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Dear Reader, Book-It strives to create each new season with a balance of both contemporary and classic productions of works of literature. This season, we purposely paired a contemporary classic—John Irving’s The Cider House Rules with a traditional classic, Charles Dickens’ Great Expectations—one of Mr. Irving’s influences and favorite writers. Some classics are classic by virtue of the affection generations have for an author or novel. Many of our choices reflect a faith that a novel may one day be a classic. All in all, we take our art very seriously when preparing to honor the words and works of classic literature, old and new. However, once a year we like to poke fun at our snooty, high-brow, literary selves and invite you, dear reader, to throw away any starchy preconceived notions of “classic” and join us for some sumptuous, pulpy, fleshy reads at our annual gala dinner, auction, and performance, Guilty Pleasures. Instead of high-brow, it’s hi-larious. We boldly go where good taste dares not go. It is a great blast of fun, benefiting a great and worthy cause, and where else can you wear a pink feather boa? So, join us at Teatro ZinZanni on March 22. We greatly expect your presence! As always, thank you for being here, thank you for so generously supporting our work, and thank you for helping to spread the word about Book-It. Classically, Founding Co-Artistic Director
For more information on our annual Guilty Pleasures gala, visit www.guiltypleasuresgala.org .
Sisters, Polly Schlitz (Book-It Honoree) and Myra Platt, at Guilty Pleasures 2009. Photo by Adam Smith.
It is no coincidence that in John Irving’s The Cider House Rules, Doctor Larch is reading Great Expectations to the orphans gathered at St. Clouds, and here, several months later, you are watching Book-It’s staging of Dickens’ tale of the orphan Pip. The links to this material go way back for Jane Jones [Book-It Founder, Founding Co-Artistic Director], who with her producing partners birthed Cider House 16 years ago and who has since had a burning desire to stage this coming-of-age companion piece.
Michael Patten & Lee Osorio running through a scene.
I have been a huge fan of Book-It’s work, mainly because it shakes up the conventions of theatre, and breaks the rules and delights in breaking them. Jane wanted to really shake this one up. She wanted to be a part of an ensemble of actors that told the story by whatever means possible, echoing Grotowski’s “poor theatre,” using ingenuity and the power of the spoken word. This would not be a traditional pinafore and plum pudding Dickens play, and that sounded good to me. I have no idea if Dickens knew he was writing a story that would captivate generations of imaginations, but Wikipedia notes well over 250 adaptations of Great Expectations and there are undoubtedly many more. I think the reason the story begs to be told through the decades is because people have not changed all that much, and underneath all the intrigue and mystery lie flawed and fragile human beings and their very recognizable mistakes, missed opportunities, and rare moments of heroism.
Sylvie Davidson, Lee Osorio, & Mike Dooly rehearsing.
We probably relate to Pip differently if we read the book at age 15, 33, 52, or 70, but we relate to him nonetheless. For me, at my age, the ghosts of the past seem vibrantly present in Pip’s life, and serve as constant reminders of the stuff both Pip and I overlooked along the way. Jane and I read quite a few of those many adaptations, but decided that Book-It should tell the story its own way, and were fortunate to find the writing talent in our own community to make it happen. Let me quote Jane by saying that the best theatre is really community theatre at heart, because it is really by, of, and for the community. We are fortunate to live in an area rich with talent, and watching this group of artists find their way through this process and make choices that bring this story to life has been inspiring. So it is with reverence that we are here this evening, with respect for a timeless story, its author, its storytellers, its producers, and you, its audience. Very happy to be here. What larks!
Director Kevin McKeon & Jane Jones discuss rehearsal notes. Photos by Shannon Erickson.
Hear from the adapter, Lucinda Stroud, at our Great Expectations page at www.book-it.org/great-expectations.php
BOOK-IT REPERTORY THEATRE
GREAT EXPECTATIONS by Charles Dickens
Adapted by Lucinda Stroud | Directed by Kevin McKeon CAST (in alphabetical order) Gianni Alberto Cicco Drummle / Ensemble Trick Danneker Herbert / Ensemble Sylvie Davidson Estella / Biddy / Ensemble Mike Dooly Joe / Ensemble Jim Hamerlinck Orlick / Compeyson / Ensemble Jane Jones* Miss Havisham / Mrs. Joe / Ensemble Frank Lawler Pumblechook / Wemmick / Ensemble Lee Osorio* Pip Michael Patten* Magwitch / Jaggers / Ensemble Sarah S. Mixson* Victoria Thompson
Stage Manager Assistant Stage Manager
DESIGN TEAM Andrea Bryn Bush Amiya Brown Ron Erickson Eric Chappelle Kristyne Hughes Clare Strasser Tom Dewey Kate Forster Anders Bolang
Scenic Designer Lighting Designer Costume Designer Composer / Sound Designer Properties Designer Properties Designer Fight Choreographer Dialect Coach Production Manager
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States Title Sponsor:
Season Support:
ONLINE MEDIA SPONSOR
MEDIA SPONSOR
Additional generous support is provided by individuals and by the Harvest Foundation, Lucky Seven Foundation, City of Seattle Office of Arts & Cultural Affairs, The Shubert Foundation, The Norcliffe Foundation, Washington State Arts Commission, Fales Foundation Trust, U.S. Bancorp Foundation, The Eureka Foundation, Washington Women’s Foundation, and Wyman Youth Trust. Thank you to all our supporters!
