®
Profile Theatre Presents
WATER BY THE SPOONFUL & THE HAPPIEST SONG PLAYS LAST
BY QUIARA ALEGRÍA HUDES DIRECTED BY JOSH HECHT^
CAST IN ORDER OF APPEARANCE
DESIGNERS & PRODUCTION
Elliot.........................................................Anthony Lam (Water/Happiest) Yaz................................................... Crystal Ann Muñoz (Water/Happiest) Ghost/Ali.............................................. Wasim No'Mani (Water/Happiest) Odessa.....................................................................Julana Torres* (Water) Orangutan............................................................. Akari Anderson (Water) Chutes & Ladders................................................. Bobby Bermea*(Water) Fountainhead/Lefty................................Duffy Epstein (Water/Happiest) Shar........................................................................ Dre Slaman (Happiest) Agustín...............................................................Jimmy Garcia* (Happiest) Scenic Design...................................................................... Peter Ksander Costume Design.................................................. Brynne Oster-Bainnson Lighting Design........................................................................ Carl Faber+ Sound Design............................................................................Matt Wiens Cuatro Composer.......................................................... Gerardo Calderon Props Master........................................................................... Kyra Bishop Production Manager.................................................................. Jamie Rea Stage Manager.................................................................. Baleigh Isaacs* Assistant Stage Manager....................................................Breydon Little Assistant Director.................................................................. Ashlin Hatch PRODUCERS CIRCLE FOR THESE PRODUCTIONS Paul Duden.................................................................................... Producer The Standard.............................................................. Associate Producer
20TH ANNIVERSARY SEASON SPONSOR:
RUN TIME IS APPROXIMATELY 2 HOURS & 15 MIN WITH ONE INTERMISSION. WATER BY THE SPOONFUL and THE HAPPIEST SONG PLAYS LAST are presented by special arrangement with Dramatists Play Service, Inc., New York. WATER BY THE SPOONFUL was originally commissioned by hartford Stage (Michael Wilson, Artistic Director; Michael Stotts, Managing Director) through the AETNA New Voices Fellowship Program. World Premiere Production Presented by Hartford Stage October 28, 2011 (Darko Tresnjak, Artistic Director; Michael Stotts, Managing Director). New York Premiere Produced by Second Stage Theatre, New York, 2013 (Carole Rothman, Artistic Director). THE HAPPIEST SONG PLAYS LAST received its world premiere at Goodman Theatre, Chicago Illinoise on April 22, 2013 (Robert Falls, Artistic Director; Roche Schulfer, Executive Director). New York premiere of THE HAPPIEST SONG PLAYS LAST was produced by Second Stage Theatre, New York, 2014 (carole Rothman, Artistic Director).
WINE SPONSOR:
THIS SEASON IS FUNDED IN PART BY:
PHOTOS, VIDEO OR AUDIO RECORDING OF THIS PERFORMANCE 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.
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+Represented by United Scenic Artists - Local USA 829 of the International Alliance of Theatrical Stage Employees.
PROFILE THEATRE
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FROM THE ARTISTIC DIRECTOR JOSH HECHT
FROM THE PLAYWRIGHT QUIARA ALEGRÍA HUDES
I SPEND A LOT OF TIME THINKING ABOUT COMMUNITY.
IN THE WAKE OF HURRICANE MARIA, basic things like sending emails
It’s one of the reasons I was first drawn to the theater as a teenager, and it’s a necessary preoccupation of mine as an Artistic Director. But what is it, exactly? And where do we find it?
take on a heightened emotional vibration. You can’t just say hi anymore. You have to ask how people’s folks on the island are, and update them on your own family. All this trauma and gratitude are nested into the same salutation. Whiplash sentiments, side by side.
In Water By The Spoonful recovering addicts find community in an anonymous internet chat room where they keep each other alive through the sharing of experience, hope and wisdom. Though they don’t know even the most basic facts about each other’s lives, they know each other with a depth and campassion they find nowhere else, not with their spouse, or their children. And yet, in the play’s final images one senses the ineffable need to be seen and loved—and held—in the flesh.
