Mobey Dick

A Novel Approach to Theatre

the 08-09 season

EVEN COWGIRLS GET THE BLUES * My ﾃ］tonia * Moby-Dick, or The Whale The Beautiful Things that Heaven Bears * Night Flight

A Novel Approach to Theatre Dear Book-It Friends, We last saw one another while I was on stage playing a role I have long imagined taking on in my favorite book, My Ántonia. Now, with my Book-It Education Director hat on, it’s my pleasure to welcome you to our third production of the season, Moby-Dick, or The Whale by Herman Melville.

Book-It All Over is one of the region’s most prolific theatre arts education institutions.

I have much to report to you from BookIt All Over (BIAO), the educational outreach program of Book-It Repertory Theatre—and plenty to be proud of as we send our current touring shows, the bi-lingual La Mariposa, Patricia Polacco’s Chicken Sunday, The Jungle Books (now in rehearsal), and DANGER: Books! out into the world.

Book-It All Over is one of the region’s most prolific theatre arts education institutions— but you may not be aware that our myriad tours, residencies, workshops, and teacher trainings are facilitated out of a 110 square foot office with three staff who oversee 25 traveling actor/teaching artists each season.

BIAO is generously supported by many foundations, corporations, and individuals who share our ideals for the young people in our region.

BIAO Teaching Artist, Rachel Atkins, at West Woodland Elementary

Janessa Cummings, Shermona Mitchell, and Bob Williams in Chicken Sunday.

Last season, BIAO touched the lives of more than 72,000 young people in more than 280 appearances with our four touring productions, as well as our student matinees of Book-It mainstage shows. This year we are on track to cover even more territory with tours and residencies in places as far away as Multnomah County Library in Portland, Oregon and as close as West Seattle’s Chief Sealth High School.

There are new, exciting developments and projects for us during the 08-09 season and school year, as well as a reimagined fundraiser, the Book-It for Kids Luncheon. First among these new developments is the series of low-priced family performances of three of our

touring shows. Stories usually seen only by your children in schools or community centers are now appearing on the Center House Theatre stage for one performance each. February 21st will be a festival day as we not only perform Chicken Sunday, but also offer crafts, a book fair, and workshops—it’s your opportunity to see our work in action without going back to school. Details about both our Book-It for Kids Luncheon and our February 21 Chicken Sunday performance and book fair are detailed in this magazine, as well as on our website www.book-it.org. We hope you will explore them further and join us.

One remarkable new project I am especially proud of was “Bringing Theatre to Yakima Valley” at Yakima’s Barge-Lincoln Elementary School. The wide-scope, comprehensive residency included teacher professional development with three schools, performances of our Spanish and English La Mariposa (especially effective as this story of a migrant worker’s child is being lived by many of the students we worked with), and workshops taught in every classroom. Our Yakima project was done in partnership with Allied Arts of Yakima Valley and Washington State Arts Commission.

I urge you to join in supporting our work.

Please consider attending our March 12 Book-It for Kids Luncheon, where you will have the chance to see the work we do and the results we achieve.

And finally, if you enjoy this performance of Moby-Dick, please recommend us to your friends. Word-of-Mouth is priceless to arts organizations—and your friends will be so grateful, too!

Thanks for choosing Book-It, today.

Enjoy the show.

Annie Lareau

Education Director

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Notes From the Director

When America comes of age, its literature would be fantastic, incorrect, overburdened…loose…vehement and bold.

What Ahab says about man’s relationship with this world, nature and, most significantly, God (in whatever manifestation God takes) is the darkest, most mysterious, and most thrilling aspect of this sprawling, contradictory, diffuse, philosophical, action-packed and unequaled work in American literature.

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The above quote is a reflection made by Alexis de Tocqueville in 1831 when he traveled about the still-very-young United States of America. The fact that the majority of books read in this country at that time were written by British writers must have added to de Tocqueville’s assessment that America had not yet “found a voice” with which to, both aesthetically and intellectually, express itself. While working on this adaptation, I have been struck by this idea of the “American voice”—what is it? Is there one? If so, what does it sound like? Many critics and scholars classify Moby-Dick as the “great American novel; whether this viewpoint is an irrefutable truth can be argued.

What makes this novel especially American? I feel that part of the answer is found in the opinion of our French observer from 1831: Moby-Dick is fantastic, incorrect, overburdened, loose, vehement and bold. The playwright Tony Kushner stated, “I felt completely overwhelmed by the excessiveness of it… the sentences that go on and on and on and on forever…I love that it shatters the form of the novel.” I also feel that part of the answer can be found in the words of that great American bard, Walt Whitman: Do I contradict myself?

Very well then I contradict myself, (I am large, I contain multitudes.)…

The spotted hawk swoops by and accuses me, he complains of my gab and my loitering…

I too am not a bit tamed, I too am untranslatable, I sound my barbaric yawp over the roofs of the world.

When speaking as “I,” Whitman was projecting his very spirit, body and voice as a manifestation of America itself. This idea of the “barbaric yawp” aptly describes the “American voice,” especially at a time when this vehement and boisterous country was beginning to flex its intellectual and, more troubling, its industrial muscles. There is also something “contradictory, untamed and untranslatable” about the nature of our country that finds expression in the pages of Moby-Dick…and, many a reader has certainly complained of what could be called the “gab” of the author himself (a feature that I would argue is one of many wonders in this book).

In this production, I haven’t focused on the novel as a representation of America, but our country, like the great whale himself, is always lurking beneath the surface. My dramatic imagination was excited by the great characters that Melville created, especially that Promethean-like personage of his genius— Captain Ahab. What Ahab says about America is very thought provoking and deeply troubling. What Ahab says about man’s relationship with this world, nature and, most significantly, God (in whatever manifestation God takes) is the darkest, most mysterious, and most thrilling aspect of this sprawling, contradictory, diffuse, philosophical, action-packed and unequaled work in American literature.

