IRTLIVE.COM | 317.635.5252 Artwork detail by Kyle Ragsdale and Tasha Beckwith SHARE YOUR REVIEW & TAG US ON SOCIAL MEDIA @IRTLIVE! STAGE 2022-2023DOORSEASON Jessica SensibilitySwaleJaneAusten’sandSenseadaptedby ONEAMERICA MAINSTAGE SEPTEMBER 14 — OCTOBER 9 Lady TheChinesebyLloydSuh UPPERSTAGE OCTOBER 11 — NOVEMBER 6
The spirit of giving is strong at OneAmerica®. A community leader since our inception, we proudly support organizations, like the Indiana Repertory Theatre, that make a difference. OneAmerica is pleased to have further extended our support of the IRT. Our community commitment focuses on strategically investing in education; workforce development; community safety, wellness and success; and community vibrancy.
Community Engagement That’s Built to Last
Building a better future together
Visit OneAmerica.com to learn more about our involvement with local nonprofits.
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As a legacy supporter of IRT, OneAmerica is proud our sponsorship ranks among the longest running in theatre nationwide. We celebrate IRT as champions of imagination, innovation and inspiration, and we sincerely hope you enjoy their 2022-2023 season. —Scott Davison Chairman, President and CEO OneAmerica,2022-2023seasonsponsor ONEAMERICA | 2022-2023 SEASON SPONSOR Behind every strong performance is a multidisciplinary team. Who do you have backstage? Our highly credentialed team includes specialists in tax, financial planning, investment analysis, divorce and other areas of financial management. 600 East 96th Street, Suite 130, Indianapolis, IN 46240 P: 317.663.5600 | TF: 877.663.5601 | F: 317.663.5610 Spectrum-mgmt.com A STANDING OVATION TO ARTISTIC EXPRESSION
The Indiana Repertory Theatre will welcome the whole community, becoming a place of belonging for an ever-expanding audience of all ages and backgrounds seeking meaningful and enjoyable 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 the largest non-profit theatre in the state of Indiana, IRT’s goal is to help make Indiana a dynamic home of cultural expression, economic vitality, and a diverse and engaged citizenry.
• To ensure institutional longevity, we continue to grow our endowment fund as a resource for future development.
AS AN INSTITUTION, WE VALUE...
• We acknowledge our history of privilege as a predominantly White institution as an initial and necessary step toward effectively supporting the dismantling of systems of oppression.
• Producing diverse plays, we strive to provide insight and celebrate human relationships through the unique vision of the playwright.
SUSTAINING A PROFESSIONAL, RESPECTFUL, INCLUSIVE, & CREATIVE ATMOSPHERE
MISSION
MISSION
• Employing professional artists of the highest quality, we nurture an environment that allows them to grow and thrive on our stages and in our communities.
53 CONTENTS 3................................................Mission & Values 4..................Land & Building Acknowledgment 5.................................................................Profile 7 ....................................................................IDEA 8 ........................................................Leadership 12 ..................................................................Staff 14 ...........................................Board of Directors 20......................................Sense and Sensibility 26.......Company Bios for Sense and Sensibility 36.................................................IRT—The 1970s 38............................................The Chinese Lady 44.............Company Bios for The Chinese Lady 47 ....................Donor Listing REVIEWS! FACEBOOK/TWITTER: @irtlive EMAIL: reviews@irtlive.com CONTACT US TICKETIRTLIVE.COMOFFICE: 317.635.5252 ADMIN OFFICES: 317.635.5277 140 W. Washington Street Indianapolis, IN 46204 PHOTO POLICY 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.
• We foster a creative environment where arts, education, corporate, civic, and cultural organizations collaborate to benefit our community.
• Our community thrives when diverse voices and peoples gather to make, watch, and support theatre.
• It is our responsibility as a community resource to open our doors wide, welcoming all to our high-quality, relevant art.
• To be an anti-racist organization we must seek knowledge and understanding to identify discriminatory practices and increase cultural awareness in collaboration with, and learning directly from, BIPOC, Lesbian, Gay, Bisexual, Transgender, Queer, Intersex (LGBTQI+), functionally diverse, and other historically excluded communities.
OUR & VISION
Rooted in the heart of Indiana, Indiana Repertory Theatre is committed to building a vital, vibrant, and informed community through the transformational power of live theatre. The Indiana Repertory Theatre produces inclusive, top-quality, professional theatre and community programming to engage, surprise, challenge, and entertain members of the whole community.
• Fiscal responsibility and financial security fuel our institutional sustainability.
• As a public-benefit organization, we focus on community service, artistic integrity, and creating a range of ticket prices that allow all segments of our community to attend.
BUILDING INCLUSION, DIVERSITY, EQUITY, AND ACCESS (IDEA)
PRUDENT STEWARDSHIP OF OUR RESOURCES
VISION
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Every community owes its existence and vitality to generations from around the world who contributed their hopes, dreams, and energy to making the history that led to this moment. Some were brought here or removed from here against their will, some were drawn to leave their distant homes in hope of a better life, and some have lived on this land for more generations than can be counted. Acknowledgment of the land which the IRT now occupies is critical to building mutual respect and connection across all barriers of heritage.
