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FROM ARTISTIC DIRECTOR MARISSA WOLF

REDWOOD

OUR TANGLED ROOTS

BEHIND THE CURTAIN: DARRELL GRAND MOULTRIE

FASCINATING FACTOIDS: DNA & MODERN GENEALOGY

MISS BENNET: CHRISTMAS AT PEMBERLEY

A REFRESHER ON WHO’S WHO FROM PRIDE AND PREJUDICE

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FROM ARTISTIC DIRECTOR

MARISSA WOLF Welcome to the world premiere production of Redwood and our new holiday offering, Miss Bennet: Christmas at Pemberley. These two plays, back to back on the main stage, lift up central characters who are unafraid to take up space. Redwood’s Meg, a teacher preparing to speak on behalf of her union to the Maryland State Senate, unapologetically wrestles with new knowledge of her enslaved ancestors that she carries with her. Mary in Miss Bennet steps out from the shadow of her sisters and lives fully as a virtuosic pianist and a voracious reader who yearns to have adventures far from home. Even within the context of two wildly different plays, both of these women — Meg and Mary — insist on being seen. Here, love is possible only if the complexities of their desires and sorrows are fully acknowledged by their lovers. Across two centuries, and a continent apart, the plays each bring feminism and humor to our current reckoning with pressing issues of our time. Brittany K. Allen’s Redwood calls forward an America that understands the present moment through the urgent lens of our collective, bloody history of slavery. In Miss Bennet, Lauren Gunderson and Margot Melcon deliver a distinctly contemporary take on a British classic, offering strong women at the center of a playful holiday show. A shoutout to Chip Miller, our new associate producer, who makes his Portland directing debut with Redwood. Chip’s vision for what is possible in the American theater is thrilling, and I’m grateful to have his chutzpah and boundless imagination on our team. Miss Bennet marks my directing debut at PCS as well! After commissioning and producing some of Gunderson’s hilarious and rich early work with Crowded Fire Theater in San Francisco, directing this delicious play feels like coming home. We are so happy to share this holiday season with you. Thank you for joining us to celebrate these fantastic voices on stage. Enjoy the show! All the best,

Photo by Gary Norman.

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October 26 – November 17, 2019 On the U.S. Bank Main Stage

Marissa Wolf

Artistic Director

Cynthia Fuhrman

Managing Director

A WORLD PREMIERE

REDWOOD Written by

Directed by

Brittany K. Allen

Chip Miller

Choreographer

Scenic Designer

Costume Designer

Lighting Designer

Darrell Grand Moultrie

Brittany Vasta

Alison Heryer

Jeanette Oi-Suk Yew

Sound Designer

Dramaturg

Stage Manager

Production Assistant

Phil Johnson

Benjamin Fainstein

Jamie Lynne Simons*

Dana Petersen

Redwood was developed, in part, at the Lark Play Development Center, Kansas City Repertory Theatre, Manhattan Theatre Club, and Ensemble Studio Theatre. 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 RONNI LACROUTE

MARY & DON BLAIR

ELLYN BYE HILARY KRANE & KELLY BULKELEY

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Orion Bradshaw

Brittany K. Allen

Jennifer Lanier Andrea Vernae

Charles Grant

Tyrone Mitchell Henderson Ashley Mellinger

Nick Ferrucci

THE CAST Brittany K. Allen*

Meg Wilson

Orion Bradshaw*

Tatum

Nick Ferrucci*

Drew Tatum

Charles Grant

Instructor

Tyrone Mitchell Henderson*

Steve Durbin

Jennifer Lanier*

Beverly Wilson

Ashley Mellinger

Harriet, Hattie

Andrea Vernae*

Allie, Alameda

*Member of Actorsâ&#x20AC;&#x2122; Equity Association, the Union of Professional Actors and Stage Managers in the United States.

THANKS TO OUR GENEROUS SPONSOR OF REDWOOD RONNI LACROUTE: I am committed to supporting new artistic work that addresses important contemporary social issues and hope that Redwood will spark many new conversations in its world premiere production at Portland Center Stage at The Armory. It is the duty of art to enlighten our minds and heal our communities.

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OUR TANGLED ROOTS AN INTERVIEW WITH REDWOOD PLAYWRIGHT AND PERFORMER BRITTANY K. ALLEN By Claudie Jean Fisher, Associate Director of Marketing & Communications

In Redwood, Brittany K. Allen uses her signature playfulness, verve, and bold theatricality to scale the branches of our shared American lineage. Here, she digs into the genesis of her new play — our 28th world premiere to date and the very first selected by Artistic Director Marissa Wolf. Why were you initially drawn to exploring a family’s excavation of their ancestry and, in particular, how that might impact an interracial couple? Redwood actually has two prongs of autobiographical inspiration. A few years back, one of my amazing (and for what it’s worth, utterly un-Stevie-like) aunts became interested in charting our family’s genealogy. As Stevie says in the play, there’s a lot of freight to this exercise for Black Americans, because for many of us mining our histories isn’t this joyfully curious, what-famous-president-am-Irelated-to kind of hobby/mission, but one that’s necessarily going to lead you back to chattel slavery and plantation rape (that is, if you can find your relatives at all). But I admired, and continue to admire, that impulse to situate oneself in the fabric of this country’s history by charting the family, finding the names, really attempting to imagine who those ancestors were. So that mission, and some of the alarming particulars my aunt turned up, inspired Stevie’s quest in this play. Around the same time all this was happening, I was in an interracial relationship and was learning how to speak about micro and macroaggressions in this highly intimate way, with a person who was theoretically supposed to understand everything about me. And this work, I found, was very difficult. As a person who’s grown up in a majority white community as a sort-of perpetual “Only” in the room, I feel like I’ve had to become versed in the many subtle ways you have to navigate white spaces in a brown body — the ways you defend yourself, or work to make people more at ease, or attempt to name your pain when there’s a pronounced power dynamic in the room. But the way one is with a partner is a lot different than how one is with a friend, or a colleague, or even a family member of a different race. I got into a lot of frustrating, mind-opening conversations while I was learning how to sit in a love that tested my politics and, occasionally, my concept of selfhood. And some of those conversations — and others I’ve had since, in other relationships — inspired the Meg and Drew characters, who are also learning how to do this thorny work of recognizing the other in a world that will never see them on equal footing. One of the powerful things about this play is that it grapples with slavery and racism through both a present-day and historical lens, concurrently, and we get to see how characters across generations — of different races, ages, stages of life, even religious beliefs — are affected. How did you approach fleshing out each of the members of this family tree? What was important to you as you thought about the different personalities and perspectives you wanted to bring to life on stage?

Brittany K. Allen

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I love this question! Yes, a major goal of the play is to acknowledge the hugeness of any family’s tree and show how we are all of us in America tangled up in one another. And at the play’s end — spoiler alert — I enlisted the chorus as Meg and Drew’s intertwined ancestors because I wanted to show in a brief burst how diverse these stories are once you really go digging. Everyone in America, I’ll assert, was

affected by slavery. And I wanted to show a gamut of those uniquely affected lives, from Hattie to Tatum to Napoleon to the matriarch Alameda. Perspective and personality-wise, a running theme of the play for me is the conflict between those Black folks like Mom, or perhaps Instructor, who find more solace in facing forward than looking back, and are perhaps not as compelled by the genealogy project as Stevie or Meg. A lot of my peers of color can’t understand that position, but it’s a way of being that resonates with a lot of elders on both sides of my family, and I wanted to honor that as I was attempting to articulate how a varied group of Black people consider their position in present-day America. Similarly, I included a glimpse of Harriet and Tatum as Drew’s parents, because I wanted to show a completely different kind of interracial relationship, with an entirely different coping language and shorthand. At two moments in the script, Meg and her boyfriend Drew share a similar sentiment: “I’m not naïve — I know about American history.” What is the significance of this line, and why was it important to put it in both of these character’s mouths? This line is important to me because I wanted to communicate — with a minimum of cheek — that Meg and Drew are intelligent, thoughtful, urban millennials. For lack of a better word, they’re “woke.” They’ve been to the Decolonize-Your-Mind workshops, they both attend antipolice brutality rallies, and they have a language, already, that helps them metabolize the historical irony of their situation. Because I’ve already seen the plays and stories

in which we leave feeling that the interracial love story is doomed, I wanted to write the version where we do trust that these two have initial chemistry and fondness and respect for the other; they could actually be MFEO [made for each other]. But I situated the play very deliberately at the moment when even the best defenses — knowledge, humor, love — fail. These two characters know everything one could ostensibly get from a Zinn book about American history, but they haven’t entirely personalized this work, and that’s what puts them at risk. How did you settle on the title Redwood? I don’t remember when it came to me, exactly! Bolt of inspiration in the night, perhaps? I started calling drafts “Redwood” because I kept coming back to the mammoth nature of the genealogy project, and this idea that once you find one “branch” of a family tree you’re promptly lead to 45 other people, stories, and lines. The physical chart itself wouldn’t fit on a page. And sequoia sempervirens (or redwoods) are some of the oldest and tallest trees in this country, so ... Is there anything else you’d like to share with audiences about this beautiful play? I hope you enjoy it! And that it inspires difficult but transformative conversations! I hope it invites you to consider, if you haven’t, how this macro-political structure might personally affect you. And if you have already thought about all of this a lot, I hope it’s an affirming 90 minutes. Also, thank you for coming! I’m honored to be here!

FROM THE DIRECTOR: CHIP MILLER When I arrived in Portland in April, I could not have fathomed being welcomed so warmly by this city and this theater community — a community so vibrant and robust, diverse in talent, and bursting with enthusiasm. It’s a city with a singular, extravagant identity; a canvas full of possibility, particularly for an artist, and I am so thrilled to be the new associate producer here at The Armory. As I prepared to move here, knowing I would be directing Redwood, I found myself dwelling on questions of identity, particularly how the ways we see ourselves can shift so rapidly in moments of change. Who had I been in my previous life in Kansas City, MO, the place where I grew up, where my family still resides? Which parts of that person would be useful as I relocated to the beautiful Pacific Northwest? Were there pieces of myself that I could let go of when I stepped out of my car and into this next chapter of my life? Were there elements that I should prepare to clutch on to?

Talking about identity — and talking about how to talk about identity — has become a constant concern in the current societal landscape of monetized social media personas, partisan politics, and widening generational divides in how we communicate with each other. How do we digest this rapidly changing world and effectively communicate the ways our identities shift in a barrage of constant noise? Brittany K. Allen’s gorgeous new play, Redwood, asks this question (and many more) about how a single piece of information can change our world view and our view of self in an instant. When the play begins, Meg, Drew, Beverly, and Stevie are already experiencing moments of transition — beginning to try on new versions of themselves, seeing what fits, and what needs to be altered. It is in this moment of transition that the play asks the characters to investigate their own identities. How much of our identity is something we choose and how much is tied to our genealogy — the traumas and joys of our ancestors being passed along to us through generations? Brittany asks these challenging questions, while maintaining a true sense of joy, surprise, and theatricality. Through its humor (and a fair amount of awesome dancing), Redwood has allowed me a space to think about the ever-shifting reality of my own identity. I hope that it can open a similar space for you.

