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ANTIGONE PROJECT: A PLAY IN 5 PARTS
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Profile Theatre Presents
ANTIGONE PROJECT:
A PLAY IN 5 PARTS
Conceived by CHIORI MIYAGAWA & SABRINA PECK Directed by DAWN MONIQUE WILLIAMS^
CAST
Lauren Modica
Chris Murray*
Seth Rue*
DESIGNERS & PRODUCTION
HANG TEN by Karen Hartman MEDALLION by Tanya Barfield ANTIGONE ARKHE + by Caridad Svich A STONE’S THROW by Lynn Nottage RED AGAIN by Chiori Miyagawa
Cecily Overman
Andrea White
Alex Leigh Ramirez
Andrea Whittle
Scenic & Props Design ................................................. Kaye Blankenship Lighting Design ....................................................................... Jennifer Lin Costume Design ..................................................................Sara Ludeman Sound Design .................................................................... Phillip Johnson Stage Manager ....................................................................Miranda Russ* Production Assistant ................................................. Melissa Sondergeld + Antigone Arkhe presented with String House Theatre and directed by Emily Gregory RUN TIME IS APPROXIMATELY 90 MINUTES WITH ONE 15 MINUTE INTERMISSION Antigone Project: A Play in 5 Parts is presented by special arrangement with Elaine Devlin Literary.
This production of Antigone Project: A Play in 5 Parts is sponsored by Work for Art
THIS SEASON IS FUNDED IN PART BY
VIDEO AND/OR AUDIO RECORDING OF THIS PERFORMANCE BY ANY MEANS WHATSOEVER IS STRICTLY PROHIBITED. Profile Theatre is a member of Theatre Communications Group (TCG), the national organization for the American theatre. * Member of Actors’ Equity Association, the professional union of actors and stage managers. ^ The Director is a member of the Stage Directors and Choreographers Society, a national theatrical union.
ANTIGONE PROJECT • PROFILE THEATRE
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DIRECTOR’S NOTES BY DAWN MONIQUE WILLIAMS Antigone Project, from its onset, was an opportunity for five playwrights to examine the myth of Antigone. The oppressive virtue, pride, hubris; death, destruction, the living versus the dead, murder, suicide; honor, shame, disobedience, nobility; fear versus defiance; duty - religious, familial, and political; public life vs. private life; war; youth opposed to old age; man against woman; individual against society; judgment, justice, innocence, guilt, law and lawless behavior; blindness, disease; sacrifice and purification. Antigone is rich with motifs. These have lent themselves to treatments of the play that are “veiled criticism[s] of an abusive government to show that something is rotten in that particular state” (Marianne McDonald, The Living Art of Greek Tragedy). Time has shown us that this remains true across translations and adaptations. This assertion could also be made of Antigone Project. Politically charged, and written as a response to the Patriot Act of 2001, our five women playwrights, each concerned with a distinct depiction or core value of Antigone, take us on a journey through time. Each of the short plays, Hang Ten, Medallion, Antigone Arkhe, A Stone’s Throw, and Red Again, reveal that Antigone is plentiful and ripe with those essential timeless yet always timely conflicts that pose tough questions, make a good story, and are the foundation for great drama.
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Sophocles’ Antigone has received countless numbers of production treatments. There is no doubt that Antigone has been a tool for social commentary since its very beginnings. Athol Fugard’s The Island and Femi Osofisan’s Tegonni, an African Antigone are Antigone adaptations that have become popular models for post-colonial discourse, and in fact Kevin J. Wetmore in his book Black Dionysus: Greek Tragedy and African American Theatre identifies Antigone as the most adapted drama on the African continent and that “the text becomes the means to an act of resistance.” Rita Dove’s The Darker Face of the Earth and Lee Breuer’s The Gospel at Colonus are adaptations of Sophocles other Theban plays, Oedipus and Oedipus at Colonus, for all black casts that tinker with convention and historicity. German playwright Bretolt Brecht and French writer Jean Anouilh each have politically motivated adaptations written as products of the World War II era. It would seem that this source material is endlessly malleable and, more importantly, speaks to human conditions yet reconciled. Antigone Project adds its critical, if not singular, voice to the volumes of reimaginings. With this collection of contemporary short plays, we continue the search for reconciliation, and welcome you to join us on the journey of revelation.
