The Oregon Trail / The Santaland Diaries / Irving Berlin by Artslandia

BY: BEKAH BRUNSTETTER DIRECTED BY: ROSE RIORDAN

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THE OREGON TRAIL

A LETTER FROM THE ARTISTIC DIRECTOR

The first summer I moved to Portland, I picked up a book at the Oregon Historical Society that captured segments of women’s diaries written as they traveled the Oregon Trail. For a kid who grew up in the South, it was eye-opening, to say the least. The number of women who gave birth on the trail, or lost children and husbands, was staggering. One particular story I remember involved a party trying to raise a wagon over a cliff, via the use of a series of ropes, with a woman and children in the wagon (no thank you!). The history of this particular region, and what it took for our forebears to get here, holds a fascination for many of us.

When I’m standing atop Mt. Hood in my ski gear thinking, “wow, it’s cold today,” I also wonder, “how long would I have actually lasted on the trail?” In Bekah Brunstetter’s delicious comedy, the historical fortitude required to traverse the trail serves as inspiration and obsession for a young woman whose own life’s purpose seems as clear as a bowl of oatmeal. Enjoy the journey!

HERSHEY FELDER AS IRVING BERLIN If you had a chance to see our production of The Pianist of Willesden Lane last season, then you already have some sense of how Hershey Felder weaves music and story together to create theatrical worlds. Felder was the adaptor and director of that piece. Why Irving Berlin? Born in Tsarist Russia, Berlin came to America at the age of 5 with his family, and quickly began soaking in the culture of his adopted home. Before he was thirty, he composed “Alexander’s Ragtime Band,” which helped launch an international dance craze and changed the trajectory of his life. Through the course of Berlin’s career, he wrote nearly 1,500 tunes, 17 Broadway scores, 18 film scores, and was nominated for the Academy Award eight times. A brilliant pianist and skillful actor, Hershey Felder first became interested in creating theatrical pieces while working with Steven Spielberg’s Shoah Foundation. As one of the staff members chosen to interview Holocaust survivors, Felder was entranced with the stories of European immigrants who found their way to the West. He created his first solo performance about George Gershwin and has since developed numerous successful productions. It’s no wonder that Felder has a particular interest in stories of Jewish immigrants: Felder’s own father emigrated from Poland, and his mother emigrated from Hungary — so a curiosity in how those two worlds come together makes good sense.

Thank you so much for joining us, and have a beautiful holiday. — Chris Coleman

THE ARMORY

ARTISTIC DIRECTOR | CHRIS COLEMAN

OCTOBER 29 – NOVEMBER 20, 2016 ON THE U.S. BANK MAIN STAGE

PRESENTS

THE OREGON TRAIL By Bekah Brunstetter Directed by Rose Riordan

Scenic Designer Misha Kachman

Costume Designer Alison Heryer

Lighting Designer William C. Kirkham

Sound Designer Casi Pacilio

Projection Designer Liam Kaas-Lentz

Stage Manager Janine Vanderhoff

Production Assistant Will Bailey

Production Dramaturg Mary Blair

Casting Rose Riordan & Brandon Woolley

The Oregon Trail was developed during a residency at the Eugene O’Neill Theater Center’s National Playwrights Conference in 2013, Preston Whiteway, Executive Director, and Wendy C. Goldberg, Artistic Director. Developed at The Lark Play Development Center, New York City. The Oregon Trail received its world premiere in September 2015 at Flying V Theater, Amber Jackson, Director, and Jason Schlafstein, Producing Artistic Director.

PERFORMED WITHOUT INTERMISSION. The videotaping or other photo or audio recording of this production is strictly prohibited. The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SEASON SUPERSTARS

SUPPORTING SEASON SPONSORS

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

THE ARMORY • THE OREGON TRAIL

SHOW SPONSORS

FROM THE DIRECTOR

ROSE RIORDAN

I was introduced to this play two summers ago in a Kilroys reading and thought it was one of the funniest, freshest plays I’d come across in a long time. I especially loved that it was called The Oregon Trail, which is so familiar even if you don’t know anything about the historical Oregon Trail or the computer game of the same name. I came to the reading expecting some historical melodrama about the trials and tribulations of the settlers coming west but instead was met with a surprisingly touching story about two girls struggling with life about 170 years apart. One gets a lot of “help” from a computer game and the other has to figure it out completely on her own on the actual Oregon Trail. I think Bekah Brunstetter has written an original and honest play about coming of age and how to embrace an uncertain future. The difference in these generations is great and small at the same time. Hopes, dreams and fears are so familiar, but the hardships and circumstances could not be more different. I read somewhere that it used to take 75% of the population to feed 100% of the population. Now it takes less than 5% of the population to feed 100%. What are the 95% doing with all that time? Perhaps it is at the root of our general malaise. As I write these notes, we are about to start rehearsals, so most everything I think about the play is incomplete and unformed. I look forward to getting to travel it with the actors and creative team. In 2015, a reading of The Oregon Trail was featured as part of a special event — The Kilroys List: A Festival of Contemporary Plays — presented in Portland through a partnership with the Hearth Collective and Portland Center Stage at The Armory’s JAW: A Playwrights Festival. The Kilroys are a gender parity advocacy group dedicated to ending the underrepresentation of female and trans playwrights in American theater. Each season they release a list — selected through an industry survey of the country’s influential new play leaders — of excellent, unproduced new plays written by female and trans playwrights. Bekah Brunstetter is one of the founding members of The Kilroys. Her play The Oregon Trail was one of the scripts selected to appear on the very first Kilroys List released in 2014.

THE CAST

(IN ORDER OF APPEARANCE)

Sarah Baskin Now Jane

Leif Norby

Emily Yetter

Voice of The Oregon Trail/Clancy

Alex Leigh Ramirez

Billy/Matt

Mary Anne

Chris Murray

Then Jane

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

THE OREGON TRAIL | CAST SARAH BASKIN Now Jane

Originally from Montreal, Sarah is a New York based actor who is thrilled to be making her debut at The Armory. Off-Broadway credits: The Milk Train Doesn’t Stop Here Anymore (Roundabout Theatre Company), Wolves (59E59 Theaters), I Forgive You, Ronald Reagan (Beckett Theatre), Caucasian Chalk Circle (Sonnet Repertory Theatre). Other New York and regional credits include Cardenio (American Repertory Theater), The Unbelievers, Three Women Mourn the Apocalypse (The Theatre Centre, Toronto), Beau Jest (Gulfshore Playhouse), L’Amour Fou (Dangerous Ground Productions), Romeo and Juliet (chashama), Retrospective (Manhattan Theatre Source). TV/Film credits include Blindspot, Who Killed Chandra Levy?, Thanks for Sharing, The Lives of Hamilton Fish, In the Shadow of the Water Tower, iHeart (writer/actor). Company member of The Actors Center and Subway Token Films. M.F.A.: American Repertory Theater at Harvard University. Many thanks to Portland Center Stage at The Armory and my dear friends and family. CHRIS MURRAY Billy/Matt

Chris is happy to be back working at The Armory with Rose and this amazing cast. Previous credits at The Armory include 10 years at the JAW festival, Great Expectations, Our Town, Futura and Sometimes a Great Notion. Regionally, Chris has worked on readings, workshops and premieres of new plays at several theaters including the New Play Summit at Denver Center for the Performing Arts and the 38th annual Humana Festival at the Actors Theatre of Louisville. Locally, Chris has performed at Artists Repertory Theatre (The Liar, Playboy of the Western World, Xmas Unplugged, (I Am Still) The Duchess of Malfi, Mr. Marmalade and Take Me Out); A Bright New Boise, The Aliens, Penelope and A Skull in Connemara (Third Rail Repertory Theatre); Bloody Bloody Andrew Jackson (Portland Playhouse); Falstaff and Romeo and Juliet (Oregon Symphony); Animals and Plants, Hamlet and The Receptionist (CoHo Productions)

THE ARMORY • THE OREGON TRAIL

THE OREGON TRAIL | CAST & CREATIVE TEAM and several shows at Profile Theatre, including The Sam Sheppard One Act Festival, Six Degrees of Separation and The Sisters Rosensweig. He has appeared on Grimm and Portlandia, and produces plays and live comedy. It is an honor and a privilege to create art in the greatest city in the world. LEIF NORBY Voice of The Oregon Trail/Clancy

Leif was last seen at The Armory in Catch as Catch Can with JAW. Other recent appearances at The Armory include Professor Willard/Joe Stoddard in Our Town, De Guiche in Cyrano, Rodrigo in Othello, ensemble in both Anna Karenina and Sunset Boulevard, Richard Hannay in The 39 Steps, Tateh in Ragtime, and Benny Southstreet in Guys and Dolls. Other recent Portland appearances include Cervantes in Man of LaMancha (Lakewood Theatre Company), Dr. Givings in In the Next Room (Profile Theatre), Tom in The God Game (Brandon Woolley prod.), Bastion in Mr. Kolpert and Jane/Edgar in Mystery of Irma Vep (Third Rail Repertory Theatre), Verne/George in And So It Goes… and Frank Keller in Red Herring (Artists Repertory Theatre), Charlie in The Scene (Portland Playhouse) and Beast in Beauty and the Beast (Pixie Dust Productions). TV credits include Portlandia and Leverage. Leif is a proud member of Actors’ Equity, sends love to his wife Susie, and thanks you for supporting live theater. ALEX LEIGH RAMIREZ Then Jane

Alex Leigh Ramirez is originally from Ventura, California, but has settled in as a Portland area actor, deviser and theater-maker. Favorite credits include: Antigone Project (Profile Theatre and String House Theatre), TeatroSOLO: Deseo (Boom Arts Theatre), Passion Play (Shaking The Tree and Profile Theatre), Ivy & Bean (Oregon Children’s Theatre), Dance for a Dollar (Miracle Theatre) and Bloody Bloody Andrew Jackson (Portland Playhouse). She is dedicated to creating original devised theater and is a proud member of String House, the independent producing title and new works laboratory that has received two Drammy Award nominations for Best Devised Production. 8

THE ARMORY • THE OREGON TRAIL

When not on stage, Alex is inspired by the impact theater has on Portland’s youth. She is proud to work as a coach and actor with Playwrite Inc., and as a performer with The Armory’s touring education program, All’s Fair in Love and Shakespeare. EMILY YETTER Mary Anne

Emily, hailing from Massachusetts, is thrilled to make her debut at The Armory. National Tour/ Regional credits: Threesixty’s Peter Pan (Tinker Bell, National Tour), The Exorcist (Regan, Geffen Playhouse), The Night Fairy (title role, South Coast Repertory), OZ 2.5 (South Coast Repertory), Bolero: Ravel’s Dance for Orchestra (Walt Disney Concert Hall), Tempest Redux (Ariel, Odyssey). Emily has also appeared in Warner Brothers’ Project X, and a number of national commercials and popular web series including Spooked (Geek and Sundry), Relationship Goals (Go 90) and Weird Couples (Episode 28, Buzzfeed). In 2012, she started the company Crooked Grin with some peers specializing in film and site-specific devised theater. Emily produced and co-starred in their pilot, Monster Girls, which recently screened at Austin Film Festival. Emily is also an avid physical performer, training/performing in contortion, aerial arts, dance and martial arts. Training: UCLA’s TFT and BADA. Follow Emily on Instagram/ Twitter: @lilemilycaitlin and emilyyetter.com. BEKAH BRUNSTETTER Playwright

Bekah hails from Winston-Salem, North Carolina, and currently lives in Los Angeles. Plays include The Cake (Ojai Playwrights Conference), Going to a Place where you Already are (South Coast Repertory), The Oregon Trail (O’Neill National Playwrights Conference, Flying V Theatre), Cutie and Bear (Roundabout Theatre Company commission), A Long and Happy life (Naked Angels Commission), Be A Good Little Widow (Ars Nova, Collaboraction Theatre, The Old Globe), Oohrah! (Atlantic Theater Company, Steppenwolf Theatre Company’s Garage Rep and London’s Finborough Theatre), Nothing is the end of the World (except for the end of the world) (Waterwell Productions), House of Home (Williamstown Theatre Festival) and Miss Lilly Gets Boned (Ice

Factory Festival). She is an alumni of Center Theatre Group’s Writers Group, Primary Stages’ Writers Group, Ars Nova’s Play Group, Playwright’s Realm and the Women’s Project Theater Lab. She is currently a member of The Echo Theater Company’s Playwright’s Lab. She has previously written for MTV (Underemployed and I Just Want My Pants Back), ABC Family’s Switched at Birth, and Starz’s upcoming series, American Gods. She is currently a coproducer on NBC’s This Is Us. She holds a B.A. from UNC Chapel Hill and an M.F.A. in Dramatic Writing from the New School for Drama. bekahbrunstetter.com. ROSE RIORDAN Director

Rose is in her 19th season at Portland Center Stage at The Armory, where she serves as associate artistic director and has previously directed Our Town, The People’s Republic of Portland (2013 and 2015), Vanya and Sonia and Masha and Spike, The Typographer’s Dream, LIZZIE, A Small Fire, The Mountaintop, The Whipping Man, The North Plan, Red, One Flew Over the Cuckoo’s Nest, A Christmas Story, The 25th Annual Putnam County Spelling Bee, The Receptionist, A Christmas Carol, Frost/Nixon, How to Disappear Completely and Never Be Found, Doubt, The Underpants, The Pillowman and The Thugs, which won four Drammy Awards, including Best Ensemble and Best Director. She has also recently directed, for various other theaters, Adam Bock’s Phaedra, The Passion Play, Telethon and The Receptionist. In 1999 she founded the annual JAW: A Playwrights Festival. JAW has been instrumental in developing new work for the company’s repertory, including Threesome, Bo-Nita, The People’s Republic of Portland, The Body of an American, The North Plan, Anna Karenina, Outrage, Flesh and Blood, Another Fine Mess, O Lovely Glowworm, Celebrity Row, Act a Lady, The Thugs and A Feminine Ending. Rose has also directed some of the staged readings for JAW festivals: The Thugs (2005), Telethon (2006), A Story About a Girl (2007), 99 Ways to F*** a Swan (2009), The North Plan (2010), San Diego (2012), The People’s Republic of Portland (2012), Mai Dang Lao (2013) and A Life (2014). She enjoys being part of a company committed to new work and having a beautiful building in which to work.

THE OREGON TRAIL | CAST & CREATIVE TEAM MISHA KACHMAN Scenic Designer

Misha Kachman has worked at Arena Stage, The Kennedy Center, Baltimore Center Stage, Signature Theatre, Cincinnati Playhouse in the Park, Asolo Repertory Theatre, Round House Theatre, Woolly Mammoth Theatre Company, The Wilma Theater, Maryland Opera Studio, Theater J, Opera Lafayette, Skylight Music Theatre, Syracuse Stage, Studio Theatre, Shanghai Dramatic Arts Center and Milwaukee Shakespeare, among many other companies in the United States and abroad. Misha is a recipient of the 2013 Helen Hayes Award for his design of The Elaborate Entrance of Chad Deity at Woolly Mammoth Theatre Company. He is a company member at Woolly Mammoth Theatre Company and an associate artist at Olney Theatre Center. Misha is a graduate of the St. Petersburg Theatre Arts Academy, and he serves as the associate professor of scene and costume design and head of M.F.A. in Design at University of Maryland.

ALISON HERYER Costume Designer

Alison Heryer is a costume designer for theater, film and print. She is thrilled to be returning to Portland Center Stage at The Armory, after designing costumes for Ain’t Misbehavin’, Our Town, Three Days of Rain and Threesome. Other design credits include productions with Steppenwolf Theatre Company, 59E59 Theaters, La MaMa, The New Victory Theater, Kansas City Repertory Theatre, Indiana Repertory Theatre, Portland Opera, Artists Repertory Theatre and The Hypocrites. Recent awards include the ArtsKC Inspiration Grant, the Austin Critics Table Award and a 2016 Drammy. Alison is a faculty member in the School of Art + Design at Portland State University and a member of United Scenic Artists Local 829. alisonheryerdesign.com

WILLIAM C. KIRKHAM Lighting Designer

William C. Kirkham is thrilled to return to The Armory. Recent credits include: Little Shop of Horrors (The Armory); Moby Dick (Alliance Theatre); Julius Caesar, Murder for Two (Utah Shakespeare Festival); Moby Dick, The Little Prince – 2014 Jeff Award for Lighting Design (Lookingglass Theatre Company); Life and Limb (Steppenwolf

Theatre Company); United Flight 232 (The House Theatre of Chicago); Stupid F**king Bird, Antigonick (Sideshow Theatre Company); Three Sisters, The Tennessee Williams Project (The Hypocrites); Gidion’s Knot, From Prague (Contemporary American Theater Festival); Wonderful Life (ArtsWest Playhouse); Bud not Buddy, A Year with Frog and Toad (Chicago Children’s Theatre); Pete, or the return of Peter Pan, Girls Who Wear Glasses (Childsplay). William earned his M.F.A. in Stage Design at Northwestern University and is a proud member of USA Local 829. wckirkham.com

and many others. He received his B.F.A. in stage management from Southern Oregon University and his M.Ed. in curriculum and instruction from Portland State University. Liam has taught stage and production management with a focus on ensemble, devised and sitespecific contexts and methodologies at Georgetown University, Northwestern University, Portland State University, Reed College, and Lewis and Clark College. He is a proud member of Actors’ Equity Association, and lives with his wife and two cats in southeast Portland.