There’s a speech in Happiest Song about a man who gets stuck in Puerto Rico during a hurricane. I wrote the speech based on oral histories from my own family. Generations ago, my grandfather was the sole survivor of a devastating flood in La Esperanza. He moved to sturdier ground in Arecibo and planted new roots there. Now Arecibo is under many feet of water, the municipal cemetery has been washed away in places, and as of this writing, we are trying to establish contact with the local nuns who work with Arecibo’s large population of impoverished children. But we’ve been unable to connect with them.
Working on The Happiest Song Plays Last our Assistant Director Ashlin Hatch noted two kinds of community activism sitting side-by-side in the play: large-scale protest interwoven with smaller, neighborhood-based work. Yaz’s “open door, open stove” is an act of resistence to the dehumanizing effects of corporatized, privatized social services. She has planted roots in her neighborhood community, both drawing nourishment from and providing nourishment to the soil she finds there. It is a profoundly embodied act.
The essence of being Puerto Rican, and diasporic, is as cyclical as nature itself. We are always withering, we are always replanting. We marvel at how the two inform each other, like flip sides of a coin. Our agrarian roots have planted this reality deep in our spirits, even though few of us are farmers today. We know that crops thrive and die, wither and burst, as do our songs, dreams, and bricks-andmortar barrios.
I think we find community right here. At its best, the theater is, in Anna Deavere Smith’s words, a “convening ground,” where we explore the things that make inhabiting a city, country and world together so complicated. We have a responsibility to present the lives of all different kinds of Americans and to recognize them as our own. In doing so, we make a small movement towards knitting together an American fabric that we want and need. The theater I want is a place where we strive to say “all are welcome here,” where, as Aristotle taught us, we witness and recognize each other’s fears and sadness, and in that collective witnessing are somehow transformed. We need spaces where we feel seen. Lately, I’ve found myself drawn to theater experiences that enhance this collective seeing. The set design of Water By The Spoonful and The Happiest Song Plays Last needs to do many things— it needs to take us to Jordan, to North Philly, to cyberspace. But something else that it attempts to do is put us all—actors and patrons, playwright, characters and you—in the same space, to create a community in which we are, in Ali’s words, “witnesses for each other.”
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Though my own work has been accused of nostalgia and even sentimentality, these are emotions I learned from the traditional repertoire of songs that held firmly, and with profound love, to a volatile past. I counter this criticism: love’s not sentimental when it is an effective form of survival and one of our primary methods of historic record-keeping. I think, looking at these plays with some distance, they are about the two-sided coin that I’ve been noticing in the wake of Maria. The despair and the tenderness, forever informing each other. In my fictional hurricane monologue in Happiest Song, Agustín parties on the brink of tragedy. A triumph in and of itself.
QUIARA ALEGRÍA HUDES PLAYWRIGHT Quiara Alegría Hudes is a playwright, professor of writing and theater at Wesleyan University, and native of West Philly, U.S.A. Hailed for her work’s exuberance, intellectual rigor, and rich imagination, her plays and musicals have been performed around the world. They are Water By the Spoonful, winner of the Pulitzer Prize for Drama; In the Heights, winner of the Tony Award for Best Musical and Pulitzer finalist; Elliot, A Soldier’s Fugue, another Pulitzer finalist; Daphne’s Dive; The Good Peaches; Miss You Like Hell; and The Happiest Song Plays Last. Hudes is a playwright in residence at New York’s Signature Theater and a proud alum of Philadelphia Young Playwrights.
WATER BY THE SPOONFUL & THE HAPPIEST SONG PL AYS L A ST
Quiara AlegrÃa Hudes
IN CONVERSATION
With Josh Hecht Sat, November 18 th 11:00am Meet Quiara at this special speaking event and reading live on the Alder Stage. Afterwords, have a script signed by the writer and enjoy a catered reception.
