Kate Godman in her home. Photo by Sonya Schneider.
The opening chapters of Jane Austen’s Sense and Sensibility are among my favorites: Mr. John and Fanny Dashwood’s extended conversation in which they talk themselves out of sharing their new inheritance with the bereaved stepsisters and stepmother they are about to evict, must count among the most devilishly astute and wryly observed in the English language. The words make me squirm every time I read them, for isn’t that urge to rationalize away our most generous impulses among the most recognizable of human foibles? I recognize it in myself, and maybe that’s what brings the wincing pleasure of seeing it represented so masterfully on the page...and now on the stage!
As director of institutional advancement for Book-It, I am lucky to meet daily the unfiltered generosity that lives at the other end of the spectrum of human behavior. I have the enviable job of working with the “anti-Johns” and “anti-Fannys” of the world who regularly talk themselves into—as opposed to out of—the most generous gifts of money and volunteered time in support of Book-It. For these friends of the theatre, supporting Book-It is the ultimate in selflessness. For them, it’s about sharing their love of reading and of great theatre with a community that means the world to them—from the adult audiences at our main stage shows to the K-12 students whose own love of reading grows through our education programs. For them, it’s about saying, “I believe in this theatre, these artists, and this work, and I will stand behind them.” For them it’s about knowing what it takes to produce theatre, and the satisfaction that comes from pooling resources to make dreams become reality. I’d like to dedicate this performance to these supporters—both the individual and the institutional donors and volunteers: you made it possible, you built it, you put your hearts into it! Thank you! If you are not yet a supporter, I hope you’re inspired by the performance tonight to become one. If you’re tempted to think we don’t need your gifts, please consider that only 60% of our costs are covered by the price of your ticket. In other words, if you’re tempted to talk yourself out of supporting Book-It, please consider talking yourself into it; I know that any Book-It supporter will tell you the rewards and pleasure you reap from the gift will be worth every penny!
Director of Institutional Advancement
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There is always a question when staging any period piece of how to relate this dusty old work from the past to the fast-paced audience of today. With Jane Austen, the so-called cobwebs blow away quite easily. Although Sense and Sensibility was first published 200 years ago in a land with strict and implicitly understood rules of class and etiquette, the astute tone manages to capture an irony and humanism that pierce beyond context. In rehearsal we did spend quite a bit of time on bows and greetings, and the socially accepted distance at which a man and woman should talk, yet this structure only served to allow us to animate every character, their emotions and thinking, with greater vigor. Austen’s world is filled with people who we clearly understand. Perhaps that is because Austen attacks the flaws in everyone, especially her heroines, while also embracing this imperfection as the engine that drives us. It does not matter in what time you live, the choice to adhere to the rules or act outside them is the same. And, while I could be talking about big iconoclastic breaks, I am more interested in the everyday choices that test whether we will follow our head or our heart, put ourselves or someone else first in this conversation at this dinner party with these friends. Elinor and Marianne embody this divide—two sisters on the cusp of adulthood who must marry for survival, but refuse to marry for anything less than love—one clinging to the structure of manners and the other flinging herself into emotion. As they journey through this story, they have to reconcile their ideals (the passionate and the practical) with the reality of growing up and standing behind their choices. Through family tragedy, moving to a new home, and falling in and out of love, Elinor and Marianne act as a kind of ballast for one another. Together these sisters weather having their business made public and through their bond find a balance—and Austen reveals a delightfully barbed lesson, that perhaps the best thing in this world is to “discover the falsehood of [our] own opinions.” Makaela Pollock directs a scene during rehearsal. Photo by Shannon Erickson.
