire in the Ellyn Bye Studio, offer inspiring, contemporary approaches to storytelling as they take us on gorgeous, wrenching, and uplifting journeys. I’ve loved directing Curious Incident! This energetic play, based on the beloved novel by Mark Haddon, invites us to experience the world through the perspective of Christopher, a teenage boy on the autism spectrum. There’s a particular community celebration embedded in the center of this story; the play is built by Christopher’s family and neighbors who come together to re-enact his heroic quest to solve the mystery of his neighbor’s dead dog. Donning hats, coats, and luggage, the friends and family both act in and witness Christopher’s adventure. The community onstage expands out to include us, the audience, who hold up the play with our own engagement and connection. 9 Parts of Desire, written by the incomparable writer/actor Heather Raffo and directed by one of my favorite directors, Evren Odcikin (newly appointed interim associate artistic director at OSF!), offers another deeply compelling approach to storytelling, as actor Nora el Samahy plays nine different Iraqi women living in Iraq, the U.K., and the U.S. in the 1990s and early aughts. Set in-the-round, the play asks us to see ourselves in the nine different women, as well as in each other across this circular, intimate space. This moving play excavates an urgent recent past that frames the present moment of uncertainty and violence through a nuanced and brilliant lens. I am sure that the creative energy of both plays will bound forth from the stage as you find yourselves brought into the heart of these beautiful stories. Thank you for engaging in these dazzling worlds with us!
All best,
Photo by Gary Norman.
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YOU'RE INVITED TO OUR 2020 GALA! Join us for a gala with a kick! We invite you to a decadent evening where The Armory will transform into one of the most iconic nightclubs in the world ... The Moulin Rouge! Expect delicious food, daring drinks, fabulous performances, and a highenergy dance party — all in support of Portland Center Stage at The Armory!
May 9, 2020 Get your tickets today! $500: dinner, auction, and dance party $35: dance party (Ages 21 and up)
pcs.org/gala
WE’RE IN THIS ROOM TOGETHER — AND IT BELONGS TO ALL OF US! Live theater is a uniquely communal experience, and we’re thrilled to have all of you at this production! There are as many ways of responding to theater as there are individuals in the audience. We invite you to experience the plays out loud; you are welcome to cheer, chuckle, laugh out loud, shed tears, or gasp. If you’re someone who prefers to listen quietly while soaking it all in, we honor your impulses as well. Regardless of how you experience the show, we hope you’ll join our mission of making this space feel welcoming for all in attendance by allowing others the freedom to react in ways particular to them, even when that may differ from yours.
Feel free to take a moment to greet your seatmates before the performance begins. We’re neighbors in a civic sense too, after all, so don’t be a stranger — say hi, Pacific Northwest! If a disturbance arises during the performance that you feel requires intervention, rather than taking action by shushing, touching, or scolding other patrons yourself, we ask that you alert our House Management staff to the issue in the lobby. Thank you for creating community here with us today. If you love the show, please tell your friends. If you’d like to share a note about your experience today, please email us at feedback@pcs.org. Did you know? A team at the University College London monitored a group of strangers attending a theater performance and discovered that their heartbeats synchronized. How amazing is that? May our hearts align for this performance!
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Ask award-winning actor & real estate broker Michelle Maida to take your next home transaction center stage.
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On stage and behind the scenes for 25 years supporting the Arts as an actor, commercial artist, theatre donor and board member. Michelle Maida, Principal Broker 503-703-1896 michellemai.johnlscott.com John L. Scott Real Estate | Multimillion Dollar Top Producer
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PORTL AND CENTER STAGE AT THE ARMORY EDITORS & CONTRIBUTORS Claudie Jean Fisher, Associate Director of Marketing & Communications
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On view through July 5, 2020
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Presents
BEAUTIFUL DECAY April 9 – 12, 2020 Newmark Theatre
Tickets Start at $29 obt.org | 503.222.5538 Jessica Lind and Brian Simcoe | Photo by Christopher Peddecord
DREAM·DESIGN·BUILD
(503) 251-9900
What are you dreaming of?
CCB# 174360
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February 29 – April 5, 2020 On the U.S. Bank Main Stage
Marissa Wolf
Artistic Director
Cynthia Fuhrman
Managing Director
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME A play by
Based on the novel by
Directed by
Simon Stephens
Mark Haddon
Marissa Wolf
Choreographer
Scenic Designer
Costume Designer
Lighting Designer
Erika Chong Shuch
Arnulfo Maldonado
Alison Heryer
Robert J. Aguilar
Original Sound Designer & Composer
Sound Designer
Associate Choreographer
Sharath Patel
Natalie Greene
Stage Manager
Production Assistant
Assistant Director
Neurodiversity Consultant
Mark Tynan*
Danny Rosales
Claire F. Martin
Chrissy McNair
Autism Consultant
Dialect Coach
Dance Captain
Casting
Troy Sawyer
Scott Stackhouse
Nicole Marie Green
Chip Miller & Will Cotter
Brendan Aanes
Special thanks to Mary Allison Joseph and Bethany Sulecki for dramaturgical support.
Performed with one intermission. The Curious Incident of the Dog in the Night-Time was first presented by the National Theatre, London, at the Cottesloe Theatre on August 2, 2012, and transferred to the Gielgud Theatre, West End, London, on March 12, 2013. The play opened in the United States at the Ethel Barrymore Theatre on October 5, 2014. This play is presented by kind permission of Warner Bros. Entertainment. The Curious Incident of the Dog in the Night-Time is presented by special arrangement with Dramatists Play Service, Inc., New York. 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 BRIGID FLANIGAN
MARY & DON BLAIR JUDITH GOLDSMITH DR. BARBARA HORT
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Walter Coppage Bree Elrod
Leif Norby Ithica Tell
Karl Hanover
Ayanna Berkshire Delphon “DJ” Curtis Jr. Nicole Marie Green Treasure Lunan Jamie Sanders
THE CAST Ayanna Berkshire*
Judy
Walter Coppage*
Voice Four, Rev. Peters
Delphon “DJ” Curtis Jr.
Voice Three, Policeman
Bree Elrod*
Siobhan
Nicole Marie Green*
Voice One, Mrs. Shears
Karl Hanover*
Voice Two, Roger Shears
Treasure Lunan
Voice Five, No. 40
Leif Norby*
Ed
Jamie Sanders*
Christopher
Ithica Tell*
Voice Six, Mrs. Alexander
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
THANKS TO OUR GENEROUS SPONSORS OF THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME: GBD ARCHITECTS
JUDITH GOLDSMITH
DR. BARBARA HORT
GBD is immensely proud to once again support our neighbors at Portland Center Stage at The Armory! To have designed their home at The Armory was such an incredible privilege. We will be forever grateful for the backstage pass afforded us to witness firsthand the magic that drives their productions and so enriches our community.
When I saw The Curious Incident of the Dog in the Night-Time on Broadway, I was blown away. I remember wishing that it could be available to Portland audiences. Imagine my delight when I learned that it was being produced by Portland Center Stage at The Armory. This gave me the opportunity to sponsor my first show at The Armory. I hope you all enjoy it as much as I did.
In a world where we have come to doubt the tangibility of truth, Curious Incident invites us to consider that the truth can be grasped, but that ability depends on perceptions and capacities that most of us ignore, dismiss, or demean. While we each have our own set of abilities, Christopher’s story suggests that all of us might benefit from contemplating novel perspectives and audacious possibilities. Come and expand your own capacity for discovering truth as you follow Christopher on his courageous journey!
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AN INTERVIEW WITH
JAMIE SANDERS Compiled by Benjamin Fainstein, Portland Center Stage at The Armory Literary Manager
Actor Jamie Sanders, who plays Curious Incident’s protagonist Christopher, reprises the role after collaborating with Portland Center Stage Artistic Director Marissa Wolf when she directed the play at Kansas City Repertory Theatre in 2018. Prior to his debut at KCRep, dramaturgs Mary Allison Joseph and Bethany Sulecki sat down with Jamie to discuss Christopher’s journey and why this play resonates with him personally. We’re pleased to share excerpts of that conversation with Portland audiences as we welcome Jamie back to Christopher’s world. BETHANY: What interests you most about this story? JAMIE: I think it’s a really interesting story about overcoming odds that are set by society rather than more tangible issues. The biggest enemy is a perceived inability to do things, rather than the actual inability to do things. MARY ALLISON: What are you most looking forward to during the process of the show? JAMIE: The train sequence on Christopher’s trip to London. There’s so much crammed into this rapid space, and it’s true to the anxiety of the character. I think it comes as close as possible to giving the audience this feeling of being overwhelmed right along with Christopher. BETHANY: What unique insights do you believe you bring to the play and the character? JAMIE: I have a different set of circumstances than Christopher. I have Tourettes, and it causes me to be sensitive to the world around me, particularly to touch and sound. Obviously, part of acting is feeling things you necessarily wouldn’t understand, but I get an added bonus when Christopher feels uncomfortable with touch because I also feel discomfort and overwhelming anxiety. Like Christopher, I perceive rules in the world around me that I have to follow but that no one else sees, and for me that’s an everyday reality. MARY ALLISON: As an actor who also has Tourette Syndrome, what unique gifts and experiences do you think you bring to the stage? JAMIE: I think I bring an understanding of stillness. I feel like my relationship with it is extremely intimate because, as someone with Tourettes, I don’t experience stillness very often. Finding that moment in a performance where I’m just existing, and I can feel everyone’s eyes on me, which has normally been a feeling of shame but is now something beautiful, and I can be a statue, for even a half a second, that people can see real emotion on; that is what I strive for. BETHANY: You have a popular YouTube channel called “Jamie Sanders,” on which you post informative and often funny content about Tourette Syndrome and autism. What was your inspiration for your YouTube channel? JAMIE: There wasn’t enough representation on YouTube for Tourettes when I was growing up, and that really hurt as a kid trying to understand where I fit in socially. I can use the videos as a voice that I never had when I was in middle school. If I can make a YouTube video that makes anyone with Tourettes feel better about themselves and helps them to accept themselves, then that’s why I’m making those videos. MARY ALLISON: What do you hope audiences will take away from the show?
Jamie Sanders at Kansas City Repertory Theatre. Photo by Cory Weaver.
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JAMIE: I think this is going to be the sappiest answer, but there is a line in the show that is basically saying, “If I can do this, I can do anything, can’t I?” Through watching Christopher, regardless of their situation, I hope audience members can all take away this central, unifying message: If you set your mind to it, you are capable of accomplishing the things you really want.