TIckets: PROFILETHEATRE.ORG
PROFILE THEATRE
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CAST & CREATIVE TEAM ANTHONY LAM Elliot Water/Happiest
Anthony is returning to Profile Theatre to continue his work as Elliot Ortiz, seen in the season opener Elliot, A Soldier’s Fugue. His past theatre credits include: Michael in the stage reading of Washer/Dryer with Theatre Diaspora and Atómiko in Miracle Theatre’s production of Into The Beautiful North. He spent the summer filming Translated, a feature film in Eugene, OR as well as working on commercials throughout the Northwest. CRYSTAL ANN MUÑOZ Yaz Water/Happiest
Crystal is honored to be working with this earnest, fearless group of artists. Profile audiences may have seen her previously in Eyes for Consuela (Sam Shepard season) or the Drammy Award winning Orlando (Sarah Ruhl season). Other Portland credits include The Importance of Being Ernest; Civil War Christmas (Artists Repertory Theatre), Olivia in Twelfth Night (Portland Shakespeare Project), The Huntsmen (Portland Playhouse), Kiss of the Spiderwoman (Triangle Productions) and In The Heights (Stumptown Stages), another work by tonight’s playwright, Quiara Alegría Hudes. Thank you for joining us. “Somos Americanos. Punto.” JULANA TORRES* Odessa Water
Julana is a Portland local with an extensive career in dance, music, and theatre. She has recently returned to the stage after a long hiatus to teach with Portland Public Schools and establish the full time dance program for Franklin High School. She is beyond ecstatic to return to Profile after performing last spring as Beatriz in 26 Miles. Other credits include Óye Oyá (Milagro Theatre), Cuba Libre (ART), West Side Story (Musical Theatre Company), Peter Pan (Civic Theatre). Upcoming works include feature film Losing Addison, and Between Riverside and Crazy this spring with Artists Rep. She also performs as the lead singer for popular latin jazz orchestra The Bobby Torres Ensemble.
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DUFFY EPSTEIN Fountainhead/Lefty Water/Happiest
Duffy is really happy to be working at Profile Theatre again, having appeared as Saul in True West. Recent appearances include Slank in Peter and the Starcatcher; Ian in The Other Place (Portland Playhouse), Duane/db in db (Coho), Harold in I Want To Destroy You (Theater Vertigo), Cash in The Pain and the Itch (Third Rail). For Judy! BOBBY BERMEA* Chutes & Ladders Water
Bobby is thrilled to be returning to Profile where he last appeared on stage during the Athol Fugard season in “Master Harold” ...and the Boys and My Children! My Africa! He also directed last season’s Blue Door. Bermea is co-artistic director of The Beirut Wedding World Theatre Project and a member of both Sojourn Theatre and Badass Theatre Company. He is a playwright, director, contributor to Oregon ArtsWatch and three-time Drammy award winning actor. Bermea has worked in theaters literally from New York, NY to Honolulu, HI. Coming up, look for Bermea in Between Riverside and Crazy at Artists Rep, Fences at Portland Playhouse and The Librarians on TNT. AKARI ANDERSON Orangutan Water
Akari is thrilled to be making her Portland debut at Profile. Theatrical credits include Anna in The Baltimore Waltz (Powerhouse Theatre), Ophelia in Hamlet (Martel Theatre), Sabina in The Skin of Our Teeth (Vassar College), Susan in The Secretaries (Idlewild Ensemble), and Ensemble Member in On The Table (Sojourn Theatre Company). Film: Frances Ha (dir. Noah Baumbach). Holds a BA in Drama from Vassar College. Special thanks to Tomiko, Reed and Hiroko. WASIM NO’MANI Ghost/Ali Water/Happiest
Wasim is an actor. Meaning, he tries to tell the truth whilst lying. Indeed, he is as confused as that sounds.
