IRT Program: "You Can't Take It With You" by Indiana Repertory Theatre

2018-2019 SEASON

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ONEAMERICA MAINSTAGE | APRIL 23 - MAY 19

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Original artwork by Kyle Ragsdale

It begins with a promise to give back to the world around us.

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............................. You Can’t Take It With You 34............................ 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...

You Can’t Take It With You

42............................ Interview: Gene Tempel 50............................ Donor Listing

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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.

PHOTO POLICY

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.

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Photography of the set without actors and with proper credit to the 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.

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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 missionbased 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 middle and high school 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-time 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 Glick Philanthropies presents 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 facilities. 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 directed 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 was 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.

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 highquality theatre helps build creative, empathetic people and healthy communities. Ben is thrilled to be in his second season at Indiana Repertory Theatre. Last season he directed The Town Mouse and the Country Mouse; this season he directed 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 Rep he created innovative community engagement programs

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.

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 Joel Grynheim

Properties Carpenter Michael M. Demasi

Production Assistants Rebecca Roeber Lilliana Rubio

SCENE SHOP Technical Director Chris Fretts

PART-TIME STAFF & ASSOCIATES ARTISTIC Teaching Artists Chelsea Anderson Joanna Bennett Andrew Black Emily Bohn Frankie Bolda Joey Collins Ann Marie Elliott ShawntÃ© Gaston Tom Horan Josiah McCruiston Kathi Ridley-Merriweather Beverly Roche Milicent Wright

ELECTRICS Electricians Amanda Blevins Lee Edmundson Joel Grynheim Luke Hoefer Jessica Hughes PAINT SHOP Scenic Painters Lee Edmundson Rachel Torres

SCENE SHOP Lee Edmundson Katie Johnson Lucas Miller Chris Nelson William Rison SOUND & VIDEO Sound Intern Kacie Darrough

MANAGING DIRECTOR Suzanne Sweeney ADMINISTRATION Receptionist / Administrative Assistant Seema Juneja

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

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

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

Marketing Communications Manager Kerry Barmann

Assistant Ticket Office Manager Eric Wilburn

Associate Director of Major Gifts Lindsey Horan

Audience Development Manager Elizabeth Petermann

Institutional Giving Manager Eric J. Olson

Graphic Designer Alexis Morin

Gift Shop Manager & Customer Service Representative Jessie Streeval

Development Systems Brady Clark

Multimedia Coordinator Heather Zalewski

EDUCATION Director of Education Randy D. Pease

OUTREACH Group Sales & Teleservices Manager Doug Sims

Youth Audience Manager Sarah Geis

Assistant Teleservices Manager Jeff Pigeon

FINANCE Director of Finance Greg Perkins

Teleservices Representatives John Crump Emilly Dennison Margaret Freeman Joshua Short

FINANCE ASSOCIATES External Auditors Crowe Horwath LLP

Legal Counsel Heather Moore PATRON SERVICES Assistant House Managers Pat Bebee Terri Bradburn Chelsea Brooks Nancy Carlson Cara Clapper Kyla Decker Stephen Denney

Dieter Finn Scot Greenwell Marilyn Hatcher Jade Hogan Bill Imel Sarah James Barbara Janiak Norma Johnson Julia Kaser Michelle Kennedy-Coenen Sherry McCoy Gail McDermott-Bowler Dianna Mosedale Melanie Overfield Deborah Provisor Darlene Raposa Phoebe Rodgers

Customer Service Representatives Kourtnee Boose Erin Elliott Hannah Janowicz Kelsey Keating Jared Novitski Building Services Dameon Cooper Dave Melton

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 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 Corteva Agriscience™ Division of DowDuPont 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 Inc. 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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- Scenic Designer: Linda Buchanan - Lighting Designer: Michael Lincoln ONEAMERICA MAINSTAGE APRIL 23 - MAY 19

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SEASON 2018 - 2019 LEAD SPONSOR

JANET ALLEN

Executive Artistic Director

SUZANNE SWEENEY

Managing Director

THE CAST Penelope Sycamore_______________ MILICENT WRIGHT* Essie________________________MEHRY ESLAMINIA* Rheba________________________ BRIANNA MILAN* Paul Sycamore___________________ JAMES LEAMING* Mr. De Pinna__________________ ANSLEY VALENTINE* Ed__________________ CARLOS MEDINA MALDONADO Donald___________________________ADAM TRAN Martin Vanderhof_________________ ROBERT ELLIOTT* Alice_______________________ JANYCE CARABALLO* Henderson____________________ SCOT GREENWELL* Tony Kirby_______________________ AARON KIRBY* Boris Kolenkhov____________________ JOEY COLLINS* Gay Wellington___________________MOLLY GARNER* Mr. Kirby________________________ DAVID LIVELY* Mrs. Kirby_____________________ CARMEN ROMAN* First Man________________________MICHAEL HOSP Second Man________________ ZACHARIAH STONEROCK Third Man____________________ SCOT GREENWELL* Olga_____________________________ JAN LUCAS*

SETTING The Vanderhof home, New York City. The 1930s. There will be one intermission. Act I

Scene 1 Scene 2 Scene 3

A Wednesday evening Late that night A week later

Act II

Scene 1 Scene 2

A moment later The next day

ACKNOWLEDGEMENTS You Can’t Take It With You is presented by special arrangement with Samuel French, Inc. Assistant to the Director: Corbin Fritz Dialect Coach: Allison Moody

Dance Consultant: Mariel Greenlee Lighting Design Assistant: Jennings Johnson

*Actors and stage managers in this production who are members of Actors’ 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, and lighting 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.

THE PURSUIT OF HAPPINESS BY JANET ALLEN, EXECUTIVE ARTISTIC DIRECTOR

Many of us recognize the title of this American icon, which The crash of the stock market in 1929 led to an won a Pulitzer Prize and has been one of the most produced extended period of economic depression—the longest plays in the American canon since it was originally written, in American history—creating a decade of devastating but most of us don’t know much else. Maybe we played a economic challenges for most Americans. Sky-rocketing role in You Can’t Take It With You in high school, or saw a unemployment, plunging crop prices, a deflationary production, or saw the Frank Capra movie, loosely based on spiral, and a severe drought in the West and Midwest led the play. What’s interesting to contemplate is that master to starvation, homelessness, and general privation in playwrights Moss Hart and George S. Kaufman wrote this the American population. In the midst of this, Kaufman comedy in 1936, at the point in the Great Depression when and Hart wrote a play that asserted that money isn’t many people thought it would never end. everything: after all, “you can’t take it with you.” 24

There is significant surprise in reminding ourselves of this economic and social context around the play. The content of the play suggests deep questioning of the belief that capitalism alone can make America great. It poses, instead, that a singular focus on the economic gain side of the American dream causes many to lose sight of the importance of quality of life, of the “pursuit of happiness” part of the Declaration of Independence. What makes us happy? Americans seem to be more baffled by that question than many other cultures around the world. The play outlines a number of means of achieving happiness, and all of them suggest that the 9-to-5 office setting may not be the best place to look for it. At a time when there was still considerable focus on making ends meet in American society, You Can’t Take It With You reminded us that the pursuit of capital at the expense of doing things that make the soul and heart sing is not a viable means to creating a contented American populace.

for years. This dedication to collecting diverse humans into their household clearly makes this family not only fascinating but empathic, modeling an American way of life that gets at some of our best values: inclusivity, acceptance of the stranger at our door (regardless of their color or creed), and a willingness to share our table. The Sycamores are quintessential Americans: living their freedom through their various passions, helping those in need, observing family traditions, and questioning social class distinctions. After all, as Grandpa says, “A cat can look at a king.” In the Sycamore house, happiness reigns, acceptance thrives, and there is always food (however eccentric) that can be stretched to feed another. May we all strive to be a little bit more like the loving and accepting Sycamores! Opposite: The company of the IRT’s 1983 production of You Can’t Take It With You. Below: James Tasse & Karen Nelson in the IRT’s 1983 production of You Can’t Take It With You.