One final quote from the scholar Charles Olson: Whitman we have called our greatest voice because he gave us hope. Melville is the truer man. He lived intensely his people’s wrong, their guilt. But he remembered the first dream. The “White Whale” is more accurate than “Leaves of Grass,” because it is America, all her space, the malice, the root.

David Quicksall

BOOK-IT REPERTORY THEATRE Jane Jones & Myra Platt, Founding Co-Artistic Directors * Charlotte M. Tiencken, Managing Director

PROUDLY PRESENTS

MOBY-DICK, OR THE WHALE

by Herman Melville Adapted and Directed by David Quicksall CAST (in alphabetical order)

Eric Ray Anderson* Curt “Brace” Bolar Ryan Fields Jim Gall* David Hogan Derek Lettman Corey McDaniel Mike Oliver Brandon Petty Wesley Rice* Carter Rodriquez Ryan Spickard Jeremy Thompson Will Wassmann

Peleg/Perth/Salt #1/Captain Gardiner Daggoo Queequeg Starbuck/Father Mapple/Salt #2 Ishmael Pequod Crew Elijah/English Captain/Carpenter Pequod Crew Flask/Coffin Captain Ahab Tashtego Stubb Pequod Crew Pequod Crew

Music composed and performed by Nathan Wade & The Dark Pioneers featuring Brian Alter, Sam Collins, and Nathan Wade Devorah Spadone Victoria Thompson

Production Stage Manager Production Assistant

ARTISTIC & PRODUCTION STAFF Larry Rodriguez Technical Director & Production Manager Edward K. Ross Scenic Designer & Painter Deane Middleton Costume Designer Ben Zamora Lighting Designer Nathan Wade Music Director & Sound Designer Elena Hartwell Properties Designer

Brandon Petty Rachel Glass Mike Jones Laura Hendrichsen Janessa Jayne Styck Lynne Ellis Jennifer Dantes Ilvs Strauss

Fight Choreographer Dialect Coach Assistant Director Master Carpenter Costume Shop Manager Master Electrician Sound Board Operator Lighting & Sound Assistant

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

ArtsFund/John Brooks Williams and John H. Bauer Endowment for Theatre

Media Sponsor:

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meet the author

Herman Melville

What I feel most moved to write, that is banned—it will not pay. Yet, altogether, write the other way I cannot. So the product is a final hash, and all my books are botches.

–Herman Melville, Letter to Nathaniel Hawthorne, June 1851

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was born in 1819 to a wealthy merchant family in New York, where he grew up listening to his father’s fantastical sea-faring tales of terror and adventure, and of places far away. But when Herman was 12 his father died and left the family penniless. By the mid-1830s, the young Melville had already begun writing, but continued financial problems for the family forced him to focus primarily on work. In 1837, his brother arranged for Herman to ship out as cabin boy on the St. Lawrence, a merchant ship sailing in June 1839 from New York City for Liverpool.

When he returned to the states he tried to find work to help his family. Finding none, he joined the crew of a whaling ship, Acushnet, on its way to Polynesia in January 1841. After the 18-month voyage, he jumped ship and lived for two months with a friend amongst the natives of the Marquesas Islands. From there, he went to Papeete, Tahiti, in the crew of the Australian whaler Lucy Ann. Once in Tahiti, Herman joined a mutiny led by dissatisfied shipmates who had not been paid. The mutiny landed him in jail, though he later escaped. In November 1842 he signed as a harpooner on his last whaler, the Charles & Henry, out of Nantucket, Massachusetts. Six months later he disembarked in Hawaii only to sign on as an ordinary seaman on the frigate United States, which in October 1844 returned him to Boston. It was from these adventures that he drew the inspiration for his first two novels, Typee: A Peep at Polynesian Life (1846) and Omoo: A Narrative of Adventures in the South Seas (1847), which he wrote on his return to America. That year, he married Elizabeth Shaw with whom he had four children. They moved to Pittsfield, Massachusetts where he began writing his masterpiece, Moby-Dick; or, The Whale.

He published three more novels within the next three years. However, these works and the five more to follow— including Moby-Dick; or, The Whale— did not achieve the popular and critical success of his earlier books because of his increasingly philosophical, political and experimental tendencies. It was during this time of his life that he met Nathaniel Hawthorne, the well known author who would greatly influence Herman’s future works. Melville often sent his manuscripts to Hawthorne for criticism, and when Moby-Dick was published in 1851, Herman dedicated it to his friend, writing, “In token of my admiration for his genius.”

The captivating book about the sailor Ishmael and Captain Ahab’s search for a great White Whale brought its author neither acclaim nor reward in his lifetime. However, a “Melville Revival” came in the post World War One era.

With the burgeoning of Modernist aesthetics and the war still so fresh in memory, Moby-Dick began to seem increasingly relevant. Many of Melville’s techniques and themes prefigure those of Modernism. He employs a kaleidoscopic, hybrid genre and tone (encompassing narrative plot, descriptions of a sailor’s life aboard a whaling ship, stage directions, extended soliloquies, and asides.) His exploration of themes of violence, hunger for power, reckless disregard for the fate of one’s fellows, and the existence of gods resonated with the newly forming Modern aesthetic of experimentation and fragmentation of the human experience, characterized by deviations from the norms of society.

Critical examination of Melville’s work in this period saw Moby-Dick as the pinnacle of American Romanticism and today, it is considered to be one of the greatest novels in the English language.