WATER BY THE SPOONFUL & THE HAPPIEST SONG PL AYS L A ST
Wasim THANKS every one of his stupendously talented cast-mates. Watching their work is both a jubilant joy and frantically frightful. Wasim deeply THANKS director, Josh Hecht, for including him in this creative process. An emphatic extension of GRATITUDE to Quiara Alegría Hudes whose words we are all trying our damndest to live up to. Wasim eternally THANKS his family for their insistent support, despite the questionable nature of the undertaking Finally, Wasim THANKS YOU, audience member. Without you, there’s no point in this. DRE SLAMAN Shar Happiest
Dré earned her MFA in Acting at Northern Illinois University where she studied the Meisner Technique under master teacher Kathryn Gately. She has also studied at the Moscow Art Theatre, the William Esper Acting Studio (NYC) and received her BA in Theatre Arts at University of Pacific. Theatre Credits include: Jaffa’s Gate, The Stinky Cheese Man, Nine Parts of Desire, The ArabIsraeli Cookbook, Albee’s Everything in The Garden, Edgar’s Pentecost, and Hair. Dré’s on-camera credits include GRIMM, MEDIUM, and others. She owns and operates local company Farm to Fit and is on the Board of the Portland Area Theatre Alliance. JIMMY GARCIA* Agustín Happiest
After studying at Southern Oregon University and performing at the Oregon Shakespeare Festival, Jimmy is happy to be back in Portland where he began his acting career years ago on the stages of Milagro Theater, Stark Raving Theater and Portland Center Stage. In Southern Oregon, he performed a variety of roles working with such esteemed directors as Bill Rauch, Libby Appel and Pat Patton to name a few. He has most recently performed in Milagro’s world premiere Óye Oyá, ART’s A Civil War Christmas, Profile Theatre’s Elliot: A Soldier’s Fugue, and ART’s An Octoroon.
JOSH HECHT^ Director
School and St. Mary’s Academy where she enjoys spreading the love of costumes to the next generations. Brynne has worked as a costume designer for Broadway Rose, Third Rail, and CoHo. Highlights of her recent shows Fly By Night (BRTC), The Nether (TR), Angry Brigade (TR), and db (CoHo). She is very excited to work with Profile for the first time on these two incredible shows with this outstanding creative team.
Josh Hecht is the Artistic Director of Profile Theatre and is a Drama Desk Award-winning director whose productions have been seen in New York at MCC Theater, The Cherry Lane, The Duke on 42nd Street, New World Stages, Culture Project, regionally at The Guthrie Theater, the Berkshire Theatre Group, the Humana Festival at Actors Theatre of Louisville, Signature Theatre (DC) and internationally at the Dublin Arts Festival and the Edinburgh Festival Fringe and elsewhere. His collaboration with Ping Chong and Company was commissioned by and premiered at The Kennedy Center before touring the northeast. His writing has received the support of the Jerome Foundation. He is formerly the Director of Playwright Development at MCC Theater and the Director of New Play Development at WET. He’s served on the faculty of the New School for Drama MFA Directing program, the Fordham University MFA Playwriting program, Purchase College SUNY’s BFA Dramatic Writing program and has been a guest artist at The Juilliard School, NYU’s Dramatic Writing MFA, Carnegie Mellon’s MFA Playwriting, University of Minnesota’s BFA Acting program and others.
In three seasons with Profile Carl has designed: Orlando, Dead Man’s Cell Phone, Eyes for Consuela. Recent designs with Artists Rep (Grand Concourse, Broomstick), Third Rail (The Angry Brigade), Broadway Rose (Trails, Beehive Drammy Best Lighting), Theatre Vertigo (Carnivora), NWCT (Mary Poppins). Regional: Arena Stage, Boston ICA, Williamstown Theatre Festival. Touring Production/IT: Bruce Springsteen and the E Street Band. Touring Associate Lighting/Video: Bon Iver, The National. Lighting Artist: Eaux Claires Music Festival. Founding Member: Woodshed Collective NYC. Staff Assistant Lighting Designer: Portland Opera. Broadway Assistant Designer: The Book of Mormon. Education: Catlin Gabel, Vassar College. Member: United Scenic Artists Local USA-829. www.carlfaber.com
PETER KSANDER Scenic Design
MATT WIENS Sound Design
Peter is a scenographer and media artist whose stage design work has been presented both nationally and internationally. In 2006 he joined the curatorial board of the Ontological-Hysteric Incubator. In 2008 he won an Obie award for the scenic design of Untitled Mars (this title may change), and In 2014 he won a Bessie award for the visual design of This Was the End. He holds a MFA from the California Institute of the Arts, is an Associate Professor at Reed College and is an associate company member with the Portland Experimental Theatre Ensemble. This is his second design with Profile having designed Bright Half Life last season. BRYNNE OSTER-BAINNSON Costume Design