Born on February 7, 1812 to a Naval Pay Office clerk, Dickens spent his early years in London, a period of his life he would later describe as idyllic. His fondly remembered childhood came to an abrupt end, however, when his family found themselves in debtor’s prison in 1824 due to his father’s financial mismanagement. At the age of 12, Dickens was sent to work ten-hour days at a shoe polish factory to earn extra money for his family. The harsh working conditions made a lasting impression on the young Dickens, undoubtedly shaping his convictions on social reform, status, and the corruption of innocence —prevalent themes in his writing. In 1829, Dickens first tried his hand at writing as a free-lance reporter at Doctor’s Commons Courts, eventually finding steady in 1867 Dickens photographed in New York City Son. at the studio of Jeremiah Gurney and
work at a newspaper. Dickens’ first published collection, Sketches by Boz, was a set of periodical sketches, the success of which led to the serialization of his first novel, The Pickwick Papers. Released in
monthly, two-chapter installments, The Pickwick Papers was unprecedentedly popular, a publishing phenomenon, and it launched Dickens’ literary career. Most of Dickens’ works, including Oliver Twist, David Copperfield, Hard Times, Little Dorrit, A Tale of Two Cities, and Great Expectations, were published serially, explaining Dickens’ tendency towards cliff-hanger chapter endings. Sudden plot twists and suspenseful foreshadowing ensured his audience would continue to subscribe. Great Expectations, Dickens’ thirteenth novel, was published weekly in the magazine All the Year Round from 1860-1861. Based on the suggestion of his son, Edward, Dickens rewrote the ending of Great Expectations (the ending which you’ll see onstage tonight) after the novel had already been completed to give the characters more resolution. At the age of 24, he married Catherine Hogarth and together they had ten children, but separated in 1858 due to, as Dickens himself described, being “temperamentally unsuited” for one another. Although charismatic and successful, Dickens is believed to have had an insecure and difficult personality. Over the course of his life, Dickens boasted a highly prolific career, writing over 25 books, managing a theatrical company, traveling internationally, and attending scores of public readings, a demanding schedule that eventually took a toll on his physical well-being. As his health deteriorated, and against his doctor’s advice, Dickens maintained his productive fervor and in 1870, at the age of 58, he died from a stroke. Research compiled from: http://www.victorianweb.org/authors/dickens/dickensbio1.html
Pip is to “be brought up as a gentleman—in a word, as a young fellow of great expectations.” Jaggers to Pip, Chapter 18 What was expected of a gentleman in 19th-century England and what distinguished this class from others? To be a gentleman, to be acknowledged as upper class, meant breeding more than even material wealth. A gentleman received a good education, spoke Latin or Greek, adhered to proper social customs, such as leading a lady up stairs, but following a lady down stairs, and physically exerted himself only in sport. Leading an extravagant lifestyle by acquiring land, buying posessesions, and gambling recklessly was important in maintaining a gentleman’s outward semblance of wealth, an image that was often a façade.Because a “true gentleman” need not concern himself with book balancing or responsible spending, more than a few class strivers landed themselves in financial ruin. A household truly arrived when they could hire a maid and in the case of a young bachelor like Pip, a manservant would be a necessity, because one thing a gentleman could not do was manual labor. When the spoiled Estella chastises Pip for his coarse hands, this is no mere juvenile cruelty, but indicative of larger societal prejudices. To be in trade, like Joe Gargery, the village blacksmith, was fine for the working class, but unacceptable for someone who wished to rise above their station and be accepted by the aristocracy. An 1822 fashion plate from the Parisian magazine, “Petit Courrier des Dames”
The most crucial expectation of a gentleman was ultimately land, followed hopefully by a title. We learn in the novel that Miss Havisham’s great estate, Satis
House, is also called Manor House, a term carried over from the Medieval feudal system, which usually implies the inheritance of a title. Miss Havisham, however, is not a title-holder but a brewer’s daughter. Strangely enough, a brewer was a respected figure in the English countryside and could become quite wealthy, rich enough indeed to purchase the most impressive and austere house in town. A brewer’s daughter, especially one as beautiful and well-bred as Havisham, would be considered a strong match. For all her money and education, her power truly lies in her ownership of the Satis House property. The only hope a common boy like Pip has to become a gentleman is to inherit the wealth and land of another. Restoration House in Rochester, England. A typical manor and the inspiration Miss Havisham’s Satis House (Wikipedia Commons)
for
Punishment in the early 19th century was incredibly harsh. Beyond the expected offenses of murder and treason, a man could be hanged for sheep stealing, damaging Westminster Bridge, or impersonating an army veteran. A total of 200 crimes carried the threat of death at this time, although in reality only 20 of these crimes actually resulted in hangings. Most other death sentences were eventually reduced and downgraded to transportation. However, the harshness was generally understood to be necessary as there was no official police force in London until 1829, when the Metropolitan Police Force was created by Sir Robert Peel, from whom the nickname “bobbies” comes. Until then, the only deterrent against crime was a voluntary constabulary in the country villages and, in London, watchmen in sentry boxes placed around the city who ventured forth once an hour to announce “Two o’clock and all is well!”
A typical execution at Newgate prison (www.capitalpunishmentuk.org)
At the center of the English legal system was Newgate Prison, part of the building complex known as Old Bailey, where trials were held. On his way to Jaggers’ office, Pip passes by Newgate Prison and observes a number of people gathered in the street for the hanging of a criminal. Newgate was notoriously popular for its public executions, some drawing crowds of up to 30,000 for the more nefarious crimes. Railroads even ran special trains for people commuting into the city to watch the hangings. As time went on, however, the number of executions lessened. While 521 people were put to death from 1800-1833, only about 100 people faced hanging over the rest of the century. Once executed, everything the felon owned was turned over to the crown instead of his next of kin, even property that been acquired legally. In the case of treason, one could also expect to lose one’s land. Debt was also treated quite harshly, with those afflicted often put into a debtor’s prison until they could pay back their creditors. While life in debtor’s prison was closer to that of a cheap hotel than the grimness of Newgate, being in debt carried great shame in English society; persons who declared bankruptcy had their names published in the London Gazette. Ironically, it was
almost equally shameful to not tempt debt. In order to convey the image of a gentleman, it was necessary to spend lots of money, whether one had it to spare or not. The British legal system had a way of punishing those looking to reach beyond their position.
For many years, England transported convicted felons to the American colonies. However, after the Revolutionary War, England had to find another place to put convicts who would not fit into the crowded London prisons. As a temporary measure, prisoners were placed in “The Hulks,” retired naval vessels moored along the Thames. In 1788, England found a more permanent solution by transporting convicts to the Australian colony of New South Wales. The first batch that year carried one thousand prisoners. Over the next eighty years, 163,021 persons were transported to Australia, including many women and children. Once they arrived, convicts were split into three work groups: servants, laborers, and mechanics (skilled labor such as blacksmithing or carpentry). Abel Magwitch, who has no special skills or talents, is typical of the sort of man allocated to be a laborer and would have been generally assigned to agricultural work, such as sheep herding. While the treatment of assigned laborers varied greatly, depending largely on the leniency or harshness of their masters, an agricultural laborer could be sure he would be treated better in Australia as a prisoner than he would have been as a free man in his native England. With good behavior, even a convict sent for life could obtain a probationary “ticket-of-leave” after eight years, which allowed them to go into business for themselves. Freed convicts who wished to settle down in Australia permanently were allotted small plots of land which they could use as they liked. Many former convicts continued to raise sheep upon their release, and found success thanks to their years of experience in the field and shrewd ability to take advantage of their labor force (which largely consisted of current convicts). In Australia, the entrenched class divisions of England were less severe, and lower-class men could start a new life and become quite respectable in their adopted communities. Nevertheless, no matter how successful a freed convict became in Australia, return to England was punishable by death until the 1830s. Research compiled by Colin Wallace. Sources: Pool, Daniel. What Jane Austen Ate and Charles Dickens Knew. New York: Simon and Schuster. 1993.