Encountering this play, with these values, at this point in the 21st century, presents some pretty revealing parallels. Climbing out of the recession of 2008-2012 has left many individuals and institutions, and perhaps even our political discourse, over-focused on the bottom line. The reminder to achieve balance, to look around at what makes the world an exciting and vibrant place in its complexity, to find activities that expand our vision and get us interactive and curious about our world—these are among the messages that this play delivers. The picture of unbridled capitalistic pursuit characterized by Mr. Kirby in the play is not terribly flattering: his attachment to Wall Street has literally poisoned every aspect of his life. Another significant piece of the emotional underpinnings of this most gorgeous of all American comedies is the idea of tolerance—another tenet of human experience that is under fire in our current social moment, and another reason this 83-year-old play packs a punch for us in 2019. The play invites us to consider cultural and ethnic differences, and how they make our world a more interesting place. The Sycamores, in their largesse, invite many a wayfarer into their home, some for dinner, some

IN THE MIDST OF THE GREAT DEPRESSION, KAUFMAN AND HART WROTE A PLAY THAT ASSERTED THAT MONEY ISN’T EVERYTHING: AFTER ALL, “YOU CAN’T TAKE IT WITH YOU.” 25

THE AMERICAN FAMILY BY PETER AMSTER, DIRECTOR

There are many reasons You Can’t Take It With You might be considered the Great American Comedy: its generosity of spirit; its deft depiction of a broad range of unique and amusing characters; its use of surprise, wit, incongruity, and inconsequential disaster to create moments of uproarious humor; its brilliant structure. But for me its greatness rests in the fact that it seems to be a different play, focused on different concerns, every time it appears on the American stage. It feels relevant in every age, and that makes it an enduring masterpiece. 26

Seven years ago, directing the show at the Asolo Repertory Theatre in Sarasota, Florida, the nation was just as deeply divided as it is now, but there was not the sense of despair, of helplessness, of anger, mistrust, and depression, that seems to permeate the current American moment. What the play celebrated then as now was that money isn’t everything, that there are simple joys to be had if we just allow ourselves the permission to enjoy them, whether it’s

dancing ballet, painting a picture, playing the xylophone, or just hanging out with family and friends. The American Dream is “Pursuit of Happiness,” not just the pursuit of money and power. Now, in 2019, this joyous, funny, endearing play explodes on the stage again. And now, at least for me, the play has new concerns. It’s about the importance of family, and how generosity of spirit and inclusion is what makes us the best Americans we can be. The Vanderhof-Sycamore

clan feels different: more diverse, more outspoken, more representative of today’s America. You Can’t Take It With You is not simply and narrowly about an extended family living on the Upper West Side of New York in the 1930s, but the American Family, living with open minds and hearts, in a home with a door that is constantly open to new people and new adventure. That’s who we are now: America’s free and sprawling extended family.

Preliminary costume sketches for Olga, Penelope Sycamore, Martin Vanderhof, Essie, and Mr. DePinna by designer Tracy Dorman.

KAUFMAN & HART Both separately and as a team, George S. Kaufman and Moss Hart were two of the most prominent figures in 20th century American theatre.

MOSS HART (1904-1961)

Moss Hart was a 25-year-old unknown when Kaufman, already a veteran of 21 Broadway productions, agreed to collaborate with him. Over the next decade, the pair wrote GEORGE S. KAUFMAN (1889-1961) nine shows together, including Once in a Lifetime, Merrily In every Broadway season from 1921 through 1958, there We Roll Along, You Can’t Take It With You, the musical I’d was a play written or directed by George S. Kaufman. He Rather Be Right with songs by Richard Rodgers and Lorenz wrote only one play alone, The Butter and Egg Man in 1925. Hart and starring George M. Cohan as Franklin D. Roosevelt, With Marc Connelly, he wrote Merton of the Movies, Dulcy, and The Man Who Came to Dinner. During this time, Hart and Beggar on Horseback; with Ring Lardner he wrote June also wrote several musicals without Kaufman, including Moon; with Edna Ferber he wrote The Royal Family, Dinner Face the Music and As Thousands Cheer with Irving Berlin, at Eight, and Stage Door; and with Howard Teichmann he Jubilee with Cole Porter, and Lady in the Dark with Kurt Weill wrote The Solid Gold Cadillac. With Moss Hart he wrote Once and Ira Gershwin (which Hart also directed). After parting in a Lifetime (which he also directed and acted in, playing— with Kaufman, Hart wrote and directed Light Up the Sky, what else?—a playwright), Merrily We Roll Along, The Man but he began to work more as a director. Among his dozen Who Came to Dinner, and You Can’t Take It With You, which Broadway directing credits were Junior Miss, Dear Ruth, and won the Pulitzer Prize in 1937. He wrote two Broadway Camelot, but by far his biggest hit was My Fair Lady by Alan musicals for the Marx Brothers: The Cocoanuts with Irving Jay Lerner and Frederick Loewe, for which Hart won the Tony Berlin, and Animal Crackers with Morrie Ryskind, Bert Award for Best Director. Hart also wrote several screenplays, Kalmar, and Harry Ruby. With George and Ira Gershwin including Gentleman’s Agreement (for which he received an and Morrie Ryskind, he wrote Of Thee I Sing, which won Oscar nomination), Hans Christian Andersen, and the 1954 the 1933 Pulitzer Prize. Kaufman directed 43 Broadway A Star Is Born starring Judy Garland. He was married to productions, including The Front Page, Of Thee I Sing, Of singer, actress, and arts advocate Kitty Carlisle. Hart’s 1959 Mice and Men, My Sister Eileen, Guys and Dolls (for which memoir, Act One, about his impoverished youth, his early he won the 1951 Best Director Tony Award), and The Solid struggles in the theatre, and his initial collaboration with Gold Cadillac. Kaufman also occasionally wrote directly for George S. Kaufman, was recently adapted for a Broadway the movies, most significantly the screenplay for A Night at production that was broadcast on PBS. the Opera for the Marx Brothers. 28

IN LOVING MEMORY THE IRT LOST TWO BELOVED MEMBERS OF OUR FAMILY THIS SPRING.

ED STERN (1946-2019)

BERNADETTE GALANTI (1953-2019)

Ed Stern was one of the co-founders of the Indiana Repertory Theatre, along with Ben Mordecai and Greg Poggi. Ed was the IRT’s artistic director for the company’s first eight seasons at the Atheneum, from 1972 to 1980. He directed 27 plays, including the company’s first production, Charley’s Aunt, as well as memorable productions of That Championship Season, The Philadelphia Story, and many others. Before coming to the IRT, Ed earned his master’s degree in theatre at Indiana University in Bloomington. After leaving the IRT, he taught at Rutgers University. He was artistic director of the Cincinnati Playhouse in the Park from 1992 until he retired in 2012. During his tenure, the Playhouse received two Tony Awards, one for excellence in regional theatre in 2004, and one as the originating producer of the 2007 Broadway revival of Company. Ed died April 2 after an eight-year battle with pancreatic cancer.

Bernadette Galanti was one of the mainstays of the IRT Cabaret, appearing in some 30 productions, including its first, Murder in the Cabaret in 1981, and its last, Christmas with Bernadette in 1989. She also appeared in a number of Mainstage and Upperstage productions, including Pal Joey and A Christmas Carol. Before coming to the IRT, Bernadette performed in theatres from Boston to Florida, including the Providence Opera House where she played Aldonza in Man of La Mancha starring Giorgio Tozzi. During her time in Indianapolis she became a well-known figure throughout the city, performing in many AIDS benefits and playing the title role in Hello, Dolly! at Beef & Boards. After making her home here for several years, Bernadette returned to her hometown, Philadelphia, to care for her aging parents. For the last 25 years she has been a music teacher for pre-K to 8th grade students, first at Mater Dolorosa School, then at Resurrection Regional Catholic School. Bernadette died on March 15 after fighting pancreatic cancer for a year and a half.

WE MOURN THE LOSS OF BOTH THESE DEAR FRIENDS, AND WE CELEBRATE THEIR MANY GIFTS TO THE IRT, THE ARTS COMMUNITY, AND THE WORLD AT LARGE. 29

HOME & FAMILY MICHAEL LINCOLN LIGHTING DESIGNER My very first design for IRT was The Man Who Came to Dinner in 1984, so encountering this play by the same playwrights 35 years later gives me an instant sense of nostalgia for the play and for my long association with IRT. You Can’t Take It With You is a play about family, home, and acceptance. While there has never been a time in our lives when such values were more sorely needed, the play itself (as is true of many antiques from the 1930s) may seem

a bit dated and worn at first glance. In this production, we have tried to remain true to its original spirit while looking at it with fresh eyes. Like the 1927 Indiana Theatre, home to the IRT since 1980 and a family home to so many of us theatre artists, the play has been lovingly polished and cared for to restore its original gleam, so that we all can appreciate its core value: acceptance.

LINDA BUCHANAN SCENIC DESIGNER The characters in You Can’t Take It With You are the most eccentric and quirky bunch of bohemians you could ever imagine. At the same time, they are quintessential American characters: they are willing to try anything, and they believe deeply in personal freedom and their own ability to reinvent themselves. These people are true amateurs in the original meaning of the word: people who do things out of love and enjoyment. The design needs to create room for ballet dancing, playwriting, fireworks making, pamphlet printing, and all the other current and past interests of the inhabitants, contrasted against a conventional period home that they have adapted to accommodate their unusual relationships

and their many pursuits. In this production, we also wanted to imbue the house with the warmth and nurture of Mr. Vanderhof’s deceased wife, the matriarch of the family. We tried to imagine how she would have decorated and what warm and comfortable touches she would have wanted to provide for her family. The design of a show can also really work to support the physical actions of a play. Certain events in this script call for specific architectural relationships for best comedic payoff. For example, and without giving anything away, a prominent front door, and a long cross from the kitchen door to the front door, are both very useful!