CAST ROLES BY PLAY HANG TEN Antigone ......................................................... Andrea White Ismene .........................................................Cecily Overman Surfer ..................................................................... Seth Rue
MEDALLION General Carlton .............................................. Chris Murray Antoinette .................................................... Lauren Modica
ANTIGONE ARKHE Archivist ............................................... Alex Leigh Ramirez Historical Antigone ..................................... Andrea Whittle
A STONE’S THROW Antigone ....................................................... Lauren Modica Ismene ............................................................ Andrea White Man ......................................................................... Seth Rue Judge/Reporter .............................................. Chris Murray Reporter ......................................................Cecily Overman
RED AGAIN Antigone ......................................................Cecily Overman Irene ............................................................... Andrea White Harold .............................................................. Chris Murray 6
PROFILE THEATRE • ANTIGONE PROJECT
CAST LAUREN MODICA
Lauren is thrilled to perform with Profile Theatre. A Portland native, she has performed with Portland Center Stage (Twist YourDickens, Our Town, JAW), Artists Repertory Theater (The Skin of OurTeeth), Defunkt (In the Forest She Grew Fangs, Undiscovered Country),PHAME, Action/Adventure, Willamette Shakespeare, PAE, and many others. CHRIS MURRAY
Chris is an actor and producer in Portland. He was last seen at Profile Theatre in Sam Shepard’s Festival of One Acts. Previous shows at Profile include The Sisters Rosensweig, A Few Stout Individuals and Six Degrees of Separation. Locally, he has been seen at Portland Center Stage in Great Expectations, Our Town, Futura, Sometimes a Great Notion, and 10 years at the JAW festival. Artists Repertory Theatre (The Liar, Playboy of the Western World, Xmas Unplugged, I am Still (The Duchess of Malfi), Mr. Marmalade, Take Me Out), Third Rail Repertory Theatre (A Bright New Boise, Penelope, The Aliens, A Skull in Connemara) and several shows at CoHo Productions, Portland Playhouse and more. Chris has been in many feature films you’ve probably never heard of. A few TV shows you probably have, and was called a pinhead by Bill O’Reilly on The O’Reilly Factor for his portrayal of Jesus in Everclear’s music video, Hater. CECILY OVERMAN
Cecily has been active in Portland theatre for over ten years, both teaching and performing. Some of her favorite roles recently include: Lady Macbeth in Macbeth, White Witch in The Lion, The Witch, and the Wardrobe,
and Mother in The Giver. She has taught in the community for Artist Repertory Theatre, Portland Center Stage, Oregon Children’s Theatre, and Northwest Children’s Theater. Cecily is also committed to her work with PlayWrite Inc. where, as a coach, she helps youth on the edge find their voice through theater. She holds Bachelor’s degrees in both Psychology and Theatre from Whitman College. ALEX LEIGH RAMIREZ
Alex is a Portland area actor, deviser and theatre-maker. Favorite credits include: Passion Play (Shaking The Tree & Profile Theatre) Bloody Bloody Andrew Jackson (Portland Playhouse); and Dance For a Dollar (Miracle Theatre). She is dedicated to creating original devised theatre and is a member of String House, an independent producing title, new works laboratory, and nominated for two Drammy Awards for “Best Devised Production.” When not onstage Alex is proud to work as a coach/actor with Playwrite Inc. and with Portland Center Stage’s touring education program, All is Fair in Love and Shakespeare. SETH RUE
Seth is super excited to be working with Profile again, and especially on Antigone Project! He’s just returned from the Folger Theatre in DC for the world premiere of Aaron Posner’s District Merchants and you may have seen him in Blue Door last spring in a Drammy-nominated performance. Seth believes that illustrating rejection of oppressive and repressive patriarchy and defending the voiceless will always be one of the most urgent functions of art and he is grateful that these playwrights have done that so beautifully and accessibly. Check out their other works—you will be glad you did.
ANDREA WHITE
Andrea is a Portland native. She moved to Los Angeles for a decade pursuing film and television. She had guest roles on Family Matters, NYPD Blue, and Living Single. She also played Jeannie in the 30th year revival of Hair. Since returning to Portland 10 years ago she has been seen in the following: Ma Rainey’s Black Bottom, Radio Golf, Gem of the Ocean (Portland Playhouse); Lesson Before Dying, American Daughter (Profile Theatre); The Udmurts (Defunkt Theater) and Love and Information (Theatre Vertigo) She is a two time Best Supporting Actress Drammy Award winner for her work in Two Sister’s and a Piano (Artists Rep) and Hell Cab (Theatre Vertigo). Andrea is also a former faculty member and Acting Instructor at the Portland Actors Conservatory. ANDREA WHITTLE
Andrea is originally from Miami, Florida and a former apprentice at the Portland Playhouse. She was last seen in the Portland Playhouses production of Peter and the Starcatcher. She is super excited to be jump starting her professional acting career here in Portland!
Actors’ Equity Association (AEA), founded in 1913, represents more than 49,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org
ANTIGONE PROJECT • PROFILE THEATRE
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CREATIVE TEAM DAWN MONIQUE WILLIAMS Director
Dawn Monique Williams, drawn to heightened language and magic realism, is a resident artist at the Oregon Shakespeare Festival where she’ll direct Merry Wives of Windsor in 2017. She’s directed a range of plays including the English language premiere of Gracia Morales’ NN12, Othello, Twelfth Night, In the Blood, Steel Magnolias, Children of Eden, The 25th Annual Spelling Bee, Little Shop of Horrors, Burial at Thebes, Medea, and La Ronde; international directing credits include Scapin the Cheat, Anna Bella Eema, and The Tempest. Most recently Dawn directed August Wilson’s The Piano Lesson and Lynn Nottage’s By the Way, Meet Stark. She is a 2016 Princess Grace Award winner, a previous TCG Leadership U grantee, the 2013 Killian Directing Fellow at OSF, and a 2011 Drama League Directing Fellow. She holds an MA in Dramatic Literature and an MFA in Directing. EMILY GREGORY Antigone Arkhe Director