A Brief History of Whaling Melville’s experience aboard whaling vessels was the source of his inspiration for several novels. The life aboard ship was never easy, but the promised pay-off from this enormous industry was seductive.

Before the Civil War, whaling was one of the most lucrative and fast growing industries in America. From 1815 to 1859 (Moby-Dick was published in 1851) total production rose by over 1000 percent. However, a dramatic drawback to the work was the great danger involved in harvesting whale products. Between 1820 and 1860, 88 whaling captains out of a single port, New Bedford, died at sea (three of them were killed by Pacific Islanders and ten were killed by whales). The potential profits from one voyage were so immense that the risks involved were considered acceptable to the investors.

Half of all American whalers listed New Bedford as their home port. Voyages were underwritten by local firms, known as “agencies,” which raised the capital needed to mount an expedition and took about a third of the profits in return. Most of the agencies were run by Quakers. By the 1850s, New Bedford was the wealthiest community per capita in Massachusetts, and one of the wealthiest in the United States.

Depletion of whale populations, 1850s gold fever in California, the 1859 discovery of oil, and the depredations of Confederate raiders during the Civil War (Northern whaling ships were considered military targets) led to the gradual demise of the American whaling industry by the end of the 19th Century. The introduction of petroleum led to a drastic fall of whale oil prices which dropped from 1.77 dollars per gallon in 1855 to only 40 cents by 1896. At this level, whaling was no longer lucrative.

After 1865 the industry was kept alive only by the demand for whalebone to be used in the production of corsets. In 1904, with the invention of cheaper flexible steel hoops, the whalebone market collapsed—and with it, the entire American whaling industry.

Whale Fishery. Attacking a Right Whale. Currier and Ives Lithograph ca 1813-1888.

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The Second Great Awakening

Ralph Waldo Emerson (1803–1882) The Second Great Awakening was an evangelical revivval that swept through New England and then upstate Neew York between 1800 and 1840. This event spawned maany spiritual and anti-institutional movements (most famoously, the Mormons). The Unitarian movement was also parrt of this. Unitarianism was founded on the tenant that, basically, there is an innate moral goodness in the indiividual—a view that flew in the face of the dominant Calvvinist belief that there was an innate moral depravity within the individual. This Second Great Awakening led to a cultture increasingly obsessed with the moral authority of the individual conscience. In his book The Metaphysical Club, Louis Menand, calls this period “the last blast of supernaturalism before science superseded theology assg the dominant discourse in American intellectual life.”

At this time, there was also a generational shift in thou ught and philosophy. American thought (as defined by the New England intelligentsia) was beginning to take form.

Emerson, Hawthorne, Melville and (a little later) Whiitman all contributed to the developing belief system that strressed the importance of self as the center of existence and spirituality. Melville takes on this idea of the “moral authority of the individual conscience” and examines its darker connotations through the character of Captain n Ahab. The sermon by Father Mapple also grapples witth the battle between a Calvinist and a more Unitarian view of man’s place in the mind of God. During this time, a “sectarian frenzy” was occurring alll across New England. In great numbers, people of all walks were “getting religion” as they flocked to gatherings where charismatic spiritual leaders, greatly aided by their oraatory skills, held forth. Melville translates the land-bound phenomenon of the Second Great Awakening to the decks of the Pequod where the crew, propelled by Ahab’s preeacher-like rhetorical prowess, becomes caught up in his metaphysical quest. Their collective passionate zeal is described

by First Mate Starbuck as an “orgy before the mast.”

Above Religious Camp Meeting. Watercolor by J. Maze Burbank, ca. 18339 A-6

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The American Scholar

Nathaniel Hawthorne (1804–1864) The Scarlet Letter

Henry Wadsworth Longfellow (1807–1882) The Song of Hiawatha

John Greenleaf Whittier (1807–1892) Snow-Bound

Edgar Allan Poe (1809–1849) The Fall of the House of Usher

Henry David Thoreau (1817–1862) Walden; or, Life in the Woods

Emily Dickinson (1830–1886) Poems

Louisa Mayy Alcott (1832–1899) Little Women

Mark Twain (1835–1910) The Adventures of Huckleberry Finn

Henry James (1843–1916) The Turn of the Screw

“Call me Ishmael.”

One of the most famous opening lines in all of literature… but what is its significance?

According to the Bible, Abraham and his wife Sarah were childless, yet they deeply desired a son. She offered her maid dservant Hagar to Abraham as a surrogate. Hagar was very proud of herself when she became pregnant by Abrah ham, which resulted in harsh treatment at the hands of a jealous Sarah. Hagar fled into the wilderness, where an an ngel appeared to her and according to GENESIS 16: 11-12: 11 And the Angel of the LORD said unto her, Behold thou art with child, and shalt bear a son, and shalt call his name Ishmael; because the LORD hath heard thy affliction.

12 And he will be a wild man; his hand will be against every man, and every man’s hand against him; and he shall dwell in the presence of all his brethren.

Hagaar returned to Abraham’s house, and had a son, whom she named Ishmael. The next year, Sarah became pregn nant with Abraham’s second son, Isaac. One day Sarah was angered upon seeing Ishmael mocking (or playing with)) Isaac and she demanded that Abraham banish the slave woman Hagar and her upstart son. Ishmael was very dear to Abraham, so he initially refused to do as Sarah asked. God spoke to him, assuring all would be well and he gave in to his wife’s request. He provided Hagar and Ishmael with bread and water, and sent them into the desert.

For m manyy artists and writers (especially p y the Romantics) the name Ishmael was synonymous y y with orphan… p exile… outcast… castaway. By introducing himself as “Ishmael,” the haunted narrator of Moby-Dickk establishes himself as a man outside of the comforts of civilization—a castaway, or as Melville calls him an isolato.