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MEET THE CAST & CREATIVE TEAM Brittany K. Allen, Playwright, Meg Wilson Brittany K. Allen is thrilled to be making her Portland Center Stage at The Armory debut! A New Yorkbased actor and writer, her plays have been developed at Manhattan Theatre Club, The Public Theater, Kansas City Repertory Theatre, and elsewhere. Brittany holds commissions from Playwrights Horizons and Manhattan Theatre Club/Alfred P. Sloan Foundation. She’s a member of the emerging writers group at The Public Theater, the Obie Award-winning EST/ Youngblood, and was a 2017 Van Lier Playwriting Fellow at the Lark. Redwood (Kilroys List, 2017) will be produced in 2020 at The Jungle Theater and Ensemble Studio Theatre. Recent New York performance credits include Gloria: A Life (Off-Broadway), Minor Character (New Saloon; New York Innovative Theatre Award for Best Ensemble), and workshops with Atlantic Theater Company, Clubbed Thumb, and New York Stage and Film. Brittany received her B.F.A. from NYU Tisch School of the Arts and studied at the Upright Citizens Brigade Training Center. For the fam! Orion Bradshaw, Tatum Orion is an actor/educator and a proud member of both Actors’ Equity and the National Education Association. He recently earned his M.A. in teaching from Southern Oregon University. Orion was an actor for three seasons at Oregon Shakespeare Festival, before going on to co-found Portland’s own Post5 Theatre and perform with many Portland and Seattle area theaters. He’s also been an educator for such companies as the aforementioned OSF, Portland Center Stage at The Armory, Seattle Repertory Theatre, PlayWrite, Inc., and Northwest Children’s Theater and School, among others. Orion wholeheartedly believes that this awesome new show adds a potent point of view to a vital cultural dialogue. He hopes that you find yourself laughing, thinking critically, and participating in the conversation! Nick Ferrucci, Drew Tatum Nick is happy to return to Portland Center Stage at The Armory where his previous credits include Astoria: Part One and Two, Crossing Mnisose,

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and JAW: A Playwrights Festival. Portland theater credits: Teenage Dick at Artists Repertory Theatre, Arlington, John, The Angry Brigade at Third Rail Repertory Theatre, Luna Gale at Coho Productions, Peter and the Starcatcher at Portland Playhouse, True West at Profile Theatre, A Pigeon & A Boy at Jewish Theatre Collaborative. Regional: Oregon Shakespeare Festival, Maples Repertory Theatre, Sierra Repertory Theatre, Commonweal Theatre Company, Heritage Theatre Festival, and Bright Star Touring Theatre. Film: Warmuffin, The Falls, One Foot in the Gutter. TV: Grimm. He holds an M.F.A. in acting from Northern Illinois University and a B.F.A. in theater from Southern Oregon University. He has studied with the Moscow Art Theatre in Russia and The Second City in Chicago. Charles Grant, Instructor Charles is overjoyed to be making his Portland Center Stage at The Armory debut with Redwood! Maybe you’ve seen him around town in: Bootycandy (Fuse Theatre Ensemble), Jump (Confrontation Theatre/Milagro Theatre), Mamma Mia! (Broadway Rose Theatre Company), or A Year with Frog and Toad (Oregon Children’s Theatre), for which he received a Drammy Award for his performance. But maybe you haven’t seen him anywhere, and that’s cool too. B.F.A. in acting from UC Santa Barbara (Go Gauchos!). He would like to express gratitude and love to Chip, Marissa, the folks at The Armory, the entire cast, creative, and crew of Redwood, his friends and family for supporting him, and YOU for being here with us. “I am my ancestors’ wildest dreams.” thecharlesgrant.com Tyrone Mitchell Henderson, Steve Durbin Tyrone is the founder of Quick Silver Theater Company. Acting credits include the first national tour of Bring in ‘da Noise, Bring in ‘da Funk; OffBroadway, Tyrone played Friar Francis and the Sexton in the 2019 critically acclaimed Public Theater production of Much Ado About Nothing, directed by Tony Award-winner Kenny Leon. Additional Off-Broadway credits include: King Lear opposite Billy Porter, Yellowman, Rancho Viejo, The Piano Lesson, The America Play, The

Tempest, Two Noble Kinsmen. Regional premieres: The Magician’s Daughter, War, and Aubergine. Film: The Upside. Television: recurring role on The Good Fight. Other television credits include: Madam Secretary, The Code, FBI, Search Party, God Friended Me, Sneaky Pete, Orange is the New Black, and he has guest starred on all three branches of the Law and Order series. Stay connected: @tymhenderson tyronemitchellhenderson.com Jennifer Lanier, Beverly Wilson Jennifer is delighted to bring her work to Portland Center Stage at The Armory. She is currently coartistic director of Original Practice Shakespeare Festival. Local credits: Well and Let Me Down Easy at Profile Theatre; Men on Boats at Third Rail Repertory Theatre; The Brother/ Sister Plays at Portland Playhouse; The Hillsboro Story at Artists Repertory Theatre. Her solo show None of the Above has been seen around the country. Regional: American Stage Theatre Company, Ruth Foreman Theatre, United Stage. Film: The Water Man, Thin Skin, Woodstock or Bust, Last Champion, Scrapper. TV: Leverage, Grimm, Hawaii. She earned a B.F.A. from University of North Carolina School of the Arts and has studied improvisation with Paul Sills, original director of The Second City. Ashley Mellinger, Harriet, Hattie Ashley is pumped for her debut at Portland Center Stage at The Armory! Local credits include Persephone with Bedrock Theatre, The Most Massive Woman Wins at Deep End Theater, Dream/Logic with Hand2Mouth Theatre, and Sleepwalker at Headwaters Theatre (Fertile Ground Festival). New York credits include Volupté with World Theatre Lab, Spring’s Awakening and Balm in Gilead at The Marilyn Monroe Theatre, and The Darger Projects at The Lee Strasberg Theatre & Film Institute. Recent film credits: Magnificent (winner of the LGBTQ category at Oregon Independent Film Festival), Lonesome George, irl, and Love, Cheryl. She has a B.F.A. in acting from New York University and has studied at The Lee Strasberg Theatre & Film Institute and Stonestreet Studios.

Andrea Vernae, Allie, Alameda Andrea is so excited and filled with so much gratitude to be making her Portland Center Stage at The Armory debut! Born and raised in Miami, FL, she was last seen in: The Wolves at Portland Playhouse; JUMP, a coproduction with Confrontation Theatre and Milagro Theatre; and Everybody at Artists Repertory Theatre, where she is also a resident artist. When not onstage, Andrea enjoys creating short films with Sunflower Creations and being a part of the Confrontation Theatre team. Chip Miller, Director Chip is a director and producer, currently in the role of associate producer at Portland Center Stage at The Armory. They were previously the artistic associate/resident director at Kansas City Repertory Theatre. Directing: School Girls; Or, The African Mean Girls Play, Welcome to Fear City, Sex with Strangers, A Raisin in the Sun (Kansas City Repertory Theatre); Becoming Martin by Kevin Willmott (world premiere, The Coterie Theatre); dwb: driving while black (Lawrence Arts Center); 4:48 Psychosis (The Buffalo Room). Chip has developed work with playwrights including Kevin Willmott, Kara Lee Corthron, Brittany K. Allen, Catherine Trieschmann, Darren Canady, Andrew Rosendorf, Michelle T. Johnson, and Michael Finke. They have developed work at The William Inge Theater Festival, NYU Steindhard’s New Plays for Young Audiences, Portland Center Stage at The Armory’s JAW: A Playwrights Festival, Midwest Dramatists Center, and Kansas City Repertory Theatre’s OriginKC: New Works Festival. Education: B.F.A., NYU Tisch School of the Arts. Darrell Grand Moultrie, Choreographer A recipient of a Princess Grace Choreography Fellowship Award, Darrell’s select credits include: Daddy (The New Group), Sugar in Our Wounds (Manhattan Theatre Club), Invisible Thread (Second Stage Theater), Witness Uganda (American Repertory Theater), El Publico (Teatro Real in Madrid), Evita, and Pride and Prejudice (Kansas City Repertory Theatre). This past summer, his world premiere was performed by The Alvin Ailey American Dance Theater during their engagement at New York’s Lincoln Center. Darrell has

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MEET THE CREATIVE TEAM created multiple works for Colorado Ballet, Cincinnati Ballet, BalletMet, The Sacramento Ballet, Milwaukee Ballet, North Carolina Dance Theatre, Washington Ballet, Smuin Ballet, NBA Ballet in Japan, and has collaborated with Tony Award-winning hoofer Savion Glover. Darrell was selected by Grammy Award-winning artist Beyoncé as a choreographer on her “Mrs. Carter Show” World Tour. Darrell is a graduate of Fiorello H. LaGuardia High School of Music & Art & Performing Arts and The Juilliard School. Brittany Vasta, Scenic Designer Brittany is a Brooklyn-based designer for plays, musicals, and operas. Recent work includes: Octet and Rinse, Repeat (Signature Theatre); Life Sucks (Acorn Theater at Theatre Row); Bill Irwin’s Harlequin and Pantalone (New York City Center); Happy Birthday, Wanda June (The Duke on 42nd Street), I thought I would die but I didn’t (The Tank); Sehnsucht (JACK); The Enemy of the

People (Gene Frankel Theatre); The Road to Damascus (59E59 Theaters); Lawnpeople (Cherry Lane Theatre); Welcome to Fear City (Kansas City Repertory Theatre); August: Osage County, From the Author of (Resident Ensemble Players, University of Delaware); My Name is Asher Lev (Portland Stage); Richard III (The Shakespeare Theatre of New Jersey). Recent associate design credits: The Lifespan of a Fact (Roundabout Theatre Company, Studio 54) and Fairview (Soho Rep). Education: M.F.A., New York University. Proud member of United Scenic Artists Local 829. brittanyvasta.com 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 Repertory Theatre, Portland Center Stage at The Armory, Portland Opera, Kansas City Repertory Theatre, Indiana Repertory

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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. Jeanette Oi-Suk Yew, Lighting Designer Jeanette designs for theater, dance, opera, musicals, music performances, and immersive installation. The New York Times described them as “clever” and “inventive.” Recent: Scotland, PA (Roundabout Theatre Company); KPOP (A.R.T./New York Theatres and the Five Angels Theater at the 52nd Street Project; Hewes Design Award, LIT Design Award; Lortel and Drama Desk nominations); Qui Nguyen’s Vietgone at DCPA Theatre Company

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pcs.org/rent “ I couldn’t have asked for a better venue. If I could do it all again, I would have it here a million times over!” HashiConf US 2015

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Phil Johnson, Sound Designer Phil is a visual and theatrical artist based in Portland and the host of the podcast Radical Listening (Coho Productions). His recent productions include Cop Out and Hands Up (August Wilson Red Door Project); A Doll’s House, Part 2, Everybody, The Humans, and An Octoroon (Artists Repertory Theatre); Twilight, Elliot: A Soldier’s Fugue, The Antigone Project (Profile Theatre); Worse Than Tigers (A Contemporary Theater/Red Stage); and Watsonville, Lydia, Contigo Pan y Cebolla (Milagro Theatre). Phil Has a B.F.A. and M.A. from Ohio University. If you enjoyed the show please comment @philjohnsonlive or visit philjohnsondesignstheworld.com for more content and show playlists. Benjamin Fainstein, Dramaturg Benjamin is the literary manager for Portland Center Stage at The Armory and JAW: A Playwrights Festival. Selected dramaturgy and new play development credits include Howards End (upcoming, The Armory); Mary Kathryn Nagle’s Crossing Mnisose (The Armory); Lauren Yee’s Young Americans (in development, The Armory); Astoria: Part One and Two (The Armory); Sarah Sander’s Golden (MIDD Summer Play Lab); Meghan Brown’s The Tasters and Kevin Artigue’s The Forcings (JAW); Meg Miroshnik’s The Tall Girls (Carlotta Festival of New Plays); and Marcus Gardley’s The House That Will Not Stand (Yale Repertory Theatre). Benjamin was a 2018 Lambda Literary Playwriting Fellow, and his plays have been staged in New York, New Haven, Boston, and Washington, D.C. Previous posts include founding artistic director of Whistler in the Dark Theatre, associate artistic director of Yale Cabaret, and managing editor of Theater magazine. He received his M.F.A. from Yale School of Drama.

