Emma

, Photos

by Erik

ful Thin

e Beauti

tt in Th Myra Pla echi, & e. el m a n A lachi House Theatr mara, O ester Ka g in the Center lv y S ; 0 0 in read in 20 a staged rejudice de and Pnation tea kettle; ri P in n o a ily Grog ook-It’s trusty d B n & Em e Johnso Tiencken with u S er if tte Jenn ; Charlo Stuhaug

09 ars in 20 aven Be e H t a gs th

rmance o f r e p s i uld g th ne seein of $10, we woJust o y r e v e al. . If tion come in a made a dona r $200,000 goow that e e ag of Emm 00 closer to ou do it—we kn ty? At thrning n e w t e be $2,0 e think we can. like to b people are lea out t i s i t a h tle $10. W ur help we can , most own, figuring ob, y t n e l tea ket he w a t o n j y o r of i t i h t s i e t r i d h w tra a fi nt er t r trusty, he theatre aft it in to live omoney, getting r of firsts for u o d n fi t d l a You wil r way out of e you will fin fill it. manage . It’s a ye thood. p s u o how to cing a first loveinning of adul u o on y ance. We h ets, to help y r o experieneople—the beg t r e p e performarts—and pock R t p I Book-It y k e , n o h a p t o e u m h B f r o g r u yo a part our goals and ame fo e are growin , and s g n e i e h t b h n w ou for elping us reach st beginning. y It’s muc. At twenty, live on our ow able to k n a Th or h e ju the Theatre out how to n order to be trategic ily and f twenty, we ar about what ve, m a F i g S r se ed At figurin our finances completed a rs. This reams. s are so excitcommunity we d the d a g t e s n y i u t j u n e e get All of olds, about thee will do, a ee-to-fiv , and it We hav h w do so. r the next thr for the future unting. e r futu the things Plan fo our road map ll as a little da e will about e will go! plan is exciting as we nfident that w places w o y c r e v y r is are ve are atefully, But we r goals. r y r G a s r e nniv reach ou ntieth amporary office e w t r u ious te second, als for o or Our go find more spac interns, and asibility g Direct n i d g e o a n f t a n a , a t h aff M firs center to launc r our st space foenough money med-of literacytheatre, to raise r our long-drea ew, 250-seat ces. We study fo ll include a nd rehearsal spa s a great that wi classrooms, an nt climate, it i ere you offices, at in this curre g. That is wh figure th begin plannin time to

W

ENCORE ARTS PROGRAMS

A-1

tley

r. Knigh

halfy (M

ylan C mma), D vidson (E

ullen.

Laine M

r. Wood

pson (M

m rian Tho ), and B

hotos by house). P

cally f artisti rself l e s r e h he ent oodwin to reinv wever, Emmad, as she t arcus Go u M r o to b ec a Dir wasn’t is book). Ho to get marrie .” That p a o s with th t actually needd “consequenceis aloof ntury edic e c h t 9 1 does noh “fortune” an cter flaw: she thy for early- th great com ly n a s i e i t mma lbeit one w infini n has bot ted her chara bility or empa may be d n a a , o n , opera aracterizatio ike a televisi , has creas little vulnera Though one doesn’t l h l L flair, c nt language. ive in a sma e and ha eople’s plights. nd energy, one l e h t g s i r l l e e, te ct other p ed by her wit aat first. more in era, the chara, in this cas miles is captivat —at least not en she d soap op community ighbury, a fewarity, it h r e w h s e e v o d l m lo co e go enclose ial town of Hth all its insu g point e person whost of her n i i c n r n w i u t v t . e ed pro Emma’s realize—by thost—the exten hat she ndon, y l hundr e l t i from Los well be severa t made to she esteems m ice. It’s then t meone d the el, e a s t u h y g i d v a m opinionide and prejud uman, and so twenty n’t alre another no for d a h n e Aust itle ’ for own pr s vulnerable, ht is in this final ry takes If Jane and Prejudice an excellent t itory to become ly care about. Ilay that the sto ee that, ‘Pride t have been fascinating terr ters are we final inutes of the p here we can s a story it mighThat makes it t of the charac s—how or so m cher quality w banter, this isnd such Emma. on stage: mos value of other ancially on a ri all the wit and forgiveness, a ll. explore ed about the socially and fin nces of beneathedemption and dest stories of a prejudic ople stack up es, and so insta happen about r re the profoun other peed to themselv understanding is to be stories a compar eption and mis and laughter usually misperc Here the fun ne character—another aplenty. too, when o dgment on w, and found, makes a ju out the windovidence Emma—r, reason flies lds despite all e area of characte impression ho a’s particular rriages’ the first contrary. Emming of ‘good maand she to the is the engineer ovel after all, interest a Jane Austen n (this is ie Da

ith Sylv works w

E

A-2

BOOK-IT REPERTORY THEATRE

BOOK-IT REPERTORY THEATRE

EMMA CAST in alphabetical order

John Bianchi Daniel Brockley Sylvie Davidson Dylan Chalfy* Cole Cook Nicole Fierstein Betty Gard Emily Grogan Jack Hamblin Ashley Marshall Laine Mullen Brian Thompson* Samantha Wykes Casi Nicole Wilkerson Devorah Spadone Miller Freeman IV* Brady Brophy-Hilton Victoria Thompson Elizabeth Kent

Andrea Bush Andrew D. Smith Deane Middleton Robertson Witmer Kristyne Hughes Gin Hammond Laura Ferri Lucinda Stroud

Mr. Elton Frank Churchill Emma Woodhouse Mr. Knightley Mr. Martin/Mr. Dixon/Servant Jane Fairfax Mrs. Bates Mrs. Elton Mr. Weston Harriet Smith Isabella Knightley/Servant Mr. Woodhouse Miss Bates Mrs. Weston Production Stage Manager Stage Manager Assistant Stage Manager Production Assistant Stage Management Intern

ARTISTIC & PRODUCTION STAFF Scenic Designer Larry Rodriguez Lighting Designer Dan Bartell Costume Designer Bill Danner Sound Designer Jeff Ringer Properties Designer Michael Minahan Dialect Coach Sheryl Cope Choreographer Jocelyne Fowler Assistant Director/Dramaturg Chris Frickland Jennifer Dantes

Technical Director Production Manager Master Carpenter Lead Scenic Painter Scenic Painter Assistant Costume Designer Costume Shop Intern Master Electrician Sound Board Operator

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States Season Support provided by: Media Sponsor:

ENCORE ARTS PROGRAMS

A-3

H r o h t u t e Me The A

hed n publis the e t s u A , of 35 ified the age , which ident rejudice t a , 1 1 d P In 18 d Sensibility ride an k in 1814, orn P n b a s a .” e y s w d n e S ten Par a La ane Aus r 16, 1775 or as “ 813, Mansfield h t u a e b in 1 Decem venton near followed a in 1815. ly e t S n i m at er, on Ju n m e c E k n a o d t c s n a g m ied i y fro Basin seventh ost likel s later was bur old. e m , h t d e i , d y Austen , and a few day he was 41 years reds England f a countr . o e f i und 1817 ral. S w child nd his ted 18, chester Cathed h is visited by h ention a n a m en m whic Win clergy usten educa estone, ear, does not ev v y a A e r h g t a r r e e d r y H whe ssan ach mirers e n author. and Ca arily at home ibrary and d a e f g o r o e l m a i bbey G she was anger A 17 ldren pr the extensive ted by Mr. h i t t a h r c h o t r N i e a th om and er 18 here cre enefit fr riend ersuasion er in Decemb by her P s l e could b olroom atmosp Jane’s closest f hree v o Her n lished togeth tice” written , for t b s the scho live-in pupils. andra, almost usly o were pu iographical N Jane Austen wa fied s o B Austen’s only sister, Cas brothers vari and ti with a “ enry, in which er novels, iden ride , r r y e e g r h H e l s c a . r H e w P h o brother ime in one of nd Sensibility, ma. o be er seni king, th t years h he militia, ban althy cousins t a m t s e E r s t the fi e r of Sen eld Park, and nt. o h t u entered adopted by w a as the udice, Mansfi en out of pri s j e one wa . d e v o and Pre ls have never b em ir h s , 1 0 8 e their he ocales d in 1 er nov er retire various other l th in H h t a f r e When h and then on to er father’s dea sten h to Bath, mother after ines, Jane Au eral r e e h h ro e sev with e her d receiv i k i d l n e h U s 1805. rried, though a never m s. l proposa

J

n e t s u ane A

w e n A rtrait of J Po

hed ” publis y n e t s u A e “M e of Jan Melissa says, gap c a F e the orld le “Th the artic sten’s Regency W ane Austen fills tations n I in Au of J esen unveiled d, by Jane lative likeness enticated repr accepted s a w n h u e e n ne Aust in Bath, Engla to new spec paucity of aut will come to b ng made a J f o t i e i a e Dring hope it er ve portr spite be eft by th n Centr The abo the Jane Auste artist Melissa she might l f the author... I ait of her, de article details h at s o e ortr nd 2002 by ommissioned f the author a 1801-06. good p r her death.” Thnd can be fou .pdf a s o c n i a t i h a a h e t whic ears aft ketch process world/pdf/portrait w portr her time in Ba y e n 5 a 8 1 e c e produ eared during h and s sten.co.uk/regency er at th e c t r n a i e a s p e p r p t olic rtrai have a w.janeau as a po on and as a p She tp://ww t h d e n i a d was tr , D.C. s, Lon Melissa ademy School in Washington ith those c w I Royal A rtist by the FB of portraiture ’s likeness a n e c s t forensi d the insight recreate Aus nd written o a e combin forensic arts t mily portraits, e a of polic oric artifacts, f t s i h from ions. descript

A-4

BOOK-IT REPERTORY THEATRE

HighburyHierarchy

A Guide to the Social Rankings of the Citizens of Highbury

1.Mr.Knightley

is highest in the Highbury firmament—first in virtue as well as place as he refuses to trade on his rank. He walks when status-conscious people would make a point of riding in a carriage.