Finally, we must note that our narrator doesn’t say, “My name is Ishmael.” He asks us to calll him Ishmael…why?

Abrahaam Casting Out Hagar and Ishmael. Guercino ca.1657 ENCORE ARTS PROGRAMS

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Wh o’ s Who - THE CAST ERIC RAY ANDERSON* Peleg/Perth/Salt #1/ Captain Gardiner In Book-It’s 2007-08 season Eric appeared as Professor Kramer in The Highest Tide and as Captain Hook in Peter Pan, for which he received his own special Seattle Times Footlight Award: Swiniest Swine. His association with Book-It goes back to its earliest days. Favorite recent shows include Sweet Thursday and The House of Mirth. Eric’s alter-ego, Malistair Schnook, hosts Book-It’s annual gala, Guilty Pleasures.

Other recent performances include Sir John Falstaff in The Merry Wives of Windsor at Wooden O, Zak in The Diva Daughters Dupree at Langston Hughes Performing Arts Center, Saint Thomas Aquinas in Mitzi’s Abortion at ACT Theatre, and Mac in The Breach at Seattle Rep. Eric was co-artistic director of Young Shakespeare Workshop, and plays ukulele for Miss Mamie Lavona, the Exotic Mulatta, and her White Boy Band.

BRACE Daggoo Legally known as Curt Bolar, BRACE has been a part of the local arts culture since his youth; he was a member of the Paul Robeson Community Theatre Youth Group. He graduated from the University of Washington with a double degree in theatre and business. BRACE completed his MFA in Performing Arts Management from Brooklyn College in New York. He currently sings with the Seattle Men’s Chorus and most recently performed the role of Delbert Tibbs in The Exonerated with ReAct. This is his first role with Book-It Repertory Theatre. Performing, along with tennis, is one of his passions and he works to encourage individuals to live their passions and be themselves at all times.

RYAN FIELDS Queequeg This is Ryan’s debut at Book-It Repertory Theatre. He was most recently seen in Theatre 9/12’s production of Duty, Honor, Profit at ACT Theatre. Ryan is grateful for the opportunity to collaborate with such a talented group of artists.

JIM GALL* Starbuck/Father Mapple/Salt #2 Jim was seen on the Book-It stage last season in Persuasion and previously in If I A-8

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Die In A Combat Zone, Box Me Up and Ship Me Home, as well as the first incarnation of Pride and Prejudice in the 2000-01 season. Favorite roles around town include Atticus Finch in To Kill A Mockingbird at Village Theatre and Mountain McClintock in Requiem for a Heavyweight at Theater Schmeater. Most recently Jim was Mr. Kraler in The Diary Of Anne Frank at INTIMAN and Oberon in A Midsummer Night’s Dream for Wooden O.

DAVID HOGAN Ishmael This is David’s second collaboration with Book-It Repertory Theatre. He was here last as O’Brien in If I Die in a Combat Zone, Box Me Up and Ship Me Home, for which he received a Seattle Times Footlight Award. Other local highlights include: Guy in God’s Ear with Washington Ensemble Theatre, Puck in A Midsummer Night’s Dream with Seattle Shakespeare Company’s Wooden O Theatre, Antony in Julius Caesar, and Caliban in The Tempest with Seattle Shakespeare Company. David can be found next revisiting the role of Puck in A Midsummer Night’s Dream with the Seattle Opera’s Young Artists Program. David lives in West Seattle with his wife and two dogs.

DEREK LETTMAN Pequod Crew Derek is excited to be appearing at Book-It for the first time. He recently graduated from the University of Washington with a BA in Drama and Philosophy. While at UW he played many roles including: Guildenstern in Rosencrantz and Guildenstern are Dead, Danforth in The Crucible, and Uncle Peck in How I Learned to Drive. He was also a member of UW’s improv troupe, The Collective, with whom he performed in several original improv shows including Objection! and his own brainchild, D&Dprov.

COREY MCDANIEL Elijah/English Captain/Carpenter Newer to Seattle stages, Corey is pleased to be making is Book-It debut. As an actor, director, and dancer, Corey’s credits range from stage to film. He has worked on stages such as the Fabulous Fox Theatres, The Hollywood Bowl, and NYC’s Metropolitan Opera House. His favorite roles include Hector in Troilus and Cressida, Colonel Brandon in Sense and Sensibility, Philip in The Lion

in Winter, and The Pharaoh in Joseph and the Amazing Technicolor Dreamcoat. Corey has staged numerous shows throughout California, Japan and, more recently, Seattle.

In Los Angeles he founded the Obsidian Court Theatre Company and was a staff director for Children’s Theatre Experience (Southern California’s largest children’s theatre). He served as artistic director for the Sho Kosugi Institute, a performing arts academy in Nagoya, Osaka, and Tokyo, Japan.

MIKE OLIVER Pequod Crew Mike is grateful to be returning to Book-It Repertory Theatre after being a part of My Ántonia earlier this season. He has been seen around Seattle in Big River: The Adventures of Huckleberry Finn and As You Like It at Taproot Theatre, as well as in The Worm for Emerald City Scene. He is a recent graduate of the University of Washington where his previous roles included Cinderella’s Prince/Wolf in Into the Woods, Paris in Romeo and Juliet, Brad Majors in The Rocky Horror Show, The Specialist in The Who’s Tommy and Mihai in Mad Forest.

Mike is also a collaborator with Washington Ensemble Theatre.

BRANDON PETTY Flask/Coffin/Fight Choreographer Brandon is very excited to join BookIt for the first time.

He was last seen in Seattle Shakespeare Company’s Henry IV as Prince John.

