IRT Program: "A Christmas Carol" by Indiana Repertory Theatre

2018-2019 SEASON

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The Lilly family set a precedent for service from the companyâ&#x20AC;&#x2122;s earliest days, rushing medicines to victims of natural disasters and supporting civic organizations such as the Red Cross and YMCA. Today, we continue to find creative ways to give back to our communities. In our own neighborhoods and across the globe, we work hand-in-hand with governments and civic organizations to improve the health and well-being of the people we serve. This work is part of our living heritage and our enduring promise to make life better for people around the world.

APPLAUSE TO A TRUE COMMUNITY CHAMPION ONEAMERICA

2018-2019 SEASON SPONSOR

OneAmerica is proud to support the IRT as one of Central Indianaâ&#x20AC;&#x2122;s most vibrant cultural institutions. Our strong partnership reflects one of the longest running sponsorships in community theater nationwide. On behalf of OneAmerica, we hope you enjoy the 2018-2019 season.

â&#x20AC;&#x201D;Scott Davison, OneAmerica chairman, president and CEO

Through its community outreach efforts, the Navient Foundation supports organizations and programs that address the root causes which limit financial success for all Americans. This season, the Navient Foundation is proud to support the Indiana Repertory Theatre as the Student Matinee Sponsor of The Diary of Anne Frank and the Production Partner for Pipeline. Navient is a leading provider of asset management and business processing solutions to education, healthcare, and government clients at the federal, state, and local levels. Millions of Americans rely on financial support to further their education and improve their lives. We work hard each day to help our customers navigate financial challenges and achieve their goals. We at Navient have a deep appreciation for the arts and for the hard work, passion, and emotion that go into them, as well as the positive influences the arts have on individuals and their communities. Our 1,600 employees in central Indiana are proud to support our community through amazing programs like those offered by IRT. Enjoy the show.

OUR MISSION & VISION

CONTENTS

MISSION Live theatre connects us to meaningful issues in our lives and has the power to shape the human experience. The mission of the Indiana Repertory Theatre is to produce top-quality, professional theatre and related activities, providing experiences that will engage, surprise, challenge, and entertain people throughout their lifetimes, helping us build a vital and vibrant community.

3..............................Mission & Values 5.............................Profile 6.............................Leadership 10............................Staff 12............................Board of Directors 22............................A Christmas Carol 32............................Company bios for

VISION The Indiana Repertory Theatre will be a life-long destination of choice for an ever-expanding audience of all ages and backgrounds seeking enjoyable and meaningful experiences. Using theatre as a springboard for both personal reflection and community discussion, our productions and programs will inspire our neighbors to learn about themselves and others. As an arts leader in the state of Indiana, the IRT's goal is to make Indiana a dynamic home of cultural expression, economic vitality, and a diverse, informed, and engaged citizenry.

AS AN INSTITUTION, WE VALUE... SUSTAINING A PROFESSIONAL, CREATIVE ATMOSPHERE The professional production of plays that provide insight and celebrate human relationships through the unique vision of the playwright • Professional artists of the highest quality working on our stages in an environment that allows them to grow and thrive • Our leadership role in fostering a creative environment where arts, education, corporate, civic, and cultural organizations collaborate to benefit our community. PRUDENT STEWARDSHIP OF OUR RESOURCES Our public-benefit status, where the focus is on artistic integrity, affordable ticket prices that allow all segments of our community to attend, and community service • Fiscal responsibility and financial security based on achieving a balanced budget • Growing our endowment fund as a resource for future development and to ensure institutional longevity. INCLUSIVENESS The production of plays from a broad range of dramatic literature addressing diverse communities • The involvement of all segments of our community in our activities • Using theatre arts as a primary tool to bring meaning into the lives of our youth, making creativity a component of their education • The employment of artists and staff that celebrates the diversity of the United States. HERITAGE AND TRADITION Our role as Indiana’s premiere theatre for more than 40 years, recognized by the 107th Indiana General Assembly in 1991 as “Indiana’s Theatre Laureate.” • The historic Indiana Theatre as our home, as a cultural landmark, and as a significant contributor to a vital downtown • Our national, state, and local reputation for 40+ years of quality creative work and educational programming • Our board, staff, volunteers, artists, audiences, and donors as essential partners in fulfilling our mission.

A Christmas Carol

38...........................Interview:

Ryan Artzberger

50...........................Donor Listing

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INDIANA REPERTORY THEATRE PROFILE HISTORY Since the Indiana Repertory Theatre was founded in 1971, it has grown into one of the leading regional theatres in the country, as well as one of the top-flight cultural institutions in the city and state. In 1991 Indiana’s General Assembly designated the IRT as “Theatre Laureate” of the state of Indiana. The IRT’s national reputation has been confirmed by prestigious grants from the National Endowment for the Arts, the Lila Wallace–Reader’s Digest Fund, the Theatre Communications Group–Pew Charitable Trusts, the Shubert Foundation, and the Kresge Foundation; and by a Joyce Award from the Joyce Foundation. The IRT remains the largest fully professional resident not-forprofit theatre in the state, providing more than 104,000 live professional theatre experiences for its audience last season. These experiences included 39,000 students and teachers from 53 of Indiana’s 92 counties, making the IRT one of the most youthoriented professional theatres in the country. A staff of more than 100 seasonal and year-round employees creates nine productions exclusively for Indiana audiences. Actors, directors, and designers are members of professional stage unions. The IRT’s history has been enacted in two historic downtown theatres. The Athenaeum Turners Building housed the company’s first eight seasons. Since 1980 the IRT has occupied the 1927 Indiana Theatre, which was renovated to contain three performance spaces (OneAmerica Mainstage, Upperstage, and Cabaret) and work spaces, reviving this historic downtown entertainment site. To keep ticket prices and services affordable for the entire community, the IRT operates as a not-for-profit organization, deriving more than 50% of its operating income from contributions. The theatre is generously supported by foundations, corporations, and individuals, an investment which recognizes the IRT’s mission-based commitment to serving Central Indiana with top-quality theatrical fare.

Above: Photo by Geoff Chen.

PROGRAMS The OneAmerica Season includes nine diverse productions from classical and contemporary repertoires, including Eli Lilly and Company presents A Christmas Carol and James Still’s Amber Waves. Young Playwrights in Process The IRT offers Young Playwrights in Process (YPiP), a playwriting contest and workshop for Indiana high school and junior high students. Community Gathering Place Located in a beautiful historic landmark, the IRT offers a wide variety of unique and adaptable spaces for family, business, and community gatherings of all types. Call Margaret Lehtinen at 317.916.4880 for more information. Opportunities The IRT depends on the generous donation of time and energy by volunteer ushers; call 317.916.4880 to learn how you can become involved. Meet the Artists Regularly scheduled pre-show chats, post-show discussions, and backstage tours offer audiences unique insights into each production. Student Matinees The IRT continues a long-standing commitment to student audiences with school-day student matinee performances of all IRT productions. These performances are augmented with educational activities and curriculum support materials. This season The Diary of Anne Frank, Elephant & Piggie’s “We Are in a Play!,” and Eli Lilly and Company presents A Christmas Carol offer extensive opportunities for student attendance. Educational Programs Auxiliary services offered include visiting artists in the classroom, study guides, pre- and post-show discussions, and guided tours of the IRT’s historic home. Classes From creative dramatics to audition workshops to Shakespeare seminars, the IRT offers a wide array of personal learning opportunities for all ages, including our Summer Conservatory for Youth. Call 317.916.4842 for further information.

LEADERSHIP: JANET ALLEN Executive Artistic Director

Creating world-class professional theatre for Central Indiana audiences of all ages has remained a career-long passion for Janet Allen. She began at the IRT in 1980 as the theatre’s first literary manager–dramaturg. After four years in New York City, she returned to serve ten years as associate artistic director under mentors Tom Haas and Libby Appel. Named the IRT’s fourth artistic director in 1996, she is now in her 23rd season in that role. In 2013, she was named the IRT’s executive artistic director. During Janet’s tenure, the IRT has significantly diversified its education services to both adults and children, expanded its new play development programs, solidified its reputation as a top-flight regional theatre dedicated to diverse programming and production quality, and established the IRT as a generous content partner with organizations throughout central Indiana. Janet’s passion for nurturing playwrights has led to a fruitful relationship with James Still, the IRT’s playwright-in-residence for 21 years, and the creation and production of 16 new works—the Indiana Series—that examine Hoosier and Midwestern sensibilities (seven of them by James Still). Her collaboration with playwrights has brought the theatre prestigious grants from the Pew Charitable Trusts, the Joyce Foundation, and the Doris Duke Foundation, as well as numerous grants from the National Endowment for the Arts and Shakespeare for a New Generation. Among the memorable productions Janet has directed on the IRT’s stages are The Glass Menagerie (1999), Ah! Wilderness (2002), The Drawer Boy (2004), Looking Over the President’s Shoulder (2008 & 2018), The Diary of Anne Frank (2011), James Still’s The House That Jack Built 6

(2012), and To Kill a Mockingbird (2016). Celebrating the IRT’s 47-year legacy this season, she directs a new production of The Diary of Anne Frank in collaboration with Seattle Children’s Theatre. Janet studied theatre at Illinois State University, Indiana University, University of Sussex, and Exeter College, Oxford. As a classical theatre specialist, she has published and taught theatre history and dramaturgy at IUPUI and Butler University. Janet’s leadership skills and community service have been recognized by Indianapolis Business Journal’s “40 Under 40” Award, the Network of Women in Business–IBJ’s “Influential Women in Business” Award, Safeco’s Beacon of Light in Our Community Award, a Distinguished Hoosier Award conferred by Governor Frank O’Bannon, Girls Inc.’s Touchstone Award for Arts Leadership, and the Indiana Commission on Women’s “Keeper of the Light” Torchbearer Award. She is a proud alum of the Stanley K. Lacy Leadership program (Class XIX) and the Shannon Leadership Institute in Minneapolis, Minnesota, and is a 2013-14 Arts Council of Indianapolis Creative Renewal Arts Fellow. In 2015 Janet was inducted into the College of Fellows of the American Theatre at the John F. Kennedy Center for the Performing Arts and received a Medallion Award for significant national contributions from the Children’s Theatre Foundation of America. In 2017 she was named an Indiana Living Legend by the Indiana Historical Society. In December 2018 she will be inducted into the National Theatre Conference, a gathering of distinguished members of the American theatre community. Janet is a member of the Indianapolis Woman’s Club and Congregation Beth-El Zedeck. She lives in an historic house built in 1855 in the Chatham Arch neighborhood with her husband, Joel Grynheim, and a lovely canine mutt. They enjoy following the adventures of their children, Daniel, Leah, and Nira, all now safely out of the nest and thriving!