Preliminary sketch by scenic designer Linda Buchanan.

TRACY DORMAN COSTUME DESIGNER The play is set in Manhattan in 1936 at the height of the Depression. We chose to keep it in the time period because, although the themes and relationships are universal, much of the language and situations in the play are rooted in its time. This play is filled with characters with a capital C, and we’ve tried to find ways to express their eccentricities without stereotyping them. I’ve approached the designs of the costumes with a “heightened whimsy,” using color,

pattern, and silhouette to create a sense of the playfulness of this world the family has created in their home. So while the costumes evoke the period in their detail and silhouette, I’ve taken liberties so that they exist in their own world of the play—they are by no means naturalistic. There are so many characters to keep track of that one of the main goals is to create a strong visual identity for each one, which is actually quite easy as they are written so well: the playwrights give us so much info about who each character is.

Preliminary costume sketches for Alice, Paul Sycamore, and Rheba by designer Tracy Dorman.

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THE COMPANY JANYCE CARABALLO | ALICE Janyce is excited to make her Indiana Rep debut. She is an actress and teaching artist, born and raised in Chicago’s Humboldt Park community. Chicago theatre credits include The Full Monty for Theo Ubique, Juliet in Romeo and Juliet for Teatro Vista, ’Twas the Night before Christmas for Emerald City, Suddenly, Last Summer for Raven Theatre, Hot Pink for New American Folk Theatre, and Cash Cows at Artemisia Theatre Festival. Regionally, she was an understudy for Seussical at Marriott Theatre. Next she will be Amy in Little Women at First Folio Theatre. You can also catch her in a handful of commercials. “I would like to thank my familia and friends for their endless support. And of course, thank you to the amazing women at Paonessa Talent Agency!”

JOEY COLLINS | BORIS KOLENKHOV Joey made his IRT debut in A Christmas Carol. His Broadway credits include The Glass Menagerie, Rock ’n’ Roll, and The Lonesome West. He has been seen Off Broadway most recently in The Life of Galileo. Other Off Broadway credits include 1599, St. Joan of the Stockyards, Bug, Straight Faced Lies, Vieux Carré, Beasley’s Christmas Party, Gross Indecency: The Three Trials of Oscar Wilde, and Apartment 3A. Regional theatres include the Phoenix Theatre, Berkshire Theatre Group (Berkie Award), Repertory Theatre of St. Louis, PlayMakers Rep, Triad Stage, Berkeley Rep, Yale Rep, Barrington Stage, Pioneer Theatre, the Old Globe, Pittsburgh Public, Cape Playhouse, and more. He has been seen on film in Modern Man, Un Oeuf Is Enough, Dottie’s Thanksgiving Pickle with Olympia Dukakis, and Bittersweet. Television credits include Law & Order, Kidnapped, All My Children, and Guiding Light. joeycollins.net

ROBERT ELLIOTT | MARTIN VANDERHOF At the IRT, Bob has been seen in more than a dozen shows, including as Norman in On Golden Pond, The Heavens Are Hung in Black, the Stage Manager in Our Town, Brady in Inherit the Wind, The Grapes of Wrath, and The Drawer Boy. Other credits include Candy in Of Mice and Men, Donnie in American Buffalo, The Tempest, and Born Yesterday at Kansas City Rep; Two Jews Walk into a War and Farragut North at Unicorn Theatre; Guess Who’s Coming to Dinner, Capt. Queeg in The Cain Mutiny, and A Christmas Carol at Arrow Rock Lyceum Theatre; Proof at Cincinnati Playhouse: Skylight, The Brothers Karamazov, and Much Ado about Nothing at St. Louis Repertory Theatre and Cincinnati Playhouse; Iago in Othello and A Midsummer Night’s Dream at Great Lakes Shakespeare Festival; and Salieri in Amadeus at PCPA Theatrefest. He is a proud AEA Member.

MEHRY ESLAMINIA | ESSIE Mehry has been seen at the IRT in A Christmas Carol, Noises Off, and The Curious Incident of the Dog in the NightTime. She most recently appeared in the premiere of The Corpse Washer at Actors Theatre of Louisville’s Humana Festival. 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; Kate and Musician in the world premiere of James Still’s Appoggiatura and A Christmas Carol 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.

MOLLY GARNER | GAY WELLINGTON Molly is thrilled to make her IRT debut. She has been seen around Indianapolis as Alice in Bright Star at the Phoenix and Annie Cannon in Summit Performance’s Silent Sky. She earned her B.F.A. at Carnegie Mellon. She was seen in the national tours of Billy Elliot and Mary Poppins. Select regional credits include Mrs. Banks in Mary Poppins at North Shore Music Theatre, the Witch in Big Fish at Musical Theatre West, Billy Elliot at the Muny in St. Louis, and her favorite, The Human Comedy at Barrington Stage Company, where she met her husband, Andre. They live in Muncie with their two daughters, and are proud to be faculty members at Ball State University.

SCOT GREENWELL | HENDERSON & THIRD MAN Scot has appeared at IRT in The Two Gentlemen of Verona, The Three Musketeers, A Midsummer Night’s Dream, and A Christmas Carol. Other credits include Urinetown, Bloody Bloody Andrew Jackson, An Act of God, Buyer and Cellar, and many others at the Phoenix Theatre; Little Shop of Horrors, The Grapes of Wrath, and The Santaland Diaries at Cardinal Stage; and Unnecessary Farce at Actors Theatre of Indiana. Scot is a member of Indianapolis Shakespeare Company and has appeared in their productions of Coriolanus, Othello, and The Tempest, among others. “Janet & Peter, thank you! Love and gratitude to friends and family, especially Zack.”

MICHAEL HOSP | FIRST MAN Michael made his IRT debut in The Diary of Anne Frank. Other recent credits include Cry It Out and the rolling world premiere of Halftime with Don at the Phoenix Theatre, and As You Like It with the Indianapolis Shakespeare Company. Michael is a graduate of Butler University and an actor at the Children’s Museum of Indianapolis. “Much love to my wife, Katelyn.”

AARON KIRBY | TONY KIRBY Aaron is elated to return to his home away from home IRT, where he has appeared in A Christmas Carol, 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; Dark Play or Stories for Boys (Jeff Award for Actor in a Supporting Role) at Collaboraction; and productions at Drury Lane Oakbrook, Route 66, the Goodman, Two Lights, the House, and Trinity Shakespeare. TV appearances include Chicago Fire, Shameless, and Chicago Med. Aaron earned his M.F.A. at Wayne State University. “Much love to my fiancé Emma, Stewart Talent, friends, and family!”

THE COMPANY JAMES LEAMING | PAUL SYCAMORE This is James’s first time at IRT… “Thank you!” He is a founding member of American Blues Theater in Chicago. He has been seen in national tours of Defamation and Botanic Garden for Canamac Productions, and has performed the one-man This Wonderful Life at American Blues Theater, North Coast Rep, Laguna Playhouse, Cleveland Play House, Syracuse Stage, and Asolo Repertory Theatre. Other regional credits include Kitchen Theater, Geva Theatre, Alliance Theatre, and Peninsula Players. Chicago credits include First Folio, Steppenwolf, Northlight, Next, Victory Gardens, Goodman, Drury Lane, Fox Theatricals, and Body Politic. He was trained at American Conservatory Theatre and Second City. He has received the 2000 After Dark Award in Chicago for Best Actor; the 2009 Sarasota Magazine Awards for Best Actor and Best Show; and the 2012 Joseph Jefferson Award in Chicago for set design. Film and TV credits include Chicago Fire, Mind Games, Prison Break, Early Edition, Running Scared, and Code of Silence.

DAVID LIVELY | MR. KIRBY David returns to IRT where he played Boo Radley and Judge Taylor in To Kill a Mockingbird (1998). In Chicago, he has appeared in 23 productions at Chicago Shakespeare Theater, including King Lear, Othello, Julius Caesar, Amadeus, Macbeth, and Henry lV in Henry lV, parts 1 & 2 (in Chicago and at the Royal Shakespeare Company). Other Chicago venues include the Chicago Symphony Center, Lyric Opera, Ravinia, Court Theatre, Drury Lane, Marriott Theatre, TimeLine, and Organic Theater. David appeared as Juror 11 in the national tour of Roundabout Theatre’s Twelve Angry Men, and has performed regionally at Asolo Rep, Virginia Stage, Geva Theatre, Milwaukee Rep, Actors Theatre of Louisville, New American Theatre, and the Kennedy Center. TV appearances include Proven Innocent, Prison Break, The Chicago Code, What about Joan, Cupid, and the miniseries George Washington. Films include Steven Soderbergh’s Contagion and The Opera Lover.

