Adventures of Huckleberry Finn: Uncensored

by ma rk tw ai n

conceived by jane jones and judd parkin | Ada

April 16 - May 12, 2013

up next: the financial lives of the poets

pted by Judd Parkin | Directed by Jane Jones

let’s talk

twain

Myra Platt speaking at Book-It’s first Twain Talk, held at Town Hall; photo by Josh Aaseng.

Are Twain’s observations on race in America as relevant now as they were a hundred years ago?

The popularity of this novel continues to be followed by controversy. According to the Associated Press, Adventures of Huckleberry Finn is the fourth most banned book in the United States. Book-It doesn’t shy away from banned books.

Our Danger: Books! series tours a collection of the ever-growing number of banned or challenged books to middle and high schools each year.

Between 2003-2005, Book-It company artist Laura Ferri adapted and directed scenes from the novel that toured to more than 60 schools in the Puget Sound region. The company remembers that the reactions to Twain’s work were often heated. Now, ten years later, the novel is no less controversial.

Adventures of Huckleberry Finn: Uncensored, as conceived by Jane Jones and Judd Parkin, gives us all a new opportunity to vocally and honestly respond.

Last fall, Book-It partnered with Franklin High School in helping David Ehrich’s junior Language Arts class navigate their way through this historic novel. Jane Jones audited the class as part of her prep for conceiving her vision of the play and Book-It Director of Education Gail Sehlhorst teamed up with poet and teaching artist Daemond Arrindell to offer students a Book-It Style approach to the curriculum.

With support from Humanities Washington, and a cadre of community arts and humanities partners, Book-It offers Twain Talks—a series of community conversations around the topic of Twain, his novel, and racism. We want to take a candid look at where our culture is today compared with Twain’s time. To lead our discussions, Book-It has invited notable scholars David

Bradley (University of Oregon); Jocelyn Chadwick (Harvard University); and Shelley Fisher Fishkin (Stanford University)— all three of whom are featured in Ken Burns’ documentary on Mark Twain—Nancy Rawles, author of My Jim, and Sharon Williams, managing director of CD Forum.

Gail and I reached out to some of Seattle’s local leaders to serve as our advisors on the project. These individual meetings were electric exchanges of ideas and questions. Our humble thanks to Ross Baker, Kathy Hsieh, Leilani Lewis, Valerie Curtis Newton, and Daveda Russell. We are grateful to our partners: CD Forum, Northwest African American Museum, Franklin High School, and Town Hall. Thank you all for joining us in this community endeavor.

Myra Platt

Founding Co-Artistic Director

Join in on one of our Twain Talks!

CD Forum Pre Funk + After Glow with Sharon Williams April 24 | Center Theatre Lobby | 6:30 pm + 9:45 pm Supper with Scholars April 27 | Center Theatre Lobby | 5 pm On the Human Race April 28 | Northwest African American Museum | 2 pm CD Forum After Glow­with Sharon Williams May 5 | Center Theatre Lobby | 5 pm For the full schedule of events, visit our website: www.book-it.org

on May 15 , you can help make our dreams come true! th

Thank you for supporting Book-It.

Here’s your chance to be part of something BIG-ger. Rally your friends and support your favorite theatre (us!) as part of one of the biggest days of giving in King County history. Watch your gift go further during The Seattle Foundation’s GiveBIG, a one-day, online charitable giving event to inspire people to give generously to nonprofit organizations who make our region a healthier and more vital place to live. Last year your participation in this event made a big impact!

Can we count on your support once more for this year’s GiveBIG challenge on May 15? “Like” us on Facebook and then stay tuned for details...

Jose Abaoag and Serin Ngai in Hotel on the Corner of Bitter and Sweet; photo by Alan Alabastro.

adventures of huckleberry finn: uncensored

by Mark Twain Conceived by Jane Jones & Judd Parkin Adapted by Judd Parkin | Directed by Jane Jones**

the folks on the river & the underground railroad Evan Crockett Gin Hammond* Ronnie Hill Russell Hodgkinson* Theresa Holmes Peter Jacobs* Christopher Morson Hannah Nielsen Geoffery Simmons* Keenan Ward† Victoria Thompson Nina Trotto

Musician / Colonel Sherburn / Ensemble Widow Douglas / Emmeline / Boggs / Ensemble Hollister / Jack / Loafer / Ensemble Pap / Child of Calamity / King / Ensemble Musician / Mrs. Grangerford / Ensemble Miss Watson / Corpse Maker / Duke / Ensemble Huck Finn Musician / Sophia Grangerford / Ensemble Jim Parker / Buck / Revival Preacher / Ensemble Stage Manager Assistant Stage Manager

Artistic Team Andrea Bryn Bush Andrew D. Smith K.D. Schill Matt Starritt Dan Wheetman Theresa Holmes Isaac Waring Anders Bolang

Scenic Designer Lighting Designer Costume Designer Sound Designer Composer Music Director Dialect Coach Production Manager

* Member Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States ** Member Stage Directors and Choreographers Society † Book-It Acting Intern

Title Support:

Season Support:

Additional generous support is provided by individuals, and by City of Seattle Office of Arts & Cultural Affairs, Green Diamond Resource Company, The Ex Anima Fund, and The Wyman Youth Trust.

Many thanks to all our supporters!

Judd Parkin and Jane Jones; photo by Josh Aaseng.

notes adapter

notes director

Judd Parkin

Jane Jones

Ernest Hemingway famously wrote: “All modern American literature comes from one book

by Mark Twain called Huckleberry from Finn…There was nothing before.

There has been nothing as good since.” I wasn’t aware of Hemingway’s assessment when I first read Adventures of Huckleberry Finn, but I knew immediately I had stumbled upon something utterly unique. Unlike a lot of the other classics I’d been force-fed at that age, the world of Huckleberry Finn was not a remote, foreign place to me. Huck thought and spoke like the people I saw around me every day— direct, slangy, profane. I knew this kid, and I understood him to my core—his humorous perspective on life, his bafflement with the adult world, his feelings of alienation, and his sense of loyalty to the people he loved.

Huckleberry Finn is often wrongly characterized as a children’s book, but it is nothing of the kind. Just look at the two protagonists: the abused son of a dangerous alcoholic and a desperate, runaway slave. A great majority of the story takes place at night on the Mississippi River or in other ominous settings, and the people that Huck and Jim meet on their journey are almost universally venal, greedy, violent, cowardly, racist, or all of the above. Harry Potter it isn’t. For all its renowned humor and charm, Huckleberry Finn is not an easy or comfortable book. It tackles the issue of race in America as no book ever had before and few have since. When the book was first published, people were shocked by the idea that a white boy and a black man could, as true equals, forge a loving relationship. Twain’s clear-eyed view of racial injustice still has the power to provoke and unnerve modern readers. It is not for nothing that Huckleberry Finn has been one of the most banned books in our country’s history.

Twain described Huckleberry Finn as “a book of mine where a sound heart and a deformed conscience come into collision and conscience suffers defeat.” From the first readers through today’s generation, Huck’s brave, sound heart still beats loud and true.

the

Adapter

When Judd Parkin and I decided to tackle Huck Finn, we mutually agreed to add the word UNCENSORED to the from title. The recent sanitization of the novel was, in our opinion, an attempt to re-write history and we felt no one had the right to do that. We committed to putting language on stage from the novel that hasn’t been represented in previous adaptations to our knowledge. Some of it is difficult to stomach, but it is an honest representation of our American history and as Mark Twain declared, “When in doubt, tell the truth.”