We want to acknowledge that what we now call Indiana is on the ancestral lands of many indigenous peoples including the Miami, Piankashaw, Wea, Potawatomi, Kickapoo, Delaware, and Shawnee. We pay respects to their elders past and present. Please take a moment to consider the many legacies of displacement, migration, violence, and settlement that bring us together here today.
We honor and respect all those who have faced discrimination and harm in this building. We strive every day to make the IRT a place that welcomes all people.
ACKNOWLEDGING THE LAND
ACKNOWLEDGING OUR BUILDING’S HISTORY
This land acknowledgment was created in collaboration with Scott Shoemaker, PhD (Miami Tribe of Oklahoma). Portions of this acknowledgment come from the U.S. Department of Arts and Culture (usdac.us).
The Indiana Repertory Theatre moved to its current site on Washington Street in 1980, renovating and reopening a building that had been shuttered for nearly a decade.
The historic Indiana Theatre was built in 1927, a time when the shameful practice of racial segregation was the standard in movie theatres and public buildings across the United States. The Indiana Theatre building was originally segregated and at some point in its history this practice ceased. Many Indiana residents and their families’ heritage stories recall being treated as less than equal citizens in this building, with some even being barred from entering. We cannot erase this history.
The IRT remains the largest fully professional resident not-forprofit theatre in the state, providing 100,000 live professional theatre experiences for its audience in a typical season. The Theatre regularly serves thousands of students from more than half of Indiana’s 92 counties, making the IRT one of the most youth-oriented professional theatres in the country. A staff of year-round employees creates seven productions exclusively for Indiana audiences. Actors, directors, and designers are members of professional stage unions.
The OneAmerica Season includes six productions from classical to contemporary, including the INclusion Series.
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To keep ticket prices and services affordable for the entire com munity, the IRT operates as a not-for-profit organization, deriving more than 50% of its operating income from contributions. The theatre is generously supported by foundations, corporations, and individuals, an investment which recognizes the IRT’s mission-based commitment to serving Central Indiana with top-quality theatrical fare.
Meet the Artists Regularly scheduled pre-show chats and post-show discussions offer audiences unique insights into each production.
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. Please email Jacob Lang, House Manager, at jlang@irtlive.com or call 317.916.4872 for more information.
Young Playwrights in Process The IRT offers Young Playwrights in Process (YPiP), a playwriting contest and workshop for Indiana middle and high school students.
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 Indi ana Theatre, which was renovated to contain three performance spaces (OneAmerica Stage, Upperstage, and Cabaret) and work spaces, reviving this historic downtown entertainment site.
PROGRAMS
The Indiana Repertory Theatre was founded in 1972 by Ben Mordecai, Greg Poggi, and Ed Stern. Since then, 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.
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.
HISTORY
Opportunities The IRT depends on the generous donation of time and energy by volunteer ushers; please email Jacob Lang, House Manager, at jlang@irtlive.com or call 317.916.4872 to learn how you can become involved.
Student Matinees The IRT continues a long-time commitment to stu dent audiences with live school-day student matinee performances of all IRT productions. This season, A Christmas Carol will also be available to schools for streaming. These performances are augmented with educational activities and curriculum support materials.
INDIANA REPERTORY THEATRE PROFILE
Classes From creative dramatics to audition workshops to Shakespeare seminars, the IRT offers a wide array of personal learning opportu nities for all ages, including our Summer Conservatory for Youth. Call 317.916.4842 for further information.
4 EQUITY IS JUSTICE. EQUITY IS ECONOMIC OPPORTUNITY. EQUITY BENEFITS US ALL. 317.634.2423 CICF.org BECOME AN EQUITY PARTNER Learn more at CICF.org/equity JOIN THE MOVEMENT TO BUILD A COMMUNITYSTRONGERFORALL
• Our community thrives when diverse voices and peoples gather to make, watch, and support theatre.
• We must acknowledge our history of privilege as a predominantly White institution in order to effectively support dismantling systems of oppression.
COMMITMENTS
INCLUSION, DIVERSITY, EQUITY, AND ACCESS (IDEA)
• It is our responsibility as a community resource to open our doors wide, welcoming all to our high-quality, relevant art.
We strive to celebrate and serve the diverse people and cultures that make up our whole community. The IRT is committed to providing access for all; to creating and maintaining an anti-racist theatre that is inclusive, safe, and Whetherrespectful.youhave
Murder on the Orient Express.PhotobyZachRosing.
INDIANA REPERTORY THEATRE: WELCOMING THE WHOLE COMMUNITY
• In order to be an anti-racist and inclusive organization we must seek knowledge and understanding to identify discriminatory practices and increase cultural awareness in collaboration with, and learning directly from, BIPOC, Lesbian, Gay, Bisexual, Transgender, Queer, Intersex (LGBTQI+), functionally diverse, and other historically excluded communities.