Emily is a director, playwright, and the proud co-founder of String House, a new works laboratory and producing title for experimental, homegrown works of theatre. Past work with String House includes Waxwing (playwright; 2012), …And the Great Refraction! (playwright/director; 2013), and Rosencrantz Are Guildenstern Are Dead (director, in collaboration with Anon It Moves; 2014). Emily was born and raised in the San Francisco Bay Area, but is now proud to call Portland, Oregon her home. She is thrilled to begin a masters in Writing For Performance at Goldsmiths University of London this fall. KAYE BLANKENSHIP Scenic and Props Design
Kaye is a props, scenic, and lighting designer originally hailing from Sammamish, Washington. She earned her BA in theatre from Lewis & Clark College, and after a year working in New York, she is back in Portland and excited to work with Profile once again. Favorite past shows include: Annapurna (Third Rail), Daniel Tiger’s Neighborhood LIVE 8
PROFILE THEATRE • ANTIGONE PROJECT
(Mills Entertainment), A Winter’s Tale (Anon It Moves), Static (Third Rail Repertory Theatre), Ramona Quimby (Oregon Children’s Theatre), Snowstorm (CoHo), In The Next Room (Profile Theatre), and Waxwing with String House Theatre, where she is a founding member. JENNIFER LIN Lighting Design
Jennifer is a freelance lighting designer and stage technician who has been working in Portland theatre, dance and opera since 2008. She attended Portland State University from 2006–2008, and received The Kennedy Center American College Theatre Festival’s Achievement Award for her lighting design for PSU’s production of Electra. Jennifer is a company member of Third Rail Repertory Theatre, and upcoming projects include Third Rail’s production of The Nether. SARA LUDEMAN Costume Design
Sara is a local costume designer. Born and raised in Portland, she graduated from PSU with her BA in History. In addition to her production work, she also assists with Profile’s Hand’s On Theatre program in the Portland Public Schools. Her credits include: Into the Beautiful North and American Night (Milagro Theatre), The Call and Passion Play (Profile Theatre), Peter and the Starcatcher (Portland Playhouse) and High School Musical (Enlightened Theatrics). PHILLIP JOHNSON Sound Design
Phillip is a theatrical artist based in Portland, Oregon and the Technical Director of Ridgefield High school’s drama program. His recent productions include Hands Up (Red Door Project), Worse Than Tigers (ACT Theater/Red Stage), Contigo Pan y Cebolla (Milagro Theater), A Lady Onstage (Profile Theater), and The Importance of Being Earnest (Valley Repertory Theater). When he isn’t designing or teaching, Phil is traveling the world spreading art education to impoverished areas. He most recently taught theater in the slums of Nairobi, Kenya. He has a
B.F.A. and M.A. from Ohio University. For updates, downloads and links to show soundtracks please visit PhilJohnsondesignstheworld.com MIRANDA RUSS Stage Manager
Miranda has a BA in Drama with Honors in Stage Management from University of California, Irvine and an MFA in Stage Management from Columbia University in the City of New York. Her professional credits include: Gigi on Broadway; Othello at Classic Stage Company; Birds of Paradise at New York International Fringe Festival; Summer Valley Fair at New York Musical Theatre Festival; and more. Having recently moved back to the West Coast, Miranda is absolutely thrilled to be working on her first production with Profile Theatre. KAREN HILL Production Manager
Karen is thrilled to be working with Profile and such wonderful fellow artists. Continuing to be a part of this theater community is joyful gift. Karen also works with Artists Repertory Theatre, Portland Shakespeare Project, and has previously worked at Oregon Children’s Theatre, Third Rail, Portland Center Stage, and the Oregon Shakespeare Festival. One million thanks to Mike for supporting this crazy lifestyle. MELISSA SONDERGELD Production Assistant
Melissa is thrilled to be working with Profile Theater again, after working on Dead Man’s Cell Phone last season. She is a recent graduate of Warner Pacific College, with a degree in Music Education and Theater. She is currently working as a teacher at Mayer Christian Academy. Past productions include Encounter, As You Like It, and The Spitfire Grill at WPC, Hello, Dolly! at Manestage Theater Company and Eurydice at Portland State. KAREN HARTMAN Hang Ten
Karen held the Playwright Center’s 2014–15 McKnight Residency and Commission for a nationally recognized playwright. Current:
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CREATIVE TEAM Roz and Ray (Alley Theatre), The Book of Joseph (Chicago Shakespeare Theater), Project Dawn (People’s Light & Theater Company), and a Yale Repertory Theater commission about the landmark Supreme Court case Ricci vs DeStefano. Her new dialogue for Mozart’s The Magic Flute appeared at Meany Center in Seattle, 2015. Goldie, Max, and Milk premiered at Florida Stage and the Phoenix Theater. Other works: Goliath, Gum, Leah’s Train, Going Gone; Girl Under Grain; Wild Kate, ALICE: Tales of a Curious Girl Troy Women; and MotherBone, score by Graham Reynolds. New York: Women’s Project, National Asian American Theatre Company, P73, the New York Fringe, and Summer Play Festival. Regional: Center Stage, Cincinnati Playhouse, Dallas Theater Center, the Magic, and elsewhere. Publications: TCG, DPS, Playscripts, Backstage Books, and NoPassport Press. Awards: Sustainable Arts Foundation, Rockefeller Foundation at Bellagio, the N.E.A., the Helen Merrill Foundation, Daryl Roth “Creative Spirit” Award, Hodder Fellowship, Jerome Fellowship, Fulbright Scholarship. Prose: New York Times and The Washington Post. An alumna of New Dramatists and longtime Brooklynite, Karen is now Senior Artist in Residence at the University of Washington School of Drama. TANYA BARFIELD Medallion
Tanya Barfield’s plays include: Bright Half Life (Women’s Project Theatre), The Call (Playwrights Horizons/Primary Stages), Blue Door (South Coast Rep, Playwrights Horizons), Feast (co-writer, Young Vic/Royal Court), Of Equal Measure (Center Theatre Group), Chat (New Dramatists’ Playtime Festival), The Quick (New York Stage & Film). A recipient of a Lilly Award, the inaugural Lilly Award Commission and a Helen Merrill Award, Tanya is an alumna of Dramatists and a member of The Dramatist Guild Council. In 2016, Profile Theatre is devoting their entire season to her work. TV credits include: The One Percent and The Americans.