So this process has been a courageous voyage for the whole Huck crew. We have collectively chosen to dismantle our cowardice and face our prejudices. We have shared stories in the rehearsal room that we are not necessarily proud of, yet through these truths we have found profound relevance in a 21st-century telling of the story. As the perceptive Lenore Bensinger noted one evening after rehearsal, “It is a nightmare journey through an American heart of darkness with a twist.

Huck and Jim have to struggle with their fear of loving the ‘Other.’” With Huck, Twain has certainly challenged all of us to embrace our fears and not only “march in the procession, but carry a banner.”

Special thanks to a few folks that helped shove this raft down river. Sara Thompson, Franklin High alum extraordinaire, made it possible for me to go back to high school and take Mr. David Ehrich’s winter quarter Jr. Lit class on Adventures of Huckleberry Finn; and to Franklin High and Mr. Ehrich himself for so graciously welcoming me, and our Book-It teaching artists, into his classroom. I loved being there and was inspired by his teachings. Thank you, thank you. And thanks as well to Toni Morrison for her discerning words in regards to the novel… “What it cannot be is dismissed. It is classic literature, which is to say it heaves, manifests and lasts.”

Amen.

the

Director

Born November 30, 1835, Samuel Langhorne Clemens arrived on the Earth under the path of Haley’s Comet, an auspicious start to the life of, whom Faulkner called “the first American novelist.” Clemens was the sixth of the seven children born to Jane and John Marshall Clemens, a prominent attorney. In 1839, the family moved to Hannibal, Missouri, a small town on the Mississippi. Surrounded by the voices of his father’s black slaves, this early exposure to slavery left a mark on the young Sam Clemens.

When Clemens was 11, his father died of pneumonia, leaving him and his eldest brother Orion to support the household. Over the next four years, Sam worked in Hannibal’s modest printing industry, and also became a frequent contributor to the Hannibal Journal, a periodical published by his brother.

In 1857, while on a trip down the Mississippi, Clemens found a new profession, steam boat pilot.

Over the next two years, Clemens learned the ins and outs of this lucrative but dangerous profession.

He convinced his younger brother Henry to join him on the Mississippi, but in 1858, Henry was killed when his ship’s boiler exploded. Grief stricken, Clemens continued his training and earned his river boat pilot’s license in 1859, a year before the American Civil War shut down most of the traffic on the river. As a southerner born, Clemens formed a Confederate Militia with his friends, which disbanded within weeks without ever seeing a Union soldier. He traveled West to join his brother, where in 1863 he became a journalist, writing under the pen name “Mark Twain,” a phrase he borrowed from his days on the Mississippi.

For the next five years, Twain worked first as a journalist and then a travel writer, publishing accounts of life in Hawaii and in the Holy Land. Two years after his return to the U.S., he married Olivia Langdon, daughter of a wealthy New York liberal. They had three daughters who grew to adulthood, and one son who died in childhood.

By this time, Twain had become a national figure; his travel writings had garnered him nearly instant celebrity, and

he soon took to writing novels. Many of his most famous works were completed at the family’s home in Hartford, Connecticut. In 1876, he published his best-known work to date, The Adventures of Tom Sawyer, a highly fictionalized account of his childhood in Hannibal. Around this time, Twain had begun writing a sequel to Tom Sawyer centered on Tom’s friend, the wild Huckleberry Finn. Between 1876 and 1882, Twain published two other novels, but was still unable to bring himself to finish his sequel. Finally, in 1882, Samuel Clemens returned to his childhood home on the banks of the Mississippi—it was the first time he’d returned in nearly 20 years. Within a year of this visit, Twain completed Adventures of Huckleberry Finn—not quite the lighthearted sequel his readers might have expected.

However, the novel garnered him increased celebrity and notoriety, as the book was simultaneously praised and banned.

Its publication proved to be the high point of Twain’s career and Clemens’ life.

By 1893, a series of poor investments forced Clemens into bankruptcy. In 1896, while on a world lecture tour in an effort to rebuild his fortune, his daughter Suzy passed away in Connecticut. In the next decade, his wife Olivia and his daughter Jean followed her. During this time, Clemens fell deeper into his alter ego of the white suited, cigar smoking Mark Twain. On April 21, 1910, once again under the pass of Haley’s Comet, Mark Twain died in his home in Reading, Connecticut at age 74.

mark twain

Bio by Alex Miller.

Source:

Mark Twain. Dir. Ken Burns. PBS, 2001. DVD. Jelliffe, Robert A. (1956). Faulkner at Nagano. Tokyo: Kenkyusha, Ltd

songs of slavery

by Alex Miller

Won’t you ring, old hammer?

Hammer Ring.

Won’t you ring, old hammer?

Hammer Ring.

1. Broke the handle on my hammer, Hammer ring.

Broke the handle on my hammer, Hammer ring.

2. Got to hammerin’ in the Bible.

3. Gotta talk about Norah.

4. Well, God told Norah.

5. You is a-goin’ in the timber.

6. You argue some Bible.

7. Well, Norah got worried.

8. What you want with the timber?

9. Won’t you build me a ark, sir?

10. Well, Norah asked God, sir.

11. How high do you want it?

12. Build it forty-two cubits.

13. Every cubit have a window.

14. Well, it starte d in to ranin’.

15. Old Norah got worried.

16. He called his children.

17. Well, Norah told God, sir.

18. This is a very fine hammer.

19. Got the same old hammer.

20. Got to hammerin’ in the timber...

“Hammer, Ring” A slave work song.

The formation of the United States was always shadowed by the ugliness of slavery. As a method of replaceable labor, slavery had been welcomed and encouraged since the earliest European colonists reached what would become the United States of America. By the time Samuel Clemens was born, slavery had become one of the most divisive points in the American consciousness, and the moral argument against slavery was beginning to outweigh the economic value of forced labor.

For the slaves themselves, shared hardships had created a common culture.

On plantations throughout the south, slave communities used song and dance to ease their work load, entertain themselves, and maintain their spiritual health.

On Sundays and other holidays, slaves were usually permitted by their masters to have leisure hours. These few hours were filled with songs, dances, and music that combined the remnants of older African songs with the songs and sounds of their white masters. This hybridization of European and African cultures seeped into the religious expression of the slaves. The Christian hymns passed down through their owners found a new, more vibrant life within the slave communities. Whether in the field, at church, or at rest, slaves would use every instrument available to them; drums, washboards, sticks, pots, their voices, even their hands and feet. Call and response singing enriched the tones and rhythms of even the most basic a cappella singing, and provided a steady pace for field work.

As the abolitionist movement gained strength in the years leading up to the Civil War, song became a vital tool in helping slaves escape to freedom. To this day, folk traditions maintain that these songs contained hidden messages for the slaves to follow to freedom. Maybe the best known example of this folk tradition is the song “Follow the Drinkin’ Gourd,” which some believe was a coded song providing a star map to the Northern free states. Regardless of the truth of these folk stories, spirituals like “Steal Away,” and “Swing Low, Sweet Chariot,” did help uplift the spirits of slaves while they attempted to free themselves on their own or with the help of abolitionists.

After the Civil War and the Emancipation Proclamation, slave music continued to grow and evolve. In 1867, a group of abolitionists published “Slave Songs of the United States,” a documentation of many of the tunes and sounds created by slaves that were still being sung up and down the Mississippi. These spirituals and work songs eventually became the basis for Jazz, Blues, and even Rock and Roll. The sounds that emerged from the horrors of slavery have become some of the most well-loved and recognized rhythms all over the world.