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CURIOUS MISINFORMATION DISPELLING COMMON MYTHS ABOUT AUTISM SPECTRUM DISORDER AUTISM SPECTRUM DISORDER (ASD) is an umbrella term for a category of neurological and developmental disorders that have particular shared characteristics; people on the autism spectrum often have atypical behaviors in the realms of communication and socialization, but it is important to recognize that each individual’s neurology is unique and the ways in which ASD manifests is distinct from person to person.
MISCONCEPTION: ASD is a new thing.
The first clinical description of a patient with ASD appeared in 1943, but historical cases identifying children on the spectrum can be traced back to 1799. MISCONCEPTION: ASD has a specific or determined cause.
No evidence has yet led to a comprehensive consensus on the source or root cause of ASD. MISCONCEPTION: Identifying individuals on the spectrum can be done easily and systematically.
The diversity of disorders spanning the spectrum, in addition to the unique ways in which they manifest in each individual, means that everyone on the spectrum has their own challenges and gifts. It would be a mistake to assume a person’s neuro-typical/atypical status based on a first impression.
MISCONCEPTION: Individuals on the spectrum are either severely mentally disabled or intellectually gifted.
Again, there’s no distinct standard. Approximately 10% of individuals on the spectrum possess “savant” abilities (extraordinary cognitive powers), while another percentage of people with ASD do live with mental disabilities. Yet the majority of folks in the ASD community may experience neither of these, or a calibration of the two completely unique to their own brain. MISCONCEPTION: Folks on the spectrum do not feel emotions or form significant bonds with other people.
People on the spectrum have emotions and feelings, just like anyone. Some individuals on the spectrum may express their emotions in ways that appear unusual or perplexing to neurotypical individuals, but it’s pure myth that everyone with ASD lacks feelings. Many people on the spectrum lead thriving social lives and are quite capable of experiencing and expressing the full range of human emotion.
LEARN MORE: LOCAL & NATIONAL RESOURCES FOR ASD Autism Society of Oregon autismsocietyoregon.org Portland Autism Center portlandautismcenter.com Synergy Autism Center synergyautismcenter.com FACT Oregon factoregon.org PSU Autism Training & Research Center pdx.edu/autism-center Oregon Commission on ASD orcommissionasd.org Adult Asperger & Autism Support Group aasapdx.org National Autism Center nationalautismcenter.org
Compiled by Benjamin Fainstein, Portland Center Stage at The Armory Literary Manager. Adapted from “Autism Myths and Misconceptions” available at pbs.org.
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THE RITE OF SPRING APR 23 – 25 / 2020
TICKETS NWDANCEPROJECT.ORG 503.828.8285 PHOTO / MICHAEL SLOBODIAN
DANCER / ANTHONY PUCCI
MEET THE CAST Ayanna Berkshire, Judy Ayanna (she/her) is thrilled to make her Portland Center Stage at The Armory debut. Ayanna is a resident artist of Artists Repertory Theatre and splits her work between stage and screen. Her theater credits include: The Revolutionists, Wolf Play (world premiere), Teenage Dick, Small Mouth Sounds, Between Riverside and Crazy, An Octoroon, The Importance of Being Earnest (Artists Repertory Theatre); The Scottsboro Boys (Ahmenson Theatre); Back Bog Beast Bait, Bang. Curtain. End of Show, The Investigation of the Murder in El Salvador (Defunkt Theatre); and The Tales of Canterbury (Ensemble Loupan). Film/TV: Twilight, Chicago P.D., Curb Your Enthusiasm, Parenthood, Portlandia, Documentary Now, Grimm, Extraordinary Measures, The Shasta Triangle, The Record Keeper, and more. Proud member of AEA and SAG-AFTRA. Ayanna would like to thank you for actively supporting the arts! Walter Coppage, Voice Four, Rev. Peters Walter has performed at Steppenwolf Theatre, Studio Theatre, Kansas City Repertory Theatre, The Black Rep, The Coterie, Unicorn Theatre, Spinning Tree Theatre, Kansas City Actors Theatre. Past roles include: Charlotte/Mr. Bennet in Pride and Prejudice; Sam in “Master Harold”… and the boys; Gabriel in Fences, Martin Luther King Jr. in The Mountaintop; Dr. Copeland in The Heart is a Lonely Hunter; Stage Manager in Our Town; Rat in Welcome To Fear City, Polonius in Hamlet; Harmond Wilks in Radio Golf; Chutes & Ladders in Water By The Spoonful; Charles in The Clean House; Narrator/Marley/ Cratchit/Fezziwig in A Christmas 20
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Carol. Film credits include: All Creatures Here Below, Goodland, Jayhawkers, Destination: Planet Negro!, In The Wake Of Ire, The Only Good Indian. TV credits include: Detroiters (Comedy Central), Chicago Med (NBC), Gone in the Night (CBS), All Roads Lead Home (Showtime). Delphon “DJ” Curtis Jr., Voice Three, Policeman DJ is ecstatic to return to Portland Center Stage at The Armory, having recently appeared as the title role in Hedwig and the Angry Inch. He graduated from William Peace University with a B.F.A. in musical theater. Favorite credits include: David Lee’s adaptation of Lerner and Lowe’s Camelot with The Old Creamery Theatre and Great Plains Theatre, The Wiz with Shenandoah Summer Music Theatre, and Ruined at Burning Coal Theatre Company. Local credits: Ghosted with Oregon Children’s Theatre, A Christmas Carol and Crowns at Portland Playhouse, and Sides: The Musical at Portland Playhouse and Lakewood Theatre Company for the Fertile Ground Festival. He would like to thank his loved ones for their distant, and close, love and support. Thank you to everyone who made this possible. Bree Elrod, Siobhan Off-Broadway: Coriolanus (The Public Theater), My Name is Rachel Corrie (Minetta Lane Theatre), Sehnsucht (JACK Theatre), Jump!/Realism (Kirk Theatre). Regional: Fire in Dreamland, Constellations, Pride and Prejudice, The Curious Incident of the Dog in the NightTime (Kansas City Repertory Theatre), A Streetcar Named Desire (KC Actors Theatre), Twelfth Night, The Merchant of Venice (Heart of America
Shakespeare Festival), Rock ‘n’ Roll (ACT/Huntington Theatre), Angels in America (Boston TheatreWorks), The Two Noble Kinsmen (The Old Globe, San Diego Theatre Critics Circle Award). Film: Shutter Island, dir. Martin Scorsese. Bree is a member of The Actors Center and AEA. M.F.A. from Tisch School of the Arts Graduate Acting. Nicole Marie Green, Voice One, Mrs. Shears, Dance Captain Pride and Prejudice, The Curious Incident of the Dog in the Nighttime, The Diary of Anne Frank, A Christmas Carol, Our Town (Kansas City Repertory Theatre); Tribes (Unicorn Theatre); The Wizard of Oz (Mesner Puppet Theatre); The Dixie Swim Club (New Theatre); ThisThatThen (The Living Room), Turn of the Screw (Spinning Tree Theatre); The Miraculous Journey of Edward Tulane, Afflicted: Daughters of Salem (The Coterie Theatre); The Winter’s Tale (Heart of America Shakespeare Festival); The Liar, Love’s Labour’s Lost, Big Love! (UMKC Theatre); Enchanted April (Elmwood Playhouse); The Sword and the Stone, A Christmas Carol (Traveling Lantern Theatre Company); The Odd Couple (Antrim Playhouse). Education: B.A., Flagler College; M.F.A., UMKC. Proud AEA member. nicolemariegreen.com Karl Hanover, Voice Two, Roger Shears Originally from Ireland, Karl has been involved in theater in various capacities for the last 25 years. He received his M.F.A. in acting from the National Theater Conservatory in Denver and has performed in numerous productions at theaters around the country, including Cal Shakes, DCPA Theatre Company,
Philadelphia Shakespeare Festival, Shakespeare Santa Cruz, Palm Beach Dramaworks, Berkeley Repertory Theatre, Profile Theatre, and Magic Theater for the world premiere of Expedition 6, an original work devised and directed by Bill Pullman. In addition to his time on stage, he has also done voice work for the gaming industry, including the characters of Atlas and Fontaine in BioShock, BioShock 2, and BioShock Infinite: Burial at Sea. Treasure Lunan, Voice Five, No. 40 Treasure (they/them) is overjoyed to be returning to Portland Center stage at The Armory for The Curious Incident of the Dog in the Night-Time. Recent credits include The Most Massive Woman Wins (Deep End Theater), Miss Bennet: Christmas at Pemberley, and School Girls; Or, The African Mean Girls Play (The Armory). They are extremely grateful to be a part of this groundbreaking and heartwarming show and would like to extend an enthusiastic thank you to the audience for supporting the arts! Leif Norby, Ed Leif was last seen at Porland Center Stage at The Armory in Tiny Beautiful Things. Other appearances at The Armory include: A Christmas Memory/ Winter Song, Astoria: Part One and Two, Wild and Reckless, The Oregon Trail, Our Town, Cyrano, Othello, Anna Karenina, Sunset Boulevard, The 39 Steps, Ragtime, and Guys and Dolls. Other recent appearances include A Doll’s House, A Doll’s House, Part 2 (DCPA Theater Company); Man of La Mancha (Lakewood Theater Company); In the Next Room (Profile Theater); The God Game (Brandon Woolley prod.); Mr.