Director
For over 20 years Book-It Repertory Theatre has transformed inspiring works of both contemporary and classic literature into some of the most innovative theatre productions in the country. Characters are brought to life on stage by preserving the narrative text as spoken word. This unique style of acting encourages participation and active listening while allowing the theatre experience to spark the audience’s imagination and interest in reading. Furthermore, Book-It nourishes the artistic vitality of our community and promotes literacy by blending theatre, literature, and education. In 2010, The Paul G. Allen Family Foundation honored Founding Co-Artistic Directors Jane Jones and Myra Platt with one of five special Anniversary grants totaling $100,000. The A-2 Book-It Repertory Theatre
Foundation focused on change agents who created organizations that continue to deliver high impact programs for local communities. Our Anniversary grants recognized leaders who exemplify passion, dedication, and the entrepreneurial spirit that has made their organizations succeed. In addition, the Foundation is proud to have made grants to Book-It totaling more than $350,000 over the past 12 years. With this support Book-It continues to create world-premiere adaptations of classic and contemporary literature for the stage. Today, The Paul G. Allen Family Foundation is pleased to welcome you to Sense and Sensibility by Jane Austen. Susan M. Coliton Vice President The Paul G. Allen Family Foundation
Kjerstine Anderson* Aaron Blakely Jacob Breslauer† Angela DiMarco Amy Fleetwood Emily Grogan Bill Johns Shawn Law Samantha Leeds† Jason Marr Jessica Martin* Karen Nelsen David Quicksall* Sarah Warren†
Elinor Dashwood John Willoughby Thomas / Servant Lucy Steele Mrs. Dashwood Fanny Dashwood / Charlotte Palmer Henry Dashwood / Sir John Middleton John Dashwood / Mr. Palmer Margaret Dashwood Edward Ferrars / Robert Ferrars Marianne Dashwood Mrs. Jennings Colonel Brandon Servant
Kristyne Hughes Ruth Eitemiller
Stage Manager Assistant Stage Manager
Pete Rush Amiya Brown Deane Middleton Kevin Heard Clare Strasser Laura Ferri Gin Hammond Anders Bolang
Scenic Designer Lighting Designer Costume Designer Sound Designer Properties Designer Choreographer Dialect Coach Production Manager
*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States † Cornish College of the Arts Acting Intern Title Support:
Season Support:
Media Support: Additional generous support is provided by individuals and by The Harvest Foundation, Lucky Seven Foundation, City of Seattle Office of Arts & Cultural Affairs, The Norcliffe Foundation, The Shubert Foundation, Washington State Arts Commission, The Ex Anima Fund, U.S. Bancorp Foundation, Fales Foundation Trust, Key Bank Foundation, The Eureka Foundation, Washington Women’s Foundation, and Wyman Youth Trust. Thank you to all our supporters! Encore Arts Programs A-3
From early childhood we are exposed to the fairy tale with the inevitable happy ending. In the ideal tale there is plenty of suffering, questing and general dismay leading up to that glorious ending, but the happiness of a fairy tale is more like bliss—nearly unimaginable, realistically unattainable bliss. Somewhat similarly, Jane Austen is not one to deprive readers of a pleasant
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ending, complete with weddings and a broad declaration of future happiness. Though the events leading up to Regency England’s happy endings involve far less physical turmoil than your stock swashbuckling tale, there remains a quest, albeit more ordinary, for marriage and love. But in our modern reality, where breakups and makeups can happen in 140 words or less, what keeps Jane Austen a literary heroine for both women and men? While the world of 2011 has a severely dwindling focus on dances, bowing and hat-tipping, we have fostered that strict Regency sensibility of courtship while miraculously maintaining a sentimental hope for true love; that strange dichotomy that Jane Austen always balances throughout the romances of her novels. Elinor, the sense of Austen’s Sense and A-4 Book-It Repertory Theatre
Sensibility, finds love in the mundane moments of compatibility, occasional silences, and a mutual understanding of moderate affection with a potential to increase into full-fledged romantic love. As boring as this initially sounds, Elinor is unquestionably a strong, romantic heroine. For all the lack of apparent drama in Elinor and Edward’s courtship, theirs is similar to the modern pursuit of thousands on online dating sites. The same rational and reserved style that brought Edward and Elinor into the mild tides of affection remains a successful and sensible method for finding a lifetime match today. A 2009 study by Harris Interactive found that, on average, 542 members of the online dating site eHarmony marry each other every single day. Andrew F., a 25-year-old engineer at Boeing thinks “the biggest change [in courtship] is opportunity; men and women have a greater opportunity to meet each other.” Matchmaking websites are not so much a last resort, but rather an opportunity to weed out potential romantic mistakes (through 29 dimensions of compatibility). Granted, the match is made without a passionate chance meeting in the rain or amidst a flurry of spontaneous carriage rides, but it will bring forth those perfectly selected few— saving you from those who would make you drive yourself to the hospital when you are very sick because they promised their friends they would be online for a virtual raid, and effectively eliminating those who find strip clubs to be innovative, openminded date spots. (No worries, I’m completely over it.) The motivation to find a compatible match, however, is rarely to meet a similar version of yourself, reach some sort of agreement, and then live in moderate contentment for years to come. No, the draw toward compatibility is the