Jamie Lynne Simons, Stage Manager Jamie is delighted to return to Portland Center Stage at The Armory. Previously: Every Brilliant Thing, JAW: A Playwrights Festival, and other works in development. Most recent credit: In the Penal Colony at Portland Opera. Tour: production stage manager for Hundred Days, presented by La Jolla Playhouse, The Straz Center, and the Adrienne Arsht Center for the Performing Arts of Miami-Dade County. Other local credits: Artists Repertory Theatre, Third Rail Repertory Theatre, Portland Playhouse, Profile Theatre, Chamber Music Northwest, and Oregon Health & Sciences University — aiding in the education of medical professionals. Jamie worked for years on cruise ships with Carnival Cruise Lines and was able to visit the birthplace of their great-great-grandfather who immigrated from Denmark. B.F.A., University of the Arts, Philadelphia. Chair of Portland’s Liaison Committee for Actors’ Equity Association. Dana Petersen, Production Assistant Dana is thrilled to be a stage management apprentice at Portland Center Stage at The Armory. Earlier this season, she was a production assistant for In the Heights. Dana earned a B.A in theater from The Ohio State University where she stage managed The Curious Incident of the Dog in the Night-Time, Michael Von Siebenberg Melts Through the Floorboards, Four People, Execution of Justice, Beyond All Recognition, 7 Ways to Say I Love You, and Stupid F**king Bird. Dana was also a stage management intern on Much Ado About Nothing at The Old Globe. Dana sends all of her love to Mom, Dad, Carmen, and Murphy!

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SOAR

2019

(Best Lighting Design nomination); Emily Mann’s Gloria: A Life with Diana Paulus (Daryl Roth Theatre); Carla Ching’s Nomad Motel (Atlantic Theater Company); Aziza Barnes’ BLKS (Woolly Mammoth Theatre Company); Lauren Yee’s Song of Summer (Trinity Rep); and Eve Ensler’s Fruit Trilogy (Abington Theatre Company). Upcoming: Choir Boy with Jamil Jude (DCPA Theatre Company). NEA/TCG Career Development Program recipient. jeanetteyew.com

Fueling Creativity

A FUNDRAISING EVENT BENEFITTING

THE JEFFERSON DANCERS

DECEMBER 7TH • 7-10PM

B O DYVOX DA N C E C E N T E R

FOR TICKETS AND DONATIONS PLEASE VISIT

CHARITYAUCTION.BID/JDSOAR19

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BEHIND THE CURTAIN

MEET THE CHOREOGRAPHER OF REDWOOD

DARRELL GRAND MOULTRIE

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Photo by Grace Kathryn Landefeld.

BY ARTSLANDIA

There was a lot of double-duty, and something just said to me, if you really want to do this choreography thing, you’ve got to dive in.”

You began studying dance after a thirdgrade teacher offered to help pay for your lessons. What do you think she saw in you that prompted such generosity? Will you share more about this extraordinary person with our readers? Her name was Gwendolyn McLoud, and she was my third-grade teacher. She would tell me that what she saw was passion. I loved [musical theater] so much, and she saw that I could do it. I loved learning the script, the music, all the dancing. She passed away about four years ago at 91. She was very passionate herself, and she made sure that I did everything I needed to be successful. Having benefitted from a personal arts patron, are you involved in any outreach efforts now as a professional? Yeah! I have kids that I have put in dance classes, and I do tons of teaching all around, whenever I can. Different companies have me teach with their outreach programs. I try to make sure I always stay connected in some way to young people. You were a dancer before becoming a choreographer. How did this shift develop? I was performing on Broadway in Billy Elliot in 2009. While I was in the show, I was choreographing at Juilliard during the day and running back to the show at night. There was a lot of double-duty, and something just said to me, if you really want to do this choreography thing, you’ve got to dive in. With a Broadway show, you could stay forever because it’s convenient. You make good money, and in a way, it’s safe. I just decided — if you

take a step all on faith, the universe will always be there to support you. Were you always interested in choreography? Always. I’ve been choreographing since I was a little boy bossing all the other kids around! You’ve been described as one of the most diverse choreographers of our time, with a repertoire that includes theater, ballet, modern, and commercial dance. How have you been able to hop from genre to genre with such spectacular results? I was born and raised in the capital of the arts — New York City — so I was exposed to all of it. I was also taught to respect all of it. And I loved everything! I was at operas and jazz concerts and ballet and modern dance shows. I’m from Harlem so we had to know hip-hop. I think that’s it. And as I get older, [the variety] keeps me interested. I’m not doing the same genre all the time, and that keeps me excited and on my toes. It’s a lot of fun. It’s hard, but it’s a lot of fun. I can imagine! What advice would you give to aspiring creators hoping to achieve a similarly broad scope of work? Go see everything. Talk to people. Ask a lot of questions, and never look down upon anything else. Right now, it’s a world where we’re all learning about each other, and the main thing is respect. Respect everybody’s craft, and if you want to learn it, try to really learn about it instead of just diving in for five seconds. What are your hopes for your career that you’ve yet to achieve? Oh man. Some financial freedom! I’m trying to figure out now what to do to be able to share the art but make money. We get taught “don’t think about money,” but in order to make better art and be better artists, you want to be comfortable. I think now it’s about wanting to find comfort financially. But, there’s so much I love to do. I love to do Broadway shows. There are tons of other dance companies I love to work with. I’d love to do more plays. So right now, I’m just excited about doing more plays and musicals. It’s really exciting for me. How did you come to be involved with the world premiere of Redwood at Portland Center Stage at The Amory? I met Chip [Miller, Redwood’s director] and Marissa [Wolf, Portland Center Stage Artistic Director] at Kansas City Rep. I did a production of Evita there.

They saw my work and really enjoyed it, and we’ve kept in touch. Marissa did a version of Pride and Prejudice, and she brought me back to KCRep for it. And then she wanted to work with me on something in Portland, but it fell through. Chip wanted to work with me again and had moved to Portland and was directing, so we all connected back at the right time. Tell us about your creation process for Redwood. For me, it’s all about the script — learning the script and thinking about what I would want to say in each scene, what actors I have, how they dance. I haven’t seen [the actors] yet. I’ve only seen them all on video, so it’ll be interesting to meet them. It’s really about going through the script and highlighting every moment that Chip may need me. All the choreographic moments are set moments, but there are also transition moments. I have to have my stuff ready and prepped for Chip so that we can start the collaboration process. We’ll be connected at the hip once we start. So, you’ll have the choreography sort of mapped out, and then …? I always have it sort of mapped out, but I always wait for the vessel — the actor. If I have steps in my head that their body can’t do, that’s a disservice to the artist. I can usually choreograph very quickly, but it helps me to have the actor in front of me. Then, I can create it on their body so that I can make them look their best without making it too easy for them. I want to challenge them. Do you have plans for your downtime when you’re in Portland? Well, I’ve been to Portland for Oregon Ballet Theatre twice, so I know some of the dancers. This time I’d love to do some different things while I’m there — maybe go see the mountains. I’m open to any suggestions because every time I’ve come, I’ve just stayed in the hotel room. I eat; I work. I eat; I work! You’ll have to get your hands on the Artslandia Annual for some suggestions! Our theme for the season is A Night Out. Will you describe for our readers your perfect night out? Oh, my goodness! It’s definitely being in New York with friends, going out to eat and have drinks, seeing a show, and then going out to the club to hear good music and do some dancing. We’ve been doing it since high school! .

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FASCINATING FACTOIDS

DNA & MODERN GENEALOGY BY ARTSLANDIA

DNA (DEOXYRIBONUCLEIC ACID) IS THE CHEMICAL BASIS OF HEREDITY AND CONTAINS ALL OF A LIVING ORGANISM’S GENETIC INFORMATION.

THE STUDY OF FAMILY HISTORIES IS CALLED “GENEALOGY.” Becoming a professional genealogist requires no formal education. Brigham Young University in Utah offers the world’s only four-year bachelor’s degree available in the field.

THE HUMAN GENOME PROJECT, an international research effort to uncover the genetic blueprint of a human, advanced biotechnology to sufficiently make at-home genetic testing commonplace. The project formally began on October 1990 and finished in 2003.

THERE ARE THREE MAJOR TYPES OF GENEALOGICAL DNA TESTS. Autosomal testing examines chromosomes 1–22 and the X chromosome; Y-DNA examines the Y chromosome; and mtDNA examines mitochondria, which is another part of a cell.

IF YOU COULD UNWIND AND STRETCH THE DNA IN A SINGLE CELL INTO A STRAIGHT LINE, IT WOULD BE ABOUT 6 FEET LONG. The most recent figure for the number of cells in the human body is 37 trillion, so you do the math!

A CHILD GETS NEARLY 50 PERCENT OF THEIR DNA FROM EACH PARENT. The percentage is slightly different for boys and girls. Due to all the possible combinations of parent’s DNA, siblings share approximately 50 percent of the same DNA.

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IN 2007, U.S. COMPANY 23ANDME WAS THE FIRST TO OFFER EASY AND RELATIVELY AFFORDABLE AT-HOME GENETIC ANALYSIS OF CUSTOMER’S SALIVA. Time magazine declared the service the “Invention of the Year” in 2008. The original price was $999, but as of fall 2019, the price is $99.

WHILE SCIENTISTS AGREE THAT CHIMPANZEES HAVE THE MOST SIMILAR DNA TO HUMANS, THE EXACT PERCENTAGE IS A HOTLY DEBATED FIGURE. Based on current science, the agreed upon range is from 95 to 99 percent.

ALL HUMAN BEINGS SHARE 99.9 PERCENT IDENTICAL DNA. Humans and bananas share 50–60 percent of the same DNA.

According to research and calculation by MIT’s Technology Review magazine, the four leading commercial ancestry databases contain the DNA profiles of more than 26 million people as of late 2018. IF THE CURRENT PACE OF INFORMATION GATHERING REMAINS UNCHANGED, THE TALLY WILL EXPLODE TO 100 MILLION PEOPLE IN 2020. .

Gather your people for a remarkable experience

“We had the best time. Everyone loved the tour and the show. In sum, a magical night.”

Portland Center Stage at

Groups of 10+ save 20% on tickets and get other great perks, including complimentary backstage tours, free bonus tickets, and customized food and beverage add-ons. Reserve now and pay later!

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CELEBRATIONS • OFF-SITES • STUDENT TRIPS • EXCURSIONS Select cast members of In the Heights. Photo by Owen Carey.

“As heartwarming as it is hilarious.”