LEADERSHIP: SUZANNE SWEENEY

Opposite: David Alan Anderson in IRT’s 2018 production of Looking Over the President’s Shoulder. Photo by Zach Rosing. Above: Elizabeth Ledo and Mickey Rowe in IRT’s 2017 production of The Curious Incident of the Dog in the Night-Time. Photo by Zach Rosing. Below: Paul DeBoy, Katrina Yaukey, and Andrew Mayer in IRT’s 2018 production of James Still’s Appoggiatura. Photo by Ed Stewart.

Suzanne is a 20-year veteran of the IRT, managing every administrative area within the theatre at one time or another during that period. Serving as the managing director is the capstone to her career here. Her main responsibility had been to serve as the chief financial officer of the theatre, running the business office, human resources, and information technology functions. As the CFO, she helped to steer the organization through 15 years of balanced budgets (and 15 audits!). She also served as the interim managing director for 18 months in 2004-2005.

Suzanne is active in the community, having been the treasurer of Irish Fest for nine years, a member of the board of directors and treasurer of the Day Nursery Association (now Early Learning Indiana) for seven years, and a past treasurer of IndyFringe.

Managing Director

Suzanne is continuing the work of maintaining a brilliant team whose members expertly manage all of the administrative areas. She is excited to be moving into year six of this leadership role of the organization she loves, alongside her mentor and friend Janet Allen. In 2016, Suzanne was honored to serve as a panelist for Shakespeare in American Communities in cooperation with Arts Midwest.

Suzanne is a graduate of the College of William & Mary (undergraduate) and Indiana University (M.B.A.). She started her career as a CPA; prior to coming to Indianapolis, she worked in finance for more than 10 years, living in such varied locales as Washington, DC; Dallas, Texas; Frankfurt, Germany; Honolulu, Hawaii; and even working for three months in Auckland, New Zealand (where, yes, she went bungee jumping). She is a proud alum of the Stanley K. Lacy Leadership Program (Class XXXI). Suzanne lives in Fall Creek Place with her 15-year-old son, Jackson, and their foxhound rescue dog, Gertie, and spends some of her downtime in Palatine, Illinois, with her partner, Todd Wiencek.

IN 2017, SARAH & JOHN LECHLEITER GAVE A GIFT TO THE IRT IN HONOR OF JAMES STILL’S LONG-TIME RELATIONSHIP WITH THE IRT, CREATING THE JAMES STILL PLAYWRIGHTIN-RESIDENCE FUND, WHICH WILL PROVIDE FUTURE SUPPORT FOR THE PLAYWRIGHT-INRESIDENCE AS WELL AS THE CREATION OF NEW WORK FOR THE IRT.

LEADERSHIP: JAMES STILL Playwright-in-Residence

During his 21 years as playwright-in-residence, IRT audiences have seen three productions each of James’s plays Looking over the President’s Shoulder and And Then They Came for Me: Remembering the World of Anne Frank, as well as all three plays in his trilogy of The House That Jack Built, Appoggiatura, and Miranda. Also April 4, 1968: Before We Forgot How to Dream, I Love to Eat: Cooking with James Beard, The Velveteen Rabbit, The Heavens Are Hung in Black, Interpreting William, Iron Kisses, The Gentleman from Indiana, Searching for Eden, He Held Me Grand, Amber Waves, and The Secret History of the Future. He has directed many productions at the IRT, including The Originalist, Dial “M” for Murder, The Mystery of Irma Vep, Red, Other Desert Cities, God of Carnage, Becky’s New Car, Rabbit Hole, Doubt, Bad Dates, Plaza Suite, The Immigrant, and Dinner with Friends, as well as his own I Love to Eat, Looking Over the President’s Shoulder (2001), and Amber Waves (2000). This season the IRT produces Amber Waves for the second time, and he directs A Doll’s House, Part 2. James is an elected member of the National Theatre Conference in New York, and a Kennedy Center inductee of the College of Fellows of the American Theatre. Other honors include the Todd McNerney New Play Prize from the Spoleto Festival, William Inge Festival’s Otis Guernsey New Voices Award, the Orlin Corey Medallion from the Children’s Theatre Foundation of America, and the Charlotte B. Chorpenning Award for Distinguished Body of Work. His plays have been nominated four times for the Pulitzer Prize, and have been developed and workshopped at Robert Redford’s Sundance, the New Harmony Project, Eugene O’Neill Playwrights Conference, Seven Devils 8

Playwrights Conference, the Colorado New Play Summit, the Lark in New York, Launch Pad at UC–Santa Barbara, Perry-Mansfield New Works Festival, Telluride Playwright’s Festival, New Visions/New Voices, Fresh Ink, Weston Playhouse Residency, and Write Now at the IRT. Three of his plays have received the Distinguished Play Award from the American Alliance for Theatre & Education, and his work has been produced throughout the United States, Canada, China, Japan, Europe, South Africa, Australia, and New Zealand. Other theatres that have produced James’s plays include the Kennedy Center, Denver Center, Geva, Cornerstone Theater Company, Ford’s Theatre, People’s Light & Theatre, the Barter, Pasadena Playhouse, Portland Center Stage in Oregon, Portland Stage in Maine, the Station, the Asolo, Company of Fools, the Children’s Theater Company of Minneapolis, Metro Theater Company, B-Street Theatre, Theatrical Outfit, Arkansas Rep, the Round House, American Blues, Shattered Globe, Illusion Theater, and the Mark Taper Forum. His plays are also often produced at community theatres, summer theatres, universities, and high schools. James’s short play When Miss Lydia Hinkley Gives a Bird the Bird has appeared in several festivals around the country after its premiere with Red Bull Theatre in New York. New plays include an adaptation of the classic Black Beauty commissioned by Seattle Children’s Theatre, a new play called (A) New World, and several secret new projects. James also works in television and film and has been nominated for five Emmys and a Television Critics Association Award; he has twice been a finalist for the Humanitas Prize. He was a producer and head writer for the TLC series PAZ, the head writer for Maurice Sendak’s Little Bear, and writer for the Bill Cosby series Little Bill. He wrote The Little Bear Movie and The Miffy Movie as well as the feature film The Velocity of Gary. James grew up in Kansas and lives in Los Angeles.

LEADERSHIP: BENJAMIN HANNA Associate Artistic Director

Ben is a director, educator, and community engagement specialist whose passion for multigenerational theatre has influenced his work across the country with companies such as Berkeley Repertory Theatre, Children’s Theatre Company, Penumbra Theatre, Seattle Children’s Theatre, Steppingstone Theatre, and the Bay Area Children’s Theatre. In all of his myriad roles, Ben is guided by the belief that access to high-quality theatre helps build creative, empathetic people and healthy communities. Ben is thrilled to begin his second season at Indiana Repertory Theatre. Last season he directed The Town Mouse and the Country Mouse; this season he directs A Christmas Carol and Elephant & Piggie’s “We Are in a Play!” Ben joined the IRT leadership team following the completion of a prestigious 18-month Theatre Communications Group Leadership University Award. This highly competitive grant, administered by TCG and funded by the Andrew W. Mellon Foundation, supported his artistic associate position at the Children’s Theatre Company in Minneapolis, the nation’s largest theatre for young audiences. During his tenure at CTC, Ben directed in-house productions and took shows across the globe, as far afield as South Africa; he played a key role in fundraising, management, education, and strategic planning processes; and he helped guide the organization in addressing historical inequities and ensuring that the company’s work reflected the diversity of the local community. Prior to his role at CTC, Ben spent five years in California’s Bay Area, dividing his time between Berkeley Repertory Theatre and the Bay Area Children’s Theatre. At Berkeley

Above: Grant Somkiet O’Meara and Paeton Chavis in IRT’s 2018 production of The Town Mouse and the Country Mouse. Photo by Zach Rosing.

Rep he created innovative community engagement programs to build and diversify audiences, and he facilitated youth development and leadership through the company’s Teen Council and representation at national conferences. Celebrating the work of young artists, he produced five festivals of plays written, directed, designed, and performed by Bay Area teens. At the Bay Area Children’s Theatre, he served as a director and interim artistic director, developing three world premiere musicals adapted from children’s literature, creating a new student matinee program, and overseeing a successful move into a new theatre building and campus. In his native Minnesota, Ben was honored to serve on the education staff of Penumbra Theatre Company, the nation’s leading African American theatre, where he helped to expand their education and outreach offerings. His proudest accomplishments during his four years with the company include growing the nationally recognized Summer Institute for Activist Artists into a three-year multidisciplinary social justice theatre training program, developing a multigenerational quilting circle, and helping to create and facilitate a racial equity training program through the company’s RACE workshop series. Ben holds a degree in theatre arts from the University of Minnesota Twin Cities. He grew up on a small rural farm and fell in love with theatre at the age of eleven. He continues to create for his new favorite audience: his five nieces and nephews.