CARIDAD SVICH Antigone Arkhe
Caridad Svich received a 2012 OBIE Award for Lifetime Achievement in the theatre, a 2012 Edgerton Foundation New Play Award and NNPN rolling world premiere for Guapa, and the 2011 American Theatre Critics Association Primus Prize for her play The House of the Spirits, based on the Isabel Allende novel. She has won the National Latino Playwriting Award (sponsored by Arizona Theatre Company) twice, including in the year 2013 for her play Spark. She has been short-listed for the PEN Award in Drama four times, including in the year 2012 for her play Magnificent Waste. Seven of her plays are published in Instructions for Breathing and Other Plays (Seagull Books and University of Chicago Press, 2014). Five of her plays radically re-imagining ancient Greek tragedies are published in Blasted Heavens (Eyecorner Press, University of Denmark, 2012). She has edited several book on theatre including Innovation in Five Acts (TCG, 2015), and Trans-Global Readings (Manchester University Press, 2004). She sustains a parallel career as a theatrical translator, chiefly of the dramatic work of Federico Garcia Lorca. She is alumna playwright of New Dramatists, associate editor of Contemporary Theatre Review (Routledge,UK), and founder of NoPassport theatre alliance and press. LYNN NOTTAGE A Stone’s Throw
Lynn Nottage is a Pulitzer Prize winning playwright and a screenwriter. Her plays include Sweat, By The Way, Meet Vera Stark (Lily Award, Drama Desk Nomination), Ruined (Pulitzer Prize, OBIE, Lucille Lortel, New York Drama Critics’ Circle, Audelco, Drama Desk, and Outer Critics Circle Award), Intimate Apparel (American Theatre Critics and New York Drama Critics’ Circle Awards for Best Play), Fabulation, or The Re-Education of Undine (OBIE Award), Crumbs from the Table of Joy, Las Meninas, Mud, River, Stone, Por’knockers and POOF!. Nottage is the recipient of a MacArthur “Genius
Grant” Fellowship, Steinberg “Mimi” Distinguished Playwright Award, the Dramatists Guild Hull-Warriner Award, the inaugural Horton Foote Prize, Lilly Award, Helen Hayes Award, the Lee Reynolds Award, and the Jewish World Watch iWitness Award. Her other honors include the National Black Theatre Fest’s August Wilson Playwriting Award, a Guggenheim Grant, PEN/Laura Pels Award, Lucille Lortel Fellowship and Visiting Research Fellowship at Princeton University. She is a graduate of Brown University and the Yale School of Drama, where she has been a faculty member since 2001. She is also an Associate Professor at Columbia School of the Arts. CHIORI MIYAGAWA Red Again
Chiori Miyagawa is a playwright based in New York City. She conceived Antigone Project in 2004— during Bush’s second presidential campaign—to pull together women’s political voices and share them with audiences. Chiori’s plays have been produced off-Broadway (Vineyard Theatre, New York Theatre Workshop, Women’s Project, Culture Project), at renowned performance houses in NYC (HERE Arts Center, Performance Space 122, Ohio Theater, La Mama) and regionally. This Lingering Life premiered in San Francisco in June 2014 at Z Space and was a finalist for Theater Bay Area Best Premiere of Play Award. A collection of seven of her plays, Thousand Years Waiting and Other Plays, is published by Seagull Books; and another collection of five plays, America Dreaming and Other Plays is published by NoPassport Press. She is a recipient of many fellowships including a New York Foundation for the Arts Playwriting Fellowship, a McKnight Playwriting Fellowship, an Asian Cultural Council Fellowship, a Rockefeller Bellagio Residency Fellowship, and a Radcliffe Institute Fellowship at Harvard University. She is an alumna of New Dramatists, a Usual Suspect of New York Theatre Workshop and Playwright in Residence at Bard College.
ANTIGONE PROJECT • PROFILE THEATRE
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THANK YOU TO OUR GENEROUS DONORS EXECUTIVE PRODUCERS $10,000 & ABOVE Age & Gender Equity in the Arts The Collins Foundation Anonymous The Kinsman Foundation Ronni Lacroute Meyer Memorial Trust James F. & Marion L. Miller Foundation Oregon Community Foundation Regional Arts & Culture Council, including support from the City of Portland, Multnomah County & the Arts In Education Access Fund The Shubert Foundation Dan & Priscilla Wieden Steve Young & Jane Fellows
PRODUCERS $5,000–$9,999 The Autzen Foundation The Jackson Foundation PGE Foundation Rose E. Tucker Charitable Trust Work for Art, including contributions from more than 75 companies & 2,000 employees The Wyss Foundation