Brynne received her BA from Drew University in 2013. She works as the wardrobe supervisor for Broadway Rose Theatre Company and is also the costumer for David Douglas High
CARL FABER+ Lighting Design
Matt is excited to be a part of Profile’s Quiara Alegría Hudes season. Recent work includes Pen/Man/Ship, How I learned What I Learned, and You For Me For You, at Portland Playhouse. Matt would like to thank his family for their support and encouragement! KYRA BISHOP SANFORD Props Master
Kyra is excited to be part of this production! Local credits include scenic and props designer and TD for You’re a Good Man Charlie Brown (Enlightened Theatrics) and Troilus and Cressida (Portland Actors Ensemble), scenic and props designer for The Pillowman (Life in Arts), production designer and TD for Men Run Amok (part of Fertile Ground 2017), props master for The Events (Third Rail Rep), Plaid Tidings (Enlightened Theatrics) and Reborning (Beirut Wedding), as well as carpentry and paint work at various theatres in the area. She received her
BFA in Scenic Design from the Conservatory of Theatre Arts at Webster University. www.sanfordscenic.com BALEIGH ISAACS* Stage Manager
Baleigh is delighted to be working with Profile Theatre for the first time, marking her Portland debut after spending a dozen years in Chicago. Her Chicago credits include productions at Steppenwolf, Lookingglass, Chicago Shakespeare, American Blues, Remy Bumppo, and Drury Lane as well as Million Dollar Quartet, Love, Loss, and What I Wore, Old Jews Telling Jokes, and Motherhood the Musical. Baleigh has also worked with the Alliance Theatre and Georgia Shakespeare in her hometown of Atlanta. Her NYC credits include Les Miserables, The Rhythm Club, and Summer of ‘42. JAMIE REA Production Manager
From Berlin’s aerialist street ensemble, Grotest Maru to Wellington’s all female dance ensemble JAVA, Jamie has been exploring this powerful tool of connection and change for over 2 decades. Serving as an award winning director, designer, and performer, she has worked up and down both coasts and as far away as Australia. She does however also love to plant roots, building a human-resource-focused way of working, as a foundation for extraordinary art. To that end, it has been her pleasure to serve as Production Manager for Jewish Theatre Collaborative for 9 years, for Enlightened Theatrics for the past 3 years, and by project for many others including Sojourn Theatre and The Beirut Wedding World Theatre Project. BREYDON LITTLE Assistant Stage Manager
Breydon is ecstatic to be working in rep with Profile this fall! He is a stage manager with credits at Portland Playhouse, and independent projects with Michael Streeter, Beth Thompson, and Elizabeth Huffman. He is a proud member of Theatre Vertigo and a production manager at Clackamas High School. ASHLIN HATCH Assistant Director
Ashlin is thrilled to be collaborating on her first project with Profile. Other recent directorial credits include Nice Town, Normal People (Rhizome Theater Co.) and This Must Be the Place (Reed College)—both devised, interview-based performances aiming to sow seeds of social cohesion, compassion, and kindness. PROFILE THEATRE
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MISSION: To produce a season of firstclass productions and community engagement activities centered around a single writer whose vision broadens our perspective on our world and deepens our collective compassion.
One Playwright, One Vision, One World
JOIN OUR FAMILY CIRCLES PROGRAM! BECOME A MEMBER OF OUR INNER CIRCLE OF SUPPORT! By making a contribution you directly support our unique mission and get the chance to experience equally unique events. Family Circle members enjoy benefits that build fellowship with other passionate theatre patrons and Profile Theatre artists. Gain access to the intimacy of the playmaking process as we talk about the plays, observe the work of artists, discuss theater’s impact on our community and immerse ourselves in Profile’s distinctive season of work. Let’s discover together the integral role you play in making all of it happen!
FAMILY CIRCLE LEVELS DIVERSITY AND INCLUSION INITIATIVE
2018 will be the third year of our commitment to producing solely the work of women and people of color. The theater has a unique ability to help us see our world in new ways and to help us envision the world that we want. The Diversity and Inclusion Initiative is intended to help address the over-representation of one group of people in what has traditionally been understood as the theater canon. Throughout the initiative, we are putting questions of Diversity and Inclusion front and center through our In Dialogue Programming, using the theater as a space to have critical conversations. We are committed to continually ask “How do we define community?” and “How can the theater be an active part of communityformation?”