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MEET THE CAST AND CREATIVE TEAM Kolpert and Mystery of Irma Vep (Third Rail Repertory Theater), And So It Goes… and Red Herring (Artists Repertory Theater); and Beauty and the Beast (Pixie Dust). Television credits include Portlandia and Leverage. Leif is a proud member of Actors’ Equity. Jamie Sanders, Christopher Jamie (he/him) is extremely excited to return to Curious Incident under the direction of Marissa Wolf, having last played Christopher in her Kansas City production. Prior credits include Treplev in The Seagull (Hunter Theater Project), Cloten in Cymbeline (Emerson Shakespeare Society), Quasimodo in The Hunchback of Notre Dame (The Little Flower Theater), Gage in Rancich (Storyhorse Theater). He is a long time member of the ensemble of Theater of War, a touring program dedicated to using theater as a conduit for healing discussions about addiction and PTSD. He makes YouTube videos about living with Tourette’s syndrome on his channel “Jamie Sanders.” Ithica Tell, Voice Six, Mrs. Alexander PAMTA winner Ithica Tell is ecstatic to return to Portland Center Stage at The Armory, where she was most recently seen as Yitzhak in Hedwig and the Angry Inch. Ithica’s vast Portland resume includes: Judas in Jesus Christ Superstar (StreetScenes), Wanda in Crowns (Portland Playhouse), Othello in Othello (Post5 Theatre), Frances in Melancholy Play (Third Rail Repertory Theatre), Mitch Mahoney in The 25th Annual Putnam County Spelling Bee (Anonymous Theatre), and Ursula in Bon Temps Roulette at
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the Shakespeare Café (Bremer Shakespeare Company, Germany). Ithica has appeared on Grimm (NBC), The Librarians (TNT), The Benefits of Gusbandry (web series), and Life After First Failure (CW Seed). Ithica would like to give big love to her sister Isha for “the acting bug” and to Ethan, for bringing the perfect balance to her life with his love. Simon Stephens, Playwright Simon is an award-winning playwright whose plays have been translated into more than 30 languages and produced all over the world. He is a professor of playwriting at Manchester Metropolitan University, an associate playwright at the Royal Court Theatre, the artistic associate at the Lyric Hammersmith in London, and the Steep Associate Playwright at Steep Theatre in Chicago. His work includes Bluebird, Herons, Port, Christmas, Country Music, On the Shore of the Wide World, Motortown, Harper Regan, Sea Wall, Pornography, Punk Rock, The Trial of Ubu, A Thousand Stars Explode in the Sky, Marine Parade, Wastwater, I am the Wind, and Three Kingdoms. TV credits include an adaptation of Pornography for Coming Up (Channel 4) and Dive (Granada/BBC). Mark Haddon, Author Mark is a British novelist and poet. He was educated at Uppingham School and Merton College, Oxford, where he studied English. Haddon won the 2003 Whitbread Book of the Year Award and the 2004 Commonwealth Writers’ Prize Overall Best First Book for The Curious Incident of the Dog in the Night-Time. His second adult novel, A Spot of Bother, was published in 2006. Haddon
is known for his series of Agent Z books, one of which, Agent Z and the Penguin from Mars, was made into a 1996 Children’s BBC sitcom. He also wrote the screenplay for the 2004 BBC television adaptation of Raymond Briggs’ story Fungus the Bogeyman and the 2007 BBC television drama Coming Down the Mountain. Haddon lives in Oxford with his wife Dr. Sos Eltis, a fellow of Brasenose College, Oxford, and their two young sons. Marissa Wolf, Director Marissa (she/her) is currently in her second season as artistic director of Portland Center Stage at The Armory, where she recently directed Miss Bennet: Christmas at Pemberley. 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). 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.
Erika Chong Shuch, Choreographer Erika is a performance maker, choreographer, and director interested in expanding ideas around how performance is created and shared. For You is an ongoing performance making practice that brings diverse strangers together for intimate encounters (foryou.productions). Recent projects also include TheaterTheater, a participatory morality play exploring the hidden forces underlying everyday ethical choices. Her original work has been commissioned and supported by New England Foundation for the Arts/National Theater Project, Creative Capital, Creative Work Fund, Gerbode Foundation, Daejeon Metropolitan Dance Theater (Korea), and The Ground Floor: Berkeley Repertory Theater’s Center for the Creation and Development of New Work. Erika choreographs nationally for companies such as Oregon Shakespeare Festival, Folger Theatre, Hudson Valley Shakespeare Festival, The Kennedy Center, American Conservatory Theater, Playmakers Repertory Company, Cal Shakes, Arena Stage, Baltimore Center Stage, Court Theatre, The Old Globe, Pittsburgh Public Theater, and Magic Theatre. erikachongshuch.org. Arnulfo Maldonado, Scenic Designer Off-Broadway credits include Paris, Fireflies (Atlantic Theater Company); Power Strip, The Rolling Stone (Lincoln Center Theater); Sugar in Our Wounds (Manhattan Theatre Club, Lucille Lortel Award); School Girls, Charm (Manhattan Theatre Club); one in two (The New Group); A Strange Loop, Dance Nation (Playwrights Horizons); Usual Girls (Roundabout Theatre Company); The Underlying Chris (Second Stage); Fires in the Mirror (Signature Theatre).
Regional: Alley Theatre, Berkeley Repertory Theatre, Baltimore Center Stage, Dallas Theater Center, Guthrie Theater, Kansas City Repertory Theatre, The Old Globe, Steppenwolf Theater Company, Woolly Mammoth. Tour: The Magnetic Fields: 50 Song Memoir (BAM, International). Arnulfo is a Clubbed Thumb affiliated artist, a recipient of a Princess Grace Fabergé Theatre Award, and a multiple Henry Hewes Design nominee. Training: NYU Tisch School of the Arts. arnulfomaldonado.com @arnulfo.maldonado.design Alison Heryer, Costume Designer Alison is a costume designer for live performance, film, and print media. Her design credits include productions at Steppenwolf Theatre, 59E59 Theaters, The New Victory Theater, Gertrude Opera, Seattle Rep, Portland Center Stage at The Armory, Portland Opera, Kansas City Repertory Theatre, Indiana Repertory Theatre, ZACH Theatre, Artists Repertory Theatre, The Hypocrites, Redmoon Theater, La MaMa Experimental Theatre Club, and the SXSW Film Festival. She has exhibited work at the Nelson Atkins Museum of Art, the Prague Quadrennial of Design and Space, and World Stage Design Exhibition. Alison is a member of United Scenic Artists Local 829 and the associate professor of costume and textiles in the School of Art + Design at Portland State University.
Northwest’s premier full-service “boutique” audio recording studio. • Student Demos • Podcasts
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Robert J. Aguilar, Lighting Designer Portland Center Stage at The Armory designs include In the Heights. Other NW credits: In the Heights, MAC BETH, A Raisin in the Sun, I Am My Own Wife, Lizard Boy (Seattle Rep); Hir, Barbeque, Angels in America (Intiman Theatre); The Year of Magical
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7923 SE 13th Ave. Portland, OR 97202 thelmas.com 503.235.9693
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MEET THE CREATIVE TEAM Thinking, The Wolves (ACT); Urinetown (ACT/The 5th Avenue Theatre); The Pajama Game, How to Succeed ..., Jasper in Deadland (The 5th Avenue Theatre); Spelling Bee, String, Trails, Afterwords (Village Theatre); Uncle Vanya, The Cherry Orchard, The Three Sisters (The Seagull Project). Regional credits: Little Shop of Horrors, Marjorie Prime (Pittsburgh Public); Susan (Public Theater UTR); Full Gallop (The Old Globe); In the Heights, Seven Spots on the Sun (Cincinnati Playhouse in the Park). Robert is the lighting director for Seattle Repertory Theatre. robertjaguilar.com @fake_robert Brendan Aanes, Original Sound Designer & Composer Brendan (he/him) is a Brooklynbased sound designer and
YOU SAW SOMETHING BEAUTIFUL AND TOOK IT FOR NO OTHER REASON THAT IT NOT BEING YOURS
WRITTEN BY BETO O’BYRNE DIRECTED BY KINAN VALDEZ MAR 19 – APR 11, 2020 TICKETS ARE ON SALE NOW! MILAGRO.ORG 503.236.7253
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composer whose work includes design for plays, musicals, and interactive installations, scores for theater and dance, live foley, and design for concert performances. Recent credits include Fire in Dreamland at The Public Theater, Balls with One Year Lease Theater Company (Drama Desk nomination), {my lingerie play} at Rattlestick Playwrights Theater, Cowboy Bob at Ars Nova, The Unfortunates, John, The Hard Problem, and Chester Bailey at American Conservatory Theater, The Curious Incident of the Dog in the Night-Time at Kansas City Repertory Theatre, The Glass Menagerie and Othello at Cal Shakes, and The Music Man at Sharon Playhouse. Brendan received his M.F.A. in music from Mills College. aanes.org
Sharath Patel, Sound Designer Sharath works nationally and internationally, focusing on experimental, commercial, academic, political, and socially conscious theater. Recent work: In the Heights, Macbeth, The Color Purple (Portland Center Stage at The Armory); The Mystery of Irma Vep (The Repertory Theatre of St. Louis); Snow White (Seattle Children’s Theatre); Pass Over (A Contemporary Theatre); Amadeus (Folger Theatre); Ibsen in Chicago (Seattle Rep); Wolf Play (Artists Repertory Theatre); Nina Simone: Four Women (Alabama Shakespeare Festival); The Wickhams: Christmas at Pemberley (Marin Theatre Company); As You Like It (Cal Shakes); Free Outgoing (East West Players); WIG OUT!
(American Repertory Theater/ Company One Theatre). He is a member of United Scenic Artists Local 829, IATSE, and the Theatrical Sound Designers and Composers Association, an Arts Envoy for the U.S. Department of State, and a resident artist at Artist Rep. M.F.A.: Yale School of Drama. sharathpatel.com Natalie Greene, Associate Choreographer Natalie (she/her) is a multidisciplinary artist based in San Francisco. She is the artistic director of the awardwinning devised theater ensemble Mugwumpin, having directed In Event of Moon Disaster (Z Space, TBA Award), choreographed Blockbuster Season (Intersection for the Arts), and co-created/performed in multiple productions for the company. Natalie teaches dance and theater in the Department of Performing Arts & Social Justice at the University of San Francisco. Recent choreography: The Good Person of Szechwan (Cal Shakes), The Looking Glass Self 1.0 (Mugwumpin at CounterPulse), Cabaret (Stanford University), and Vinegar Tom (Shotgun Players). Choreography and intimacy direction: The Children (Aurora Theater Company), Passion (Custom Made Theater), Woman Laughing Alone with Salad and Elevada (Shotgun Players). Big thanks to Erika and Marissa. mugwumpin.org 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 (he/him) 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. Danny Rosales, Production Assistant Danny is ecstatic to start 2020 back at Portland Center Stage at The Armory. His previous credits at The Amory include The Magic Play and Every Brilliant Thing. Some of his favorite stage management credits include The Brothers Paranormal (CoHo Productions/MediaRites’ Theatre Diaspora); Here on This Bridge: The -Ism Project (MediaRites’ Theatre Diaspora); and A Map of Virtue (Theatre Vertigo). When he’s not busy working on shows, you can usually find him playing with trash or eating too much ice cream. But silliness set aside, Danny is grateful to be working on this fantastic show with such amazing people. Lastly, he would like to thank his friends, family, and doggos for all their love and support.
to provide a more inclusive and accepting environment for neurodiverse employees and customers. She is also passionate about supporting parents and caregivers of loved ones with special needs, is a public speaker, and is the author of the book Special, Too — A Guide to Nurturing the Special Needs of the Caregiver. She lives in Portland, Oregon, with her husband, sons, two loyal dogs, and feisty rescue kitten. Scott Stackhouse, Dialect Coach Scott teaches vocal production, text, and dialects for the M.F.A. program at the University of Missouri-Kansas City. A graduate of UCLA, Scott has worked nationally as an actor, director, vocal coach, and fight choreographer. Most recently, he served as voice coach on productions of Pride and Prejudice, School Girls; Or, The African Mean Girls Play, The Curious Incident of the Dog in the Night-Time, and A Christmas Carol at Kansas City Repertory Theatre; Rise Up at The Coterie Theatre; Priscilla, Queen of the Desert at the Unicorn; and The Mousetrap at Tent Theatre. Scott holds a certificate in Louis Colaianni’s Phonetic pedagogy and is an editor-at-large for the International Dialects of English Archive.