CASI PACILIO Sound Designer

Janine is glad to be back for her second season at The Armory. Previous credits at The Armory include: Little Shop of Horrors, JAW 2016, Great Expectations, Ain’t Misbehavin’ and Our Town. Other Portland credits include Portland Opera’s Sweeney Todd (followspot caller); the world premiere of DC Copeland’s Play (stage manager/production manager); and How to End Poverty in 90 Minutes and The Other Place at Portland

Casi’s home base is The Armory, where her recent credits include Little Shop of Horrors, A Streetcar Named Desire, Great Expectations, Ain’t Misbehavin’, Three Days of Rain, Cyrano, The People’s Republic of Portland, Threesome and Dreamgirls (PAMTA Award); Other Desert Cities, Vanya and Sonia and Masha and Spike, A Small Fire and Chinglish with composer Jana Crenshaw; and ten seasons of JAW. National shows: Holcombe Waller’s Surfacing and Wayfinders; Left Hand of Darkness, My Mind is Like an Open Meadow (Drammy Award, 2011), Something’s Got Ahold Of My Heart and PEP TALK for Hand2Mouth Theatre. Other credits include Squonk Opera’s BigsmorgasbordWunderWerk (Broadway, PS122, national and international tours); I Am My Own Wife, I Think I Like Girls (La Jolla Playhouse); Playland, 10 Fingers and Lips Together, Teeth Apart (City Theatre, PA). Film credits include Creation of Destiny, Out of Our Time and A Powerful Thang. Imagineer/maker of the Eat Me Machine, a dessert vending machine.

LIAM KAAS-LENTZ Projection Designer

Liam is a native of Bellingham, WA. He is an ensemble member of Sojourn Theatre, having served as their stage and production manager for the past ten years and thirteen productions. He has also stage managed for Hand2Mouth Theatre, Portland Playhouse, Artists Repertory Theatre, Pacific Conservatory for the Performing Arts, Geva Theatre Center, Oregon Children’s Theatre, Pixie Dust Productions, The Kitchen, River to River Festival, Teatro Milagro,

JANINE VANDERHOFF Stage Manager

Portland Center Stage at

See the show then travel the trail! We’ve got your trip planned here: www.pcs.org/TravelTheTrail

This project was made possible in part by a grant from Travel Oregon.

THE ARMORY • THE OREGON TRAIL

THE OREGON TRAIL | CAST & CREATIVE TEAM Playhouse (stage manager). Touring stage management credits include: The Graduate (starring Morgan Fairchild), CATS, The Vagina Monologues, Jekyll & Hyde and Show Boat. While in New York, Janine had the opportunity to work on The Lion King on Broadway, as well as with many Off-Broadway and regional companies. Production management credits include: The Daily Show with Jon Stewart for “Democalypse 2012 Republican National Convention” (Tampa, FL); Straz Center (Tampa, FL); and The Fox Theatre (Atlanta, GA). Proud NYU graduate and AEA member. MARY BLAIR Production Dramaturg

Despite a degree in Business Administration and a career in Human Resources with Macy’s and PepsiCo, Mary is a theater geek at heart. She joined Portland Center Stage at The Armory in 2010 as a member of the JAW reading committee, then left to manage CoHo Productions for two seasons. She returned to The Armory in 2014 as Literary Associate and provided

dramaturgical support for last season’s Our Town — her favorite play of all time. Mary wishes to thank Rose Riordan for this second opportunity to immerse herself in a great script and contribute to the magic! WILL BAILEY Production Assistant

Will is excited to be making his debut this season as a production assistant at The Armory. He recently worked as a production assistant on Sweeney Todd and an assistant stage manager on The Italian Girl in Algiers with Portland Opera. Will has worked as a production assistant and prop master at Artists Repertory Theatre, where his production assistant credits include: Ithaka, Mistakes Were Made, Xmas Unplugged, The Monster Builder, The Motherf **ker with the Hat, Intimate Apparel, Exiles, Blithe Spirit and The Invisible Hand. Will has also worked as a production assistant for Profile Theatre, Portland Shakespeare Project, Portland Playhouse, and as a stage manager at Teatro Milagro.

SPONSOR STATEMENTS ARGYLE WINERY Argyle’s trail of ambition to pioneer world class sparkling wine in Oregon began 30 years ago. ‘Then Argyle’ could not have predicted the success that ‘Now Argyle’ enjoys today. Our proud support of Portland Center Stage at The Armory has helped keep our wagon rolling forward, embracing new discoveries. CURTIS THOMPSON, MD AND ASSOCIATES All of our native Oregon friends have fond memories of “The Oregon Trail” game from their childhood, and we have enjoyed the YouTube parodies. So it is a wonderful extension to now be able to experience this nostalgia on a live stage. Thanks to Portland Center Stage at The Armory for bringing “The Oregon Trail” back to life.

THE ARMORY • THE OREGON TRAIL

Traveling the Trail: Notes from the Dramaturg

n The Oregon Trail, playwright Bekah Brunstetter explores the topics of hardship, sadness and familial bonds from the perspective of both then and now. ‘Then Jane’ is a young woman on the actual Oregon Trail, circa 1848, while ‘Now Jane’ is a 25-year-old Oregonian, circa 2009, who played “The Oregon Trail” computer game as a teen and is now re-visiting it for nostalgic reasons. The two Janes’ worlds are wildly unrelated, yet they both struggle with melancholy. In Brunstetter’s hands, a look backwards at an ancestral generation proves critical in empowering a current generation to move forward. The Oregon Trail was a 2,000-mile journey of physical deprivation and mental hardship. Long before tiny-house culture emerged, families abandoned all possessions, called a 4-by-12-foot wagon “home” and walked (no, they did not ride) to the Willamette Valley. Along the way, brutal prairie storms, choking dust and the death of loved ones from disease, drowning or wagon rollovers were a reality that could break any body or mind.

The voice of trail pioneer Lavinia Porter (1860) is especially telling:

“I would make a brave effort to be cheerful and patient until the camp work was done. Then starting out ahead of the team and my men folks, when I thought I had gone beyond hearing distance, I would throw myself down and give way like a child to sobs and tears. Wishing myself back home with my friends and chiding myself for consenting to take this wild goose chase.”

 While the jobless rate in the U.S. has fallen to about 5%, the unemployment rate for millennials overall is roughly 8%; for those without a college degree, the rate is about 12%.  Many of those who are employed may not be realizing their career aspirations: college grads now make up 40% of minimum wage workers over the age of 20.  At the same time, student debt has soared. Goldman Sachs recently reported that the average student loan balance has doubled from $10,649 in 2003, to $20,926 in 2013.  In 1968, 58% of 18- to 31-year-olds were married and living in their own households; by 2012, the number had fallen to 23%, partially as a result of higher college debt, rising home prices and poor job prospects. This reality is often a dramatic disconnect from the “airbrushed” lives presented by traditional and social media. While most people understand intellectually that media portrayals are contrived perfection, they can still experience ‘FOMO’ (fear of missing out), leading to feelings of envy, inadequacy and sometimes depression. As the first generation to come of age in a 24/7 digital media world, millennials are particularly susceptible. Yet, there is still widespread optimism among the millennial population. Forty-nine percent believe the country is on the road to its best years.

Modern life seems like a day at the beach compared to what the pioneer generation experienced … so why can’t ‘Now Jane’ get off the couch? Turns out, life throws the current population of 17- to 36-year-olds (known as millennials) lots of major curve balls. ‘Now Jane’ is not alone in her depressed state. The largest and best educated generation in U.S. history — whom society tells they can do anything they set their minds to — faces a new set of economic and social challenges.

Optimism abounds in Brunstetter’s tale of the two Janes, as well. The 1848 trail experience could be overwhelming, but contemporary life can be equally stressful in its own way. The suffering of ‘Now Jane’ is just as valid as the hardship ‘Then Jane’ experienced. And, as anyone who’s ever played “The Oregon Trail” game can tell you, to survive the journey, one must allow time for rest, consider the options, seek help from others and … “continue on the trail.” Odds are good you’ll make it to Oregon. –Mary Blair, Production Dramaturg

THE ARMORY • THE OREGON TRAIL

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ARTISTIC DIRECTOR | CHRIS COLEMAN

NOVEMBER 26 – DECEMBER 24, 2016 IN THE ELLYN BYE STUDIO

PRESENTS

THE SANTALAND DIARIES By David Sedaris Adapted by Joe Mantello

Directed by Wendy Knox Starring Darius Pierce Scenic and Costume Designer Jessica Ford

Lighting Designer Don Crossley

Sound Designer Sarah Pickett

Stage Manager Janine Vanderhoff

Production Assistant Kristen Mun

Casting Rose Riordan

Originally produced in New York by David Stone and Amy Nederlander-Case on November 7, 1996. The Santaland Diaries is presented by special arrangement with Dramatists Play Service, Inc., New York.

PERFORMED WITHOUT INTERMISSION. The videotaping or other photo or audio recording of this production is strictly prohibited. The Actor and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SEASON SUPERSTARS

SUPPORTING SEASON SPONSORS

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

THE ARMORY • THE SANTAL AND DIARIES

THE SANTALAND DIARIES | CAST

DID YOU KNOW?

DARIUS PIERCE Crumpet

OF REINDEER AND RETAIL

Darius is happy and grateful to be spending his ninth consecutive year celebrating the holidays with Portland Center Stage at The Armory, after four years of The Santaland Diaries, and two each of A Christmas Story and A Christmas Carol. Other productions at The Armory include Stupid F**king Bird, Cyrano, Beard of Avon (Drammy Award for Outstanding Lead Actor), Twelfth Night, The 25th Annual Putnam County Spelling Bee, The 39 Steps, Frost/ Nixon, How to Disappear Completely and Never Be Found, Misalliance and the JAW festival. Elsewhere, some favorite shows have been the world premiere of Stupid F**king Bird (Woolly Mammoth Theatre Company); The Gaming Table and Comedy of Errors (Folger Theatre); Lips Together, Teeth Apart (Profile Theatre); As You Like It (Portland Shakespeare Project); My Fair Lady and Les Misérables (Broadway Rose Theatre Company); Peter and the Starcatcher (Portland Playhouse); 1776 (Lakewood Theatre Company); and The Long Christmas Ride Home (Theatre Vertigo). Darius is a company member at Third Rail Repertory Theatre and a co-founder of the Anonymous Theatre Company. He can occasionally be seen on screen, where his credits include The Librarians, Leverage, Portlandia, Grimm, Mock Trials, Thomas & the Trainmaster and Cell Count. Thank you all for spending a little bit of your holiday season with us! And thank you calendars for aligning so that Hanukkah can start on Christmas Eve this year. There will be an extraordinary number of candles lit that night!

MIRTH AND MAGIC AT SANTA’S VILLAGE

eading to the mall to capture a Kodak moment on Santa’s lap is a memory shared by millions of Americans. Stores have been hiring good old Saint Nick to spread cheer and goodwill to shoppers since the 1870s, and Santa-in-training programs have been turning out top-tinsel graduates since the 1930s. To complete the picture, many department stores transform their floors into Kris Kringle’s wintry workshop. While Macy’s Santaland is one of the most iconic amusements of its kind, the custom dates back to 1879, when Lewis’s department store in Liverpool, England, established its first Christmas Grotto. By the time the Macy’s Parade began marching down the streets of Manhattan in 1924, the store had ample experience to draw upon to perfect its wonderland of sophisticated window displays and endless maze of Santathemed decorations. When David Sedaris read excerpts from his essay “Santaland Diaries” on NPR

on December 23, 1992, he ushered an unorthodox newcomer into the pantheon of American Christmas traditions. The wildly successful tale was included in his first book, Barrel Fever, and later in his collection Holidays on Ice. The books sold millions of copies, and “Santaland Diaries” has become a modern holiday touchstone. The essay was adapted for the stage in 1996 by prominent director Joe Mantello, and twenty years later, it remains one of the most widely produced plays across the country. Sedaris gave a backstage glimpse into the kooky and socially complex world of Macy’s hallowed Christmas kingdom, and his account of his experiences as an elf named Crumpet wallows in the Christmas spirit while turning it completely on its head. Whether he’s bemoaning shoppers’ unsavory behavior or finding himself unwittingly swept up in the holly jolly spirit, Crumpet proves that a pilgrimage to Santaland is something everybody ought to dare themselves to survive at least once.

rumpet’s holiday journey isn’t the only artistic offering whose history is intricately tied to the world of the department store. Rudolph the Red-Nosed Reindeer is a prominent figure in American Christmas lore, and it’s difficult to go an entire holiday season without hearing his eponymous song. But the character actually appeared first as the protagonist of a children’s book given out as a promotional gift to Montgomery Ward shoppers. Robert May was a copywriter for the store who had been bullied for his small stature throughout childhood. When asked to write the annual gift book in 1939, he seized the opportunity to give kids a story about an outcast whose unique ability changes him from misfit to hero. Just before the book was published, May’s terminally ill wife passed away, leaving the suddenly single father with massive medical debts. Montgomery Ward owned the copyright, however, and May received no royalties. But around Christmas in 1946, after Rudolph had been distributed to over 6 million families, May approached the company’s president, Sewell Avery, and asked for the rights to his work. In what seems like a true Christmas miracle, Avery returned control of the lucrative reindeer to May, and May was able to build a licensing empire for Rudolph. His brother-in-law Johnny Marks took the 89 rhyming couplets of the book and composed the now famous song, which was followed by various cartoon adventures and merchandising. Rudolph’s popularity empowered May to dig himself out of debt and provide for his daughter, Barbara, who had been the very first child to encounter the rosy-nosed deer nearly a decade earlier. –Benjamin Fainstein, Literary Manager

THE ARMORY • THE SANTAL AND DIARIES

THE SANTALAND DIARIES | CREATIVE TEAM DAVID SEDARIS Creator

David Sedaris made his comic debut recounting his strange-but-true experiences of being a Macy’s elf clad in green tights, reading his Santaland Diaries on National Public Radio’s Morning Edition. Sedaris’ sardonic humor and incisive social critique have since made him one of NPR’s most popular and humorous commentators and a best-selling author in the United States and abroad. The great skill with which Sedaris slices through euphemisms and political correctness proves that he is a master of satire. Everywhere he goes, David Sedaris delights his audience with his irreverent style and great humor. In addition to his commentaries on NPR, David Sedaris is the author of the best-sellers Barrel Fever and Naked. His collection of Christmas related stories is entitled Holiday on Ice. His book of essays, Me Talk Pretty One Day, was published in June 2000 and became an immediate best-seller. David and his sister, Amy Sedaris, have collaborated under the name The Talent Family and written several plays which have been produced at La MaMa and Lincoln Center in New York City. These plays include Stump the Host, Stitches, One Woman Show (which received an Obie Award), Incident at Cobbler’s Knob and The Book of Liz. David is a regular contributor to Esquire magazine and his essays have also appeared in The New Yorker, Allure and Travel and Leisure. Sedaris’ original radio pieces can often be heard on public radio’s This American Life, distributed nationally by WBEZ in Chicago, as well as BBC radio in London. David Sedaris currently resides in Paris.

JOE MANTELLO Adaptor

Directing credits include Assassins (Tony Award); Wicked; Take Me Out (Tony Award); Frankie and Johnny in the Clair De Lune; A Man of No Importance; Design for Living; Terrence McNally and Jake Heggie’s Dead Man Walking for the San Francisco Opera; The Vagina Monologues; Bash; Another American: Asking and Telling; Love! Valour! Compassion!; Proposals; The Mineola Twins; Corpus Christi; Mizlansky/Zilinsky or Schmucks; Blue Window; God’s Heart; The Santaland Diaries; Lillian; Snakebit; Three Hotels; Imagining Brad; and Fat Men in Skirts.

THE ARMORY • THE SANTAL AND DIARIES

Mr. Mantello also directed the film Love! Valour! Compassion!. As an actor he appeared in Angels in America (Tony nomination) and The Baltimore Waltz. He is the recipient of the Outer Critics Circle, Drama Desk, Lucille Lortel, Helen Hayes, Clarence Derwent, Obie, and Joe A. Callaway awards. He is a member of Naked Angels and an associate artist at the Roundabout Theatre Company. WENDY KNOX Director

Wendy Knox is artistic director of Frank Theatre, marking its 28th season in Minneapolis, MN. Credits include critically acclaimed productions of Max Frisch’s The Arsonists; George Brant’s Grounded; Caryl Churchill’s Love and Information; Brecht-Weill’s The Threepenny Opera; Kander and Ebb’s Cabaret; Enda Walsh’s Misterman and The New Electric Ballroom; Danai Gurira’s Eclipsed; a company-generated adaptation of Kafka’s Metamorphosis; Martin McDonagh’s The Pillowman (presented by Guthrie Theatre); Brecht’s Good Person of Setzuan, Mother Courage, Puntila and Matti, His Hired Man and The Resistible Rise of Arturo Ui; an original adaptation of Euripides’ texts, featuring a blues-based score by composer Marya Hart, titled The Women of Troy; Suzan-Lori Parks’ Venus, Fucking A and The America Play; Blitzstein’s The Cradle Will Rock; and Ruth MacKenzie’s music/theater/dance spectacle, Kalevala. Knox also works as a freelance director and a teaching artist, and has been a guest director at many colleges and universities. She directed Berlin to Broadway for Skylark Opera, Lysistrata for the Guthrie Theater, The Sound of Music for Ordway Center for the Performing Arts and The Santaland Diaries twice for Syracuse Stage. Her work has been recognized by the McKnight Foundation with fellowships for outstanding work by a professional artist, the Minnesota State Arts Board, the Jerome Foundation, and an MRAC/ McKnight Next Step grant to attend the LaMama International Directing Symposium in Spoleto, Italy. Knox was a Fulbright Fellow in Finland. She holds an M.F.A. in Directing from the University of Washington.

JESSICA FORD Scenic and Costume Designer

Jessica is delighted to be returning to The Armory for The Santaland Diaries. Other regional theater credits include productions at The Long Wharf Theatre, Dallas Theater Center, Baltimore Center Stage, Berkeley Repertory Theatre, South Coast Repertory, The Folger, Barrington Stage, Hangar Theatre, Actors Theatre of Louisville and the Alley Theatre in Houston. In New York, she has worked with Ars Nova, The Play Company, Second Stage, P73, Rattlestick Playwright’s Theatre, Pearl Theatre and The Public, to name a few. Jessica received her M.F.A. from the Yale School of Drama and was a recipient of the 2007 – 2009 NEA/TCG fellowship for designers. Recently, she won the Connecticut Critics Circle Award for These Paper Bullets at Yale Rep.