INDIANA REPERTORY THEATRE STAFF EXECUTIVE ARTISTIC DIRECTOR Janet Allen ARTISTIC Associate Artistic Director Benjamin Hanna

General Manager Jane Robison Production Manager Brian S. Newman Resident Dramaturg Richard J Roberts Company Manager Hillary Martin Playwright-in-Residence James Still COSTUME SHOP Costume Shop Manager Guy Clark

Lead Draper Jessica Hayes Draper Magdalena Tortoriello Costumers Christi Parker Judith Skyles

Wardrobe Supervisor Stacia Hunt

Assistant Technical Director John Bennett

Shop Assistant Jason Gill

Shop Foreman Kyle Baker

ELECTRICS Master Electrician Beth A. Nuzum

Carpenters Kurt Fenster Lisa Giebler David Sherrill

Assistant Master Electrician Elizabeth G. Smith Electrician Kayla Brown PAINT SHOP Charge Scenic Artist Claire Dana

Deck Manager Matt Shives SOUND & VIDEO Resident Sound Designer Todd Mack Reischman

Audio Engineer Rachel Landy

Assistant Charge Scenic Artists Jim Schumacher Robyn Vortex

Audio Video Engineer Alec Stunkel

PROPERTIES SHOP Properties Manager Geoffrey Ehrendreich

STAGE MANAGEMENT Production Stage Manager Nathan Garrison

Properties Artisan Rachelle Martin

Stage Manager Erin Robson-Smith

Properties Carpenter Michael M. Demasi

Production Assistants Rebecca Roeber Lilliana Rubio Crystal Johnson

SCENE SHOP Technical Director Chris Fretts

Youth Actor Liaison Jessica Hughes

PART-TIME STAFF & ASSOCIATES ARTISTIC Teaching Artists Chelsea Anderson Joanna Bennett Andrew Black Emily Bohn Ann Marie Elliott Callie Burk Hartz Kate Homan Tom Horan Ronn Johnstone Kathi Ridley-Merriweather Beverly Roche Milicent Wright

Company Management Intern Ellie Oegema ELECTRICS Electricians Lee Edmundson Joel Grynheim Jonathan Harden Luke Hoefer PAINT SHOP Scenic Painter Lee Edmundson Rachel Torres

SCENE SHOP Lee Edmundson Richard Landon Chris Nelson Chris Strain

MANAGING DIRECTOR Suzanne Sweeney

FINANCE Director of Finance Greg Perkins

ADMINISTRATION Receptionist / Administrative Assistant Seema Juneja

Assistant Controller Danette Alles

Executive Assistant Randy Talley Administrative Support Specialist Suzanne Spradlin Beinart DEVELOPMENT Director of Development Jennifer Turner

Associate Director of Major Gifts Lindsey Horan Institutional Giving Manager Eric J. Olson Donor Relations Manager Maggie Barrett Schlake Development Systems Brady Clark EDUCATION Director of Education Randy D. Pease

Youth Audience Manager Sarah Geis

FINANCE ASSOCIATES External Auditors Crowe Horwath LLP

Legal Counsel Heather Moore PATRON SERVICES Assistant House Managers Pat Bebee Terri Bradburn Nancy Carlson Cara Clapper Michelle Kennedy-Coenen

Payroll & Benefits Specialist Jennifer Carpenter INFORMATION SYSTEMS Director of Information Systems Dan Bradburn MARKETING Director of Marketing & Sales Danielle M. Dove

Marketing Communications Manager Kerry Barmann Audience Development Manager Elizabeth Petermann Graphic Designer Alexis Morin Multimedia Coordinator Heather Zalewski OUTREACH Group Sales & Teleservices Manager Doug Sims

Assistant Teleservices Manager Jeff Pigeon

Kyla Decker Marilyn Hatcher Jade Hogan Bill Imel Sarah James Barbara Janiak Norma Johnson Julia Kaser Sherry McCoy Gail McDermott-Bowler Karen Mitchell Dianna Mosedale Melanie Overfield Deborah Provisor Darlene Raposa

Teleservices Representatives Ty Conatser Margaret Freeman Judith Kline-Stratton PATRON SERVICES Operations Manager Robert Steele

Manager of Public Operations Margaret Lehtinen House Manager Heather Uuk Tessitura Administrator Molly Wible Sweets Ticket Office Manager Kim Reeves Assistant Ticket Office Manager Eric Wilburn Gift Shop Manager & Customer Service Representative Jessie Streeval Customer Service Representatives Kourtnee Boose Erin Elliott Hannah Janowicz Kelsey Keating Jared Novitski Building Services Dameon Cooper Dave Melton

Phoebe Rodgers Kathy Sax Karen Sipes Brenda Thien Rudy Thien Maggie Ward Bartenders Sheryl Conner Sandra Hester-Steele Nancy Hiser Susan Korbin Tina Weaver

BOARD OF DIRECTORS Welcome to the IRT! On behalf of the IRT’s Board of Directors and staff, thank you for joining us for another outstanding performance created right here at Indiana’s leading professional theatre. Great theatre sparks conversations, thoughtful questions, and ideas that reflect on and carry into our lives, workplaces, and communities. Whether you’ve been part of the IRT family for years or are a first-time visitor, we are glad you are with us! As we celebrate our 47th season, we also want to thank you for supporting the IRT’s mission to bring world-class theatre to adult and youth audiences across the state. Your attendance, your gifts, and your good will are critical to our ongoing ability to serve the people of Indiana. With your participation, the IRT can continue its longtime role as a pillar of the state’s performing arts scene, an important downtown magnet, and a valuable community partner. Enjoy the show, and we look forward to seeing you again soon!

–Tom Froehle, IRT Board Chair

OFFICERS CHAIR

SECRETARY

VICE CHAIR & CHAIR ELECT

TREASURER

Tom Froehle Faegre Baker Daniels Nadine Givens PNC Wealth Management

Jill Lacy The Lacy Foundation

IMMEDIATE PAST CHAIR

Michael J. Harrington* Eli Lilly and Company

Mark Shaffer KPMG LLP

MEMBERS Tammara D. Avant Taft Stettinius & Hollister LLP Sharon R. Barner Cummins, Inc. Gerald Berg Wells Fargo Advisors Keith A. Bice Bingham Greenebaum Doll LLP Heather Brogden B. Media House IRT Offscript Advisory Council Liaison Amy Burke Community Volunteer Mary Beth Claus IU Health Ann Colussi Dee Duke Realty Gary Denney Eli Lilly and Company, Retired Michael P. Dinius Noble Consulting Services, Inc. Laurie Dippold KAR Auction Services, Inc. Daniel C. Emerson* Indianapolis Colts Troy D. Farmer Fifth Third Bank Richard D. Feldman Franciscan Health Indianapolis

James W. Freeman OneAmerica Financial Partners, Inc., Retired Ron Gifford RDG Strategies LLC Ricardo L. Guimarães Dow AgroSciences Michael N. Heaton Katz Sapper & Miller Holt Hedrick Calumet Specialty Products Partners L.P. Brenda Horn Ice Miller LLP Rebecca King Leadership Indianapolis Sarah Lechleiter Community Volunteer Andrew Michie OneAmerica Financial Partners, Inc. Alan Mills Barnes & Thornburg LLP Detra Mills Round Room LLC Lawren K. Mills Ice Miller Strategies LLC, Ice Miller LLP Michael Moriarty Frost Brown Todd LLC Timothy W. Oliver BMO Harris Bank Brian Payne Central Indiana Community Foundation

Peter Racher Plews Shadley Racher & Braun LLP Peter N. Reist Oxford Financial Group Susan O. Ringo Community Volunteer Don Robinson-Gay Lake City Bank Wayne Schmidt Schmidt Associates Myra C. Selby Ice Miller LLP Michael Semler Cushman & Wakefield Mike Simmons Jupiter Peak, LLC Susan L. Smith Community Volunteer Jennifer Vigran Second Helpings, Inc. Amy Waggoner Salesforce L. Alan Whaley Ice Miller LLP, Retired David Whitman* PricewaterhouseCoopers LLP, Retired Heather Wilson Frost Brown Todd LLC

Margie Herald David Klapper David Kleiman* E. Kirk McKinney Jr. (in memoriam) Richard Morris*(in memoriam)

Jane Schlegel* Jerry Semler* Jack Shaw* William E. Smith III* Eugene R. Tempel*

BOARD EMERITUS Robert Anker* Rollin Dick Berkley Duck* Dale Duncan* Michael Lee Gradison* (in memoriam)

* Past Board Chairs

THE REPERTORY SOCIETY

EXCLUSIVE ACCESS FOR UNPARALLELED SUPPORT

An Indiana child’s awe-inspiring first live theatre experience… An evening at the Theatre filled with laughter and friends… A ride-home debate sparked by a new perspective presented on stage… These moments and many others are made possible through the generous support of Repertory Society members. Donors giving $1,500 or more each season will join this exclusive group and gain access to a slate of benefits created to extend your access to our art and enhance your theatergoing experience. Repertory Society Benefits Include: VIP Ticket Concierge, Donor Lounge Access, Complimentary Valet Parking, Exclusive Special Events, and so much more! Dorcas Sowunmi and Chiké Johnson in the IRT’s 2018 production of A Raisin in the Sun. Photo by Zach Rosing.