• We will deepen our Inclusion, Diversity, Equity, and Access (IDEA) training for all board and staff.
• We will be accessible to all audiences, inviting those who have been unheard or unseen in the past, including people with disabilities, BIPOC, LGBTQI+, and under-resourced communities.
• We will represent and engage the diverse people, cultures, and communities of Central Indiana.
• We will employ more people of color and foster an inclusive culture of artists, staff, board, and vendors.
VALUES
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been coming for years or are here for the first time—welcome to your Theatre!
If you would like to read more about our Inclusion, Diversity, Equity, and Access (IDEA) work, go to irtlive.com/about/idea.
KatieBradley,AndrewMay,andGavinLaweranceintheIRT’s2020productionofAgathaChristie’s
Janet is a member of the Indianapolis Woman’s Club, the Gathering, and Congregation Beth-El Zedeck. She lives with her husband, Joel Grynheim, and a lovely canine mutt, in a downtown house built in 1855. They enjoy following the adventures of their three adult children and their grandchild, who are thriving on various continents.
Among the memorable productions Janet has directed on the IRT’s stages are TheGlassMenagerie (1999), Ah! Wilderness (2002), The DrawerBoy (2004), James Still’s The House That Jack Built (2012 & 2021), ToKillaMockingbird (2016), LookingOverthePresident’s Shoulder (2008 & 2017), TheDiaryofAnneFrank (2011 & 2018), and Cyrano (2021). This season she directs A Christmas Carol Janet’s leadership skills and community service have been recognized by the Network of Women in Business–IBJ’s “Influen tial Women in Business” Award, a Distinguished Hoosier Award
DavidAlanAndersonandBrianAnthonyWilsonintheIRT’s2022productionof The Reclamation of Madison Hemings.PhotobyZachRosing. 8
During Janet’s tenure, the IRT has significantly diversified its services to both adults and children, and solidified its reputation as a top-flight regional theatre dedicated to diverse program ming and production quality. Janet’s passion for nurturing playwrights has led to a fruitful relationship with James Still, the IRT’s playwright-in-residence for 25 years, and the creation of the Indiana Series—plays that examine Hoosier and Midwestern place-making. Her work 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.
Creating world-class professional theatre for Central Indiana audiences of all ages has remained a career-long passion for Janet Allen. After nearly 40 years of service, Janet will retire at the end of this, IRT’s 50th anniversary season, with gratitude for all the artists, audiences, administrators, and artisans who have delighted her over the years.
conferred by Governor Frank O’Bannon, Girls Inc.’s Touchstone Award for Arts Leadership, and the Indiana Commission on Women’s Torchbearer Award. She is a proud alum of the Stan ley K. Lacy Leadership Program (Class XIX) and a 2013-2014 Indy Arts Council Creative Renewal Arts Fellow. She is a member of two honorary gatherings in the America Theatre: the College of Fellows of the American Theatre, and the National Theatre Conference. In 2017 she was named an Indiana Living Legend by the Indiana Historical Society. In August 2022, she was honored with a May Wright Sewall Leadership Award by the Indianapolis Propylaeum.
LEADERSHIP:
JANET ALLEN Margot Lacy Eccles Artistic Director
MARGOT LACY ECCLES WAS A LEADING PHILANTHROPIC SUPPORTER OF THE ARTS AND HUMANITIES. THE INDIANA REPERTORY THEATRE CHERISHES ITS HISTORY WITH MRS. ECCLES AS A SUBSCRIBER, BOARD MEMBER, DONOR, AND CHAMPION OF OUR ORGANIZATION IN BOTH ITS EDUCATIONAL AND ARTISTIC LEADERSHIP. IN RECOGNITION OF MRS. ECCLES’S LEGACY AS BENEFACTOR AND ADVISOR, THE INDIANA REPERTORY THEATRE IS PROUD TO HAVE NAMED ITS ARTISTIC DIRECTOR POSITION THE MARGOT LACY ECCLES ARTISTIC DIRECTOR.
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 three years, and a past treasurer of IndyFringe.
During her tenure, the Theatre has secured a long-term lease for the building with the City of Indianapolis and renovated the Upperstage Lobby and restrooms. In June 2020 the Theatre surpassed its $18.5 million goal for its Front and Center campaign, raising $20 million.
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 the Old Northside with her 19-year-old son, Jackson, and their foxhound rescue dog, Gertie, and spends some of her downtime in Palatine, Illinois, with her partner, Todd Wiencek.
AllisonBuckintheIRT’s2022productionof The Paper Dreams of Harry Chin.PhotobyZachRosing. 9
LEADERSHIP: SUZANNE SWEENEY Managing Director
Suzanne is a graduate of the College of William & Mary (un dergraduate) 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,
Suzanne is a 24-year veteran of the IRT and is proud to work alongside her mentor and friend, Janet Allen, as co-CEO of the Theatre. Suzanne oversees all of the administrative functions of the organization, including marketing, fundraising, ticket office, house management, finance, human resources, infor mation technology, and building operations.