When he does use a carriage it is to transport Miss Bates and Jane Fairfax. Though he could leave the management of his estate to an employee, he takes an active role and is warmly interested in the domestic affairs of his tenant farmer, Robert Martin.

2.Mr. Woodhouse

has a gentleman’s residence with a farm attached, but he does not get involved in the management of the farm, and we hear of no tenants. The fact that Emma has a fortune of 30,000 pounds suggests that much of his income comes from investment rather than from land, hence his status is relatively lower than Mr. Knightley as a long-term commitment to the land was prized for a good moral aristocrat.

3.Mr.John &Mrs.IsabellaKnightley .

Law of Primogeniture, the right of the first-born son to inherit the entire estate to the exclusion of younger siblings, means Mr. John Knightley has limited wealth in comparison to his brother. Married to Emma’s older sister, John Knightley works in the respectable profession of the Law.

4.EmmaWoodhouse 5.FrankChurchill

has a fortune of 30,000 pounds from her father, but of course the sky is the limit as she has the potential to “marry up,” beyond her already lofty position.

The impression is given that Frank has potential to inherit great wealth from his adopted parents, the Churchills. Additionally he will eventually inherit Mr. Weston’s entire estate as his only son. Even were Mr. and Mrs. Weston to have a child—which is unlikely at Mrs. Weston’s age—Frank would inherit the vast majority of the estate, because he is the eldest.

6.Mr. &Mrs.Weston

have greater wealth than Mr. Elton, but less professional prestige, as Mr. Weston made his money in ‘trade.’ Although he used to be a Captain in the military, which perhaps adds something to his social standing. Mr. Weston has recently purchased an estate called Randalls. Mrs. Weston was Emma’s governess prior to her marriage.

7.Mr. &Mrs.Elton

Emma is indignant that Mr. Elton would dare propose marriage to her, or suppose himself her equal in connection or mind. When Mr. Elton does marry, his new wife thinks herself and her husband higher than the Westons and Frank Churchill; Mrs. Elton is considered a snob and trades on her connections.

.

8 Mr. Martin

is a tenant farmer with money. Because of his money, he ranks higher than the Bateses, who would rank above him if one were to judge in terms of class alone.

9.Mrs. &Miss Bates

are gentry but they are poverty stricken.Their family history has given them connections with all the best families in Highbury. The impression is that the Bateses were once ranked at the level of the Eltons, if not higher.

10.JaneFairfax has an excellent education, she is talented and beautiful, but she has no family name, no money, and she is a woman. She is destined to be a governess, and may face poverty unless she can marry. Time is of the essence.

11.Harriet Smith

is a female orphan with unclear origins, few accomplishments, and no money. Her situation is grim; she will face poverty unless her prettiness, winning personality, and cheerfull disposition help her marry well.

ENCORE ARTS PROGRAMS

A-5

of n o i e t ThEduca d

n a s e i d a L Gentlemeannd l g n E egency in R

to patience s, e v a h n a n scree dies c young la int tables, cover d I am w o h “ , y is, an ingle all pa ,” said B all are… They cannot do all th thout being e m o t g they azin who e, wi “It is am accomplished as y know any one for the first tim accomplished.” l y y of be so ver t purses. I scarce ng lady spoken that she was ver e and Prejudice e d u d i n o r e y d P an inform ane Austen, heard a r e v e n J I — sure eir ide of th ents” s t u O . en hm way as m any “accomplis uages— e m a s e g ted in th ed to acquire m ak modern lan en). a c u d e y t all spe of m pec not form classes were ex needlework, or the education skills, e r e w d r l r o e se o ncy peri en of the gente c, dance, maste , was reserved f uch so that the e g e r e h i during t ng wom lay mus d—so m nd Latin Women education, you , paint, sing, p guage, Greek a ttract a husban iage. ratw r c a n ad celeb by domesti he ability to dra ian (classical la as primarily to ected after mar h “ y t i l i l l t ensib , and such as French and Ita mplishments w iscarded or neg se and S extremely well have n e S o d y n l c i l e c a n a b gener iddleto she had played ll deteriorate as ely of such od, tended to M e s y o d p a r L u The p riting: ther’s account usical skills wi plays her relativ childho w m r o e r h f f d o o much nurture y her m fears that her m eth Bennet dis towards her n b i h s i g h u t o t b es fun a up music, alth Elton in Emma Prejudice, Eliza areless attitude k o p n e c g st .

Jane Au arriage by givin f it,” while Mrs s. In Pride and by adopting a e w o o m m . n y r d a l fon ip g gent she k ed he was very arried women t of the courtsh racticing it dili n w o r e r ily p a h the fam several m towards this p piano and not , s f t o n e e s r a o e th e age eir p aying th d attitud from th ey reached the vate e t i r w detache lishment” of pl d h read an arson. Once t tion with a pri ed o t d e “accomp n i a p r Boys lea s, or the village ore formal educ ugby; they stud s governe ey received a m l like Eton or R ematics. h t ath , hoo of ten ublic sc iterature and m p a t a r ough l tutor o reek, history, our” thr t. t d n a r g ea“ ng ar Latin, G ould tak re, and acquiri w s e t a t cultu eat es air to gr ages, absorbing 3-1815. h e l a m oung langu m 180 a tury, a y years learning leonic wars fro n e c ght earn r i h t m n s e o e r v e p e t fi a d the N sters o oly or te eigh one to ke up h s, such as barri r way up In the la spending from as disrupted by a t o t d ante thei sion Europe, this tradition w ing or w tined for profes and then work n r a e l r f e o rade love n des Howev rticular iddle class me ip to learn the t a p a d a h M sh bridge. en who prentice Young m Oxford or Cam take up an ap t ld e Austen degree a al officers, wou y by Jan it il b si en v and S in Sense even na the ranks. omson, Th h t g u h on by H throug Illustrati

s e i d a L

n e m e l t n e G A-6

BOOK-IT REPERTORY THEATRE

C

ADay in the Life of a Regency

Lady

From The Jane Austen Handbook 7 a.m.: Rise.

7-7:30 a.m.: Wash, tidy your hair, dress.

7:30-8 a.m.: Meet with your housekeeper, choose dinner menu.

8-9 a.m.: Look in on the nursery; make sure the children are awake, washed, dressed, fed, and usefully employed.

9-10 a.m.: Practice your instrument.

10-11 a.m.: Breakfast

MakingCalls

11 a.m.-3 p.m.: Pay morning calls or stay in an receive your own callers. Between calls, take care of darning and other family sewing. While guests are present, do only fancy needlework.

3-4 p.m.: Tend to your correspondance: Write letters and answer invitations.

4-5 p.m.: Play with the Children or read an improving book.

5-6 p.m.: Retire to your dressing room to rest and dress for dinner.

6-8 p.m.: Dine.

8-11 p.m.: Spend time with your family or guests you have invited to dine or drink tea.

11-11:30 p.m: Undress and prepare for bed.

11:30 p.m: Retire.

Calling cards

Excerpted from Isabella Beeton’s 1861 book, Mrs Beeton’s Book of Household Management

After luncheon, morning calls and visits may be made and received. These may be divided under three heads: those of ceremony, friendship, and congratulation or condolence.

Visits of ceremony, or courtesy, which occasionally merge into those of friendship, are to be paid under various circumstances. Thus, they are uniformly required after dining at a friend’s house, or after a ball, picnic, or any other party.

These visits should be short, a stay of from fifteen to twenty minutes being quite sufficient…

A strict account should be kept of ceremonial visits, and notice how soon your visits have been returned. An opinion may thus be formed as to whether your frequent visits are, or are not, desirable. There are, naturally, instances when the circumstances of old age or ill health will preclude any return of a call; but when this is the case, it must not interrupt the discharge of the duty...

In all these visits, if your acquaintance or friend be not at home, a card should be left. If in a carriage, the servant will answer your inquiry and receive your card; if paying your visits on foot, give your card to the servant in the hall, but leave to go in and rest should on no account be asked. The form of words, “Not at home,” may be understood in different senses; but the only courteous way is to receive them as being perfectly true. You may imagine that the lady of the house is really at home, and that she would make an exception in your favour, or you may think that your acquaintance is not desired; but, in either case, not the slightest word is to escape you, which would suggest, on your part, such an impression.

Excerpted from “Calling Cards and the Etiquette of Paying Calls” by Michelle Hoppe http://www.literary-liaisons.com/article026.html

By the beginning of the 19th century, the etiquette of calling was a firmly established ritual in society, and the calling card an essential part of introductions, invitations and visits. Calling cards evolved in England as a way for people to get into the elite social circle, and for those already there to keep out the unwanted. Calling cards could keep social aspirants at a distance until they could be properly screened.