2017 Quiara AlegrÍa Hudes 2016 Tanya Barfield 2015 Sarah Ruhl 2014 Sam Shepard 2012–2013 Athol Fugard 2011–2012 15th Anniversary Season 2010–2011 Lee Blessing 2009–2010 Horton Foote 2008–2009 Neil Simon 2007–2008 John Guare 2006–2007 Wendy Wasserstein 2005–2006 Lanford Wilson 2004–2005 Terrence McNally 2003–2004 Romulus Linney 2002–2003 Edward Albee 2001–2002 Harold Pinter 2000–2001 Arthur Miller 1999–2000 Constance Congdon 1998–1999 Tennessee Williams 1997–1998 Arthur Kopit
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PROFILE THE ATRE
Extended Family $100–249 Siblings $250–499 Grandparents $500–999 Parents $1000–1499 Godparents $1500+
EVENTS Playwright Profile Salon First Reads (and above) Behind The Scenes (and above) Artists Dinner (and above) All above PLUS - 2 Tickets to Annual Benefit - Playwright Luncheon (*dependent on availability of playwright)
Full details and event descriptions online at our DONATE PAGE
FOR THIS PRODUCTION PRODUCTION ASSISTANT: Charlie Capps BOARD OPERATORS: Dave Peterson, Sean Roberts WARDROBE: Virginia Kilkelly SPECIAL THANKS: Jonathan Cole COSTUME INTERN: Tyler Sullivan PRODUCING ASSISTANT: Mariel Sierra PUBLIC RELATIONS CONSULTANT: Natalie Genter-Gilmore ASL INTERPRETERS: Dot Hearn, Kassie Hughes COMMUNITY COUNCIL: Cambria Herrera Carolyn Brockway Maggie McKay Melissa Magaña Nelda Reyes
Roy Perez Sean Davis Santos Herrera Tony Funchess
Production Services by Artists Repertory Theatre
STAFF Josh Hecht, Artistic Director Lauren Bloom Hanover, Associate Artistic Director Matthew Jones, Managing Director Aiyana Cunningham, Director of Donor and Patron Relations Karl Hanover, Box Office and Administrative Coordinator
BOARD OF DIRECTORS Richard Bradspies, Chair Steve Young, Treasurer Melissa Bockwinkel, Secretary
Paul Duden Linda Jensen Margaret McKay Kush Pathak Pancho Savery Melissa Stewart
RESOURCE COUNCIL Actors’ Equity Association (AEA), founded in 1913, represents more than 50,000 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
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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THANK YOU TO OUR GENEROUS DONORS $10,000 AND ABOVE Age & Gender Equity in the Arts The Collins Foundation 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 and the Arts in Education Access Fund The Shubert Foundation Dan & Priscilla Wieden Work for Art, including contributions from more than 75 companies and 2,000 employees Steve Young & Jane Fellows
$5,000–$9,999 Autzen Foundation Francie & Paul Duden Anonymous The Jackson Foundation Leslie Johnson Oregon Arts Commission Oregon Cultural Trust Janet Schwartz (in honor of Mayer Schwartz) Rose E. Tucker Charitable Trust The Wyss Foundation
$2,500–$4,999 Richard Bradspies & Dore Everett Diane Herrmann The Ralph & Adolph Jacobs Foundation Linda Jensen & Robert Nimmo National Endowment for the Arts Anonymous Pancho Savery The Standard
$1,000–$2,499 Arlena Barnes & William Kinsey Melissa Bockwinkel Colleen Cain and Philip Miller Wendy & Tom Hawkins Robert Holub Leslie Labbe Anonymous Leotta Gordon Foundation Elisabeth & Peter Lyon Susan & Leonard Magazine Kush Pathak+ Pride Financial Partners, Inc
Richard & Mary Rosenberg Charitable Foundation Gilbert Shaw & Liana Colombo Mary Simeone Kathleen Stephenson-Kuhn* Melissa Stewart & Don Merkt Patrick Stupek+