JAN LUCAS | OLGA Jan has previously been seen on the IRT stage in Finding Home, The Mousetrap, To Kill a Mockingbird, A Christmas Carol, The Gentleman from Indiana, Inherit the Wind, He Held Me Grand, Sister Carrie, Dinner with Friends, and Amber Waves (2000). She was most recently seen at the Phoenix Theatre in the one-woman show Apples in Winter, and before that in The Pill and Pure Prine. Other regional credits include the Goodman, Steppenwolf, and Remy Bumpo in Chicago. Every year Jan and her husband, Tim Grimm, lead music-focused tours to Ireland, Scotland, and the Netherlands. Jan is the author of the book My Beautiful Leukemia.

CARLOS MEDINA MALDONADO | ED Carlos is thrilled to return to the IRT, where his previous credits include Elephant & Piggie’s “We Are in a Play!,” A Christmas Carol, 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.

BRIANNA MILAN | RHEBA Brianna is excited to be working on her third show at the IRT after Elephant & Piggie’s “We Are in a Play!” and The Town Mouse and the Country Mouse. Other recent credits include Barbeque at the Phoenix Theatre, Hairspray at Cardinal Stage Company, Vanya and Sonia and Masha and Spike and Macbeth at Indiana University, and Avenue Q with University Players. Brianna is from Atlanta, Georgia, and is an alumna of the B.F.A. Musical Theatre program at Indiana University. “Thanks to all of my friends and family for their constant love and support!”

CARMEN ROMAN | MRS. KIRBY Carmen has appeared at the IRT in The Game’s Afoot, Who Am I This Time?, and Interpreting William. She just completed a run of Lombardi at the Weidner Center in Green Bay. She was in the national tour of Angels in America, and most recently at Berkeley Rep. Off-Broadway she appeared in The Iphigenia Cycle, The Mysteries, and Paradise. Regional credits include Timeline, Rivendell Theatre, Baltimore’s Center Stage, Coconut Grove, Walnut Street Theatre, the Goodman, Northlight, 13 seasons at Peninsula Players, and many more. Film and TV roles include Proven Innocent, Chicago PD, The Falcon, The Savages, Law & Order (including SVU and Criminal Intent), and Damages. She currently appears as Connie Mrozek on ABC’s Betrayal. She is a company member of Circling the Drain in New York, and American Blues Theater in Chicago. She is a Fox Fellow and has received the Sarah Siddons Award, the Florence Herscher Award, and Joseph Jefferson Awards.

ZACHARIAH STONEROCK | SECOND MAN Zachariah made his IRT debut in The Diary of Anne Frank. An Indianapolis-based actor and director, his local and regional credits include the Phoenix Theatre, Cardinal Stage, Indianapolis Shakespeare Company, Storefront Theatre of Indianapolis, EclecticPond, Wisdom Tooth Theatre Project, Newfields, Indiana Historical Society, and the Act Out Ensemble. “Love and thanks to Audrey.”

ADAM TRAN | DONALD Adam is excited to be making his IRT debut. You may have seen him last season in Million Dollar Quartet at Actors Theatre of Indiana or in Summit Performance’s inaugural production, Silent Sky, or maybe even in Know Theatre of Cincinnati’s production of Whisper House. “I am thrilled to be working with such a lovely cast and crew on this production. A special shout-out to Peter for giving me this opportunity, and to Janet and Ben for making sure I was in the right place at the right time. A big thanks to friends and family for the support, and of course to Kelsey Leigh, whose strength and grace make the mountains feel like hills.”

THE COMPANY ANSLEY VALENTINE | MR. DE PINNA Ansley is honored to make his debut on the IRT OneAmerica Mainstage. Last season he understudied Looking Over the President’s Shoulder on the Upperstage and is excited to return for this production. Although an Indianapolis native, he has worked in theatres across the country, including stints with Alabama and Detroit Symphony Orchestra’s Holiday Magic. Ansley has shared the stage with legendary performers Kaye Ballard and Judy Kaye. Indiana credits include performances at the Indianapolis Shakespeare Festival, Phoenix Theatre, Brown County Playhouse, and 13 years with ISO’s Yuletide Celebration. Ansley is also a professional director for the theatre and a proud member of the Stage Directors and Choreographers Society (SDC). He teaches acting and directing at Indiana University Bloomington. Follow him on Instagram @ansley_valentine

MILICENT WRIGHT | PENELOPE SYCAMORE Milicent’s 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, Hard Times, and twelve seasons of A Christmas Carol. Last fall 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.

PETER AMSTER | DIRECTOR Peter has directed 21 productions at the IRT, including Appoggiatura, Finding Home, The Great Gatsby, The Hound of the Baskervilles, The Game’s Afoot, A Midsummer Night’s Dream, The 39 Steps, The Heavens Are Hung in Black, Our Town, The Gentleman from Indiana, Pride and Prejudice, Arcadia, Abe Lincoln in Illinois, and She Loves Me. He has been nominated for Chicago’s Jefferson Award for his direction of Once on This Island, The World Goes Round, and The Rothschilds at Apple Tree Theatre, and Pride and Prejudice at Northlight Theatre. Other Chicago credits include Steppenwolf, the Court Theatre, and the Goodman. Regional credits include the Utah Shakespeare Festival, Oregon Shakespeare Festival, Cleveland Play House, Syracuse Stage, and Asolo Repertory Theatre. Peter has directed and choreographed operas for the Lyric Opera of Chicago, Chicago Opera Theatre, Skylight Opera, and Light Opera Works. He has taught theatre, opera, and performance studies at Northwestern University, CalArts, LSU, DePaul University, and Roosevelt University.

LINDA BUCHANAN | SCENIC DESIGNER Linda has designed A Midsummer Night’s Dream, The 39 Steps, The Gospel According to James, Sister Carrie, God’s Pictures, and Odd Jobs at the IRT. Recent projects include Pride and Prejudice for Idaho Shakespeare and Great Lakes Theatre Company, Having Our Say for Goodman Theatre, and the world premiere of Quack for the Alley Theatre. Linda has designed hundreds of stage productions at regional theatres across the country and abroad. Awards include the Merritt Award for Design and Collaboration, Jeff Awards for House and Black Snow at the Goodman and I Hate Hamlet at the Royal George, and a Helen Hayes Award for Dancing at Lughnasa at Arena Stage. Linda is a professor emeritus from the Theatre School at DePaul University, where she was associate dean and head of the scene design program.

TRACY DORMAN | COSTUME DESIGNER At the IRT, Tracy has designed Appoggiatura, Dial “M” for Murder, The Great Gatsby, The Hound of the Baskervilles, The Game’s Afoot, The Crucible, Dracula, The 39 Steps, The Heavens Are Hung in Black, Rabbit Hole, Sherlock Holmes: The Final Adventure, Intimate Apparel, Searching for Eden, The Tale of the Allergist’s Wife, and Jitney. She has designed at numerous regional opera and theatre companies around the country including Asolo Repertory Theatre, Geva, Maltz-Jupiter, Drury Lane, Cincinnati Playhouse in the Park, Milwaukee Rep, Actors Theatre of Louisville, Kansas City Rep, Syracuse Stage, Virginia Opera, Kentucky Opera, Chicago Opera Theatre, Glimmerglass, and New York City Opera. From 2005 to 2008 she was an associate costume designer on the CBS daytime drama As the World Turns, for which she won a 2007 Emmy Award for Costume Design. tracydorman.com

MICHAEL LINCOLN | LIGHTING DESIGNER Michael has designed more than 40 productions at the IRT, including A Christmas Carol; Noises Off; 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

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 United States Institute of Theatre Technology.

THE COMPANY LERALDO ANZALDUA | MOVEMENT & FIGHT DIRECTION Leraldo is proud to make his IRT debut. He is the assistant professor of movement and stage combat in the Department of Theatre, Drama, & Contemporary Dance at Indiana University Bloomington. He is an actor, a fight director with the Society of American Fight Directors, and a choreographer with the Stage Directors & Choreographers Society. Regional credits include Cardinal Stage, Colorado Shakespeare Festival, Houston Grand Opera, Alley Theatre, and Stages. He is a voiceover talent of almost 100 characters with Sentai Filmworks. He has been a motion capture performer for multiple films with Sony Pictures in Japan, and a motion capture fight director and talent for video games in Sweden. He received a master’s degree in acting from the University of Houston.

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, The Night Watcher, Neat, Pretty Fire, The Giver (2009), The Power of One, Twelfth Night, and four editions of A Christmas Carol. Earlier this season he directed Leonard Bernstein’s Trouble in Tahiti for the Indianapolis Chamber Orchestra. Other directing credits include Actors Theatre of Indiana, the 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. “My deepest thanks to everyone at the IRT for their love and support this year.”