Calling cards were conveyed by servants to the mistress of the house, who would then decide whether or not to receive the caller. If the mistress was “not at home,” it was a rejection of the visitor. A reciprocal card may be given to the caller, but if not presented formally, that usually meant there was no desire to further the acquaintance. If, however, a formal call was returned with a formal call, there was hope for the relationship to grow. Cards from visitors were placed on a silver salver in the entry hall—the more impressive names displayed on top. The trays had a pie-crust rim so the cards would not slip off. In less wealthy households, china bowls were used to hold cards.

For a first call, one was wise to simply leave the card without inquiring as to whether or not the mistress was at home. She would then take the next step. A newcomer waited until she received cards from neighbors. It was then good manners to call on those neighbors who left cards.

ENCORE ARTS PROGRAMS

A-7

JOHN BIANCHI Mr. Elton John is thrilled to be working with Book-It Repertory Theatre again, having performed in the original adaptations of Howards End and Don Quixote. John has also appeared locally with Seattle Public Theatre, Capitol Hill Arts Center, Annex Theatre, Centerstage, Theatre Babylon, Boomer Classics, Musical Theater Workshop, and ACT Theatre. Some favorite roles performed include Septimus in Arcadia, Serge in Art, DeFlores in The Changeling, David in Santaland Diaries, and all eight characters of the solo show, 21A, by Kevin Kling.

DANIEL BROCKLEY Frank Churchill Daniel is delighted to return to Book-It, where he has been seen as Dwayne in Plainsong, Leonard Bast in Howards End, and Eric in If I Die in a Combat Zone Box Me Up and Ship Me Home. More recently, he has taken on the roles of Edmund in King Lear with Rough Play Productions and Valère in The Miser with Seattle Shakespeare Company. Daniel has performed with theatres throughout the Seattle area, including Wooden O as Graziano in The Merchant of Venice and Florizel in The Winter’s Tale, and SecondStory Repertory as Clifford in Death Trap. Outside of Washington, Daniel has performed with the Idaho Shakespeare Festival, Willamette Repertory Theatre, Center Repertory Theatre, Pacific Lyric Theatre, Silhouette Theatre, and more.

SYLVIE DAVIDSON Emma Woodhouse Sylvie is happy to be returning to Book-It, where she previously appeared in Night Flight and The Highest Tide. Other local credits include Elizabeth in Dr. Jekyll and Mr. Hyde and Spirit One in A Christmas Carol at ACT Theatre, as well as work at Seattle Children’s Theatre, Live Girls!

Theatre, and Island Stage Left. A graduate of Knox College in Galesburg, IL, Sylvie also works as a teaching artist with Living Voices and is a member of the Seattle band Waiting for Lizzie.

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

A-8

BOOK-IT REPERTORY THEATRE

DYLAN CHALFY* Mr. Knightley Dylan has performed on Broadway in Ah, Wilderness at the Vivian Beaumont Theatre at Lincoln Center and in The Rose Tattoo at Circle in the Square. His Off-Broadway credits include The Oxford Roof Climber’s Rebellion at urbanStages; Big Potato at The Duke; Home of the Brave at Playhouse 91; and Blood Guilty at Ensemble Studio Theatre.

Regional credits include Secret Order at Alley Theatre; Rabbit Hole at Pittsburgh Public Theatre and TheaterWorks; Doubt at George Street Playhouse; Misalliance and Cymbeline at The Old Globe Theatre; Moon Over Buffalo at Fulton Opera House; and Grace in America at Cleveland Play House.

His TV credits include “Delocated,” “Rescue Me,” “Law & Order,” “Law & Order: SVU,” “Conviction,” “OZ,” and the BBC Radio Production of The Handmaid’s Tale.

BETTY GARD Mrs. Bates Betty began acting in the 1970s, while also serving as head reference librarian at the University of North Dakota Library.

She has acted in more than 40 musical and non-musical productions as well as in film. In 1998, she had a speaking role in the film Dead Dogs which won the American Independent Award at the 1999 Seattle International Film Festival. After moving to Seattle in 2006, she appeared in The Package, produced by Purple Squirrel Productions, which won Best Detective Story in the National Film Challenge. She has subsequently acted in ten films and videos. In 2008 she played a major role in an original melodrama for UPAC Theatre Group. Most recently, she had a role in a Fifth Saturday Audio Theatre radio drama.

EMILY GROGAN COLE COOK Mr. Martin/Mr. Dixon/ Servant Cole is delighted to be a Book-It acting intern for the 2009-10 Season. He was last seen as George in A Confederacy of Dunces. Other recent credits include The Taming of the Shrew with Balagan Theatre and The History Boys with both ArtsWest and Artists Repertory Theatre in Portland. Film credits include Alicia’s Book staring Christian Slater and Cuba Gooding Jr. Cole received his BA in theatre from Central Washington University and is an AEA Equity Member Candidate. Having appeared in more than 30 productions prior to this role for Book-It, Cole is now delighted to call Seattle home.

NICOLE FIERSTEIN Jane Fairfax Nicole is so very pleased to be making her Book-It debut in Emma. Past credits include Cordelia in King Lear with Rough Play Productions; Olivia in Twelfth Night with GreenStage; Rosalind in As You Like It with Work It Productions; I Love You, You’re Perfect, Now Change with Capital Playhouse; The Last Five Years with Highwire Arts Project; and Quickies: Volume 9 with Live Girls! Theatre. In 2004 she was honored to perform in Honk!, the first fully staged musical in the British Virgin Islands. Nicole has also enjoyed performing for children in the region with Kirkland’s StoryBook Theater for four seasons. She received her BA from California State University, Sacramento.

Mrs. Elton Emily is delighted to be with Book-It once again, where her previous credits include Jane in Pride and Prejudice, Helen in Howards End (Seattle Times Footlight Award 2002), Cassandra in Broken for You, Anchor Woman in The Highest Tide, and most recently Miss Adrian in Even Cowgirls Get The Blues. Other theater credits include Roxanne in Cyrano de Bergerac and Juliet in Romeo and Juliet, both for Seattle Shakespeare Company; and Search and Destroy for London’s New End Theatre.

Emily was most recently seen as Jean in ArtsWest’s production of Dead Man’s Cell Phone. She is a graduate of Cornish College of the Arts.

JACK HAMBLIN Mr. Weston Chicago-born and San Diego-raised, Jack studied for four years at Estelle Harman Actors Workshop in Los Angeles before returning to San Diego to play Frank Doel in 84 Charing Cross Road at the Pacific Palomar Theatre.

He then played a series of roles including Eddie in David Rabe’s Hurlyburly, Alex in Lanford Wilson’s Serenading Louie, and Ray in James McLure’s Lone Star. Other credits include Zoo Story, The Rise and Rise of Daniel Rocket, and Translations. In Seattle, Jack has been in several Edge of the World Theatre productions including Social Security, Wrong For Each Other, and Scotland Road. Most recently he was seen in The Moon is a Dead World at Annex Theatre and in Unbalancing Act’s The Masters at Odd Duck Studio.

ASHLEY MARSHALL Harriet Smith Ashley is thrilled to be working with Book-It again after completing her artistic internship with Book-It this spring where she was the assistant director and dramaturg for The Beautiful Things That Heaven Bears. She is proud to have graduated with honors from Cornish College of the Arts with a BFA in Theatre, where her original play Mia Baby was presented in the Winter New Works Festival. At Cornish, her favorite roles included the Jester’s Wife in Arabian Nights and Agatha in The Children’s Hour. She also enjoys directing for Backwards Ensemble Theatre Company’s The Virgin Playwrights series.

LAINE MULLEN Isabella Knightley/Servant Laine is pleased to be a Book-It acting intern making her Book-It Repertory Theatre debut. Previously this year, Laine appeared in Backwards Ensemble Theatre Company’s The Rez As I Saw It as Cougar, Absurd Reality Theatre’s Evil Dead Thing as Evil Force, and North Star Theatre’s Little Women as Meg. She studied acting for two years at Ilkhom Theatre School of Drama in Tashkent, Uzbekistan, and graduated from the University of Washington with a BA in Drama. Laine is also Book-It’s 2009-10 photography intern.

BRIAN THOMPSON* Mr. Woodhouse Brian has twice essayed Mr. Bennet in Marcus Goodwin’s adaptation of Pride and Prejudice at Book-It and Portland Center Stage. Previous credits with Book-It include Even Cowgirls Get The Blues, Hard Times, Travels with Charley, and A Tale of Two Cities. A Seattle native, his career spans five decades, beginning with training at Chicago’s Goodman Memorial Drama School and including founding artistic directorship of The Bathhouse Theatre. In addition to six seasons with Berkeley Rep and two at Oregon Shakespeare Festival, he has performed at all of Seattle’s major theatres, Washington, D.C.’s Shakespeare Theatre, Atlanta’s Alliance Theatre, Dallas Theatre Center, Denver Center Theatre, San Francisco’s Eureka Theatre, and Vancouver’s Westcoast Actors Studio. He is a three-time recipient of Dramalogue awards and recently won Portland’s Drammy for The Fantasticks.