Portland Center Stage at

-The Hollywood Reporter

Sometimes the Queen Bee gets stung! Paulina, the reigning Queen Bee at a Ghanian boarding school, has her sights set on the Miss Universe pageant. But the arrival of Ericka (a new student with undeniable talent, beauty, and light skin) captures the attention of the pageant recruiter — and topples the social order of Paulina’s hive-minded friends. This biting comedy cautions that while beauty may be only skin deep, its pursuit can cut much deeper. A co-production with Artists Repertory Theatre! JAN. 18 - FEB. 16, 2020 503.445.3700 | PCS.ORG

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November 30 – December 29, 2019 On the U.S. Bank Main Stage

Marissa Wolf

Artistic Director

Cynthia Fuhrman

Managing Director

MISS BENNET: CHRISTMAS AT PEMBERLEY Written by

Directed by

Lauren Gunderson & Margot Melcon

Marissa Wolf

Scenic Designer

Costume Designer

Lighting Designer

Sound Designer

Peter Ksander

Alex Wren Meadows

Jennifer Lin

Phil Johnson

Dialect Coach

Stage Manager

Production Assistant

Casting

Karl Hanover

Mark Tynan*

Macarena Subiabre

Will Cotter, Chip Miller

Performed with one intermission. Miss Bennet: Christmas at Pemberley was originally produced by Northlight Theatre, Chicago, Illinois (BJ Jones, Artistic Director; Timothy Evans, Executive Director). Miss Bennet: Christmas at Pemberley 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 DEDRE MARRIOTT

MARY & DON BLAIR

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Charles Grant Isaac Lamb

Lauren Modica

Quinlan Fitzgerald Cindy Im Treasure Lunan

THE CAST Quinlan Fitzgerald

Anne de Bourgh

Charles Grant

Charles Bingley

Cindy Im*

Elizabeth Darcy

Isaac Lamb*

Fitzwilliam Darcy

Treasure Lunan

Jane Bingley

Lauren Modica*

Mary Bennet

Kailey Rhodes

Lydia Wickham

Joshua J. Weinstein*

Arthur de Bourgh

Joshua J. Weinstein

Kailey Rhodes

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

THANKS TO OUR GENEROUS SPONSORS OF MISS BENNET: CHRISTMAS AT PEMBERLEY DEDRE MARRIOTT: What an outright joy to sponsor this season’s holiday play, Miss Bennet: Christmas at Pemberley! This production, running true to Jane Austin’s Pride and Prejudice, charmingly portrays the Bennet sisters, plus husbands, a few years following the last pages in “P & P.” Such a timeless commentary on inheritance, personal freedom, and women’s roles and rights at home and in society. Sit back with me and enjoy this giddy but also poignant comedy drama. U.S. BANK: The holidays are a time for celebrations, and U.S. Bank is delighted to celebrate this directorial debut at Portland Center Stage at The Armory by Artistic Director Marissa Wolf. We have been partners with this company since its very first season, and by supporting Marissa’s new holiday production, we are proud to be part of the launch of this new era. ARCIFORM: Founded in 1997, ARCIFORM is a design/build firm that specializes in historic restoration and remodeling of some of Portland’s finest architectural treasures. ARCIFORM is inspired by the stories that surround the structures they design, build, and renovate. As stewards of Portland’s vibrant cultural fabric, ARCIFORM realizes that a thriving artistic community is part of what makes Portland such a fantastic place to live. To that end, ARCIFORM is proud to support Portland Center Stage at The Armory in their mission to “bring stories to life in unexpected ways.”

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4 BENNET SISTERS, 3 HANDSOME HUSBANDS, 2 AWKWARD BOOK NERDS … AND A PARTRIDGE IN A PEAR TREE! It’s December 22, 1815. Mrs. Elizabeth “Lizzy” Darcy ( née Bennet) and her husband, Mr. Fitzwilliam Darcy, are preparing to host a Bennet family Christmas gathering. Fans of Jane Austen will remember our hosts, Lizzy and Darcy, from their delightfully contentious courtship in Austen’s Pride and Prejudice. That book follows the f ive Bennet sisters as they navigate the joys and challenges of romantic courtship amid the tempestuous strictures of early 19 t h -century English society. Our play imagines what the witty and vibrant Bennet sisters’ world might be like two years after the end of the novel. Here is a refresher on “who’s who” to prepare you for this Regency romp.

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LIZZY BENNET

Elizabeth is the second eldest Bennet sister and the central heroine of Pride and Prejudice. She possesses a keen mind and lively wit, and she approaches high society with good-natured skepticism and insistence on maintaining control over her own love life. Despite her initial dislike of Fitzwilliam Darcy, she fell head over heels for him, and their path to a loving partnership is the foremost plotline of the book. Austen aficionados continue to debate the full significance of Lizzy’s character, but she is generally regarded among English literature’s most dimensional and progressive female protagonists of the Pre-Victorian Era. When this play begins, Lizzy and Darcy are happily married and live at Darcy’s Pemberley estate.

FITZWILLIAM DARCY

The transformation of straitlaced, disagreeable Mr. Darcy into a loving and vulnerable partner to Lizzy is the stuff of romantic comedy legend. He is a supreme example of the archetypal English gentleman who has been taught to repress emotions and adhere to inherited norms of behavior and propriety. It was only due to the exasperating challenges of Miss Bennet, which shined light into his otherwise closed heart, that he finally let himself enjoy the ecstasy of love. Indeed, after falling for Lizzy, Darcy broke off the marriage his family had arranged for him since birth to a distant cousin, Anne de Bourgh, a move which has unintended consequences for the action of our play. When the curtain rises, we see that he has grown into a supportive husband who approaches the Bennet women with affection. In other words, marriage looks good on Mr. Darcy.

JANE BENNET

Jane is the eldest Bennet, and in the novel, she is described as the most desirable bachelorette in the community. Her outward beauty is bolstered by her gracious and gentle heart; whereas Lizzy may raise an eyebrow to others, Jane tends to see only the good in people. She fell in love with a rich man named Charles Bingley, (Darcy’s closest friend) and it was in part due to Jane and Bingley’s blissful partnership that Lizzy and Darcy were forced to spend time together. In this play, Jane and Bingley’s perfect love for one another has only grown stronger and deeper; they are happily awaiting the birth of their first child. The playwrights note that Jane has “the kindest heart in the house,” and she is wonderfully genuine in her desire to see all her sisters content and in love.

CHARLES BINGLEY

Good-looking and charming to a fault, Charles fell in love with Jane almost at first sight in Pride and Prejudice, but the interference of his morose friend Mr. Darcy threatened to sink the match before it ever got off the ground. Despite being rich and successful, in the novel, Charles tended to allow others’ opinions to influence his thinking. His affable nature and undeniable connection to Jane won the day, however, and in this play, we see that he has matured into a spectacular and doting husband without losing the boyish charms and light-hearted personality that made him so lovely to be around.

LYDIA BENNET

MARY BENNET

The youngest and most impetuous Bennet sister, Lydia is a natural flirt and has a knack for stealing the spotlight. Her love of socializing and disregard for traditional English morality led her to engage many potential suitors. She eventually ran away with the military officer George Wickham, who indulged Lydia but had no intention of marrying her. To avoid the destruction of her reputation and scandal for her family, Mr. Darcy forced Wickham to marry Lydia. Unfortunately, since their marriage was not based in genuine affection, the partnership soon became bittersweet. When the play begins, she is back to her old ways, demanding attention and entertaining herself by flirting with men she cannot have, even when she knows she is doing harm to her sisters.

Mary is the middle sister, and in the novel, she is considered the least arresting of the Bennets. She possesses extreme intelligence and has a somewhat cynical and grave disposition. She prefers spending time with her books and piano over attending society parties or pursuing romantic love. In many ways in the novel, she stood in dull contrast to Lydia’s glittering self-interest, Lizzy’s incomparable wit, and Jane’s generous spirit. She’s the misfit woman that society keeps at arm’s length, and she generally returns the favor. But when our play begins, Mary has matured and is, as the playwrights note, “coming into her own.” This Christmas, she has been re-cast as the leading lady.

ANNE de BOURGH

In Pride and Prejudice, Anne was the sickly young woman betrothed to Mr. Darcy. She was to inherit her family estate at Rosings Park, but when Darcy broke off the engagement to pursue Lizzy, Anne’s future was thrown into turmoil. Her story was left untold at the end of the novel. All we knew is that she seemed not to have married. In this play, she appears at Pemberley following the death of her mother; she has been disinherited and the property has been bequeathed to her male cousin, Arthur de Bourgh.

ARTHUR de BOURGH

Arthur is the only character who does not appear in Pride and Prejudice and was created by the playwrights. In the script, he is described as “a studious, unsociable only child who has never been around women or large families. He is a loner who prefers books to people. He has recently inherited a large estate and has no idea what to do next.” He has left his studies of snail zoology to come for Christmas at Pemberley because, well, he has no place else to go.

By Benjamin Fainstein, Literary Manager. Illustrations of Pride and Prejudice by C. E. Brock, circa 1885.

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MEET THE CAST 25 YEARS

THE CHRISTMAS REVELS

AN ENGLISH CELEBRATION OF THE WINTER SOLSTICE

DECEMBER 13-22, 2019 MATINEES & EVENINGS NEWMARK THEATRE 1111 SW BROADWAY WWW.PORTLANDREVELS.ORG OR CALL 503.274.4654

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Quinlan Fitzgerald, Anne de Bourgh Quinlan is thrilled to be returning to Portland Center Stage at The Armory, where she was last seen in Bedlam’s Sense and Sensibility. Local credits include The Wolves, A Christmas Carol, Peter and the Starcatcher, and You for Me for You (Portland Playhouse); The Humans (Artists Repertory Theatre); Ordinary Days and Trails (Broadway Rose Theatre Company); The Angry Brigade (Third Rail Repertory Theatre); Love’s Labour’s Lost (Portland Actors Ensemble). Other credits include Spring Awakening (Out of the Box Theatre Company); Godspell and Audience (Knightsbridge Theatre Company). TV: Shrill, The Birch. She is a past Portland Playhouse apprentice and holds a B.F.A. in acting and a B.A. in communication from the University of California, Santa Barbara. Thank you for sharing this story with us! Charles Grant, Charles Bingley Charles is excited and honored to be a part of Miss Bennet: Christmas at Pemberley! Perhaps you just saw him right here at Portland Center Stage at The Armory in Redwood. Other local credits include: Bootycandy (Fuse Theatre Ensemble), Jump (Confrontation Theatre/Milagro Theatre), Mamma Mia! (Broadway Rose Theatre Company), and A Year with Frog and Toad (Oregon Children’s Theatre), for which he received a Drammy Award for his performance. B.F.A. in acting from University of California, Santa Barbara (Go Gauchos!). This holiday season, Charles is grateful for his community (the greatest gift of all!), without whom none of this would be possible. Representation matters, and Jane Austen belongs to everyone. He hopes you enjoy the show! thecharlesgrant.com Cindy Im, Elizabeth Darcy This is Cindy’s Portland debut. She is excited to return to Pemberley, having played Lizzy in the world premiere production of Miss Bennet: Christmas at Pemberley at Marin Theatre Company. Other credits include The Great Wave (Berkeley Repertory Theatre); Vietgone, The Orphan of Zhao, Stuck Elevator (American Conservatory Theater); Hannah and the Dread Gazebo, Julius Caesar, Great Expectations, The Winter’s Tale (Oregon Shakespeare Festival); The World of Extreme Happiness (Manhattan Theatre Club and Goodman Theatre); The Orphan

of Zhao (La Jolla Playhouse); Twelfth Night (California Shakespeare Theater); Measure for Measure (Seattle Shakespeare Company); and 11 September 2001 (Théâtre Dijon Bourgogne/REDCAT). Film/TV credits include Manifest (NBC) and Tigertail (Netflix). Cindy is a TCG Fox Acting Fellow and holds an M.F.A. in acting from California Institute of the Arts. Isaac Lamb, Fitzwilliam Darcy Isaac is thrilled to be back at Portland Center Stage at The Armory after spending last Christmas as Scrooge in Twist Your Dickens. Isaac is a graduate of Loyola Marymount University and a company member of Third Rail Repertory Theatre. Select local credits: The Flick, The Aliens, The Mystery of Irma Vep (Third Rail Repertory Theatre); Every Brilliant Thing, The 25th Annual Putnam County Spelling Bee (The Armory); Assassins, The Playboy of the Western World (Artists Repertory Theatre); The Sound of Music, The Addams Family (Broadway Rose Theatre Company); Mr. Burns …, Peter and the Starcatcher (Portland Playhouse); The Three Sisters (Portland Experimental Theatre Ensemble). National tour: Defending the Caveman. Select regional: Barbara Streisand’s “Timeless” Tour (STAPLES Center), Sweet Charity (Red Mountain Theatre Company). Film: Lean on Pete (Film4), North Starr (Sundance). TV: American Vandal, Portlandia, The Birch. isaaclamb.com Treasure Lunan, Jane Bingley Treasure is ecstatic to be making their Portland Center Stage at The Armory debut as Jane Bingley in Miss Bennet: Christmas at Pemberley. A lifelong thespian and self-proclaimed theater geek, Treasure’s most recent credits include playing Cel in The Most Massive Woman Wins at Deep End Theater and Renee in The Lunchroom for Hear Our Voices: A Staged Reading presented by Advance Gender Equity in the Arts at The Armory. They are further delighted to be returning to The Armory stage later this season in School Girls; Or, The African Mean Girls Play, as well as The Curious Incident of the Dog in the Night-Time. They are incredibly grateful for this opportunity and extend an enthusiastic thank you to the audience for supporting the arts. Lauren Modica, Mary Bennet Lauren is thrilled to be back at Portland Center Stage at The Armory for her holidays, with Marissa and the entire

Kailey Rhodes, Lydia Wickham Kailey is excited to make her Portland Center Stage at The Armory debut! She’s grateful for the opportunity to collaborate with this cast. She was last on this stage with Anonymous Theatre Company’s 25th Annual Putnam County Spelling Bee and Urinetown. Other credits include The Wolves (Portland Playhouse); Ordinary Days, Into the Woods, Gypsy (Broadway Rose Theatre Company); Sense and Sensibility (Clackamas Repertory Theatre); The Importance of Being Earnest, An Octoroon, Teenage Dick, and the forthcoming play Looking for Tiger Lily (Artists Repertory Theatre). Merry Christmas and a Happy New Year to the Georgians on my mind.