FOR MORE INFORMATION OR TO JOIN THE REPERTORY SOCIETY

Contact Lindsey Horan, Associate Director of Major Gifts: lhoran@irtlive.com | 317.916.4833

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JOIN US! AN ANNUAL MEMBERSHIP IS JUST $50 & LASTS 12 MONTHS FROM PURCHASE DATE! Top-Quality Theatre, Exclusive Access to Special Events & IRT Artisans, $25 Tickets, Volunteer Opportunities THE OFFSCRIPT ADVISORY COUNCIL IS LED BY A TEAM OF DEDICATED IRT BOARD MEMBERS AND COMMUNITY VOLUNTEERS INCLUDING: CHAIR

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from the heartland

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- Scenic Designer: Russell Metheny - Lighting Designer: Michael Lincoln ONEAMERICA MAINSTAGE NOVEMBER 13 - DECEMBER 26

ARTISTIC

SEASON SPONSOR

Director______________ BENJAMIN HANNA Scenic Designer________________RUSSELL METHENY Costume Designer_________________ MURELL HORTON Lighting Designer_________________ MICHAEL LINCOLN Composer & Sound Designer__________ANDREW HOPSON Choreographer___________________ MARIEL GREENLEE Musical Director_____________________TERRY WOODS Dramaturg______________________ RICHARD J ROBERTS Stage Manager_______________ NATHAN GARRISON* Assistant Stage Manager___________ BRIAN S. NEWMAN*

SEASON 2018 - 2019

TITLE SPONSOR

FAMILY SERIES SPONSOR

ARTS PARTNERS

m a k i n g t h e a rts h a p p e n

JANET ALLEN

Executive Artistic Director

SUZANNE SWEENEY

Managing Director

THE CAST CHRISTMAS EVE

Narrators_____________THE COMPANY Ebenezer Scrooge_____ RYAN ARTZBERGER* Bob Cratchit_________ ROB JOHANSEN* Fred______________REGGIE D. WHITE* Felicity____________ ASHLEY DILLARD* Portly Gentleman_____MARK GOETZINGER* Sister of Mercy_______MEHRY ESLAMINIA* Mrs. Cratchit_____ JENNIFER JOHANSEN* Belinda Cratchit___ ALYSSA C. WHISLER or JORDAN PECAR Peter Cratchit_______ GRAYSON MOLIN or DALYN STEWART Tiny Tim________ HOLLAND BARNES or KATHERINE BOICE Waiter___ CARLOS MEDINA MALDONADO Marley's Ghost________ CHARLES GOAD*

CHRISTMAS PAST

Ghost______STEPHENIE SOOHYUN PARK* Schoolmaster_________ REGGIE D. WHITE* Postboy________________ ROB JOHANSEN* Adult Fan___________MEHRY ESLAMINIA* Fezziwig_____________ CHARLES GOAD* Young Scrooge___________AARON KIRBY* Young Marley_________CARLOS MEDINA MALDONADO Mrs. Fezziwig_______ MILICENT WRIGHT* Millworkers____________THE COMPANY Belle_____________ ASHLEY DILLARD* Belle's Husband_______ CARLOS MEDINA MALDONADO

CHRISTMAS PRESENT

Ghost____________ MILICENT WRIGHT* Henrietta Cratchit______CLAIRE KAUFFMAN or LONDON RAYNER Betsy Cratchit_______ KYNDEN LUSTER or CAMIL MCGHEE Martha Cratchit_____ MEHRY ESLAMINIA * Lamplighter_______ GRAYSON MOLIN or DALYN STEWART Plump Sister______JENNIFER JOHANSEN* Roses Sister__STEPHENIE SOOHYUN PARK* Nutley_____________ AARON KIRBY * Topper_____________ROB JOHANSEN*

CHRISTMAS FUTURE

Ghost____________ REGGIE D. WHITE* Brokers________________AARON KIRBY* CARLOS MEDINA MALDONADO Old Joe___________MARK GOETZINGER* Charwoman________ MILICENT WRIGHT* Laundress__ STEPHENIE SOOHYUN PARK* Undertaker__________ CHARLES GOAD *

CHRISTMAS DAY

Poulterer's Man________CARLOS MEDINA MALDONADO Londoners_____________ THE COMPANY

SETTING England. The Eve of the Industrial Revolution. The performance will last 1 hour and 30 minutes with no intermission.

ACKNOWLEDGEMENTS Assistant Director: Chelsea Anderson Dance Captain: Ashley Dillard Choral Leader: Mark Goetzinger

Understudy for Scrooge: Charles Goad Swings: Chelsea Anderson & Tyler Ostrander Lighting Design Assistants: Caitlin Brown & Howard Leuthold

*Members of Actorsâ&#x20AC;&#x2122; Equity Association, the Union of Professional Actors and Stage Managers in the United States. The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. The scenic, costume, lighting, and sound designers are represented by United Scenic Artists Local 829, IATSE. Photography of the set without actors and with proper credit to scenic and lighting designers is permitted. Due to union agreements, photography, video, and audio recording are not permitted during the performance. The videotaping of productions is a violation of United States Copyright Law and an actionable Federal Offense.

ELI LILLY AND COMPANY FOUNDATION — A CHRISTMAS CAROL MESSAGE

The Eli Lilly and Company

Foundation is proud to be the Title Sponsor of A Christmas Carol. This wonderful production brings Dickens’ language and characters thrillingly to life. We are honored to help the IRT make this play available to you and hope you enjoy the performance. We also hope that you join us in supporting the IRT and applauding the many contributions they make to our community throughout the year. Tiffany Benjamin President, Lilly Foundation Senior Director, Corporate Social Responsibility and Global Health Programs, Lilly

STRONGER TOGETHER BY BENJAMIN HANNA, DIRECTOR

Today will likely not be your first encounter with Ebenezer Scrooge. The haunting ghost story of a crooked, isolated miser turned celebrated humanitarian and philanthropist has been told across the globe for more than 170 years. Perhaps you were introduced by Kermit in the Muppets’ retelling, or a shadowy black and white movie from your youth, or maybe you were lucky enough to have a loved one read Charles Dickens’s incredible tale to you, nestled by a fire. Dickensian life seems so far from the world we live in today. After all our advances in socio-political reform, healthcare, research, and technology, it is hard to imagine how incredibly comparable the worlds are that we inhabit, particularly in relation to wealth. For some 30 years in America we have seen the gap between the rich and everyone else growing markedly by every major statistical measure, the bulk of wealth amassed in the hands of just 1% of the population. We continue to suffer from the fantasy of the self-made person; one who picks themselves up by their own bootstraps and succeeds without the help of others. The reality is that each of us have been dealt a very specific hand in life, and the

contents of that dealing, without aid from those who can spare it, can and does strongly influence our trajectory. Now more than ever, A Christmas Carol is a story we need. We live in a polarized time, unable to see the humanity of our neighbors beyond their political viewpoints. Increasingly, we find it difficult to empathize with those in need, to listen deeply to the stories of new Americans, and to open our hearts to those who are different from us. Our communities—diverse in age, race, ethnicity, gender, ability, religion, sexuality, culture—need the ghosts of past, present, and future to guide us. These specters help us celebrate the fact that with each new breath we are given the opportunity to change. Every year in the longest, darkest, most frigid days of our calendars, we gather in the theatre to study our own hearts in hopes of doing better for each other and growing stronger together. We hope you leave filled with the spirit of the season and a renewed sense of joy in sharing your blessings!

Opposite: Milicent Wright in IRT's 2017 production of A Christmas Carol. Photo by Zach Rosing. Above: The cast of IRT’s 2017 production of A Christmas Carol. Photo by Zach Rosing.

REMINDERS Have you ever wondered why A Christmas Carol continues to bring so much joy to so many, despite the many strands of unfortunate events contained in the tale? Dickens knew more than a little about human nature. He knew that some of the best lessons in living come after we go through darkness and learn to appreciate life anew. His tale dramatizes a maxim that we often forget: money doesn’t buy happiness. The Cratchits, despite their economic struggles, are “happy, grateful, pleased with one another, and contented with the time.” Scrooge, for all his wealth, is “a wrenching, grasping, scraping, clutching, covetous old sinner; hard and sharp as flint, from which no steel had ever struck out generous fire.” Although most 26

of the time we’re too consumed by our own challenges to really see our lives with much clarity, theatre is an excellent place to experience allegory. Somehow, we can transpose its lessons into our own lives. We seem to be at no loss today for continuous public displays of what’s worst about human nature. Finding something we can all celebrate about humanity seems to elude us. Dickens, too, was living in a time of great change and unrest. The Industrial Revolution was rather like our Tech Revolution in the speed at which change was jarring people into the kind of freefall that can unhinge humans from remembering their best selves. At times

BY JANET ALLEN, EXECUTIVE ARTISTIC DIRECTOR

like these, great writers gravitate to telling timeless stories: stories that focus on generosity, on the need for human connection, on the importance of seeing and helping others. Scrooge lives in self-imposed isolation: he does not experience his humanity at all except as an act of survival. The spectral journey that Dickens launches Scrooge into is meant to jar him back into touch with his humanity by reminding him of what heâ&#x20AC;&#x2122;s lost: his attachment to nature, to other people, to the joys of love. He needs very serious reminding.

Perhaps we all need reminders in this festive season. Reminders that it is the season of giving, not taking; the season of looking around ourselves to see how we can reach out, how we can be of service, how we can experience our humanity anew. Thanks, Mr. Dickens, for handing us this renewing lesson across 170 years. Perhaps you knew that we were still going to need it. Above: The cast of IRTâ&#x20AC;&#x2122;s 2017 production of A Christmas Carol. Photo by Zach Rosing.

OF ALL THE GOOD DAYS IN THE YEAR, ON CHRISTMAS EVE” MICHAEL LINCOLN LIGHTING DESIGNER Well of course, the first thing is the snow. That enormous field of white offers a technical challenge to a lighting designer. It’s harder to create isolated lighting effects; everything just bounces all over the place. But I also have unique opportunities, such as creating silhouettes against the snow. In terms of design, the snow functions

very much like a sky drop—it’s a blank canvas on which I can paint any color. This production does not rely on theatrical “effects.” It’s all about the magic created between the actors and the audience. There are always new discoveries to make in the snow. It’s an unnerving yet exhilarating process.