New South Wales is located in the south east of Australia. (www.australiaempire.webs.com )
Discovering Dickens: A Community Reading Project. Stanford University, 2002. www.dickens.stanford.edu. “Negate Prison” www.capitalpunishmentuk.org
GIANNI ALBERTO CICCO Drummle
Gianni is excited to make his professional acting debut at BookIt Repertory Theatre. He is a senior at Cornish College of the Arts, and is graduating this spring with a BFA in theatre. He has recently played in the Cornish College production of A Woman of No Importance directed by Katjana Vadaboncoeur. He will also be featured in two Cornish College spring senior shows, A Memory of Two Mondays by Arthur Miller opened January 20th, and Neil LaBute’s In a Dark Dark House opening April 28th. He has received invaluable support from the Cornish community, Boom! Theater Company, and his family in the Bay Area.
TRICK DANNEKER Herbert
Trick is making his Book-It debut. Local credits include The Great Gatsby and Speech & Debate at Seattle Repertory Theatre, Eurydice at ACT Theatre, The Green Sheep, Pharaoh Serket and the Lost Stone of Fire, Bluenose, and The Big Friendly Giant at Seattle Children’s Theatre, The 13th of Paris, The Sweetest Swing in Baseball, Master Harold…and the Boys, Stop Kiss, and The Intelligent Design of Jenny Chow with Seattle Public Theater. Trick has also performed with Theater Schmeater, Balagan Theatre, Harlequin Productions, Wooden O, and 14/48: The World’s Quickest Theatre Festival. He was a 2010 Gregory Award nominee for “Person to Watch.” Trick received his bachelor’s degree in Theatre Performance from Minnesota State University, Mankato, and is a teaching artist in the Seattle area.
SYLVIE DAVIDSON Estella / Biddy
Sylvie is very happy to return to Book-It, where she has appeared as Emma in Emma, Angie in The Highest Tide (2008 Footlight Award), and Pilot’s Wife in Night Flight. Other local credits include A Christmas Carol (2008 and 2010) and Dr. Jekyll and Mr. Hyde at ACT Theatre, High School Musical and Getting Near to Baby at the Seattle Children’s Theatre, The Tempest and As You Like It at Island Stage Left, and 14/48: The World’s Quickest Theatre Festival. A graduate of Knox College, Sylvie is also a member of the local band, Waiting for Lizzie.
MIKE DOOLY Joe
This is Mike’s first opportunity to work with Book-It, of which he has long been a fan and admirer, and he couldn’t be happier to work with such an impressive cast and crew to tell this fantastic story. Recent theatre roles include Horatio in Hamlet with Seattle Shakespeare Company, Lee in True West with Balagan Theatre, and Uncle Louie in Lost in Yonkers with Village Theatre.
JIM HAMERLINCK Orlick / Compeyson
Jim is delighted and honored to be making his Book-It Repertory Theatre debut. Local theatre credits include roles with Macha Monkey, Vital 5, Capitol Hill Arts Center, The Community Theatre, Northwest Actor’s Studio, and Seattle Public Theater. He studied acting at Freehold Theatre/Lab, where he toured Shakespeare’s The Winter’s Tale with the Engaged Theatre Program. Jim, who has worked with children for twenty-five years, is a teaching assistant at a Seattle elementary school.
JANE JONES* Miss Havisham / Mrs. Joe
Jane is the founder of Book-It and founding co-artistic director with Myra Platt. Locally Jane has performed with BookIt, Seattle Rep, Intiman, ACT Theatre, Seattle Children’s Theatre, and Tacoma Actors Guild. Nationally her credits as an actor and director include work with Playwrights Horizons, The Roundabout, and the Atlantic Theatre in New York City, and with The Guthrie Theater, McCarter Theatre, American Conservatory Theater, Cincinnati Playhouse in the Park, Oregon Shakespeare Festival, the Mark Taper Forum, Portland Center Stage, The Philadelphia Drama Guild, Pacific Conservatory of the Performing Arts, The Denver Center Theatre Company, and Steppenwolf Theatre. Film credits include work with such legendary directors as David Lynch, Cameron Crow, Curtis Hanson, and Corrie Moore in “Twin Peaks,” Singles, The Hand That Rocks The Cradle, and The Dark Horse. Jane has guest taught and directed at The Julliard School, Stanford University, Cornish College of the Arts, and the University of Arizona.
* Member Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
FRANK LAWLER Pumblechook / Wemmick
Frank is delighted to return to Book-It Repertory Theatre on the heels of completing a run of A Christmas Carol at ACT Theatre. Previous turns on the Book-It stage include Persuasion, The House of Mirth, and Rebecca. Other local credits include The 13th of Paris, Halcyon Days, and Travesties with Seattle Public Theater; Jekyll and Hyde, As You Like It, and Measure for Measure with Harlequin Productions; Twelfth Night with Seattle Shakespeare Company; The Elephant Man with Strawberry Theatre Workshop; and On the Verge and Well with ArtsWest. A native of Ottawa, Canada, Frank is a graduate of Harvard University and president of the board of directors of Theatre Puget Sound. He lives in Seattle with his lovely wife Ann and their handsome son Rowan.
LEE OSORIO* Pip
Lee is thrilled to make his Seattle debut with this wonderful cast and crew. Past credits include Romeo and Juliet with the Atlanta Shakespeare Company, Dr. Jekyll and Mr. Hyde with Blue Barn Theatre, and Dog Sees God and Red Light Winter with SkullDuggery. Locally, he is a member of Theatre 9/12.
MICHAEL PATTEN* Magwitch / Jaggers
Michael is very happy to return to Book-It! Previous Book-It credits include Mellors in Lady Chatterley’s Lover and Reverend Wiggin in Owen Meany’s Christmas Pageant. In Seattle, he has also worked with Seattle Repertory Theatre, Intiman, New Century Theatre Company, Strawberry Theatre Workshop, Seattle Opera, Seattle Shakespeare Company, Wooden O, 14/48, Capitol Hill Arts Center, Theater Schmeater, AHA! Theatre, and Printer’s Devil Theater. Michael has worked with the Alabama Shakespeare Festival, Camden Shakespeare Festival, McCarter Theatre, Huntington Theatre, Tacoma Actors Guild, and Mill Mountain Theatre. His film and television credits include Prefontaine, Georgia, “The Commish,” Soda Springs, “As The World Turns,” “Ryan’s Hope,” “Highlander,” The Beans of Egypt, Maine, Countdown, Highway, and Inheritance.