Suzanne was elected Treasurer of the League of Resident Theatres, a nationwide association of regional theatres, and she serves as a member of their board of directors. In 2021 and 2016, she was honored to serve as a panelist for Shakespeare in American Communities in cooperation with Arts Midwest.
LEADERSHIP:
JAMES STILL Playwright-in-Residence
IN 2017, SARAH & JOHN LECHLEITER CREATED THE JAMES STILL PLAYWRIGHT-IN-RESIDENCE FUND, PROVIDING SUPPORT FOR THE PLAYWRIGHT-IN-RESIDENCE AS WELL AS THE CREATION OF NEW WORK FOR THE IRT.
James is a 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 Eugene and Marilyn Glick Indiana Authors Award for drama for The Jack Plays, the Todd McNerney New Play Prize from the Spoleto Festival, the William Inge Festival’s Otis Guernsey New Voices Award, and the Orlin Corey Medallion from the Children’s Theatre Foundation of America. His plays have been nominated four times for the Pulitzer Prize, and have been developed at Robert Redford’s Sundance, the New Harmony Project, Eugene O’Neill Playwrights Conference, Seven Devils Playwrights Conference, Colorado New Play Summit, the Lark, Launch Pad at UC–Santa Barbara, Telluride
RobJohansen,QuintinGildon,andJenniferJohansenintheIRT’s2021productionof A Christmas Carol directedbyJamesStill.PhotobyZachRosing.
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During his 25 years as playwright-in-residence, IRT audiences have seen all three plays in James’s “Jack Plays” trilogy (The House That Jack Built, Appoggiatura, and Miranda), as well as Looking Over the President’s Shoulder; And Then They Came for Me: Remembering the World of Anne Frank; Amber Waves; The Little Choo-Choo That Thinks She Can; 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; Interpret ing William; Iron Kisses; The Gentleman from Indiana; Searching for Eden; He Held Me Grand, and The Secret History of the Future. James has directed many productions at the IRT, including A Christmas Carol, Twelve Angry Men, A Doll’s House Part 2, The Originalist, Dial “M” for Murder, The Mystery of Irma Vep, Red, Other Desert Cities, God of Carnage, Becky’s New Car, Rabbit Hole, and Doubt. This season he directs Oedipus
Playwright’s Festival, New Visions/New Voices, and Fresh Ink. Three of his plays have received the Distinguished Play Award from the American Alliance for Theatre & Education. James’s work has been produced throughout the United States, Canada, China, Japan, Europe, South Africa, Australia, and New Zealand.
Current projects include his new plays TheCratchits(inAmerica), PlaysaboutLonging,(A)NewWorld,Dinosaur(s),JoyWavestoYoufromaDistance,andnewplayscommissionedbyPrisonPerformingArts(St.Louis)andAmericanBlues(Chicago).JamesalsoworksintelevisionandfilmandhasbeennominatedforfiveEmmysandaTelevisionCriticsAssociationAward;hehastwicebeenafinalistfortheHumanitasPrize.HewrotetheshortfilmACityofStoriescommissionedbytheNewHarmonyProjectandrecentlyfeaturedintheHeartlandFilmFestival’sIndyShorts.JameswasaproducerandheadwriterfortheTLCseriesPAZ,theheadwriterforMauriceSendak’sLittleBear,andwriterfortheBillCosbyseriesLittleBill.HewroteTheLittleBearMovieandTheMiffyMovieaswellasthefeaturefilmTheVelocityofGary.JamesgrewupinKansasandlivesinLosAngeles.
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Ben is the recipient of a Theatre Communications Group Leadership University Award funded by the Andrew W. Mellon Foundation. The award supported his artistic men torship at the Children’s Theatre Company in Minneapolis, the nation’s largest theatre for young audiences. Prior
LEADERSHIP:
Ben is thrilled to be in his sixth season at Indiana Repertory Theatre, where he has directed Fahrenheit 451, The Book Club Play, Tuesdays with Morrie, This Wonderful Life, A Christmas Carol, The Little Choo-Choo That Thinks She Can, Elephant & Piggie’s “We Are in a Play!,” and The Town Mouse and the Country Mouse. This season he directs Clue. As associate artistic director, Ben manages casting both locally and nationally, helps guide education and community programming, and connects IRT to new artists and ideas. Dedicated to eradicating systems of oppression, he is an advocate for creating and maintaining an anti-racist culture that breaks down historical barriers of access to the theatre. Along with Sarah Bellamy, IRT’s Equity Consultant, he guides IRT’s work to develop thoughtful, sustainable Inclusion, Diversity, Equity, and Access initiatives.
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. 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.
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.
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 accomplish ments 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.
AmirAbdullahandHenryWoroniczintheIRT’s2022productionof Fahrenheit 451 directedbyBenjaminHanna.PhotobyZachRosing.
Ben holds a degree in theatre arts from the University of Minne sota 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 favorite audience: his five nieces and nephews.