ANDREW HOPSON COMPOSER & SOUND DESIGNER The pipe organ has the distinction of being associated with three diverse concepts: religion, theatre, and phantoms. Using an organ as one of the main instruments in A Christmas Carol was an obvious choice. For ghostly sound effects, I ended up using four metal instruments: for

Marley, I used a waterphone (an instrument invented—I think—for the movie Aliens); for Christmas Past, I used wind chimes: for Christmas Present, I experimented with harp strings; for Christmas Future, I played a cymbal with a violin bow, and dragged a chain inside a piano.

MURRELL HORTON COSTUME DESIGNER One of the original goals for this design was to create costumes authentic to the period, based on real Victorian clothing rather than fanciful ideas of nostalgia. The clothes for this period (1840s) are industrial—top hats were called stove pipes—and dark, with sharp silhouettes against the beautiful snow (which is so white it makes its own set of rules). But the play also ventures into the past, which has a more dreamy, foggy, candlelit look; and into the future, which is darker and creepier.

RUSSELL METHENY SCENIC DESIGNER It’s ironic, but as a scenic designer the thing I love most is great performances. I love creating an empty space in which great performances happen. That’s what this set is all about: an empty field of snow in which wonderful actors tell a wonderful story. When I see something on stage that is not what it is and looks like something else—that to me is great theatre. Right: Preliminary sketch by scenic designer Russell Metheny for Scrooge’s office. Left: Renderings by costume designer Murell Horton for Lamplighter, Charwoman, and Undertaker.

THE COMPANY RYAN ARTZBERGER | EBENEZER SCROOGE Ryan’s IRT credits include Holmes and Watson, Noises Off, Romeo and Juliet (2018 & 2010), A Christmas Carol, The Three Musketeers, The Mousetrap, To Kill a Mockingbird, The Great Gatsby, The Crucible, A Midsummer Night’s Dream, Dr. Jekyll and Mr. Hyde, God of Carnage, Julius Caesar, Fire in the Garden, Rabbit Hole, Iron Kisses, Our Town, Death of a Salesman, He Held Me Grand, Macbeth, and The Herbal Bed; he will be seen next in The Diary of Anne Frank. Ryan is a member of Indianapolis Shakespeare Company, where he has directed As You Like It and appeared in Coriolanus, The Winter’s Tale, Twelfth Night, The Tempest, The Taming of the Shrew, and Othello. At the Phoenix Theatre he performed in Reasons to Be Pretty. Regional credits include the Shakespeare Theatre and the Studio Theatre in Washington DC, Shakespeare Santa Cruz, the Goodman Theatre, Berkeley Rep, Kansas City Rep, the Lookingglass, Great Lakes Theater Festival, the Denver Center, New Jersey Shakespeare, and Playmakers Rep. Ryan is a graduate of Ohio University and the Juilliard School. (Read an interview with Ryan on page 38.)

ASHLEY DILLARD | FELICITY, BELLE, et al. Ashley was seen last season in Noises Off, Romeo and Juliet, and A Christmas Carol. Regional credits include Bright Star and Vanya and Sonia and Masha and Spike at the Phoenix Theatre; Love’s Labor’s Lost, Persuasion, A Midsummer Night’s Dream, and Sense and Sensibility at IU Summer Theatre; Garfield: The Musical and Brighton Beach Memoirs at Cardinal Stage Company; Home—A New Musical at Bloomington Playwrights Project; Rent, A Wrinkle in Time, Godspell, Crimes of the Heart, You’re a Good Man Charlie Brown, A Doll’s House, and Moon over Buffalo at Crossroads Repertory; Lend Me a Tenor at Gilmore Creek Repertory; and Pump Boys and Dinettes at Chenango River Theatre. Ashley holds an M.F.A. in acting from Indiana University and a B.A. in theatre from Indiana State University. ashleydillard.com

MEHRY ESLAMINIA | SISTER OF MERCY, ADULT FAN, MARTHA, et al. Mehry was seen last season in Noises Off and The Curious Incident of the Dog in the Night-Time. She most recently appeared in New York Theatre Workshop’s staged reading of the new musical We Live in Cairo. Her Midwest credits include First Fairy in A Midsummer Night’s Dream and Nanna and Lady Montague in the world premiere of the Q Brothers’ I Heart Juliet with Illinois Shakespeare Festival. Colorado credits include Farzana in the world premiere of Wisdom from Everything at Local Theater Company; A Christmas Carol and Kate and Musician in the world premiere of James Still’s Appoggiatura at the Denver Center for Performing Arts; Shar in The Happiest Song Plays Last with Curious Theatre Company; and Adelaide in Guys and Dolls, Jolene in Dirty Rotten Scoundrels, Johnna in August: Osage County, and Mrs. Soames in Our Town with Creede Repertory Theatre.

CHARLES GOAD | MARLEY’S GHOST, FEZZIWIG, UNDERTAKER, et al. Chuck is always delighted to return to the Carol! Other IRT credits include The Three Musketeers, The Great Gatsby, Hamlet, Romeo and Juliet, Othello, Driving Miss Daisy, Our Town, Pygmalion, Blithe Spirit, All My Sons, To Kill a Mockingbird, and The Fantasticks. He is a founding member of the Phoenix Theatre where he most recently appeared in God Bless You, Mr. Rosewater and Bright Star. Other Phoenix favorites include Vanya and Sonia and Masha and Spike, August: Osage County, Gross Indecency: The Three Trials of Oscar Wilde, November, Shipwrecked, and The Mystery of Irma Vep. He recently directed And Then There Were None for Civic Theatre. As a director for Summer Stock Stage he has worked on productions of Hair, The 25th Annual Putnam County Spelling Bee, Bonnie & Clyde, Pippin, and Urinetown. Additionally, he is a collaborator with the new Fonseca Theatre in River West. Other local credits include Indianapolis Shakespeare Company, Actors Theatre of Indiana, Bobdirex, ShadowApe, Brown County Playhouse, and Cardinal Stage. Regionally he has worked at Cincinnati Playhouse, Missouri Rep, and Syracuse Stage.

MARK GOETZINGER | PORTLY GENTLEMAN, OLD JOE, et al. This is Mark’s 36th season at the IRT, with roles in more than 90 productions. Some of his favorites include Yogi Berra in Nobody Don’t Like Yogi, the title role of The Drawer Boy, Atticus Finch in To Kill a Mockingbird (2009), Dr. Watson in Sherlock Holmes: The Final Adventure, Hucklebee in The Fantasticks, Dr. Gibbs in Our Town, Charley in Death of a Salesman, Old Tom Martin in The Gentleman from Indiana, Albany in King Lear, Rev. Brown in Inherit the Wind, Mr. Bennet in Pride and Prejudice, Milton Perry in The Immigrant, Uncle Sid in Ah, Wilderness!, Heck Tate in To Kill a Mockingbird (1997), and Luther Billis in South Pacific, as well as dozens of Cabarets.

JENNIFER JOHANSEN | MRS. CRATCHIT, PLUMP SISTER, et al. Jen happily returns to A Christmas Carol for the eighth time at IRT. Other appearances include Holmes and Watson, The Mousetrap, The Game’s Afoot, A Midsummer Night’s Dream, The Syringa Tree, Julius Caesar, The Ladies Man, Macbeth, and Twelfth Night. She has worked locally with the Indianapolis Shakespeare Company and at the Phoenix Theatre, where she was last seen in Tom Horan’s The Pill. Other Phoenix favorites include Hir, On Clover Road, and Mr. Burns, a post-electric play. Jen has also performed with Chicago Shakespeare Theater, Ensemble Theatre Cincinnati, and the Human Race Theatre. Proud member of Actors Equity, proud wife and stage wife of Rob. “This Carol’s for you, Betty. And here’s to the remembrance of those near and far who have taught us not to take any guff and to lead with open hearts.”

ROB JOHANSEN | BOB CRATCHIT, POSTBOY, TOPPER, et al. This is Rob’s 12th Carol and makes a return to a role that is a primary reason Rob decided to make Indy his home. “After my first Carol in 1998, I felt that I had gotten to celebrate Christmas with the entire city, and I decided to put down roots here. Over the years, I have shared so many great Carols with so many great people. Five different directors, and now six different Mrs. Cratchits. This year is a blessing because my stage wife is my real wife! I’m so glad we get to share the Cratchits, Jen. Let’s have a blast every day!”

AARON KIRBY | YOUNG SCROOGE, NUTLEY, BROKER, et al. Aaron is simply elated to return to his home away from home, IRT, where he appeared in Romeo and Juliet and Finding Home. Recent theatre credits include The Miss Firecracker Contest at Tipping Point; Birds of a Feather at the Greenhouse; Red and Geezers (both Jeff Nominations for Actor in a Leading Role) as well as Good People, The Drawer Boy, The American Clock, and The Beautiful Dark at Redtwist Theatre; Peter and the Starcatcher at Drury Lane Oakbrook; Cicada at Route 66; Luna Gale (u/s) at the Goodman Theater; The Altruists for Two Lights; Cyrano for the House; Hamlet and Much Ado about Nothing for Trinity Shakespeare; and Dark Play or Stories for Boys (Jeff Award for Actor in a Supporting Role) at Collaboraction. TV appearances include Chicago Fire, Shameless, and Chicago Med. Aaron earned his M.F.A. at Wayne State University. “Much love to my fiancée Emma, Stewart Talent, friends, and family!”

THE COMPANY CARLOS MEDINA MALDONADO | WAITER, YOUNG MARLEY, BELLE’S HUSBAND, BROKER, POULTERER’S MAN, et al. Carlos is thrilled to return to the IRT, where his previous credits include The Town Mouse and the Country Mouse and The Three Musketeers. Other recent roles include Macbeth in the Indianapolis Shakespeare Company’s touring production of Macbeth and Carlos in How to Use a Knife at the Phoenix Theatre. He holds a B.F.A. in acting from Illinois Wesleyan University.