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, and he is a company member with the Indianapolis Shakespeare Company.

JAMES W. CARRINGER | ASSISTANT STAGE MANAGER Jim has toured nationally and internationally and worked off Broadway and in regional theatre. He was educated at the University of Evansville, Purdue University, and the Juilliard School. New York credits include Love Lemmings (321 Theatrical Management), 2econd Stage Theatre, Pan Asian Repertory Theatre, Ensemble Studio Theatre, Young Blood, Artist United, Sesame Workshop/CTW, and the Little Orchestra Society. Locally he has stage managed for the Phoenix, Actors Theatre of Indiana, and the IRT. Jim is a member of Actors Equity Association and the International Alliance of Theatrical Stage Employees.

CLAIRE SIMON CSA | CASTING Based in Chicago, Claire Simon CSA has worked with the IRT for the past 22 years on casting more than 40 productions, including Holmes and Watson, Noises Off, Appoggiatura, Romeo and Juliet, The Originalist, The Curious Incident of the Dog in the Night-Time, Guess Who’s Coming to Dinner, Finding Home, The Great Gatsby, and many more. Other regional credits include Syracuse Stage, Asolo Theatre, Lyric Opera, Milwaukee Rep, New Theatre, Paramount, Writers Theatre, Broadway in Chicago’s Working, and the Tony Award–winning Million Dollar Quartet. TV credits include Empire, Easy, Sense8, Chicago Fire, Chicago PD, Crisis, Betrayal, Detroit 1-8-7, Boss, Mob Doctor, and Chicago Code. Film credits include Divergent, Contagion, Unexpected, Man of Steel, Save the Last Dance, and High Fidelity. Claire has won Artios Awards for casting the pilot of Empire and for Season 1 of Fox’s Prison Break.

INDYâ&#x20AC;&#x2122;S GUIDE TO

ALL THE ARTS. ALL THE TIME.

INDYARTS.ORG/GUIDE AN INITIATIVE OF THE ARTS COUNCIL OF INDIANAPOLIS

H. Ward Miles, Ferocious and Feminine, Acrylic on Canvas

AN INTERVIEW WITH GENE TEMPEL CHAIR OF THE IRT’S FRONT

HOW DID YOU GET INVOLVED WITH THE IRT? My wife Mary and I have been subscribers since the mideighties. We both love the theatre and believe in what the theatre can do. I first came on the board in 1993 when I was vice chancellor for external affairs at IUPUI. Since then I’ve served several six-year terms, and in between board terms I’ve chaired various committees. Currently I am board emeritus and the chair of the Front and Center Campaign. The IRT has structured the campaign in such a way that I am able to help lead the operations of the campaign, and we have honorary co-chairs Sarah and John Lechleiter to help provide the community leadership that is key to the success of any campaign. WHAT ARE THE GOALS OF THE FRONT and CENTER CAMPAIGN? The main goal of the Front and Center campaign is the long-term sustainability of the IRT. The campaign will also allow the Theatre to strategically grow programming to better serve both adult and youth audiences, to enhance equipment and technology in the Theatre—some of which we’ve already been able to implement with early donations—and to be able to pay ongoing expenses to keep the theatre in solid financial shape. The campaign over the course of time (as gifts come in and are realized) will add 42

and CENTER CAMPAIGN

approximately $500,000 to the annual budget in operating support from the endowment. With prudent stewardship of the IRT’s endowment, the successful completion of this campaign will position the IRT to have a robust future. WHY SHOULD SOMEONE MAKE A GIFT TO THE FRONT and CENTER CAMPAIGN? We need to remember, as we say from the stage before every performance, that only half the cost of production is covered by ticket sales, and half the cost needs to be covered by philanthropy. For the Theatre to continue to grow and be responsive to the evolving needs of the community, it is going to require additional resources. We want to work with individuals to connect their passion for the theatre to the areas of support that are the most meaningful to them, because every gift we receive makes an impact on the future of the IRT. For example, we have people who’ve taken the lead on supporting the Indiana Series, which is one of the really distinctive aspects of our theatre. We have people and organizations who have stepped up to support the remodeling of the Upperstage Lobby. I see people get excited when looking at the renderings for that remodel, because they see the vision of this space becoming an exciting place to gather before seeing a play. There are a lot of reasons why people should contribute. Some of the reasons are improvements you might not notice unless you

know what you are looking for. When The Curious Incident of the Dog in the Night-Time was on Broadway, Janet Allen encouraged Mary and me to go see it when we were in New York. As we were watching the play, we thought there was no way that the IRT would be able to do this play because of the technology required; and yet through the early success of the Front and Center Campaign, we were able to make the necessary technological improvements and were one of the first regional theatres in the country to produce it. I was chair of the board in 2008 when the bottom fell out of the economy. Two things happened: first of all, we saw how small the margin of security was for the IRT. We had to utilize much of our reserves to get through that season, and we had to shrink the scale and number of productions in subsequent seasons to move forward on solid financial ground. It’s during a time like that where you have to acknowledge the importance of having a substantial endowment to help you weather such financial uncertainties. Somebody asked me, what would your ideal goal be for financial security for a non-profit? Well, there are two: one is that we have an annual endowment payout that covers 25% of our operating cost, and the other is that we have 25% of our annual budget in reserve. The IRT is working towards those goals, but they are rather audacious goals to work towards while also continuing to provide top quality programming to serve this community. These are two huge goals to aim at, but that would be a very healthy place to be. WHAT IS THE SIGNIFACANCE OF LEGACY GIVING TO THE IRT? As the Theatre grows, it will have new and different needs beyond the ones we’ve conceived today. In fact, although the Front and Center Campaign has a goal of $18.5 million, we initially tested for the possibility of raising $26 million. The research indicated that was not a feasible amount at this time, but that means there is still over $7 million left of unfunded needs that we’ve identified that would help enhance the theatre-going experience for the community. Legacy giving can help fund these needs in the future. It’s important for the Theatre to have a robust planned giving program, so people can leave gifts to us in the future: they can set up charitable remainder trusts, charitable lead trusts, gifts through their estates, their wills—once an individual no longer has need of that money, it can become available to the Theatre. Typically, the largest gifts people make to any organization are through these kinds of planned gifts. It is important to receive cash gifts up front to fund current needs, but we also realize that many people will be able to make a larger gift as a legacy gift, so some combination of those two is ideal.

WHY DID YOU PERSONALLY CHOOSE TO INVEST IN THE IRT? Mary and I believe in the IRT. We’ve made a lot of great memories here. Recently we have enjoyed bringing our grandchildren to see A Christmas Carol. We always pay for a box of snow through a special donor program, so it’s like Sydney and Sophie’s snow, and the Theatre does a really wonderful job of welcoming them to the theatre and thanking them for the gift. We have also brought our younger grandson Bo to the pre-school plays. These are some of my favorite things. I really enjoyed seeing Amber Waves again because I grew up on an Indiana farm that went bankrupt, and I identify closely with the theme of that play. I really, really like the Indiana Series, because it’s our home, it’s part of what makes the IRT distinctive: locally produced theatre about local themes. I think that’s a way that the IRT can make itself distinct nationally. I’m a big Shakespeare fan, too, although that’s currently harder for us to produce because of the budgetary constraints of larger casts. Mary and I see our commitment to the IRT as one of our top priorities. One needs to invest if one’s going to lead and be a part of it. And I fully expect that before the campaign ends, Mary and I will make another commitment to help us exceed the goal of this campaign. We just want to see that the goals that the Front and Center Campaign has identified are carried out. We want to see more plays on the stage for all kinds of audiences, all ages. Many theatres focus in one area or another; the IRT focuses across that wide spectrum. And in order to enhance the programming in both directions, we’re going to need to have additional resources. WHY IS THE FRONT and CENTER CAMPAIGN IMPORTANT FOR INDIANA? I think it’s important because it gives the community access to a quality of theatre that it would not otherwise have. It helps us bring more Equity actors to the stage here, it helps us create more of what I think are already incredible sets and costumes. It means that when corporations are attracting young people to the community, to a cool city, they have a cool theatre to go with it. And I believe it’s a place where people in the community can come together and have their beliefs and values challenged, to either reaffirm them or rethink them. I think live theatre creates those kind of experiences for people. The better we can fund the Theatre, the more options we have in terms of larger cast plays, better production values, and making that theatre experience the finest possible for the city of Indianapolis. LEARN MORE ABOUT THE FRONT and CENTER CAMPAIGN AT IRTLIVE.COM/FRONTANDCENTER 43

reater indianapolis is our only stage.