$500–$999 Ann Bardacke & David Wolf Don & Mary Blair Nita Brueggeman & Kevin Hoover Sonia Buist M.D. Bob & Janet Conklin Deborah Correa & Mark Wilson Carmen Egido & Abel Weinrib Rich & Erika George+ Judy Henderson* Cecily Johns Jessie Jonas Dolores & Michael Moore North Star Foundation Portland General Electric Rick & Halle Sadle
$100–$499 Amy Lawrence Norma Reich Kay & Roy Abramowitz Elizabeth Anderson Rachael & Scott Anderson Linda Apperson Todd & Abby Barran Laura Barton Jerry Bockwinkel Karl & Linda Boekelheide Christine Bourdette & Richard Lovett Anonymous (in honor of Maggie McKay) Jim & Karen Brunke Rita S Charlesworth Debi A. Coleman Chris Coughlin John & Maryellen Coutu Marvin & Abby Dawson+ Christian Dreyer Steve Fenwick Edith & Williamson Fuller Robert & Melissa Good Barbara & Marvin Gordon-Lickey Dawn Hayami Dot Hearn Jay Hecht Anonymous Paul Jacobs+
This list acknowledges gifts given between October 1, 2016–September 30, 2017
Elizabeth Johnston Diane & Reza Kamali Hank Keeton & Norma Jean Standlea Helen Kelley* Ed & Elaine Kemp Jeff & Carol Kilmer Carol Kimball Diane Kondrat Anonymous Scott Lewis & Sarah Slipper Dorothy Lyman Nancy Matthews Gary McDonald & Barbara Holisky Charlie Meshul & Maureen Ober Jim & Sally Petersen Mojabeng Phoofolo Daniel Pollack-Pelzner Wendy Rahm Richard Rees Charles & Judith Rooks Darrell Salk & Tricia Knoll Curtis Schade & Jacquie Siewert-Schade Devani Scheidler & James Kearney Olivia A. Solomon Ruth Sorensen Pam Sterling Gary Taliaferro Peter Thacker & Lynn Taylor Margaret Thompson George & Nancy Thorn David & Lucy Anne Tillett Marcia Truman Tom & Linda Unger (in honor of Jane Unger) Carolyn Wood Bradley Wulf & Ryan Bradshaw Janet Zell
UP TO $99 Kris Alman Darlene Bedel Erwin Boge Howard & Suzanne Berwind Joe Blount Priscilla Carlson Monica Cereseto (in honor of Maggie McKay) Ilaine Cohen Margaret Collins Jerry Colson & Veloris Montonye Kristeen Crosser Carolyn Dale David Deutch Kay Elmore
Work for Art Participants: These patrons direct their support to Profile Theatre through the Work for Art Program within the Regional Arts & Culture Council.
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Carolyn Gassaway Cheryl Gatti Tim & Jan Gillespie Lynn Goldstein Mary & Gordy King (in honor of Sergio Ortiz) Janet Goulston Michael Griggs Rosa Loprinzi Hardin Robert Hayes Lynnette & Don Houghton Ellen Jean Susan Johnson Matthew Jones & Theresa Humes+ Colin Jones Aija Kanbergs Roger III Anonymous Phoebe Krueger Karla Mason Judy McKeever Kathryn Mclaughlin Jack MacNichol Joyce O'Halloran Mark Oldani Carlton Olson Oregon Cultural Trust Mary Overman Veronica Paracchini Carol Sherman Rogers Chiquita Rollins Charles & Barbara Ryberg Dianne Sawyer Vincenza Scarpaci Deborah Schauffler Dre Slaman Larry Smith (in honor of Sophia Ninos) Tamara Sorelli Martha Spence Alice and Stephen Stolzberg Kate Stover Beth Thompson Lauren Turner Susan Vargo David & Julie Verburg Judi & J Wandres Judy Werner Bob & Dawn Wilson+ Carol Ann & Patrick Wohlmut Kathleen Worley Minnie Young
Sustaining Producers who make a recurring monthly donation. PROFILE THEATRE
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