STEPHENIE SOOHYUN PARK | CHRISTMAS PAST, ROSES SISTER, LAUNDRESS, et al. Stephenie is delighted to make her IRT debut in A Christmas Carol. She was most recently seen as Lauren Yee in the world premiere of King of the Yees at the Goodman Theatre in Chicago and the Kirk Douglas Theatre in Los Angeles. She has also worked at Steppenwolf Theatre, Guthrie Theater, the Old Globe, Chicago Dramatists, Silk Road Rising, and Drury Lane Oakbrook. Her TV and film credits include Chicago Med, Patriot, Boss, Chicago Fire, and Empire. She recently moved to Indianapolis from Chicago with her husband and two sons.

REGGIE D. WHITE | FRED, SCHOOLMASTER, CHRISTMAS FUTURE, et al. Reggie is making his IRT debut in A Christmas Carol. Off-Broadway he has been seen in Hundred Days at the Public Theater, I and You at 59E59, and For the Last Time at the Clurman Theatre. Other credits include The Bluest Eye at the Arden Theatre, And She Would Stand like This for the Movement Theatre Company, The Miraculous Journey of Edward Tulane at People’s Light, Frontières sans Frontières at Bushwick Starr, The Last Tiger in Haiti at La Jolla Playhouse and Berkeley Rep, and Party People at Berkeley Rep. Film and TV appearances include Gotham, Blindspot, The Parent ‘Hood, Buzzer, Medias Res, and Stranger in Blood. Reggie trained at Atlantic Theater School and Cal State Hayward. He is an associate artist at Merrimack Repertory Theatre and a company member of the Williams Project—a living wage theatre company. Reggie is also a Barrymore and NAACP Award nominee and a recipient of the TCG Fox Fellowship.

MILICENT WRIGHT | MRS. FEZZIWIG, CHRISTMAS PRESENT, CHARWOMAN, et al. This is Milicent’s 12th Carol. Other IRT appearances include The Power of One, Pretty Fire, Neat, The Night Watcher, Bridge & Tunnel, Romeo and Juliet, To Kill a Mockingbird, The Crucible, Julius Caesar, A Woman Called Truth, Twelfth Night, As You Like It, Mother of the Movement, and Hard Times. Recently she appeared in Building the Wall for the Fonseca Theatre Company, where she is a company member. Other credits include Fairfield, Human Rites, Dontrell Who Kissed the Sea, …And Her Hair Went with Her, and Love, Loss, and What I Wore at the Phoenix; Twelfth Night for Indianapolis Shakespeare; Doubt for Cardinal Stage; and Stonewall Jackson’s House at the Human Race Theatre. Milicent enjoyed 17 years as manager of outreach programs at the IRT, where she is currently a teaching artist. She has done youth programming for the Asante Children’s Theatre and Young Audiences of Indiana and taught adult classes for Indianapolis Civic Theatre. Milicent was a 2011 Arts Council of Indianapolis Creative Renewal Fellowship recipient and a 2015 award recipient from the Center for Leadership and Development.

BENJAMIN HANNA | DIRECTOR Ben is thrilled to be in his second year as associate artistic director at Indiana Repertory Theatre. He is a director, new play developer, educator, and community engagement specialist whose passion for multigenerational theatre has influenced his work across the country with companies such as Berkeley Repertory Theatre, Children’s Theatre Company, Penumbra Theatre, Seattle Children’s Theatre, Steppingstone Theatre, and the Bay Area Children’s Theatre. In all of his myriad roles, Ben is guided by the belief that access to high-quality theatre helps build creative, empathetic people and healthy communities. Last season, Ben directed The Town Mouse and the Country Mouse; later this season he directs Elephant & Piggie’s “We Are in a Play!” (see full bio on page 9).

RUSSELL METHENY | SCENIC DESIGNER Russell has designed more than 50 IRT productions, including The Curious Incident of the Dog in the Night-Time; A Christmas Carol; April 4, 1968; The Game’s Afoot; Who Am I This Time?; A Little Night Music; The House That Jack Built; Dr. Jekyll and Mr. Hyde; God of Carnage; The Heavens Are Hung in Black; Sherlock Holmes: The Final Adventure; Iron Kisses; The Unexpected Guest; The Gentleman from Indiana; Old Wicked Songs; Searching for Eden; Plaza Suite; Arcadia; The Immigrant; Ah, Wilderness!; and Looking Over the President’s Shoulder (2001). He has also designed for the Studio Theatre, the Great Lakes and Idaho Shakespeare festivals, Asolo Theatre, Maltz Jupiter Theatre, Weston Playhouse, Dallas Theatre Center, the Old Globe Theatre, Geffen Playhouse, Missouri Rep, Actors Theatre of Kansas City, the Goodman Theatre, Syracuse Stage, Buffalo Studio Arena, Portland Stage, and Goodspeed Musicals.

MURELL HORTON | COSTUME DESIGNER Murell is the winner of the 2007 Irene Sharaff Young Master Award for Costume Design. Last season he was nominated for a New York Drama Desk Award for The Liar. He has received eight Helen Hayes nominations for Outstanding Costume Design, for productions of The Critic/The Real Inspector Hound, The Government Inspector, The Liar, Edward II, Lorenzaccio, Hedda Gabler, Camino Real, and the world premiere of Wallenstein. He has designed for the Houston Grand Opera, New York City Opera, the Guthrie Theater, the Oregon Shakespeare Festival, the Shakespeare Theatre Company in D.C., Baltimore’s Center Stage, Denver Center Theatre, the Juilliard School, the Acting Company, the Pearl Theatre, Cleveland Play House, Philadelphia Theatre Company, the Delaware Theatre Company, the Berkshire Theatre Festival, Shakespeare Theatre of New Jersey, and Madison Repertory Theatre. Murell is represented by the Gersh Agency in New York City.

MICHAEL LINCOLN | LIGHTING DESIGNER Michael has designed more than 40 productions at the IRT, including Noises Off; A Christmas Carol; Finding Home; April 4, 1968; Who Am I This Time?; A Little Night Music; The House That Jack Built; The 39 Steps; This Wonderful Life; Old Wicked Songs; The Immigrant; Ah, Wilderness!; and The Glass Menagerie; among others. Highlights of his career include the Broadway productions of Copenhagen, More to Love, and Skylight, as well as off-Broadway designs including Mr. Goldwyn, The Bubbly Black Girl Sheds Her Chameleon Skin, Defying Gravity, Bunny Bunny, and Swingtime Canteen. In addition to the IRT, Michael has had long associations with the Alley Theatre, Cleveland Play House, Studio Theatre DC, Santa Fe Opera, and Los Angeles Ballet. He is director of the Ohio University School of Theater and artistic director of its professional company, Tantrum Theater. michaellincoln.net

THE COMPANY ANDREW HOPSON | COMPOSER & SOUND DESIGNER Andrew is an associate professor of sound design in the Department of Theatre, Drama, and Contemporary Dance at Indiana University. He has designed or written the scores for shows at such theatres as the Oregon Shakespeare Festival, Utah Shakespearean Festival, Actors Theatre of Louisville, American Repertory Theatre, American Players Theatre, Cincinnati Playhouse, Pioneer Playhouse, Cleveland Play House, Victory Gardens, Harvard University, and the Indiana Repertory Theatre, where he was resident sound designer for five years. In 2004 his New York debut, Trying, was rated one of the best off-Broadway shows of the year. In film, he has scored the documentaries Birth of Legends, The Battle of Comm Avenue, Hockey’s Greatest Era 1942-1967, The Frozen Four, and Utah’s Olympic Legacy. He has produced, engineered, or performed on more than 40 CDs, ranging from stories for children to collections of modern American piano works. He is a member of United Scenic Artists, local 829, and the Unites States Institute of Theatre Technology.

MARIEL GREENLEE | CHOREOGRAPHER Mariel coordinated stage movement for last season’s The Curious Incident of the Dog in the Night-Time. Originally from Vestal, New York, Mariel received her B.A. in dance from Point Park University. She has been a dancer with Dance Kaleidoscope here in Indianapolis for 14 years, and she teaches ballet and modern dance locally. She is the resident choreographer for the Phoenix Theatre, and has set work for IRT, Dance Kaleidoscope, Indy Summer Stock Stage, the University of Indianapolis, Marian University, Zach Rosing Productions, and Phoenix Rising Dance Company, as well as various music videos, competitions, and galas. She was recently chosen as a project choreographer for a Regional Dance America program called the National Choreographers Initiative. Mariel received the Individual Artist Grant from the Indiana Arts Commission in 2007, and in 2010 she was awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis. “I thank IRT for their continued faith and opportunities to grow, my mentor David Hochoy for his guidance, and my fiancé Virgil Lungu for his love and support.”

RICHARD J ROBERTS | DRAMATURG This is Richard’s 29th season with the IRT, and his 21st as resident dramaturg. He has also been a dramaturg for the New Harmony Project, Write Now, and the Hotchner Playwriting Festival. He has directed IRT productions of The Cay, Bridge & Tunnel, A Christmas Carol, The Night Watcher, Neat, Pretty Fire, The Giver (2009), The Power of One, and Twelfth Night. Recently he directed Bernstein’s Trouble in Tahiti for the Indianapolis Chamber Orchestra. Other directing credits include Actors Theatre of Indiana, Phoenix Theatre, Edyvean Repertory Theatre, Indianapolis Civic Theatre, IndyShakes/Wisdom Tooth, Butler University, and Anderson University. Richard studied music at DePauw University and theatre at Indiana University. In 2003 he was awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis.

NATHAN GARRISON | STAGE MANAGER This is Nathan’s 23rd season at the IRT. He has also worked with Center Stage in Baltimore, Utah Shakespeare Festival, and Brown County Playhouse. He received a Creative Renewal Fellowship from the Arts Council of Indianapolis in 2005; and he is a company member with the Indianapolis Shakespeare Company.