Additionally, in the last two years he has performed in four productions of Romeo and Juliet as Lord Capulet for UW, Romeo for Lake Tahoe Shakespeare Festival and Seattle Shakespeare Company, and Tybalt for Wooden O. Other favorite roles include Lopakhin in The Cherry Orchard, Ivan Vasilievich in Black Snow, and the title role in Macbeth, all at UW, as well as Edmund in King Lear at Montana Shakespeare Company, and Howard in Harlequin Theatre’s Psychopathia Sexualis. He is a graduate of the University of Washington Professional Actor Training Program, and has received additional training from The Juilliard School and various physical theater workshops in London and Italy.

WESLEY RICE* Ahab Wesley appeared with Book-It earlier this season as The Chink in Even Cowgirls Get The Blues and

Who’s Who - THE CAST previously as Miguel de Cervantes in Don Quixote, Harold in Plainsong, and in various roles in The House of the Spirits. In New York, he studied acting with Uta Hagen and William Esper, was a featured pederdast on “Law & Order,” and a company member of Joseph Campbell’s The Open Eye Theatre.

Most recently Wesley was seen as Pantalone in Seattle Shakespeare Company’s A Servant of Two Masters.

CARTER RODRIQUEZ Tashtego Carter Rodriquez is an actor, director, musician, and visual artist. He was recently seen as Rodrigo in Freehold Theatre’s production of Othello. He has performed with Capitol Hill Arts Center, New Amerikan Theatre, Freehold Theatre, Edge Theatre Ensemble, The Community Theatre, and others. He originated the role of Boy in the award winning play The Agreement. Favorite roles include Clove from Endgame, The Cook from Mother Courage, and Victor Jara from El Sueno Antes de la Muerte. Carter is currently a teacher for the Prison Theatre Residency Program at the Men’s Correctional Complex in Monroe, Washington. He is grateful for the opportunity to work with Book-It again.

RYAN JOHN SPICKARD Stubb Ryan is overjoyed to be back at Book-It Repertory Theater since his last performance in If I Die in a Combat Zone, Box Me Up and Ship Me Home, also directed by David Quicksall.

Since then he has had his most memorable roles with theater companies such as Seattle Shakespeare Company, GreenStage, Theater Schmeater, The Colorado Shakespeare Festival, Idaho Shakespeare Co., and others.

Besides being an actor with a degree from Seattle’s Cornish College of the Arts, Ryan has been training for the last 15 years in the study of stage combat and is an active fight choreographer in the Seattle area, aided through his involvement with the Society of American Fight Directors and as a member of the United Stuntmen’s Association.

JEREMY THOMPSON Pequod Crew Jeremy Thompson is a recent graduate of the University of Puget Sound where he played such roles as Valmont in Les

Liaisons Dangereuses, Septimus in Arcadia, and Sebastian in Raised in Captivity. He has also appeared in Proofs of Holy Writ with Shakespeare in the Parking Lot and The Little Death with Eclectic Theatre Company.

Jeremy is thrilled to be working at Book-It and hopes to soon attend graduate school.

WILL WASSMANN Pequod Crew Will is excited to return to Book-It, where in 2007 he acted in Snow Falling on Cedars. He is currently a high school senior attending community college full time, and is busy choosing a university for next fall. Will aspires to be a professional actor and plans to earn a degree in theatre.

Last summer he attended the University of Southern California’s Summer Acting Seminar. Will has acted in many school and community productions, commercial work, and an indie short film. Most recently he played Prince Dauntless in Once Upon a Mattress. In addition to acting and studying, he holds a black belt in karate, the rank of Eagle Scout, plays trumpet, takes classical voice, and works part-time as a life guard and swim instructor. * Member Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Thursday, March 12, noon-1:00pm at Kaspar’s Special Events and Catering | 19 West Harrison | Seattle, WA 98119 Minimum Suggested Donation: $100

During an inspiring one-hour presentation you’ll meet the people who run our programs, the teachers and students who benefit, and see an excerpt from a current school touring show.

Seating is limited! Please RSVP by emailing info@book-it.org, or call Special Events Associate Alison Loerke at 206-216-0877, ext. 108.

All proceeds support Book-It All Over Education Programs.

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ARTISTIC & PRODUCTION STAFF 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 20 years of staging literature, she has performed 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 25 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 BookIt, she has directed The House of Mirth, The Highest Tide, Travels with Charley, Pride and Prejudice, Howard’s End, In a Shallow Grave, The Awakening, Owen Meany’s Christmas Pageant, 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.

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, adaptor and composer, she has helped Book-It produce over 55 world-premiere stage adaptations. Most recently, Myra directed the world-premiere production of Persuasion by Jane Austen. She has also 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 by James Joyce, A Telephone Call by Dorothy Parker, and A Child’s Christmas in Wales. She directed Plainsong, Cry, the Beloved Country, Sweet Thursday, and Danger: Books!. She coadapted Owen Meany’s Christmas Pageant with Jane Jones and composed music for Red A-10

BOOK-IT REPERTORY THEATRE

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. Performances include Margaret Schlegel in Howards End, Elaine in The Dying Gaul at INTIMAN, and as Edna in Book-It’s production of The Awakening (for which she received an Honorable Mention/ Backstage West Los Angeles Garland Awards). She originated the role of Candy Kendall in John Irving’s The Cider House Rules at Seattle Repertory Theatre and at the Mark Taper Forum. She is the proud mother of Wilson.

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 theatres in the Puget Sound area.

DAVID QUICKSALL Director/Adapter David’s work as an actor and a director has not only been seen at Book-It, but at The 5th Avenue Theatre, ACT Theatre, INTIMAN, Seattle Children’s Theater, and Seattle Shakespeare Company, as well.