Chrissy McNair, Neurodiversity Consultant Chrissy is a neurodiversity consultant specializing in the areas of inclusion, strategic planning, and public policy advocacy for individuals, small businesses, and non-profits. She is the mother to three boys, one who is a young adult on the Autism Spectrum. Chrissy is dedicated to supporting organizations in their quest
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BEHIND THE CURTAIN
The most extraordinary performances I’ve seen were performances I also felt, and that’s one thing an actor can’t fake. It’s like an energy of presence that ripples outward from them and fills the room. Theater should be visceral, so when I feel that, I know it’s extraordinary.”
What, for you, is the most fulfilling aspect of your life as an actor?
MEET THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME’S
TREASURE LUNAN BY ARTSLANDIA
I love being able to embody another person’s experience by manifesting different aspects of myself. Finding where the characters and myself align (and where we don’t) is such an enriching and enlightening experience. I feel like I always walk away with a better understanding of who I am, which I think lends itself to a desire to understand the world and the people around me better. What are your fondest theater memories? Some of my fondest memories are from performing in high school theater! There was just so much passion and curiosity and willingness to put it all out there! I wish I had the confidence level of my high school self, who wasn’t intimidated by hitting a bad note or going up on a line. What’s the best advice you’ve ever been given about anything?
Treasure made their debut at The Armory as Jane Bingley in Miss Bennet: Christmas at Pemberley. Treasure will reprise the role next season when this delightful holiday hit returns. Photo by Russell J. Young.
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“You don’t have to be perfect; you just have to be present.” That advice has gotten me through a lot in life, but it’s also very pertinent to performing. It helps me to remember not to dwell on imperfections or mistakes but to keep just showing up and doing the best I can in the moment.
When and why did you start acting? I started acting again recently because, honestly, if you have that little acting bug in you, you can’t stay away from it long. I hadn’t done much performing since I moved out here in 2015. Once here, I had made a few half-hearted attempts by going to open calls and doing some background work, but I wasn’t fully committed. After an intensely trying time in 2017, I decided that I needed something to be passionate about again, so I started going on auditions. To my surprise, it felt really good! I remembered how much I loved the nervous exhilaration of performing. I decided to lunge into it full speed, and I’m thrilled I did. What constitutes an extraordinary live performance, in your opinion? Knowing, seeing, and feeling that the actor is connected with themselves, the audience, and their cast. The most extraordinary performances I’ve seen were performances I also felt, and that’s one thing an actor can’t fake. It’s like an energy of presence that ripples outward from them and fills the room. Theater should be visceral, so when I feel that, I know it’s extraordinary. What advice do you have for someone wanting to follow in your footsteps? Even if you think you aren’t ready, just go for it. Be willing to make mistakes and learn on your feet. Trust yourself. Does your mind ever wander when you are onstage? Oh gosh, yes, but usually about things that are happening onstage. For instance, if a cast member changes the way they deliver a certain line or if they seem dropped into a performance, I might notice it and think about it for a split second. But I always try to hurry up and get my hamster back on the wheel before my next line. How do you handle mistakes during a performance? Honestly, I try to barrel past it because once it’s out there, it’s out there, you know? I’ve found that if I panic, it not only affects that moment, but it tends to bleed over into the next moment and the next moment. My utmost goal is to be as present onstage as I can be, and thinking about mistakes too much is definitely not conducive to that.
Do you get nervous before a performance? Definitely! But it’s a good nervous. There’s a line in a song by The Killers that goes, “How do you know that you’re right if you’re not nervous anymore?” It resonates with me so deeply because nothing makes me more nervous than going after something I really, truly want. And as long as I really, truly want to show up and do the script justice, put on a show for the audience, and be present for myself, I’m going to get nervous. When did you first know you wanted to be a professional actor? I’ve known I wanted to act since I was 8 years old and bought my first acting book from a scholastic book fair in the third grade. I was a huge bookworm and fell in love with the idea that I could be a part of bringing stories to life. I even used to turn my Baby-Sitters Club books into mini screenplays! I have had many passions and hobbies since then, but acting has been the most enduring. What’s the biggest challenge you’ve had to overcome so far, and how did it change you? Fear. I had to renegotiate my relationship with fear to start putting myself out there again. I almost talked myself out of going to the general auditions for Portland Center Stage at The Armory because I was so afraid of failing. But adjusting my perspective and reminding myself it was okay to both fail and be afraid gave me the courage to walk into the auditions and give it my all, and I wouldn’t be here if I hadn’t. Artslandia’s theme for the 2019–2020 season is A Night Out. Describe for our readers your perfect night out. My nightlife tastes are pretty epicurean, so a perfect night out for me is a dimly lit bar or restaurant with soft ambient music. That simple atmosphere combined with great company, creative cocktails, and sumptuous food will always leave me feeling like I’ve had the perfect evening. .
Most recently, Treasure starred as the kind and sensitive 16-year-old Nana in School Girls; Or, The African Mean Girls Play. Photo by Karen Weliky.
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FASCINATING FACTOIDS
MARISSA WOLF BY ARTSLANDIA
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Photo by Christine Dong.
AT AGE 3, A PERFORMANCE OF GOLDILOCKS AND THE THREE BEARS HAD MARISSA WOLF SO TRANSFIXED AND ENCHANTED THAT SHE CRIED WHEN IT WAS OVER. Upon returning home, she cast her mother in a DIY performance. When her mother delivered a line imperfectly, as in not precisely how Wolf remembered it from the show, the young and newly minted director would shout, “No! That’s not right!”
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THE ENDLESS VARIETY OF TASTY FOOD TOPS THE LIST OF WOLF’S FAVORITE THINGS ABOUT PORTLAND.
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WOLF’S MAGICAL WEEKEND MORNINGS BEGIN with locally roasted, deliciously strong coffee in hand and sitting on the floor with her kid to build Legos as the sun rises.
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WHEN SHE WAS YOUNGER, FACED WITH DOUBTS THAT A LIFE AND CAREER IN THEATER WOULD COME TOGETHER, Wolf considered becoming a rabbi or a psychoanalyst.
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AT THE TOP OF WOLF’S PLAYLIST THIS MONTH ARE Good As Hell by Lizzo and Poetry by Dead Men by Sara Bareilles. The chart-topper for family singalongs of musical theater tunes in the car is Skid Row (Downtown) from Little Shop of Horrors.
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WHILE WOLF FINDS GUNS, SYSTEMS OF OPPRESSION, AND THE ELECTORAL COLLEGE UTTERLY TERRIFYING, she’s confessed to sleeping with the lights on all night after watching a scary movie on more than one occasion.
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WOLF’S FAVORITE CHILDREN’S BOOK IS HANDSDOWN HOW TO POTTY TRAIN YOUR PORCUPINE BY TOM TORO (WHO ALSO HAPPENS TO BE HER HUSBAND), but you’ll have to wait until it hits the shelves in May to check it out. In the meantime, her family is rereading the chapter book series Zoey and Sassafras by Asia Citro.
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A FARMERS MARKET DEVOTEE, Wolf is one of those of brave customers who is undeterred by weather or season.
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SHRILL WAS THE LAST SHOW WOLF BINGE-WATCHED THANKS TO THE DELIGHT OF SEEING PORTLAND ACTORS POP UP IN DIFFERENT EPISODES AND AIDY BRYANT’S OFF THE HOOK HUMOR, BITE, AND HEART.
ASIDE FROM NIGHTS AT THE ARMORY AND OTHER LIVE THEATER VENUES, WOLF’S IDEA OF A PERFECT NIGHT OUT IS CATCHING A NOT-SO-SCARY MOVIE AT LAURELHURST THEATER. Salty popcorn, beer, and then late nosh at Güero are also required. .