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317-261-9000 ÂŠ2018 The National Bank of Indianapolis www.nbofi.com

Member FDIC

Top-Quality Theatre | Exclusive Access to Special Events & IRT Artisans | $25 Tickets | Volunteer Opportunities An Annual Membership is just $50 and lasts 12 months from purchase date! G E T I N VO LV E D: I R T L I V E .CO M /O FFS CRIPT

OVER 40,000 STUDENTS WILL EXPERIENCE LIVE THEATRE AT THE IRT THIS SEASON Without the Alan and Linda Cohen Education Fund, almost half of those students would not be able to attend. Join the hundreds of donors who make live theatre experiences possible for students across the state, donate to the Cohen Education Fund today! "A student told me he couldn’t pay for the trip because his family doesn’t have a lot of money right now. I told him that the IRT had helped cover the cost. His eyes lit up and he kept saying 'thank you!' throughout the day." -An Indiana Teacher

Claire Wilcher and Grant Somkiet O’Meara in IRT’s 2018 production of The Town Mouse and the Country Mouse. Photo by Zach Rosing. FOR MORE INFORMATION ABOUT SUPPORTING STUDENT MATINEES, CONTACT: LINDSEY HORAN: LHORAN@IRTLIVE.COM | 317.916.4833

THE SUPPORTING CAST

INDIANA REPERTORY THEATRE DONORS

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 - MARCH 29, 2019 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 David P. Whitman & Donna L. Reynolds 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 Ben Pecar & Leslie Thompson Dr. & Mr. Christine & Michael Phillips Noel & Mary Phillips* Mary Frances Rubly & Jerry Hummer 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 Troy Farmer Mary Findling & John Hurt Dick & Brenda Freije Robert Giannini Nadine & Alvin Givens Charles Goad & James Kincannon Donald & Teri Hecht Richard & Elizabeth Holmes The Indianapolis Fellows Fund, a fund of The Indianapolis Foundation Eric & Karen Jensen 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 Bob & Dale Nagy Becca & Jonathan Polak Michael & Melissa Rawlings N. Clay & Amy McConkey Robbins Jerry & Rosie Semler & Family Mark & Gerri Shaffer Joe & Jill Tanner Gene & Mary Tempel Jeff & Benita Thomasson John & Kathy Vahle Richard Vonnegut Pam & Bill Williams PATRON CIRCLE $1,500 - $2,999 Eric & Catherine Allen Janet Allen & Joel Grynheim Anonymous Tammara D. Porter Avant & Jesse Avant Trudy W. Banta Sarah C. Barney Frank & Katrina Basile Kristen Belcredi Gerald & Moira Berg Dan Bradburn & Jane Robison David & Judith Chadwick Mary Beth Claus

REPERTORY SOCIETY CONT. ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2018 - MARCH 29, 2019 PATRON CIRCLE, CONT. $1,500 - $2,999 Alan & Linda Cohen James & Kathy Cornelius Cowan & King, LLP Susan M. Cross Daniel & Catherine Cunningham Frank & Noreen Deane Dr. Gregory Dedinsky & Dr. Cherri Hobgood Dr. Brian Dillman & Erin Hedges* Laurie Dippold Paul & Glenda Drew Craig & Marsha Dunkin Frank & Valerie Esposito Drs. Richard & Rebecca Feldman Gary R. & Barrie K. Fisch Jim & Julie Freeman Karen Fried Brian & Lorene Furrer The Future Keys Foundation Phyllis & Ed Gabovitch Robert & Christy Gauss Mr. Jim Gawne Dorothea & Philip Genetos Gene & Kathy Gentili Prof. Nicholas Georgakopoulos Ron & Kathy Gifford Marianne Glick & Mike Woods Bruce J. Glor Ricardo & Beatriz GuimarĂŁes Jeffrey Harrison Michael N. Heaton Jeff & Mindy Henry 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 Phil & Colleen Kenney Arthur & Jacquelyn King Gary Knott & Colette Irwin-Knott Kurt & Judy Kroenke Jill & Peter Lacy Dr. & Mrs. Alan Ladd Ed & Ann Ledford Andrew & Lynn Lewis Joe & Deborah Loughrey John & Barbara MacDougall Donald & Ruth Ann MacPherson Mike & Pat McCrory Sharon R. Merriman Andrew & Amy Michie Alan Mills Douglas & Detra Mills Lawren Mills & Brad Rateike Michael D. Moriarty Stephen & Deanna Nash The Blake Lee and Carolyn Lytle Neubauer Charitable Fund, a fund of Hamilton County Community Foundation Brian S. Newman & Francisnelli Bailoni dos Santos Nancy & John Null Tim & Melissa Oliver Larry & Louise Paxton Brian & Gail Payne Mr. & Mrs. Kenneth A. Peterson Dr. & Mrs. Lee Phipps Gail & William Plater The David and Arden Pletzer Endowment Fund, a fund of Hamilton County Community Foundation George & Christine Plews Bob & Kathi Postlethwait Phil & Joyce Probst Peter Racher & Sarah Binford Peter & Karen Reist

Ken & Debra Renkens Karen & Dick Ristine Chip & Jane Rutledge Paula F. Santa Charles & Jenny Schalliol Jane & Fred Schlegel Tom & Barbara Schoellkopf Tim & Karen Seiler Michael & Holly Semler Jack & Karen Shaw Marguerite K. Shepard, M.D. Reuben & Lee Shevitz Michael & Cynthia Skehan Cheryl & Bob Sparks Edward & Susann Stahl Ed & Jane Stephenson Robert & Barbara Stevens Jim & Cheryl Strain Suzanne Sweeney & Todd Wiencek Jonathan T. Tempel John & Deborah Thornburgh Jennifer C. Turner Eric van Straten & Karri Emly Larry & Nancy VanArendonk Jennifer & Gary Vigran Amy Waggoner Dorothy Webb Rosalind Webb & Duard Ballard Carol Weiss Emily A. West Alan & Elizabeth Whaley Cliff & Molly Williams Ken & Peggy Williams Bob & Dana Wilson Heather Wilson John & Margaret Wilson Jim & Joyce Winner John & Linda Zimmermann *Denotes sustaining members

THE SUPPORTING CAST

INDIANA REPERTORY THEATRE DONORS

DONOR GUILDS ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2018 - MARCH 29, 2019 DRAMA GUILD $750 - $1,499 Pat & Bob Anker John & Mary Bartley Jesse L. & Carolynne Bobbitt Charlie & Cary Boswell Thomas & Victoria Broadie Gordon A. & Celia Bruder Debora Bush Sherry A. Butler Brady Clark Dr. & Mrs. John J. Coleman III Daniel P. Corrigan Don & Dolly Craft Bruce Curry & Myra Selby Joan M. FitzGibbon Mary L. Forster, M.D. Fritz French Garth & Christine Gathers Goins Family Fund, a donor-advised fund Walter & Janet Gross Bill & Phyllis Groth Bruce Hetrick & Cheri Oâ&#x20AC;&#x2122;Neill Greg & Kathy Hill Drs. Meredith & Kathleen Hull Nicholas & Audra Ide John & Liz Jenkins Donna & Dave Kaiser Michael & Molly Kraus David H. Moore, M.D. & M. Kristine Beckwith, M.D. John & Carolyn Mutz Robert & Sara Norris Offscript, IRT Young Professionals Group Ann Marie L. Ogden Deb & Greg Perkins Scott & Susan Putney Roger & Anna Radue The Sanders Family Trust, a fund of Hamilton County Community Foundation

Richard & Christine Scales Alice Schloss Donor Advised Fund, a fund of Jewish Federation of Greater Indianapolis Nan Schulte & Matt Russell Thomas & Teresa Sharp Michael Slavens The Ruth E. Stilwell Endowment Fund, a fund of CICF Lynne & Alex Timmermans Dr. James & Linda Trippi Lainie Veenstra Karen S. Waltz Samuel L. Westerman Foundation John & Ingrid Barbro Wiebke Frederick & Jacquelyn Winters THEATRE GUILD $300 - $749 John & Eileen Ahrens* American Senior Communities Todd Allen Andritsch Anonymous (10) Adam Bailey Walter Bartz* Constance C. Beardsley* Dan & Barb Bickel Barbara & Christopher Bodem* Ted & Peggy Boehm Jason & Jessica Bohac* Mary Bookwalter & Jeffrey Stant Paul Boykas Risa Brainin & Michael Klaers Glenn M. Brazel Jan & Roger Brinkman Bob & Chris Broughton Dr. Mellonee Burnim David & Beverly Butler Tom & Bobbie Campbell Dr. William Capello & Georgia Strickland Steve Chatham & Family