Previous productions adapted and directed

by David for Book-It are Don Quixote, Dracula: Jonathan Harker’s Journal, and If I Die In A Combat Zone, Box Me Up And Ship Me Home. David adapted Travels With Charley (directed by Jane Jones) in which, as an actor, he played a record-breaking 11 roles. Other roles at Book-It have included Selden in House of Mirth, Maxim in Rebecca, and Harthouse in Hard Times. David is a company member of Book-It Repertory Theatre.

DEVORAH SPADONE Production Stage Manager Devorah is proud to be the production stage manager at Book-it Repertory Theatre, where Moby-Dick, or The Whale is her 17th production. Earlier this season she stage managed My Ántonia, and has previously worked on The Highest Tide, Persuasion, and Peter Pan. Other recent projects include Saving Tania’s Privates by Tania Katan with The Ethereal Mutt Limited at the Edinburgh Fringe Festival, and Strawberry Theatre Workshop’s production of Leni here in Seattle. She has also worked for Seattle Children’s Theatre, Seattle Shakespeare Company, Bumbershoot, Folklife, UW, 14/48 and the Seattle International Children’s Festival.

LARRY RODRIGUEZ Technical Director & Production Manager 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 (PETA).

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 fourth 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.

RACHEL GLASS Dialect Coach Rachel has coached adults and children in dialects, foreign languages, and dialect reduction since the early 1990s. She served as dialect coach for Book-It’s production of Dracula, as well as Tennessee Repertory Theatre’s production of A Christmas Carol.

She has worked with actors in stage, television, and film in Los Angeles, the Bay Area, New York, Nashville, and Seattle.

Rachel has worked on several interactive foreign language lab DVDs (French and German). Her training includes A.C.T. in San Francisco, Drama Studio London, and Canada’s National Voice Intensive. As an actress, Rachel played Phyllis in Book-

A R T I ST I C & PRODUCTION ST A FF It’s production of Double Indemnity. On the radio, she is a regular on Imagination Theatre (Jim French Productions), and she records audio books professionally, as well as for the Washington Talking Book and Braille Library.

MIKE JONES Assistant Director Mike is very pleased to be working at Book-It for his first professional show.

Currently a senior Drama/Photography major at the University of Washington, Mike has performed in numerous roles and most recently directed Rosencrantz and Guildenstern are Dead. His next major project will be directing The Pillowman in the spring.

EDWARD K. ROSS Scenic Designer/Scenic Painter Edward is a Seattle based scenic designer for theatre, film, and dance. Edward received an MFA in Scenic Design from the University of Washington and a BFA in Theatre from the University of Florida.

Recent designs include Next Stage’s Island of Misfits at the Hugo House, Woman of Rachis as a guest artist at Cornish School of the Arts, Ching Chong Chinaman for Impact theatre in Berkeley California, and the West Coast premiere of Bright Ideas. Most recently Edward designed Leading Ladies for Bloomsburg Ensemble Theatre. Edward is the co-founder of both Jobsite theatre and Hat Trick Theatre in Tampa Bay, Florida.

BEN ZAMORA Lighting Designer Last season Ben designed The Highest Tide for Book-It. He recently designed Tristan und Isolde (The Tristan Project) in collaboration with director Peter Sellars and video artist Bill Viola; and his designs have been seen at Lincoln Center for the Performing Arts, the Mariinsky Theatre in St. Petersburg, Russia, the Los Angeles Philharmonic’s Walt Disney Concert Hall, the Rotterdam Philharmonic’s de Doelen, Connecticut Grand Opera & Orchestra, and Tacoma Opera, as well as the San Francisco and Northwest Flower and Garden Shows. New York Off-Broadway credits include Guilty at Theatre Row and Circus Contraption’s Grand American Traveling Dime Museum. Locally, Ben has designed for Washington Ensemble Theatre, locust, Velocity Dance Center, Pat Graney, Adele Myers, Jessica Jobaris, Maki Morinoue, Crispin Spaeth, Tonya Lockyer, Alex Martin, and various premieres at On The Boards.

Ben is an Ensemble Member and co-artistic director of Washington Ensemble Theatre.

NATHAN WADE Sound Designer/Composer Nathan is a Book-It veteran, having composed music and soundscapes for their adaptations of Don Quixote (2005) and Dracula: Jonathan Harker’s Journal (2003).

After six years as a freelance composer and sound designer, Nathan now spends most of his time performing live music across the country as a solo artist or with the band Nathan Wade & The Dark Pioneers, featuring Brian Alter (drums) and Sam Collins (bass, keyboards). The trio released their debut album The Chroma Session EP in 2008 and continues to unnerve crowds across the Northwest with their modern murder ballads, fire & brimstone gospel, and gothic country blues. www.nathanwademusic.com

A ffilia t io n s 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

DEANE MIDDLETON Costume Designer A native Seattleite with degrees in Foreign Languages and Apparel Design, Deane has been costuming shows since 1987, most recently Beauty and the Beast at Village Theatre—for whom she has designed some 40 shows, and The Servant of Two Masters for Seattle Shakespeare Company. Her work has also been seen at Seattle Musical Theatre, Tacoma Little Theatre, Maui Academy of Performing Arts, Wooden O, and Driftwood Players. This is her second show for Book-It. Deane is the proud mom of Kelly and Nick.

ELENA HARTWELL Properties Designer Elena wears many hats in theater including playwright, director, educator, and technician. Her work has been seen across the U.S. and the U.K. Recent projects include writing and performing in In Our Name produced in New York, Eugene, and Seattle and published in Plays and Playwrights 2008 (Ed. Martin Denton), and directing Goldilocks and the Three Bears with StoryBook Theater. She is co-founder of Iron Pig, company member of Live Girls!