BRIAN S. NEWMAN | ASSISTANT STAGE MANAGER Brian is the IRT’s production manager; he also stage managed The Mountaintop on the Upperstage. Prior to joining the IRT, he was the general stage manager for Cirque du Soleil’s Zaia in Macau, China, for four years. He was previously the production manager for Ringling Bros. and Barnum & Bailey, where he managed three different tours over a four-year period. He has stage managed professionally all over the United States and has been a member of Actors Equity Association, the union of professional actors and stage managers, since 2002. Brian earned his M.F.A. in stage management from the Professional Theatre Training Program at the University of Delaware and his bachelor’s degree from Louisiana State University.

YOUNG ACTORS ROLES ARE PLAYED BY TWO ALTERNATING TEAMS OF ACTORS

RED TEAM

GREEN TEAM

ROLE PETER CRATCHIT, LAMPLIGHTER et al.

GRAYSON MOLIN Home School | 11th Grade

DALYN STEWART East to West School | 10th Grade

BELINDA CRATCHIT et al. ALYSSA C. WHISLER Brownsburg High School | 10th Grade

JORDAN PECAR Sycamore School | 8th Grade

HENRIETTA CRATCHIT et al. CLAIRE KAUFFMAN Zionsville Middle School | 6th Grade

LONDON RAYNER St. Monica School | 3rd Grade

BETSY CRATCHIT et al. KYNDEN LUSTER Eastwood Middle School | 6th Grade

CAMIL MCGHEE St. Matthew School | 5th Grade

TINY TIM et al. HOLLAND BARNES Eagle Elementary | 5th Grade

KATHERINE BOICE Hinkle Creek Elementary | 5th Grade

JESSICA HUGHES | YOUNG ACTOR LIAISON 37

INTERVIEW: RYAN ARTZBERGER Ryan Artzberger first appeared at the IRT in the theatre’s 1997 production of A Christmas Carol. Other IRT credits include Romeo and Juliet, To Kill a Mockingbird, The Crucible, A Midsummer Night’s Dream, Dr. Jekyll and Mr. Hyde, Julius Caesar, Fire in the Garden, Iron Kisses, Death of a Salesman, and Macbeth. 2018 marks his ninth season as IRT’s Ebenezer Scrooge. HOW DID YOU FIRST GET INTERESTED IN THEATRE? I did a church play in third grade. I entered, and I just stared at the audience. My cue came up, and I stared at the audience. The woman playing my mother nudged me, and I got really embarrassed, said my line, and turned away. But my fourth grade teacher was a huge theatre lover, and my older sister did plays with her, so I did, too. Fifth grade, same teacher, we did plays. I did a play a year in school. Probably by ninth grade, I knew I wanted to do this. Above: Ryan Artzberger in IRT’s 2016 production of A Christmas Carol. Photo by Zach Rosing.

I loved the freedom of becoming something else, using my imagination and letting it go. I’d always been kind of a daydreamer, so acting gave me a physical manifestation of daydreaming. I took acting lessons at a local community theatre. When my friends and I got to the end of the advanced level, we took private lessons with that same teacher. Then I made a choice to transfer to a different high school based on their drama program. One of the guys that went to my high school went to Ohio University, and they had a pretty good acting program, so I went there. The graduate students got most of the focus, but it gave you the foundations. I got a lot of casting opportunities. Then in my junior year a guest movement teacher from the Juilliard Dance Division was teaching us period dance, which I thought was silly. I would cut classes frequently. But the teacher recognized my potential and she said, “Listen, I think you’re really talented, but you have zero discipline. I think you should audition for Juilliard because I think you’re good enough and you need someone to kick your ass.” So I did, and I got in.

HOW WAS YOURE EXPEIRENCE AT JUILLIARD? It was great, because that’s what I wanted: something super focused. But there was a certain amount of expectation; it’s almost military. You lose yourself, especially in the voice and speech area. They expect this certain sound, and I thought, “I’m not doing that. You don’t sound like a person.” So I tried to unlearn before really learning. There was this kind of conflict, and one of the voice teachers was gunning for me and campaigned to get me kicked out. Almost all the rest of the acting and movement faculty were on my side, so she said, “OK. But fall, your third year, you’re playing Tartuffe, and you better prove it.” I was just like, “All right.” HOW DID YOU GET TO THE IRT? After Juilliard, I did almost a full season at the Shakespeare Theatre in DC; both were headed by Michael Kahn, so it was like a launching pad. I did three plays and got my Equity card, and that following fall I auditioned for A Christmas Carol here at the IRT for the first time. I was doing the typical thing: waiting tables. I had just applied for a waiting job where I had lied and said I had French Service experience. It was very elegant, right across the street from Lincoln Center. I auditioned for A Christmas Carol in the afternoon, and I went and trained for that job in the evening. I walked out of the restaurant thinking, “I’m going to fail at this.” There was a payphone right outside the restaurant and I called my voicemail and there was a message from my agent saying I got the IRT job. I walked right back into the restaurant and said, “Hey, I just found out I’m leaving town.” WHAT HAS IT BEEN LIKE FOR YOU TO HAVE A PLACE TO DO A LOT OF WORK OVER A LONG TIME? It’s great. The scope of roles I have played here is pretty astounding. I feel very lucky to have Janet Allen’s faith to cast me in roles like John Proctor and Atticus Finch. It’s great to have a place where you can feel safe enough to fail. I get in front of this audience, and I just feel free, I feel like I can explore, and it doesn’t have to be brilliant. I want it to be, and I hope it will be every time, but it’s cool to have a place where my acting can grow and change. I feel like I have figured out some things that my voice teacher would have been pretty happy to have me figure out sooner. Also things about scale, and being in the moment of the character versus being in the moment of the actor and the character at the same time. I think I’ve spent a lot of time trying to peel off the idea of, “I’m on stage right now,” trying to reach a more fully Zen awareness of what the character is. It’s impossible to have zero awareness of who you are as an actor, and if

you do lose that, then you should be institutionalized. But you want to strive for minimizing it, or setting it in the background as much as you possibly can. I think the level of relaxation I can achieve, based on how much experience I have with this particular audience on this particular stage—that allows me to really push that envelope. So I just feel lucky to have had a place like that, because I have failed for sure in multiple productions here, but that hasn’t resulted in me losing castability. WHAT’S IT LIKE HAVING PLAYED SCROOGE ALL THESE YEARS? The experience of doing it year after year is a pretty grueling task. It’s 90 minutes, no break, on stage the whole time, only off stage twice for quick changes. It’s not coal mining, but it’s not easy either. Also trying to reinvest in all the moments of the Scrooge experience. For example, year one, it was really easy for me to let the emotions overtake me at the death of Tiny Tim; now, I have to do some actor stuff to find triggers and emotional recall. You have to find the emotional truth of the whole range of Scrooge’s experiences, and it’s not so easy 10, 12, 13 times a week. It’s hard enough to start a play at 9:45 in the morning when your character is peaceful and easy going. But when your character is such a mess, and so filled with bile and self-loathing and misanthropy and misogyny—I just think that it’s a tough way to start the day. It’s nice that every performance finishes in a place where you get to take that coat off and purge it. That’s really the reason to keep coming back to it: we are trying to reach the audience and say, “Identify the Scrooge within you, that you could then turn around and make into the Scrooge at the end of the play.” I use each year to identify potential Scrooge-like tendencies in myself. I’m not talking about stinginess with money, I’m talking about stinginess with generosity of spirit and empathy. How can I hold that mirror up to myself, so that when we are holding it up to the audience, it’s a clearer image? There’s a need for that in the world, and in myself. There’s a moment in the play that no one ever knows, but there is a moment where I say to myself, “What a great father Bob Cratchit is. I wish I could have had a father who was that great.” I, Ryan, wish that for myself, as well as for Scrooge. As the father of two sons, I want to figure out how to strip away the damage of not having a great father like Bob Cratchit, and then how to be a great father like Bob Cratchit. So this is an interwoven personal and narrative rope. 39

CHARLES DICKENS AUTHOR

TOM HAAS PLAYWRIGHT

The works of the great English novelist Charles Dickens are not only great literature, they are also cracking good reads, with one-of-a-kind characters and stories that both tug at the heartstrings and leave readers breathless with excitement. But the author’s purpose went beyond mere entertainment; his books were almost always designed to alert his readers to the wretched conditions of England’s poor and destitute. Born in 1812, Dickens suffered an impoverished childhood that provided plenty of grist for tales of debtors’ prison and rat-infested factories. Yet despite this poverty and his lack of formal education, he rose from legal clerk to newspaper columnist to bestselling author by the age of 24. During his lifetime, his books—Oliver Twist, Great Expectations, David Copperfield, and many more—were wildly popular, not only in England but also around the world; most are still in print. When A Christmas Carol was published in 1843, the holiday was not widely celebrated in England; the book inspired such a revival that the author became known as Father Christmas. In his later years, Dickens made almost a second career of public readings of this beloved novel. Long before he died in 1870, he was hailed everywhere as the greatest writer of his age.

Tom Haas was artistic director of the IRT from 1980 until his untimely death in 1991. Prior to his association with the IRT, he was artistic director of PlayMakers Repertory Company in Chapel Hill, North Carolina. He was associate director at Yale Repertory Theatre and head of the Acting-Directing Program at Yale University, where his students included Henry Winkler, Sigourney Weaver, and Meryl Streep. At the IRT, Tom directed 40 productions, including memorable renditions of A Midsummer Night’s Dream, Mourning Becomes Electra, The Skin of Our Teeth, The Cocktail Party, Six Characters in Search of an Author, and, of course, A Christmas Carol. IRT audiences also saw his stage adaptations of Frankenstein, Dracula, and The Three Musketeers, as well as the musical Operetta, My Dear Watson and dozens of Cabaret shows. Tom’s adaptation of A Christmas Carol was produced at the IRT annually from 1980 through 1984. The play returned in 1996 and has been a welcome holiday tradition ever since.