While slaves incorporated elements of European culture, white Americans were beginning to find their own way to assimilate the growing slave culture into their lives. What emerged became the most popular form of entertainment in America for nearly half a century: The Minstrel Show. Though it comes from the same middle class entertainment as P.T. Barnum’s circus, the most recognized aspect of these minstrel shows was the act of blackface. This representation of slave culture

supposedly came directly from the actors observing and learning the songs and dances of slaves in the south, but blackface performers were not discerning in the accuracies of their performances. Many of these “Ethiopian delineators,” as they were called, had never been to the south, and others spliced their “African” songs with British melodies.

Despite, or perhaps because of this inauthenticity, the blackface minstrel quickly became one of America’s greatest cultural icons. Blackface actors like George Nichols, Bob Farrell, and George Washington Dixon performed on tours throughout the nation from San Francisco to New Carlsson Warberg. iana, 1861-65 Adolf York City. The most historically influential minstrel actor Slave Quarters, Louis was a man named Thomas Rice, who based his character of “Jim Crow” off of the peculiar dance of a crippled slave he observed while on tour. Rice went on to “Jump Jim Crow,” to sold-out houses in New York City in 1832, and in London in 1836. The portrayals of blacks on the American stage would be influenced by Rice and his contemporaries, even into the early 20th Century with Al Jolson. The black minstrel show would become the most prominent form of theater in America, with a minstrel troupe performing at the White House for President John Tyler. Mark Twain himself, having seen one of the first traveling minstrel shows in Hannibal as a young man, proclaimed that there was no higher art form.

Even the most racially sensitive pieces of the 19th Century were influenced by this “minstrelization” of black Americans. When Uncle Tom’s Cabin, the most important abolitionist writing in the pre-war period, was adapted to stage, it used blackface and a very minstrelized characterization of the tragic Uncle Tom. In Huck Finn, Twain assigns Jim many of the same characteristics found in the most well known minstrel characters.

While today we see blackface and the minstrels as a grim reminder of American racism, in their time they served a vital function. Under the calming guise of comedy, minstrels allowed white audiences to engage with the changing racial politics of the world. Just like Elvis Presley A typical handbill for a minstrel troupe, depicting the actors both as white men and in their blackface personas. becoming the white face of Rock ‘n’ Roll, minstrels allowed slave culture to subvert its way into the mainstream. While the minstrel influences remain in Huck Finn, it is important to remember Twain grew up surrounded by the voices of black slaves, and knew what they were really singing for.

Sources: Slave Songs of the United States. William Francis Allen, Charles Pickard Ware, and Lucy McKim Garrison xliv, 115 p. New York A. Simpson & Co. 1867 www.pbs.org/wnet/slavery/experience/education/history.html www.followthedrinkinggourd.org/Collection_Story.htm Blacking Up: The Minstel Show in Nineteenth Century America. Robert C. Toll. New York. Oxford University Press. 1974

Images: www.slaveryimages.org, compiled by Jerome Handler and Michael Tuite, and sponsored by the Virginia Foundation for the Humanities and the University of Virginia Library.

meet the

Cast

Evan Crockett

Musician / Colonel Sherburn / Ensemble Evan is enthralled to make his return to Book-It, and is honored to be a part of this amazingly talented cast. Previous theatre credits include Bryan from These Streets with ACT Theatre, directed by Amy Poisson; Bailey/musician from Prairie Nocturne with Book-It, directed by Laura Ferri; and Cleomenes from The Winter’s Tale with Seattle Shakespeare Company’s Wooden O Theatre, directed by Mary Machala. Previous music credits include composition for A Language of Their Own at ReAct, directed by Victor Pappas and guitar for The Deadliest Instruments at New Amerikan Theatre, directed by Sara L. Porkalob.

Gin HammonD*

Widow Douglas / Emmeline / Boggs / Ensemble Gin is thrilled to share the Book-It stage with this wonderful cast. She received her MFA from the American Repertory Theater at Harvard University/Moscow Art Theatre and has performed at many theaters across the country, including the Studio Theatre in Washington, D.C., where she won a Helen Hayes Award for Outstanding Lead Actress for her performance in The Syringa Tree.

Internationally, she has performed in Russia, Germany, Ireland, Scotland, and England.

Gin is a proud member of The Sandbox Artists Collective, teaches voice-over, and can be heard on commercials, audiobooks, and a variety of video games including World of Warcraft, Aion, Halo 3 ODST. Listen for her voice in the Sandbox Radio podcasts, and in the upcoming adaptation of CJ Cherryh’s Foreigner series (as Jago).

Russell Hodgkinson*

Pap / Child of Calamity / King / Ensemble

Russell returns to Book-It after playing M.J. Stryker in Broken for You in 2006. He is happy to add Adventures of Huckleberry Finn: Uncensored to his list of American classics which includes To Kill A Mockingbird, The Grapes of Wrath, and Abe Lincoln in Illinois all at Intiman Theatre. Russell was last seen on stage as Mr. Peachum in The Three Penny Opera with Seattle Shakespeare Company, but is best remembered for his role as Ivan in The Seafarer with Seattle Repertory Theatre. He has worked in over 20 feature films and made guest appearances on TNT’s “Leverage” and NBC’s “Grimm.” He is the proud grandfather of four, currently “livin’ the dream in White Center” with his wife of 23 years, Shelley Poncy.

Theresa Holmes

Musician / Mrs. Grangerford / Ensemble / Music Director

Theresa is happy to be back at Book-It where she was last seen as Mrs. Gustafson, composer, and music director in Prairie Nocturne; before that as Aunt Vy in Red Ranger Came Calling; composer, musician, music director, and Mrs. Powers in The Highest Tide; and music director, musician, and Mrs. Steinbeck in Travels with Charlie. Her other Book-It credits include Breathing Lessons, Cowboys are My Weakness, The Awakening, and In A Shallow Grave. Elsewhere her credits include Hamlet! The Musical, Rodeo Radio, and Isle of Dogs at The Empty Space, and Smoke on the Mountain, Quilters, and Sanders Family Christmas at Taproot. Theresa has sung in a 1920s fox-trot orchestra, folk bands, classical choirs, and barbershop quartets.

Ronnie Hill

Hollister / Jack / Loafer / Ensemble Ronnie is pleased to be appearing in Adventures of Huckleberry Finn: Uncensored.

* Member Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. † Book-It Intern

Peter Jacobs*

Miss Watson / Corpse Maker / Duke / Ensemble Peter was recently seen in Book-It’s The Art of Racing in the Rain, Seattle Shakespeare Company’s Coriolanus, and Seattle Rep’s Circle Mirror Transformation. He has performed at ACT Theatre, Seattle Children’s Theatre, San Diego Repertory Theatre, Berkeley Repertory Theatre, Arizona Theatre

Company, and American Conservatory Theater, among others. He was in the acting company of the California Shakespeare Festival for six seasons. Movie credits include Safety Not Guaranteed, The Dark Horse, Prefontaine, The Dead Pool, and True Believer. Television appearances include “Grimm,” “Leverage,” “Eyes of Terror,” “Midnight Caller,” “Firestorm,” and “Unsolved Mysteries.”

Christopher Morson

Huck Finn

Christopher is pleased to be appearing in Adventures of Huckleberry Finn: Uncensored. You may have seen him touring this past summer with Seattle Shakespeare Company’s Wooden O Theatre’s production of Twelfth Night. He will be graduating this spring from Cornish College of the Arts with a BFA in acting.

Now keep your hands and feet inside the raft at all times and, by and by, be prepared for an unforgettable adventure.

Hannah Nielsen

Musician / Mrs. Grangerford / Ensemble Hannah is a musician, actor and playwright, freshly graduated from Cornish College of the Arts, and is delighted to be making her BookIt debut. Favorite roles at Cornish include Glumdalca the Giantess in The Tragedy of Tom Thumb and Helena Landless in The Mystery of Edwin Drood. She recently performed in the band for New Amerikan Theatre’s Deadliest Instruments at the Triple Door and is currently working on her own solo show.