DON CROSSLEY Lighting Designer

Don is excited to re-create his design for The Santaland Diaries. Don has served as a lighting designer for JAW: A Playwrights Festival, and was Portland Center Stage at The Armory’s master electrician from 1996 to 2007. Previous lighting designs for the company include: The Santaland Diaries (2009 – 2015), The People’s Republic of Portland (2013, 2015), The Receptionist, Act a Lady, The Thugs, Fully Committed, Another Fine Mess, Who’s Afraid of Virginia Woolf ? and The Santaland Diaries/A Christmas Memory (2002-2004) which earned Don one of his eight Drammy Awards for Lighting Design. Don has also designed lighting for Portland Opera, Oregon Children’s Theatre, Third Rail Repertory Theatre, Artists Repertory Theatre and CoHo Productions, among others.

SARAH PICKETT Sound Designer

Sarah has worked with theatrical companies all over the United States including: Yale Repertory Theatre, CT; Oregon Shakespeare Festival, OR; Victory Gardens Theater, IL; Drury Lane at Oakbrook, IL; Long Wharf Theatre, CT; Theatre for a New Audience, NYC; Playmakers Repertory Company, NC; Syracuse Stage, NY; Stonington Opera House, ME; Asolo Repertory Theatre, FL; Hangar Theatre, NY; and Women’s Theatre Project, NYC. Sarah holds a

THE SANTALAND DIARIES | CREATIVE TEAM B.F.A. from Syracuse University, an M.A. from Cornell University and an M.F.A. from the Yale School of Drama. She is a sound design and music composition instructor at Carnegie Mellon University. JANINE VANDERHOFF Stage Manager

Janine is glad to be back for her second season at The Armory. Previous credits at The Armory include: The Oregon Trail, Little Shop of Horrors, JAW 2016, Great Expectations, Ain’t Misbehavin’ and Our Town. Other Portland credits include Portland Opera’s Sweeney Todd (followspot caller); the world premiere of DC Copeland’s Play (stage manager/ production manager); and How to End Poverty in 90 Minutes and The Other Place at Portland Playhouse (stage manager). Touring stage management credits include: The Graduate (starring Morgan Fairchild), CATS, The Vagina Monologues, Jekyll & Hyde and Show Boat. While in New York, Janine had the opportunity to work on The Lion King on Broadway, as well as with many Off-Broadway and regional companies. Production management credits include: The Daily Show with Jon Stewart for “Democalypse 2012 Republican National Convention” (Tampa, FL); Straz Center

(Tampa, FL); and The Fox Theatre (Atlanta, GA). Proud NYU graduate and AEA member. KRISTEN MUN Production Assistant

Kristen Mun is originally from Hawaii and graduated from Southern Oregon University with a B.F.A. in Stage Management. This is her fourth season at The Armory, where previous credits include: production assistant on Hold These Truths, A Streetcar Named Desire, Each and Every Thing, Forever, The Santaland Diaries, Three Days of Rain, Threesome, LIZZIE and Fiddler on the Roof. Outside of Portland, she has worked at the Oregon Shakespeare Festival, Idaho Repertory Theatre and Actors Theater of Louisville. In Portland, she has worked as a production assistant and stage manager with theater companies including Artists Repertory Theatre (And So It Goes … and Red Herring), Oregon Children’s Theatre (A Year with Frog and Toad, Charlotte’s Web, Ivy and Bean and Junie B. Jones) and Broadway Rose Theatre Company (Oklahoma!). Outside of stage managing, Kristen is a fight choreographer and stage combat teacher.

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Phone: Noon–6:00 p.m., Daily Walk-Up Window: Open Until Showtime Single tickets and season tickets may be purchased in person, online at PCS.ORG, or by phone at 503.445.3700. PLEASE ARRIVE EARLY. Late seating may be offered but is at the discretion of the House Manager; late seating is not guaranteed. Those arriving late to a performance or exiting the theater during the performance may be asked to view the show on the lobby monitor until intermission. Refunds and/or exchanges are not available for late arrivals. NO LATE SEATING AVAILABLE IN THE STUDIO. Because of the intimate nature of the Ellyn Bye Studio, it is not possible to accommodate late seating. NO CAMERAS OR RECORDING EQUIPMENT. No recording devices of any kind are allowed in the theaters. PLEASE SILENCE ALL CELL PHONES. You may check your cell phones with the concierge and they will notify you in case of an emergency. CHECK BACKPACKS and LARGE PARCELS. For safety purposes, please check large backpacks and parcels at the coat check.

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THE ARMORY IS FULLY ACCESSIBLE. Anyone with a special seating need (such as moderate sight or hearing impairment) is encouraged to inform the Box Office in advance to accommodate the request. ASSISTED LISTENING DEVICES ARE AVAILABLE. Listening devices are available at the concierge desk free of charge. CHILDREN UNDER THE AGE OF SIX ARE NOT ADMITTED. While we encourage you to bring interested children to the theater, as a courtesy to other patrons and actors, we do not admit anyone under the age of six years to our performances. FOOD IS NOT ALLOWED INSIDE THE THEATER. Beverages are allowed, but must be in a compostable cup with a lid. All food must be consumed in the lobby. PLEASE DO NOT WEAR STRONG PERFUMES/ COLOGNES. Strong perfumes or colognes can be distracting for other patrons and for people with allergies. Please use moderation when applying strong fragrances before the performance.

THE ARMORY • THE SANTAL AND DIARIES

ARTISTIC DIRECTOR | CHRIS COLEMAN

NOVEMBER 30 – DECEMBER 30, 2016 ON THE U.S. BANK MAIN STAGE

PRESENTS

The Eva Price, Samantha F. Voxakis and Karen Racanelli production of

Hershey Felder as IRVING BERLIN A New Musical Play

Lyrics & Music by Irving Berlin Book by Hershey Felder Directed by Trevor Hay Scenic Designer Hershey Felder & Trevor Hay

Lighting Designer Richard Norwood

Projection Designers Christopher Ash & Lawrence Siefert

Line Producer/Sound Designer Erik Carstensen

Production Dramaturg Meghan Maiya

Scenic Decoration Meghan Maiya, Jordan Hay & Emma Hay

PERFORMED WITHOUT INTERMISSION. The videotaping or other photo or audio recording of this production is strictly prohibited. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SEASON SUPERSTARS

SUPPORTING SEASON SPONSORS

SHOW SPONSORS

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

THE ARMORY • HERSHE Y FELDER A S IRVING BERLIN

Doug and Teresa Smith Helen Stern

“NOT FOR JUST A YEAR,

BUT ALWAYS”

T H E I M M O R TA L I R V I N G B E R L I N by Benjamin Fainstein, Literary Manager

omposer Jerome Kern once famously remarked that “Irving Berlin has no place in American music — he is American music.” Such an enviable distinction could only be bestowed upon a musician with far-reaching success and a diverse body of work, and Berlin certainly fits the bill. He was born Israel Beilin in 1888 and immigrated to New York from Belarus at the age of 5. After years of literally singing for his supper as a busker, he leapt to international success with his 1911 hit “Alexander’s Ragtime Band.” Throughout his lengthy career, he explored a variety of styles, from the ragtime, jazz and balladeering of Tin Pan Alley to Broadway showstoppers

like “There’s No Business Like Show Business” from his musical Annie Get Your Gun to Hollywood hits including Easter Parade, Holiday Inn and Blue Skies. Berlin’s song catalog contains nearly 1,500 tunes, more than two dozen of which topped the charts before his death in 1989. Hundreds of artists have recorded his work, including Billie Holiday, Ella Fitzgerald, Ethel Merman, Dean Martin, Judy Garland, Diana Ross, Patsy Cline, Celine Dion, Bob Dylan, Jerry Garcia, Leonard Cohen, Willie Nelson, Cher, and the Muppets. His influence on American music is undeniable; his presence, ubiquitous. Here is a glimpse at the stories behind two of his most legendary songs.

“WHITE CHRISTMAS” Berlin’s song was first broadcast on December 25, 1941, less than three weeks after the bombing of Pearl Harbor. The wistful tone of “White Christmas” took on a particularly poignant significance as American soldiers found themselves fighting overseas in the years that followed. Crooner Bing Crosby’s iconic rendition of the tune became the best-selling song of all time by the end of World War II, and “White Christmas” has maintained that distinction in the Guinness Book of World Records. The song is also notable for being relatively secular, a fact which music scholars have pointed to as an engine for its universality. Berlin, a Jewish man, had a personal tradition that may have contributed to the yearning melancholy of the song: his infant son had died on Christmas Day 1928, and every year, Berlin spent the holiday visiting Irving Berlin, Jr.’s grave. Hundreds of musicians, from Elvis Presley to Destiny’s Child, have recorded the song since, but Crosby’s version is still the gold standard. The postwar era saw a shift away from the melodic keyboards of Tin Pan Alley toward the rebellious guitars of rockand-roll. “White Christmas” stood at the apex of this transition, the pinnacle of an American moment that was, like a glowing yule log, slowly burning away.

“GOD BLESS AMERICA” On November 10, 1938 — the holiday then known as Armistice Day — popular singer Kate Smith debuted a new song by Irving Berlin that has endured as a kind of unofficial national anthem. Berlin began work on “God Bless America” twenty years before Smith sang it on the radio; he had intended it as a finale for a musical revue he wrote as a recruit in the U.S. Army. The song has been the subject of controversy over the years. Some have accused it of promoting war-mongering and xenophobia, while other groups, such as the Ku Klux Klan, have condemned its patriotism because of Berlin’s status as a Jewish immigrant. But Berlin himself intended it as a peace song, and Kate Smith remarked on-air that she prayed “we shall never have another war” before she sang it. Despite mixed reactions from the public, “God Bless America” continues to be taught in schools, sung at sporting events, and performed in the wake of national tragedies. Berlin never made any money off of the song’s success, a fact which perhaps adds to the evidence that he felt the song belonged to his fellow Americans rather than to himself. Since 1940, all royalty payments have been directed to the Boy Scouts and Girl Scouts of America.

THE ARMORY • HERSHE Y FELDER A S IRVING BERLIN

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HERSHEY FELDER AS IRVING BERLIN | CAST & CREATIVE TEAM IRVING BERLIN Lyrics and Music

Irving Berlin wrote scores to 17 Broadway musicals and revues, and wrote songs for 12 classic Hollywood movie musicals. Born in Russia, he immigrated to the Lower East Side, where he started his music career as a singing waiter and soon became a lyricist, composer and music publisher. He built Broadway’s The Music Box Theater in 1921, with producer Sam Harris, to present his popular Music Box Revues. A sampling of just some of the Irving Berlin standards includes “How Deep is the Ocean,” “Blue Skies,” “White Christmas,” “Always,” “Anything You Can Do (I Can Do Better),” “There’s No Business Like Show Business,” “Cheek to Cheek,” “Puttin’ On The Ritz,” “A Pretty Girl is Like a Melody,” “Heat Wave,” “Easter Parade” and “Let’s Face the Music and Dance.” The Hollywood movie classics with scores by Berlin include Top Hat, Follow the Fleet, Alexander’s Ragtime Band, Holiday Inn and White Christmas. Among his many awards were the Academy Award for Best Song of the Year for “White Christmas” (1942) and a Special Tony Award (1963). HERSHEY FELDER Performer/Playwright/ Scenic Co-Designer

Writing in American Theatre, Hedy Weiss said, “Hershey Felder is in a category all his own.” Over the past twenty years, he has played over 4,500 performances of his self-created solo productions at some of the world’s most prestigious theaters and has broken box office records consistently. In addition to Hershey Felder as Irving Berlin, his shows include George Gershwin Alone (Broadway’s Helen Hayes Theatre, West End’s Duchess Theatre), Monsieur Chopin, Beethoven, Maestro Bernstein, Franz Liszt in Musik and Lincoln: An American Story. In addition, he performs concerts of The Great American Songbook Sing-Along at every theater where his shows are presented. Future productions include Our Great Tchaikovsky (January 2017 premiere at San Diego Repertory Theatre) and the new musical, Chosen By G-d for which he is writing music, book and lyrics. His compositions and recordings include Aliyah, Concerto for Piano and Orchestra; Fairytale, a musical;

Les Anges de Paris, Suite for Violin and Piano; Song Settings; Saltimbanques for Piano and Orchestra; Etudes Thematiques for Piano; and An American Story for Actor and Orchestra. Hershey is the adaptor, director and designer for the very successful play with music, The Pianist of Willesden Lane (presented at The Armory earlier this year), and recently produced and designed for the new musical Louis and Keely: ‘Live’ at the Sahara, directed by Taylor Hackford. Hershey has operated a full-service production company since 2001. He has been a scholar-in-residence at Harvard University’s Department of Music and is married to Kim Campbell, the first female Prime Minister of Canada. TREVOR HAY Director/Scenic Co-Designer

Trevor Hay directed the world premieres of An American Story for Actor and Orchestra, Abe Lincoln’s Piano and Franz Liszt in Musik, and associate directed Mona Golabek’s The Pianist of Willesden Lane. He is a former member of the historic Old Globe in San Diego where, at the age of nine, his first position was selling memorabilia. Over the next 32 years, he went on to various aspects of production on more than 80 presentations, including the Broadway productions of Jack O’Brien’s Damn Yankees, How The Grinch Stole Christmas!, and Twyla Tharp’s The Times They Are A-Changin’. Included in his 23 seasons at The Old Globe were 11 seasons of the Summer Shakespeare Festival Repertory, as well as work on Tracy Letts’ August: Osage County (directed by Sam Gold), and Hershey Felder’s George Gershwin Alone, Monsieur Chopin and Maestro Bernstein. RICHARD NORWOOD Lighting Designer

Designs for Hershey Felder Presents: Louis and Keely: ‘Live’ at the Sahara, Monsieur Chopin and Beethoven, As I Knew Him. Richard’s most recent designs include Le Bête and Cookie Play for Trap Door Theatre, and King Hedley II for Congo Square. Richard is the production manager for the theater at the Museum of Contemporary Art in Chicago.

LAWRENCE SIEFERT Projection Co-Designer

For over 20 years, Lawrence has been involved in theater, corporate events and film. Some of his credits include

projection design for San Diego Opera’s Wozzeck and Moby Dick. He is a recipient of two Telly Awards and one Davey Award for How Do You Build Hope (Habitat for Humanity). Lawrence has been a member of IATSE Local 1022 since 1996. CHRISTOPHER ASH Projection Co-Designer

Christopher Ash is an international designer of scenery, lighting and projections for theater, dance, opera and film. Recent projects include projection design for Carmina Burana (Chautauqua Institution) and A Midsummer Night’s Dream (Guthrie Theater); scenic design for The Fairy Tale Lives of Russian Girls (Yale Repertory Theatre); projections for La Traviata (Lyric Opera of Chicago) and Marie Antoinette (SOHO Rep); lighting for Heidi Latsky Dance’s One Hour: Two Works and GiMP; and production and lighting for Amanda Palmer’s music video “Bedsong.” He received his M.F.A. in set design from the Yale School of Drama.

ERIK CARSTENSEN Sound Designer/Line Producer

Erik Carstensen’s sound design credits include An American Story, The Pianist of Willesden Lane (2012 Ovation Award Nomination), Franz Liszt in Musik, Abe Lincoln’s Piano and Louis and Keely: ‘Live’ at the Sahara. He was the master sound technician at The Old Globe in San Diego from 1997 to 2012, and has been the production engineer on over 60 productions, including Allegiance, Robin and the 7 Hoods, A Catered Affair, Hershey Felder’s George Gershwin Alone, Dirty Rotten Scoundrels, Chita Rivera: The Dancer’s Life, Dr. Seuss’ How the Grinch Stole Christmas!, The Full Monty, Dirty Blonde and Floyd Collins. Erik is a member of IATSE Local 122.

MEGHAN MAIYA Production Dramaturg

Meghan has collaborated with Hershey Felder doing biographical and historical research for new theatrical productions since 2013. Productions include: Hershey Felder as Franz Liszt in Musik, Hershey Felder as Irving Berlin and Our Great Tchaikovsky. Additional collaborations with Hershey Felder include production research and imagery for Louis and Keely: ‘Live’ at the Sahara; and scenic decoration for The Pianist of Willesden Lane, Abe Lincoln’s Piano and Hershey Felder as Irving Berlin.

THE ARMORY • HERSHE Y FELDER A S IRVING BERLIN

HERSHEY FELDER AS IRVING BERLIN | CREATIVE TEAM KELSEY DAYE LUTZ Stage Manager

The Armory credits include: stage manager for Hold These Truths, The Pianist of Willesden Lane, Each and Every Thing, Forever, The Santaland Diaries, The Lion, The People’s Republic of Portland (second engagement), Vanya and Sonia and Masha and Spike, The Typographer’s Dream, The Last Five Years and A Small Fire; and production assistant for Clybourne Park, Venus in Fur, A Midsummer Night’s Dream, The North Plan and Anna Karenina. Kelsey Daye is a graduate of University of North Carolina at Greensboro. She would like to thank her pups for all their unconditional love, and Shamus for being wonderful.