ASSOCIATE PRODUCERS $2,500–$4,999 Richard Bradspies Dr. Jess Dishman Francie & Paul Duden Robert & Mercedes Eichholz Foundation The Leotta Gordon Foundation The Ralph & Adolph Jacobs Foundation Linda Jensen & Robert Nimmo The National Endowment for the Arts
Oregon Arts Commission Patricia Raley Pancho Savery Bert Shaw
PRODUCING PARTNERS $1,000–$2,499 Michael Bloom & Audrey Zavell Melissa Bockwinkel Colleen Cain & Phillip Miller Robert & Janet Conklin Matthew Corwin &Brennen Randell Eileen DeSandre Dramatists Guild Fund Rich & Erika George+ Richard Hay Leslie Labbe Susan & Leonard Magazine Melissa Stewart & Don Merkt Phillips & Co Richard & Mary Rosenberg Charitable Foundation Mayer & Janet Schwartz Mary Simeone Kathleen & Leigh Stephenson-Kuhn* Patrick Stupek+ Charlie & Darci Swindells Wieden+Kennedy
PARTNERS $500–$999 Adriana Baer & Ryan Durham+ Arlena Barnes & William Kinsey Betty & Fred Brace Sonia Buist M.D. Deborah Correa & Mark Wilson Maryellen Coutu Lynn Goldstein* Melissa & Bob Good David Heath Judith Henderson* Diane M Herrmann Paul Jacobs+ Cecily Johns Elizabeth Johnston P.J. & Douglas Jones James Kelly
Edward & Elaine Kemp Richard Hollway & Nancy Kurkinen Elisabeth & Peter Lyon Michael & Dolores Moore Corrine Oishi & Lindley Morton Portland General Electric+ Rick & Halle Sadle Rosalie & Ed Tank
ASSOCIATES $100–$499 Jonathan & Randa Abramson Habiba Addo Linda Apperson Dana Bjarnason Rachel Bloom Gerald Bockwinkel Erwin Boge Barbara Bolles Nita Brueggeman Jim & Karen Brunke David Burks Rita Charlesworth Vince & Valri Chiapetta Tim & Susan Cowles Carolyn Dale John & Ruth Davis Anonymous Carmen Egido & Abel Weinrib Edith & Williamson Fuller Bruce & Gwendolyn Graff Debra Godfrey Barbara GordonLickey Ulrich Hardt & Karen Johnson Dot Hearn Mike & Patsy Hester Jane Jarrett & David McCarthy Alan & Diane Johnson Alan Jones The Keeton Corp. Hellen Kelley* Jeffrey & Carol Kilmer Carol J Kimball Gordon King Cynthia Kirk Lawrence & Karen Kirsch Lucy Kitada Diane Kondrat
This list acknowledges gifts given between July 1, 2015 and August 1, 2016.
Margaret Larson & Richard Lewis Anonymous Norman McKnight Charles Meshul & Maurenn Ober Ed Moersfelder Meghan Moran & Kirk Masterson Jane Anne Morton & Karl Rapfogel Helle Nathan Richard Hollway & Nancy Kurkinen David C. Parker & Annie Popkin Susan Prior Wendy Rahm Rick Rees Norma Reich Betty & Jacob Reiss Nelda Reyes Mary Robets Charles & Judith Rooks Cara Rozell Charlotte Rubin Curtis Schade & Jacquie SiewertSchade Arron Schwartz Darrell Salk Connie Smith Lawrence Smith Milan & Jean Stoyanov Gary Taliaferro Peter Thacker & Lynn Taylor (in honor of Adriana Baer) Margaret Thompson Mark Tisdahl ( in honor of Melissa Bockwinkel) Barbara Van Fleet Jane Vogel Judi & J. Wandres Janet F. Warrington Judy Werner Bonnie Werther Carolyn Wieden Tom & Jeanette Williams Anonymous Grey Wolfe & Howard Waskow Janet Zell
DONORS UP TO $99 Elizabeth Anderson Tobias Andersen
Work for Art Participants: These patrons direct their support to Profile Theatre through the Work for Art Program within the Regional Arts & Culture Council. 12
PROFILE THEATRE • ANTIGONE PROJECT
Karen Asbury Paul Avallone Naomi & Ron Bloom Barbara Bolles Christine Bourdette Mary Frances Bowers Linda Brownstein Priscilla Carlson Carol & Sy Chestler Larry Cobb Margaret Collins Roddy & Fran Daggett Deanne Doorlag Scott Diaz Lois Eaton Lindsay Galen Carolyn Gassaway Susan Gidding-Green Mary Glenn Malinn Haines Megan Harned Theresa Hayes Phyllis Heims Joan Hoffman Donald & Lynnette Houghton Clel Howard Nathan KesslerJeffrey Susan Johnson Jessie Jonas Sydney Kennedy Anonymous Michaela Lipsey Kathy Marambe Jay Margulies Nancy Matthews Anne McLaughlin Kathryn Mclaughlin Tara McMahon Bill & Nancy Meyer Kathryn Midson Derek Mong Samantha Moore Amanda Moswin (in honor of Melissa Bockwinkel) Sheila Murty Carlton Olson Doris Pascoe Sheila Pastore Ronald Pausig Tiffani Penson Joan Peters Byron Peterson Jenny Pietka Shannon Planchon Sandy Polishuk Laura Potter
*
Roy Pulvers & Deborah Mandell Lorali Reynolds Charles & Barbara Ryberg Lorene Scheer Aaron Schwartzbord & Michael Weinstein Jim Scott The Shay Family (in honor of Lauren Bloom Hanover) Anonymous Elizabeth Stoessl Stephen & Alice Stolzberg Eric Storm Simon Thompson David Tillett Michael Toth Stacey Triplett David & Julie Verburg Elaine Vislocky Jane Wachsler Susan Waldron Barbara Walton Wendy Weaver David Weiss Charles Williams Carolyn Wood Kathleen Worley Gretchen Young Anonymous
Sustaining Producers who make a recurring monthly donation.