Geoffery Simmons* Jim

Geoffery, a Seattle native, is thrilled and excited to be part of Book-It’s production of Adventures of Huckleberry Finn: Uncensored with such an amazing cast and crew. He debuted here with last year’s world premiere adaptation of Ivan Doig’s Prairie Nocturne as Monty.

He then went on to play Horse in The Full Monty at Capital Playhouse. Other theatre productions around the Pacific Northwest have included Scrooged, Big River, All My Sons, Gee’s Bend, and Ain’t Misbehavin’. www.geofferysimmons.com

Keenan Ward †

Parker / Buck / Revival Preacher / Ensemble Keenan will graduate in May as a theatre major from Cornish College of the Arts. He is very pleased to be making his Book-It debut in Adventures of Huckleberry Finn: Uncensored.

He was last seen during Summer 2012 as Zephyr in the stage premiere of Katherine Jett’s Watermyth with Fruition Productions.

Favorite roles include Betty/Gerry in Cloud Nine, Lord Grizzle in The Tragedy of Tom Thumb, and Mr. Applegate in Damn Yankees.

meet the

Artistic

staff

Judd Parkin Adapter

Judd began his professional career in the Pacific Northwest, spending five years as an actor and director with the Oregon Shakespeare Festival, and later working at various other regional theatres around the country. In recent years, he has produced and written numerous television films, including the acclaimed CBS miniseries Jesus, the Christopher Award-winning Nicholas’ Gift, and the Lifetime Television perennial Christmas favorite Comfort and Joy. He is the author of the 2010 novel The Carpenter’s Miracle, which he just adapted and produced as a GMC world-premiere movie. Judd is delighted to be working for the first time with Book-It Repertory Theatre, which reunites him with his old friend and co-conspirator Jane Jones.

Jane Jones

Director / Founder & Founding Co-Artistic Director Jane is the founder of Book-It and founding co-artistic director of Book-It Repertory Theatre, with Myra Platt. In her 24 years of staging literature, she has performed, adapted, and directed works by such literary giants as Charles Dickens, Eudora Welty, Edith Wharton, Kurt Vonnegut Jr., Pam Houston, Raymond Carver, Frank O’Connor, Ernest Hemingway, Colette, Amy Bloom, John Irving, John Steinbeck, Daphne du Maurier, and Jane Austen. A veteran actress of 30 years, she has played leading roles in many of America’s most prominent regional theatres. Most recently, she played the role of Miss Havisham in

Book-It’s Great Expectations. Film and TV credits include The Hand That Rocks the Cradle, Singles, Homeward Bound, “Twin Peaks,” and Rose Red. She co-directed with Tom Hulce at Seattle Rep, Peter Parnell’s adaptation of John Irving’s The Cider House Rules, which enjoyed successful runs here in Seattle, at the Mark Taper Forum in Los Angeles (Ovation Award, best director) and in New York (Drama Desk Nomination, best director). Jane directed Pride and Prejudice and Twelfth Night at Portland Center Stage which won the 2008 Drammy award for Best Direction and Production. For BookIt, she has directed The House of Mirth, The Highest Tide, Travels with Charley, Pride and Prejudice, Howard’s End, In a Shallow Grave, The Awakening, Owen Meany’s Christmas Pageant, A Tale of Two Cities, and The Cider House Rules, Parts One and Two, winner of the 2010 and 2011 Gregory Awards for Outstanding Production. In 2008 she, Myra Platt, and Book-It were honored to be named by the Seattle Times among seven Unsung Heroes and Uncommon Genius for their 20-year contribution to life in the Puget Sound region. She is a recipient of the 2009 Women’s University Club of Seattle Brava Award, a 2010 Women of Influence award from Puget Sound Business Journal, and the Paul G. Allen Family Foundation’s 20th Anniversary Founders Grant, and was a finalist for the Stage Directors and Choreographers Foundation’s 2012 Zelda Fichandler Award.

Sweet, The Cider House Rules, Emma, and Even Cowgirls Get the Blues. Locally, his work has been seen at Seattle Repertory Theatre, ACT Theatre, Seattle Children’s Theatre, New Century Theatre Company, Washington Ensemble Theatre, Seattle Shakespeare Company, Seattle Public Theater, Azeotrope, Theater Off Jackson, Strawberry Theatre Workshop, ArtsWest, On The Boards, Velocity Dance Center, and Broadway Performance Hall. Andrew has worked nationally at Flint Youth Theatre, Horizon Theater Company, Cincinnati Shakespeare Company, Roust Theater, and Cardinal Stage Company. Andrew received the 2010 and 2011 Gregory Awards for Outstanding Lighting Designer as well as the 2010 Seattle Times Footlight Award.

Andrew holds a BA from Duke University and an MFA from the University of Washington, where he currently teaches.

K.D. Schill

Costume Designer K.D. has had the honor of designing and procuring costumes for some of the finest, most talented theatre and film directors, choreographers, musicians, actors, writers, dancers, and artists in Seattle for the last 17 years. For that, she is deeply grateful. This is her fourth show with the wonderful people at Book-It.

Matt Starritt Andrea Bryn Bush Scenic Designer

Andrea is thrilled to be working with Book-It again, having had the fortunate opportunity to work on the recent productions of Emma, The Cider House Rules, Parts One and Two, Great Expectations, and Prairie Nocturne. She has been a scenic designer in Seattle since 2007. Her scenic credits include Seattle Shakespeare Company’s productions of A Midsummer Night’s Dream and Electra, and Seattle Public Theater’s The 13th of Paris, and My Wonderful Day. She has also designed for Seattle Musical Theatre, Azeotrope, and Cornish College of the Arts. Andrea is a former ensemble member and resident designer at Washington Ensemble Theatre, where she designed Titus, Robopop!, Sextet, and their most recent production The Callers.

Andrew D. Smith Lighting Designer

Andrew is pleased to return to Book-It, having designed Owen Meany’s Christmas Pageant, Hotel on the Corner of Bitter and

Sound Designer

Matt is a freelance sound designer for both theatre and dance and a writer from Seattle.

He is currently the sound design associate at Seattle Repertory Theatre, and is a parttime lecturer for the UW’s School of Drama.

In Seattle he has designed for Book-It, The Cherdonna and Lou Show, Intiman and the Intiman Theatre Festival, Seattle Repertory Theatre, Seattle Shakespeare Company, Strawberry Theatre Workshop, Waxie Moon, and was a founding member of the Washington Ensemble Theatre. Nationally, he has designed for the Alley Theatre, Berkeley Repertory Theatre, Cornerstone Theater Company, Illusion Theatre, and South Coast Repertory.

Dan Wheetman Composer

Dan is happy to return to Book-It where he has had the pleasure and honor of working on several projects including In A Shallow Grave and The Cider House Rules. He has appeared in productions all over the U.S. as an actor and musician. He’s written several plays with Randal Myler, including It Ain’t

meet the

Artistic

staff

Nothin’ But the Blues, Appalachian Strings, Fire on the Mountain, Mama Hated Diesels, and Lowdown Dirty Blues. He has garnered several LA Critics’ Circle awards for Musical Direction and a Tony nomination as a writer for It Ain’t Nothin’ But the Blues at the Lincoln Center in New York. Along with his theater work, Dan has recorded several solo albums and plays in a very eclectic band, Marley’s Ghost.