EVA PRICE Producer

Eva Price’s upcoming credits include Dear Evan Hansen (Broadway), FOUND: A New Musical (Philadelphia Theatre Company); and Small Mouth Sounds (Signature Center). Select Broadway credits include: On Your Feet! — The Story of Gloria and Emilio Estefan; Peter and the Starcatcher (five Tony Awards); Annie (2012 Tony Awardnominated revival); The Merchant of Venice, starring Al Pacino (Tony, Drama Desk and Outer Critics Circle nominations); and The Addams

Family. Noted solo shows and concerts include Benjamin Scheuer’s The Lion and Broadway engagements of Lewis Black, Carrie Fisher, Kathy Griffin, Colin Quinn (dir. Jerry Seinfeld), Frankie Valli and the Four Seasons, and The Temptations & The Four Tops. Eva was named one of Crain’s New York 40 Under Forty Rising Business Stars. She is the executive producer/EVP for Maximum Entertainment, a producing and general management company focusing on Broadway, Off-Broadway and touring properties. KAREN RACANELLI Executive Producer

Karen comes to Eighty-Eight Entertainment from Berkeley Repertory Theatre, where she worked as general manager since 1993, overseeing daily operations; and where she had the pleasure of producing several shows performed and/or directed by Hershey Felder. She has represented the League of Resident Theatres during negotiations with both Actors’ Equity Association and the Union of Stage Directors and Choreographers, served on LORT’s Executive Committee, and served as a panelist at several LORT meetings. Prior to her tenure at Berkeley Repertory Theatre, Karen worked as an independent producer

ACKNOWLEDGEMENTS Mary Ellin Barrett, Linda Louise Emmet, Elizabeth Irving Peters, and the entire Berlin family for their support and encouragement. Eva Price, Ted Chapin, Mary G. Campbell, Nicole Harman; Beth Schenker, Steve Robinson and the WFMT Radio Network; Lotof Shahtout, Michelle’s Piano and Steinway & Sons; MJ Bogatin. Ken and Katrina Carlson, Richard and Robin Tennant Colburn, Dan and Phyllis Epstein, Susan and Moses Libitzky, Irv and Dena Schechter; Susie Medak, Tony Taccone and Berkeley Repertory Theatre; Todd Salovey and Sam Woodhouse, Sheila and Jeff Lipinsky and San Diego Repertory Theatre for hosting Berlin concert presentations. Grosses bises à notre famille à Seine-Port—Pierre, Isa, Amandine et Reglisse. A heartfelt thank you to my team of devoted artists without whom none of our work would be possible,

THE ARMORY • HERSHE Y FELDER A S IRVING BERLIN

at several Bay Area theater companies, and has served on the boards of Climate Theater, Overtone Theatre Company, Park Day School, and the Julia Morgan Center. Karen is married to Bay Area arts attorney MJ Bogatin. SAMANTHA F. VOXAKIS Producer/Company Manager

Samantha is a native of Maryland where she spent 12 memorable years working in the front office of the Baltimore Orioles. Since 2004, Sam has been responsible for the day-to-day operations of Eighty-Eight Entertainment, LLC/Hershey Felder Presents. With special thanks to her family and Mr. Felder.

HERSHEY FELDER PRESENTS Producer

Hershey Felder Presents is the newest division of Eighty-Eight Entertainment which was created in 2001 by Hershey Felder and is devoted to the creation of new works of musical theater. Current projects include the musical plays Our Great Tchaikovsky, Hershey Felder as Irving Berlin and The Pianist of Willesden Lane. Recordings include Love Songs of the Yiddish Theatre, Back from Broadway, George Gershwin Alone, Monsieur Chopin, Beethoven, As I Knew Him, and An American Story for Actor and Orchestra.

especially Karen Racanelli, Erik Carstensen, Trevor Hay, Meghan Maiya, Richard Norwood, Christopher Ash, Jason Bieber, Lawrence Siefert, Josef Moro, Devin Morrow, Jordan and Emma Hay, Rebecca Peters, Samantha and the entire Greek Family. Chris Coleman, Rose Riordan, Cynthia Fuhrman, Creon Thorne, Liam Kaas-Lentz, Claudie Jean Fisher, Will Cotter, Derek Easton, Lydia Comer, the box office, front-ofhouse staff, patron services staff, and everyone at Portland Center Stage at The Armory. A special thank you to Candice and Joel Zwick, and Joel Zwick “Alone.” My father Jack, my sister and brother-in-law Tammy and Kevin, and their dear children Avery and Kiley. And of course, Leo and Kim. Thank you to Michelle’s Piano Company of Portland for their courtesy in providing the concert grand piano.

SPONSOR STATEMENTS DELTA AIR LINES Delta Air Lines is proud to sponsor Portland Center Stage at The Armory’s production of Hershey Felder as Irving Berlin. With 29 daily flights to nine destinations, including Amsterdam, Tokyo and new service to London launching in 2017, Delta connects Portlanders not only to the arts in our home town but to destinations across America and the globe. Plan your next trip at delta.com.

THE HOLZMAN FOUNDATION/ RENÉE AND IRWIN HOLZMAN Join us in recognizing the stellar contribution that Portland Center Stage at The Armory provides the Portland cultural arts scene. We’re proud to sponsor this production that showcases the genius and talent of both Irving Berlin and Hershey Felder. Enjoy! Enjoy!

CHRIS COLEMAN Artistic Director

Chris joined Portland Center Stage at The Armory as artistic director in May, 2000. Before coming to Portland, Chris was the artistic director at Actor’s Express in Atlanta, a company he co-founded in the basement of an old church in 1988. Chris returned to Atlanta in 2015 to direct the world premiere of Edward Foote at Alliance Theatre (Suzi Bass Awards for Best Direction, Best Production and Best World Premiere). Other recent directing credits include the Off-Broadway debut of Threesome at 59E59 Theaters; a production that had its world premiere at The Armory and was also presented at ACT Theatre in Seattle. Favorite directing assignments for Portland Center Stage at The Armory include A Streetcar Named Desire, Ain’t Misbehavin’, Three Days of Rain, Threesome, Dreamgirls, Othello, Fiddler on the Roof, Clybourne Park, Sweeney Todd, Shakespeare’s Amazing Cymbeline (which he also adapted), Anna Karenina, Oklahoma!, Snow Falling on Cedars, Ragtime, Crazy Enough, Beard of Avon, Cabaret, King Lear, Cat on a Hot Tin Roof, Man and Superman, Outrage, Flesh and Blood and The Devils. Chris has directed at theaters across the country, including Actor’s Theater of Louisville, Oregon Shakespeare Festival, ACT Theatre (Seattle), The Alliance, Dallas Theatre Center, Pittsburgh Public Theatre, New York Theatre Workshop and Center Stage (Baltimore). A native Atlantan, Chris holds a B.F.A. from Baylor University and an M.F.A. from Carnegie Mellon. He is currently the board president for the Cultural Advocacy Coalition. Chris and his husband, Rodney Hicks — who is appearing in the new musical Come From Away, which opens on Broadway in March — are the proud parents of an 18-lb Jack Russell/Lab mix, and a 110-lb English Blockhead Yellow Lab.

DOUG AND TERESA SMITH We are happy to sponsor Hershey Felder as Irving Berlin at The Armory this year. It is our eighth year as play sponsors of Portland Center Stage at The Armory and we couldn’t imagine an organization more deserving of our financial support. Please enjoy the show!

HELEN STERN I take pride in sponsoring a show each season. Jerry and I usually chose one centered on music. To have this opportunity to be associated with the story of “America’s Composer” — Irving Berlin — fills my heart with joy, and my soul with pride. For 21 years, my late husband, Jerry Stern, and I have given our support to Portland Center Stage at The Armory. Hershey Felder’s musical performance, presented with great feeling and talent, is a perfect showcase for our favorite songs.

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 and has been under the leadership of Artistic Director Chris Coleman since 2000. An estimated 160,000 people visit The Armory annually to enjoy a mix of classical, contemporary and world premiere productions, along with a variety of high quality education and community programs. Eleven productions are offered each season, in addition to roughly 400 community events

created — in partnership with 170+ local organizations and individuals — to serve the diverse populations in the city. As part of its dedication to new play development, the company has produced 21 world premieres and presents an annual new works festival, JAW: A Playwrights Festival. The Northwest Stories series was recently launched to develop and produce works about, or by artists from, the Northwest region. Home to two theaters, The Armory was the first building on the National Register of Historic Places, and the first performing arts venue, to achieve a LEED Platinum rating.

THE ARMORY • HERSHE Y FELDER A S IRVING BERLIN

LEAD CORPORATE CHAMPION

Umpqua Bank

ACTORS TAKE CHANCES.

CARING FOR WHAT’S IMPORTANT IS PART OF

OUR MISSION. Proud Sponsor of Portland Center Stage.

Sometimes they work. Sometimes they don’t. But none of these actors would be on stage tonight without taking chances. It’s part of growth, and we’re all made to grow. That’s why we’re such a proud supporter of Portland Center Stage at The Armory. Let this performance inspire you to take the chances that power your own growth.

p o r t l a n d ’ s h o t e l t o th e ar t s IN THE HEART OF PORTLAND’S WEST END DISTRICT

4 0 9 S W 1 1 T H AV E P O R T L A N D | 5 0 3 . 2 2 4 . 3 2 9 3 | M A R K S P E N C E R . C O M 24

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THANK YOU, DONORS!

We gratefully acknowledge the supporters of our 2016–2017 season.ofTheir generosity allows us to inspire our community Portland Center Stage gratefully acknowledges the supporters our 2013–14 season. Their generosity allows us to inspire our community byby bringing stories to to lifelife in in unexpected ways. WeWe thank them. bringing stories unexpected ways. thank them.

CORPORATE GIFTS SEASON SUPERSTAR ($150,000+)

OVATION SOCIETY ($100,000+)

U.S. Bank

LEADERSHIP CIRCLE ($25,000+)

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

SEASON STARS ($10,000+)

AHA! Boeing Company Davis Wright Tremaine Delta Air Lines GBD Architects Hoffman Construction KeyBank Moda NW Natural Stoel Rives LLP Work for Art, including contributions from more than 75 companies and 2,000 employees

PLAYMAKERS ($5,000+)

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

PRODUCERS ($2,000+)

D’Amore Law Group Hygeia Healing PCC Structurals, Inc. Pricewaterhousecoopers LLP Vernier Software & Technology Zimmer Gunsul Frasca

BENEFACTORS ($1,000+)

Downtown Development Group Pacific Office Automation

STARS ($250+)

Cupcake Jones Graphic Arts Building Heathman Hotel ShadewoRx

IN-KIND

Alliance Française de Portland Altabira City Tavern Al’s Garden Center Argyle Winery Art of Catering

Artemis Foods Keith & Sharon Barnes Bellino Tratoria Siciliana Ben & Jerry’s Boeing Company Byways Cafe Caffe Umbria Cheese Bar Chehalem Wines Chop Daimler Aishwarya Deenadayalu Delta Airlines Devil’s food Catering De Ponte Cellars Eat Your Heart Out Eastside Distilling Everything’s Jake Free Geek Food in Bloom Footwear Specialties International Geranium Lake Flowers Rosemond Graham Hotel G Hunt & Gather Catering Donna Huntsman Craig & Lynne Johnston Kelley Young Harrington Interiors Regan & Gina Leon Drs Skye & Jane Lininger Richard Linn

FOUNDATION & GOVERNMENT SUPPORT

(AS OF OCTOBER 5, 2016)

OVATION SOCIETY ($100K+)

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

LEADERSHIP CIRCLE ($25K+)

The Kinsman Foundation Oregon Cultural Trust The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer & Jordan Schnitzer Shubert Foundation

SEASON STARS ($10K+)

Anonymous (2) The Holzman Foundation/Renée & Irwin Holzman

Rebecca MacGregor Mario’s Mingo Restaurant Morel Ink Monique’S Boutique Marlene Montooth Nel Centro New Deal Distillery NIKE, Inc. Nuvrei Fine Cakes & Pastries NW Film Center NW Natural Oblation Papers & Press Pacific Pie Company Paragon Restaurant & Bar Partners Of Maison Venasque Pearl Catering Pearl Gallery & Framing Portland Opera Precision Graphics Restaurant St. Jack Pat & Trudy Ritz Ralph & Elba Shaw St. Honore Boulangerie Simpatica Catering Thea’S Vintage Living Umpqua Bank Uptowne Paper Weinmann Painting West Coast Event Productions Zupan’s Market

SEASON SUPERSTARS

Jackson Foundation Oregon Arts Commission, a state agency PGE Foundation The Rose E. Tucker Charitable Trust Travel Oregon

ARTISTIC DIRECTOR’S CIRCLE ($3K+)

H.W. & D.C.H. Irwin Foundation Herbert A. Templeton Foundation

SUPPORTING SEASON SPONSORS

PRODUCERS ($2K+)

AOH Foundation Autzen Foundation D. Margaret Studley Foundation Travel Portland

BENEFACTORS ($1K+)

Big Sky Fund of Equity Foundation Leupold & Stevens Foundation

STARS ($250+)

Swigert-Warren Foundation

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

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INDIVIDUAL GIFTS (AS OF OCTOBER 5, 2016) The membership levels and names listed below are determined by your individual gift membership renewal date and are recognized for twelve months. We make every attempt to acknowledge your name accurately. If you find a mistake, want to make a change or think your name should be listed and want to inquire further, please don’t hesitate to call 503.445.3744 to let us know. We are more than happy to make changes for the next playbill. Those donors whose names are in bold are a part of our Sustaining Supporters group. We want to honor those donors who have given every year for the last five years. Your consistent support means a great deal to us and keeps our theater thriving. Thank you for your loyalty and generosity.

OVATION SOCIETY ($100,000+) Keith & Sharon Barnes Don & Mary Blair

Heather Killough Joanne M. Lilley Fund of The Oregon Community Foundation

LEADERSHIP CIRCLE ($25,000-$99,999)

Broughton & Mary Bishop Family Advised Fund, a charitable fund of the Community Foundation of Southwest Washington Andy & Nancy Bryant Dream Envision Foundation Ginger Carroll Roger Cooke & Joan Cirillo Brigid Flanigan Ronni Lacroute/WillaKenzie Estate Dedre J. Marriott Helen & Jerry Stern Mr. & Mrs. W.T.C. Stevens David E. Wedge Trust Dan Wieden & Priscilla Bernard Wieden

SEASON STARS ($10,000-$24,999)

Anonymous Dr. Don & Jessie Adams John & Linda Carter Sarah Crooks Martin & Karin Daum Ray & Bobbi Davis William & Karen Early Mark & Ann Edlen The Wayne & Sandra Ericksen Charitable Fund CLF Family Charitable Foundation Diana Gerding J. Greg & Terry Ness Tasca & Paul Gulick Steven & Marypat Hedberg The Holzman Foundation/ Renee & Irwin Holzman Dr. Barbara Hort & Mark Girard Marilyn & Ed Jensen Craig & Y. Lynne Johnston Kevin & Karen Kelly James & Morley Knoll Hilary Krane & Kelly Bulkeley Charles & Carol Langer Chrys A. Martin & Jack Pessia Michael E. Menashe Reynolds Potter & Sharon Mueller

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Pat & Trudy Ritz/Ritz Family Foundation The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer & Jordan Schnitzer Richard & Marcy Schwartz Drs. Ann Smith Sehdev & Paul Sehdev Douglas & Teresa Smith Christine & David Vernier Ben & Elaine Whiteley Steven & Deborah Wynne

PLAYMAKERS ($5,000-$9,999)

Anonymous Anonymous Scott & Linda Andrew Gerry & Marilyn Cameron Glenn Dahl & Linda Illig Jess Dishman David Dotlich & Doug Elwood Carol Edelman Robert Finger Rob Goodman Greg Hazelton & Dori Flame Tom & Betsy Henning Gregg & Diane Kantor Judy Carlson Kelley Ms. Kirsten Lee & Mr. Joseph Sawicki Drs. Dolores & Fernando Leon Drs. Skye & Jane Lininger Jim & Jennifer Mark Peter K. McGill Preble Family Charitable Trust of the Bank of America Charitable Gift Stephen Reynolds & Paula Rosput Reynolds Leonard & Lois Schnitzer Family Fund of the Oregon Jewish Community Fund Elba, Ralph, Russell, Lorraine & Renee Shaw Roy Schreiber & Carole Heath Lois Seed & Dan Gibbs Barbara A. Sloop Marilyn Slotfeldt John & Jan Swanson John Taylor & Barbara West Susan & Jim Winkler

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

Carole Alexander Kathi & Ted Austin Peter & Susan Belluschi Family Fund of The Oregon Community Foundation Richard Louis Brown Bill Byrne & Dennis Scolard Steve Cox & Vikki Mee

Kelly K. Douglas & Eric H. Schoenstein Joan & Jim English Randy Foster Paul & Samantha Harmon Jon & Sheila Levine Laurie & Gilbert Meigs Steven C. Neighborn James H. O’Lennick Jim & Linda Patterson Franklin & Dorothy Piacentini Charitable Trust Fred L. Ramsey Robert Reed Bob & Marilyn Ridgley Dave & Lori Robertson Mark Schlesinger & Patti Norris Sue & Drew Snyder Don Waggoner & Eunice Noell-Waggoner Mary & Pat Wolfe

PRODUCERS ($2,000-$2,999)

Anonymous Ruth & Jim Alexander Julia & Robert S. Ball Phil & Julie Beyl Jack Blumberg & Tom Anderson Ann Brayfield & Joe Emerson Lee Anne & George Carter Judy Dauble Edward & Karen Demko Margaret Dixon Robert Falconer Sharon & Henry Hewitt Dale Hottle Dennis C. Johnson Raymond & Marilyn Johnson Stephen & Marjorie Kafoury Tim Kalberg Jina Kim & Hyung-Jin Lee Thom King Bernard & Carol Kronberger Cindy & Keith Larson Regan & Gina Leon Edwards Lienhart Family Foundation Grateful Patron John D. & Nancy J. Murakami Nathan Family Joan Peacock Brenda Peterson Dorothy Piacentini Dennis & Diane Rawlinson Pat & Al Reser Bobbie & Joe Rodriguez Teri Rowan Raj Sarda, MD Stephen & Trudy Sargent Trina & Michael Sheridan CollierTrust Burt & Barbara Stein W R Swindells

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

Umpqua Bank

AHA! Boeing Company Curtis T. Thompson, M.D. and Associates, LLC Davis Wright Tremaine Minh Tran & Gary Nelson E. Walter Van Valkenburg & Turid L. Owren Ted & Julie Vigeland Trudy Wilson & Terry Brown Winnowski Family Foundation

BENEFACTORS ($1,000-$1,999)