FOR THIS PRODUCTION PRODUCTION MANAGER: Karen Hill ASL INTERPRETERS: Dot Hearn, Kassie Hughes, Dana Walls BOARD OPERATOR: Ben Serreau-Raskin INTERNS: London Bauman, Production Apprentice
UP NEXT
BRIGHT HALF LIFE
SPECIAL THANKS: Aimee GenterGilmore, Artsake TM Productions, Erin Stewart, Grace Khasar, Jeremy Garfinkel Production services provided by Artists Repertory Theatre
FOR STRING HOUSE THEATRE SOUND DESIGNER: Jesse Rope VIDEO DESIGNER: Jess Farr PROJECTION DESIGNER: Molly Gardner
STAFF Lauren Bloom Hanover, Interim Artistic Director Matthew Jones, Managing Director Natalie Genter-Gilmore, Marketing & Communications Manager D Westerholm, Patron Information Manager Summer Olsson, Education Coordinator
BOARD OF DIRECTORS Melissa Bockwinkel Richard Bradspies Paul Duden Linda Jensen Margaret McKay Kush Pathak
Pancho Savery Mary Simeone Melissa Stewart Carol Tatch Steve Young, Board Chair
RESOURCE COUNCIL Adriana Bear Lue Douthit Erika George Leslie Johnson Len Magazine Susan Magazine
Mike Lindberg Patrick Stupek George Thorn Jane Unger Julie Vigeland Priscila Bernard Weiden
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By TANYA BARFIELD Directed by REBECCA LINGAFELTER OCTOBER 27– NOVEMBER 13, 2016 Tickets at profiletheatre.org 503.242.0080
HELP US MEET THE CHALLENGE In preparation for our 20th Anniversary Season, 2017 Season sponsor Ronni Lacroute has challenged us to raise an additional $20,000 in contributions during our 2017 Season Subscription Campaign. She is prepared to match all new and increased gifts made with your subscription purchase, up to a total of $20,000. Ronni is truly excited to be partnering with us to bring the work of Quiara Alegría Hudes to our stages. Please join us in making the 20th Anniversary Season our biggest season to date!
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ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
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Photo by Will Nielsen.
One-of-a-kind actor Lauren Modica steels her nerve for a solo show.
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ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
AN ARTSLANDIA FEATURE
It’s
an understatement to say that Lauren Modica's in a unique position. Quick to claim that she's the “most inspirational half-Black dwarf actor in town,” she's equally quick to laugh that accolade o�f, admitting she craves a bigger challenge than winning in a category where there's technically no contest.
Oh—and she’s fully aware that that level of laboration with Chicago’s legendary Second Murray, and she’s mustering her courage for frankness can shock people...but no more City comedy troupe. That show continued one of acting’s greatest feats: the one-perthan others’ remarks have sometimes over three holiday seasons and was by all son show. The ultimate assertion of self-reshocked her. From friends who’ve insensi- accounts a physical and comedic “workout,” flection and the pure, unadorned ability to tively blurted that they “couldn’t imagine” finally gave Modica the visibility and further entertain, the solo show is also the mode of raising a dwarf child; to a homeless inebriate on-the-job training her talents deserved. expression Modica’s biggest heroes Patton yelling “midget” at her in a parking lot; to Oswalt and Jeanine Garofalo have chosen. “I’ve been so, so lucky to work with the comBut she says the idea of the “one woman family members who initially discouraged panies I have, as often as I have,” she gushes. her from following her dream of acting, Modshow” comes with unique baggage. As she ica’s lived through a rare spectrum and prospective director Pat Moran of tragicomedy. Some stories, she’ll undertake preliminary planning, I think if I weren’t a dwarf, I wouldn’t volunteer in conversation. Others, they’ve already joked about one even be a performer. I’d have just stuck woman show clichés. she’s saving for the stage.
“
Since coming of age in Portland, with journalism or public relations. Modica’s paid her dues on the theater scene, starting with community productions, then attending “the gen- “I hope that continues! But I don’t want to feel erals” and bigger companies’ open auditions bitter or helpless if it ever changes.” to snag an ever-steadier stream of ensemble Well, there’s only one surefire way to ward roles. Having earned an extraordinary repoff The Casting Blues—star in your own utation for hard work, humor and intensity, play—so that’s the actor’s next plan. Modica’s in 2013 she got her first big break: a role (or currently workshopping an original two-peractually several) in Portland Center Stage’s son show with fellow local luminary Chris sketch comedy Twist Your Dickens, a col-
”
“I feel like people will expect me to wear a black turtleneck, and at some point I’m just gonna drop to my knees and let out a primal scream!” she laughs. “But who wants to listen to that?” She’d prefer, she says, to give her material a wry twist, and to balance any dwarf-specific stories with plenty of universal themes.
“Don’t get me wrong; I have deep grief sometimes for what I rolled in, basically, genetic CONTINUED ON PAGE 20
The Role of a Lifetime
by A.L. Adams
ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
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NOV. 30 – DEC. 30
TWO HOLIDAY CLASSICS! Portland Center Stage at
Tickets at pcs.org, by phone at 503.445.3700 or drop by at 128 NW Eleventh Avenue. Above: Hershey Felder in Hershey Felder as Irving Berlin. Photo by Eighty Eight Entertainment; Below: Darius Pierce in The Santaland Diaries. Photo by Patrick Weishampel/blankeye.tv.
NOV. 26 – DEC. 24
PRESENTS
Eva Burton | Photos by James McGrew
Oct. 8 – Oct. 15, 2016 | Keller Auditorium
TICKETS START AT $29 | www.obt.org | 503-222-5538 Featuring the OBT Orchestra and Portland Pianist Hunter Noack
SUPPORTED IN PART BY:
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On sale now: single tickets, subscription packages, holiday programming, special events, and a NEW chamber music series. Opening night is October 14. Order today!