Isaac Waring Dialect Coach

After earning his BFA in theatre, original works from Seattle’s Cornish College of the Arts, Isaac pioneered a dialect program to integrate non-American nurses into the U.S. healthcare system at Tacoma Community College. His professional credits include acting in Seattle Shakespeare Company’s The Merry Wives of Windsor, composing and music directing R. Hamilton Wright’s adaptation of Tom Thumb at Cornish, carnival coordinating for Spectrum Dance Theatre’s Petruchska, writing and directing an original Christmas nativity musical comedy The Greatest Gift, and performing his oneman, five-instrument, family-friendly solo performance Stick Your Tongue In It... And Other Love Songs With Caleb Johns. This is Isaac’s inaugural voyage with Book-It.

Victoria Thompson Stage Manager

Victoria is excited to be back at Book-It Repertory Theatre to work on Adventures of Huckleberry Finn: Uncensored. Her previous credits include Owen Meany’s Christmas Pageant, The Art of Racing in the Rain, Border Songs, Great Expectations, Red Ranger Came Calling, The Cider House Rules, Parts One and Two, Emma, A Confederacy of Dunces, Night Flight, The Beautiful Things That Heaven Bears, and Moby-Dick, or The Whale—all with Book-It—Love Horse with Washington Ensemble Theatre, and Julius Caesar, Hamlet, A Midsummer Night’s Dream, Romeo and Juliet, and Othello with Seattle Shakespeare Company’s educational touring program.

Nina Trotto

Assistant Stage Manager

Nina is very excited to be joining the wonderful team working on Adventures of Huckleberry Finn: Uncensored. This is her third show with Book-It, having previously worked on Prairie Nocturne and Owen Meany’s Christmas Pageant. Nina has also worked with Seattle Children’s Theatre, Seattle Public Theater, Teatro ZinZanni, and will be joining Seattle Shakespeare Company

this summer for Henry V, her second show with their Wooden O Theatre.

anders bolang

Production Manager A graduate of Whitman College and the Yale School of Drama, Anders served as production manager for Tacoma Actors Guild, and as technical director for the California Theatre Center and Whitman College. As a carpenter, he has created scenery for the Denver Center for the Performing Arts, Intiman, and Yale Rep, among others. On stage, Anders has performed at Seattle Shakespeare Company, Baltimore Center Stage, Delaware Theatre Company, Yale Rep, Book-It, Colorado Shakespeare Festival, Harlequin Productions, Tacoma Actors Guild, and as a guest artist with the Boston Pops. In New York, he has performed at the Performing Garage, NY Theatre Workshop, and La MaMa Experimental Theatre Club. Anders has appeared on “As the World Turns” and “One Life to Live,” the feature films Police Beat and Helene, and in industrial training films and voice-overs.

myra platt

Founding Co-Artistic Director As co-founder, director, adapter, actor, and composer, Myra has helped Book-It produce over 100 world-premieres. Her adapting/directing credits include The River Why, Night Flight, Red Ranger Came Calling, The House of the Spirits, Giant, I Know Why the Caged Bird Sings, Cowboys Are My Weakness, Roman Fever, A Little Cloud, A Telephone Call, and A Child’s Christmas in Wales. Directing credits include Persuasion, Plainsong, Cry, the Beloved Country, and Sweet Thursday. She adapted The Art of Racing in the Rain, coadapted Owen Meany’s Christmas Pageant with Jane Jones, and composed music for Prairie Nocturne, Night Flight (with Joshua Kohl), Red Ranger Came Calling (with Edd Key), The Awakening, Ethan Frome, Owen Meany’s Christmas Pageant, A Child’s Christmas in Wales, A Telephone Call, and I Am of Ireland. Her acting credits include Prairie Nocturne, The Beautiful Things That Heaven Bears, The Awakening (West Los Angeles Garland Award), Howards End, and The Cider House Rules, Parts One and Two (original production). Myra has performed at Seattle Repertory Theatre, Intiman, New City Theatre, and the Mark Taper Forum.

Myra is the recipient with Jane Jones of the Paul G. Allen Family Foundation Founders Award, the 2010 Women of Influence from Puget Sound Business Journal, and named by Seattle Times an Unsung Hero

and Uncommon Genius for their 20-year contribution to life in the Puget Sound region.

charlotte m. tiencken Managing Director

Charlotte is an administrator, director, producer, and educator who has been working in the producing and presenting fields for 28 years. Before moving back to the Seattle area in September 2003, she was general manager at Jacob’s Pillow Dance Festival in Massachusetts. As president of her own consulting firm, Scarlet Productions, she has worked with companies across the country, including Chitresh Das Dance Company in San Francisco, Ben Munisteri Dance in New York, Seattle Theatre Group, EnJoy Productions in Seattle and Westwind, in Oregon among many others. She has taught at Seattle Pacific University, The University of Washington, The Evergreen State College, and the University of Puget Sound. She has been an adjunct faculty member at Lesley University in Cambridge, Mass. for seven years. Charlotte is a member of SDC, the union of stage directors and choreographers and is past president of the Board of Arts Northwest. She has served on the Board of the Pat Graney Dance Company, on granting panels for the Washington State Arts Commission and 4 Culture, and was president of the Board of Theatre Puget Sound. Her most recent directing credits include Eugene Onegin for Vashon Opera, Rashomon for Seattle Pacific University, Fool for Love at Stone Soup Theatre, and On the Verge at Seattle Pacific University. She lives on Vashon Island with her husband, Bill, three cats, and two dogs.

affliations actors’ equity association

(AEA), founded in 1913, represents more than 45,000 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.

Book-It Repertory Theatre is a proud member of

theatre puget sound

production

staff Bobbin Ramsey † Assistant Director

Alex Miller † Dramaturg

Lenore Bensinger Twain Consultant

Kristyne Hughes Properties Master

Catherine Cornell Properties Artisan

special thanks to Daemond Arrindell Ross Baker Lenore Bensinger Valerie Curtis-Newton David Ehrich Franklin High School Kathy Hsieh Leilani Lewis / NAAM Marqueen Hotel Nancy Rawles Daveda Russell Barbara Earl Thomas Sara Thompson Sharon Williams / Central District Forum

The Fin REMEMB will be ancial Lives ER! perfor o PLAYHOUS med atf the Poets t E in th e U Dishte JONES rict.

Up next at Book-It

Dan Schuy Carpenter

Devon Bright Master Electrician

Carmen Rodriguez Charge Artist

Trevor Cushman Key Electrician / Light Board Operator

Chris Garland Sound Engineer / Sound Board Operator

Michelle Jamieson Grant Wardrobe † Book-It Intern

our twain talks partners Central District Forum A local, nonprofit organization solely dedicated to presenting emerging Black arts, artists, and ideas in the Seattle area. www.cdforum.org Northwest African American Museum Located just south of downtown Seattle, with a mission to spread knowledge, understanding and enjoyment of the histories, arts and cultures of people of African descent for the enrichment of all. www.naamnw.org Town Hall Seattle Seattle’s community cultural center, offering a broad program of music, humanities, civic discourse, and world culture events. www.townhallseattle.org Franklin High School A large, public urban high school located in the Central District, respected for its traditions of student and community involvement and academic preparedness. www.franklinhs.seattleschools.org

Adapted and Directed

by Myra Platt

JUNE 7 - 30, 2013 The Jones Playhouse (4045 University Way NE) In this laugh-out-loud novel, Matt Prior’s life is coming apart at the seams. His repair strategies range from dumb to outright dangerous as he scrambles to keep his American Dream from going up in smoke.

for tickets visit www.book-it.org or call 206.216.0833

Thanks to everyone who joined us at Guilty Pleasures 2013!