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March 7 – April 19, 2020 In the Ellyn Bye Studio
Marissa Wolf
Artistic Director
Cynthia Fuhrman
Managing Director
Heather Raffo’s
9 PARTS OF DESIRE Directed by
Featuring
Evren Odcikin
Nora el Samahy*
Scenic Designer
Costume Designer
Lighting Designer
Kate Boyd
Dina El-Aziz
Solomon Weisbard
Sound Designer
Stage Manager
Rehearsal Stage Managers
James Ard
Kristen Mun*
Katie Nguyen & Liam Kaas-Lentz*
Production Assistant
Cultural, Dialect & Language Consultant
Macarena Subiabre
Israa Hasani
Performed with no intermission. Originally produced for the New York stage by Manhattan Ensemble Theater, Dave Fishelson, Artistic Director. Originally produced by Erich Jungwirth, Voice Chair Productions; Richard Jordan, Richard Jordan Productions, Ltd. All characters appearing in this work are fictitious. Special thanks to Geraldine Brooks for the inspiration of her book Nine Parts of Desire. British premiere, Traverse Theatre, Edinburgh. London premiere, Bush Theatre, Shepherds Bush Green, London. 9 Parts of Desire is presented by special arrangement with Dramatists Play Service, Inc., New York. 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 REYNOLDS POTTER & SHARON MUELLER
MARY & DON BLAIR
THE FRANKLIN & DOROTHY PIACENTINI CHARITABLE TRUST
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FROM THE PLAYWRIGHT: HEATHER RAFFO This play was inspired by a life-changing trip I made to Iraq in 1993. It was only a few years after the Gulf War had ended, and I was longing to see my family. To my childhood memory, Baghdad was the magical place I had been as a little girl, and where I’d slept on the roof of my grandmother’s house under the stars. But since the gut-wrenching war, Baghdad was simply where more than 50 of my immediate relatives still lived. It would be my first time back to Iraq as an adult. The only way into Iraq at this time was by bus across the desert, for me a 17-hour trip in total from Amman, Jordan. When I reached the Iraqi border, everyone from my bus got into the line for Middle Easterners except me. To them I was classified as “other,” so I had to go down a long hallway into a back room. There was a man behind a desk; he opened my passport, looked at me, then back down at the passport. He got up, walked all the way across the room, and shook my hand. He said, “Welcome to your father’s country; we hope you take back a good impression of the Iraqi people. Know our people are not our government. Please be at home here, and when you return, tell your people about us.” Seven hours later I was in Baghdad, hugging all 50 members of my father’s family. They called me their daughter; they fought over who would cook me dinner, and whose house I would visit first. I was like an orphan finding her family on that trip, soaking up every story about their lives, and how my father grew up. I saw buildings my grandfather and great-grandfather had carved from marble; I saw the house my father grew up in; and I saw the obvious destruction of the country. Across the street from my uncle’s house was a pile of rubble — a neighbor’s house and a casualty of a stray bomb. I visited the Amiriyya bomb shelter where many Iraqi civilians lost their lives when the shelter became a target in the 1991 war. I went to the Saddam Art Center, the modern art museum of Baghdad, and saw room after room of billboard-sized portraits of Saddam Hussein. Then, I wandered into a small room and there was a haunting painting of a nude woman clinging to a barren tree. Her head was hanging, bowed, and there was a golden light behind her, like a sun. The painting was titled Savagery. This painting lived with me for many years, haunting me and tugging at me to tell its story. I began by researching the artist. She had been killed by an American air raid in June of 1993, a few months before I saw her painting hanging in the Saddam Art Center. It was a national tragedy, a beloved female artist and curator of the museum, killed by an American bomb. I knew I would never meet her, but I wanted to talk to other Iraqi artists who were her contemporaries. One by one, I was introduced to Iraqi women who had lived through more than I could imagine. Along the way, 9 Parts of Desire would come to include a multitude of Iraqis’ stories. They shared so deeply of themselves and seemed to tell me almost anything, but only after I shared as much of myself with them. My process was not one of formal interviews, but rather a process of spending time together living, eating, communicating compassionately, and loving on such a level that when I parted from their homes it was clear to all that we were now family. When an Iraqi woman trusts you, it is because she has come to love you, and that has been the process of finding and forming these stories. With rare exception, these stories are not told verbatim. Most are composites, and although each character is based on research, I consider all the women in my play to be dramatized characters in a poetic story. I liken it to songwriting — I listened deeply to what each woman said, what she wanted to say but couldn’t, and what she never knew how to say. Then I wrote her song. This author’s note originally appeared in the 2006 published script and is used with kind permission from the playwright.
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FROM THE DIRECTOR: EVREN ODCIKIN 9 Parts of Desire, which premiered in 2004, is now considered a classic of Middle Eastern American theater. This, in itself, shows how recent our community’s presence in mainstream theater is. Alongside other writers like Yussef El Guindi and Betty Shamieh, Heather Raffo helped define a powerful immigrant cultural voice at a time when this community was ignored at best and vilified at worst. With her sparse poetry, big political metaphors, and her resistance to categorization and genre, Heather uniquely claimed that powerful space between here and there. I’ve heard numerous playwrights I adore — Leila Buck and Hannah Khalil, to name just two — cite this play as the work that gave them the courage to step into their own voice. So, how do you approach a contemporary classic of “your people” as a director? Especially if this classic is still painfully current due to American military’s ongoing acts of geo-political aggression in Iraq. In this case, I decided to listen to my heart rather than my brain. In this American moment, when I feel my whole existence — as an immigrant, Muslim, Middle Eastern-American, queer man — is politicized, questioned, erased on a daily basis, following intellectualism and logic kept leading me to a hopeless place. So I decided to follow the heart-first path Heather laid out in her text and created this play as an honoring of pain and injustice, sure, but more as an ode to survival and hope and laughter and healing.
“I paint my body but her body, herself inside me. So it is not me alone it is all of us.” This simple passage from 9 Parts quickly became my key into what this play can be. What does it mean for an Arab American woman to paint nine Iraqi and Iraqi-American women inside her own body today? And to stand open and vulnerable in front of an American audience — an audience that comes with their preconceived notions and biases? As I write this note during rehearsal, the answers to those questions lie outside of myself. I am focused on watching, listening, and learning from the gloriously talented Nora el Samahy, our soulful cultural consultant Israa Hasani, and the deeply generous and curious Heather Raffo. I’m letting these three bad ass Arab-American women guide me to a place of courage. Because the Iraqi women that inspired Heather’s gorgeous play would not let me do anything else.
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Healing begins when both the oppressed and the oppressor engage in the process of reconciliation. 9 Parts of Desire provides a space for healing, as it gives a voice to the voiceless and a mirror to the aggressor.” — Israa Hasani, Cultural, Dialect & Language Consultant for 9 Parts of Desire.
NORA EL SAMAHY, PERFORMER Nora (she/her) was born in Tripoli, Libya, and raised in Cairo, Egypt. Based in the Bay Area since 1998, she is a proud company member of Campo Santo and PlayGround, as well as a resident artist at Golden Thread Productions. In addition, she has acted with Aurora Theatre, Berkeley Repertory Theatre, Crowded Fire Theater, Magic Theatre, foolsFURY Theater Company, Traveling Jewish Theatre, EXIT Theatre, Theatre Rhinoceros, Woman’s Will Theater Collective, Shotgun Players, San Francisco Shakespeare Festival, and African-American Shakespeare Company, among many others. In 2013, Nora co-founded the performance company Affinity Project with Atosa Babaoff, Beatrice Basso, and Emily Hoffman. Nora is currently the President of the Board of Trustees with Golden Thread Productions.
LEARN MORE: RESOURCES FOR THE PORTLAND REFUGEE, MUSLIM, IRAQI, AND ARAB AMERICAN COMMUNITIES
Iraqi Society of Oregon iraqisocietyoforegon.org
Arab American Cultural Center of Oregon araboregon.org
IRCO (Immigrant & Refugee Community Organization) irco.org
PDX Friends of Refugees pdxfriendsofrefugees.com
MET (Muslim Educational Trust) metpdx.org
ISOS (Islamic Social Services of Oregon State) i-sos.org
Refugee Volunteer Organization refvolpdx.org
Islamic Center of Portland icop.org
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Kissing the Witch by Emma Donoghue Directed by Lava Alapai
Apr 3 – 26
Thu–Sat 7:30pm Sun 2pm
at New Expressive Works 810 SE Belmont St, Portland
Use code “PCS” for $3 off Contemporary Irish theatre
corribtheatre.org
Jan Baross
Interstate Firehouse Cultural Center (IFCC) 5340 N Interstate Ave, Portland
TICKETS: PassinArt.org Ronni Lacroute
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MEET THE CREATIVE TEAM Heather Raffo, Playwright Heather is the recipient of a Susan Smith Blackburn Prize Special Commendation and the Marian Seldes-Garson Kanin Fellowship for 9 Parts of Desire. She has received a 2005 Lucille Lortel Award for Best Solo Show, as well as Outer Critics Circle and Drama League nominations for Outstanding Performance. Heather first performed 9 Parts of Desire in August 2003 at the Traverse Theatre, Edinburgh. It later moved to the Bush Theatre in London’s off-West End, where critics hailed it as one of the five best plays in London in late 2003. 9 Parts of Desire was next developed and performed as a reading at The Public Theater as part of their New Works Now festival in 2004. Its New York premiere was in the fall of 2004 at the Manhattan Ensemble Theater, where the show ran for nine sold-out months. 9 Parts of Desire began its regional tour at the Geffen Playhouse in Los Angeles, followed by productions in San Francisco, Seattle, Philadelphia, and D.C., as well as internationally. It was published in 2006 by Northwestern University Press and Dramatists Play Service. 9 Parts of Desire is Heather’s first play; her other acting credits include Sarah Woodruff in the world premiere of The French Lieutenant’s Woman at Fulton Opera House. Off-Broadway: Over the River and Through the Woods, the Off-Broadway/National Tour of Macbeth (Lady Macbeth), The Merry Wives of Windsor (Mistress Page), and The Rivals, all with The Acting Company. Regionally: Othello (dir. Jack O’Brien), Romeo and Juliet (dir. Daniel Sullivan), As You Like It (dir. Stephen Wadsworth), Macbeth (dir. Nicholas Martin), and The Comedy of Errors (dir. John Rando), all with The Old Globe in San Diego. Heather received her B.A. from the University of Michigan, her M.F.A. from the University of San Diego, and studied at the Royal Academy of Dramatic Art, London. Originally from Michigan, Heather now lives in New York. Her father is from Iraq and her mother is American.
Evren Odcikin, Director Evren is the interim associate artistic director at Oregon Shakespeare Festival and a founder of Maia Directors. As a director, he has worked at New York Theatre Workshop, Geva Theatre Center, Berkeley Repertory Theatre, South Coast Repertory, The Lark, The Kennedy Center, InterAct Theatre Company, Cleveland Public Theatre, and Magic Theatre with such writers as Melis Aker, Kevin Artigue, Christopher Chen, Yussef El Guindi, Lauren Gunderson, MJ Kaufman, Hannah Khalil, Jonas Hassen Khemiri, Mona Mansour, Betty Shamieh, and Caridad Svich, amongst many others. His translation of Sedef Ecer’s On the Periphery was presented in a co-production for Crowded Fire Theater and Golden Thread Productions, and he is under commission with Leila Buck to create 1001 Nights (A Retelling) for Cal Shakes, which he will direct this summer. He was featured as a “Theatre Worker You Should Know” in American Theatre Magazine and was a 2015 National Director’s Fellow. Evren was born and raised in Turkey and is a graduate of Princeton University. odcikin.com Kate Boyd, Scenic Designer Kate, a Bay Area scenic and lighting designer, is thrilled to be designing at Portland Center Stage at The Armory. She just finished lighting Noura at Marin Theatre Company, making this her second Heather Raffo play this year. She has worked with Aurora Theatre Company, Center REP, Magic Theatre, New Conservatory Theatre Center, Merola Opera Program, San Francisco Conservatory of Music, Company C Contemporary Ballet, and TheaterWorks. She is a resident artist with Golden Thread Productions and a recipient of the Gerbode Design Fellowship. Kate teaches stagecraft and design at Lick-Wilmerding High School.