SAMANTHA WYKES Miss Bates Sam is delighted to return to the Book-It stage, where she was last seen as Madame Defarge in A Tale of Two Cities. Other recent theatre credits include The Nexus Project with Next Stage, Accomplice with Harlequin Productions, The House of Mirth and Rebecca with Book-It, and The Tiger and the Dried Persimmon and Happy Holly Day, both with Thistle Theatre. Originally from the northwest of England, she studied Drama at the University of Northumbria at Newcastle and trained as a teacher at Durham. She has lived in Seattle for nearly six years and is the proud mother of Robyn Jeanne.

CASI NICOLE WILKERSON Mrs. Weston Casi is thrilled to be making her Book-It debut! She is a local actor, vocalist, director, and choreographer who studied theatre under Mark Medoff at the American Southwest Theatre Company at New Mexico State University. Local theatre credits include Rita in Educating Rita with Theatre Northwest, Chick in Crimes of the Heart with Tacoma Actors Guild, Aunt Sarah in The Christmas Foundling with Taproot Theatre, Lady Visitor in Under a Mantle of Stars and Ellie in Psychopathia Sexualis, both with Harlequin Productions.

Film credits include Bad Seed, starring Luke Wilson; The Fire Below Us, a Discovery Channel, National Geographic Explorer and PBS Documentary; and the independent film, Group. Casi is a resident actor at Theatre Northwest and the operations and educational director at Tacoma Little Theatre.

MARCUS GOODWIN Director Previously for Book-It Marcus adapted The House of Mirth, Howards End, and Pride and Prejudice which was produced twice by Book-It—at On The Boards in 2000 and at the Falls Theatre at ACT in 2004—as well as by Portland Center Stage in 2005.

In addition to his adaptations, Marcus also directed the original 2000 production of Pride and Prejudice. His favorite directing projects include Le Disgrazie d’Amore with Batignano Opera Festival, Italy; On the Piste, The Diary of Anne Frank (which he also adapted) with Harrogate Theatre, UK; and As You Like It, and The Comedy of Errors for Open Hand Productions, Oxford & Cambridge. Marcus primarily works as a TV drama writer for BBC TV’s “Doctors,” and has written for BBC TV’s “EastEnders.” He recently wrote a multimedia play, Dysmorphia, for Ground Cover Theatre, Saskatchewan, Canada and is presently writing an original play with an environmental theme for Seattle Children’s Theatre.

RACHEL ATKINS Adapter Rachel is the scriptwriter for Living Voices, the educational theatre company with whom she has ten different multi-media productions in ongoing national tours.

Other Book-It and Book-It All Over adaptations include Rhoda: A Life in Stories, Rebecca, Minty, The Journey That Saved Curious George, and the upcoming Johnny Appleseed. An Annex Theatre Hothouse 2004 playwright, her plays have also been seen at Seattle Children’s Theatre, The Empty Space, and 14/48. Rachel currently works as a master teaching artist for Seattle Rep, Book-It, and Arts Impact. Rachel has over 16 years of writing, teaching, and directing experience in Seattle, New York, and France, where she was the scriptwriter/dramaturg for Ardeo Theatre Project. She graduated from Dartmouth College and holds her Masters in Educational Theatre from New York University.

ANDREA BUSH Scenic Designer Andrea is a scenic designer for theatre in Seattle. This is her debut with Book-It Repertory Theatre, and she is looking forward to collaborating on The Cider House Rules, Part One later in the season. Her work has recently been seen at Washington Ensemble Theatre’s last two productions Neighborhood 3: Requisition of Doom and Titus. Other work includes Contemporary Classics’ production of Zanna, Don’t!; Annie Get Your Gun with Seattle Musical Theatre; Girl Gone for Cornish College of the Arts; as well as Arcadia, The Good Woman of Setzuan, and Kirk Mechem’s opera Tartuffe while earning her MFA at University of Washington. Andrea is a co-artistic director at Washington Ensemble Theatre and acts as their resident scenic designer.

ENCORE ARTS PROGRAMS

A-9

ANDREW D. SMITH Lighting Design Andrew returns to Book-It after Even Cowgirls Get the Blues and The Beautiful Things That Heaven Bears. His recent work includes The Mistakes Madeline Made with Washington Ensemble Theatre, Of Mice and Men and Three Days of Rain with Seattle Public Theater, and I Am My Own Wife with ArtsWest. New York credits include I, Kreon and The Private Life of the Master Race with Roust Theater Company and 365 Days/365 Plays with Classical Theatre of Harlem and the Public Theater. His work has been seen at On The Boards, Velocity Dance Center, Broadway Performance Hall, Theater Off Jackson, and he is an artistic associate at Cardinal Stage Company.

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

DEANE MIDDLETON Costume Designer Deane is delighted to be back for her third show with Book-It after working on Moby-Dick, or The Whale last winter. Work this past season included Village Theatre’s Beauty and the Beast, The Gypsy King (Village Originals), and The Wiz (KidStage Summerstock); A Servant of Two Masters with Seattle Shakespeare Company; HMS Pinafore with SecondStory Repertory; and Guys and Dolls with Seattle Musical Theatre.

Her work has also been seen at Tacoma Little Theatre, Maui Academy of Performing Arts, Wooden O, and Driftwood Players. Deane is grateful to Jane and Myra for inviting her to join them again in Austen-land. She is the proud mother of Kelly and Nick.

ROBERTSON WITMER Sound Designer Rob’s previous credits with Book-It include The Secret, The House of Mirth, and Night Flight. His recent work as a sound designer includes The Tempest for Seattle Shakespeare Company; Orange Flower Water and The Adding Machine for New Century Theatre Company; End Days, War Party, and Stop Kiss for Seattle Public Theater; and The Taming of the Shrew for Wooden O. Rob can also be found playing with many musical groups, including The Toucans steel drum band, We Are Golden, The Love Markets, and the absurdist garage art-pop band, “Awesome.”

KRISTYNE A. HUGHES Properties Designer Kristyne is excited to be working with BookIt for the first time. She is a recent graduate of the University Washington School of Drama, where she worked on a number of productions including Big Love, Who’s Afraid of Virginia Woolf, The One Acts, and The Pillowman. She has also worked locally with ReAct Theatre, Open Circle Theater, and Boots Up Productions. She most recently stage managed Sex in Seattle, Episode 17: Coming Clean with SIS Productions.

A-10

BOOK-IT REPERTORY THEATRE

GIN HAMMOND Dialect Coach Gin is thrilled to be working with the BookIt team once again. She teaches accents and dialects at Cornish College of the Arts, at Freehold Theatre, and privately. Her voice(s) can be heard on audio books, radio plays, and a variety of video games. She received her MFA from the American Repertory Theater/Moscow Art Theater School Institute for Advanced Theater Training at Harvard University, and has performed nationally at theatres such The Guthrie, Arena Stage, The Longwharf Theatre, The Pasadena Playhouse, ART, The Berkshire Theatre Festival, and Seattle’s ACT Theatre.

Internationally, she has performed in Russia, Germany, Ireland, Scotland and England. www.ginhammond.com LAURA FERRI Choreographer Laura is delighted to be once again in the world of Jane Austen, having choreographed the dances for Book-It’s multiple productions of Pride and Prejudice, in which she also played Mrs. Bennet and Lady Catherine. Last season, she choreographed the dances for Even Cowgirls Get The Blues and My Ántonia, as well as adapted and directed Book-It Special Editions of The Beautiful Things That Heaven Bears and The Call of The Wild. A Book-It company member for almost 20 years, she has also adapted and directed Broken for You for the main stage and annually stages the Danger: Books! series for Book-It All Over.

LUCINDA STROUD Assistant Director/Dramaturg Lucinda Stroud, a recent graduate of the University of Puget Sound, is excited to unite her loves of literature and theatre in working with Book-It Repertory Theatre as a literary and artistic intern this season.

LARRY RODRIGUEZ Technical Director Larry hails from the Philippines and has been passionate about the theater since 1994. He was technical director and lighting designer for the Philippines’ pioneer theater company—The Philippine Educational Theater Association. He also studied Lighting Design and Sound Engineering in Tokyo, Japan. Larry was a theater manager for three years with The Far Eastern University, which houses the Philippines’ first cultural center where early theater and vaudeville shows started during the 1940s; he was behind its ambitious 1998 renovation and refurbishing of the entire facility. He has also worked as director of photography for companies that produced television commercials and music videos. Before leaving the Philippines he was involved in over 50 productions from stage, television, and film, and represented the country in International theatre festivals. He moved to Seattle in 2005 and joined Book-It Repertory Theatre. This is his fifth season

and he is continually grateful for having the opportunity to work among great talents.

Larry was recently brought on as the resident lighting designer of Next Stage, a newlyformed Seattle theatre company.

DAN BARTELL Production Manager Dan is excited to join the Book-It staff for the 20th Anniversary Season celebration. He has been involved in the arts in the Seattle area for the past 12 years working with many regional, national, and international music acts. He has worked as a curator at Consolidated Works, an arts consultant with The Armory Show and Art Basel Miami Beach, and several art collectors.

His theatre credits include work with The Bread and Puppet Theater, Degenerate Art Ensemble, Tim Miller, Kate Rigg, Joe Von Appen, and numerous productions at Theater Schmeater. Dan has also worked as a freelance production manager/coordinator for Bumbershoot, Family 4th, NW Folklife Festival, Seafair, Fremont Fair, West Seattle Summerfest, Giant Magnet, and many private and corporate events.