Help us thank our committee and supporters who made this marvelous mayhem possible: Guilty Pleasures Committee: Kayti Barnett, Joann Byrd, Pam Kendrick, Lynn Murphy, Tom Oliver, and Lynne Reynolds Community Partners: ACT Theatre, Alderbrook Resort & Spa, Anthony’s Restaurants, The Art Bank, Kayti Barnett, Rhonda Bolton, Broadway Center for the Performing Arts, Cashmere Mountain Bed & Breakfast, The Chelsea Savoy, Nancy Crase, Dave Ellis & the Hopeless Sinners, Doe Bay Resort & Retreat, Downtown Dog Lounge, Shannon Erickson, The Fabulous Palm Springs Follies, Firesteed Winery, Jamie Ford, Stuart Frank, Councilmember Jean Godden, Goodness & Flavor, Harry’s Daughter Jewelry, HighgradeComics.com, Hilliard’s Beer, Hourglass Shoes, Icicle Creek Center for the Arts New Play Festival, Margaret Kineke & Dennis West, LeMay America’s Car Museum, The Living Desert Museum, Macy’s, Majestic Bay Theatres, Steve McDonald, Museum of Flight, Riley Neldam, Malinda Newstrom, Northwest Folk Life, Phoenix Theatre, Red Balloon Company, Lynne Reynolds, Roundabout Theatre Company, Seattle Art Museum, Seattle Children’s Museum, Seattle Children’s Theatre, Seattle International Film Festival, Seattle Repertory Theatre, Seattle Shakespeare Company, Seattle Theatre Group, Starbucks, Street Treats, Garth Stein, TV Land, Taproot Theatre, Theo Chocolate, Tom Douglas Restaurants, The Two Tides, Vashon Vacations, Vashon Watersports, Village Theatre, Charlotte Tiencken & Bill West, Women’s University Club, and World Wise Jewelry.

And thank you to Seattle Theatre Group and the staff at the Neptune Theatre, to John Platt and St. Clouds Food & Spirits, and to Carol Dole and Rebecca Dietz from Well Done Events!

Join us for our action-packed

Family Fun Days may 4 & 11, 2013 Bring the whole family to enjoy a live theatre performance of a great children’s book, book-themed craft projects, and an imaginative workshop where you jump into the world of the story.

Skippyjon Jones is a tiny Siamese kitten with a giant imagination. In his world of make believe, toilet paper becomes mummy bandages, the hallway is the Nile, and the living room is filled with Los Dinosaurios. When you “think Chihuahua” anything is possible!

where

The Center Theatre in the Armory, Seattle Center

When

Doors open for crafts at 10:30 a.m.

Performance at 11:00 a.m.

Workshop at 12:00 p.m.

tickets

12 and Under $10; Adults $12 Call 206.216.0833 or visit www.book-it.org

honoring book-it contributors Book-It would like to thank the following for their generous support!

LITERARY LEGENDS $75,000+ The Paul G. Allen Family Foundation

LITERARY CHAMPIONS $25,000+ ArtsFund • ArtsWA • The Boeing Company Matthew N. Clapp, Jr. • Gladys Rubinstein

LITERARY HEROES $10,000+ 4Culture • N. Elizabeth McCaw & Yahn W. Bernier • Bill & Melinda Gates Foundation Stellman Keehnel • Lucky Seven Foundation • The Norcliffe Foundation Mary Pigott • Ann Ramsay-Jenkins • Lynne & Nick Reynolds** The Seattle Foundation • The Shubert Foundation, Inc. Shirley & David Urdal • April J. Williamson • Anonymous (2)

Literary Classics $5,000+

Leadership Circle, cont.

Boeing Gift Matching Program Jeff & Amanda Cain** Sonya & Tom Campion CenturyLink Foundation City of Seattle Office of Arts & Cultural Affairs The Ex Anima Fund Green Diamond Resource Company John & Ellen Hill Humanities Washington Emily Anthony & David Maymudes The Medtronic Foundation Nordstrom Larry & Michell Pihl Richard Weening Mary Ann & Robert Wiley Andrew & Trish Zuccotti**

Kris & Mike Villiott** Elizabeth Warman** Richard Weening Lucy Zuccotti**

Leadership Circle $2,500+ Monica Alquist** Karen Brandvick Baker & Ross Baker** Steven Bull & Christiane Pein** Joann Byrd** Tony & Emily Cox Allan & Nora Davis Expedia, Inc Jamie & Leesha Ford Amy & Thaddeus Hanscom Stuart Frank & Marty Hoiness** Jane Jones & Kevin McKeon** Margaret Kineke & Dennis West** Darcy & Lee MacLaren Melissa & Don Manning Mary Metastasio** Microsoft Matching Gifts Program Lynn Murphy** Tom & Cheryl Oliver** Myra Platt & Dave Ellis** David Quicksall & Rachel Glass** Shirley Roberson** Steve Schwartzman & Daniel Karches** Garth & Drella Stein Deborah Swets** Jim & Kathy Tune U.S. Bancorp Foundation

Nobel Award Society $1,000+ Stephen & Salli Bauer Lindsay & Tony Blackner Patricia Britton** D. Thompson & Karen Challinor Amy & Matthew Cockburn Bill & Carol Collins Collins Group George & Carolyn Cox Davidson & Co. Matching Julie Edsforth & Jabez Blumenthal Expedia Gives Matching Gift Program Elizabeth & Paul Fleming Peter Godman & Munira Rahemtulla Lucy Helm Harold & Mary Frances Hill Heather Howard David Thompson & Judith Jesiolowski Clare Kapitan & Keith Schreiber KeyBank Foundation Lea Knight Agastya Kohli Ed & Laura Littlefield Lynn Manley & Alexander Lindsey Donald E. Marcy Holly & Bill Marklyn Anne McDuffie & Tim Wood Sarah Merner & Craig McKibben Susan & Furman Moseley Whitney & Jerry Neufeld-Kaiser Peter & Jane Powell Puget Sound Business Journal Jo Ann & Jim Roberts Matt Sauri Marc & Stacie Scattergood John Schaffer Seattle Center Foundation Martha Sidlo Virginia Sly & Richard Wesley

Nobel Award Society, cont.

B. Richal & Karen Smith Sara Thompson & Richard Gelinas Kerry P. Thompson Jared Watson Judith Whetzel Shannon Williams Williams Miller Family Foundation Merrily Wyman & Karen Bryant The Wyman Family Foundation Anonymous (2)

Pulitzer Award Society $500+ Earl Alexander* All One Family Fund Virginia L. Anderson Lindsay & Tony Blackner Judy Brandon & H. Randall Webb Diana & Chuck Carey The Carey Family Foundation Catherine Clark & Marc Jacques Steve Miller & Pamela Cowan Amy & Paul Curtis Emily Davis Mark Dexter & Deborah Cowley Diane Douglas Brent & Katie Enarson The Film School* Firesteed Cellars* Jean Gorecki & Dick Dobyns Laurie Griffith Phyllis Hatfield Jay Hereford & Margaret Winsor** Jeffrey M. Kadet Pam Kendrick Marsha Kremen & Jilly Eddy Annie Lareau** Frank Lawler & Ann McCurdy Bill Block & Susan Leavitt Craig Lorch Stephen E. Lovell Ellen & Stephen Lutz James & Kaaren McElroy Eleanor Moseley Glenna Olson & Conrad Wouters Will Patton & Joni Ostergaard Pop Cap Games Matching The Rodman Foundation Pamela & Nate Searle Seattle International Film Festival* Mary Snapp William & Lynette Thomas Kerry P. Thompson Robert & Dolores Tindal Judith Tobin & Michael Baker Edward & Genevieve Tremblay Steve Wilson & Julie Lin David & Sally S. Wright Anonymous (1)

honoring book-it contributors Book-It would like to thank the following for their generous support!