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BE IN THE NOW. BE IN THE KNOW. View our online calendar at ARTSLANDIA.COM
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ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
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CONTINUED FROM PAGE 17 roulette, but I also have a fierce self-protectiveness that doesn’t let me go there. For some reason, this has been the year when people keep coming up to me and saying, ‘I know a dwarf who committed suicide.’ I realize they’re unburdening themselves by sharing...but I’m like, ‘Where does that leave me?’ Dwelling on unfairness onstage would be irresponsible. We’d all end up feeling worse. At the same time, I’m aware that many people see me as an inspiration...but I don’t want to frame myself that way, either, like:”
I feel like people “ will expect me to wear a black turtleneck, and at some point I’m just gonna drop to my knees and let out a primal scream! But who wants to listen to that?
”
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ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
Here, Modica perks up into her best suburban housewife impression. “Look at her! She’s doing it! Shopping at New Seasons! Living her best life!” Her switch into the funny voice evokes another Lauren—Lauren Weedman, who previewed her own solo show in progress, the PCS-commissioned Lauren Weedman Doesn’t Live Here Anymore, at this summer’s JAW Festival. Modica pulled some strings at PCS to workshop with Weedman, and came away energized. “She has such a great way of combining physicality, musicality, tragedy—and this ability to drop these profound revelations on you out of nowhere...and she doesn’t mind leaving space for you to really feel whatever she’s said.” Weedman encouraged Modica explore possibilities for props and sets, but Modica’s not sure she’s ready. “I don’t think I can wheel out some box of scarves on my first attempt,” she
LAUREN MODICA laughs. “I’m more picturing just one stool in the middle of the stage. But we’ll see.” Her plans are proceeding at an interesting political moment. As Black Lives Matter haunts the national conscience, local diversity discussions are popping up with increased frequency among arts groups like Portland Emerging Arts Leaders and dedicated issue forums like The Color of Now (led by Modica’s friend and former Dickens castmate Chantal DeGroat). When it comes to “intersectionality”—the study of so-called minorities within minorities—Modica alone can address her three particular forms of “otherness.” “Dwarfism is always what people see first.” she declares, but she also admits that she’s pondered a list of “what ifs”: “I think if I weren’t a dwarf, I wouldn’t even be a performer. I’d have just stuck with journalism or public relations.” “If I were a different race—well, I am half white, and people always misidentify my race anyway. Hawaiian, Pacific Islander...most people guess wrong. Whenever they get it without guessing and just go, ‘Yeah, you’re Black,’ I’m like, ‘Thank you.’ So I guess if I were a different race, maybe not much would change?” And as a male dwarf? “I’d probably be a really loud, obnoxious, joker-partier-skater type of bro. I can totally see myself in a backwards baseball cap, taking dares, calling out strangers, with absolutely nothing to lose. Sometimes I play a character like that to tease my sisters, and they’re like, ‘Knock it off ! We don’t like that guy.’” As much as a solo show will enable Modica to explore her existing facets (bro voice optional), she also hopes it will help clear her passage into a next phase. “I’m starting to want things. Like a house. A dog. A fig tree. Maybe children? A solo show is something I’ve wanted but resisted for a long time, and this is the point when I have the fewest reasons I’ll ever have to say no. I want this show to be like building a tiny house: a secure structure that I can inhabit for a while and take it places. I intend to live without regret.” Modica pauses. And we feel it. . ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
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®
AT TH E P E R FO R M A N C E
PUBLISHER & FOUNDER Misty Tompoles EDITOR-AT-LARGE Barry Johnson COPY EDITOR Kristen Seidman DESIGNERS Megan C. Cutler Lisa Johnston-Smith MEDIA DIRECTOR Chris Porras PUBLISHERS REPRESENTATIVE Lindsey Ferguson PUBLISHING COORDINATOR Bella Showerman SPECIAL PROJECTS Ahnyah Krummenacker CONTRIBUTING WRITERS A.L. Adams Barry Johnson PHOTOGRAPHERS Will Nielsen EDITORIAL INTERNS Lauren Abbott Anyi Wong-Lifton Carleigh Oeth DESIGN INTERN Anna Payne
PROFILE THEATRE Natalie Gender-Gilmore, Marketing & Communications Manager
Artslandia at the Performance is published by Rampant Creative, Inc. ©2016 Rampant Creative, Inc. All rights reserved. This magazine or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher. Rampant Creative, Inc. /Artslandia Magazine 6637 SE Milwaukie Ave. #207 | Portland, OR 97202
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ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
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Discover A World of DANCE GREAT BRITAIN . FRANCE . ISRAEL . BRAZIL . CANADA . ARGENTINA . UNITED STATES
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ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
WWW. PORTLANDPLAYHOUSE. ORG
WHAT’S YOUR
WE INTERVIEWED 50 OF OUR FAVORITE ARTISTS ABOUT THEIR FAVORITE PORTLAND PLACES.
FAVORITE
Vin Shambry ACTOR & AUTHOR
FAVORITE PLACE Colonel Summers Park
HOMETOWN Portland, Oregon
WHY IS THIS YOUR FAVORITE PLACE? “Colonel Summers Park was a place where I started going four years ago to learn lines, do yoga and light workouts early in the morning. There is a stillness and calmness to the parks vibe. The trees that surround the park are stunning.”
PORTLAND HAS CHANGED... “its identity quite a bit. It is my duty as a performing artist to elaborate and tell the stories of the people who have been displaced and how that pain feels.”
Vin is currently starring in The Gun Show at CoHo Productions. Go to artslandia.com and listen to Vin and The Gun Show playwright, E.M. Lewis, discuss the production with Susannah Mars, host of the podcast Adventures in Artslandia.