MILLER FREEMAN IV* Stage Manager Miller is honored to return to Book-it as stage manager for Emma. Miller has worked as stage manager for a host of shows in Seattle including Rebecca and Waxwings with Book-It Repertory Theatre; The Taming of the Shrew, Romeo and Juliet (twice!), A Midsummer Night’s Dream, The Turn of the Screw, Henry IV, All’s Well That Ends Well, The Miser, Pericles, The School for Scandal, Chamber Macbeth, and Much Ado About Nothing at Seattle Shakespeare Company; Cinderella, A Love Story with the Sound of Motown; Summer Rhapsody: The Reunion, and Uncle Willy’s Chocolate Factory produced by the Langston Hughes Performing Arts Center at Seattle Repertory Theatre; and a number of shows at Theater Schmeater and the University of Washington, including the Professional Actor Training Program Showcase tour.

DEVORAH SPADONE Production Stage Manager Devorah is proud to be the production stage manager at Book-It during the celebration of our 20th Anniversary Season! Some of her favorite productions with the company have been Moby-Dick, or The Whale, The Highest Tide, Peter Pan, A Tale of Two Cities, The House of the Spirits, Little Women, Plainsong, and Giant. She also works as a stage manager for events, fundraisers, festivals, and tours.

She recently worked on the 20/20 revue fundraising event that benefited the Vitamin Angels. In addition, she has worked with The Ethereal Mutt Limited on Saving Tania’s Privates by Tania Katan at the Edinburgh Fringe Festival 2008. She has also worked for Seattle Children’s Theatre, Seattle Shakespeare Company, Bumbershoot,

Folklife, and Giant Magnet (formally the Seattle International Children’s Festival).

VICTORIA THOMPSON Production Assistant Victoria is thrilled to be working with BookIt again this season after previously working on A Confederacy of Dunces, Night Flight, The Beautiful Things That Heaven Bears, and Moby-Dick, or The Whale. She is new to Seattle having graduated in 2008 from Trinity Western University in Vancouver, BC with a BA in Theatre. She loves being involved with theater in any way she can.

Some of her favorite productions to work on have been Pride and Prejudice, Holy Mo and Spew Boy, The Taming of the Shrew, and Fixing Christmas.

ELIZABETH KENT Stage Management Intern Elizabeth is a recent graduate of Seattle Pacific University with a BA in Theatre Production and is thrilled to be an intern at Book-It this season. Last summer she was privileged to intern at Seattle Children’s Theatre for their summer season. Recent productions include The Alto Part, See Rock City, Honk!, and She Stoops to Conquer. She also served as the touring stage manager for the SPU University Players for two years.

JOCELYNE FOWLER Costume Shop Intern A recent graduate from the University of Washington with a Bachelor of Arts degree in theatre with a concentration in costume design and construction, Jocelyne is BookIt’s 2009-10 season costume shop intern.

Previously, she worked with the Seattle Children’s Theatre as a costume assistant during their 2009 Summer Season.

JANE JONES 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 23 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 including The Guthrie, American Conservatory Theater, The McCarter and Oregon Shakespeare Festival. Locally, she has been seen at Seattle Rep, ACT Theatre, The Empty Space, Seattle Children’s Theatre, Tacoma Actors Guild, and INTIMAN. 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 the 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 (Backstage West Award, best director) and in New York (Drama Desk Nomination, best director). Jane recently directed Pride and Prejudice and Twelfth Night at Portland Center Stage which won the 2008 Drammy award for Best Direction and Production.

For Book-It, 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, and A Tale of Two Cities. Book-It performances include roles in Ethan Frome, Silver Water, Cowboys Are My Weakness, Breathing Lessons, and Rhoda: A Life in Stories. 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 also a recipient of the 2009 Women’s University Club of Seattle Brava Award.

CHARLOTTE M. TIENCKEN Managing Director Charlotte is an arts administrator, director, producer and educator who has been working in the producing and presenting fields for 20 years. Before moving back to the Seattle area in September 2003, she was general manager at Jacob’s Pillow Dance Festival in Massachusetts for four seasons. Currently, she is president of Scarlet Productions, her own consulting firm, and is an adjunct faculty member at Lesley University in Cambridge, MA. Most recently she was executive director of Tacoma Actors Guild. Charlotte is a member of the Association of Performing Arts Presenters, the Society of Stage Directors and Choreographers and is past president of the Board of Arts Northwest, the presenting service organization for Washington, Idaho and Oregon. She has served on the board of the Pat Graney Dance Company and sat on granting panels for the Washington State Arts Commission. She recently completed her term on the Board of Theatre Puget Sound, a regional service organization for heatres in the Puget Sound area.

MYRA PLATT Founding Co-Artistic Director Myra is the founding co-artistic director of Book-It Repertory Theatre, with Jane Jones. She studied literature and theater at Northwestern University (BS Analysis and Performance of Literature) and Circle in the Square (NYC). As actor, director, adapter and composer, she has helped Book-It produce over 60 world-premiere stage adaptations. Last season, Myra played Judith in The Beautiful Things That Heaven Bears and adapted and directed the worldpremiere production of Night Flight by Antoine de Saint-Exupéry. She has also adapted Persuasion by Jane Austen. She has adapted and directed The House of the Spirits, Giant, Red Ranger Came Calling, 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. She directed Plainsong, Cry, the Beloved Country, and Sweet Thursday. She co-adapted Owen Meany’s Christmas Pageant with Jane Jones and composed music for Red Ranger Came Calling (with Edd Key), Ethan Frome, Owen Meany’s Christmas Pageant, A Child’s Christmas in Wales, The Awakening, the first workshop production of The Cider House Rules, A Telephone Call, and I Am of Ireland. In 2008 she, Jane Jones, 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.

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 heath 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

Special thanks to the following organizations and individuals for their generous support of Emma: Maria Fe Bernardo, Rex Carleton, Bill Danner, Cesar & Zeny Rodriguez, Seattle Wood Design, and Michael Tufano.

ENCORE ARTS PROGRAMS

A-11

Book-It would like to express our gratitude to the following for their generosity in supporting our 2009-10 Season:

LITERARY LEGENDS $50,000+ Matthew N. Clapp, Jr. t The Paul G. Allen Family Foundation t Google*

LITERARY CHAMPION $25,000+ Gladys Rubinstein t "SUT'VOE t ɨF #PFJOH $PNQBOZ MetLife t ɨFBUSF $PNNVOJDBUJPOT (SPVQ t "OPOZNPVT

LITERARY HEROES $10,000+ $VMUVSF t "NFSJDBO 3FDPWFSZ BOE 3FJOWFTUNFOU "DU PG Jeff & Amanda Cain t $JUZ PG 4FBUUMF 0ïDF PG "SUT $VMUVSBM "êBJST #JMM .FMJOEB (BUFT 'PVOEBUJPO t #FUI .D$BX :BIO #FSOJFS /BUJPOBM &OEPXNFOU GPS UIF "SUT t 4BGFDP *OTVSBODF 'PVOEBUJPO 1PMMZ 4DIMJU[ t ɨF 4FBUUMF 'PVOEBUJPO t 4IJSMFZ %BWJE 6SEBM Washington State Arts Commission Literary Classics $5,000+ The Bank of America Charitable Foundation Humanities Washington Stellman Keehnel KUOW 94.9 Public Radio* The Medtronic Foundation Nesholm Family Foundation The Norcliffe Foundation Qwest Foundation The Shubert Foundation Target Thomas & Lucy Flynn Zuccotti Leadership Circle $2,500+ Monica Alquist Emily Anthony & David Maymudes ArtsFund/Wells Fargo Cultural Education Enhancement Fund ArtsFund/John Brooks Williams and John H. Bauer Endowment for Theatre The Baker Foundation Boeing Gift Matching Program Ann Bourne Avery Brooke Canonicus Fund Enterprise Rent-A-Car*

Leadership Circle, cont.

Fales Foundation Trust Cande & Tom Grogan Ellen & John Hill Melissa & Donald Manning Mary Metastasio PONCHO Ann Ramsay-Jenkins Shawn & Mike Rediger Lynne & Nick Reynolds ** Russell Investments Deborah Swets U.S. Bancorp Foundation Kris & Mike Villiott Weyerhaeuser Company Nobel Award Society $1000+ Luther Black & Christina Wright Julie Edsforth & Jabez Blumenthal Cheryl Boudreau Judy Brandon & H. Randall Webb Steve Bull & Christiane Pein The Carey Family Foundation Amy & Matthew Cockburn Mary Ann Christy & Mark Klebanoff Amy & Matthew Cockburn Emily Davis

Nobel Award Society, cont.