LeadIndividualInstitutionalPlaywright-in-ResidenceGeneralResidentCompanyProductionOfficeManagingAllenDirectorSuzanneSweeneyAdministratorArianaFisherManagerMaliaArgüelloAssociateArtisticDirectorBenjaminHannaManagerHillaryMartinDramaturgRichardJRobertsManagerJaneRobisonJamesStillDevelopmentSystemsBradyClarkGivingManagerEricJ.OlsonGivingManagerKaySwank-HerzogDirectorofDevelopmentJenniferTurnerDraperEricaAndersonFirstHandEmilyCalendario-RosaCostumeDirectorGuyClarkDraperHeatherHirvelaCostumer/FirstHandNiamhLangfittWardrobeSupervisorRebeccaReyes
Tessitura Administrator
Molly Wible Sweets
Assistant Properties Shop Manager
Education Coordinator Anna E.
Margot Lacy Eccles Artistic Director
Associate Director of Marketing Kerry DesignBarmann&Communications Specialist Geneva DirectorDenney-MooreofMarketing& Sales
Audience Development Manager Megan GraphicEbbeskotteDesignerNoelaniLangilleLeadElectricianKathrynBurkeMasterElectricianBethA.NuzumElectricianKevinShannon
Janet
TicketHouseHousekeepingBuildingChargeBusinessPayrollDirectorBarnettofFinanceJeffreyBledsoe&BenefitsSpecialistJenCarpenterManagerKarenChapmanScenicArtistClaireDanaScenicArtistJimSchumacherScenicArtistJackiWalburnManagerDameonCooperRogerCunninghamManagerJacobLangOfficeManagerCourtneyPlummer
Madelaine Foster Properties Shop Manager
Eric Wilburn
Assistant Ticket Office Manager
Danielle M. Dove
12 INDIANA REPERTORY THEATRE STAFF
Rachelle GroupAssistantStageAudioResidentLeadStageAutomationCarpentersPropertiesMartinArtisanAbigailStuckeyWonJunBrendonChoiSamantha-RaeOliverTechnicalDirectorChrisFrettsCarpenterNickKilgoreOperationsSupervisorFaithSeltzerMasterCarpenterDavidSherrillAudioEngineerBrittanyHaythSoundDesignerToddMackReischmanVideoEngineerKieranShayManagersNathanGarrisonErinRobson-SmithMattShivesStageManagerBeckyRoeberProductionAssistantsIsabellaGarzaAndreaHaskettCoreyHollingerSamStuckySales&TeleservicesManagerDougSims
INDIANA REPERTORY THEATRE STAFF Assistant House Managers Pat CustomerBartendersKatyKarenKathyPhoebeJeffDiannaEmilyAliciaSarahMarilynChristineDieterPrestonStacyGraceBebeeBranamBrownDildineFinnGordonHatcherJamesMcClendonMcKenzieMosedalePigeonRodgersSaxSipesThompsonCherylStatzerTinaWeaverService Representatives Ashlee Lancaster Cara Wilson Lee PaulRobinTaraEdmundsonParchmanReidDrewExternalAuditorsCroweHorwathLegalCounselFaegreDrinker
Rob Johansen in the IRT’s 2021 production of A Christmas Carol. Photo by Zach Rosing.
Welcome to the Indiana Repertory Theatre’s 50th Anniversary Season! From its first eight seasons at the historic Athenaeum through the last four decades in the beautiful Indiana Theatre, the IRT has been an important part of the cultural fabric of Indianapolis.
The Basement
Oxford Financial Group, Ltd. Susan O. Ringo Community Volunteer
L. Alan Whaley
E. Kirk McKinney Jr. (in memoriam) Richard O. Morris* (in memoriam) Jane WilliamJackJerryWayneSchlegel*SchmidtSemler*Shaw*E.Smith III*
Laurie Dippold KAR Auction Services, Inc.
Barnes & Thornburg LLP
Jill Lacy
Tom Froehle* Faegre Drinker
Nadine Givens* PNC Wealth Management
Dan Emerson* Indianapolis Colts
Brian Payne Central CommunityIndianaFoundation
– Mark E. Shaffer, IRT Board Chair
The Lacy Foundation
Ricardo L. Guimarães Indiana University Kelley School of Business
Tammara D. Avant American Electric Power
Robert Anker* Rollin MichaelJamesDaleBerkleyDickDuck*Duncan*W.FreemanLeeGradison* (in memoriam)
Peter Racher Plews RacherShadley&Braun LLP
Darshan Shah BioCrossroads
Eugene R. Tempel* David Whitman*
VICE CHAIR & CHAIR ELECT
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KPMG LLP
Shelly Smith Ernst & Young LLP
Michael Moriarty
Alan Mills
SECRETARY
Eli Lilly & Company, Retired Michael N. Heaton Katz Sapper & Miller
Mark Shaffer
Joy Kleinmaier
BOARD OF DIRECTORS
David Kleiman*
Ice Miller LLP, Retired
Holt Hedrick Calumet ProductsSpecialtyPartners, L.P.