KEVIN MCKEON Director
Kevin has directed Anne Tyler’s Breathing Lessons and David Guterson’s Snow Falling on Cedars for Book-It. As an actor for the company, he has performed in several shows including Ethan Frome, Cowboys Are My Weakness, Sweet Thursday, Plainsong, and A Confederacy of Dunces. He has adapted several works as well, including Plainsong, A Tale of Two Cities (with Jane Jones), and The Beautiful Things that Heaven Bears. His adaptation of Snow Falling on Cedars was produced at Portland Center Stage, is currently running at Hartford Stage in Connecticut and soon will be performed at Centerstage in Baltimore and TheatreWorks in Palo Alto, California.
LUCINDA STROUD Adapter
Lucinda Stroud is honored to be returning to Book-It Repertory Theatre. As one of Book-It’s interns for the 2009-2010 season, she acted as dramaturg and assistant director for Emma and The Cider House Rules, Part One: Here in St. Clouds with directors Marcus Goodwin and Jane Jones. She also worked as dramaturg for BASH Theatre’s production of The Suicide, with director George Lewis. Lucinda relocated to Seattle after earning her degree in English from the University of Puget Sound in Tacoma. She currently works as registrar at Freehold Theatre.
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 and The Cider House Rules, Parts One and Two. She has been a scenic designer in Seattle since 2007. Her scenic credits include Seattle Shakespeare Company’s productions of Twelfth Night and Electra, and Seattle Public Theater’s The 13th of Paris. She has also designed for Seattle Musical Theatre, Azeotrope, and Cornish College of the Arts. Andrea is an associate ensemble member and resident designer at Washington Ensemble Theatre, where she has designed Titus, Robopop! and their most recent production, Sextet.
AMIYA BROWN Lighting Designer
Amiya received her MFA in Theatrical Lighting Design at the University of Washington. Most recently she lit Basement Co.’s production Ithaca I’ll Never See at The Little Theatre. While at UW, she designed lights for A U-Dubber Night’s Dream, Dance Majors Concert 2010, Eugene Onegin, Blithe Spirit, and Wild Black Eyed Susans. Other local productions include Seattle Pacific University’s Gulf View Drive, Umami’s Home
Bodies, Washington Ensemble Theatre’s RoboPop!, and Amelia Reeber’s this is a forgery and Dream Life (winner of the On the Boards A.W.A.R.D. Show, 2009) Prior to graduate school, she was the resident lighting designer for the Austin Shakespeare Festival, designing Richard III, As You Like It, The Rivals, and Hamlet. She is also a dancer and painter.
RON ERICKSON Costume Designer
Ron has designed costumes and scenery for many northwest theatres. Theatre credits include Pacific Northwest Ballet, Intiman, Strawberry Theatre Workshop, Tacoma Opera, Seattle Gilbert and Sullivan Society, Spectrum Dance, and Seattle Shakespeare Company. Designs for Book-It include Silver Water, Jane Eyre, Double Indemnity, Hard Times, Lady Chatterly’s Lover, Ethan Frome, Dracula, Pride and Prejudice, and A Tale of Two Cities. Ron is the professor of costume design at Cornish College of the Arts and head of wardrobe at Seattle Opera.
ERIC CHAPPELLE Composer / Sound Designer
Eric is pleased to join in this production of Great Expectations. He was the onstage musician for The Cider House Rules, Parts One and Two and was previously on stage at The 5th Avenue Theatre as a townsperson in Seven Brides for Seven Brothers and in Buddy!. He has played fiddle in many productions of Das Barbecü including the original Seattle Opera production, two productions at ACT Theatre, and one at The Goodspeed Opera House. Eric composed music for ACT’s production of The Clean House and he created numerous sound designs there. Rodeo Radio at The Empty Space, Pumpboys and Dinettes at Tacoma Actors Guild, and The Italian Straw Hat at The Bathhouse Theatre are among his favorite productions in which he has appeared.
KRISTYNE HUGHES Properties Designer
Kristyne is thrilled to be working with BookIt again. She previously designed props for Book-It’s Emma, The River Why, The Cider House Rules, Parts One and Two, and codesigned props for Red Ranger Came Calling. She is a proud graduate of the UW School of Drama and an associate member/production manager for Washington Ensemble Theatre (Hunter Gatherers, RoboPop!, Cancer: The Musical, Sextet, and Babs the Dodo). She has also worked locally with Youth Theatre Northwest on Alone in the Dark, Adventure Playhouse, Pinocchio, Beauty and the Beast, Curfew, and Bugsy Malone, with ReAct Theatre on Angels in America: Perestroika, and The Last 5 Years, and with Open Circle Theatre on Jekyll and Hyde. She is now assistant stage managing The Crucible at Youth Theatre Northwest.
CLARE STRASSER Properties Designer
Clare is a designer and founding member of the Satori Group. With the Satori Group she has designed the sets for iLove:, Hello Again, and Tragedy: a tragedy and the properties for The Investigation of the Murder in El Salvador, and Artifacts of Consequence. She has also frequently worked with Washington Ensemble Theatre where she designed properties for Titus, Neighborhood 3:Requisition of Doom, RoboPop!, and Sextet. Other work in Seattle includes designing properties for Santaland Diaries and 13th of Paris with Seattle Public Theater.
TOM DEWEY Fight Choreographer
A longtime member of the administrative staff, Tom is pleased to be throwing punches with Book-It Repertory Theatre’s artistic team for the first time with Great Expectations. As an actor and fight choreographer, Tom has appeared onstage with GreenStage, Open Circle Theater, and the Driftwood Players. His fight credits include Macbeth and Titus Andronicus with GreenStage, Troilus and Cressida with Handwritten Productions, and Revenge and Sorrow in Thebes with Flying Elf Productions. Tom holds the rank of Actor/ Combatant with the Society of American Fight Directors.
KATE FORSTER Dialect Coach
Kate is excited to be dialect coaching her first play at Book-It Repertory Theatre. Kate is a linguist, writer, and dialect coach who has taught accents for numerous Seattle stages. Favorites include the Northern British accent for The History Boys at ArtsWest; Appalachian for Smoke on the Mountain, Brooklyn for Brooklyn Boy and Castillian Spanish for Man of La Mancha, all at Taproot Theatre; New York for Lobby Hero, Liverpool and Japanese for Just Like Starting Over, Belfast for Spokesong, French for 13th of Paris, Cockney for Tryst, and a composite Dust Bowl accent for Of Mice and Men, all at Seattle Public Theater at the Bathhouse. She truly loves this work. www. dialectmatters.com
SARAH S. MIXSON* Stage Manager
Sarah has been a professional stage manager for 30 years, here in Seattle and traveling with shows throughout Washington, the United States, and as far afield as Italy. She is the production stage manager for the Drama School’s Summer Season at Seattle Children’s Theatre, and has also stage managed numerous Seattle Children’s Theatre mainstage productions. Other local theatres include Intiman, Seattle Rep, ACT Theatre, The Empty Space, The Group Theatre, and Tacoma Actors Guild. Sarah has recently
taught stage management at Whitman College. She is very happy to be making her Book-It debut with this production.