Stephanie & Stuart Feldt Audrey & Robert Hancock Mary Francis & Harold Hill Robert Hovden & Ron DeChene KeyBank Foundation Marcia Kremen Anne & Steve Lipner Literary Managers and Dramaturgs of the Americas Holly & Bill Marklyn/Marklyn Foundation Microsoft Matching Gifts Program Whitney & Jerry Neufeld-Kaiser Colette Ogle Shauna L. Peery Trust Myra Platt** Sage Foundation Savage Color Printing* SB Schaar & PK Whelpton Foundation Martha Sidlo Jerry & Margaret Svec Sara Thompson & Richard Gelinas Patricia & John Torode Judith Whetzel April J. & Brian Williamson Anne McDuffie & Tim Wood Pulitzer Award Society $500+ Nancy & Craig Abramson Sheena Aebig & Eric Taylor Rosa Ayer Babeland, Inc.** Kelly Brown Zimmie Caner Linda & Peter Capell Catherine Clark Anthony Cox Peter (Robert) De Normandie Jayn & Hugh Foy Marni Gittinger Katharine Godman Jean Gorecki Linda & Gordon Griesbach Lloyd Herman

Book-It Repertory Theatre is a participant in the MetLife/TCG A-ha! Program: Think it, Do it, funded by MetLife and administered by Theatre Communications Group, the national organization for the not-for-profit American theatre.

Book-It Repertory Theatre is supported, in part, by a grant from the Washington State Arts Commission and from the National Endowment for the Arts, a federal agency using funds appropriated by Congress to the American Recovery and Reinvestment Act of 2009.

A-12

BOOK-IT REPERTORY THEATRE

Pulitzer Award Society, cont.

Bonny Hill Toni Hoffman Jane Austen Society of Puget Sound Jane Jones** Jeffrey M. Kadet Clare Kapitan & Keith Schreiber Debbie Killinger Jacqueline Kiser Fay Krokower Annie Lareau* Marcia & Stephen Larson Alexander Lindsey & Lynn Manley Stephen Lovell Darcy & Lee MacLaren NARAL Pro-Choice America* Larry & Michell Pihl Jill Rosen Roberta Reaber & Leo Butzel H. Stewart Ross Pamela Searle Seattle Weekly* Margaret Silver Deborah Swets Ten Mercer* Kerry Thompson Judith & Morton Weisman Robert & Leora Wheeler Richard P. Wilson Anonymous (1) National Book Award Society $250+ Christina Amante Laurie & Steve Arnold Jim Greenfield & Susan Barley Roger Tucker & Becky Barnett Lindsay Bealko Jean Burch Falls Joann Byrd D. Thompson & Karen Challinor Joyce Chase Jack Clay Pam & Ollie Cobb Dante’s Inferno Dogs/Dante Rivera** Dottie Delaney Joe Delaney Tony & Nancy Dirksen Beth Dubey Titia & Bill Ellis Sara Elward Rob Entrop Deborah Fialkow Liz Fitzhugh Elizabeth & Paul Fleming Julia Geier & Phil Borges

T A T E K C I T E N O G BUYIN OT YOU DOWN? A TIME G

.

Y B O G S PEN. DAY

ckets. i t SHOWSt O r o f l l a to c You forge

rning u t n o s p e e get ke e d s l r o o t t w n e a h w T s you w o h s e h t and

.

SOLD OUT

!

P L E H N A C T I BOOK a n it into r u t d n a t our pocke ars more. y in t e k ic t ll Take that n for just a few do subscriptio

YMENT A P N !

W S O K YES, FOL S TICKET IS YOUR DN. rforTONIGHT’ LAY SUBSCRIPtTyoIO for this pe el. t h g u o b u alent lev ON A 3-P edit for the ticke at an equiv e you cr bscription We will giv you purchase a su en mance wh

UT. s and O D E K C O ’T GET L e representative

DONour friendly box offic

erks

the p er with all ib r c s b Talk to u s 3. you into a we’ll turn . Call 206.216.083mber 21. ve o ts N and benefi ility; offer good through vailab

Based on a

ENCORE ARTS PROGRAMS

A-13

National Book Award Society, cont.

Marcia Greenberg Helen & Max Gurvich Benson & Pamela Harer Susan Hoffman Mary & Eric Horvitz Laura Hull & John Atwill Melissa Huther Eva Jackson William M. Jackson, Jr. Polly Kenefick Joyce Latino Frank Lawler & Anne McCurdy Nancy Lawton & Steve Fury Sheila Lukehart & Jim Brinkley Samuel & Charmain McCormick Marcie & John McHale Jean McKeon Louise McNerney & Jan Sobieralski Sarah Merner Alle Hall & Cliff Meyer Susan Moseley Trudy Baltz & Christopher Motley Cindy O’Brien Thomas & Cheryl Oliver Kristan Parks Tony Pasqualini & Sara Brook Will Patton & Joni H. Ostergaard Mary Anne Braund & Steve Pellegrin Marjorie Priest Eric & Karen Richter Don & Marty Sands Frank Schumann Jake Sedlock & Heidi Sherman Bill Smith Deborah Talley Emory Thomas Laura Thomas Sally S. & David Wright Anonymous (1)

Pen/Faulkner Award Circle $100+

%JBOF 4UFWF "EBN t %PVH "EBNT t (FPSHJOB "MRVJTU t #JMM )FMFO 8BUUMFZ "NFT t 4VTBO +PIO "OEFSTPO t 7JSHJOJB "OEFSTPO t $ISJTUJOF 1FSSZ "ULJOT t 3VUI #BDIBSBDI t 4V[BOOF #BMM t ,BSM #BOTF t +P"OO #BSEFFO t 4IBXO #B[ t "OESFX #FMM t +VMJB #FOU t %FC #JMM #JHFMPX t "MJDF #JSOCBVN t /BODZ #JUUOFS t -JOETBZ 5POZ #MBDLOFS t 1BHF 1MFTT .BSL #MBUUFS t +BOFU #PHVDI t #BSCBSB #PJWJO t +FBO #PMFS +PIO %JFOIBSU t #BSSZ #PPOF t "OOF #PTUXJDL t +PIO #SBETIBX t .PSU #SJODINBOO t 1BUSJDJB #SJUUPO t ,FMMZ #SPXO t %POOB * +BNFT 4 #SVEWJL t .BSDJB #SVOP t -BVSZ #JMM #SZBOU t #BSCBSB #VYCBVN A-14

BOOK-IT REPERTORY THEATRE

Pen/Faulkner Award Circle, cont.

t .JLF +VMJB $BJO t .BSL &MJ[BCFUI $IBNCFSMJO t $ISJTUJOB $IBOH 1BVM + 4UVDLJ t -ZOOF %BWJE $IFMJNFS t 3PTB 3FOF $MBSJOHCPVME t $IJMESFO $PVOU 'PVOEBUJPO t $BUIFSJOF $MFNFOT t +VMJF 4IBQJSP 4IFMMZ ' $PIFO t 1BVM $POTUBOUJOF t $MBZUPO $PPL t 8IJUOFZ "EBN $PSOFMM t ,FSSZ + $PVHIMJO t 5FSSZ $PZOF t (BSSZ ,BZ $SBOF t .BSHBSFU $VSUJO t %BWJE 1BN %BDL t +PBOOB .BSJB %BWJET 1V[[P t (BMF .JDIBFM %BWJT t 3PZ %BWJT t %BO .FMJOEB %FBOF 8IFFUNBO t /BODZ %FBOF t 4BOESB 1BVM %FINFS t 1BVMB -P[BOP %SBDINBO +POBUIBO ( %SBDINBO t -PSOB %ZLFT t .BSJMZO &OESJTT t +PZDF &SJDLTPO t $POTUBODF &VFSMF t &YQFEJB *OD t 4UFQIBOJF 'BSSFMM t +BNFT %FOJDF 'PSUJFS t $BUIFSJOF 4DPUU (FMCBOE t -JOEB (PVME t 7JDLJ )BEMFZ t "OO )BHFEPSO t -JTB )BHFS t &MJ[BCFUI )BOOB t 1IZMMJT )BUëFME t 4BSBI 4UFQIFO )BVTDILB t .BSDJF )FBEFO ,BUIJF - 8IJUF t &MMFO %BWJE )FDIU t 5FSJ )FJO t /BODZ )PMDPNC t +BNFT )PMNFT t %JBOF )PTUFUMFS 3PTT +PIOTPO t ,BSFO - )PXBSE t "MJTPO *OLMFZ t -BXSFODF +BDLTPO t &SJD +FOTFO t 4PQIZ +PIOTUPO t ,SJT +PSHFOTFO t %BWJE + ,BTJL t &ENPOE ,BZ t +Fê ,FBOF .BSUIB /PFSS t 1BN ,FOESJDL t 1PMMZ ,FOFëDL t ,FONPSF -BEJFT #PPL $MVC t +PF ,FSLWMJFU t .BSHBSFU ,JOFLF %FOOJT 8FTU t +FBO ,VTIMFJLB t #BSC "SU -BDINBO t 5FSJ + -B[[BSB t $ISJT "OOFUUF -FGFCWSF t .FSFEJUI -FIS #JMM 4FWFSTPO t ,BUISZO -FX t +BNJF "OESFB -JFCFSNBO t -BVSB -JOEFONBZFS t +VMJB -JUUMF t %BWJE 4IFSSJF -JUUMFëFME t "MJTPO -PFSLF t "EFMBJEF -PHFT t $SBJH -PSDI t $BSPM -VNC t &MMFO 4UFQIFO -VU[ t %FOJTF +JN -ZODI t ,FWJO -ZODI t (MFOEB .BMFEZ t %PVH +PTJF .BOVFM t .BSZ "OO $IVDL .BSUJO t 4V[BOOF .BTPO t 5FSFTB .BZCFSH t ,BUIZ .D$MVTLFZ t 3VUI .D$PSNJDL t .PSOB .D&BDIFSO t .BSJMZO .D(VJSF #FOKBNJO .PPSF t ,FWJO .D,FPO t 1FHHZ .FUBTUBTJP %JDL 4UVBSU t +VMJF .FU[HFS t -PSJ .JEUIVO t %POOB .JMMFS 1BSLFS t +PTIVB .JUDIFMM t 4BSB .PDLFUU t %JBOF .PPSF (BSZ (BMMBIFS t (MFOO .PSSJTTFZ t -ZOO .VSQIZ t 1BN %PO .ZFST t %BWJE /BTI 1BU (SBWFT t -FTMJF /FMMFSNPF %BSSFMM .D,JTTJD t 5PN /FXIPG t %FBOOB $SBJH /PSTFO t $VSUJT .BSJPO /PSUISPQ t 4UFQIFO 0PUPO +FBOOF -FBEFS t $MBSF "VTUJO 0 3FHBO t .FMJOB 1BMNFS t %PSJT 1BSLFS t 4 &EXBSE 1BSLT t 5FSSZ 1BVHI t $FDJMJB 1BVM )BSSZ