Anonymous Rukaiyah Adams Richard & Kristin Allan Mr. Stan Amy & Ms. Christy Eugenis Phyllis Arnoff Brenda K. Ashworth & Donald F. Welch Dr. Gene Baker & Regina Brody Cheryl Balkenhol & James Alterman Robin & Thomas Barrett Christian, Lisa & Ella Bisgard Lawrence S. & Susan W. Black Fund of The Oregon Community Foundation Sam & Adriane Blackman Kate & Bill Bowman Linda & William Brown Marianne Buchwalter John Bush & Greg Zarelli Walter & Mary Bush Rick Caskey & Sue HornCaskey Dr. Richard & Nancy Chapman Mary Chomenko Hinckley & Gregory K. Hinckley Drs. Marguerite Cohen & Joe Roberts Leslie Copland M. Allison Couch & Tom Soals Betsy Cramer & Greg Kubecek Leslie & James Culbertson Gail & Mike Davis Kirk & Marsha Davis Dan Drinkward Gerard & Sandra Drummond Karen & John Durkheimer Family Fund of The Oregon Community Foundation John & Jane Emrick John Briggs & Jeffrey Feiffer Mike & Chris Feves Larry & Deborah Friedman Daniel & Leah Frye Cynthia M. Fuhrman Cathie Glennon Mike Golub & Sam Shelhorse Mark & Christi Goodman John & Jacque Guevara Dylan Gulick Del Hall Donald F. Hammond Susan M. & Robert S. Hatfield

GBD Architects Hoffman Construction Key Bank Moda NW Natural Oregonian Media Group Marcia Hauer & Jeanne Knepper Richard L. Hay Lani Hayward Arnold & Virginia Israelit Brad & Judy Johnson Kathy & Steve Johnson Dr. Laurie Kash & Michael Carter Selby & Doug Key Ray & Terry Lambeth Brad & Cindy Larsen Dorothy Lemelson Shari & Frank Lord Carol & Charles Mackey Jean & Steve Mann Robert Matheson & Kimberly Porter Katherine McCoy of West Portland Physical Therapy Clinic Devon McFarland Lindsey & Marilen McGill Jack & Carolyn McMurchie Rob & Kate Melton Lora & Jim Meyer Bryan Nakagawa Hester H. Nau Bradford & Linda Needham Deborah Neft & Salvatore D’Auria Neilsen Family Fund of The Oregon Community Foundation Paul & Lisa Nourigat Tim O’Leary & Michelle Cardinal Allan & Madeline Olson Duane & Corinne Paulson Stanley & Susanne Penkin Ellie Picologlou Dr. & Mrs. Charles Poindexter David Pollock Judson Randall Dianne Rodway Halle & Rick Sadle Darryl Saunders & Randy Mannen Lynne & Ron Saxton Carol Schnitzer Lewis Fund of The Oregon Community Foundation Marian & Elihu Schott Family Fund of The Oregon Community Foundation Michael & Karen Sherman John & Joan Shipley Geoff & Susie Strommer Michael Simon Veterinary Surgical Center of Portland Randall & Janet Smith Carl Snook George & Molly Spencer Ray & Pat Straughan Mary & Jeff Strickler Donald & Roslyn Sutherland

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

Don & Judy Thompson Ronald E. & Ivy L. Timpe Fund of The Oregon Community Foundation Katherine & Nickolas Tri Carol & David Turner Dennis & Jean Wilde Jay Wilt David & Sherri Zava

STARS ($500-$999)

Anonymous (2) Anonymous Charles & Gloria Adams Margaret & Stuart Albright Stacy Allison Thomas & Brada Bailey Susanne Baumann & John Gragg David & Bonnie Bennett Dr. Janet Bennett Randy & Rebecca Bissinger Jill Blanchard Lesley Bombardier Craig Boretz Norma Bradfish Stephen & Marge Brenneke Clifford & Doris Carlsen Family Fund of the Oregon Community Foundation Brenda & Duke Charpentier Bruce & Janis Collins Sonja L. Connor Dave & Debbie Craig Erik Cubbage Tracy A. Curtis & Rick Nagore Gloria Zeal Davis Craig Dewey & Julie Coop Richard & Betty Duvall Stephen Early & Mary Shepard Gregory Flick Ronald Fraback Carol Fredlund & John Betonte Charles & Kyle Fuchs Don & Judy Fuller Richard & Kristine Gates Paul & Faye Gilbarg Melissa & Robert Good Michael & Nancy Graham Gail & Walter Grebe Rick & Susan Gustafson Bill & Elaine Hallmark Lourri Hammack Kregg & Andrea Hanson Richard L. Hay Patsy Heinlein MJ & Lee Alan Helgerson Herman Charitable Foundation Paul & Ruth Herrington Laurie Holland Dixie Huey Susan Immer & Larry Juday Christina Isacson Cecily Johns Jessie Jonas Douglas & PJ Jones

DONOR LIST (CONTINUED) Kevin & Suzanne Kahn Gerri Karetsky & Larry Naughton Carla Kelley Nancy Keystone & Michael Schlitt Kevin & Lee Kidd Lucien & Sally Klein BettyLou Koffel & Philip Moyer Mr. Rudy Kohnle & Ms. Krista Larson Jon & Karen Kruse Bruce & Cathy Kuehnl Susan Lair & Doug Trobough Libbi Layton & Lawrence Tamiyasu Bonnie & Mike Leiser Richard M. Linn Elaine & Richard Lycan Stephen Mason & Christine Fisher JS & Robin May Karen & Brent McCune Jessica McVay Richard Meeker & Ellen Rosenblum Merry & John Melonas Robert & Violet Metzler Michael & Susan Mueller Ward & Pamela Nelson Don & Doris Nielsen David & Anne Noall Juris V. & Silvia Orle Vicki & Greg Page John & Carolyn Parchinsky Carol Pelmas Elizabeth Perris & Beverly Schnabel Jim & Pam Phillips Wallace & Elizabeth Preble Dick & Linda Reedy Drs. Scott & Kay Reichlin Leslie Rennie-Hill & Ken Hill Tony & Sherryl Reser Kelly Ritz-Eisenstein & Scott Eisenstein Mary & Craig Ruble Mardi Saathoff Steven & Carol Sandor Dianne Sawyer & Richard Petersen Bob Schuler & Debra Blanchard Peter Shinbach Virginia Shipman & Richard Kaiser Brad Simmons & Shannon Hart J & C Skuster Walter & Carol Smith Kimberly Smith-Cupani Rick & Denyse Stawicki Elaine R. & Rudolph B. Stevens Janice Stewart & Gordon Allen Dan & Linda Sullivan Dr. Jeffrey & Mrs. Roberta Swanson Meri & Stephen Taylor Bruce & Rebecca Teborek Beverly Terry Don & Judy Thompson Marcia K. Timm Eleanor & Peter Van Alderwerelt Lewis & Susan Van Winkle Virginia Vanderbilt & Michael Garrison Dan Volkmer & Frank Dixon

Richard Wallace & Patricia White Wendy Ware & Dan Gleason Joan & David Weil Aurora WindDancer Dr. & Mrs. Bennett Wight Brian R. Wilson Fabian & Julie Yeager

PATRONS ($150-$499)

Anonymous (10) Anonymous (3) Vanessa Abahashemi & Soren Jorgensen Jose Alcarez Joan & Brian Allen Philip & Pip Allen Linda C. Anderson Thomas R. Anderson & Joan Montague Mr. & Mrs. John K. Ankeney Nigel & Kerry Arkell Kregg Arnston & Ted E. Fettig Lee & Lynn Aronson Elizabeth Ash & David Morganstern Linda Aso Jean & Ray Auel Jean & David Avison Susan Bach & Douglas Egan Grover & Susan Bagby Mrs. Bernice Bagnall Bill Bagnall & Clayton Lloyd Gary & Christine Barbour Mr. & Mrs. Peter Barnhisel Diane & Arthur Barry Sidney & Barbara Bass George W. Bateman Richard Baumann Kathleen Bauska Donald C. & Doris Beard Rob & Sharon Bennett Jamie & John Birkett Cheryl A. Bittle Anita & Clark Blanchard Ms. Catherine Blosser & Mr.Terry Dolan Robert E Blum & Carol M. Black Brian & Karen Borton Kay Bristow Patsy Bruggere Mr. Lamar Bryant & Ty Stober Mary Butler Tim & Susan Carey Andrea Carlson Carolyn & Walter Carr Brett & Barbara Carson Michael Carter & Teresa Ferrer Jean Carufo & Barb Engelter Tyler Case Susan Cassady & Neal Thompson Brent & Barbara Chalmers Gordon B. Chamberlain Tim Chapman Bob & Patty Chestler Valri & Vincent Chiappetta Susan F. Christensen Carolyn & Carl Christoferson Cynthia Church Susan Clarke Miguel Cobian John & Kathryn Cochran Elaine & Arnold Cogan Rhonda Cohen Rick & Jean Collins Lisa & Skip Comer Sherie P. & John M. Corley

William & Harriet Cormack Jerry & Jean Corn Karen Costello John & Ann Cowger Allen & Sue Craig John Crawford & Kathryn Crawford Marian & Neale Creamer Arthur & Winnifred Danner Marcia Darm & Bruce Berning Betty Daschel Maureen Sproviero Davis & Kerwin Davis Aishwarya Deenadayalu Carolyn DeLany-Reif Duane & Prudence Denney Bill & Brenda Derville Linda & Jerry Dinan Ken & Laura Dobyns Arthur H. Dodd John & Danuta Donovan Pat Dooney Edith & Michael Dorsen Steve Dotterrer & Kevin Kraus CDR Robert duBiel & Nancy Dougherty Beverly Downer Julie & Jim Early Janet & Barry Edwards Steven Ehlbeck & Vassiliki Tsikitis Mary A. & Peter Eisenfeld Kris & R. Thomas Elliott Ronnie-Gail Emden & Andrew Wilson Ed & Marilyn Epstein Sharon Ewing-Fix Renee Ferrera & James Johnson Patrick & Eileen Fiegenbaum David Filer & Marlene Anderson Colleen Finn Sally & Jerry Fish Peter & Nancy Fisher Sherry & Paul Fishman Greg Fitz-Gerald Mary Flahive & David Finch George H. Fleerlage Per-Olof Jarnberg & Joan Foley Steve & Susan Ford Bernard A. & Loretta E. Fox Larry & Judy Fox Terry Franks & Carolyn Duran Bruce & Kate Frederick Gail & Kim Frederick Richard Smith & Patricia Frobes Jerome & Mary Fulton William & Beverly Galen Susan & Seth Garber Colleen Gekler Merry Gilbertson Lisa Goldberg Lynn Goldstein Barbara Gordon-Lickey K&J Rosemond Graham Patricia & Tim Gray Mark & Michelle Greenwood Nancy & Ron Gronowski Elisabeth Hall Ulrich H. Hardt & Karen Johnson Gary Hargett Tom & Jan Harvey Fred & Sara Harwin Mark & Paige Hasson Jane L. Hatch Regina Hauser & Chris Carson

Tracey Heinrich Tom & Verna Hendrickson Mr. & Mrs. Clayton Hering Gary & Jane Hibler Frances & Hunter Hicks Margaret & Timothy Hill Suzanne Hiscox Barbara & Mark Hochgesang Mrs. Beverly Hoeffer & Mrs. Carol Beeston Karen & Chuck Hoff Andrew Hoffmann Kevin Hogan & Aaron Larson Barry & Fanny Horowitz Jeanne Provost & R. Brian Hough Donald & Lynnette Houghton Dr. Hal Howard Jay Howell Robert & Jill Hrdlicka Nancy Hull & Chris Sproul Kathy & Tom Iberle Robina & Tim Ingram-Rich Willard & Shirley James Joanne Jene, MD Becky & Jarrett Jones Joan Jones Jack & Farol Kahle Cindy Kaplan Ross Kaplan & Paula Kanarek Chad & Mary Karr Rebecca Karver Ron & Ruth Katon Franki Keefe Katherine Keene Jane Kennedy Heather Kientz Julie King/John Pump Jim & Lois King Nancy Kingston Frederick Kirchhoff & Ronald Simonis Lucien & Sally Klein Romy Klopper Michael Knebel & Susan Shepard Tricia Knoll & Darrell Salk Kohnstamm Family Foundation Drs. Bill & Ricky Korach Ed & Margaret Kushner Robert & Sally Landauer David Lapof Robert & Nancy Laws Bob & Sally LeFeber Roger & Joy Leo Brian & Chris Lewis Peter & Janice Linsky Steve Rosenberg & Ellen Lippman Joyce & Stanley Loeb Ralph London R. Lubomirski Rebecca MacGregor Jerry & Judy Magee Jeanne & Jim Magmer Tim & Barbara Mahoney Jane Maland Caroline Mann Linda & Ken Mantel Joe Marrone/ Ann Balzel Kenneth & Nancy Martin Don & Susan Masson Pamela Matheson Susan & Bill McConnell Maryl M McCullough Susan McFadden Charles & Kathleen McGee Lisa McKinney Alan & Daina McLean Gretchen McLellan

Steven McMaster & Kathleen Brock Bart McMullan Jr. & Patricia Dunahugh Gayle & George McMurriaBachik Trisha Mead Karolyn Meador Julia Meck Ruth E. Medak Mariellen Meisel & Steve Glass Peter & Joan Melrose Susan Sammons Meyer & Dennis Meyer Stacy Michaelson Louis R. Miles Mr. Jay Miller & Ms. Elise Menashe Roger & Karen Miller Kate & Jack Mills Sherry Mills Tom & Lia Mills David & Machteld Mok Grant Molsberry & William Apt Brandon Monroe Douglas & Malinda Moore Jane Moore & David Pokorny Clint & Donna Moran Mike & Jan Morgan Sonny Jepson & Felice Moskowitz Laura & Joseph Munoz Fran Nay Bill & Pat Nelson Jeanne Newmark Ann Nickerson Landscape Design Susan & Peter Norman Kay Novak Mary Lou Obloy Ron & Janet Oâ&#x20AC;&#x2122;Day Ric Oleksak Barry D. Olson Eileen & Alfred Ono Jamie Ordower Beverly J. Orth Lottie Goodwin Lynda Paige Jennifer Peery JoAnn Pari-Mueller & Dan Mueller Gail & Alan Pasternack Janet Peek Steve & Melissa Peterman Francis Peters John M. & Suzy J. Petersen Kevin Phaup Donna Philbrick Sue Pickgrobe & Mike Hoffman Nancy Pitney Shirley Pollock Michael Ponder & Bea Davis David & Margo Price Edgar & Prudence Ragsdale Jay & Barbara Ramaker Michael R. Rankin Bonnie & Peter Reagan Mark Reploeg Helen Richardson & Don S. Hayner David Robertson & Chuck Brimmer Gertrude Robinson Lucinda Rodgers Charles & Judith Rooks Kelly & Tomilynn Ross Davia & Ted Rubenstein Jim & Joanne Ruyle Bunny & Jerry Sadis

Linda Salinsky Deborah Santomero & Lisa Hoffman Christine & Steven Satterlee John & Stephanie Saven Jim Scherzinger & Claire Carder Sheldon & Jean Schiager Peter C. & Jeanette M. Scott Michael & Pam Shanahan Dr. Jeffrey D Sher Carl R. Shinkle Virginia Shipman & Richard Kaiser Rodger & Marcella Sleven Charles E. Smith Neil Soiffer & Carolyn J. Smith George Soule & Maurice Horn Doug Sparks & Casey Bass Harley & Robyn Spring Sarah Sterling Zach & Vassie Stoumbos Milan & Jean Stoyanov Rhonda Studnick Kaiser Tony & Vanessa Sturgeon Margie Sutherland, MD Mr. & Mrs. John Sutton Roger & Gale Swanson John & Jan Switzer Amy & Emanuel Tanne Kara & Tyler Tatman Ann & Dave Taylor Jerome & Kathleen Taylor Jane Thanner & Tim Smith William & Lori Thayer James & Linda Thomas Grant & Sandra Thurston Sandra Teel Trainer Mr. Michael Traylor & Derek Holmgren Peter & Cathy Tronquet Mark & Christy Uhrich Phil & Mimi Underwood Dawn Vermeulen James N. Stamper & Jennifer P. Villano Mark & Mary Ann Vollbrecht Karen & Charles Waibel John N. & Betty K. Walker Nancy Walker & Terry Foty Sheila Walty Ms. Shu-Ju Wang & Mr. Mike Coleman Michael Weiner & Kathy Davis-Weiner Brandon & Betty Jean Wentworth Karen Whitaker Chris & Jana White James M. White JD & Dâ&#x20AC;&#x2122;Alene White Maurice & Lauretta Williams Marjorie & Tom Wilson Alan Winders Callie & Ana Winner Greg Winterowd Loring & Margaret Winthrop Jeff & Jaynie Wirkkala Don & Jan Wolf Richard & Leslie Wong J. Marcus Wood & Sue Hennessey Linda M. Wood Robert & Vickie Woods Paul Wrigley Jack Wussow & Kyle Adams Russ & Mary Youmans Alan & Janet Zell Kurtis & Michaell Zenner THE ARMORY

BOARD OF DIRECTORS

IN TRIBUTE Ginger A. Carroll in memory of J. Michael Carroll Chris Coleman in memory of Brot Bishop Chris Coleman in memory of Jerry Stern, a blessing to have known him Scott and Jeanette Depoy in memory of Annette Coleman Bill Dickey in memory of Richard Lawson Tom and Betsy Henning in memory of Annette Coleman Dr. Hal Howard in memory of Carol Howard Christina Isacson in honor of Ann Smith Sehdev Cindy Kaplan in honor of Lisa Sanman Nancy Keystone in memory of Annette Coleman Joan Peacock in memory of Ben Buckley Portland Center Stage at The Armory in memory of Bing Sheldon Portland Center Stage at The Armory in memory of Don Waggoner Portland Center Stage at The Armory in memory of David E. Wedge Rhian Rotz in honor of Leslie Copland Sarah Sterling in memory of Julie Sterling Minh Tran and Gary Nelson in memory of Richard Lawson Ted and Julie Vigeland in memory of Annette Coleman Ted and Julie Vigeland in fond memory of Richard Lawson who loved and strongly supported Portland Center Stage at The Armory. He was loved by us and so many others. Ted and Julie Vigeland in grateful memory of Jerry Stern and his fondness for and tremendous support of Portland Center Stage at The Armory. (as of October 5, 2016) TRIBUTE GIFTS Why not try something different? Instead of searching for that perfect gift or struggling over how to acknowledge a special achievement, you can recognize someone with a 100% tax deductible Tribute Gift. We’ll make it even easier for you by specially notifying the appropriate person that a Tribute Gift was made in honor or memoriam and list your gift in the playbill. If you would like to make a Tribute Gift, please contact 503.445.3744 or giving@pcs.org.