November 30 – December 22

MELANCHOLY PLAY

PHOTO BY OWEN CAREY

cast and crew. Love and gratitude to those who make her heart sing. Regional: Mrs. Jennings in Bedlam’s Sense and Sensibility, Mrs. Cratchit/Rag Doll/Insane Beggar Woman in Twist Your Dickens, Our Town, and JAW: A Playwright’s Festival (The Armory); Cheshire Cat in Alice in Wonderland, Widow in All’s Well that Ends Well, Anne Steele/Lady Middleton in Sense and Sensibility, Gregory in Romeo and Juliet, and Glendower/Mowbray/Peto in Henry IV: Part One and Two (Oregon Shakespeare Festival); Cook/Nurse Spiller in Fingersmith (American Repertory Theater); and Fortune Teller in The Skin of Our Teeth (Artists Repertory Theatre). Portland: Profile Theatre, Defunkt Theatre, Northwest Classical Theatre Collaborative, Willamette Shakespeare, Action/Adventure Theatre, Gretchen Icenogle’s Trailing Colors, and others. Next up: Titania in A Midsummer Night’s Dream at Oregon Shakespeare Festival. For Grandpa B. @laurenmodica

A Chamber Musical by Sarah Ruhl

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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Joshua J. Weinstein, Arthur de Bourgh Josh is thrilled to return to Portland Center Stage at The Armory after last appearing in Major Barbara as Stephen Undershaft and Snobby Price. Josh is a resident artist at Artists Repertory Theatre and an alumnus of the Portland Playhouse Acting Apprenticeship. Portland credits: The Baltimore Waltz (Profile Theatre), Beirut (Shoebox Theatre), Magellanica (Artists Repertory Theatre), Tender Napalm (Shoebox Theatre), A Christmas Carol (Portland Playhouse), We Are Proud to Present ..., The Miracle Worker, 4000 Miles, TRIBES, and Foxfinder (Artists Repertory Theatre). Huge thanks to the creative and production teams as well as the incredible cast for making this holiday treat a reality. And to Brandy. Always.

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MEET THE CREATIVE TEAM Lauren Gunderson, Playwright Lauren Gunderson is the most produced living playwright in America, the winner of the Lanford Wilson Award and the Steinberg/ATCA New Play Award, a finalist for the Susan Smith Blackburn Prize and John Gassner Award, and a recipient of the Mellon Foundation’s three-year residency with Marin Theatre Company. She studied at Emory University and NYU Tisch School of the Arts, where she was a Reynolds Fellow. Her work has been commissioned, produced, and developed at companies across the United States, including DCPA Theatre Company (The Book of Will), South Coast Repertory (Emilie, Silent Sky), The Kennedy Center (The Amazing Adventures of Dr. Wonderful and Her Dog!), Eugene O’Neill Theater Center, Berkeley Repertory Theatre, Shotgun Players, TheatreWorks, Crowded Fire Theater, San Francisco Playhouse, and more. Her work is published by Dramatists Play Service (Silent Sky, Bauer), Playscripts (I and You, Exit, Pursued by a Bear, and Toil and Trouble), and Samuel French (Emilie). laurengunderson.com @lalatellsastory

Margot Melcon, Playwright Margot Melcon is a theater artist, administrator, and writer. She was the director of new play development at Marin Theatre Company for seven years, where she dramaturged more than 30 productions — including six world premieres — and administered the company’s two annual new play prizes and commissioning programs. She has developed plays with TheatreWorks, Bay Area Playwrights Festival, Crowded Fire Theater, Shotgun Players, Berkeley Repertory Theatre’s Ground Floor, The Kennedy Center, The New Harmony Project, and The Playwrights’ Center in Minneapolis. She is currently the program executive for promoting culture at the Zellerbach Family Foundation. Margot is a graduate of California State University, Chico.

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. Peter Ksander, Scenic Designer Peter is a scenographer and media artist who’s stage design work has been presented both nationally and internationally. In 2006, he joined the curatorial board of the OntologicalHysteric Incubator. In 2008, he won an Obie Award for the scenic design of Untitled Mars (this title may change), and in 2014 he won a Bessie Award for the visual design of This Was the End. Recent Portland credits include set designs for Arlington [A Love Story], John, Our Ruined House, Teenage Dick, and Uncle Vanya.

Marissa Wolf, Director 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

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He holds an M.F.A. from the California Institute of the Arts, is an associate professor at Reed College, and is an associate company member with the Portland Experimental Theatre Ensemble. Alex Wren Meadows, Costume Designer Alex is thrilled to be designing costumes for Miss Bennet: Christmas at Pemberley, following last season’s Buyer & Cellar. Regional design credits include shows for TimeLine Theatre, Next Theatre, Organic Theatre Company, Famous Door Theatre, Shattered Globe Theatre, Classical Kids Live, Montana Shakespeare in the Parks, and Monomy Theatre in Massachusetts. He received a Jeff Award nomination for The General from America at TimeLine Theatre. Alex is the costume shop manager at Portland Center Stage at The Armory and an adjunct instructor in costume design at Portland State University. He also previously managed the costume shop at Loyola University and taught costume design and costume construction. Alex holds an M.F.A. in costume design from the University of North Carolina School of the Arts and a B.A. in theater design from UNC Asheville. Jennifer Lin, Lighting Designer Jennifer is a freelance lighting designer and stage technician who has been working behind the scenes for Portland theater, opera, and dance since 2008. She attended Portland State University and in 2007 received The Kennedy Center American College Theatre Festival’s Achievement Award for her lighting design for PSU’s production of Electra. Her designs have spanned a wide range of venues, disciplines, and styles, from site-specific dance (Re/Activate at Wieden+Kennedy) to innovative opera in bars (Opera Theater Oregon’s The Medium at Someday Lounge) and children’s theater (Oregon Children’s Theatre’s Diary of a Worm, a Spider, and a Fly). Jennifer is a core-company member of Third Rail Repertory Theatre, a member of IATSE local 28, and a recipient of the 2018–2019 Drammy Award for Outstanding Season. Recent work includes Evolve (August Wilson Red Door Project), Arlington, and Mother Come Home (Third Rail Repertory Theatre). Phil Johnson, Sound Designer Phil is a visual and theatrical artist based in Portland and the host of the podcast Radical Listening (Coho Productions). His recent productions include Cop Out and Hands Up (August Wilson Red Door Project), A Doll’s House, Part 2, Everybody, The Humans, and An Octoroon (Artists Repertory Theatre); Twilight, Elliot: A Soldiers Fugue, The Antigone Project (Profile Theatre); Worse Than Tigers (A Contemporary Theatre/Red Stage);

Watsonville, Lydia, Contigo Pan y Cebolla (Milagro Theatre). Phil has a B.F.A. and M.A. from Ohio University. If you enjoyed the show please comment @Philjohnsonlive or visit philjohnsondesignstheworld.com for more content and show playlists. Karl Hanover, Dialect Coach Karl has been involved in theater in various capacities for the last 25 years. Previous dialect work includes Orlando, The Call, Blue Door, Antigone Project, Elliot: A Soldier’s Fugue, and 2.5 Minute Ride with Profile Theatre; A Christmas Carol and The Language Archive with Portland Playhouse; Hen Night Epiphany, Belfast Girls, Lifeboat, Quietly, Hurl, How to Keep An Alien, and Eclipsed with Corrib Theatre; and recently A Christmas Memory at Portland Center Stage at The Armory. He received his M.F.A. in acting from the National Theatre Conservatory in Denver. Mark Tynan, Stage Manager Imagine being in a room full of artists, watching the birth of an idea, a movement given purpose, a sentence, phrase, scene, act given life. Then imagine that room translating to the stage with lighting, sound, costumes, scenery, and props; then you can imagine what Mark’s job is like. Special thanks to the stage management apprentices, Dana Petersen and Macarena Subiabre. Prior to Portland Center Stage at The Armory, Mark toured nationally and internationally with musicals including Dreamgirls, The King and I with Rudolf Nureyev, How to Succeed …, Grand Hotel, The Phantom of the Opera, Rent, and Jersey Boys. Other Portland credits include several summers with Broadway Rose Theatre Company in Tigard. Regional credits include Alley Theatre, La Jolla Playhouse, and Casa Mañana Theatre. Macarena Subiabre, Production Assistant Macarena is excited to join Portland Center Stage at The Armory as a production assistant this season, where she was recently a production assistant for 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, Into the Woods, Good Kids, and the U.S. premiere of The Beautiful Game. Other credits include: A Comedy of Tenors (Pioneer Theatre Company); How I Learned to Drive (Salt Lake Fringe Festival); You’re a Good Man, Charlie Brown (Salt Lake Shakespeare); and Steel Pier, Dogfight, and A Funny Thing Happened … (University of Utah). She was also lucky to complete an internship with Cirque du Soleil where she worked on Zumanity and the Cirque Cabaret, 2018. She thanks her family, Bruce, and cat for all their love and support.

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BEHIND THE CURTAIN

Lauren Modica, who plays Mary Bennet in Miss Bennet: Christmas at Pemberley lives it up in The Benson Hotel’s grand lobby. The lobby features Italian marble floors, Austrian crystal chandeliers, and Circassian walnut wood from the imperial forests of Russia. Since 1913, the venerable establishment has catered to celebrities, business leaders, and a majority of U.S. Presidents. Nothing quite compares to the quintessential elegance, timeless beauty, and luxurious amenities of Portland’s landmark hotel. The Benson Hotel is a proud supporter of the arts in Portland. BENSONHOTEL.COM

MEET MARY BENNET OF MISS BENNET: CHRISTMAS AT PEMBERLEY

LAUREN MODICA BY ARTSLANDIA Photos by Christine Dong.

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How did you prepare to play this character?

What advice do you have for someone wanting to follow in your footsteps?

I’m the oldest of three sisters, and so the relationship dynamics are in my blood, but one of the things I love most about Mary is that she absolutely, 100 percent is who she is at every moment — awkward and offbeat but not wrong. Her first line in the play is about avoiding post-trip leg swelling. It may be the holidays. There may be the presence of a Christmas tree for the first time in Bennet family history. But Mary? Mary’s worried about water retention and preventing Deep Vein Thrombosis.