assumption that it is a step toward enduring love at a time when finding love can be incredibly time consuming. JJ, 23 and a dental student at the University of Oregon explained, “I know a lot of medical and dental students who begin school without any intentions of joining dating sites/ social networks but are forced to because of their rigid lifestyles.” Sentimentality, however, is not completely excised in our reasonable age and, perhaps surprisingly, Facebook stands as a beacon of communication and flirtation that Marianne would certainly have used to approve of Willoughby’s fine “likes” in literature and music, and the excessively sentimental Lydia Bennet would have found quite helpful in keeping tabs on the most reclusive military men. Facebook would aid in the reckless pursuits of their hearts, and only further intensify Lydia and Marianne’s ardent mistakes in love. It’s the new courtship. Regency style courtship, however, is a word that made most of the men I spoke with about Jane Austen and dating habits squirm a bit. Courtship connotes a ritual of behavior, a dedication to complex rules of etiquette that carries with it great potential for failure. Jake, a 24-year-old creative writing MFA graduate student at the University of Alabama describes the courtship process as involving “sustained, heart-breaking effort, which I think both men and women can appreciate mentally and understand as something we’ve lost.” Despite the movement away from such strict codes of conduct, and toward a more casual form of courtship in general,
Jane Austen’s novels are still regularly read, adapted and, well, expanded upon. But even before zombies entered Netherfield, Austen appealed to both sexes, receiving praise from Princess Charlotte Augusta as well as Henry James. Mark, 27, a kiosk attendant, and an elusive Austen-reading male “was struck by the increased attention on conversation and good manners” in Austen’s novels. He went on to explain, “I wish being well
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spoken and polite was still important… if I could send only one communication to [my girlfriend] each week I would focus more on content and Encore Arts Programs A-5
substance, but since I can chat with her online and on Facebook I can be much less attentive to what I’m saying.” Many of the men I attempted to speak with about Jane Austen were passionate about their conscious commitment to etiquette and general gentlemanly behavior—Jake said he is always chivalrous “even when a girl finds it unattractive;” Jeff, 23 and a respiratory therapist said, “[Etiquette] reflects upon your sense of self-
worth;” JJ, our busy dental student, lamented, “It’s a lost art in our generation;” and David, a 27-year-old self-proclaimed Renaissance man admits, “I am consciously concerned about etiquette…this should not be a date style, but a lifestyle”—yet most had never read Austen’s work nor had any intention to do so. A-6 Book-It Repertory Theatre
As a group they seemed overwhelmed by the carriages, the dancing, the dresses, and the marriage-obsessed young women, and, like David, seemed “only familiar with Austen’s works by all the women who are ensnared by this author’s perspective...[Austen is] too romantic and gossipy/drama filled,” or, even worse, were just completely out of their element like Taras,
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23 and a student at Washington State University, who responded, “Jane who? ... I think she writes romance novels.” Despite these apparently wellintentioned observations, it is disappointing that such nice young men are unable to see that Austen provides a glorious framework for realistic happy endings, where the nice guy actually does get the girl. The most prominent, what I consider, misunderstanding among these interviews is one which confuses the level to which idealistic romance plays a role in her work; a misconception that surfaced with the question, “Why is Austen still so popular today?” Ben, 25 and a recruiter with a financial software company answered, “Girls want to be chased by noble guys who’ll do anything to get them” and Andrew A., a 28-yearold public relations firm account executive tentatively elaborated with, “Maybe because feminism is great on the outside, but women haven’t changed deep down. They still want to be pursued, loved, taken care of, etc.?” But David, our favorite Renaissance man, said it best, “These novels probably remain well read because they are well written (though I do not like to read and have not read them). And, largely because the drama of courtship involved in them appeals to those seeking this ideal Prince Charming of a man to sweep them off their feet.” Pride and Prejudice is one of the greatest love stories ever told, but Mr. Darcy is no fairytale knight in shining armor. Sure, he has money,
but he also hates dancing and, for most of the novel, he is an anti-social snob who successfully hides his generosity and any noble characteristics while doing little more than carrying a sour face. That’s it—not the most heroic traits imaginable. Mr. Bingley (my personal favorite) is pleasant and has some common interests with Jane Bennet. He’s pleasant, yet still utterly romantic. Austen always includes a good measure of horrible men and detestable women, who are just irritating and awful; but the hero— the guy that gets the girl, falls in love, lives happily ever after? He’s not horrible. He might be funny, or like books, be rich, or just considerate and accommodating, but mainly
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he’s just not horrible. He’s a nice, pretty normal guy who is maybe a little older or still looking for his calling in life. And that girl he falls for isn’t the prettiest in all the land, but she’s smart, honorable, and selfless. Odds are you will not actually have to slay a wild beast or be a golden-haired victim trapped in a tower when you fall in love. You might even hate each other at first. But, take it from Austen, the nervous glances, basic compatibility, and the more-than-general tolerance for each other can be as epic a love story as any regal match, and deserving of the happiest of endings. Christine Texeira is a Book-It marketing intern this year and she recently graduated from Whitman College with a B.A. in English.