Portland Center Stage at The Armory operates under an agreement among the League of Resident Theatres (LORT), Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States, and the Society of Stage Directors and Choreographers. Portland Center Stage at The Armory is a member of LORT, Theatre Communications Group, Portland Business Alliance and Travel Portland. Portland Center Stage at The Armory is a participant in the Audience (R)Evolution Program, funded by the Doris Duke Charitable Foundation and administered by Theatre Communications Group, the national organization for the professional not-for-profit American theater.

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

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Ted Austin, Chair Senior Vice President, The Private Client Reserve of U.S. Bank Betsy Henning, Vice Chair CEO and Founder, AHA! Strategic Communications Brigid Flanigan, Treasurer President, Shamrock Holdings, LLC Steven E. Wynne, Secretary Executive Vice President, Moda Health Mary Boyle, Immediate Past Chair Civic Volunteer Chris Coleman, President Artistic Director, Portland Center Stage at The Armory Sharon Barnes, Community Volunteer Phil Beyl, President, GBD Architects Sarah Crooks, Partner, Perkins Coie, LLP Evelyn Crowell, Retired, Portland State University Gustavo J. Cruz, Jr., Senior Council, Farleigh Wada Witt Martin Daum, President and CEO, Daimler Trucks North America Lana Finley, Community Activist Diana Gerding, Community Volunteer Mike Golub, President of Business, Portland Timbers Lani Hayward, Executive VP, Creative Strategies, Umpqua Holdings Corp Greg Hazelton, Senior Vice President – Finance, Hawaiian Electric Industries Tasca Gulick, Community Activist Yuki “Lynne” Johnston, Advocate for the Arts Kevin Kelly, Retired Jim Knoll, President, Knoll Mediation Karen O’Connor Kruse, Partner, Stoel Rives LLP Dedre Marriott, Community Volunteer Charles McGee, President and CEO, Black Parent Initiative Peter Potwin, Retired, CFO, Benson Industries, Inc. Dennis Rawlinson, Firm Chair and Partner, Miller Nash Graham & Dunn, LLP Joe Sawicki, Vice President and General Manager, Mentor Graphics, Design-To-Silicon Division Marcy Schwartz, Senior Vice President, CH2M HILL Ann E. Smith Sehdev, Physician, Cascade Pathology Doug Smith, Retired, Senior Vice President, AMEC J. Greg Ness, Director Emeritus, Chairman, President and CEO, Standard Insurance, StanCorp Financial Group Pat Ritz, Director Emeritus, Chairman and CEO, Footwear Specialties International Julie Vigeland, Director Emeritus, Civic Volunteer In Memoriam Bob Gerding

STAFF

Artistic Director | Chris Coleman

ARTISTIC Associate Artistic Director: Rose Riordan Producing Associate: Brandon Woolley Literary Manager: Benjamin Fainstein Company Manager: Will Cotter Literary Associate: Mary Blair EDUCATION/COMMUNITY PROGRAMS Education & Community Programs Director: Kelsey Tyler Education & Community Programs Associate: Clara-Liis Hillier Education & Community Programs Assistant: Eric Werner Resident Teaching Artist: Matthew B. Zrebski ADMINISTRATION & FINANCE Chief Operating Officer: Cynthia Fuhrman General Manager: Creon Thorne Finance Director: Lisa Comer Accounting Manager: Aurora Sanquilly Accountant: Alan King HR Manager: Caitlin Upshaw Executive & HR Assistant: Nia I. Adams IT Administrator: Christian Kisanga IT Associate: Chris Beatty Database/Tessitura Consultant: Bob Thomas DEVELOPMENT Development Director: Lisa Sanman Associate Development Director: Jennifer Goldsmith Grants Manager: Marlene A. Montooth Special Events Manager: Kate Bowman Development Associate: Michael Magnes MARKETING & COMMUNICATIONS Director of Marketing & Communications: Cynthia Fuhrman Associate Director of Marketing: Mandy Morgan Public Relations & Publications Manager: Claudie Jean Fisher Marketing & Communications Associate: Alice Hodge Group Sales Coordinator: Liz Brown Graphic Designer: Mikey Mann Multimedia Designer: Kate Szrom Webmaster: Christian Bisgard Production Photographer: Patrick Weishampel PATRON SERVICES Patron Services Manager: Luke Robertson Patron Services Assistant Managers: Klint Keys, Sierra Walker Senior Patron Services Associate: Emily S. Ryan Patron Services Associates: Madelyn Clement, Megan Harned, David Harper Sales Associates: Michael Erickson, Jack Ridenour, Mark Woodlief OPERATIONS Operations Manager: Sean Andries Operations Lead: Lauren Knapp Operations Assistants: Mitchell Bohanan, Katie Cronin

Events & Rentals Manager: Annessa Hartman Rentals Assistant: Elizabeth Hjort Custodians: Gregery Lee, Tim Taylor PRODUCTION Production Manager: Liam Kaas-Lentz Production Coordinator: Lydia Comer Stage Managers, AEA: Kelsey Daye Lutz, Mark Tynan, Janine Vanderhoff Production Assistants: Will Bailey, Bailey Anne Maxwell, Kristen Mun Technical Director: Derek Easton Scene Shop Manager: Seth Chandler Master Carpentar: Nick Foltz Staff Carpenters/Welders: Christian Cheker, Nathan Crosby, Michael Hall, Phil A. Shaw Properties Master: Michael Jones Lead Props Artisan: Rachel Peterson Schmerge Scenic Charge Artist: Kate Webb Lead Scenic Painter: Shawn Mallory Scenic Painter: Kiona McAlister Costume Shop Manager: Alex Wren Meadows Cutters/Drapers: Paula Buchert, Eva Steingrueber-Fagan First Hand: Larissa Cranmer Costume Crafts Artisan: Barbara Casement Wardrobe Mistress: Bonnie Henderson-Winnie Wig Supervisor: Danna Rosedahl Lighting Supervisor: Ben Courtney Master Electrician, U.S. Bank Main Stage: Alexz Eccles Master Electrician, Ellyn Bye Studio: Em Douglas Deck Manager: Tim McGarry Resident Sound Designer & Sound/Video Supervisor: Casi Pacilio Sound Engineer & Lead Programmer: Scott Thorson Sound Engineer & Programmer: Adam Bintz FRONT OF HOUSE Lead Concierge: Miles Bennette-Eaton Concierges: Meghan Howard-Hakala, Wynee Hu, Bailey Anne Maxwell, Eric Murray Volunteer Coordinator: RaChelle Schmidt Lead House Manager: Michael Rocha House Managers: Jenna Barganski, Nhu Nguyen, Emerson Scott, RaChelle Schmidt Food and Beverage Manager: Noelle dePinna Kitchen Supervisor: Erik Sanchez Catering Supervisor: Logan Starnes CafÃ© Supervisor: Franz Rutherford Kitchen Assistant/Cook: Sam DiChiara Food & Beverage Service Staff: Gregory Cooper, Conor Eifler, Chris Klarer, Melissa Larrabee, Tre Madden, Erin Rubin, Andrea Van Der Rest

VOLUNTEER COMMITTEE

FOR THIS PRODUCTION THE OREGON TRAIL PROPS ARTISANS

Jon Flora Robert Amico James Tait Nora Victoroff

ASSISTANT TO THE COSTUME DESIGNER

Ariel Quenell-Silverstein WARDROBE ASSISTANT

Jessica Carr STITCHER

Virginia Kilkelly SOUND BOARD OPERATOR

Scott Thorson

THE SANTALAND DIARIES SOUND BOARD OPERATORS

Molly Gardner Em Gustason

PROPS ARTISAN

James Tait

HERSHEY FELDER AS IRVING BERLIN SOUND BOARD OPERATOR

Adam Bintz

The Oregon Trail cover art by Mikey Mann. The Santaland Diaries cover art by Julia McNamara. Photo of Darius Pierce by Kate Szrom. Hershey Felder as Irving Berlin cover art by Mikey Mann. Photo of Hershey Felder by Eighty Eight Entertainment.

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ANDY WARHOL: MIRROR IMAGES

The Portland Art Museum’s exhibition of Warhol prints reveals a master of images and the virtues of passivity.

FEATURES EDITOR-AT-LARGE 32 By Barry Johnson

EDIA REVIEW — Not for Distribution

CALENDAR 34 Be in the know ANDY WARHOL 37 By Barry Johnson

119

FAVORITE PLACES 42 Featuring Suzanne Nance IMAGO’S LA BELLE 44 By Brett Campbell CROSSWORD 50 Think you know art?

N OV E MB ER | D ECE MB ER 2016

DAY JOBS 54 Featuring Joey Copsey

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NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

FROM THE EDITOR-AT-LARGE

2017 SEASON OF

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Company Jan. 26 - Feb. 26 Beehive Apr. 13 - May 14 The Addams Family Jun. 29 - Jul. 23 Gypsy Aug. 3 - 20 Trails Sep. 21 - Oct. 22 Holiday Hit Parade Nov. 22 - Dec. 23 503.620.5262 • broadwayrose.org

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Season packages now on sale • Single tickets on sale Dec. 15, 2016

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

The visually opulent exhibition of Andy Warhol prints at the Portland Art Museum through January 1 isn’t the only place you can see a Warhol these days. Through December 11, Open This End is occupying the Ronna and Eric Hoffman Gallery of Contemporary Art, a small survey from the large collection of Blake Byrne of some of the important currents in art, from the emergence of Pop Art to the present. And the name comes from the single, small Warhol painting in the show. Open This End arrived soon after Warhol’s famous soup can series and was among his first series of shipping and handling label paintings that used the silkscreen process. Soon after, he learned that photographs could be reproduced that way, too. The rest, as they say, is history, from the Marilyn Monroe images forward. Open This End is a tiny painting, 8-by-11 inches, and though it has some visual interest—the bright red, the elongated sans serif typeface, the imperfect transfer (some of the red bleeds into the letters), even the weave of the canvas—the potential conceptual pleasures lurking inside those three words are more important. Maybe we simply contemplate the times we had already started opening a package before noticing those three words on the other side, and the mess we made of it by failing to obey the instruction. Or maybe we become a bit more political—I will open whatever end I want. Or metaphorical: What could lurk behind those three words? The rest of life? Open This End drives home the idea that art can be thought of as a form of communication, and though the generator of the message is important, so are the medium and the receiver. In this case, the medium (an acrylic painting) lifts a common instruction to the level of art, and the receivers, you and I, generate the possible meanings it can have. Another example: Attracted by a wall of parking lot photos by Los Angeles artist Ed Ruscha, I nearly tripped over a small granite rectangular slab on the floor. The dark slab,

made of Absolute Black granite, was only 2 inches high, and I caught myself before I stumbled over it—or stepped on it. The artist, Bruce Nauman, had handcarved two words on the granite, using a classical Roman script: PARTIAL TRUTH

Great concerts for the holidays HOLIDAY POPS

The catalog for the show suggested that the words were slightly off-center. The catalog also said that it was “a solid communication of uncertainty,” which maybe isn’t quite so oxymoronic as it sounds. “I just don’t know” would also be a solid communication of uncertainty, after all. At first I simply took the words literally, or at least what I thought was literally: We are only ever dealing with part of the truth. Or as philosopher Alfred North Whitehead succinctly observed: “There are no whole truths: all truths are half-truths. It is trying to treat them as whole truths that plays to the devil.”

NOVEMBER 26 & 27 Jeff Tyzik, conductor Doug LaBrecque, baritone Pacific Youth Choir Pops Conductor Jeff Tyzik, the Oregon Symphony, and the Pacific Youth Choir get the festive season off to a magical start with all your favorite carols and beloved holiday melodies.

GOSPEL CHRISTMAS DECEMBER 9–11 Charles Floyd, conductor Gary Hemenway, music director Northwest Community Gospel Choir This 18-year tradition keeps getting bigger and better. The region’s premier gospel singers and the Oregon Symphony orchestra will have you on your feet, clapping and shouting, celebrating the true spirit of the season. Don’t miss out on this exhilarating experience!

“THE ART IS A PROMPT, A WAY TO BEGIN AN INDEPENDENT THOUGHT PROCESS IN THE VIEWER.” Then I decided Nauman might have meant something slightly different: The opposite of “partial truth” isn’t necessarily the “whole truth.” Couldn’t it also be “impartial truth,” something like “objective truth”? Our partial truths—the truths that work their way to positions we favored in the first place—so neatly justify our desires and fit our ideologies. I happen to believe that we can try to discipline our thinking so that we get closer to “impartial truth”—but following Whitehead, we have to admit that our discipline can never supply the “whole truth.” Art has taught us by now that it supports various readings (various partial truths!), and we tend to chase down the one that is most useful to us, if we have time. We could also meditate on how much Partial Truth resembles a gravestone, and how that tugs at the meaning. Much of the contemporary art that finds its way into galleries these days plays similar sorts of games with viewers, even if they are not always word games. The art is a prompt, a way to begin an independent thought pro-

IT’S A WONDERFUL LIFE DECEMBER 17 Norman Huynh, conductor Oregon Repertory Singers Everyone’s favorite feel-good holiday classic! Jimmy Stewart and Donna Reed star in the timeless tale of a discouraged businessman whose guardian angel helps him discover the far-reaching influence of everyday kindness. In original black and white, with the orchestra performing the uplifting soundtrack in real time.

COMFORT AND JOY: A CLASSICAL CHRISTMAS DECEMBER 18 Norman Huynh, conductor A frothy holiday mix of light classical works along with your favorite seasonal songs, all capped with a traditional sing-along that will put you in the finest of Yuletide spirits.

ODE TO JOY: NEW YEAR’S CELEBRATION DECEMBER 30 & 31 Carlos Kalmar, conductor Portland Symphonic Choir Amber Wagner, soprano Kelley O’Connor, mezzo-soprano Anthony Dean Griffey, tenor Dashon Burton, bass-baritone What better way to start the New Year than this celebration of triumph and joy! Beethoven’s Ninth and the full-throated glory of its soaring Ode to Joy will have you ready to pop the cork and welcome in an exhilarating New Year.

OrSymphony.org | 503-228-1353 A R L E N E

S C H N I T Z E R

C O N C E R T

H A L L

CONTINUED ON PAGE 52

NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

OUT & ABOUT MUSIC

DANCE

THEATER

ONE NIGHT ONLY!

FAMILY SHOW

THE OREGON TRAIL

PORTLAND CENTER STAGE

This quirky production pays homage not only to the historic trail, but also the quintessentially vintage computer game “The Oregon Trail.” The play follows the lives of two Janes: “Now Jane” is playing the game in 1997, while “Then Jane” is traversing in a covered wagon in 1848. As they embark on their journeys, a weird twist of fate brings them both to a realization that will change their lives forever. OCTOBER 29–NOVEMBER 20; U.S. BANK MAIN STAGE, THE ARMORY

BRIGHT HALF LIFE PROFILE THEATRE

Following the love story between Vicky and Erica, Bright Half Life tells a sincere tale of the ups and downs looking 25 years into their relationship. Through romance, children, marriage, and divorce, this play speaks volumes on the honesty and courage it takes to fight for love.

FROZEN FAIRY TALES

NOVEMBER 25–DECEMBER 23; THE VENETIAN THEATRE, HILLSBORO

NOVEMBER 13; ARLENE SCHNITZER CONCERT HALL

REGGIE WILSON / FIST AND HEEL PERFORMANCE GROUP WHITE BIRD

Reggie Wilson calls his choreography style “post-African/Neo-Hoodoo Modern Dances.” The award-winning choreographer and performer combines his inspiration from Africans of the Americas with post-modern elements. His critically acclaimed performance Moses(es) celebrates the movement of African peoples and cultures throughout the world through inspiring song and dance. NOVEMBER 17–19; LINCOLN PERFORMANCE HALL, PORTLAND STATE UNIVERSITY

A CIVIL WAR CHRISTMAS: AN AMERICAN MUSICAL ARTISTS REPERTORY THEATRE

SAT & SUN 5:00pm–Midnight

reservation 503.688.5952 littlebirdbistro.com 215 SW 6TH AVE. PORTLAND, OR 97204

Pulitzer Prize-winning playwright Paula Vogel intertwines a group of disparate characters, including President Lincoln, in this Civil War-era play. Famed Portland musicians revitalize traditional American songs and marches for a spirited performance illustrating mankind’s potential for compassion, unity, and hope. NOVEMBER 22–DECEMBER 23; ARTISTS REPERTORY THEATRE

ARTSL ANDIA AT THE PERFORMANCE

BAG&BAGGAGE

OCTOBER 27–NOVEMBER 13; ARTISTS REPERTORY THEATRE

OREGON SYMPHONY

hours MON–FRI 11:30am–Midnight

PARFUMERIE The classic tale of two unsuspecting lovers, which has inspired the iconic films Shop Around the Corner and You’ve Got Mail, is coming to Portland. Only the truth can help the distressed employees of the Parfumerie in this romantic Christmas story.

Kids will welcome the winter season after attending this Oregon Symphony performance. The show includes the hit Disney song Let it Go from Frozen, as well as music from classic stories like The Snow Queen, The Winter’s Tale, and The Nutcracker.