Do it all. I spent time immersed in journalism, sociology, and so many other things. You can take all the time you need to get to where you want to be in your career, and you’ll end up right where you are supposed to be. If you, like myself, can’t afford grad school or a conservatory, that does not mean you are doomed. If you can, remember that you’re incredibly lucky, and a lot of people you meet are dealing with different circumstances. Try your hardest not to judge them for that. Be kind, not nice. Be honest and selective. Develop your own standards and hold yourself to them ruthlessly. They can be different from whatever the textbook is saying. Listen to everything the quietest person in the room says.

Being encouraged to really play up the eccentricities of this character (She is who she is and in her “state” for real reasons, after all) while indulging in the vulnerability and sweetness of first real love is something that proved irresistible to me. We’ve all been Mary — a little outside the action, a little self-contained, but bursting with passion and wit. She’s an observer and so, so attuned to what is left in the wake of her vibrant sisters — she knows where the bodies are buried but would rather talk to you about native grasses. What’s the best advice you’ve ever been given about anything? Don’t be meek. Take up space. Do it anyway. These all boil down to simply knowing your personal power, respecting your autonomy and agency, and that it is no fluke that you are where you are supposed to be. I am someone who likes to make people comfortable and will happily step back — much like Mary until she gets her teeth out. So, claiming my right to be here, to play fair but play hard, has been a huge part of my personal growth. It makes me uncomfortable. But it also makes me better. Who or what inspires you? The intangible unknown and challenge of making a story and character your own, for better or worse. But mostly my baby nephews: their determination, creativity, and discovery as they begin walking, talking, and making their first jokes. Mary Oliver’s poetry. Kissing in the street. Elizabeth Pruitt from Tartine Bakery, who seems to try everything that piques her interests and masters it for the sake of the journey. Bougainvillea — how it bursts into brilliant bloom with little regard to what you might have to say about it. Big dogs who let you carry them and little dogs who would never. When and why did you start acting? I was too shy to sing, too Type A to “let go” in art class, too uncoordinated to master the flute. Acting was the last elective left for me in middle school. It picked me, like a rescue dog.

Don’t be meek. Take up space. Do it anyway. These all boil down to simply knowing your personal power, respecting your autonomy and agency, and that it is no fluke that you are where you are supposed to be.”

Are there other actors in your family? There should be! No one is funnier than my sisters and parents — I’m the “boring” one, the Kourtney Kardashian. My family is incredibly charismatic, and each could wipe the floor with me. Which famous actors do you admire? Why? Catherine O’Hara, Indya Moore, Danny McBride, Robin Penn, Alec Baldwin, Kathy Bates. Meryl! All of them embody joy and truth and honesty. You can tell they love what they’re doing, and watching them peel away artifice and ego to produce something transcendent, whether comedic or dramatic, is thrilling. It sends chills down my back. Also, parents lying about Santa to their skeptical children — toughest audience and highest stakes. Do you get nervous before a performance? Do you have any pre-show rituals? I have a few things I repeat and remind myself. A small clutch of totems and objects that I keep at my dressing station. And on especially tough days, when I’m scared or tired or furious, I try to channel the spirit of every single opening act or backup dancer who outshined the headliner. When did you first know you wanted to be a professional actor? When I’d get viscerally angry watching other people perform — whether they were Six Flags variety show performers, Sea World trainers, my uncle in Charlotte’s Web at his high school, or my sister’s dance troupe. Envy means you need to do something about it. Otherwise, it will eat you up. So, I called my own bluff.

What’s the biggest challenge you’ve had to overcome so far, and how did it change you? Having Dwarfism, this is literally the no. 1 career I was told I’d NEVER be successful in, outside of being a pro-basketball player. So the word “Can’t” has lost its potency — every role I get to play dilutes it further. But when I was in 7th grade, I had my legs straightened. Overnight I went from an active, rambunctious 12-year-old to being in a wheelchair for six months and on crutches/using a cane for another six. I’d never experienced anything like that before. During that time, I was cast in my first middle school play and remember using it as motivation to get really good, so I could walk on and deliver my two lines without using my crutches. It would have made no difference to anyone but me, but that goal was as important as any other I’ve accomplished since. What do you find to be the most challenging part of being an actor? Making time for yourself and saying, “No.” In the past few years, mapping out specific blocks of time when I know I am not working because you do no one any good by running on empty, for the sake of being busy or booked. My work isn’t good; I don’t feel good; my relationships with others and myself all suffer. It is healthy to want to do other things beside perform every night. It is healthy to recognize that you may need a break, that you need to be boring, enjoy daylight hours, and not say the same sentences over and over again. I act for a living, but that shouldn’t shield me from living.

>>> Continued on page 40

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<<< Continued from page 39

Who have been some of the most influential people in your life? My loving, accepting, inordinately strong parents, my two beautiful, brilliant sisters, Lu Biado, Gretchen Icenogle, Rose Riordan, Julie Akers, Sara Bruner, and Bill Rauch. Each of them pushed me to better — myself, my work, my standards before I even knew what they were. Marissa Wolf and Nataki Garrett, for so beautifully, fearlessly embodying who and what is next, and making it all so damn exciting. Christine Nielsen, Amy Waschke, KT Vogt, Kate Mulligan, and Robin Goodwin Nordli for their grace, humility, wit and scorched-earth talent — women at the top of their game, who are also so generously kind. And Chris Murray, always in my corner with water and a fresh mouthguard while also being my favorite sparring partner. Artslandia’s theme for the 2019–2020 season is A Night Out. Describe for our readers your perfect night out. This is the question I was born to answer. Chills. My recipe is classic, like a dip your Dad makes: One part each people I love (family/friends/my Boo Thing), incredible food and drink (dining out or dining in — my friend Alice and I are obsessed with Alison Roman’s cookbooks), and absolutely no timeline or curfew. I want to get greedy with conversation, laughter, and all the good stuff. In PDX, I’d say starting with drinks at Angel Face or Hey Love and then dinner at Eem or St. Jack or Ava Genes. Or just ordering too much pizza and all the vegetables at Lovely’s Fifty-Fifty and getting their quince ice cream for dessert. I’m a big fan of just posting up somewhere and letting the night take you where it does. Surprises are the best ingredient. .

Ready for her close-up Maloy's oﬀers a fabulous selection of antique and estate jewelry and fine custom jewelry, as well as repair and restoration services. We also buy.

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OH, TANNENBAUM! The acquisition and decoration of the family Christmas tree ranks among the most iconic American cultural traditions. But getting a tree gussied up for the holidays has a long and storied history. Spruce up your knowledge with these fast facts about fashionable firs. • Bringing evergreen branches into the home to celebrate the winter solstice is a tradition found in many ancient cultures, including those of the Egyptians, Celts, Romans, and Scandinavians. • The modern tradition of decorating Christmas trees is often attributed to 16th-century Germans. Martin Luther, the architect of Protestant reform, is credited as the first to adorn boughs with lighted candles and decorations, which he allegedly did as a gift to his wife honoring the glory of God’s creation in the dead of winter. • Christmas trees in the home became a new-fangled fad in Great Britain around the turn of the 19th century. While many traditionalists initially shook their heads at the idea, by 1846 the practice had become commonplace enough that even Queen Victoria had a family portrait sketched around a Christmas tree. • In the United States, Pennsylvania Germans had incorporated the tradition as early as the mid-1700s; however, many Christian Americans still considered it blasphemous. That is, until Queen Victoria’s indulgence made the trees socially desirable. By the 1890s, the American Christmas tree as we know it had been firmly planted in the cultural consciousness, giving rise to the intersection of sacred and secular Christmas traditions in the modern era.

FA-LA-LA-LAMARCK! In this Pride and Prejudice fanfic sequel, Mary Bennet bonds with Arthur de Bourgh over an interest in the work of radical French biologist and naturalist Jean-Baptiste Lamarck (1744–1829). They share a fascination with his landmark book, Zoological Philosophy (1809), which outlined his theories of the evolution of animal species. Lamarck postulated that animals evolve over time in direct relation to the environment around them, changing behaviors and bodily structures accordingly. Fifty years later, Charles Darwin would publish his On the Origin of Species. Darwin credited Lamarck as an important forerunner, but his work debunked some of Lamarck’s claims; among them, Lamarck’s rejection of a single evolutionary ancestor shared by all animals and his belief in a bodily fluid akin to a divine life force. The Bennet sisters lived in a transitional period of innovation. Over the course of their lives, they would have experienced sweeping changes to the world, as advancements in technology, science, and scholarship irrevocably altered the way human beings lived and thought about their existence.

By Benjamin Fainstein, Literary Manager

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One person. One single, generous person, just like you, can make an impact. And when generous people, just like you, join together, they can make an exponential impact. We help make this happen. Whether you are called to donate your time, talent or treasure, Oregon Community Foundation amplifies the impact of your gift across Oregon. Find out where you fit in at oregoncf.org/YOU.

OCF WORKS WITH LOCAL COMMUNIT Y LEADERS TO AMPLIF Y THE IMPACT OF DONOR FUNDING.

MEET JONATHAN, AMBASSADOR TO OCFS’ L ATINO PARTNERSHIP PROGRAM WHICH GUIDES FUNDS FOR EDUCATION AND LEADERSHIP ACROSS OREGON.

O R E G O N C F.O R G / YO U

CO MI

PATRICIA RESER CENTER FOR THE ARTS 42

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centerfortheartscampaign.org

CAMPAIGN FOR THE

for the Patricia Reser Center for the Arts

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

MEET THE ARTISTIC & MANAGING DIRECTORS

PORTLAND CENTER STAGE AT THE ARMORY

MARISSA WOLF ARTISTIC DIRECTOR

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

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

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

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 October 2, 2019

$5,000–$9,999

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

$10,000–$24,999 Advance Gender Equity in the Arts ARCIFORM Sheri & Les Biller Family Foundation Broughton & Mary Bishop Foundation Goulder Family Foundation Jackson Foundation KeyBank The Kinsman Foundation M Financial Group Maybelle Clark Macdonald Fund National Endowment for the Arts NW Natural Oregon Arts Commission, a state agency PGE Foundation The Rose E. Tucker Charitable Trust Wells Fargo

SEASON SUPERSTARS

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

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

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

$500–$999 Sofar Sounds

$250–$499 J. Thayer Company

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 Argyle Winery Art of Catering Artemis Foods Keith & Sharon Barnes Ben & Jerry’s Bluehour Mary & Tim Boyle ChefStable Catering Delta Air Lines Devil’s Food Catering Eastside Distilling Diana Gerding Higgins Restaurant & Bar McDonald Jacobs, P.C. Microsoft Corporation New Deal Distillery Owen Roe Pearl Catering Precision Graphics Rombauer Vineyards Dennis Scollard & Bill Byrne Kyle & Sophia Spencer Rosemarie & Wes Thompson Tasca & Paul Gulick Umpqua Bank Vibrant Table West Coast Event Productions

SEASON SUPPORTING SPONSORS

DONORS $25,000+ Don & Mary Blair Mary & Tim Boyle Roger Cooke & Joan Cirillo Glenn Dahl & Linda Illig Jess Dishman Dream Envision Foundation Brigid Flanigan Diana Gerding Judi Goldsmith Rob Goodman Hilary Krane & Kelly Bulkeley Ronni S. Lacroute Pat & Trudy Ritz/Ritz Family Foundation Barbara & Phil Silver/ Silver Family Foundation The Stern Family Rosemarie & Wes Thompson