Brenda Horn Ice Miller LLP, Retired Rebecca Hutton Leadership Indianapolis Lauren James Mitch Daniels Leadership Foundation
Sue Smith Community Volunteer Amy Waggoner Salesforce
Frost Brown Todd, Retired
The last two years have been among the most challenging in our history, as they have been for everyone. We are very excited to welcome you in person for our 50-year celebration! Great theatre sparks conversations, thoughtful questions, and ideas that reflect on and enlighten 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.
Kathryn Beiser Eli Lilly & Company
Myra C. Selby Ice Miller LLP
Detra Mills
TREASURER
Julian Harrell Faegre Drinker
CHAIR
American Specialty Health
Michael P. Dinius Noble Consulting Services, Inc.
I am very grateful for the hard work, dedication, and adaptability of our staff, continuing to bring theatre to our audience in these extraordinary times. We are blessed with amazing leadership and talent. I also want to give a special thank you to all our patrons and partners for their loyal and tireless support, ensuring the IRT’s future for generations to come.
Andrew Michie OneAmerica Financial Partners, Inc.
Elisha Modisett Kemp Corteva Agriscience
Troy D. Farmer FORVIS
OFFICERSBOARDMEMBERSEMERITUS
Margie Herald David Klapper
Ashley Garry Roche Diagnostics
Ron Gifford RDG Strategies LLC
Sarah Lechleiter
Peter N. Reist
On behalf of the Board of Directors, I thank you for joining us for this golden anniversary season—one which will inspire and entertain.
PASTIMMEDIATECHAIR
Mike Harrington
This ad was not paid for by customer rates. This season, there are a few things you can do at home to conserve water in a major way. Make smart choices and use water wisely to save on your bill. • Turn off the faucet while brushing your teeth, shaving or doing dishes. • Install water-saving fixtures and appliances. • Check toilets, faucets and pipes for leaks. Find more water-related, money-saving tips at CitizensEnergyGroup.com/WaterWise. Saving Water Shouldn’t Be a Big Production.
Make your license plate purchase count. Purchasing an Arts Trust License Plate contributes to an established endowment and, along with funds from the Indiana General Assembly, supports arts projects across the state. Arts and creativity make us stronger –as families,individuals,communities,andasastate.www.arts.in.gov CELEBRATE THE ARTS INDIANA 08-1021 arts4u Pictured Arts Trust License Plate Project: Early Learning Indiana, Marion County
HELP BRING THE CLASSROOM TO LIFE FOR STUDENTS ACROSS THE STATE THROUGH LIVE THEATRE! Experiencing a world class, professional, IRT production at a young age inspires creative thinking, teaches important social skills about emotional cognition, and increases tolerance for others. Your gift to the Alan & Linda Cohen Education Fund will provide students experiences that embolden, empower, and enrich their education and growth. FOR MORE INFORMATION ABOUT SUPPORTING STUDENT MATINEES Contact Kay Swank-Herzog: kswankherzog@irtlive.com | 317.916.4830
GIVE THE GIFT OF THEATRE TO FUTURE GENERATIONS! Legacy giving is a simple and impactful way to ensure the live theatre you cherish lives on. Making a gift through your financial or estate plans can be very simple—as easy as changing your life insurance or retirement beneficiaries to include the IRT. “We made sure to establish a planned gift for the IRT, because we want our grandkids and future generations to experience the same love of world-class theatre we have.” Gene & Mary Tempel, long time IRT supporters For more information on how you can create your legacy with the IRT or to let us know you have included the IRT in your estate plans, Contact Jennifer Turner, Director of Development: jturner@irtlive.com | 317.916.4835 20221988 Giving a legacy gift to the IRT will give you benefits that you can enjoy now as a member of the Ovation Society as well as make a lasting impact on the IRT and the community it serves!
Outdoor opera, a Black fine art fair, suffragette theater, Jerry Garcia’s guitar, Brahms’ piano, ghostly art, a “Send Nudes” art exhibition—and much, much more. Discover fun & unexpected things to do this season by visiting our curated calendar of events at Explore.IndyArts.org.
Fall in love with Indy arts.
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Lighting Designer DAWN CHIANG
_____________________________
Fight Choreographer
PARTNERS 20 Jessica SensibilitySwaleJaneAusten’sandSenseadaptedby
SEASON 2022-2023
MICHAEL KECK
ARTISTIC
Stage Manager
SEASON SUPPORT
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Dramaturg & Assistant Director
Director PETER AMSTER
TRACY DORMAN
LERALDO ANZALDUA
NATHAN GARRISON Assistant Stage Manager BECKY ROEBER Casting CLAIRE SIMON CSA
PHOTO CREDIT (SET ONLY):
Costume Designer
ONEAMERICA MAINSTAGE SEPTEMBER 14 – OCTOBER 9 SEASON
REVIEWS!