3FJOFSU t "OOJF 1FBSTPO t $PSMJTT 1FSEBFNT t &E $BSPM 1FSSJO t &MFBOPS 1PMMOPX t 4VTBO 1PSUFSëFME t -JOEB 2VJSL t &EXBSE # 3BUMJêF t &TUIFS 3FFTF t %FOOJT 3FJDIFOCBDI t 4BMMZ 3FWFSF t #SPOXZO 3JDIBSET t /BODZ 3JTEPO t &MJ[BCFUI 3PUI t &MMFO 3PUI t &WFMZOF 3P[OFS t )BSSJFU $PEZ )BSWFZ 4BEJT t 4VTBO 4DIBFGFS t 3VUI 4DISPFEFS t (BJM +PIO 4FIMIPSTU 8JMMJBN 4FMJH t $SBJH .FSFEJUI 4IBOL t .JDIFMJOF 4JFSFS t .JDIBFM +P 4IBQJSP t (FPSHF 4VTBO 4NJUI t -PMB 4NJUI t 4QBDF /FFEMF --$ t 4IFSZM 4QBEPOF t %PVHMBT 4QBVMEJOH t #SBE $PMMFFO 4UBOHFMBOE t %JBOF 4UFWFOT t *SFOF 3JDIBSE 4USBOE t )FMFO 4UVTTFS t ,SJTUJOF 4XFFOFZ t -B+VBOB 4XJMMFZ t -BSSZ 4ZNPOET t 5BNNZ 5BMNBO t (BJM 5BOBLB t ,BUF ɨBZFS t * .JDIBFM ɨPNBT t .BSL $ ɨPNBT t #SJBO ɨPNQTPO t .PMMZ ɨPNQTPO +PF $BTBMJOJ t 7JSHJOJB ɨPNQTPO t $BQQZ ɨPNQTPO t $IBSMPUUF 5JFODLFO #JMM 8FTU t (JBOOJ 5SV[[J t +JN ,BUIZ 5VOF t %JBOF #VSU 5VSOCVMM t .BSZ 5VSOFS t )BOL 6OHFS t +PIBOOB 7BO %FS 4UPFQ t ,BSFO 3PO 7BO (FOEFSFO t .BUUIFX 7JMMJPUU t +PSJF 8BDLFSNBO t #FOKBNJO 8BMM t &SJD 'SPJOFT 4VTBO 8BSXJDL t 7SFOJ 7PO "SY 8BUU +FSSZ 8BUU t 4BMMZ $IBSMFT 8FFNT t +FOOJGFS 8FJT t 'SJEB 8FJTNBO t +BNFT 4IBSPO 8FMDI t 3JDIBSE # 8FTMFZ t +FBO %BWJE 8IJUF t +BOF 8JFHFOTUFJO t .BSZ "OO 3PCFSU 8JMFZ t -BVSFO 8JMTPO t +BOFU -BXSFODF 8JMTPO t 1BUUZ 8BMUFS 8JMTPO t "MJTPO 8JUIFZ t 1IZMMJT :PTIJEB t +Fê :PVOHTUSPN #FDLZ #SPPLT t 3PCJMFF &SJD ;PDIFS t .BSZ +FSSZ ;ZTLPXTLJ t Anonymous (2)

O.Henry Award Circle $50+

4IBXO -ZOOF "FCJ t +VEJUI "MFYBOEFS t 8JMMJBN ( "OEFSTPO t #FO "OESFXT t 3JDL 5BNNZ #BHBO t 5JOB #BSJM %BGZEE % 3IZTKPOFT t :WPOOF #BUFT t -FOPSF #FOTJOHFS t #FUI #FSNBO t .JDIBFM #FUUT ,MJOUPO ,FZT t +PIO )FMFO #JHFMPX t )FMFO #PUUDIFS t /BODZ #PXFO 1PQF t .POJDB #SBEMFZ t 1BUSJDJB #SBTFM t -JTB 7 1IJM #SPDL t 3FCFDDB & #SPXO t ) .BSZBOO #VEMJOH t 3BDIFM %BWJE #VLFZ t -BVSB +PIO #VSOT t $BSSJF .BSL #VUMFS t .BSUIB 3PCFSU #ZSOF t "ESJFOOF $BSOT t (FSBMEJOF $BSSPMM t 1BNFMB $BSUFS 3PZ )JSTILPXJU[ t 4ZMWJB $SBJH $IBNCFST t &WFMZO +JN $IVNCMFZ t %JBOF $JWJD t -JTB $MBSL t 4UFSMJOH 4BOESB $MBSSFO t -J[B $PNUPJT t %BWF $PODB .BSZ 'PSUNBO t 4VTBO $POOPST t 4IFMMZ $PSCFUU t +PIO $PSEFS t &MBJOF $SBOF t /BODZ $VSUJTT t /BODZ $VTIXB t $BUIZ 1IJM %BWJT t 3PCFSU ,BUIMFFO %BWJT t 4IFSSJ %FM #FOF t .BSUIB %FNBS t .BSL %FYUFS t 4VTBO %ZFS t 4BMMZ &BTUFSCSPPL t #FUUZ &CFSIBSUFS t

TARGET O.Henry Award Circle $50+

/BODZ &MMJOHIBN t ,ZMF &OUSPQ t #BSCBSB &SJDLTPO t #BSCBSB 'SBOL 'BOHFS t -JOEB +PIO 'JOEMBZ t -BVSB 'JTDIFUUJ t 1BUSJDJB 'MPXFST t "OOF 'PY t .BSHBSFU 'SB[JFS t .BSZ #FB (BMMBHIFS t 4JPCIBO (JOOBOF t "OO (MVTLFS t ,BZ (PSEPO t 4V[BOOF (PSFO t +BOF %BWJE (SBIBN t ,BZ (SJFTNBO t ,FOEBMM (VUISJF t &JMFFO 3ZEFS (XJOO t 3FCFDDB ,VSU[ )BOETIFX t 'BJUI )BOOB t .BSJMZO )BOOB .ZSJDL t +PBOOF )BSEJOH t &NNB )BTTFU t 4VTBO )FMMXJDI t ,BUF )FNFS t 3FCFDDB )FS[GFME (PSEPO $SBXGPSE t 4UFQIBOJF )JMCFSU t ,BUF )PLBOTPO t "OESFB 4DPUU *DIJLBXB t ,SJTUJO *ISJH t 8FOEZ +BDLTPO t -BVSB +BDVNJO t 3PCFSU $ +FOLJOT t .JDIBFM +PIOTPO t 'SBOL -BVSB +POFT t 4VTBO +POFT t $FMJB +VTUJDF t .BSZ ,BCSJDI t .JDIBFM " ,FSO t 7JDLJ +JN ,JOH t 1BUSJDJB ,JZPOP t (PMEZ ,MFJONBO t -JMMJBO ,PCMFO[ t .BSHBSFU -BOF t $IFSZM -BXSFODF t +BO -BXSFODF t $BSPM -FWJO t % BOE 4 -JOERVJTU t 1BU -PGUJO t /BODZ -PNOFUI .BSL #PZE t $BSPM -VNC t (SFUDIFO -VYFOCFSH t .BSTIB 8JMMJBN .BEJHBO t ,JN .BFEBW t $SZTUBM .B[[BMJ t -FF 1IJM .D$MVTLZ t %FJSESF +BZ .D$SBSZ t &WFMZO .D%BOJFM (JCC t $IBSMJOF .D,FO[JF t #BSCBSB .D1IFF t $BSPM .JDIFM t ,BUJF .JUDIFMM t (FPSHF .BSJPO .PIMFS t 5ZSSFM .PPEZ t -JOEB .PPSNBO t +PBO .PSJU[ t 4VTBO .P[FS t +VMJF .VMMJOT t 4VTBO - /Fê t %POOB /FV[JM t #FUUZ /HBO t +PBOO /JDPO t ɨF /PSUI 'BNJMZ t /BODZ 0 #SJFO t /BODZ 4UFWF 0MTFO t 3PTBOOF 0MTPO t .BVSFFO 0 3FJMMZ t -PSFOB 1BMNFS t &MJ[BCFUI 1FMIBN t 4IFSSZ 1FSSBVMU t &E $BSPM 1FSSJO t 3PO 1FUSJF t %FCPSB 1FUTDIFL t .BSZ 1PPMF t .BSJTTB 1SJDF t "OESF 1UBL "BSPO )PVTFLOFDIU t #BSCBSB %BOJFM 3BEJO t /BODZ 3FJDIMFZ t +FBOOFUUF 4UFQIFO 3FZOPMET t 5PN 3PCCJOT t 4BMMZ 3PDIFMMF t #FUI 3PMMJOHFS t .BSJBO 1FUFS 3PTF t 4V[BOOF 3PXFO t $ISJT 4BOOFMMB t -ZO 4BVUFS t %POOB .BSJF 3PC 4BVOEFST t # $IBSMPUUF 4DISFJCFS t $IBSZM ,BZ &BSM 4FEMJL t "MMFO 4FOFBS t .BSZ #FUI 4IBEEZ t "VESFZ +PIO 4IFïFME t 3PYBOOF 4IFQIFSE t #SVDF 4IFSNBO t /BODZ 4MPDVN t ,BZ 4NBMMXPPE t $ISJTUJF . 4NJTUBE t %JBOB 4NJUI t 1BNFMB 3 4NJUI t %JBOF 4OFMM t %BOB 4UBOEJTI /PBI 4FJYBT t +BOFU 4UJMMNBO t )FMFO 5 4USJDLMBOE t 4IFJMB 4USJFHM t "MMJTPO ( 4XBOCFSH t $BSPMZO 4XBOTPO t +PIO 5FFHBSEFO t ,JNCFSMZ 5FNQFM t +BOJDF 5FTTJO ɨVMJOF t "XOJF ɨPNQTPO t $ISJTUPQIFS ɨPNQTPO t $ZOUIJB , 5PEE t (FOFWJFWF 5SFNCMBZ t $PMF 5TVKJLBXB t "SOJF 5VDLFS t 6OJMFWFS 6 4 'PVOEBUJPO .BUDIJOH (JGUT t -PSSBJOF 7BHOFS t 3PO +BOFU 7BOEFOCFSH t %FCPSBI 7BO%FSIFJ t /JOB 7FMJLJO t 3PCFSU 7PO 5PCFM t 3ZBO 8BMMBDF .BHHJF )JMMEJOH t $JOEZ 8BSSFO t "OOB ,SJTUJOB 8FCFS t -BVSB 8FFTF t ,BZMB 8FJOFS t +VMJF 8FJTCBDI t 1BVMB 8JMMJBN 8IJUIBN t -JOEB