SW 6th between Oak & Pine

LA BELLE IMAGO THEATRE

THE SANTALAND DIARIES PORTLAND CENTER STAGE

Get away from the Christmas chaos this December with David Sedaris’ sarcastic production that mocks the holiday season. The Santaland Diaries portrays Sedaris’ experience as Crumpet the Elf in Macy’s Santaland display. His bizarre encounters at this hectic time of year only prove that the holidays can bring out the best—and worst—in all of us. NOVEMBER 26–DECEMBER 24; ELLYN BYE STUDIO, THE ARMORY

HERSHEY FELDER AS IRVING BERLIN

PORTLAND CENTER STAGE

This masterful biopic of renowned pianist and performer Irving Berlin features some of his best songs, performed live by Hershey Felder. The plot follows Berlin from antisemitic czarist Russia to New York’s Lower East Side, in a remarkable story of an uncommonly talented songwriter who epitomizes the American dream. NOVEMBER 30–DECEMBER 30; U.S. BANK MAIN STAGE, THE ARMORY

IN GOOD COMPANY

NORTHWEST DANCE PROJECT

Part of the annual holiday tradition, the company of Northwest Dance Project is putting on a troupe-made show celebrating the wonderful talent of the group. DECEMBER 8–10; LINCOLN PERFORMANCE HALL, PORTLAND STATE UNIVERSITY

OUT & ABOUT HANDEL’S MESSIAH

PORTLAND BAROQUE ORCHESTRA

Hear Handel’s Messiah as the composer would have! Portland Baroque Orchestra’s annual holiday performance is this region’s only regular performance of the piece on period instruments. Portland’s famed chamber choir Cappella Romana, four world-renowned soloists, and noted director Gary Wedow join the performance. DECEMBER 9–12; FIRST BAPTIST CHURCH

LA BELLE

IMAGO THEATRE

Imago Theatre presents an original play that is Beauty and the Beast meets Titanic. When Lady Rose takes refuge from a storm in the ship’s steam room, she befriends the ship’s coal stoker and discovers his world of automata. The two inevitably fall in love and find themselves in a real-life version of their pretended fantasies.

The Oregon Community Foundation provides tax-deductible options to help create a brighter horizon for Oregon’s future.

DECEMBER 9–JANUARY 2; IMAGO THEATRE

GEORGE BALANCHINE’S THE NUTCRACKER OREGON BALLET THEATRE

The Nutcracker will make its rounds at the Oregon Ballet Theatre this Christmas and is guaranteed to put anyone in the Christmas spirit. Set to the timeless Tchaikovsky score, this whimsical performance follows life-size toy soldiers and a rambunctious mouse king, dancing snowflakes, and an animated nutcracker-turned-prince. DECEMBER 10–26; KELLER AUDITORIUM

THE CHRISTMAS REVELS: COMMEDIA ITALIANA PORTLAND REVELS

This year’s annual Christmas performance is set in the Italian Renaissance! A bored Doge in Venice runs away with a commedia dell‘arte troupe (an originally 16th century Italian group that performs impromptu shows sometimes using masks) in a performance drawing from Abbots Bromley, The Sword Dance, The 12 Days of Christmas, and The Dragon.

oregoncf.org

DECEMBER 16–21; ST. MARY’S ACADEMY

THE NUTCRACKER AND CBA CONTEMPORARY NUTCRACKER CLASSICAL BALLET ACADEMY

This holiday season, Classical Ballet Academy is featuring the traditional show, Nutcracker, followed by a totally contemporary version of the beloved holiday ballet. Both Nutcrackers contain original choreography, extravagant costumes, and spectacular performances by the students of the company. DECEMBER 21–24; LINCOLN PERFORMANCE HALL, PORTLAND STATE UNIVERSITY

NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

“SOME OF THE BEST DANCERS YOU WILL EVER SEE” -CALGARY HERALD

andy warhol likes boring things ANDY WARHOL: PRINTS FROM THE COLLECTIONS OF JORDAN D. SCHNITZER AND HIS FAMILY FOUNDATION OCT 8 – JAN 1

TICKETS DEC 8 - 10 / 7:30PM

NWDANCEPROJECT.ORG 503.828.8285

IN GOOD COMPANY LINCOLN PERFORMANCE HALL

portlandartmuseum.org Andy Warhol (American, 1928–1987). Space Fruit: Still Lifes, Cantaloupes II (II.198), 1979. Screenprint. 30 x 40 in. Courtesy of Jordan D. Schnitzer and His Family Foundation. © 2016 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

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NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

LADIES AND GENTLEMEN, 1975. SCREENPRINTS, EACH 43½ X 28½ IN. “The prints of Ladies and Gentlemen portray drag queens who frequented The Gilded Grape, a disco near Times Square. Warhol loved the dramatic glamour of drag queens and transgendered people in his circle, fascinated by gender ﬂuidity.”

CAPTIONS BY CURATOR SARA KRAJEWSKI

es and Gentlemen, 1975. Screenprints, each 43½ x 28½ in.

PRE-RELEASE PROOF FOR MEDIA REVIEW — Not for Distribution

morous wife at her husband’s side to a widow

images, a montage of news photographs that

ion. While other works in the portfolios depicted

’s prints were the only ones to reference events

he starker compositions based on the gray scale Mick Jagger , 1975. Screenprints, each 43½ x 28¾ in.

tention to circulate the portfolio as an exhibition

— Distribution bitionNot plan wasfor a propaganda move designed

mage, plucked from its original circulation pattern

115

121

VIEW — Not for Distribution

h the help of the United States government to

important spheres of influence in the burgeoning

p a troubling episode in recent American life and

of US culture abroad.

emocratizing effect, as a populist counterbalance

ultiple prints equates to more viewers experienc-

hem. With his business acumen, Warhol recog-

shing enterprise, Factory Additions, in 1966. That

Sex Parts, 1978. Screenprint, 31 x 23¼ in.

ainting with an exhibition at Leo Castelli Gallery

SPACE FRUIT: STILL LIFES, CANTALOUPES I, 1979.

Space Fruit: Still Lifes, Cantaloupes I, 1979. Screenprint, 30 x 40 in.

SCREENPRINT, 30 X 40 IN.

e environment created of prints and multiples. He

“The Space Fruit series is utterly strange, an unexpected

itions enabled him to capitalize on his fame and

willing portrait subjects like Mick Jagger in seductive slender, shirtless Jagger captured in Based on takeposes. on theA art historical tradition of the still life.

ersions of his most famous works. From 1967 to

67, pp. 38, 52–55), Campbell’s Soup I (1968,

wers (1970, pp. 77, 86–89)—sets of ten prints in

atore Silkscreen Co., Inc.

he Factory Additions prints furthered Warhol’s

media images that he first set out to explore in

value of standardized forms and machine-made

systems, seriality as a format was well explored

made a strong impression through mechanical

duplicating forms of grids and other ordering

Mao , 1972. Screenprint,is 36 already x 36 in. the Polaroids sexy; then Warhol, in his prints, emphasizes lips photographs, and open mouth hot dramatically lit full studio the with compositions flip Untitled , 1973. Xerox 36 print paper, 11 x 8 ½ in. MAO, 1972. SCREENPRINT, X on 36typewriter IN. colors, blacks out facial features as if to censor identity, accents fine handsthe andshadows long hairoutweigh with drawn ourand sense of perspective: the peaches, “Warhol madeline. hisThe portrait Mao theportfolio same year 1978ofsix-print Sex President Parts (above) goes with its bringing graphic portrayal of gay sex. apples,further and melons, the fleeting ephemeral to par On June 1968, the Warhol radical feminist writerany Valerie Solanas entered the Factory, shot Warhol and his Richard Nixon went3,to China. deflected political Warhol invited men from bathhouses back to the studio forthe photo shoots involving sex; he shot close-up with earthly objects.” associate Mario Amaya, and attempted to shoot Fred Hughes, Warhol’s manager and business partner. reading of the work byofclaiming wantedand to see Maoreferring as depictions buttocks,hepenises, torsos, to them, in coded fashion, as “landscapes.”4 In his Warhol nearly died as a result. His recovery was long and arduous, and it changed the course of his artistic a fashion fiproduction. gure. Forprint me,output, trading theseries, drab published color andhisinpropaprolific this a small edition thirty with five artist’s proofs, is one of very Factory Additions continued during convalescence, withofprojects progressing on two gandistic pomp officialofsoup portrait garish colors versions ofMaoʼs the Campbell’s cans for (1969) and Flowers (1970). The source imagery for the Flowers few of representations physical manifestation of desire. on which series was gesture based, was a photograph lifted from a 1964 issue of and “makepaintings up” canof 1966, only be read the as print a subversive Modern Photography. The image’s author, the photographer Patricia Caulfield, sued Warhol, eventually Referring to the sexualized male body as a landscape was another way Warhol distanced himself from in the Coldreceiving War era.” royalties as part of the settlement. It wasn’t the first time Warhol had been sued over copyrighted

MICK JAGGER, 1975. the real and the physical. This sense of remove paralleled his exploration of abstraction in the subsequent images; another case involved Charles Moore’s Birmingham images from Life magazine. Afterward, Warhol “When I look at these images, I see desire and seduction, printsmore Space Fruit and Shadows, both published inimagery 1979. from Space Fruit (above andbutpp. 142–45) forms became careful in securing the rights to reproduce existing printed media sources, howof each manofplayed his role in creating this stunning mpact of his prints.and Instead the rhythm the he toward using Polaroid photographs taken by him or his assistants. ashifted set ofdecisively sparse still-life compositions based on photographs of various fruits lit at dramatic angles. Very print publishing, and an art studio. In The Philosophy of Andy Warhol: From A to B and Back Again or and slippage in registration of the ten Marilyn set of portraits.”

omplicated the media’s distribution repeatable Mick Jaggerof , 1975. Screenprint, 43½ x43½ 28¾ in. IN. SCREENPRINT, X 28¾ ation into the sameness. For Warhol, desire for

ance when they are viewed together. (1975), Warhol

explained his motivation:

e production reached a high point at the Factory,

Factory Additions. The variations from print to Business temporality, like a set of film frames passing in

little detail of the fruit is given to imply dimensionality. Large areas of solid color also serve to flatten

photograp

That same year, Warhol decided to work with the perhaps most widely reproduced and circulated image

Picasso’s

the picture plane. This use of color gives equal weight to the objects and their shadows, leveling the difference between presence and absence. Shadows (opposite left, and pp. 140–41) is a similar

between and taken absence. (opposite and Mao pp. Tse140–41) atdifference the time—the portrait ofpresence China’s leader from hisShadows book Quotations from left, Chairman

5 art is the step that comes after art. I started as ain commercial artist, exercise depicting whatRed is not there. Based on aand photograph darkened room, the many works in the Tung. Also known as the “Little Book, ” it was published distributed of across China from 1964

fascinating also attempt to alter perceptions of time, in the

In his por

In 1972, President Richard Nixon traveled to China, the first US president to visit the People’s Republic.

through the yearsis of the and I want to finish as a business artist. Being good in1976, business theCultural mostRevolution. The US political attempts to normalize relations with

s experiments in films, especially Sleep (1963),

Paloma Pic

ublisher David Whitney) and utterly flat surfaces

the largest communist nation created an array of camera-ready media moments that Warhol could have

the largest communist nation created an array of camera-ready media moments that Warhol could have kind of art. After I did the thing called “art” or whatever it is called, I

reworked. Yet when asked about his use of the iconic portrait, Warhol evasively quipped, “I thought it 110

went into business art. I wanted to be an Art Businessman ortoatake Business would be fun on Mao as aArtist. fashion figure.”8

ELECTRIC CHAIR, 1971. SCREENPRINT, 35 ½ X 48 IN. During the hippie era people put down the idea of business. They’d say “money “The Electric Chairs are among Warholʼs most haunting images. He painted his ﬁrst is bad” and “working is bad.” But making money is art, and working is art—and version in 1963; that same year FOR a law banning mandatory capital punishment in for Distribution PRE-RELEASE PROOF MEDIA REVIEW — Not good business is the best art.2 the U.S. went into effect. Repeating the image over and over, in painted versions as well as prints, suggests Warhol was exploring his observation that we become As an artist presiding over when a creative media company, Warhol’s relationship to media images changed desensitized to images of death media becomes oversaturated with violent dramatically from his more critical usage in the 1960s. His career had come full circle from his days in content.”

Warhol to

where tor

Warhol of

PRE-RELEASE PROOF FORdealer MED Lu 43

queens w

where he

Candy Da

them to b

gender ro

advertising, as he returned to creating images that easily circulated in mainstream visual culture. Notably,

his portraits—a significant source of income generated from private commissions—often flowed from ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016 one platform to another, as evidenced by Mick Jagger (1975, above and pp. 120–25) a published print

In the firs

his two-di

“

If you want to know all about Andy Warhol, just look at the surface: of my paintings, films, and me, and there I am. There’s nothing behind it.

T 119

oward the end of our interview, I asked Sara Krajewski, the Portland Art Museum’s Curator of Modern and Contemporary Art, about Andy Warhol’s greatest strength as an artist. She thought only for a moment before she answered. “He understood images—including his own,” Krajewski said. “They are still very powerful to us today.”

The exhibition at the Portland Art Museum of Warhol’s prints from the collections of Jordan D. Schnitzer and his Family Foundation, provides us with more than enough examples to test both of those propositions. More than 250 of those images present themselves for consideration, many of them among the most famous of the 20th century. There are sets of Warhol’s Mao prints, his Marilyn prints, the legendary Campbell’s soup cans, and portraits of Warhol himself, a media superstar in his own right. Even the ones that aren’t quite so famous now were famous when they were made—the set of electric chair prints, his Sunsets, the Mick Jaggers, skulls, hammer and sickles, the endangered species prints, and his selection of American celebrities.

”

and consequences. There is nothing redemptive about his art.” And no, there is no “HOPE” in Warhol’s work.

“I thought Kennedy was great,” he told a young journalist named Gretchen Berg in 1966, “but I wasn’t shocked at his death: It was just something that happened.”

Warhol was a particularly difficult interview subject, dancing around questions, playing around with the poor journalist who had drawn the assignment to talk to him. But sometimes he seemed to reveal something about himself, and one of his responses to Berg is perhaps the most frequently quoted Warhol line: “If you want to know all about Andy Warhol, just look at the surface: of my paintings, films, and me, and there I am. There’s nothing behind it.” In a 1963 radio interview, he was asked the emperor’s new clothes question in a radio interview. “Do you think pop art could survive, let’s say, without PR people?” “Oh, yeah.”

Krajewski is right: They display an insight into image-making that “You do?” graphic designers have borrowed ever since Warhol started showing “Well, because I think people who come to the exhibition understand them in 1962. Shepard Fairey’s Barack Obama “HOPE” poster fol- it more. They don’t have to think. And they just sort of see things and Shadows I, 1979. Screenprint with diamond dust, 43 x 30½ in. lows the Warhol formula: appropriate a straightforward image of a they like them and they understand them easier. And I think people Ten Portraits of Jews of the Twentieth Century: George Gershwin, 1980. Screenprint, 40 x 32 in. famous person and drench it in color to increase its visual interest. are getting to a point where they don’t want to think, and this is easier.” And in Fairey’s case, add that critical word “HOPE” and the Obama Warhol’s prints are easy. Easy like a magazine. That makes sense, series hone in on shape and surface, rather than depict a perspective into an architectural space. Both campaign’s logo, something Warhol would never have done. because abefore he became a pop art icon, Warhol was an awardseries resonate with Warhol’s darker obsessions with death and decay: when read metaphorically still Yes, we live inlooming the visual world that Warhol did a greatofdeal create, life or shadow becomes a memento mori, or reminder one’sto eventual demise. winning illustrator and art director on Madison Avenue in the ‘50s. even though it has been nearly 30 years since his death. A world of That doesn’t mean they don’t have the ability to generate friction, Both series also indulge the visual plenty associated with Warhol’s rich surfaces, now including diamond images, representations, visual interpretations of reality. tension, an edge that accompanies those beautiful colors—the green dust, and their compositional complexity stands in counterpoint to the remaining program of the Business curving horn on the bighorn ram in the Endangered Species set, for Warhol’s Art centrality to that visual worldplace suggests that maybe hehad unmodel—portrait commissions—taking at the same time. The critics a strong distaste for his example, popping against his purple body and orange snout. There’s derstood outright more commercialism, than just the though. He also understood thefetishes, and bohemian yetimage, commissions kept coming. Warhol and his quirks, a visual thrill involved and then a realization that this beautiful universe background of images, how in the ‘50s and ‘60s images drenched the had been accepted into an upper-class cultural domain where his slippery ability to avoid creature is on the brink of extinction. stating beliefs his vapid guise virtues tomovie, his business. this “in” position, he managed culture, maybe evenanddrowned it inbecame television, andFrom celebrity

casso, 1975. Screenprint, 41 x 29½ in.

become aHe great cultural arbiterfor who, through Interview magazine, appearances at Studio 54 and on magazinetoimages. had a knack probing our weakest spots—our Warhol might stipulate to his critics’ primary argument against television, and his empty role as ancuriosity ad pitchman, claimed the power ofUnderstandthe media to designate what and who intense but essentially about celebrities. him—that he doesn’t care or, at least, not care enough. “It’s really would above), rise to thehe topexperimented of the cultural imagination circa 1980.6by combining the rtrait of Paloma Picasso the screenprint ing that(1975, desire, he promoted the mostincommon of them into the realm nothing,” he said about his art in the same 1963 radio show, “so it phic source and of squares of colored paper flatten the composition art, the most vivid ofthat communication systems.and partially obscure really has nothing to say.” By 1980, Warhol entered into a partnership with the gallery owner Ronald Feldman and created a

s face.