National Book Award Society $250+

National Book Award Society, cont.

Pen/Faulkner Award Circle,cont.

:Nota Bene Cellars* The 5th Avenue Theatre* Shawn & Lynne Aebi Christina Amante The Bayless Family Luther Black & Christina Wright Cheryl Boudreau Gail & Doug Boushey John Bradshaw Adelaide H. Brooks & Robert Pennell Jeff Youngstrom & Becky Brooks David & Rachel Bukey Melanie Calderwood Sylvia & Craig Chambers Sandra & Paul Dehmer Dottie Delaney Mary DeLorme & Mark Schleck Yasue Drabble Jim & Gaylee Duncan Pamela & Kenneth Eakes Sara Elward Joyce Erickson Stan & Jane Fields Liz Fitzhugh & Jim Feldman James & Denise Fortier Bill & Melinda Gates Foundation Matching Gifts Program Katharine Godman & Jerry Collum** Laura Hanson Frederic & Karin Harder Mark & Carolyn Holtzen Sarah Kohut & Jim Grant Dr. Eric Rose & Eleni Ledesma Elizabeth Love Marcia Mason Ruth McCormick Jim McDonald Jean McKeon Louise McNerney Jeanne Metzger Richard Monroe Charles Montange Marc & Emily Mora Deborah & Jeff Parsons Corliss J. Perdaems Charles & Doris Ray Bradley Renner Anne Repass Linden Rhoads Paula Riggert Don & Marty Sands Dr. Robert Saunders & Donna Marie Frank Schumann & Heather Pullen Gail & John Sehlhorst Aime & Mike Servais Craig Shank & Meredith Stelling Michael & Jo Shapiro Marcia & Peter Sill The Standard Employee Giving Campaign Janice Strand

Kimberly & Mike Strand LiAnn & Stephen Sundquist Suzanne Suneson Tammy Talman Terry Tazioli Emory & Laura Thomas Molly Thompson & Joe Casalini Sheila Valencia & Walter Parker Karen & Ron Van Genderen Ruth & Jerry Verhoff Sandra Waugh Robert & Leora Wheeler Elisabeth White Rachel Wilsey & Sam Bernstein Janet & Lawrence Wilson Anonymous (1)

Constance L. Euerle Jane Faulkner & Marc Kittner Deborah & Keith Ferguson Ellen Ferguson Laura Ferri Barbara & Timothy Fielden Nanette Fok Jayn & Hugh Foy Kai Fujita Laurel Garcia & Shi Kai Wang* Cezanne Garcia Bill Gill Joan & Steve Goldblatt Dona Golden Linda Gould Anke Gray Pamela Greenwood Michael Grimm Nancy & Josephy Guppy Dr. Rena Hamburger Faith Hanna Larry Hanson Brenda Hartman Ellen & David Hecht Rebecca Herzfeld & Gordon Crawford Barbara Hieronymus Patricia Highet Susan & Jim Hogan David Hogan* Nancy Holcomb Lisa Holderman Mary & Eric Horvitz Karen L. Howard Julie Howe & Dennis Shaw Melissa Huther Marcia Johnson Lorna Jordan Kris Jorgensen & Margey Rubado David Kasik & Jan Levine Rebecca Kavoussi Katherine King Mary J. Klubben Shannon & Richard Knipp Dean W. Koonts Alan Kristal Frances J. Kwapil Larry Lewin Christine Lewis Arni Litt & Lori Eickelberg Cynthia Livak Mary Frances Lyons Joan Machlis Josie & Doug Manuel Nancy Manula Kate Marks Elizabeth Mathewson Elaine Mathies Jim McClaine Kathy McCluskey Deirdre & Jay McCrary

Pen/Faulkner Award Circle $100+ ACT Theatre* Carol Adams Doug Adams Connie Anderson Amy Arvidson Cinnimin Avena Michelle Badion Jo Ann & Tom Bardeen Mary Murfin & Doug Bayley Shawn Baz & Ellen Bezona Deb & Bill Bigelow Watson & Jane Blair Marisa Bocci Rebecca Bogard Barry Boone & Mary Wilson Jonathan Bridge Broadway Center For The Performing Arts* Billie Butterfield Barbara Buxbaum Jane Camden Carri Campbell Hugh Campbell Linda & Peter Capell Michela Carpino & Rick Klingele Lynne & David Chelimer Marianna Clark & Charles Schafer Harvey Sadis & Harriett Cody Jane Commet Eric Helland & Susan Connors Samantha Cooper** Garry & Kay Crane Jim Wilder & Margaret Curtin Melinda Deane & Dan Wheetman Robin Dearling & Gary Ackerman Nancy Dirksen Lynn Dissinger Dan Drais Sarah L. Easterbrook Eight Bells Winery* Lynne & Hollie Ellis Marilyn Endriss Kim & Rob Entrop

Pen/Faulkner Award Circle, cont.

Pen/Faulkner Award Circle, cont.

O. Henry Award Circle, cont.

Maggie McDonald Marcie & John McHale Margaret Metastasio Metropolitan Market* Elaine Mew Shyla & Donald Miller Donna & Robert Parker George & Marion Mohler Becky Monk Terry & Cornelia Moore Pam & Don Myers Kim Namba Dr. David Kaplan & Dr. Ann Nelson Donna & Dennis Neuzil Betty Ngan & Tom Mailhot Dorothy & Aaron Nicholls Pam & Scott Nolte Deanna & Craig Norsen Chris Ohlweiler Pacific Northwest Ballet* Jeff & Lauren Packman Cecilia Paul & Harry Reinert Steve Pellegrin & Mary Anne Braund Sherry Perrault Cheryl Peterson Gloria Pfeif Paula Pimental Anne & Lee Pipkin PopCap Games* Susan Porterfield Diana Rakow Michelle Rebert Brian & Roberta Reed Dennis Reichenbach Jeannette Reynolds Karen & Eric Richter Roberta Roberts Lawrence & Karen Robins Marga Rose Hancock H. Stewart Ross Beth Rutherford Donna Sand Kathy Saunders Seattle Repertory Theatre* Mark Seklemian Meredith Lehr & William Severson Shellie Slettebak George & Susan Smith Diane Snell Christine Stepherson Paul Stucki & Christina Chang Diane & Richard Sugimura Debra & Mark Szalwinksi Theresa Tamura Gail Tanaka Eric & Cassandra Taylor Anne Terry Kristin & Mark Thomas Charlotte Tiencken & Bill West** Caren Toney

Marcia Utela Village Theatre* Margot & Thomas Washington Sally & Charles Weems Kayla Weiner Jay Weinland & Heather Hawkins Jennifer Weis JD Wessling Eddie Westerman Gregory Wetzel Sara White & Robert Jordan Jane Wiegenstein Hope Wiljanen Richard Wilson & Lloyd Herman Lauren Wilson Wright Runstad & Co. Juliette Yamane Robert Winsor & Valerie Yockey Sam Zeiler & Dawn Frankwick Anonymous (5)