VICTORIA THOMPSON Assistant Stage Manager
Victoria is excited to be back at BookIt Repertory Theatre to work on Great Expectations after recently finishing Red Ranger Came Calling. Her previous BookIt credits include 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.
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 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 in “As the World Turns” and “One Life to Live,” the feature films Police Beat and Helene, and in industrial training films and voice-overs.
JANE JONES 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 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. 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 (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, A Tale of Two Cities, and The Cider House Rules, winner of the 2010 Gregory Award 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 Foundation 20th Anniversary Grant. Book-It was also honored with a 2010 Mayor’s Arts Award in September.
MYRA PLATT Founding Co-Artistic Director
As director, adapter, actor, and composer, Myra has helped Book-It produce over 60 world-premiere stage adaptations. Myra recently directed Red Ranger Came Calling, a musical adaptation she co-created with Edd Key. Other adapting/directing credits include, The River Why, Night Flight, 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 co-adapted Owen Meany’s Christmas Pageant with Jane Jones and composed music for Night Flight (with Joshua Kohl), The Awakening, Ethan Frome, Owen Meany’s Christmas Pageant, A Child’s Christmas in Wales, A Telephone Call, and I Am of Ireland. As an actress, Myra most recently appeared as Judith in The Beautiful Things That Heaven Bears, Edna in The Awakening, and Margaret in Howards End. Outside of Book-It, Myra has performed at Seattle Rep, Intiman, and the Mark Taper Forum. Myra is thrilled to have been a recipient with Jane Jones of the Paul G. Allen Foundation Founders Award, the 2010 Women of Influence, and to be named by the Seattle Times among seven Unsung Heroes and Uncommon Genius for their 20year 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 25 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, Inc. 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. Ms. Tiencken 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 Cyrano de Bergerac for the Vashon Park District, 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.
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
Book-It Repertory Theatre is a proud member of THEATRE
COMMUNICATIONS GROUP the national organization for the American theatre.
Book-It is grateful to the following organizations and individuals for their generous support of Great Expectations: Carl Bronsdon, Cornish College, University of Washington, Debra Blankenship, Diane McGinn, Myra Platt, Pam Ingalls, Marcie Sillman, & KUOW
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Don’t miss Book-It’s next classic adaptation... AVITAL RUTENBERG SCHOENBERG † Assistant Director COLIN WALLACE † Dramaturg LAUREN PEIRCE † Production Assistant SOPHIA HUGHES Assistant to the Costume Designer
MAY 26 - JUN 26
TIM SAMLAND Master Carpenter CHRIS FRICKLAND Master Electrician JOCELYNE FOWLER Wardrobe Supervisor JENNA CARINO Scenic Artist TOBY JONES Carpenter TESS MALONE Light Board Op GEORGE ERIC BOES Sound Board Op BILL DANNER Scene Shop Manager
Tickets on sale now! 206.216.0833 | WWW.BOOK-IT.ORG
† Book-It Intern
Ashley Marshall and Sylvie Davidson in Emma. Photo by Adam Smith.
FEELING LUCKY?
WHY WE SUPPORT BOOK-IT
“
After [the show], I couldn’t stop exclaiming about how much your production... improved my experience of the novel, revealing its essence in ways that mere reading could not…. Your synthesis of books and theatre rivals the celebrated blends of chocolate and peanut butter or bacon and vodka. Yum for the mind and soul! ~ Book-It supporter
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Our spring fundraising campaign for individual gifts is currently underway. Will you consider joining our family of supporters? 40% of our income is contributed by passionate people just like you who value Book-It in their lives, and in our community. Every gift makes it possible for us to produce great classics like Great Expectations and bring our literacy-based theatre instruction into schools. Please make a donation in our lobby (donation station is by the concessions stand) or online at www.book-it.org.
...then boy oh boy do we have some great prizes for you! Raffle tickets are on sale in the lobby at intermission at $10/ticket. Prizes include the cash prize of $1,000, one of Pam Ingalls’ original character portraits you see hanging in the lobby, and a $200 gift certificate to Canlis Restaurant. Drawing will be held on March 13th at our closing performance. You do not need to be present to win. All proceeds benefit our mainstage and educational programs.
SHARE THE LOVE - SHARE THE BOOK You may have noticed an unassuming little book cart in the lobby. It’s the launch of our Share the Book program. You are invited to take a book (suggested donation $3), read it, share your thoughts and comments about it in the review section in the inside cover, and then either pass it along to a friend, or bring it back to the cart next time you visit BookIt. It’s the lowest-pressure book club imaginable. Have fun reading and sharing! (Our big thanks to Pistil Books Online for providing the books for this new venture).
(ARTS FUND PAGE)
Book-It would like to express our gratitude to the following for their generosity in supporting our 2010-11 Season:
LITERARY LEGENDS $50,000+
The Paul G. Allen Family Foundation • Matthew N. Clapp, Jr. • Google*
LITERARY CHAMPIONS $25,000+
ArtsFund • The Boeing Company Charitable Trust • MetLife Ann Ramsay-Jenkins • Gladys Rubinstein • Theatre Communications Group Anonymous
LITERARY HEROES $10,000+
4Culture • American Recovery and Reinvestment Act of 2009 Jeff & Amanda Cain • Bill & Melinda Gates Foundation Harvest Foundation • Stellman Keehnel • Beth McCaw & Yahn Bernier National Endowment for the Arts • The Norcliffe Foundation Safeco Insurance Foundation • The Seattle Foundation Washington State Arts Commission Literary Classics $5,000+ Leadership Circle, cont. Bank of America Charitable Foundation, Inc. Emily Anthony & David Maymudes Avery Brooke Canonicus Fund City of Seattle Office of Arts & Cultural Affairs Fales Foundation Trust Cande & Tom Grogan Ellen & John Hill KUOW 94.9 Public Radio* Lucky Seven Foundation Melissa & Donald Manning The Medtronic Foundation The Norcliffe Foundation Lynne & Nick Reynolds The Shubert Foundation, Inc Target Shirley & David Urdal Kris & Mike Villiott Anonymous
Leadership Circle $2,500+
Monica Alquist Cheryl Boudreau Boeing Matching Gift Program Karen Brandvick-Baker Steve Bull & Christiane Pein Joann Byrd Amy & Matthew Cockburn France: Home Style, Inc.* Richard Gelinas & Sara Thompson Bruce E. H. Johnson & Davis Wright Tremaine LLP Jane Jones & Kevin McKeon Key Bank Foundation Mary Metastasio Microsoft Matching Gifts Program Larry & Michell Pihl
Myra Platt** David Quicksall & Rachel Glass Polly Schlitz Deborah Swets Jim & Kathy Tune U.S. Bancorp Foundation Elizabeth J. Warman April J. Williamson
Nobel Award Society $1000+ Stephen Bauer John Bradshaw Patricia Britton** Adelaide Brooks Sonya & Tom Campion D. Thompson & Karin Challinor Catherine C. Clark Tony Cox Collected Design* Allan & Nora Davis Emily Davis Julie Edsforth & Jabez Blumenthal The Eureka Foundation Stephanie & Stuart Feldt Firesteed Wines* Amy & Thaddeus Hanscom Benson & Pamela Harer Brent Johnson Clare Kapitan & Keith Schreiber Marsha Kremen & Jilly Eddy Victoria Leslie Alexander Lindsey & Lynn Manley Anne & Steve Lipner Ed Littlefield Lee & Darcy MacLaren Holly & Bill Marklyn Lynn Murphy Whitney & Jerry Neufeld-Kaiser Odom Corporation*
Nobel Award Society, cont.