Solomon Weisbard, Lighting Designer Born in Portland, Solomon (he/him) maintains an international career as a freelance lighting designer for all types of performance. With director Robert Wilson, productions in Italy, Germany, Greece, Russia, and Spain. Local credits: Portland Center Stage at The Armory’s The Breath of Life; Portland Playhouse’s A Christmas Carol (Drammy nomination), pen/ man/ship (Drammy nomination), Jitney, and You for Me for You. Select Off-Broadway: Macbeth (directed by John Doyle at Classic Stage Company); Duat (Soho Rep); Men on Boats (world premiere, Playwrights Horizons/Clubbed Thumb); America Is Hard to See (HERE); The Film Society (Keen); and five productions with The Barrow Group. Regional: Arden Theatre Company, Berkshire Theatre Festival, Magic Theatre, Portland Stage, Quintessence Theatre, Westport Country Playhouse, Yale Repertory Theatre. M.F.A. from Yale School of Drama. Upcoming: Oedipus at the National Theatre in Budapest, Hungary.
PHAME empowers adults with developmental disabilities through arts education, performance, and community. Because art is for everyone.
Creating art. Expanding possibility. www.phamepdx.org
Creating art. Expanding possibility. (503) 764-9718 @phamepdx
PHOTO BY OWEN CAREY
Dina El-Aziz, Costume Designer New York credits: I thought I would die but I didn’t (The Tank); Eh Dah? Questions for my Father (Hypokrit Theatre Company/Next Door at New York Theatre Workshop); The Russian and The Jew (Anna & Kitty, Inc./The Tank); Dead Are My People (Noor Theatre/Next Door at New York Theatre Workshop); Marjana and the Forty Thieves (Target Margin Theater); Alternating Currents (Working Theater). Regional: Noura (Guthrie Theater and The Old Globe); Yasmina’s Necklace (Premiere Stages); Selling Kabul (Williamstown Theatre Festival); Pay No Attention to the Girl (Target Margin Theater/Spoleto Festival USA); We’ve Come to Believe, The Corpse Washer, How to Defend Yourself (Actors Theatre of Louisville/Humana Festival); Heartland (Geva Theatre Center). M.F.A. in design for stage and film from NYU Tisch School of the Arts. dinae.me
March 20 – April 11, 2020
INCOGNITO by Nick Payne Third Rail at CoHo Theatre · 2257 NW Raleigh St, Portland Purchase your tickets today at www.thirdrailrep.org or call 503-235-1101
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MEET THE CREATIVE TEAM
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
LAST STOP ON MARKET STREET May 2-May 31, 2020 Ages 5+
503.228.9571
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James Ard, Sound Designer James is a San Franciscobased designer, noisemaker, mechanic, broadcast artist, and theater vagrant, who composes soundscapes and music for humans, dogs, parrots, and bicycles. James’ sound design has been heard most recently in On the Periphery (Crowded Fire Theater, Golden Thread Productions); You For Me For You, Church (Crowded Fire Theater); The Most Dangerous Highway in the World, ReOrient (Golden Thread Productions); Exit Strategy, Dry Powder, The Royale (Aurora Theatre Company); La Ronde, Free For All (Cutting Ball Theater); Cry It Out (Just Theater); and Our Country (Wilderness and Tilted Field Productions), which premiered at the Edinburgh Festival Fringe after an Under The Radar Festival production at The Public Theater. James is an occasional engineer at Z Space, a podcast coordinator at SF Sketchfest, and a resident artist with both Golden Thread Productions and Crowded Fire Theater. Kristen Mun, Stage Manager Kristen (she/her) 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 School Girls; Or, The African Mean Girls Play, Native Gardens, Until The Flood, Sense and Sensibility, Constellations, and Major Barbara; assistant stage manager for In the Heights, The Color Purple, Fun Home, and Astoria: Part Two; and production assistant from 2013 to 2017. Kristen is a proud member of Actors’ Equity and is a freelance violence designer and teacher of stage combat. 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 this season, where she was recently a production assistant for School Girls; Or, The African Mean Girls Play, Miss Bennet: Christmas at Pemberley, and In the Heights. 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, 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); and You’re a Good Man, Charlie Brown (Salt Lake Shakespeare). She was also lucky to complete an internship with Cirque du Soleil where she worked on Zumanity and the Cirque Cabaret, 2018. Israa Hasani, Cultural, Dialect & Language Consultant Israa was the cultural consultant for the Cygnet/CoHo production of 9 Parts of Desire. Israa has served for nine years as a mental health provider for immigrants, refugees, and survivors of torture. She is a survivor of war herself and has experienced dictatorship and militarization, all of which have affected her beliefs in peace, justice, and equity. Israa resides in the Portland metro area, where she works to narrow the gap of misunderstanding between cultures and increase inclusivity and diversity through education, art, and intercultural/interfaith relations. She has lectured at Portland State University, Oregon Health and Science University, Reed College, the Unitarian Church, and the Islamic Center of Portland. She has also served on different board entities, including the Refugee and Immigrant Empowerment and Services (RISE). Israa believes art is the language that can create a space of healing and understanding.
BEHIND THE CURTAIN
How did you prepare to play this character? Rehearsal makes everything better, especially with a sharp director like Evren and the amazing team at Portland Center Stage at The Armory. I sank into the text and took it page by page, let the language live in my daily consciousness. The script comes everywhere with me, as if I believe in script osmosis. Are there performances or specific moments onstage that stand out in your memory? Could you tell us what made these performances particularly special for you? Performing in Oh My Sweet Land was one of the highlights of my acting career. The play was done in kitchens all over the Bay Area. Sometimes the audience was only 25 people and at other times more than 80. I got to cook onstage, which was a challenge and really fun. Luckily no one had to consume what I made. More than anything, the material was such a gift to share. What, for you, is the most fulfilling aspect of your life as an actor? Embodying people who we don’t often see on the American stage. What are your fondest theater memories? Collaborating on new work with friends. I love the process of talking about an idea, language, and human follies. What’s the best advice you’ve ever been given about anything?
MEET 9 PARTS OF DESIRE’S
NORA EL SAMAHY BY ARTSLANDIA
My father has always told me: don’t do anything you don’t want to do. As you can imagine, that didn’t always turn out in his favor. Tell us something unexpected about yourself. The truth is I’m a homebody that prefers an early night and early rise. Who or what inspires you? Beautiful language, travel, friends, children, humor, sculpture, and dance. When and why did you start acting? When I was 7 years old, a teacher asked me to be in a play, and I was hooked. What do you find to be the most challenging part of being an actor?
Photo by Kate Szrom.
Missing out on important events in the lives of people you love due to performances. .
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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.
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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 28 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.
Photo by Gary Norman.
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. Portland Center Stage at The Armory is committed to identifying and interrupting instances of racism and all forms of oppression, through the principles of inclusion, diversity, equity, and accessibility (IDEA).
JOIN US: PC S .ORG/IDE A 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 January 23, 2020
$25,000+ GBD Architects Meyer Memorial Trust James F. & Marion L. Miller Foundation Oregon Arts Commission, a state agency Oregon Cultural Trust The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County, the Arts Education & Access Fund & more than 1,000 donors to RACC’s Arts Impact Fund The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer & Jordan Schnitzer The Shubert Foundation Silver Family Foundation The Standard Stoel Rives LLP Curtis T. Thompson, M.D. & Associates, LLC U.S. Bank The Wallace Foundation
$10,000–$24,999 Advance Gender Equity in the Arts AHA! ARCIFORM Sheri & Les Biller Family Foundation Broughton & Mary Bishop Foundation Goulder Family Foundation Hoffman Construction Company Jackson Foundation KeyBank The Kinsman Foundation M Financial Group Maybelle Clark Macdonald Fund National Endowment for the Arts NW Natural PGE Foundation
SEASON SUPERSTARS
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James and Shirley Rippey Family Foundation The Rose E. Tucker Charitable Trust Wells Fargo Wieden+Kennedy
$5,000–$9,999 The Boeing Company Davis Wright Tremaine LLP D. A. Davidson & Co. Herbert A. Templeton Foundation Tonkon Torp LLP Juan Young Trust
$2,500–$4,999 The Autzen 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 Higgens & Tongue LLP Global Incentive Group Klarquist Michael Allen’s Clothier Pacific Office Automation PCC Structurals, Inc. Riverview Trust Company SP Plus Corporation Squarespace
Corporate Matches Best Buy The Boeing Company Cambia Health Foundation Hewlett-Packard Company Iberdrola Renewables IBM Corporation Intel Corporation Kaiser KeyBank
Macy’s Meyer Memorial Trust NW Natural Pacific Power Foundation Portland General Electric Tektronix Foundation The Standard US Bank
In-Kind Adelsheim Vineyard ARCIFORM Argyle Winery Art of Catering Artemis Foods Keith & Sharon Barnes Ben & Jerry’s Ice Cream Bluehour Bill Byrne & Dennis Scollard ChefStable Catering Delta Air Lines Devil’s Food Catering Kelly Douglas & Eric Schoenstein Eastside Distilling Fairsing Vineyard Diana Gerding Tasca & Paul Gulick Higgins Restaurant Cindy & Keith Larson Dedre J. Marriott Microsoft Corporation New Deal Distillery Owen Roe Pacific Office Automation Pearl Catering Precision Graphics Rombauer Vineyards Kyle & Sophia Spencer Tyler & Kara Tatman Rosemarie & Wes Thompson Umpqua Bank Vibrant Table West Coast Event Productions