Projections Designer MIKE TUTAJ
ARTS
making the arts happen
RICHARD J ROBERTS
SCENIC DESIGNER: Regina García
Scenic Designer ANN SHEFFIELD
SEASON PARTNER
Composer
Dialect Coach CONNIE DEVEER
LIGHTING DESIGNER: Jaymi Lee Smith SPONSOR
Intimacy Consultant CLAIRE WILCHER
Thomas_________________________ RON E. RAINS*
Understudies: Kelsey Leigh Miller, Akili Ni Mali, Miranda Schnurpel, Scott Van Wye
Edward Ferrars__________________ CASEY HOEKSTRA*
Lucy Steele _______________________ CAROLINE CHU*
THE SETTINGCAST
ACKNOWLEDGMENTS
Mr. Thomas Palmer________________ CASEY HOEKSTRA*
Mrs. Jennings___________________ PRISCILLA LINDSAY*
Mrs. Charlotte Palmer________________ DEVAN MATHIAS
Miss Sophia Grey___________________ DEVAN MATHIAS
John Willoughby __________________ NATE SANTANA*
Wig Design: Kelly Yurko
Elinor Dashwood __________________ HELEN JOO LEE* Mrs. Dashwood _______________ ELIZABETH LAIDLAW* Margaret Dashwood _______________ CLAIRE KASHMAN Marianne Dashwood _______ CEREYNA JADE BOUGOUNEAU* Fanny Dashwood _________________ DEVAN MATHIAS
The early 1800s. Sussex, Devonshire, & London.
Sense and Sensibility is licensed through Concord Theatricals.
Sir John Middleton __________________ RON E. RAINS*
Doctor__________________________ RON E. RAINS*
Colonel Brandon ________________ LA SHAWN BANKS*
Robert Ferrars___________________ CASEY HOEKSTRA*
Servants, Passersby, Guests _____________ THE COMPANY
APPROXIMATE RUN TIME: 2 hours and 45 minutes with an intermission. (in order of speaking)
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JANET ALLEN Margot Lacy Eccles Artistic Director
Assistant Lighting Designer: Caitlin Brown
SUZANNE SWEENEY Managing Director
John Dashwood ___________________ RON E. RAINS*
Mr. Perks ________________________ RON E. RAINS*
Gossips _________________________ CAROLINE CHU* DEVAN MATHIAS
Original artwork by Kyle Ragsdale
*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. Scenic, costume, lighting, sound, and projection designers in LORT Theatres are represented by United Scenic Artists Local 829, IATSE.
Photography and recording are forbidden in the theatre. The videotaping of this production is a violation of United States Copyright Law and an actionable Federal Offense.
Furthermore, Elinor and Marianne cannot think only of their own marriage prospects, but also of the financial needs of their mother and their adolescent sister, who must be cared for by their prospective husbands. Elinor, with her good sense, and Marianne, with her extravagant sensibility, must think not as individuals, but as a family. As in all good comedies, the progress of the story is the progress toward meeting in the middle, learning from one another, and finding joy and security on their own terms, with men who prize them for their strengths and accomplishments.
22 PriscillaLindsay&CarreyCannonintheIRT’s2004productionof Pride and Prejudice.
Our contemporary craze for Austen began with the publication of a first biography by her nephew in 1870, more than 50 years after her unheralded death. That enthusiasm has built steadily in the ensuing decades, through multiple stage, film, and TV adaptations of her novels. The “Me Too” movement has sparked its own brand of Austen celebration, focused on how her female characters move forthrightly into the forefront of decision making. Currently our Austen delight is lifted by two extraordinarily popular TV series: Sanditon (Prime), an adaptation of her final, unfinished novel; and Bridgerton (Netflix), which is set in the same period and relies heavily on Austen’s milieu for its success. We have the pandemic to thank for these two series, which drew innovation in story-telling and racially diverse casting from TV and film makers while filling the need for home-based entertainment for audiences. We are pleased to draw on this new Austen surge in the making of this production Sense and Sensibility.
Welcome to IRT’s 50th season! We are starting in much-loved story-telling territory: a magnificent adaptation of Jane Austen’s classic novel, Sense and Sensibility. While today Austen is beloved by many generations and many cultures, in 1811 this novel was published anonymously, crediting the book as simply “By a Lady.” This euphemism was used to protect Austen’ identity, as publishing (or any mercantile endeavor) was considered to tarnish the reputation of a lady. And besides, women had no legal ability to reap the rewards of their own financial endeavors.
friends and relations. The death of the patriarch immediately impoverishes them, throwing into stark relief the diminished potential of the three daughters as commodities in marriage.