$10,000–$24,999 Anonymous (2) Scott & Linda Andrews Brenda K. Ashworth & Donald F. Welch Keith & Sharon Barnes Phil & Julie Beyl Broughton & Mary Bishop Family Advised Fund, a charitable fund of the Community Foundation of Southwest Washington Bill Byrne & Dennis Scollard John & Linda Carter Greg & Gina Chandler Ray & Bobbi Davis Kelly K. Douglas & Eric H. Schoenstein William & Karen Early Finley Family Foundation Carol Streeter & Harold Goldstein Tasca & Paul Gulick Tom & Betsy Henning Kevin Hogan & Aron Larson Dr. Barbara Hort Marilyn & Ed Jensen Yuki & Craig Johnston Heather Killough James & Morley Knoll Cindy & Keith Larson Dedre J. Marriott J. Greg & Terry Ness The Franklin & Dorothy Piacentini Charitable Trust Reynolds Potter & Sharon Mueller* Ralph & Jean Quinsey Dana Rasmussen Richard & Marcy Schwartz Douglas & Teresa Smith Christine & David Vernier

Benjamin R. & Elaine M. Whiteley Randy & Janet Smith Sue & Drew Snyder Family Fund of The Oregon Ray & Pat Straughan Community Foundation Dennis & Jean Wilde Dan Wieden Trudy Wilson & Terry Brown & Priscilla Bernard Wieden Steven & Deborah Wynne Mort & Audrey Zalutsky $5,000–$9,999 Anonymous (3) Peter & Susan Belluschi $1,000–$2,499 Family Fund of The Oregon Anonymous (3) Community Foundation Jose Alcarez Rick Caskey & Sue Horn-Caskey Ruth & Jim Alexander Sarah J. Crooks Joan & Brian Allen Cynthia M. Fuhrman* Phyllis Arnoff* Lois Seed & Dan Gibbs Cheryl Balkenhol Robert & Nancy Hatch & James Alterman Roy Schreiber & Carole Heath Missy & Peter Bechen Steven & Marypat Hedberg David & Ginny Bennett Judy Carlson Kelley Saskia de Boer Jina Kim & Hyung-Jin Lee Norma Bradfish Joseph Sawicki & Kirsten Lee Dr. Gene Baker & Regina Brody Chrys A. Martin & Jack Pessia Linda & William Brown Peter K. McGill Cormac M. Burke Patti Norris & Mark Schlesinger Tim O’Leary & Michelle Cardinal Marilyn Slotfeldt M. Allison Couch & Tom Soals* Jan & John Swanson Dave & Debbie Craig Tyler & Kara Tatman Gustavo J. Cruz, Jr. John Taylor & Barbara West Bill Dickey Wally Van Valkenburg Gerard & Sandra Drummond & Turid Owren Richard & Betty Duvall Carol Edelman $2,500–$4,999 Janet & Barry Edwards Ted & Kathi Austin John Briggs & Jeffrey Feiffer Julia & Robert S. Ball Mike & Chris Feves Daniel Bergsvik & Donald Hastler Larry & Deborah Friedman Ann Brayfield & Joe Emerson* Daniel & Leah Frye Duke & Brenda Charpentier Katie & David Gold Collier Trust Ed Grosswiler & Sammye Sanborn Judy Dauble John & Jacque Guevara Edward & Karen Demko Andrew Gustely Joan & Jim English* Heather Guthrie & Gil Parker Randy Foster Bill & Elaine Hallmark Julia & John Hall Donald Hammond Ken Hitz & Georgena Eggleston Barbara & Mark Hochgesang Paul & Samantha Harmon Tony & Carla Hopson Marcia Hauer & Jeanne Knepper Dale Hottle Donald Helfgott Dennis C. Johnson Bryce Helgerson & John Lowe Gregg & Diane Kantor MJ & Lee Alan Helgerson* Drs. Dolores & Fernando Leon Herman Charitable Foundation Jean & Steve Mann Paul & Ruth Herrington* Shelly McFarland Patricia G. Howell Lindsey & Marilen McGill Dr. Arthur Hung & Dr. Jim Watkins Laurie & Gilbert Meigs Carroll Hutchinson Madeline & Allan Olson Susan Immer & Larry Juday* Jim & Linda Patterson Bill & Dawn Irwin Fred L. Ramsey Brad & Judy Johnson Bobbie & Joe Rodriguez Kathy & Steve Johnson Stephen & Trudy Sargent* Jessie Jonas Marian & Elihu Schott Timothy A. Kalberg Family Fund of The Oregon Steven & Nancy Kassel Community Foundation 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 Nancie S. McGraw JoAnne McMahan Carolyn McMurchie Ruth E. Medak Lora & Jim Meyer Julie Mitchoff Mike and Amy Mitchoff Michael & Susan Mueller Virginia S. Mullen Hester H. Nau David & Ranata Niederloh Bob & Beth Nist Paul & Lisa Nourigat Duane & Corinne Paulson Joan Peacock Stanley & Susanne Penkin Amy & Oscar Polo Brad & Trisha Rabe Michael R. Rankin Robert Reed Pat Reser & Bill Westphal Bob & Marilyn Ridgley John B. Rissi Kelly Ritz-Eisenstein & Scott Eisenstein Teri Rowan James M. Russell Halle & Rick Sadle Raj Sarda, MD* 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 Mary & Jeff Strickler Donald & Roslyn Sutherland Heather & Bill Swindells John & Sandra Swinmurn Libbi Layton & Lawrence Tamiyasu Calvin & Mayho Tanabe Beverly Terry Joe Mitchoff & Curtis Thompson Don & Judy Thompson*

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DONORS Lewis & Susan Van Winkle Ted & Julie Vigeland Joan & David Weil Michelle Weisenbach & Michael Penfield Jay Wilt David & Sherri Zava

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Anonymous (2) Charles & Gloria Adams Richard & Kristin Allan Phil Allen & Peny Van Abkoude* Stacy Allison Gavin Amato Susan Bach & Douglas Egan Thomas & Brada Bailey Gary & Christine Barbour Robin & Thomas Barrett Susanne Baumann & John Gragg The Baxter Family Dr. Janet Bennett Tara Bergeron Lawrence S. & Susan W. Black Fund of The Oregon Community Foundation Bob Schuler & Debra Blanchard Chris Blattner & Cindy McCann Lesley Bombardier Michael Bonner & Jeff Pera* Kate & Bill Bowman Betty Brace Stephen & Marge Brenneke John Bush & Greg Zarelli Melissa A. Charbonneau Sonja L. Connor Erik Cubbage Bryan Concannon & Debi Dereiko Eric Dishman Amy & Bruce Dobbs Steve Dotterrer & Kevin Kraus Beverly Downer Stephen Early & Mary Shepard Ken & Ann Edwards Abby Farber Gregory Flick Per-Olof Jarnberg & Joan Foley Bruce & Kate Frederick Charles & Kyle Fuchs Jerome & Mary Fulton William & Beverly Galen Paul Gehlar Melissa & Robert Good Ann Gray Emily Groth Rick & Susan Gustafson Jennifer Tucker & Bruce Haack Richard L. Hay Lani Hayward Pierce Henley Frances & Hunter Hicks Laurie Holland The Holzman Foundation/ Renee & Irwin Holzman Leslie S. Homer Charitable Fund Terri & Robert Hopkins

Arnold & Virginia Israelit Sonny Jepson & Felice Moskowitz Cecily Johns Jeffrey & Carol Kilmer BettyLou Koffel & Philip Moyer Rudy Kohnle & Krista Larson Ed & Margaret Kushner Sally & Robert Landauer Paul and Sue Laughlin Bonnie & Mike Leiser Sharon W. Lukasevich David Lutz Elaine & Richard Lycan Carol & Charles Mackey Stephen & Christine Mason Robert Matheson & Kimberly Porter Fran Matson J.S. & Robin May Karen & Brent McCune* Jessica McVay Steve Cox & Vikki Mee Robert & Violet Metzler Heather Moore Bradford & Linda Needham* Deborah Neft & Salvatore D’Auria David & Anne Noall Lisa & Larry Norman Steven P. & Eileen O’Neill Odum Brian & Emily Owendoff John & Carolyn Parchinsky Elizabeth Perris Steve & Melissa Peterman Ellie Picologlou Jennifer Politsch Wallace & Elizabeth Preble David & Margo Price Jay & Barbara Ramaker Dick & Linda Reedy Drs. Scott & Kay Reichlin Leslie Rennie-Hill & Ken Hill* Dr. Mark & Angela Reploeg Stephanie & Paul Rollins Steven & Carol Sandor Dianne Sawyer & Richard Petersen Carl R. Shinkle Virginia Shipman & Richard Kaiser Amelia Simpson Rodger Sleven & Marcella Flores Walter & Carol Smith Kimberly Smith-Cupani Burt & Barbara Stein Janice Stewart & Gordon Allen Margie Sunderland, MD Mr. & Mrs. Stephen L. Taylor Ronald E. & Ivy L. Timpe Fund of The Oregon Community Foundation Andrew Tweedie & Brice Terrible* Paul J. Utz & Lory Cogan Utz Lori Van Gordon Virginia Vanderbilt & Michael Garrison

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

$250–$499 Anonymous* Anonymous (2) Thomas R. Anderson & Joan Montague Lee & Lynn Aronson Jean & Ray Auel Jean & David Avison Thayne & Mary Anne Balzer Mr. & Mrs. Peter Barnhisel Gustav A. Baum John & Cristi Bishop Cheryl A. Bittle William Blosser Brian & Karen Borton Douglas Browning & Jo Shapland Mary Butler Tim & Susan Carey Jennifer Carson Michael Carter & Teresa Ferrer John & Lou Chapman Valri & Vincent Chiappetta Cynthia Church Rhonda & Kenny Cohen Bruce & Janis Collins* Rick & Jean Collins Jeffrey Condit Donald Berg & Carol Cooke John Cornyn Paul & Kathleen Cosgrove Karen & Ward Cunningham Betty Daschel Maureen Sproviero Davis & Kerwin Davis Alise R. Rubin & Wolfgang Dempke Craig & Julie Dewey* Linda & Jerry Dinan Michael Doherty & Daphne Cooluris Jessica Douglas Robert Dyson Julie & Jim Early Mary A. & Peter Eisenfeld Kris & R. Thomas Elliott Blake Ellis & Scott Ewers Ed & Marilyn Epstein

Sandy Feeny* Gilbert & Ellen Feibleman Terry Ferrucci Colleen Finn Sherry & Paul Fishman Greg & Susan Fitz-Gerald Jerry Fong Sharon Frank Terry Franks & Carolyn Duran Richard & Janis Gottlieb Becky Graham Gail & Walter Grebe Polly Grose Lorraine Guthrie & Erik Kiaer Valerie Halpin Patsy Heinlein Beverly Hoeffer & Carol Beeston Barry & Fanny Horowitz Donald & Lynnette Houghton Dr. Hal Howard Robert & Jill Hrdlicka Kathy & Tom Iberle Peter & Anne Jarvis Becky & Jarrett Jones Susan Jossi & Bob Connors Ross Kaplan & Paula Kanarek Frederick Kirchhoff & Ron Simonis Lucien & Sally Klein Kohnstamm Family Foundation Keith & Merle Koplan Dave Lapof Bob & Sally LeFeber Bob & Debbie Lindow Peter & Janice Linsky Marvin & Sylvia Lurie Rod & Priscilla MacMillan Linda & Ken Mantel Joe Marrone & Ann Belzell Pamela Matheson Oscar & Mary Mayer Betty McDonald & William Hansen Steven McMaster & Kathleen Brock Bart McMullan Jr. & Patricia Dunahugh Gayle & George McMurriaBachik Karolyn Meador Charitable Fund Susan Sammons Meyer & Dennis Meyer David & Machteld Mok William Apt & Grant Molsberry Doug & Malinda Moore Jane Moore Clint & Donna Moran Ann Nickerson Landscape Design Gloria Norton Stumped Town Dementia Mary Lou Obloy Bonnie & Robert Olds Ric Oleksak* Eileen & Alfred Ono Beverly J. Orth Paul & Lynn Otto Susan & Milt Parker

Brian Henry Pater Sue Pickgrobe & Mike Hoffman Karen Piper Dee Poujade Andrew & Veronica Proctor Bonnie & Peter Reagan David Rice Helen Richardson & Don S. Hayner Charles & Judith Rooks Don Caniparoli & Sarah Rosenberg Ted & Holly Ruback Mary & Craig Ruble Deborah Santomero & Lisa Hoffman John & Stephanie Saven Connie Schwendemann & Pete Peterson J & C Skuster Neil Soiffer & Carolyn J. Smith Kevin Soto & Michele Cobain-Soto Eve Stern & Les Gutfreund Zach & Vassie Stoumbos Chaline & Caitlin Strickland Samantha Schoenfeld & Douglas Stuart John & Jan Switzer Ellen Tappon & Ted Wilson Jane Thanner & Tim Smith William & Lori Thayer Grant & Sandy Thurston Lou Ann Tiedemann Peter & Cathy Tronquet Cathy Unis Dawn Vermeulen Nancy Walker & Terry Foty Create Change, LLC Michael Weiner & Kathy Davis-Weiner Catrin and Mark Williams Maurice & Lauretta Williams Richard & Leslie Wong Robert & Vickie Woods Paul Wrigley & Deborah Cross Jack Wussow & Kyle Adams* 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.