SEASON SUPPORTING SPONSORS
DONORS $25,000+
$5,000–$9,999
Scott & Linda Andrews Keith & Sharon Barnes Don & Mary Blair Mary & Tim Boyle Dream Envision Foundation Roger Cooke & Joan Cirillo Glenn Dahl & Linda Illig Jess Dishman Brigid Flanigan Diana Gerding Judi Goldsmith Rob Goodman Tasca & Paul Gulick James & Morley Knoll Hilary Krane & Kelly Bulkeley Ronni S. Lacroute Pat & Trudy Ritz/ Ritz Family Foundation Silver Family Foundation The Stern Family Rosemarie & Wes Thompson
Anonymous (2) Peter & Susan Belluschi Family Fund of The Oregon Community Foundation Debby Benjamin, Mary Kay & Russ Dragon Duke & Brenda Charpentier Sarah J. Crooks Lois Seed & Dan Gibbs Robert & Nancy Hatch Roy Schreiber & Carole Heath Steven & Marypat Hedberg Gregg & Diane Kantor Judy Carlson Kelley Jina Kim & Hyung-Jin Lee Joseph Sawicki & Kirsten Lee Drs. Dolores & Fernando Leon Chrys A. Martin & Jack Pessia Peter K. McGill Nancie S. McGraw Alison Page & Jon Frommelt Patti Norris & Mark Schlesinger Jan & John Swanson John Taylor & Barbara West Wally Van Valkenburg & Turid Owren
$10,000–$24,999 Anonymous (3) Brenda K. Ashworth & Donald F. Welch Phil & Julie Beyl Broughton & Mary Bishop Family Advised Fund Bill Byrne & Dennis Scollard John & Linda Carter Rick Caskey & Sue Horn-Caskey Greg & Gina Chandler Ray & Bobbi Davis Kelly K. Douglas & Eric H. Schoenstein William & Karen Early Finley Family Foundation Cynthia M. Fuhrman* Carol Streeter & Harold Goldstein Tom & Betsy Henning Kevin Hogan & Aron Larson Dr. Barbara Hort & Mark Girard Marilyn & Ed Jensen Yuki & Craig Johnston 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 Marilyn Slotfeldt Douglas & Teresa Smith Tyler & Kara Tatman Christine & David Vernier Benjamin R. & Elaine M. Whiteley Family Fund of The Oregon Community Foundation Dan Wieden & Priscilla Bernard Wieden
$2,500–$4,999 Ted & Kathi Austin Julia & Robert S. Ball Daniel Bergsvik & Donald Hastler Ann Brayfield & Joe Emerson* 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 Jean & Steve Mann Shelly McFarland Lindsey & Marilen McGill Laurie & Gilbert Meigs Michael & Susan Mueller Madeline & Allan Olson Jim & Linda Patterson Fred L. Ramsey Pat Reser & Bill Westphal Bobbie & Joe Rodriguez Teri Rowan Stephen & Trudy Sargent* Marian & Elihu Schott Family Fund of The Oregon Community Foundation CollierTrust Randy & Janet Smith Sue & Drew Snyder Ray & Pat Straughan John & Sandra Swinmurn Ted & Julie Vigeland
As of February 6, 2020 Dennis & Jean Wilde Trudy Wilson & Terry Brown Steven & Deborah Wynne Mort & Audrey Zalutsky David & Sherri Zava
$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 Larry & Marie Brigham Dr. Gene Baker & Regina Brody Linda & William Brown Cormac M. Burke Tim O’Leary & Michelle Cardinal Bob & Janet Conklin 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 Ken & Ann Edwards Blake Ellis & Scott Ewers John Briggs & Jeffrey Feiffer Mike & Chris Feves Larry & Deborah Friedman Daniel & Leah Frye Charles & Kyle Fuchs Katie & David Gold Ed Grosswiler & Sammye Sanborn John & Jacque Guevara Andrew Gustely Heather Guthrie & Gil Parker Luisa Adrianzen Guyer & Leigh Guyer Bill & Elaine Hallmark Donald Hammond & Georgena Eggleston Paul & Samantha Harmon Marcia Hauer & Jeanne Knepper Lani Hayward Donald Helfgott Bryce Helgerson & John Lowe MJ & Lee Alan Helgerson* Herman Charitable Foundation Paul & Ruth Herrington* Patricia G. Howell Arthur Hung & James Watkins Carroll Hutchinson Susan Immer & Larry Juday* Bill & Dawn Irwin Brad & Judy Johnson
Kathy & Steve Johnson Jessie Jonas Jean & Rich Josephson 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 Kathy & Charles McGee JoAnne McMahan Carolyn McMurchie Ruth E. Medak Lora & Jim Meyer Julie Mitchoff Mike and Amy Mitchoff Virginia S. Mullen Hester H. Nau David & Ranata Niederloh John & Ginger Niemeyer Bob & Beth Nist Paul & Lisa Nourigat Steven P. & Eileen O’Neill Odum Duane & Corinne Paulson Joan Peacock Carol Pelmas & David L. Hawley Stanley & Susanne Penkin Brenda J. Peterson Amy & Oscar Polo Wallace & Elizabeth Preble Brad & Trisha Rabe Michael R. Rankin Robert Reed Bob & Marilyn Ridgley John B. Rissi Kelly Ritz-Eisenstein & Scott Eisenstein Dianne Rodway James M. Russell Halle & Rick Sadle Raj Sarda, MD* Carol Schnitzer Lewis Fund of The Oregon Community Foundation Michael & Karen Sherman Peter Shinbach Geoff & Susie Strommer George & Molly Spencer Rick & Denyse Stawicki E. Kay Stepp Brandon Stokes & Kristi Lang-Brown Chaline & Caitlin Strickland Mary & Jeff Strickler David Suter
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DONORS Donald & Roslyn Sutherland Heather & Bill Swindells Libbi Layton & Lawrence Tamiyasu Calvin & Mayho Tanabe Beverly Terry Joe Mitchoff & Curtis Thompson Don & Judy Thompson* Eleanor & Peter van Alderwerelt Lewis & Susan Van Winkle Joan & David Weil Michelle Weisenbach & Michael Penfield Ben Whiteley Lisa & Lou Williams Andrew Wilson Jay Wilt
$500–$999 Anonymous (4) 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 Cheryl A. Bittle 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 Bob & Chris Brands Stephen & Marge Brenneke Melissa A. Charbonneau Sonja L. Connor Kevin Crombie Erik Cubbage Maureen Sproviero Davis & Kerwin Davis Bryan Concannon & Debi Dereiko Eric Dishman Amy & Bruce Dobbs Steve Dotterrer & Kevin Kraus Beverly Downer Stephen Early & Mary Shepard Ron & Becky Eiseman Abby Farber Gregory Flick Per-Olof Jarnberg & Joan Foley Jerry Fong Bruce & Kate Frederick Jerome & Mary Fulton William & Beverly Galen Paul Gehlar Melissa & Robert Good Ann Gray Polly Grose Emily Groth Rick & Susan Gustafson Jennifer Tucker & Bruce Haack
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Richard L. Hay Pierce Henley Frances & Hunter Hicks Suzanne & Michael Hiscox Laurie Holland The Holzman Foundation/ Renee & Irwin Holzman Leslie S. Homer Charitable Fund Terri & Robert Hopkins Arnold & Virginia Israelit Sonny Jepson & Felice Moskowitz Cecily Johns Catherine Keith & Jennifer Person 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 Linda & Ken Mantel Stephen & Christine Mason Robert Matheson & Kimberly Porter Fran Matson J.S. & Robin May Karen & Brent McCune* Jessica McVay Karolyn Meador Charitable Fund Steve Cox & Vikki Mee Robert & Violet Metzler John & Ann Marie Moore Heather Moore Carol Morcos Bradford & Linda Needham* Deborah Neft & Salvatore D’Auria David & Anne Noall Lisa & Larry Norman Brian & Emily Owendoff John & Carolyn Parchinsky Jr Jan & Rich Parker Elizabeth Perris Steve & Melissa Peterman Ellie Picologlou Jennifer Politsch David & Margo Price Jay & Barbara Ramaker Mark A. Horney & Sharon L. Reed Dick & Linda Reedy Drs. Scott & Kay Reichlin Leslie Rennie-Hill & Ken Hill* Dr. Mark & Angela Reploeg Stephanie & Paul Rollins Don Caniparoli & Sarah Rosenberg Steven & Carol Sandor Dianne Sawyer & Richard Petersen Michael Schill Peter C. & Jeanette M. Scott 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 DJ Wilson & Bill Hoadley Alan Winders & Michael Mase Susan & Jim Winkler Jeff & Jaynie Wirkkala Ruth Fischer-Wright & Craig Wright Fabian & Julie Yeager
$250–$499 Anonymous (4)* 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 Alan Blank William Blosser John & Jacquelyn Boardman Suzanne Bonamici & Michael Simon Brian & Karen Borton Douglas Browning & Jo Shapland Patsy Bruggere Mary Butler Tim & Susan Carey Jennifer Carson Clay & Carolyn Carter Michael Carter & Teresa Ferrer John & Lou Chapman Patricia Chase Valri & Vincent Chiappetta Cynthia Church John & Kathryn Cochran Rhonda & Kenny Cohen Bruce & Janis Collins* Rick & Jean Collins Lisa & Skip Comer Jeffrey Condit Donald Berg & Carol Cooke John Cornyn Paul & Kathleen Cosgrove Marian & Neale Creamer Karen & Ward Cunningham Betty Daschel 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 Ed & Marilyn Epstein Sandy Feeny* Gilbert & Ellen Feibleman Terry Ferrucci Colleen Finn Sherry & Paul Fishman Greg & Susan Fitz-Gerald Ronald Fraback Sharon Frank Terry Franks & Carolyn Duran Lisa Goldberg & Yeng Chen Richard & Janis Gottlieb Becky Graham Gail & Walter Grebe Lorraine Guthrie & Erik Kiaer Valerie Halpin Ulrich H. Hardt & Karen Johnson Mark & Paige Hasson Patsy Heinlein Margaret & Timothy Hill Beverly Hoeffer & Carol Beeston Barry & Fanny Horowitz Donald & Lynnette Houghton Dr. Hal Howard Robert & Jill Hrdlicka Kathy & Tom Iberle Peter & Anne Jarvis Joanne Jene, M.D. 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 Roger J. Leo Bob & Debbie Lindow Peter & Janice Linsky Robert Lowe Marvin & Sylvia Lurie Rod & Priscilla MacMillan 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 Susan Sammons Meyer & Dennis Meyer David & Machteld Mok William Apt & Grant Molsberry Doug & Malinda Moore Jane Moore Clint & Donna Moran Mike & Jan Morgan Jeanne Newmark Lind Neumann & Steve Jaggers 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 Lora Reed David Rice Helen Richardson & Don S. Hayner Shelli Romero Charles & Judith Rooks Ted & Holly Ruback Mary & Craig Ruble Deborah Santomero & Lisa Hoffman John & Stephanie Saven Connie Schwendemann & Pete Peterson Dr. Therese M Scott & Earl Heberlein J & C Skuster Debbie Smith Neil Soiffer & Carolyn J. Smith Kevin Soto & Michele Cobain-Soto Eve Stern & Les Gutfreund Zach & Vassie Stoumbos Samantha Schoenfeld & Douglas Stuart Roger & Gale Swanson John & Jan Switzer Ellen Tappon & Ted Wilson Jane Thanner & Tim Smith William & Lori Thayer Larie Thomas Grant & Sandy Thurston Lou Ann Tiedemann Peter & Cathy Tronquet Cathy Unis Suzanne & Robert Van Brocklin Dawn Vermeulen Nancy Walker & Terry Foty Create Change, LLC Michael Weiner & Kathy Davis-Weiner Jim & Diana White Catrin and Mark Williams Maurice & Lauretta Williams Janet Williamson Dorothy Wilson Loring & Margaret Winthrop Richard & Leslie Wong Robert & Vickie Woods Paul Wrigley & Deborah Cross Jack Wussow & Kyle Adams* 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.