8JMTPO t .BSDFMMB 8JOH t 7BMFSJ :PDLFZ #PC 8JOTPS t "OHFMB 8POH t -VUIFS #MBDL $ISJTUJOB 8SJHIU t 4BN 8ZLFT t +VEJUI :BSSPX t 1BUSJDJB :POFNVSB t %BSCZ :PVOH t %BXO 4BN ;FJMFS t Anonymous (7) *denotes in-kind donation **denotes in-kind plus monetary supportt This list reflects gifts received July 1, 2008 – October 5, 2009. Book-It makes every attempt to be accurate with our acknowledgements. Please email Development Assistant Sophie Lowenstein, in, sophie@book-it.org, with any changes that hat may be required.

Family Fun

SERIES

Bring the whole family to enjoy FREE performances of great children’s books, crafts, workshops, and a book fair.

Become an inaugural member of Book-It’s

Society

Epilogue ep‡i‡logue

noun

1. a concluding part added to a literary work, as a novel.

2. a speech, usually in verse, delivered by one of the actors after the conclusion of a play.

3. the legacy you can leave to support arts and literacy well into the future.

Thanks to Target and Bank of America, tickets for these events are FREE! To get your free tickets, visit the Target Family Fun Series page on www.book-it.org and follow the RESERVE TICKETS NOW links. Enter the code for the show of your choice when prompted for a “pass code� (you must enter all information fully to receive your tickets). Or you can always call 206.216.0833 and speak to a Box Office rep. Limit four tickets per household.

All events are held in the Center House Theatre at Seattle Center, doors open at 10:30 a.m. for crafts and book fair, performances begin at 11:00, run 35-40 minutes, and are followed by drama workshops.

With 20 successful years as a foundation, Book-It is looking toward the future with purpose and confidence. Strategic plans, excellent artistry, and a clear mission are only part of what will carry us forward.

Your financial support fulfills the promise of our present and our future.

CATCHING THE MOON

If you are looking for a way to help us continue the work we do on stage and in our community, please consider making a planned gift to Book-It. You will help ensure future financial stability and the longevity of the company as we continue to fulfill our mission of literacy and inspiring our audiences to read.

JOHNNY APPLESEED

As you make your own plans and provisions for the future, we hope you’ll remember Book-It. There are many options for planned giving and we would be happy to discuss them with you.

Please call Managing Director Charlotte Tiencken, 206.216-0877, ext 105 or email charlotte@book-it.org.

Thank you.

CZ $SZTUBM )VCCBSE t 'FC Based on the true story of Marcenia Lyle who loves nothing more than baseball. She overcomes unbeatable odds to become the first woman to play for an all-male baseball team.

Grades K-8. Ticket Code: moon

CZ 4UFWFO ,FMMPHH t +VO The true story of John Chapman, who brought apples and hope to the settlers of a young America, and the tall tales that sprouted from his travels across the country. Grades K-8.

Ticket Code: apples Book-It All Over’s 2009-10 Target Family Fun Series is made possible by

and

and is presented in partnership with PageAhead.

Illustration from Catching the Moon: Š 2005 by Randy DuBurke. Permission arranged with Lee& Low Books Inc, New York, NY 10016

Reserve Your FREE Tickets

206.216.0833 www.book-it.org ENCORE ARTS PROGRAMS

A-15

Book-It is a company of professional actors and directors who perform classic and contemporary works of fiction for the stage.

OUR MISSION IS TO TRANSFORM GREAT LITERATURE INTO GREAT THEATRE THROUGH SIMPLE AND SENSITIVE PRODUCTION AND TO INSPIRE OUR AUDIENCES TO READ. We strive to return theatre to its roots, to the place where the spoken and the written word intersect and where the story comes alive for the audience. What you see and hear at a Book-It performance is literary prose spoken by the characters of the story as if it were dialogue in a play—often word-for-word in a short story and, in adaptations of larger works, selected narrative. This is the Book-It Style™. We ask our audiences to use their imaginations, thereby becoming participants in a Book-It performance.

Book-It All Over, the educational outreach program of Book-It Repertory Theatre, is dedicated to inspiring people of all ages to read. We tour a diverse range of stories to schools, libraries, and community centers throughout the Pacific Northwest, conduct long-term residencies in schools, offer teacher professional development for school staff, and present low-cost student matinées of our mainstage shows.

Mary Metastasio, President Melissa Manning,Vice-President Kristine Villiott,Treasurer Lynne Reynolds, Secretary Monica Alquist Steven Bull Jeffrey J. Cain Lynn Murphy Deborah Swets Elizabeth J. Warman Thomas Zuccotti

James Dean Laura Ferri Gail Sehlhorst Heather Guiles Andy Jensen Jennifer Sue Johnson Jane Jones Daniel Harray Reginald André Jackson David Klein

Jane Jones, Founding Co-Artistic Director Myra Platt, Founding Co-Artistic Director Charlotte M. Tiencken, Managing Director Annie Lareau, Education Director Patricia Britton, Marketing & Development Director Larry Rodriguez, Technical Director Gail Sehlhorst, Literacy Assessment Director Zach Adair, Assistant Box Office Manager Rachel Alquist, Box Office Manager Dan Bartell, Production Manager Brady Brophy-Hilton, Education Assoc. & Box Office Rep. Kate Godman, Grants Associate Sara Lachman, Education Assistant & Development Assistant

James Lapan Mary Machala Kevin McKeon Myra Platt David Quicksall Stephanie Shine Susanna Wilson

Sophie Lowenstein, Development Assistant Michael Monteleone, Videographer Susanna Pugh, House Manager & Volunteer Coordinator Pete Rush, Costume Shop Manager Jacob Sherman, Box Office Representative Devorah Spadone, Production Stage Manager Bill Whitham, Bookkeeper Rachel Wilsey, Marketing Associate Education Intern: ,FMTFZ )BNJMUPO t Literary & Artistic Interns: Mike +POFT -VDJOEB 4USPVE t Marketing Interns: Naomi Brodkin, CJ Graham, &NNB ,FMMFZ t Photography Intern: -BJOF .VMMFO t Theatre Management Intern: "NBOEB 0PUFO t Acting Interns: Kiri Callaghan, Cole $PPL -BJOF .VMMFO &OSJRVF 0MHVJO t Costume Shop Intern: +PDFMZO 'PXMFS t Stage Management Intern: Elizabeth Kent

HOUSE THEATRE, SEATTLE CENTER BOOK-IT REPERTORY THEATRE CENTER 305 HARRISON STREET, SEATTLE, WA 98109 www.book-it.org

206.216.0877 info@book-it.org 206.770.0880 education@book-it.org 206.216.0833 A-16

BOOK-IT REPERTORY THEATRE

206.256.9666

Rena Shagan Associates, Inc. 16A West 88th Street, New York, NY 10024 212.873.9700 Fax: 212.873.1708 www.shaganarts.com