Colette Ogle Glenna Olson Shawna L. Peery Judy Pigott PONCHO Puget Sound Business Journal Shawn & Mike Rediger Pamela & Nate Searle Martha Sidlo Meg Silver Garth Stein Virginia Sly & Richard Wesley Warren Sly Ten Mercer* David Thompson & Judith Jesiolowski Mr. & Mrs. Frederick W. Titcomb Thomas & Connie Walsh Washington Women’s Foundation Judith Whetzel Sally S. & David Wright Wyman Youth Trust Thomas & Lucy Flynn Zuccotti Andrew & Trish Zuccotti Anonymous
Pulitzer Award Society $500+
Abeja* Shawn & Lynne Aebi Christina Amante Pamela Bailey LeAnne Chow & Rex Barker Luther Black & Christina Wright Elizabeth & Mark Bourne Judy Brandon & H. Randall Webb Kelly Brown Harriet W. Campbell Zimmie Caner & Tom Edwards Linda & Peter Capell The Carey Family Foundation Mary Anne Christy & Mark Klebanoff D. A. Davidson & Co. Matching Fund Dante’s Inferno Dogs/Dante Rivera** Melinda Deane & Dan Wheetman Dottie Delaney Peter DeNormandie Mark Dexter & Deborah Cowley Élévage* R. Brooks Gekler Kate Godman & Jerry Collum** Jean Gorecki & Dick Dobyns Lucy Helm Bonnie Hill Robert Hovden & Ron DeChene Jane Austen Society of Puget Sound Jacqueline Kiser Annie Lareau*
Pulitzer Award Society, cont. Jean McKeon Julia & Daniel Little Stephen Lovell Anne McDuffie & Tim Wood Richard Monroe Terry & Comelia Moore NARAL Pro-Choice America* Michael & Cindy O’Brien Corliss Perdaems Will Patton & Joni Ostergaard Roberta Reaber & Leo Butzel Jill & Stephen Rosen Savage Color* The Seattle Weekly* Kate Thayer Emory Thomas, Jr. Brian Thompson Kerry Thompson Susan & Rick Titcomb Ruth Valine & Ed McNerney United Way Donor Advised Fund Sandra Waugh Richard Weening Jennifer Weis Patty & Walter Wilson Jeff Youngstrom & Becky Brooks Mary & Jerry Zyskowski Anonymous
National Book Award Society $250+
Connie Anderson ArtsFund Matching Gifts Program Shawn Baz John Bianchi & Scott Warrender Nancy Bittner Fraser & Deirdre Black Janet Boguch & Kelby Fletcher Barry Boone & Mary Wilson Mary Anne Braund & Steve Pellegrin Christina Chang & Paul J. Stucki Evelyn & Jim Chumbley John & Hanh Crose Sandra & Paul Dehmer Vasiliki Dwyer Titia & Bill Ellis Elizabeth & Paul Fleming Deborah Ferguson Liz Fitzhugh James & Denise Fortier Cezanne Garcia T.A. Greenleaf & Rebecca Roe David Hamilton Anne Helmholz Kate Hemer Laura Hull & John Atwill
National Book Award Society, cont.
William M. Jackson Jr. Polly Kenefick Margaret Kineke Donald Kunze Michael LaRose Le Gourmand* Thomas Lennon Kathryn Lewis Sheila Lukehart & Jim Brinkley Margaret Gardens Inn* Kraig & Lora Marini Baker Marcie & John McHale Julie & Mike Metzger Thomas & Cheryl Oliver Michelle Quackenbush Jeannette & Stephen Reynolds H. Stewart Ross Don & Marty Sands Greg & Julia Schechter Franck Schumann Marcia Joslyn Sill & Peter Sill Barbara Spear Robert Strah Tammy Talman Bobbi Tarvin Stan & Janet Vail Kayla Weiner Beverly Welti Robert & Leora Wheeler Jean & David White** Michael Winters Anonymous
Pen/Faulkner Award Circle $100+
Nancy & Craig Abramson • Diane & Steve Adams • Doug Adams • Judith Alexander • Georgina Alquist • Beth Amsbary • Susan & John Anderson • Virginia Anderson • William G. Anderson • Shannon Angstead • Peter & Diana Argeres • Amy Arvidson • Cinnimin Avena • Ruth Bacharach • Maxine Bailey • Roland Baker • Putnam Barber • Bamboo Wellness* • Russ & Jennifer Sue Banham • Jo Ann & Tom Bardeen • John & Sandra Barney • Mary & Douglas Bayley • Lindsay Bealko • Lenore Bensinger • John & Helen Bigelow • Richard Bohrer • Betty Bostrom • Annette Bostwick • Anne Boyer • Rosemary Boyle • Carol Butterfield • Barbara Buxbaum • Gwyneth W. Casazza • Mark & Elizabeth Chamberlin • Seeley Chandler • Susan Champlain • Lynne & David Chelimer • Marianna Clark • Jack Clay • Catherine Clemens • Harriet Cody & Harvey Sadis
Pen/Faulkner Award Circle, cont.