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DONOR TRIBUTES Tribute gifts for 2019–2020 season as of February 6, 2020 In memory of Alan Beard GBD Architects In loving memory of Ben Buckley Joan Peacock In memory of Carol Howard Hal Howard In loving memory of Jack Loacker Ted & Julie Vigeland In memory of Peter McGill Portland Center Stage at The Armory In memory of Peter McGill Diana Gerding In honor of Klint Keyes Roger Steven & Marcella Flores In honor of Sharon Mueller Reynolds Potter In loving memory of Joan Peacock Portland Center Stage at The Armory In honor of Rose Riordan Tim & Mary Boyle In honor of David E. Wagner Bill Dickey
Ted Austin, Chair, Senior Vice President, U.S. Bank Private Wealth Management Sarah J. Crooks, Vice Chair & 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 Nick Alexander, Vice President, Wealth Advisor, Wells Fargo Scott Andrews, Principal, Melvin Mark Companies Phil Beyl, Director, 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
In memory of Elaine Whiteley Portland Center Stage at The Armory
Jim L. Knoll, President, James L. Knoll, PC
LEGACY CIRCLE
Cindy Larson, Owner, Scale Asset Management
The Armory Legacy Circle honors those who have
Joseph F. Mitchoff, CEO, Viridian Reclaimed Wood
included Portland Center Stage at The Armory in
Alison Page, Vice President, Global Team Services, adidas
their will or estate plans.
Anonymous (2)
Aron Larson, Senior Program Manager, Product Development, New Relic
Dedre Marriott, Retired, Former CEO & Professor
Turid Owren, Partner, Tonkon Torp, LLP Dana Rasmussen, Retired, Attorney
Keith & Sharon Barnes
Shelli Romero, President, Rose City Chica
Judy Bradley & Dave Mitchell
Joseph Sawicki, Vice President & General Manager,
Dr. Gene Baker & Regina Brody John Maul & Kay Campbell Jess Dishman
Design-To-Silicon Division, Mentor Graphics Dr. Ann E. Smith Sehdev, Physician, Cascade Pathology
William & Karen Early
Doug Smith, Retired, Sr. Vice President, AMEC Foster
Cynthia M. Fuhrman
Rosemarie Thompson, Managing Partner, Roselake Property & Designs, LLC
Diana Gerding
Dan Watson, CFO, Neil Kelly Company
Jennifer & Tim Goldsmith Leslie S. Homer Charitable Fund Dr. Barbara Hort Carol & Charles Mackey Virginia S. Mullen Jean O’Neill Joan Peacock Michael Sands & Jane Robinson Lisa Sanman Douglas & Teresa Smith Eric Steinhauser & Gregg Macy
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BOARD OF DIRECTORS
Michelle Weisenbach, Oregon & SE Washington Market President & Commercial Bank Leader, KeyBank
DIRECTORS EMERITUS: J. Greg Ness, Armory Theater Fund Chair, Director Emeritus, Chairman, CEO & President, Standard Insurance Stancorp Financial Group H. Pat Ritz, Director Emeritus, Chairman & CEO, Footwear Specialties International Julie Vigeland, Director Emeritus, Civic Volunteer
Joe Mitchoff & Curtis Thompson
Diana Gerding, Member Emeritus, Community Volunteer
Larry & Elizabeth Volchok
In Memoriam: Bob Gerding
PCS.ORG
TAXES MAY BE “CERTAIN.” BUT USING YOURS TO FUND THE ARTS? NOW, THAT’S BRILLIANT. As the saying goes, taxes are certain. But, where the money goes is partially up to you. If you’d like your taxes to fund cultural activities —like libraries, performing arts, and museums— you can, with Oregon’s cultural tax credit. Learn more at CulturalTrust.org, by calling the Oregon Cultural Trust at (503) 986-0088, or by consulting your tax preparer. Oregon Contemporary Theater, funded in part by The Oregon Cultural Trust
WE DINE OUT TO END HIV. YOU CAN TOO ON APRIL 30 View participating restaurants at DiningOutForLife.com/Portland National Sponsor
Local Sponsor
Honorary Chair
Benefiting:
The HIV Ecumenical Day Center Ministries of Oregon
ARTSLANDIA.COM
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STAFF MARISSA WOLF
(she/her)
CYNTHIA FUHRMAN
(she/her)
Artistic Director
Managing Director
ARTISTIC
PRODUCTION
Chip Miller (he/him/they/them),
Liam Kaas-Lentz, Director of Production Katie Nguyen (she/her),
Associate Producer
Benjamin Fainstein, Literary Manager RaChelle Schmidt (she/her), Executive Assistant
ADMINISTRATION & FINANCE Lisa Comer (she/her), Finance Director Caitlin Upshaw (she/her), Director of HR, Equity & Inclusion
Stage Management Apprentices
EDUCATION & COMMUNITY PROGRAMS
Shawn Mallory, Kiona McAlister,
Education & Community Programs Director
Jonas Angelet, Community Programs Manager Clara-Liis Hillier (she/her), Education & Community Programs Associate, Teaching Artist
Matthew B. Zrebski
(he/him),
Resident Teaching Artist
DEVELOPMENT Luisa Adrianzen Guyer
(she/her),
Director of Development
Eric D. Steinhauser (he/him), Associate Director of Development
Marlene A. Montooth, Grants Manager Jack E. Ridenour (he/him), Development Manager
Emily S. Ryan (they/him/hers), Development Associate
Justin Charles (he/him/his – she/her/hers – thy/thou/thine/thee), Natalie Fund, Kim Gautier, Jeremy Laney, Jamie Lou, Marguerite McLean, Will Ramis, Andrew Rubin, Logan M. Starnes (they/ them/theirs), Vanessa VanHardenberg, Dani White, Food & Beverage Staff
Hannah Rice, Company Manager Kristen Mun, Mark Tynan (he/him), Janine Vanderhoff, Stage Managers, AEA Dana Petersen (she/her), Macarena Subiabre,
Lydia Comer (she/her), HR Manager Ticia Evans (she/her), Accounting Manager Alan King, Accountant Christopher Beatty (he/him), IT Administrator Clement Mugabo, IT Associate
FOR THIS PRODUCTION The Curious Incident of the Dog in the Night-Time Allison Johnson,
Sharon Martell
(she/her),
Director of Marketing & Communications
Claudie Jean Fisher (she/her), Associate Director of Marketing & Communications
Aiyana Cunningham (she/her), Group Sales & Promotions Manager
Kate Kerns,
Marketing &
Communications Associate
Mikey Mann (he/him), Graphic Designer Kate Szrom, Multimedia Designer Christian Bisgard (he/him), Webmaster
PATRON SERVICES Luke W. Robertson (he/him), Audience Services Director
Sierra Walker
(she/her),
Patron Services Manager
Emily S. Ryan (they/him/hers), Patron Services Assistant Manager
David Harper, Charley Praither, Senior Patron Services Representatives
Virginia Johnson (she/her), Meg Schenk (she/her), Patron Services Representatives
Kay Argens (he/him, they/them), Ahash Francis, Hannah Fulop (she/her), Azalea Micketti (she/her), Patron Services Sales Associates
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PCS.ORG
Assistant to the Costume Shop Manager
Scenic Charge Artist Scenic Painters
Michael Jones, Properties Supervisor Lauren E. Chilton (she/her), Lead Properties Artisan
Jamie Tait (he/him), Properties Artisan Alex Wren Meadows, Costume Shop Manager Paula Buchert, Eva Steingrueber-Fagan, Cutters/Drapers
Electricians
9 Parts of Desire Allison Johnson,
Wardrobe Supervisor
Em Douglas, Lighting Supervisor Trent Alexz Eccles (they/them/theirs),
Claudia La Rue, First Hand Jamie Hammon, Melinda Roddy, Dressers Heather Taylor, Wardrobe Assistant Victoria Alvarez-Chacon, Iain Chester, Cody Decker, Joel Ferraro, Ian Hale, Charles Lattin, Esther McFaden, Alex Michels, Myke Rodriguez, Benjamin Rosenthal, Avi Sheehan, Laurel Jane Vonderau, Connor Ward, Michael Wax, Deck Crew/Run Crew Kristen Mun, Fight Consultant
Larissa Cranmer (she/her), Associate Draper Barbara Casement, Costume Crafts Artisan Bonnie Henderson-Winnie (she/her),
Master Electrician & Programmer, U.S. Bank Main Stage
Alex Agnes, Master Electrician & Programmer, Ellyn Bye Studio
Evan Duckworth (he/him), Interim Sound & Video Supervisor
MARKETING & COMMUNICATIONS
Kitchen Assistant
Associate Production Manager
Derek Easton, Technical Director Amanda Nelsen, Scene Shop Coordinator Nick Foltz, Master Carpenter Nathan Crosby, Michael Hall, Phil A. Shaw, Carpenters Mary Piccard Reischmann (she/her),
Kelsey Tyler (he/him),
Leesidhe Blackburn (they, them, their),
Sammi Kelly, Lead Audio Engineer Timothy McGarry (he/him), Deck Manager
Assistant to the Costume Shop Manager
Claudia La Rue, First Hand Kate Belden, Mike Cino, Charles Lattin, Connery MacRae, Myke Rodriguez, Christopher Stull, Mark Twohy, Laurel Jane Vonderau, Michael Wax, Lauren Williams, Claire Zaro, Electricians Ryan Gamblin, Meg Slaughter, Sound Board Operators
VOLUNTEER COMMITTEE
OPERATIONS Katie Cronin, Operations Manager Gregery Lee, Eric Murray, Stewart Towle
Connie Guist, Office Assistants Chair Karen Watson, Supporting Cast Chair
(gender fluid), Operations Assistants
Jacob Foster, Tim Taylor, Facilities Assistants
EVENTS & RENTALS Jenn Thompson (she/her), Interim Events & Rentals Manager
FRONT OF HOUSE Nevan Richard, Lead Concierge Nsilo Berry, Wynee Hu (she/her),
Concierges
Michael Rocha, Lead House Manager, Volunteer Coordinator
Jenna Barganski, Azalea Micketti (she/her), Nhu Nguyen, House Managers
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.
FOOD & BEVERAGE Melissa Larrabee, Bar Manager Erin Rubin (she/her), Kitchen & Catering Manager Katrina Hall, Ryan Smith, Food & Beverage Leads
Natalie Myers-Guzman, Kitchen & Catering Lead
The Scenic, Costume, Lighting and Sound Designers in LORT are represented by United Scenic Artists Local USA-829, IATSE
Retirement living with the city as your backyard
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Parkview at Terwilliger Plaza is a not-for-profit continuing care retirement community for residents age 62+.