ARTSLANDIA.COM

DONOR TRIBUTES

BOARD OF DIRECTORS

Tribute gifts for 2019–20 Season as of October 2, 2019

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

In memory of Alan Beard GBD Architects In loving memory of Ben Buckley Joan Peacock In memory of Carol Howard Hal Howard In honor of Sharon Mueller Reynolds Potter In honor of Rose Riordan Tim & Mary Boyle In honor of David E. Wagner Bill Dickey In memory of Elaine Whiteley The Armory

Sarah J. Crooks Vice Chair and Chair-Elect, Partner, Perkins Coie, LLP Betsy Henning Vice Chair, CEO & Founder, AHA! Strategic Communications Tyler Tatman Treasurer, Finance Controller, Intel Corporation Mike Golub, Secretary, President Of Business, Portland Timbers Mary Boyle, Immediate Past Chair, Civic Volunteer Scott Andrews, Principal, Melvin Mark Companies Phil Beyl, President, GBD Architects Saskia M. de Boer, Partner, Stoel Rives, LLP Greg Chandler, Vice President, IT, The Standard Gustavo J. Cruz Jr., Senior Counsel, Farleigh Wada Witt Kelly K. Douglas, Manager, State Investments, LLC Lana Finley, Community Activist

LEGACY CIRCLE

Jeff Gardner, Chief Marketing Officer, Umpqua Bank

The Armory Legacy Circle honors those who have

Linda Illig, Retired, Community Volunteer

included The Armory in their will or estate plans.

Anonymous (2)

Renée Holzman, Community Volunteer

Jim L. Knoll, President, James L Knoll, PC Aron Larson, Senior Technical Project Manager, Amazon Web Services

Keith & Sharon Barnes

Cindy Larson, Owner, Scale Asset Management

Judy Bradley & Dave Mitchell

Dedre Marriott, Retired, Former CEO & Professor

Dr. Gene Baker & Regina Brody John Maul & Kay Campbell

Joseph F. Mitchoff, CEO, Viridian Reclaimed Wood

Jess Dishman

Turid Owren, Partner, Tonkon Torp, LLP

William & Karen Early

Alison Page, Vice President, Global Team Services, adidas

Cynthia M. Fuhrman Diana Gerding

Dana Rasmussen, Retired, Attorney

Jennifer & Tim Goldsmith

Shelli Romero, President, Rose City Chica

Leslie S. Homer Charitable Fund

Joseph Sawicki, Vice President & General Manager,

Dr. Barbara Hort Carol & Charles Mackey

Design-To-Silicon Division, Mentor Graphics

Virginia S. Mullen

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

Jean O’Neill

Rosemarie Thompson, Managing Partner,

Joan Peacock

Roselake Property & Designs, LLC

Diane Quiring Michael Sands & Jane Robinson

Dan Watson, CFO, Neil Kelly Company

Lisa Sanman

Michelle Weisenbach, Oregon & SE Washington Market

Douglas & Teresa Smith

President & Commercial Bank Leader, KeyBank

Eric Steinhauser & Gregg Macy

J. Greg Ness, Armory Theater Fund Chair, Director Emeritus, Chairman,

Joe Mitchoff & Curtis Thompson

CEO & President, Standard Insurance Stancorp Financial Group

Larry & Elizabeth Volchok

H. Pat Ritz, Director Emeritus, Chairman & CEO, Footwear Specialties International Julie Vigeland, Director Emeritus, Civic Volunteer Diana Gerding, Member Emeritus, Community Volunteer In Memoriam: Bob Gerding

PCS.ORG

Life is the world’s greatest improv performance.

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

CSG18.0519

STAFF MARISSA WOLF

CYNTHIA FUHRMAN

Artistic Director

Managing Director

ARTISTIC

Kay Argens, Hannah Fulop, Azalea Micketti, Megan Schenk,

Chip Miller, Associate Producer Benjamin Fainstein, Literary Manager RaChelle Schmidt, Executive Assistant

Patron Services Sales Associates

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

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

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

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

Matthew B. Zrebski,

Resident Teaching Artist

Liam Kaas-Lentz, Director of Production Katie Nguyen, Associate Production Manager Hannah Rice, Company Manager Kristen Mun, Mark Tynan, Janine Vanderhoff, Stage Managers, AEA Dana Petersen, Macarena Subiabre, Stage Management Apprentices

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

Michael Jones, Properties Supervisor Lauren Chilton, Lead Properties Artisan Jamie Tait, Properties Artisan Alex Wren Meadows, Costume Shop Manager Paula Buchert, Eva Steingrueber-Fagan, Cutters/Drapers

DEVELOPMENT Luisa Adrianzen Guyer, Director of Development

Eric Steinhauser,

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

Individual & Planned Giving Manager

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

Em Douglas, Lighting Supervisor Trent Alexz Eccles, Master Electrician & Programmer, U.S. Bank Main Stage

Alex Agnes, Master Electrician

Development Associate

& Programmer, Ellyn Bye Studio

MARKETING & COMMUNICATIONS Sharon Martell, Director of Marketing & Communications

Claudie Jean Fisher,

Associate Director

of Marketing & Communications

Aiyana Cunningham,

Group Sales &

Promotions Manager

Kate Kerns,

Marketing &

Communications Associate

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

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

Evan Duckworth, Associate Sound & Video Supervisor

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

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

Luke Robertson, Audience Services Director Sierra Walker, Patron Services Manager

Emily S. Ryan, Patron Services Assistant Manager

Madelyn Clement, David Harper, Senior Patron Services Representatives

Virginia Johnson, Charley Praither, Patron Services Representatives

PCS.ORG

Melissa Larrabee, Bar Manager Erin Rubin, Kitchen & Catering Manager Katrina Hall, Ryan Smith, Food & Beverage Leads

Natalie Myers-Guzman, Kitchen & Catering Lead

Leesidhe Blackburn, Kitchen Assistant Dana Carey, Justin Charles, Starla Cummins, Natalie Fund, Kim Gautier, Jeremy Laney, Jamie Lou, Marguerite McLean, Will Ramis, Andrew Rubin, Logan Starnes Vanessa VanHardenberg, Jon Verkler, Dani White, Food & Beverage Staff

FOR THIS PRODUCTION Redwood Abigail Vaughan, Assistant to the Costume Designer

Heather Taylor, Wardrobe Assistant (day work) Derek Graham, Assistant Sound Designer & Composer

Laurel Vonderau, Myke Rodriguez, Conner Ward, Ian Hale, Lisa Yimm, Megan Moelhman, Gabe Costales, Claire Zaro, Joel Ferraro, Michael Wax, Cody Decker, Megan Thorpe, Kelly Cullom, Electricians Miss Bennet: Christmas at Pemberley Lava Alapai, Assistant to the Director Jamie Hammon, Victoria Alvarez-Chacon, Dressers Heather Taylor, Wardrobe Assistant (day work) Victoria Alvarez-Chacon, Cody Decker, Joel Ferraro, Corey McCarey, Ruth Nardecchia, Myke Rodriguez, Christopher Stull, Connor Ward, Claire Zaro, Electricians

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

Operations Assistants

Jacob Foster, Tim Taylor, Facilities Assistants

EVENTS & RENTALS PATRON SERVICES

FOOD & BEVERAGE

Jenn Thompson, Interim Events & Rentals Manager

FRONT OF HOUSE

Portland Center Stage at The Armory operates under an agreement between the League of Resident Theatres (LORT), Actorsâ&#x20AC;&#x2122; 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.

Nevan Richard, Lead Concierge Nsilo Berry, Wynee Hu, Concierges Michael Rocha, Lead House Manager, Volunteer Coordinator

Jenna Barganski, Azalea Micketti, Nhu Nguyen, House Managers

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

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ARTSLANDIA.COM

PRE-K GRAD – E 12

WED. JAN. 8 7 –8:30

Info Evening See event details and RSVP online: oes.edu/admissions

BY ARTSLANDIA

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

Greetings, Artslandians.

Email your questions to ursula@artslandia.com.

DEAR URSULA, The lines to use the restroom at intermission can be so long! It just doesn’t seem possible to take care of business and get back to my seat in time for the start of the second act. What advice do you have for navigating the situation? Is it OK to duck out of the first act a few minutes early to get a head start on the crowds? —When You’ve Got to Go...

DEAR WHEN YOU’VE GOT TO GO..., While my devotion to propriety nearly precludes the discussion of bodily functions, the mere suggestion of leaving your seat before the curtain falls gives me fits. So, upon my soapbox I go. This aspect of crowd management is high on the minds of ushers far and wide. I’ve said it once, and you’d better believe I’ll say it a million times: a joy of live performing art is that it’s a shared experience. Hence specific considerations come into play. If it were up to me, I’d deliver personal reminders of this as I hand over the magnificent playbill. (I’d also seize your cell phone at that time, but alas, I’m at the leading edge of that frontier.) So, When You’ve Got to Go…, for the love of Pete, do not plan to leave your seat while the performers are onstage! If you are a child at a production of children’s theater, then, by all means, answer the call of nature as it beckons. If you have a condition that makes forgoing the facilities for 90ish-minutes challenging, my lovely compatriots in the box office are always happy to assist with accommodations. Otherwise, accept that

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

the experience will entail sitting quietly and reasonably still between the rise and fall of the curtain. Now, stepping down off my soapbox, I’ll address the rest of your query. Indeed, I do have advice for navigating the situation. First and foremost, I’ll tell you the same thing I tell my 5 children, 14 grandchildren, and 7 greatgrandchildren: Relieve yourself before you take your seat. Period. Very simple.

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Fortunately, we of Portland and its environs are blessed with a bounty of new and recently renovated venues with ample facilities for all who seek intermission relief. A long queue may seem like cause for concern, but more often than not, traffic will flow briskly enough for a timely return to your seat. Know that we ushers closely monitor this aspect of crowd management. Allow me to share, for purposes of education and because I know everything, that Broadway’s bathroom problem is well-documented amongst ushers. In the Big Apple, turn-of-thecentury venues have not kept pace with changing liquid intake trends and the simplifying of female garments. Historical landmark designations complicate building updates. It’s quite a conundrum. But I digress, and now I’ve grown tired of your question about all this potty talk. To review, go before you sit, trust in modern theater design, and rely on ushering magic. If you feel you must resort to a creative approach, identify a restroom just outside the theater and hotfoot it there during intermission. —Ursula the Usher ARTSLANDIA.COM

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