Clayton & Susan Corzatte • Steve Coyne • Terry Coyne • Garry & Kay Crane • Gordon Crawford & Rebecca Herzfield • Nancy Cushwa • Deborah Daoust • Joanna Maria Davids-Puzzo • Dorothy & Jim Denton • Julia Derby • Louise T. Deskey • Jonathan Drachman & Paula Lozano Drachman • Beth Dubey • Cornelia Dude • Mary Dunnam • Susan Dyer • Earthly Rituals* • Nancy Ellingham • Lynne Ellis • Marilyn Endriss • Susan Enger • Joyce Erickson • Constance Euerle • Expedia, Inc. • David Friedt & Marilyn Brockman • Betty Fuchs • Kristin Fuson • John Gayman • Julia Geier & Phil Borges • Siobhan Ginnane • Ann Glusker & Peter Hunsberger • Vicki & Gerrie Goddard • Susanne Goren • Patricia Graves & David Nash • Anke Gray • Carol Hagy • Elizabeth Hanna & Donald Fleming • Faith Hanna • Nancy Harney • Marcia Harper • Sarah & Stephen Hauschka • Ellen & David Hecht • Elizabeth & Matthew Hedlund • Stephanie Hilbert • Kate Hokanson • Nancy Holcomb • Heather Howard • Cynthia Huffman & Ray Heacox • Melissa Huther • Alison Inkley • Leticia Jaramillo • Cynthia Johnson • Harmer & Judy Johnson • Kaaren Johnson • Marcia Johnson • Sophy Johnston • Kris Jorgensen • Michael Jones • Pam Kendrick • Rebecca Kenison • Jean & Harris Klein • Mary & Gary Klubben • Wallson Knack • Shannon & Richard Knipp • Kristin Koon • Ted Kohler • Alan Kristal • Barb & Art Lachman • Ken Lanier • Chris & Annette Lefebvre • Meredith Lehr & Bill Severson • Arlene Levy • Michael & Nancy Lewars • Mark Lewington • Bonnie Lewman Arni • Litt & Lori Eickelberg • Vuong & Tricia Loc* • Craig Lorch • Annalee Luhman • Carol Lumb • Ellen & Stephen Lutz • Carin Mack • Sandra MacQuinn • Pamela Madigan • Donna Manders • Mary Ann & Chuck Martin • Mary Mathison • Josie & Doug Manuel • Teresa Mayberg • Susan McCloskey • Joyce McClure • Kathy McCluskey • Ruth McCormick • Deirdre & Jay McCrary • Evelyn McDaniel Gibb • Morna McEachern & Grant Brockmeyer • Bernie McIlroy* • Joan McNeil • Peggy Metastasio • Metropolitan Market* • Donna Miller-Parker & Robert Parker • Katie Mitchell • George & Marion Mohler • Joan Moritz • Elizabeth Morrison • Margaret Morrison • Susan & Harold Mozer • Martha Mukhalian • Toni Natoli • Donna Neuzil • Deanna & Craig Norsen • Curtis & Marion Northrop • Ellen Nottingham
Pen/Faulkner Award Circle, cont.
Kevin & Linda O’Morrison • Stephen Ooton & Jeanne Leader • Clare & Austin O’Regan • Judith & Jay Ostrow • Jeff & Lauren Packman • S. Edward Parks • Cecilia Paul & Harry Reinert • Elizabeth Pelham • Harold Pelton • Sherry Perrault • Ed & Carol Perrin • John Phillips & Anne O’Donnell • Anne & Lee Pipkin • Marjorie Priest • Linda Quirk • Barbara & Daniel Radin • Munira Rahemtulla* • Brian & Roberta Reed • Connie Reed • Esther Reese • Dennis & Jean Reichenbach • Ann & Randall Revelle • Bronwyn Richards • Eric & Karen Richter • Virginia Riedinger • Bavi Rivera • Fernne & Roger Rosenblatt • Shawn & Richard Roth • Rover’s* • Suzanne Rowen • Cheryl Rutledge • Donna Sand • Mary Sankaran • B. Charlotte Schreiber • Schwennesen & Assoc. LLC • Ed Ratcliffe & Joe Scott • Gail & John Sehlhorst • Allen Senear • Michael & Jo Shapiro • Audrey & John Sheffield • The Sill Foundation • Shellie Slettebak • Pat T. Starkovich • Stella! Restaurant* • Diane Stevens • Mike Stevens • Helen Stusser • Mary & Chuck Stusser • LiAnn & Stephen Sundquist • Alison Swanberg • Erin Swezey • Gail Tanaka • Mark C. Thomas • Laura Thomas • Awnie Thompson • Cappy Thompson • Henry & Bonnie Thompson • Molly Thompson & Joe Casalini • Charlotte Tiencken & Bill West** • Marcia Utela • Karen & Ron Van Genderen • Julie Vergeront • Nola Van Vugt • Vreni VonArx Watt & Jerry Watt • Jorie Wackerman • Herschel Wallen • Susan Warwick • Susan Wedgwood • Sally & Charles Weems • Julie Weisbach • Judith & Morton Weisman • Eddie Westerman • Patricia Whitney • Jane Wiegenstein • Jim Wilder & Margaret Curtin • Rachel Wilsey & Sam Bernstein • Wright Runstad & Co. • Sam Zeiler & Dawn Frankwick
O.Henry Award Circle $50+
Rachel Alquist • Amgen Foundation • Courtney Andriunas • Steven Antonoff • Dana Armstrong • Asana Yoga Seattle* • Anne & Roger Baker • Christopher Bayley • Heidi Beck • Jackie Benedetti • Rebecca & Hugh Bergeson • Inga & Grant Blackinton • Nancy Bowen-Pope • Patricia Brasel • Rebecca E. Brown • Alice Burgess • Rachel Burgess • Sylvia & Craig Chambers • Joyce Chase • Linda Clay • Geoffrey Cole • Mary E. Comtois • Faith Conlon • Susan Connors & Eric Helland • John Corder • Neicole Crepeau • Rebecca Crichton • Nancy Curtiss • M Eliza Davidson
O.Henry Award Circle, cont.