By 1980, Warhol entered into a partnership with the gallery owner Ronald Feldman and created a

of thematic portfolios. matter which was oftenwas suggested the case Jordan with He did it number by playing it cool andThe at subject a remove, easy by forFeldman, him as was Collector Schnitzer sees Warhol as a mirror of his time. “Artists their first Tenpersonality. Portraits of Jews of the Twentieth Century (1980, above 150–55). because that wasendeavor, his own “Warhol’s gesture is always theright and arepp. always chroniclers of their times,” he said in his downtown office, ook his experimentation with Ladieswrote, and Gentlemen (1975, same,” one art step criticfurther Carter Ratcliff “nonchalant to pp. the114–19), point of surrounded by great Northwest art. “They’re the ones who reflect rn pieces of papericiness, overlay whether color andhe shape on up the avariously posed subjects ways. serves supermarket productinordramatic a a superstar the social 111 mores, attitudes, and political issues of their time. Their ften solicited ideas for his work, andhis hegift tookas encouragement for this intense series from the Italian art presence.” And a colorist injected visual interest ultimate job is to help us see and make us see.” DIAAnselmino, REVIEW — Not for again: Distribution uciano who published and exhibited theisprints. Thereminding series features in hiseventually images. Ratcliff “Warhol forever us ofdrag the A mirror counts on the observer to provide the interpretation, and its attraction every sort—informative, who were invited eye’s from promiscuity, the Gilded Grape nightclub to in imagery GreenwichofVillage to Warhol’s studio, what Ratcliff calls Warhol’s “hypersensitive passivity in the face of shocking, simply pretty.” e photographed them. Warholor was fascinated by transvestites and male-to-female transgender; art and life,” can reveal a lot. Including our guilty pleasure in front arling, Ondine, and Holly Woodlawn some ofisthe stars of his films. Not example only did heoffind Ratcliff ’s critiquewere of Warhol a particularly biting an of Marilyn or Elvis, say. Or that endangered ram. Or that series of be the epitome of the movie star’s glamorous presence, but critics: he was also to thepermissiveartifice and evaluation shared by many Warhol “Hisdrawn extreme electric chair prints, the color combinations screaming around the 3 ole-play associatedness withleads drag. “I it’s interesting to try toindiff be another toguess an aesthetic of seeming erencesex. to”values, meanings, black outline of a state-constructed death delivery system.

st half of the 1970s, Warhol’s prints reveal more about his desire and his homosexuality than

imensional work had since the 1950s. (The films made in the Factory explore sex explicitly and

CONTINUED ON PAGE 40

NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

re the soup cans art? Not the cans, exactly, the image of the cans, part of the ubiquitous network of design that permeated American culture. The bright red top sets off the script Campbell’s logo, and the bottom white section reveals the identity of the soup within—chicken noodle, cream of mushroom, green pea. We pass by them even today in the supermarket, swiftly, without a glance, unless we toeachwant Campbell’s Soup happen I, 1968. Screenprints, 35 x 23 in. soup. Hanging on the wall? We are encouraged to consider…well, all sorts of things. Just as we do 82 when we gaze into the mirror at our own refl ection. How the neck PRE-RELEASE PROOF FOR MEDIA REVIEW — Not for Distribution connects head and shoulders, just like it does on a bighorn ram, say. How far will your reverie go? How much time do you have? How easy are you on yourself? I wonder how Warhol would have accommodated himself and his art to the internet, to Photoshop, to social media. It’s so easy to achieve the visual effects that Warhol did, not that they were all that difficult back in the day—a technical process and a gift for color.

But what we don’t know is what images Warhol would have chosen to emblazon across our retinal fields, what he would have directed us toeach consider, without us knowing we were being directed in any mpbell’s Soup I, 1968. Screenprints, 35 x 23 in. direction at all. .

PRE-RELEASE PROOF FOR MEDIA REVIEW — Not for Distribution

EXHIBITION INFO Andy Warhol: Prints from the Collections of Jordan D. Schnitzer and His Family Foundation October 8–January 1, 2017 Portland Art Museum, 1219 SW Park Ave.

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SEASON TICKETS STILL AVAILABLE! Visit www.pcs.org for more info.

THE OREGON TRAIL By Bekah Brunstetter On the U.S. Bank Main Stage Oct. 29 – Nov. 20, 2016

THE SANTALAND DIARIES By David Sedaris; adapted for the stage by Joe Mantello | In the Ellyn Bye Studio Nov. 26 – Dec. 24, 2016

HERSHEY FELDER

REVIEW — Not for Distribution AS IRVING BERLIN By Hershey Felder On the U.S. Bank Main Stage Nov. 30 – Dec. 30, 2016

ASTORIA: Part One By Chris Coleman; based on the book ASTORIA: John Jacob Astor and Thomas Jefferson’s Lost Pacific Empire, A Story of Wealth, Ambition, and Survival by Peter Stark | On the U.S. Bank Main Stage Jan. 14 – Feb. 12, 2017

Visit www.pcs.org for tickets! Katie deBuys in Stupid F***ing Bird. Photo by Patrick Weishampel/blankeye.tv.

HIS EYE IS ON THE SPARROW

A musical biography of Ethel Waters By Larry Parr | In the Ellyn Bye Studio Feb. 4 – Mar. 19, 2017

WILD AND RECKLESS A new musical event from Blitzen Trapper

On the U.S. Bank Main Stage Mar. 16 – Apr. 30, 2017

LAUREN WEEDMAN DOESN’T LIVE HERE ANYMORE By Lauren Weedman On the U.S. Bank Main Stage Mar. 17 – Apr. 30, 2017

MARY’S WEDDING By Stephen Massicotte In the Ellyn Bye Studio Apr. 15 – May 28, 2017

CONSTELLATIONS By Nick Payne On the U.S. Bank Main Stage May 13 – June 11, 2017

WHAT’S YOUR

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ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

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WE INTERVIEWED 50 OF OUR FAVORITE ARTISTS ABOUT THEIR FAVORITE PORTLAND PLACES. .

O R E G O N

B A L L E T

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P R E S E N T S

GEORGE BALANCHINE’S

THE NUTCRACKER

INCLUDING 8 PERFORMANCES WITH THE OBT ORCHESTRA

Dec. 10 – Dec. 26, 2016 Keller Auditorium

SUZANNE NANCE Program director at All Classical Portland

www.obt.org | 503-222-5538 Peter Franc | Photo by James McGrew

FAVORITE PLACE All Classical Portland

HOMETOWN Media, Pennsylvania

WHY IS THIS YOUR FAVORITE PLACE? “All Classical Portland is the biggest reason I moved to this amazing city from Chicago. When I first visited Portland and walked into the All Classical “observatory” (which is where our broadcasts originate), I was blown away by the beauty of the city, the warmth of its people, and the power (and reach) of the station. I feel connected to Portland when I’m sharing music in this magical space.”

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NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

Photo by Kyle Delamarter

AN ARTSLANDIA FEATURE

ARTSL ANDIA AT THE PERFORMANCE â&#x20AC;¢ NOV | DEC 2016

Imago Theatre’s

LOST IN THE WORLD OF THE AUTOMATO N by Brett Campbell

mago Theatre is at a tur ning point. For 35 years, Portland’s most original theater company has specialized in making something beautiful out of not much: some masks, some movement, some music, often using no words or sets at all. The result: the long running, enor mously popular mask shows Frogz and ZooZoo, and dozens of other magical theatrical creations. But after more than three decades, Imago founders Carol Triffle and Jerry Mouawad decided the time had come to retire those warhorses. This summer, the couple announced they were selling the former Southeast Portland Masonic lodge that has long served as Imago’s headquarters, performing and rehearsal space, and prop and costume shop. And in December, Imago opens its biggest, riskiest venture ever. Given Imago’s flair for dazzling visual imagery and movement, La Belle: Lost in the World of the Automaton, which runs December 9–January 8, promises to be a beauty.

looking for a new form that we could dabble in for family audiences after working in mask theater since the inception of the company in the late ‘70s,” says Mouawad. “We found that in La Belle.”

feel like an Imago show. “We were quite ambitious,” Mouawad remembers. “It had grown into this big Shakespeare production with eight to 10 characters. Reality set in after we realized how complex the execution was going to be.” They threw out the script, postponed the originally scheduled 2014 premiere, and started over with a new outline involving just two characters. In summer 2014, the team banged out the framing story of Sam Stoker (played by Jim Vadala), who works in a 1920s steamship engine room and Lady Rose (Justine Davis), whose romance proceeds in parallel with the original La Belle story. The rest of the characters would be portrayed by puppets, and Imago would create a magical environment for their story to unfold.

NEW TERRITORY

They knew the great French writer/director Jean Cocteau’s classic 1946 film of Beauty and the Beast boasted that rare universal appeal to both children and adults—a story with Frogz’s family-friendly mix of sophistication and simplicity. Mouawad and Triffle based their adaptation not on Cocteau’s movie nor the Disney production nor the many other movie, TV, and literary versions of Beauty and the Beast. Instead, they returned to French writer Gabrielle-Suzanne Barbot de Villeneuve’s original 1740 novel.

“Intertwining two different worlds that become one was a bit Imago-esque,” Mouawad explains. “Design has always been in the forefront of what Carol and I do. All the design elements should have an Imago-esque flavor. Every design element should support the story and have a physical connection with the audience.”

Without their old standbys, Triffle and Mouawad knew that promoters and presenters needed a new production that could draw the large audiences that financed the couple’s more experimental work. “We were

In 2013, they began working with writer Devin Stinson, who had a background in hip-hop, and trip-hop composers Elissa and Amanda Payne. After nine months, they realized that what they’d wrought didn’t

It sounds a bit Terry Gilliam-esque as well, and in creating La Belle’s two intersecting worlds, the team soon confronted the artistic ambitiousness that sometimes drove that great film director over his budget.

But for its creators, it’s been a bit of a beast.

CONTINUED ON PAGE 46

NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

Baroque, Classical, Romantic

BUILDING THE PERFECT BEAST Construction commenced in January 2015. Building La Belle turned into a project of unprecedented (for Imago) complexity and expense—over a quarter million dollars, some of it crowd-sourced. La Belle sports a lot more moving parts and more collaboration than Triffle and Mouawad had ever experienced: Stinson, three composers (the Paynes and songwriter Lydia Ooghe), engineers, fabricators, illustrators, painters, some with experience in other Portland creative ventures that combine adult and kid-friendly appeal like Laika’s animation studio and Lion King puppet master Michael Curry’s workshop.

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“This is a big challenge for Imago,” Mouawad frets. “After so many years of working on Frogz and ZooZoo, we knew that if things started looking too complex we shouldn’t go there—and we led ourselves right there. Terry Gilliam gets so complex in his rich

“

The complexity might not be evident when you see it. Every little effect takes forever to make, but it goes by so quickly.

”

use of intricacy that it becomes a gigantic challenge. I’m trying to work our way out of that challenge.” After 21 months of production and two-anda-half years of development, Imago’s new world neared completion by fall 2016. The set—“a kinetic playground”—is a giant ship with revolving water wheels, pumps, steam whistles, and automata/robots—clockwork 46

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

puppets. puppets.AAsteamer steamertrunk trunktransforms transformsinto intoaa giant giantmusic musicbox. box.Fabrication Fabricationdirector directorLance Lance Woolen Woolenand andmechanical mechanicalengineer engineerRoger RogerNelNelson son crafted crafted complex complex gear gear systems. systems. Think Think Willy WillyWonka Wonkaand andthe theChocolate ChocolateFactory. Factory. “It’s “It’slike likean ananimation,” animation,”Mouawad Mouawadsays. says.“The “The complexity complexitymight mightnot notbe beevident evidentwhen whenyou you see see it. it. Every Every little little effect effect takes takes forever forever to to make, make,but butititgoes goesby byso soquickly.” quickly.”

With Withthe thetheater theaterlikely likelyto tosell sellsoon, soon,it’s it’seasy easy to tosee seeLa LaBelle Belleas asaaproduction productionas asaaculminaculmination tionof ofImago’s Imago’srich, rich,three-decade three-decadehistory. history.“I“I don’t don’tthink thinkwe’ve we’veleft leftany anygenre genrebehind behindthat that we we have have not not romped romped in—comedic in—comedic and and dradramatic matic theater, theater, movement, movement, mask, mask, puppetry, puppetry, shadow shadowtheater, theater,song songand andexperimentation,” experimentation,” Mouawad Mouawadwrote wrotein inaapress pressrelease. release.“Our “Ourgoal goal isis to to create create aa moment-by-moment moment-by-moment visual visual

playground, playground,keeping keepingthe theyoung youngones onesengaged engaged while whiletaking takingolder olderones onesand andadults adultson onaavisvisceral ceraland andromantic romanticjourney.” journey.” Imago Imago Theatre’s Theatre’s La La Belle: Belle: Lost Lost inin the the World World of of the theAutomaton Automatonruns runsDecember December9–January 9–January88at at Imago ImagoTheatre, Theatre,17 17SE SE88thth| |Tickets: Tickets:503.231.9581 503.231.9581 or orTicketsWest.com, TicketsWest.com,503.224.8499. 503.224.8499.

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Theater for All Ages with Song, Dance & Story

NOVEM

BER 30 – DECEMBER 30

A CHRISTMAS CAROL By Charles Dickens Adaptation and original lyrics by Rick Lombardo Original Music by Anna Lackaff and Rick Lombardo Music Arrangements by Anna Lackaff` We’re bringing back our award-winning community lovefest for the holidays! If you were lucky enough to score a ticket to last season’s production, you know that this is a holiday tradition not to be missed.

Portland Revels Presents

Commedia Italiana

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A Venetian Celebration of the Winter Solstice St. Mary’s Academy, 1615 SW 5th Ave., Ptld

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pbo.org 503.222.6000 NOV | DEC 2016 • ARTSL ANDIA AT THE PERFORMANCE

ACROSS

23. Santaland Diaries author.

2. Orpheus in the__________.

25. Italians wear this in red on New Year’s Day.

6. Second largest continent.

27. Gaston’s sidekick in Beauty and the Beast.

8. In which musical would you ﬁnd Cunégonde, Paquette, Maximillian, and Dr. Pangloss?

30. Best-selling Christmas single of all time.

9. Colors of the Campbell’s Soup label were inspired by this university’s football team.

32. Seven-light holiday candelabra.

11. Latin instrument named for its number of strings. 12. Rudolph’s elf friend. 18. Actor who narrated How the Grinch Stole Christmas TV special. 19. Amino acid that’s blamed for Thanksgiving Day sleepiness. 20. Band whose album is popularly paired with The Wizard of Oz. 50

ARTSL ANDIA AT THE PERFORMANCE • NOV | DEC 2016

31. Where the Grinch stole Christmas. 33. Arturo Benedetti Michelangeli is mostly associated with which instrument? 34. Warhol magazine. 39. Nutcracker composer. 42. Scrooge’s ﬁrst name. 43. Adagio Pathetique composer. 44. This Opera's characters are Adalgisa, Pollione, Oroveso, Clotilde, and Flavio.

DOWN

2016-17

Open HOuses

Find your people.

1. Silent Night was written for this instrument.

Middle School

Tuesdays, 10:30 to 12:00

3. Second day of Christmas gift. 4. Mary Bailey’s non-George life profession.

November 15 December 6 May 9

5. This composer couldn’t read or write music.

Thursdays, 10:30 to 12:00

High School

November 17 December 8 January 5

7. Where you’d ﬁnd the Holiday Ale Festival. 10. It’s customary to do this for the Hallelujah chorus.

RSVP to Lainie Ettinger, Admissions Director, at lettinger@nwacademy.org

13. First song performed in space.

15. Number of ghosts in A Christmas Carol. 16. Town founded in 1620 by the Pilgrims. 17. A male turkey. 20. New adaptation of the 1936 Czechoslovakian play that inspired You’ve Got Mail. 21. Claude Debussy nationality. 22. The Nutcracker was the ﬁrst orchestral score to use this instrument.

pHOTO: sOFIa Marcus-Myers

14. Who gives Clara the nutcrackers as a gift?

Inspiring daily through academics and arts.

nwacademy.org

A R T I S T S R E P E R T O R Y T H E AT R E

24. Christmas Oratorio composer. 26. U.S. president who banned Christmas trees in the White House. 28. Christmas Festival of Lights location. 29. Siegfried composer. 35. Number of reindeer that pull Santa’s sleigh.

A Collaboration with Staged! by

36. Inventor of Christmas lights.

Paula Vogel Paul Angelo

directed by

37. Pulitzer-winning author of A Civil War Christmas.

STARTS NOV 22

38. “You have died of __________” on the Oregon Trail. 40. Messiah composer.

“...AN AMBITIOUS, SWEEPING WORK”

41. Fairy fruit.

-VARIETY

Think you got ‘em all right? Find the answers to this crossword puzzle on our website!

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EDITOR-AT-L ARGE CONTINUED FROM PAGE 33

January 19-29

Portland’s 9th artist-generated NEW WORK FESTIVAL Theatre, Dance & Multidisciplinary Arts

Fertile Ground Dozens of Acts of Creation $50 Festival Pass On Sale Starting

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cess in the viewer. The art may evince strong feelings and powerful insights, but we will consider it, interpret it, complete it. Open This End includes the work of many of the best artists working in this vein: Mike Kelley, Sherrie Levine, Kehinde Wiley, Ruscha, Nauman, and Warhol. Some of them are minimalists, some pop-related, some very political. An Agnes Martin stripe painting is there and provides a meditative release, while a Martin Kippenberger painting might stir us back up. If I were pushed to say something about what they all mean together? I’d look past their cleverness, their sense of humor, their technique, and suggest that they are primarily examples of Crisis Art. Artists live in the same world we live in, and they respond to the numbing flood of commercial images that surround us, the emptiness that dogs our activities, our reluctance to consider the consequences of our actions, and...worse. Since the last century, they’ve started sounding the alarm in various ways. Even Warhol. Especially Warhol I think of Open This End as a ticket to board the many thought trains that leave the Hoffman Gallery. And the best thing is, no one knows where they will lead. Which is also the scary thing. .

presents Mark O’Connor’s

St. John the Baptist II, by Kehinde Wiley.

An Appalachian Christmas

Featuring the O’COnnOr Band with SpeCial gueSt nanCy iveS

EXHIBITION INFO Open This End: Contemporary Art from the Collection of Blake Byrne

wedneSday, deCemBer 14, 7:30pm The Arlene Schnitzer Concert Hall Tickets $18 – $105, at www.portland5.com

Through December 11 Ronna and Eric Hoffman Gallery, Lewis & Clark College, 0615 SW Palatine Hill Road.

Discounts for All Classical Portland donors and Oregon Trail Card holders. Call (503)943-5828 for details.