Theatre, Literary Manager for Northwest Playwrights Alliance, and holds a Ph.D. from the University of Georgia.

VICTORIA THOMPSON Production Assistant Victoria is thrilled to be working with BookIt for her first time. She is new to Seattle having graduated last spring from Trinity Western University in Vancouver, BC with a BA in Theatre. She loves being involved with theater in any way she can. Recently she was the stage manager for The Little Death at the Eclectic Theater Company here in Seattle.

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.

ENCORE ARTS PROGRAMS

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Honoring Book-It Contributors Book-It would like to express our gratitude to the following for their generosity in supporting our 2008-09 season:

LITERARY LEGENDS $50,000+ The Paul G. Allen Family Foundation Matthew N. Clapp, Jr. The William Randolph Hearst Foundation

LITERARY CHAMPION $25,000+ "OPOZNPVT t ArtsFund

LITERARY HEROES $10,000+ $VMUVSF t ɨF #PFJOH $PNQBOZ t )BSWFTU 'PVOEBUJPO #FUI .D$BX :BIO #FSOJFS t (MBEZT 3VCJOTUFJO 4BGFDP *OTVSBODF 'PVOEBUJPO t ɨF 4FBUUMF 'PVOEBUJPO t 1PMMZ 4DIMJU[ Literary Classics $5,000+ The Bank of America Charitable Foundation Tom & Sonya Campion City of Seattle Office of Arts & Cultural Affairs Humanities Washington Stellman Keehnel The Norcliffe Foundation Shirley & David Urdal Washington State Arts Commission Leadership Circle $2,500+ Monica Alquist ArtsFund/Wells Fargo Cultural Education Enhancement Fund ArtsFund/John Brooks Williams and John H. Bauer Endowment for Theatre The Baker Foundation Avery Brooke Jeff Cain Canonicus Fund Enterprise Rent-A-Car* Fales Foundation Trust Melissa & Donald Manning Mary Metastasio PONCHO Lynne & Nick Reynolds ** Russell Investments Kris & Mike Villiott Thomas & Lucy Flynn Zuccotti

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Nobel Award Society $1000+ Cheryl Boudreau Steve Bull & Christiane Pein Mary Anne Christy & Mark Klebanoff Amy & Matthew Cockburn Cande & Tom Grogan Audrey & Robert Hancock Harold Hill Anne & Steve Lipner Literary Managers and Dramaturgs of the Americas Marklyn Family Foundation Whitney & Jerry Neufeld-Kaiser Ann Ramsay-Jenkins SB Schaar & PK Whelpton Foundation Sage Foundation Martha Sidlo Jerry & Margaret Svec Deborah Swets Patricia & John Torode Kathy & Jim Tune U.S. Bank Judith Whetzel April J. & Brian Williamson Pulitzer Award Society $500+ Sheena Aebig & Eric Taylor Rosa Ayer Babeland, Inc.** Luther Black & Christina Wright Judy Brandon & H. Randall Webb Zimmie Caner Linda & Peter Capell The Carey Family Foundation

Pulitzer Award Society $500+ Cont.

Jayn & Hugh Foy Marni Gittinger Jean Gorecki Linda & Gordon Griesbach Lloyd Herman Bonny Hill Toni Hoffman Jeffrey M Kadet Jacqueline Kiser Marcia & Stephen Larson Alexander Lindsey & Lynn Manley Darcy & Lee MacLaren Roberta Reaber & Leo Butzel H. Stewart Ross Pamela Searle Margaret Silver Sara Thompson & Richard Gelinas Judith & Morton Weisman Richard P. Wilson National Book Award Society $250+ Nancy & Craig Abramson Laurie & Steve Arnold Boeing Gift Matching Program Dottie Delaney Joe Delaney Tony & Nancy Dirksen Beth Dubey Rob Entrop Deborah Fialkow Liz Fitzhugh Marcia Greenberg Gordon & Linda Griesbach Helen & Max Gurvich Susan Hoffman Diane Hostetler & Ross Johnson Melissa Huther Eva Jackson Clare Kapitan & Keith Schreiber Fay Krokower Frank Lawler & Anne McCurdy Nancy Lawton Lee & Darcy MacLaren Susan Moseley Christopher Motley Thomas & Cheryl Oliver Kristan Parks Don Sands Bill Smith Deborah Talley Eric Taylor Kerry Thompson Roger Tucker & Becky Barnett Sally S. & David Wright Anonymous (1)

Honoring Book-It Contributors Pen/Faulkner Award Circle $100+ Doug Adams Bill & Helen Wattley Ames Emily Anthony Christine & Perry Atkins Ruth Bacharach Suzanne Ball JoAnn Bardeen Lindsay Bealko Andrew Bell Julia Bent Alice Birnbaum Lindsay & Tony Blackner Page Pless & Mark Blatter Janet Boguch Barbara Boivin Jean Boler & John Dienhart Barry Boone Anne Bostwick John Bradshaw Mary Anne Braund & Steve Pellegrin Patricia Britton Donna I. & James S. Brudvik Marcia Bruno Joann Byrd Christina Chang & Paul J. Stucki Joyce Chase

Lynne & David Chelimer Children Count Foundation Clayton Cook Kerry J. Coughlin Terry Coyne David & Pam Dack Gale & Michael Davis Roy Davis Nancy Deane Dan and Melinda Deane-Wheetman Sandra & Paul Dehmer Paula Lozano Drachman & Jonathan G. Drachman Lorna Dykes Titia & Bill Ellis Marilyn Endriss Joyce Erickson Constance Euerle James & Denice Fortier Gail Frasier & John Sehlhorst Julia Geier & Phil Borges Linda Gould Vicki Hadley Lisa Hager Phyllis Hatfield Sarah & Stephen Hauschka Marcie Headen & Kathie L. White