Marilyn & Don Davidson • Kristin Dealteriis • Nancy Deane • Douglas Deardorff • Martha DeMar • Tom Donnelly • Lorna Dykes • Sarah Easterbrook • Betty Jean Eberharter • Elliott Bay Book Company* • Jean Falls • Caroline Feiss • Carolyn & Rob Fletcher • Deborah Fialkow • Linda & John Findlay • Laura Fischetti • Thomas Fout • Sandry Fry & Jim Mueller • Kris Fulsaas • M. K. Gabriel • Elizabeth Gilchrist • Allen & Sandra Glenn • Joan & Steve Goldblatt • Kay Gordon • Laurie Griffith • Kirk & Carla Griswold • Scott Guettinger • Mary Gulbrandsen • Helen & Max Gurvich • Susan E. Hamilton • Deb Hammond • Phyllis Hatfield • Kate Hemer • Wendy Hilliker • MaryAnne Holden • Julie Howe • Susanne Hussong • Andrea & Scott Ichikawa • Kristin Ihrig & Russel Hardison • Wendy Jackson • Lawrence Jackson • Michael Johnson • Jackie Jones •Anne C. Kennedy & Dennis Grace • Sherrie Kilborn • John Killian • Rob Knop • Agastya Kohli • Nancy Koning • Fay Krokower • Katrina Larsen • Rebecca Larson • Carol Levin • Ruth Levy • Katherine Lew • Susan Lynette • Carolyn & Traeger Machetanz • Sara Mahlin • Martha Makosky • Dick Martin Shorter • Martha Maurer • Denise May • Sharon McAulffie • Philip & Lee McCluskey • Christy McDanold • Benjamin Moore & Marilyn McGuire • Barbara McPhee • William P. Meleney • Joan Merrill • Deane Middleton • Barbara & Terrance Miller • Susan K. Jones & Christopher R. B. Monck • Tyrrel Moody • Richard & Mary Morris • Glenn Morrissey • Susan Moser • Sara Mountjoy-Pepka • Jack Mowreader • Gillian & Matthew Murphy • Judy Niver • Pam & Scott Nolte • Dan Norton-Middaugh • Heidi Noun • Casey O’Connor • Lori Oliver • Kirsten O’Malley • Karen Palmer • Rita Payne • Mary Pelz • Cynthia Phelps • Carolita Phillips • Lisa Pounders & Margaret Moynan • Thomas Pratt • Principal Financial Group • Andrea Ptak & Aaron Houseknecht • Jane Ragle • Nancy Reichley & Timothy Higgins • Sarah Reisenauer • Jan Robbins • Marian & Peter Rose • Marga Rose Hancock • Patricia Rytkonen • Lyn Sauter • Judy Scheerer • Ruth Schroeder • Ann Schuh • Anne Shrauner • William Seagren & Megan Davis • Cheryl Kay & Earl Sedlik • Diane Snell • Dana Standish & Noah Seixas • Tom & Sharon Sherrard • Micheline Sierer • David & Stacya Silverman • George & Susan Smith • Ruth Solnit • Margaret Swain
O.Henry Award Circle, cont.
Thalia Syracopoulos • Christopher Thompson • Cynthia K. Todd • Dennis Traut • Genevieve Tremblay • Elizabeth Valentine • Robert Von Tobel • Shelley Tucker • Denise Thurlow • Ruth Warren • Laura Weese • James & Sharon Welch • Missy Welch • Terry Westerkamp • Paula & William Whitham • Linda E. Wilson • Kathleen Wilson • Marcella Wing • Wende Wood & Eric Swanson • Diane Zahn • Nancy & Stanley Zeitz
Gifts in Honor & In Memory Noemi Epstein & Darrel Vorderstrasse in honor of Ruth Bacharach’s birthday Jeanne Marie Isola in honor of Board Member Cheryl Boudreau Nancy L. Celms, Kate C. Hemer, Connie Hungate, and Margaret M. Marshall in Memory of William Rees Phillips Corliss Perdaems in Memory of Judy Runstad’s father, Gerry Wright Manville Barbara Rollinger in Memory of Stephanie Prince’s mother, Mildred Prince *denotes in-kind donation **denotes in-kind plus monetary support This list reflects gifts received July 1, 2009 – January 19, 2011. Book-It makes every attempt to be accurate with our acknowledgements. Please email Development Assistant 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, Book-It Repertory Theatre, was founded 21 years ago as an artists’ collective, adapting short stories for performance and touring them throughout the Northwest. Today, with over 60 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.
Mary Metastasio, Co-President Senior Portfolio Manager, Safeco, Retired Melissa Manning, Co-President English Teacher, The Bush School Monica Alquist, Vice President Dir. of Events & Special Projects, Puget Sound Business Journal Kristine Villiott,Treasurer CPA, Minar and Northey LLP Lynne Reynolds, Secretary I.T. Consultant, Covestic, Inc. Cheryl Boudreau King County IT Project Manager Karen Brandvick-Baker Manager, Marketing & Communications, Premera Blue Cross Steven Bull Architect, Workshop for Architecture + Design
James Dean Laura Ferri Gail Sehlhorst Heather Guiles
Andy Jensen Jennifer Sue Johnson Jane Jones Daniel Harray
Joann Byrd Journalist & Editor, Retired Jeffrey J. Cain, Ph.D. President, Arthur N. Rupe Foundation Jane Jones Founder & Founding Co-Artistic Director of Book-It Thomas Oliver Retired Teacher, Arts Fund Board Intern Myra Platt Founding Co-Artistic Director of Book-It David Quicksall Independent Theatre Artist & Teacher Deborah Swets Vice President for Membership, WA State Hospital Assoc. Elizabeth J. Warman Dir., Global Corporate Citizenship, NW Region, The Boeing Co.
Reginald André Jackson David Klein James Lapan
Jane Jones, Founder & Founding Co-Artistic Director Myra Platt, Founding Co-Artistic Director Charlotte M. Tiencken, Managing Director Josh Aaseng, Education Associate Rachel Alquist, Box Office Sales Manager Jessica Baloun, Box Office Associate Anders Bolang, Production Manager Patricia Britton, Director of Marketing & Communications Samantha Cooper, Development Associate Tom Dewey, Lead Box Office Associate Shannon Erickson, Publications & Media Manager Jocelyne Fowler, Wardrobe Manager Kate Godman, Director of Institutional Advancement Emily Grogan & Jennifer Sue Johnson, Casting Associates Anthea Gundersen, Box Office Associate Annie Lareau, Director of Touring & Outreach
Mary Machala Kevin McKeon Myra Platt
David Quicksall Stephanie Shine Susanna Wilson
Bernie McIlroy, BCD & IT Manager Lauren Peirce, Assistant Production Manager Susanna Pugh, House Manager & Volunteer Coordinator Pete Rush, Costume Shop Manager Gail Sehlhorst, Director of Education Bill Whitham, Bookkeeper Linda Davis & Carol Phillippi, Volunteer Opening Night Party Coordinators
Education Intern: Jessica Baloun Literary & Artistic Interns: Megan Campbell, Alex Miller, Avital Schoenberg, Colin Wallace Marketing Interns: Christine Texeira, Alix Doyle Patt Costume Shop Intern: Chelsea Humphrey Stage Management Intern: Lauren Peirce
HOUSE THEATRE, SEATTLE CENTER www.book-it.org BOOK-IT REPERTORY THEATRE CENTER 305 HARRISON STREET, SEATTLE, WA 98109
206.216.0877 info@book-it.org 206.770.0880 education@book-it.org
206.216.0833
206.256.9666