Photo by David Rollins.
PLACE
PROFILE THEATRE NAMES JOSH HECHT AS ARTISTIC DIRECTOR
Natalie Genter-Gilmore Marketing & Communications Manager | Profile Theatre
Prof ile Theatre is pleased to announce Josh Hecht as its new Artistic Director after a seven month national search. Hecht succeeds Adriana Baer (2012– 2015) and Founding Artistic Director Jane Unger (1997-2012). Hecht will begin his tenure in February 2017. “We are especially excited to have Josh Hecht join us because he brings outstanding
Playwrights Coalition, developing new plays by some of the most honored young playwrights of the last decade including Stephen Adly Guirgis, Lucy Thurber, David Adjmi, Adam Bock, Itamar Moses and many others. At WET he developed new work by some of our most prominent female playwrights including Anna Ziegler, Melissa James Gibson, and Kate Robin. He has consulted with the Lake George Theatre Lab and the Great Plains Theatre Conference, helping them expand their programming and community engagement initiatives. As a freelance director, Hecht’s work has received the Drama Desk Award for Unique Theatrical Experience, Festival First awards at the Edinburgh Festival Fringe and Dublin Arts Festival, and has been nominated for the IRNE Award (Boston) and the GLAAD Award (New York). Productions have been seen at theaters around the country including the Guthrie Theater, the Humana Festival of New American Plays at Actors Theater of Louisville, the Berkshire Theater Festival, the Kennedy Center, No Rules at Signature Theater Company in DC, and in New York at MCC Theater, the Cherry Lane, the Duke on 42nd Street, The Culture Project and the Obie-winning collective 13Playwrights, among others. “I’ve spent my career guided by the belief that it is our writers who help us dream our culture forward,” says Hecht. “I’m thrilled to join Profile Theatre, whose distinctive mission uses one playwright’s vision as a lens to help us better understand ourselves and our world. And I am inspired by Profile’s commitment to artistic excellence, robust community engagement and to presenting artists who reflect the diversity of our shared culture.” Hecht will arrive at Profile Theatre in February 2017 to launch Profile’s 2017 Quiara Alegría Hudes Season. “I’ve been a fan of Quiara Alegría Hudes since seeing Elliot nearly a decade ago,” says Hecht. “I find her plays profoundly optimistic in world-view, without ignoring the complicated, often painful realities of our lives. They seem to suggest that human connection is the salve that can begin to heal even the biggest traumas.” He will direct the rotating repertory productions of Pulitzer Prize-winning Water by the Spoonful and its sequel The Happiest Song Plays Last, the first time these two have been performed in repertory with a single cast.
experience coupled with a shared vision and passion for the unique place Profile fills in the Portland arts scene.” says Richard Bradspies, Profile Board member and head of the Artistic Director search committee: Hecht comes to Profile after having previously served in senior staff positions at two important theaters in New York, MCC Theater and WET. While at MCC, he commissioned new work by Terrence McNally and John Guare, dramaturged Tony-nominated plays by Bryony Lavery and Neil LaBute, and created and ran the
The Oregon Community Foundation provides tax-deductible options to help create a brighter horizon for Oregon’s future.
oregoncf.org
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ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
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ARTSL ANDIA AT THE PERFORMANCE • SEPT | OCT 2016
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SEASON TICKETS START AT JUST $70.50! Visit www.pcs.org for more info.
LITTLE SHOP OF HORRORS By Alan Menken and Howard Ashman On the U.S. Bank Main Stage Sept. 10 – Oct. 16, 2016
HOLD THESE TRUTHS By Jeanne Sakata | In the Ellyn Bye Studio Oct. 1 – Nov. 13, 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
HIS EYE IS ON THE SPARROW
A musical biography of Ethel Waters
THE OREGON TRAIL By Bekah Brunstetter On the U.S. Bank Main Stage Oct. 29 – Nov. 20, 2016
By Larry Parr | In the Ellyn Bye Studio Feb. 4 – Mar. 19, 2017
WILD AND RECKLESS A new musical event from Blitzen Trapper
THE SANTALAND DIARIES
On the U.S. Bank Main Stage Mar. 16 – Apr. 30, 2017
By David Sedaris; adapted for the stage by Joe Mantello | In the Ellyn Bye Studio Nov. 26 – Dec. 24, 2016
HERSHEY FELDER AS IRVING BERLIN By Hershey Felder On the U.S. Bank Main Stage Nov. 30 – Dec. 30, 2016
Visit www.pcs.org for tickets! Katie deBuys in Stupid F***ing Bird. Photo by Patrick Weishampel/blankeye.tv.
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
DAY
MANY OF PORTLAND’S MOST TALENTED PERFORMERS HAVE SIDE JOBS—OR EVEN COMPLETE CAREERS— BEYOND THE PERFORMING ARTS. HERE’S ONE!
JOB
Margo Yohner AERIAL DANCER & PRINT COMPANY PRESIDENT BY DAY President of Bridgetown Printing Company
BY NIGHT
“In both roles, I aim to please! Whether I’m onstage or off, I’m most satisfied when customers, audience members, employees, fellow dancers, and my employer and artistic directors are elated with my performance. The biggest difference? Financial responsibility. At AWOL, I don’t have oversight of the Profit & Loss.” –Margo
PHOTO BY JASON QUIGLEY.
Margo is a performer with A-WOL Dance Collective, a company who defies gravity by using various types of apparatus—think hoops and silks—to dance aloft. She’s appeared recently in A-WOL’s Art in the Dark, a fantastical production among the trees that must be seen to be believed.
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