On The Boards* • Pat O’Rourke • Helen Ortiz • Timothy O’Sullivan • Ed & Carol Perrin • Katherine Phelps • Carolita Phillips • Laura Ploudre • Portage Restaurant* • Thomas W. Pratt • Andrea Ptak & Aaron Houseknecht • Daniel & Barbara Radin • Samantha Redsell • Nancy Reichley & Timothy Higgins • RN74* • Elizabeth Roberts • T.A. Greenleaf & Rebecca Roe • Patricia Rytkonen & William Karn • Scarecrow Video* • Julie Schoenfeld • B. Charlotte Schreiber • Nancy Schroder • Ann Schuh • Seattle Art Museum* • Seattle Children’s Theatre* • Seattle Men’s Chorus* • Allen E. Senear • Audrey & John Sheffield • Janna Silverstein • Barbara Spear • St. Clouds Food & Spirits* • Pat T. Starkovich • Julie Stohlman • Anne Stoltz • Steve Suzuki • Taproot Theatre* • Ten Mercer* • Alan & Michele Tesler • Awnie Thompson • Margey Thoresen • Darcia Tudor • Marcellus Turner • UW World Series* • Deborah VanDerhei • Tom & Kristi Weir • Julie Weisbach • Jean & David White • Bill & Paula Whitham** • Margaret Whittemore • Connie & Les Wiletzky • Wendy Yoker • Anonymous (5)

O. Henry Award Circle $50+ Amgen Foundation • Beth Amsbary • William G. Anderson • Jennifer Sue & Russ Banham • Tina Baril & Dafydd D. Rhysjones • Roger Tucker & Becky Barnett • Tom Bartholomew • Maribeth Berberich • Nancy L. Bittner • Audrey Blair • Diane Blake • Bridge Partners LLC • Tisha Cain • Pamela Cain • Cory Carlson • Carl Chew • Deborah Christensen • Catherine Clemens • Combined Federal Campaign • Robert & Mary Cooper • Carol Crosby • Reidun Crowley • Nancy Cushwa • Stephanie Czerwonka • Marilyn & Don Davidson • Sherri Del Bene • Marcia Donovan • Virginia & Richard J. Dunn • Lorna Dykes • Nancy Ellingham • Margot & Dave Elsner • Dr. EM Faustman • Chandler & Janice Felt • Laura Fischetti • Deb Fredrikson • Julia Geier & Phil Borges • Elizabeth Gilchrist • Ann Glusker & Peter Hunsberger • Laurie Greig • Scott Guettinger • Corina Hardin • Wier Harmon • Catherine Hennings • Chris Higashi • Kate Hokanson • Robert Hunter • Susanne Hussong • Alison Inkley • Lawrence Jackson • Gil Joynt • Malia & Chang Kawaguchi • Vickie Kawakami • Millett & Patricia Keller • Art Kobayashi • Tracy Krauter • Kristi’s Grooming Company* • Fay Krokower • Barb & Art Lachman • Asha & Lillian Lahiri • Dr. Donald & Alice Lewis • Madalene Lickey • Adelaide Loges • Nancy Lomneth & Mark Boyd • Frank Lott • Carol Lumb • Ginny Mason • Charles Mayes • Susan McCloskey • Mecca Café* • John Mettler • Gary Miller • Sara & Paul Mockett • Christine Mosere** • Susan & Harold Mozer • Martha Mukhalian • John Narver • Judy & Stephen Niver • Warren Northrop • Ellen Nottingham • Heidi Noun & Michael Collins • Nancy & Stephen Olsen • Martha Oman

Gifts in Honor & memory Beth Amsbary in Honor of Rachel Alquist, cheerful voice of Book-It Nancy L. Celms, Kate C. Hemer, Connie Hungate, and Margaret M. Marshall in Memory of William Rees Phillips Jeanne Metzger in Honor of Joann Byrd Will Patton & Joni Ostergaard in Honor of Laura Ferri Corliss Perdaems in Memory of Judy Runstad’s father, Gerry Wright Manville Barbara Rollinger in Memory of Stephanie Prince’s mother, Mildred Prince Sonja M. Coffman in Memory of Helen Robinson *denotes in-kind donation **denotes in-kind plus monetary support This list reflects gifts received March 1, 2012 – March 20, 2013. Book-It makes every attempt to be accurate with our acknowledgements. Please email Development Associate Samantha Cooper, samanthac@book-it.org with any changes that may be required.

Our mission is to transform great literature into great theatre through simple and sensitive production and to inspire our audiences to read.

2010 Mayor’s Arts Award-winner and recipient of the 2012 Governor’s Arts Award, Book-It Repertory Theatre was founded 23 years ago as an artists’ collective, adapting short stories for performance and touring them throughout the Northwest. Today, with over 90 world-premiere adaptations of literature to its credit—many of which have garnered rave reviews and gone on to subsequent productions all over the country—Book-It is widely respected for the consistent artistic excellence of its work.

board of directors Steven Bull, President Architect, Workshop for Architecture + Design Joann Byrd, Vice President Journalist & Editor, Retired Kristine Villiott, Treasurer CPA, Minar and Northey LLP Thomas Oliver, Secretary Educator Monica Alquist Dir. of Events & Special Projects, Puget Sound Business Journal Karen Brandvick-Baker Communications Team, HomeStreet Bank Amanda Cain Librarian, American Philanthropic, LLC Stuart Frank Project Manager, Partner Capability Development, Starbucks Jane Jones Founder & Founding Co-Artistic Director, Book-It Margaret Kineke Senior V.P., D.A. Davidson & Co.

Mary Metastasio Senior Portfolio Manager, Safeco, Retired Lynn Murphy Realtor, Windermere Real Estate Co. Myra Platt Founding Co-Artistic Director, Book-It David Quicksall Independent Theatre Artist & Teacher Lynne Reynolds I.T. Consultant, Covestic, Inc. Shirley Roberson, Board Intern Senior Associate, Hughes Media Law Group Steven Schwartzman Attorney, U.S. Postal Service, Western Area Law Department Deborah Swets V.P. for Membership, Washington State Hospital Assocation Elizabeth J. Warman Dir. Global Corporate Citizenship, NW Region, The Boeing Co. Lucy Flynn Zuccotti Project Archaeologist, Cardno ENTRIX

book-it staff & interns Jane Jones, Founder & Founding Co-Artistic Director Myra Platt, Founding Co-Artistic Director Charlotte M. Tiencken, Managing Director Josh Aaseng, Literary Manager Rachel Alquist, Box Office Sales Manager Anders Bolang, Production Manager Patricia Britton, Director of Marketing & Communications Amanda Cain, Grants Associate Samantha Cooper, Development Associate Tom Dewey, Lead Box Office Associate, Group Sales Shannon Erickson, Publications & Media Manager Jocelyne Fowler, Costume Shop Manager Emily Grogan & Jennifer Sue Johnson, Casting Associates Annie Lareau, Director of Touring & Outreach Katie McKellar, Tour Manager Christine Mosere, Director of Development Erin Pike, House Manager & Volunteer Coordinator

contact us BOOK-IT REPERTORY THEATRE

Natasha Ransom, Education Associate Gail Sehlhorst, Director of Education Victoria Thompson, Production Stage Manager Robert Thornburgh, Custodian Charles W. West, Legal Consultant Bill Whitham, Bookkeeper Box Office Associates: Abby Hortegas, Lauren Krumm,

Amanda Ooton, & Hannah Schirman Volunteer Opening Night Party Coordinators: Linda Davis & Carol Phillippi Production Photographer: Alan Alabastro Special Project Videographer: Bobbin Ramsey IT Support: Mike Kostis & Tom Wahl

2012-13 interns Artistic Interns: Alex Miller & Allison Dunmore Education Interns: Georgina Cohen & Amberlee Williams Education / Costume Intern: Megan Mills Production Intern: Bobbin Ramsey

Center Theatre, Seattle Center 305 Harrison Street, Seattle, WA 98109

Administration 206.216.0877 info@book-it.org box office 206.216.0833 education 206.428.6319 education@book-it.org fax 206.428.6263

Book-It’s Administrative Offices 158 Thomas Street, Seattle, WA 98109