Jeff & Jeni Christoffersen Circle City Rebar, LLC Robert & Jennifer Cochrane Jeff Coffee Jerry & Carol Collins Norma & Carl Crabiel Karen Dace* Fr. Clem Davis Nancy Davis & Robert Robinson Paul & Carol DeCoursey* Phillip & Caroline Dennis* Mary & Steve DeVoe Catharine Diehr Mr. & Dr. Jody Donaldson Sarah Donaldson* Rosemary Dorsa Danielle M. Dove Jenni Egger Jim Eup Sherry Faris Drs. Eric Farmer & Tate Trujillo & Christopher Scott* Margaret Ferguson* Hank & Nanci Feuer Peter Furno & Pamela Steed Gamma Nu Chapter of Psi Iota Xi Michael & Beth Gastineau Paul & Phylis Gesellchen Richard & Sharon Gilmor Thecla Gossett Greg Grossart John Guerrasio Tim & Diane Hall Mr. & Mrs. David J. Hamernik Emily F. (Cramer) Hancock* John Hansberry & Karry Book Don & Carolyn Hardman Don & Elizabeth Harmon Renata Harris

DONOR GUILDS CONT. ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2018 - MARCH 29, 2019 THEATRE GUILD, CONT. $300 - $749 Theodore & Linda Hegeman Catherine Herber Eleanor Hood Lindsey & Tom Horan Charles Howe Dr. Barbara Jackson David Jackson Ron & Shannon Jones Karen A. Kiefer Steven & Mary Koch* Roger & Janet Lang I.M. Larrinua & M.T. Wolf Jonathan & Lisa Le Crone Ben Ledo Dr. Peggy Daniels Lee Andra Liepa Charitable Fund, a Donor Advised Fund of the U.S. Charitable Gift Trust Jim Long & Kathy Russell Lee & Pat Lonzo Linda Lough* Lyle & Deborah Mannweiler Dr. & Mrs. Peter Marcus* Melissa Maulding Paul & Tina McAninch Sonnie and Chip McAuley Donald & P.J. McCullough James M. McMechan William & Nancy McNiece Jim and Pam Meng Don & Kimberly Meyer R. Keith & Marion Michael Dr. Frederick & Alice Milley Larry & Crystal Minnix Rev. Mary Ann Moman* Joyce Morrison Jim & Judith Mowry Eric & Jennie Moy

Marcia Munshower John & Beth Murphy Sharon & Dan Murphy* Col & Mrs. James Malvin Mutter Susan & Jim Naus Dr. LeeAnne M. Nazer Margaret Oâ&#x20AC;&#x2122;Donnel Mr. & Mrs. Niels Ostergaard Merrell & Barbara Owen Robert M. & Kelli DeMott Park Dr. & Mrs. Robert & Judith Pearce Ray & Kimberley Peck Gary & Pam Pedigo* Judy & Sidney Pellissier Mark Perkins Michael & Patricia Pillar Dr. Nenetzin Reyes* Richard & Diane Rhodes Richard & Ann Riegner River Bend Hose Specialty Inc. Julie & Tracy Rosa Sally Rowland Owen Schaub & Donna McClearey Anne & Rod Scheele Dan & Patty Schipp Maggie Barrett Schlake & Joshua Schlake Robert L. & Becky Schneider Ms. Karen Schnyder* Dr. Jill Shedd* Vicky Sherman, M.D. Randy & Linda Shields Eric Siegman & Kathleen McDonald Siegman Kevin & Amy Sobiski Rosemarie Springer Luke Stark* David & Lori Starr Alice Steppe & Patrick Murphy Dan & Diana Sullivan

Richard & Lois Surber Nela Swinehart* Steve & Barb Tegarden* Cmdr. Lynn Thomas Robert & Barbetta True* Barbara S. Tully* Ann & Mark Varnau Craig & Karin Veatch Ron Walker Susan Weatherly* Zoe Urena Weiss Dan Wheeler & Susan Wakefield John Whitaker Prof. Gail F. Williamson John & Tania Wingfield* Charles & Peggy Wood Reba Boyd Wooden* Brant & Lorene Wright Zionsville Physical Therapy* *Denotes sustaining members

THE SUPPORTING CAST

INDIANA REPERTORY THEATRE DONORS

TRIBUTE GIFTS IN HONOR OF LEW MUMFORD’S 70TH BIRTHDAY His wife Terry

OVATION SOCIETY The Ovation Society is an exclusive program that recognizes donors who 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 Bill & Nancy Hunt 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

IN-KIND/TRADE GIFTS ANNUAL CAMPAIGN GIFTS $300+ | JULY 1, 2018 - MARCH 29, 2019 Ash & Elm Cider Co. Candlewood Suites Current Publishing Eco-Kinetic Hotel Tango Artisan Distillery

IBJ Corp Midwest Parenting Publications National Institute of Fitness & Sport NUVO Pac-Van, Inc.

Saint Joseph Brewery, LLC Studio 2000 West Fork Whiskey Co. WFYI WISH-TV

CORPORATE, FOUNDATION & GOVERNMENT ANNUAL CAMPAIGN GIFTS $300+ | JULY 1, 2018 - MARCH 29, 2019 CORPORATE Barnes & Thornburg LLP Bingham Greenebaum Doll LLP BMO Harris Bank Community Health Network Corteva Agriscience Agriculture Division of DowDuPont Eli Lilly and Company Faegre Baker Daniels Frost Brown Todd Glick Philanthropies Indiana Farm Bureau Insurance Company Indianapolis Colts Katz, Sapper & Miller, LLP KPMG LLP Navient Foundation Noble Consulting Services, Inc. OneAmerica Financial Partners Oxford Financial Group, Ltd. PNC Printing Partners Schmidt Associates, Inc. Strategic Wealth Designers Taft Stettinius & Hollister LLP

FOUNDATION The Ackerman Foundation Actorsâ&#x20AC;&#x2122; Equity Foundation, Inc. Elba L. & Gene Portteus Branigin Foundation, Inc. The Jerry L. and Barbara J. Burris Foundation Central Indiana Community Foundation Allen Whitehill Clowes Charitable Foundation Christel DeHaan Family Foundation The Margot L. Eccles Arts & Culture Fund, a fund of CICF The Glick Family Foundation The Indianapolis Foundation, a CICF affiliate Lacy Foundation Lilly Endowment, Inc. Nicholas H. Noyes Jr. Memorial Foundation, Inc. The Penrod Society The Shubert Foundation

GOVERNMENT Arts Council of Indianapolis Indiana Arts Commission National Endowment for the Arts

THE ALAN AND LINDA COHEN EDUCATION FUND Anonymous Elba L. & Gene Portteus Branigin Foundation, Inc.

Efroymson Family Fund, a fund of CICF Eli Lilly and Company

David Flaherty

SUMMER CONSERVATORY FUND Robert Baker and Paula Trzepacz Endowed Summer Conservatory Fund

THE SUPPORTING CAST

INDIANA REPERTORY THEATRE DONORS

2019 CELEBRITY RADIO SHOW Thank you to the following individuals and organizations who helped make the 2019 Celebrity Radio Show a huge success. The Celebrity Radio Show, the IRT’s annual fundraising event, was on Friday, February 15, 2019. 500 Festival Inc. Kent Adler Frank Alan & Donna Eide Janet Allen & Joel Grynheim Robert & Kristin L. Altice Anonymous Nick Anthony Bob & Toni Bader Phillip Baker The Ball And Biscuit Chris & Kristin Ballard Kerry Barmann Sharon R. Barner Mary Beth Barnett Joy Barrett Jason Beehler Matt & Desma Belsaas Gerald & Moira Berg Paul & Laura Bickle Michael & Mary Ellen Bishop Travis Blessing Bluebeard Susie & Joel Blum BMO Harris Bank Board & Brush Creative Studio Barbara & Christopher Bodem Luke Bosso Robert & Mary Beth Braitman Bob Brake David & Cheryl Brentlinger Jan & Roger Brinkman Heather Brogden Amy Burke Mary Burke Julie & Bob Burns The Cabaret Central Indiana Community Foundation Doug & Brenda Chappell

Cheese Desert Chicago Architecture Foundation The Children’s Museum of Indianapolis Christopher & Cindy Coble ComedySportz Conner Prairie Don & Dolly Craft Cunningham Restaurant Group Bruce Curry & Myra Selby Cushman & Wakefield Dance Kaleidoscope Dr. Gregory Dedinsky & Dr. Cherri Hobgood Ann & Kenneth Dee Jody DeFord Kevin Deford Mark Denien Gary Denney & Louise Bakker Lesa F. Dietrick Michael Dinius & Jeannie Regan-Dinius Duke Realty Zora Dunn Eli Lilly and Company Ellis Mechanical, Inc. Deborah Ellis Dan & Ginny Emerson Rebecca Engle F3 Fit Flex Fly Sherry Fabina-Abney Troy Farmer David Feinberg & Maureen Keller Margaret Ferguson Brian Ferris Kevin Flynn Franciscan St. Francis Health Dick & Brenda Freije Jenny & Tom Froehle Frost Brown Todd Steve Fry