David Hecht Stephanie Hilbert Nancy Holcomb Lawrence Jackson Eric Jensen Sophy Johnston Kris Jorgensen David J. Kasik Jeff Keane & Martha Noerr Pam Kendrick Jow Kerkvliet Margaret Kineke & Dennis West Jean Kushleika Teri J. Lazzara Kathryn Lew Jamie & Andrea Lieberman Laura Lindenmayer David & Sherrie Littlefield Craig Lorch Sheila Lukehart Ellen & Stephen Lutz Denise & Jim Lynch Kevin Lynch Glenda Maledy Doug & Josie Manuel Mary Ann & Chuck Martin Kathy McCluskey

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Contributors Pen/Faulkner $100+ Cont.

O.Henry Award Circle $50+

Samuel McCormick Jean McKeon Glenn Morrissey Peggy Metastasio & Dick Stuart Joshua Mitchell David Nash & Pat Graves Tom Newhof Deanna & Craig Norsen Curtis & Marion Northrop Stephen Ooton & Jeanne Leader Clare & Austin O’Regan Will Patton & Joni H. Ostergaard Doris Parker S. Edward Parks Terry Paugh Cecilia Paul & Harry Reinert Annie Pearson Corliss Perdaems Ed & Carol Perrin Eleanor Pollnow Mike & Shawn Rediger Esther Reese Eric & Karen Richter Ellen Roth Suzanne Rowen Evelyne Rozner William Selig Craig & Meredith Shank Michael & Jo Shapiro Marcia Joslyn Sill & Peter Sill Lola Smith Douglas Spaulding Diane Stevens Helen Stusser LaJuana Swilley Larry Symonds Tammy Talman Gail Tanaka Kimberlee Tempel I. Michael Thomas Brian Thompson Gianni Truzzi Diane & Burt Turnbull Mary Turner Karen & Ron Van Genderen Jorie Wackerman Benjamin Wall Frida Weisman James & Sharon Welch Richard B. Wesley Jane Wiegenstein Mary Ann & Robert Wiley Alison Withey Phyllis Yoshida Je Youngstrom & Becky Brooks Robilee & Eric Zocher Mary and Jerry Zyskowski Anonymous (1)

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BOOK-IT REPERTORY THEATRE

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*denotes in-kind donation **denotes in-kind plus monetary support.

This list reects gifts received July 1 – January 15, 2009. Book-It makes every attempt to be accurate with our acknowledgements. Please email Development Associate Sam Wykes, sam@book-it.org, with any changes that may be required.

Thanks

to all who helped ďŹ ll our kettle during My Ă ntonia.

We met our goal!

Now more than ever, we need your help.

Please tell your friends how much you enjoyed yourself. And if you are moved by the work you see on stage, we ask that you please consider making a gift to Book-It. Your gift—in any amount—makes the work we do on stage and in classrooms possible and accessible to all. Making a donation is a click away on our website at www. book-it.org, or call Marketing & Development Director Patricia Britton, 206.216.0877, ext. 100 to make your gift. Thank you.

S p ec i al T han ks Special thanks to the following organizations and individuals for their generous support of Moby-Dick: Erika Alquist at Ola Salon, Maria Fe Bernardo, Wayne and Nahja Chimenti, Bill Danner, Andrew DeRycke, James Frounfelter, David Goldstein, Michael Patten, Orion Protonentis, Seattle Wood Design, Studio East, Michael Tufano, Brandon Whitehead, and Stephen Willing

Book-It Repertory Theatre Board, Staff & Company BOARD OF DIRECTORS Mary Metastasio President Gail Frasier Vice-President Kristine Villiott Treasurer Lucy Flynn Zuccotti Secretary Monica Alquist Steven Bull Jeff Cain Mary Anne Christy Melissa Manning Lynne Reynolds Deborah Swets

BOOK-IT STAFF Jane Jones & Myra Platt — Founding Co-Artistic Directors Charlotte M. Tiencken — Managing Director Annie Lareau — Education Director Patricia Britton — Marketing & Development Director Zach Adair — Box Office Representative Rachel Alquist — Box Office Manager Brady Brophy-Hilton — Education Associate Kate Godman — Grants Associate Karen Imas — Box Office Representative Emma Kelley — Marketing Intern Sara Lachman — Education Assistant Alison Loerke — Events & Special Programs Assoc.

Sophie Lowenstein — Administrative Intern Susanna Pugh — House Manager & Volunteer Coordinator Larry Rodriguez — Technical Dir. & Production Mngr.

Devorah Spadone — Production Stage Manager Bill Whitham — Bookkeeper Rachel Wilsey — Marketing Associate Samantha Wykes — Development Assoc. & Box Office Rep.

COMPANY MEMBERS James Dean Laura Ferri Gail Frasier Heather Guiles Andy Jensen Jennifer Sue Johnson Jane Jones Daniel Harray Reginald André Jackson David Klein James Lapan Mary Machala Kevin McKeon Myra Platt David Quicksall Stephanie Shine Susanna Wilson

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 REPERTORY THEATRE CENTER HOUSE THEATRE, SEATTLE CENTER

*

Administration Education Box Office Fax

305 HARRISON STREET

*

SEATTLE, WA 98109

206.216.0877 206.770.0880 206.216.0833 206.256.9666

info@book-it.org * boxoffice@book-it.org * education@book-it.org * www.book-it.org ENCORE ARTS PROGRAMS

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