Jane Austen was born December 16, 1775 at Steventon near Basingstoke in England, the seventh child of a country clergyman and his wife. George and Cassandra Austen educated their children primarily at home where they could benefit from the extensive library and the schoolroom atmosphere created by Mr. Austen’s live-in pupils. Jane’s closest friend was her only sister, Cassandra, almost three years her senior. Her brothers variously entered the militia, banking, the clergy, and one was adopted by wealthy cousins to be their heir. When her father retired in 1801, she moved to Bath, and then on to various other locales with her mother after her father’s death in 1805. Unlike her heroines, Jane Austen never married, though she did receive several proposals. In 1811, at the age of 35, Austen published Sense and Sensibility, which identified the author as “a Lady.” Pride and Prejudice followed in 1813, Mansfield Park in 1814, and Emma in 1815. Austen died, most likely from cancer, on July 18, 1817, and a few days later was buried in Winchester Cathedral. She was 41 years old. Her gravestone, which is visited by hundreds of admirers each year, does not even mention that she was an author. Her novels Persuasion and Northanger Abbey were published together in December 1817 with a “Biographical Notice” written by her brother Henry, in which Jane Austen was, for the first time in one of her novels, identified as the author of Sense and Sensibility, Pride and Prejudice, Mansfield Park, and Emma. Her novels have never been out of print. The above 2002 portrait of Jane Austen was painted by Mellisa Dring. Read about the research that went into creating this new likeness at Jane Austen’s Regency World online: www.janeausten.co.uk/regencyworld/pdf/portrait.pdf Encore Arts Programs A-7
* Member Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. A-8 Book-It Repertory Theatre
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Book-It is grateful to the following organizations and individuals for their generous support of Sense and Sensibility: Evan Tucker, Shane Regan, and Theatre Puget Sound.
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Mary & Doug Bayley, The Boeing Company, Books By The Way, Buried Cane Wines, Chocolopolis, Fremont Brewing Company, Garagiste Wine Distributors, Firesteed Cellars, Amy Hanscom, Pam Kendrick, Uptown Metropolitan Market, Beth McCaw & Yahn Bernier, :Nota Bene Cellars, Odom Distributors, Cathy Pim/ WorldWise Jewelry, John Platt/St. Clouds Food & Spirits, Lower Queen Anne QFC, Romio’s Pizza & Pasta, Mickey Rowe, Craig Stewart, Teatro ZinZanni Staff and Crew, Valve Corporation, Vashon Opera, Vino Aquino, Wax On Spa, Bill West, WorldWise Jewelry, Young deNormandie, P.C., Lynda Yurisich/Lynda By Design Flowers by Collected Design Photography by Alan Alabastro/Alabastro Photography
This second novel from the author of The Highest Tide: a humorous, hopeful vision of the commonalities we discover if we look at things a little differently...
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The cast of Guilty Pleasures, 2011. Photo by Alan Alabastro.
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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
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
Joann Byrd Journalist & Editor, Retired 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 V.P. for Membership, Washington State Hospital Assoc. Elizabeth J. Warman Dir. Global Corporate Citizenship, NW Region, The Boeing Co.
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, Colin Wallace Marketing Interns: Christine Texeira Costume Shop Intern: Chelsea Humphrey Stage Management Intern: Lauren Peirce
Center House Theatre, Seattle Center 305 Harrison Street, Seattle, WA 98109
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