Michael Gargano Anne & Steve Gaylord Dorothea & Philip Genetos Ron & Kathy Gifford Nadine & Alvin Givens Marianne Glick & Mike Woods Goins Family Fund, a donor-advised fund Larry Greene Andrew C. Greider Katie Greve Derek & Elizabeth Hammond John Hansberry & Karry Book Christine M. Hansen The Judy and Michael Harrington Family Foundation, a fund of CICF Richard Hayes Steve Hazelbaker Heartland International Film Festival Donald & Teri Hecht Holt Hedrick Brian & Nancy Henning Jane Herndon & Dan Kramer Mike Highum Douglas Hodge S L Hoog M.D. Brenda S. Horn Randolph & Rebecca Horton Hotel Tango Artisan Distillery Ice Miller LLP IGT Indiana, LLC Indianapolis Colts Indianapolis Cultural Trail The Indianapolis Fellows Fund, a fund of The Indianapolis Foundation Indianapolis Symphony Orchestra Indianapolis Zoo Indy Fuel Indy Racing Experience

2019 CELEBRITY RADIO SHOW, CONT. Thank you to the following individuals and organizations who helped make the 2019 Celebrity Radio Show a huge success. The Celebrity Radio Show, the IRT’s annual fundraising event, was on Friday, February 15, 2019. Randy Ingram IUPUI Office of External Affairs Suzanne Jannetta Eric & Karen Jensen James Johnson Mark Juleen KAR Auction Services, Inc. Katz, Sapper & Miller, LLP Michael Kaufman Ramin Kazemi Mike & Pegg Kennedy Kristin Koch KPMG LLP Greg Kueterman Lacy Foundation Howard Lacy Jill & Peter Lacy Sarah & John Lechleiter Margaret Lehtinen & Dr. Lawrence Mark Andra Liepa Charitable Fund, a Donor Advised Fund of the U.S. Charitable Gift Trust Lilly Endowment, Inc. Constance Lindman Warren & Lesley Mackellar Tim & Marjorie Maginn Brent Marty McGowan Insurance Group Joseph McGuinness Allen Melemed Lisa Parotti Meyers Andrew & Amy Michie Douglas & Detra Mills Lawren Mills & Brad Rateike Greg & Denise Mimms David & Robin Miner Andrea Joy Mock Monarch Beverage Co., Inc.

David & Leslie Morgan Michael D. Moriarty Alexis Morin Chris & Marie Gabrielle Morrison Jim & Judith Mowry Carl Nelson & Loui Lord Nelson Noble Consulting Services, Inc. Jackie Nytes & Michael O’Brien Joel & Mary O’Brien Patrick O’Brien OneAmerica Financial Partners Vop & Una Osili Noel & Beth Outland Mr. Stephen Owen Sr. & Dr. Cheryl Torok Owen Oxford Financial Group, Ltd. Kendra Patrick Brian & Gail Payne Steve Perkins Elizabeth Petermann Lauren Petersen Bart Peterson Petite G Jewelers Julie Phealon Phoenix Theatre, Inc. Craig Pinkus & Margaret Drew Jen Pittman Plews Shadley Racher & Braun PNC Dr. David Posey & Kerrie Posey Printing Partners Andy Purcell Connor Seth & Gina Purcell Nicole Quinn Rail Epicurean Market Tommy Reddicks & Kelly Wensing Peter & Karen Reist Sue & Bill Ringo

Robert’s Camera Jont & Michele Rogers Jennifer Ruble Salesforce.com Maggie Barrett Schlake & Joshua Schlake Wayne & Susan Schmidt Rebecca Seamands Mark & Gerri Shaffer Yvonne Shaheen Shiel Sexton Company Simmons Family Foundation, a fund of CICF Mike Slocum Alyson Smith Sue & Mike Smith Dennis Sponsel Jared Stark Ed & Jane Stephenson Elizabeth Stilwell Suzanne Sweeney & Todd Wiencek Taft Stettinius & Hollister LLP Joe & Jill Tanner Gene & Mary Tempel David Temple Lynne & Alex Timmermans Tinker Street Tito’s Handmade Vodka Topgolf Jennifer C. Turner Wayne & Karen Turner Eric van Straten & Karri Emly Ray & Regina Vandivier Cynthia Vonfoerster Amy Waggoner Cheryl & Ray Waldman Alan & Elizabeth Whaley Philip & Shandon Whistler David P. Whitman & Donna L. Reynolds Claire Alexandra Whitson

THE SUPPORTING CAST

INDIANA REPERTORY THEATRE DONORS

2019 CELEBRITY RADIO SHOW, CONT. Thank you to the following individuals and organizations who helped make the 2019 Celebrity Radio Show a huge success. The Celebrity Radio Show, the IRT’s annual fundraising event, was on Friday, February 15, 2019. Melissa Wiley Cliff & Molly Williams Pam & Bill Williams Scott Williams Amy Wilson

FRONT

Heather Wilson John & Margaret Wilson Sue Wilson The Wine Guy WISH-TV

Dr. Christian Wolf & Elaine Holden-Wolf Writers Theatre Zeller Realty Group Joseph Zielinski

and CENTER

Front and Center is a campaign to support the long-term sustainability of the IRT. It is with deep appreciation that we thank the individuals and organizations who have committed a gift to keep the IRT Front and Center! A.J. Allen & Kathy Maeglin Janet Allen & Joel Grynheim Dr. Patrick & Danette Alles Pat & Bob Anker Bob & Toni Bader Frank & Katrina Basile Mr. Leo Bianchi & Dr. Jill Panetta Susie & Joel Blum Dan Bradburn & Jane Robison Amy Burke Brady Clark Mary Beth Claus Allen Whitehill Clowes Charitable Foundation Alan & Linda Cohen The Cohen Family Foundation, Inc. Daniel & Catherine Cunningham Claire Dana & Chris Fretts Ann & Kenneth Dee Gary Denney & Louise Bakker Tom Detmer Rollie & Cheri Dick Michael Dinius & Jeannie Regan-Dinius Danielle M. Dove Nancy & Berkley Duck Duke Realty – a tribute gift for Jack Shaw

Geoff Ehrendreich Dan & Ginny Emerson Troy Farmer Drs. Richard & Rebecca Feldman Jim & Julie Freeman David & Ann Frick Jenny & Tom Froehle Ron & Kathy Gifford Nadine & Alvin Givens Susan & Charlie Golden Dave & Mary Lou Gotshall Mr. & Mrs. Jeff Griman Tom Haas Endowment Fund Benjamin Hanna Mike & Judy Harrington Michael N. Heaton Donald & Teri Hecht The Indianapolis Foundation, a CICF affiliate Aaron Henze Ann Hinson Lindsey & Tom Horan Brenda S. Horn Bill & Nancy Hunt The Indianapolis Fellows Fund, a fund of The Indianapolis Foundation

Johnson Grossnickle & Associates Rebecca King David Kleiman & Susie Jacobs John & Susan Kline Gary Knott & Colette Irwin-Knott Steve & Bev Koepper Jill & Peter Lacy Sarah & John Lechleiter Margaret Lehtinen & Dr. Lawrence Mark Elisabeth Lesem Lilly Endowment, Inc. Linnea’s Lights, LLC Hillary Martin & Rudy Bustamante Andrew & Amy Michie Amber Mills Lawren Mills & Brad Rateike David & Leslie Morgan Michael D. Moriarty Carl Nelson & Loui Lord Nelson Nicholas H. Noyes, Jr. Memorial Foundation, Inc. Jackie Nytes & Michael O’Brien Eric & Suzanne Olson OneAmerica Financial Partners Brian & Gail Payne Randy D. Pease

FRONT

and CENTER, CONT.

Front and Center is a campaign to support the long-term sustainability of the IRT. It is with deep appreciation that we thank the individuals and organizations who have committed a gift to keep the IRT Front and Center! Mel & Joan Perelman Deb & Greg Perkins Jeff Pigeon Peter & Karen Reist George & Olive Rhodes (in memoriam) Sue & Bill Ringo Richard J Roberts Kathy Sax Maggie Barrett Schlake & Joshua Schlake Jane & Fred Schlegel Wayne & Susan Schmidt

Michael & Holly Semler Mark & Gerri Shaffer Jack & Karen Shaw Simmons Family Foundation, a fund of CICF Doug Sims and Amanda Jackson Michael & Cynthia Skehan Victoria Smith & Scott Wampler Suzanne Sweeney & Todd Wiencek Randy Talley Gene & Mary Tempel Jennifer C. Turner

Jennifer & Gary Vigran Amy Waggoner Cheryl & Ray Waldman Rosalind Webb & Duard Ballard Carol Weiss Alan & Elizabeth Whaley David P. Whitman & Donna L. Reynolds Heather & Andy Wilson John & Margaret Wilson

IRT STAGE DOOR RESTAURANTS

DISCOUNTS FOR OUR SEASON TICKET HOLDERS

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