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OVATION SOCIETY: CREATE A PERSONAL LEGACY AT THE IRT For 47 seasons, the IRT has produced professional, world-class theatre in Indianapolis. You can play a vital role in supporting the next 47 seasons by making a legacy gift to the Theatre. From a simple bequest to charitable trusts, there are a variety of ways you can include the IRT in your estate plans. Our staff will work with you and your financial advisor, tax professional or family attorney to determine how a planned gift can help you meet your financial and charitable goals. Include the IRT in your estate plans and help ensure one of Indianaâ&#x20AC;&#x2122;s great cultural institutions continues to thrive for generations to come. Have you already included the IRT in your plans? Please let us know so that we can recognize you in the Ovation Society!

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Contact Lindsey Horan, Associate Director of Major Gifts: lhoran@irtlive.com | 317.916.4833 David Alan Anderson in the IRT's 2018 production of Looking Over the Presidentâ&#x20AC;&#x2122;s Shoulder. Photo by Drew Endicott.

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WHAT IF YOU SAW ONLY HALF THE PLAY? Ticket revenue covers just half of what it costs to produce world-class professional theatre at the Indiana Repertory Theatre. The IRT gratefully acknowledges the remarkable support we receive from our generous and committed donors whose contributions ensure that the show does go on!

REPERTORY SOCIETY ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2018 - NOVEMBER 1, 2018 PLAYWRIGHT CIRCLE $10,000+ Anonymous Bob & Toni Bader Mr. Leo Bianchi & Dr. Jill Panetta Scott & Lorraine Davison Michael Dinius & Jeannie Regan-Dinius Nancy & Berkley Duck Dan & Ginny Emerson David & Ann Frick Jenny & Tom Froehle Susan & Charlie Golden The Judy and Michael Harrington Family Foundation, a fund of CICF David I. & Betty Klapper Sarah & John Lechleiter Jackie Nytes & Michael Oâ&#x20AC;&#x2122;Brien Mel & Joan Perelman Sue & Bill Ringo Wayne & Susan Schmidt Simmons Family Foundation, a fund of CICF Cynthia & William Smith III DIRECTOR CIRCLE $5,000 - $9,999 David & Jackie Barrett Susie & Joel Blum Gary Denney & Louise Bakker Rollie & Cheri Dick Drs. Cherryl & Shelly Friedman Ann Hinson Bill & Nancy Hunt Dr. & Mrs. William Macias

Carl Nelson & Loui Lord Nelson Mr. Stephen Owen Sr. & Dr. Cheryl Torok Owen Dr. & Mr. Christine & Michael Phillips Noel & Mary Phillips* Drs. Eric Schultze & Marcia Kolvitz Sue & Mike Smith Cheryl & Ray Waldman Dr. Christian Wolf & Elaine Holden-Wolf ARTIST CIRCLE $3,000 - $4,999 A.J. Allen & Kathy Maeglin Anonymous Amy Burke Ann & Kenneth Dee Mary Findling & John Hurt Dick & Brenda Freije Robert Giannini Donald & Teri Hecht Richard & Elizabeth Holmes The Indianapolis Fellows Fund, a fund of The Indianapolis Foundation Rebecca King David Kleiman & Susan Jacobs John & Susan Kline Steve & Bev Koepper Kevin Krulewitch & Rosanne Ammirati* Dr. & Mrs. Dan & Martha Lehman John & Laura Ludwig Dod & Laura Michael David & Robin Miner David & Leslie Morgan Mr. & Mrs. Kimball Morris

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REPERTORY SOCIETY CONT. ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2018 - NOVEMBER 1, 2018 Troy Farmer Drs. Richard & Rebecca Feldman Gary R. & Barrie K. Fisch Jim & Julie Freeman Brian & Lorene Furrer The Future Keys Foundation Phyllis & Ed Gabovitch Mr. Jim Gawne Dorothea & Philip Genetos Prof. Nicholas Georgakopoulos Marianne Glick & Mike Woods Ricardo & Beatriz Guimarães Michael N. Heaton Jane Herndon & Dan Kramer William & Patricia Hirsch Brenda S. Horn Randolph & Rebecca Horton Tom & Kathy Jenkins Daniel T. Jensen & Steven Follis Janet M. Johnson Denny & Judi Jones Mike & Pegg Kennedy Arthur & Jacquelyn King Jill & Peter Lacy Dr. & Mrs. Alan Ladd Ed & Ann Ledford

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DONOR GUILDS CONT. ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2018 - OCTOBER 23, 2018 DRAMA GUILD, CONT $750 - $1,499 Thomas & Teresa Sharp Dr. James & Linda Trippi Craig & Karin Veatch Lainie Veenstra Karen S. Waltz Frederick & Jacquelyn Winters THEATRE GUILD $300-$749 John & Eileen Ahrens* American Senior Communities Anonymous (3) Walter Bartz* Constance C. Beardsley* Barbara & Christopher Bodem* Ted & Peggy Boehm Jason & Jessica Bohac* Roger & Jan Brinkman Tom & Bobbie Campbell Steve Chatham & Family Jeff & Jeni Christoffersen Jeff Coffee Karen Dace* Fr. Clem Davis Paul & Carol DeCoursey* Phillip & Caroline Dennis* Sarah Donaldson* Danielle M. Dove Drs. Eric Farmer & Tate Trujillo & Christopher Scott* Margaret Ferguson* Hank & Nanci Feuer Peter Furno & Pamela Steed

Michael & Beth Gastineau Richard & Sharon Gilmor Darrell & Thecla Gossett Greg Grossart John Guerrasio Tim & Diane Hall Emily F. (Cramer) Hancock* John Hansberry & Karry Book Don & Carolyn Hardman Don & Elizabeth Harmon Theodore & Linda Hegeman Tony Hill* Lindsey & Tom Horan Nicholas Ide & Audra Baumgartner Ron & Shannon Jones Steven & Mary Koch* Roger & Janet Lang Dr. Peggy Daniels Lee Andra Liepa Charitable Fund, a Donor Advised Fund of the U.S. Charitable Gift Trust Lee & Pat Lonzo Linda Lough* Lyle & Deborah Mannweiler Dr. & Mrs. Peter Marcus* Donald & P.J. McCullough James M. McMechan R. Keith & Marion Michael Larry & Crystal Minnix Rev. Mary Ann Moman* Jim & Judith Mowry Marcia Munshower John & Beth Murphy Sharon & Dan Murphy*

Dr. LeeAnne M. Nazer Margaret O’Donnel Merrell & Barbara Owen Robert M. & Kelli DeMott Park Gary & Pam Pedigo* Michael & Patricia Pillar Dr. Nenetzin Reyes* Richard & Ann Riegner Julie & Tracy Rosa Sally Rowland Maggie Barrett Schlake & Joshua Schlake Ms. Karen Schnyder* Dr. Jill Shedd* Vicky Sherman, M.D. Rosemarie Springer Luke Stark* David & Lori Starr Ed & Jane Stephenson Alice Steppe & Patrick Murphy Dan & Diana Sullivan Richard & Lois Surber Nela Swinehart* Steve & Barb Tegarden* Robert & Barbetta True* Barbara S. Tully* Susan Weatherly* Dan Wheeler & Susan Wakefield* Prof. Gail F. Williamson John & Tania Wingfield Reba Boyd Wooden* Brant & Lorene Wright Zionsville Physical Therapy*

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OVATION SOCIETY The Ovation Society is an exclusive program that recognizes donors that have made a legacy gift to the IRT. The IRT truly appreciates those individuals whose gift will ensure that the Theatre can continue to provide meaningful and inspirational experiences for future generations of Hoosiers. Gary Addison Janet Allen & Joel Grynheim Pat & Bob Anker Frank & Katrina Basile Charlie & Cary Boswell Ron & Julia Carpenter John R. Carr (in memoriam) John & Mary Challman Thomas & Sue Dapp Nancy Davis & Robert Robinson Rollie & Cheri Dick Nancy & Berkley Duck Dale & Karen Duncan Jim & Julie Freeman Meg Gammage-Tucker

David A. & Dee Garrett (in memoriam) Michael Gradison (in memoriam) Emily F. (Cramer) Hancock Bruce Hetrick & Cheri O’Neill David Kleiman & Susan Jacobs Frank & Jacqueline La Vista John & Barbara MacDougall Donald & Ruth Ann MacPherson Stuart L. Main (in memoriam) Michael R. & Sue Maine Megan McKinney Sharon R. Merriman David & Leslie Morgan Michael D. Moriarty Richard & Lila Morris

Deena J. Nystrom Marcia O’Brien (in memoriam) George & Olive Rhodes (in memoriam) Jane & Fred Schlegel Michael & Cynthia Skehan Michael Suit (in memoriam) Gene & Mary Tempel Jeff & Benita Thomasson Christopher J. Tolzmann Alan & Elizabeth Whaley John & Margaret Wilson

CORPORATE, FOUNDATION & GOVERNMENT ANNUAL CAMPAIGN GIFTS $300+ | JULY 1, 2018 - OCTOBER 23, 2018 CORPORATE Barnes & Thornburg LLP Bingham Greenebaum Doll LLP Dow AgroSciences LLC Eli Lilly and Company Faegre Baker Daniels Frost Brown Todd Glick Philanthropies Indiana Farm Bureau Insurance Company Katz, Sapper & Miller, LLP Navient Foundation OneAmerica Financial Partners Oxford Financial Group, Ltd.

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Zach Kenney, Teagan Rose, and David Folsom in IRT's 2015 production of The Great Gatsby. Photo by Zach Rosing.

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