While we tend to generalize Austen as romantic fiction, we miss a lot in doing so. Her pen, even at age 20, when she first started writing Sense and Sensibility, was actually exploring some very real gender and economic inequities of her time. The novel is fairly unflinching in characterizing the economic plight in which the Dashwood females find themselves on the death of their husband/ father. As a second wife with only female children, Mrs. Dashwood has no choice but to cede her comfortable home, possessions, and servants to her stepson, who is legal heir to the estate. Thus, she remains entirely at his whim as to any future financial security. This was so common an occurrence at the time as to go without notice. But Austen noticed it, in large part because it was so true in her own life and the lives of all the women around her. Women had status only in their relationship to men, and working outside the home ruined one’s social standing. Austen herself never married (nor did her only sister) and was entirely beholden on male relatives—first her father, and later, her brothers—for her survival. In Sense and Sensibility Austen explores the fear and the loss of stability that comes, for single women, from the death of the protecting male. The women’s allowance from the usurping stepson is insultingly meager, and they are evicted from their family home, forced to find new housing far from
In this 50th season, we are focused on reviewing the past and presaging the future, by bringing back beloved artists whose work has fueled the IRT and introducing new faces and talents to work alongside them. We are delighted to have at the directing helm Peter Amster, who has made 22 productions at IRT, including the blockbuster Pride and Prejudice in 2004. His design team includes three IRT veterans: scenic designer Ann Sheffield (20 productions), costume designer Tracy Dorman (16 productions), and composer Michael Keck (13 productions). We are also delighted to welcome back actor Priscilla Lindsay, a 35-year veteran of more than 60 IRT productions, as well as a former associate artistic director (she is on sabbatical this fall from University of Michigan). Joining them is a wealth of new talent both on the stage and behind it, backed by our equally stellar staff. We celebrate this fusion of artists, artisans, and administrators as we lift the IRT into its second half century!
Sense and Sensibility, of the three, seems like the most mature story, even though it was the first written. Two sisters, both of a marriageable age, are suddenly reduced to poverty, limiting their chances of marrying well. Each responds to the events and challenges of their lives quite differently: Elinor, the older, is more rational, more sensible, more aware of the implications of behavior in society, and more guarded emotionally. Marianne is passionate, reckless, tending toward emotional extravagance
23CarreyCannon&JasonBradleyintheIRT’s2004productionof Pride and Prejudice.
It is deeply satisfying to be back in the company of Jane Austen, especially here at IRT, where my love affair with her novels first moved from page to stage. Eighteen years ago, I directed Pride and Prejudice here and found the experience to be … well … I can’t think of a better word than joyous. That production went on to the Cleveland Play House and Northlight Theatre in Chicago, and in all of those places it held the stage, and also held the hearts of the people who came and witnessed Elizabeth Bennett and Fitzwilliam Darcy back themselves into love. Then came Emma at Cleveland Play House, where the audiences cheered when our heroine finally stopped trying to manage other people’s lives and concentrated on her own. And now … Sense and Sensibility. I feel like I won the trifecta.
and having little regard to social decorum. In some way Elinor represents Sense and Marianne Sensibility (the word’s original meaning was more closely aligned to “sensitivity” than what we now think of as being “sensible”). But Austen is too clever and too compassionate to allow either to be mere paradigms or objects of ridicule. These women are complicated, interesting, and, most important, open to the changes, the re-balancing if you will, that their journey provides. And their journey is a fraught one. They do not, like Elizabeth Bennett or Emma Woodhouse, marry the Prince. Their destinies are less fairy tale and more earthbound.
But if Sense and Sensibility is less “light, and bright, and sparkling” than Pride and Prejudice, and less charmingly inconsequential than Emma, it still provides abundant comic characterizations, displays the author’s razor-sharp wit, and reveals a storyteller in complete command of her narrative strategies. Austen’s understanding of and compassion for the plight of Elinor and Marianne might well be based on her own relationship with her sister Cassandra. But what’s important here is that the novel—written by a backyard genius who never married nor was celebrated in her lifetime—endures. And now, thanks to this splendid new adaptation by Jessica Swale, it takes the stage.
who enjoyed parties, but for someone who wrote so much of love, there was little romance in her own life. Family legend suggests that Jane’s one true love was a family friend who could not support her and left to pursue other possibilities, but there is no proof. There is also a suggestion of a brief summer romance, but the young man died. One man did propose to Jane while she was visiting his family, and she accepted; but the next day she changed her mind and left town. Cassandra seems to have burned all the letters from the time when these romances might have occurred, so to this day there is some mystery. In the end, neither sister ever married.
Jane’s first major novel, written at 20, was Elinor and Marianne. Two more followed over the next few years, FirstImpressions and Susan Like her childhood works, these were written for the entertainment of family and friends. Jane often read her works to visitors without revealing the author, in order to get their honest opinion. Like all of Jane’s mature novels, these first three books focus on small-town life and the rituals of romance and marriage.
When Jane was 25 her father retired to Bath, a resort town that was a bit too active for Jane’s taste, and her writing came near to a halt. Four years later, her father died. Jane, Cassandra, their mother, and a spinster in-law had about £210 yearly to live on—less than one quarter of their previous income. They moved around for four years, seeking affordable lodging. Then a brother who had been adopted by a wealthy family came into his inheritance, and he gave them a little house on one of his estates in Chawton near their childhood home. The return to a quiet, peaceful home and a measure of economic security allowed Jane to begin writing again.
In the peaceful serenity of Chawton, Jane wrote Mansfield Park, and it was published in 1814. Emma was published in 1815, and she wrote Persuasion in 1816. She was working on a seventh novel, Sanditon, when ill health forced her to cease. She died in 1817, age 41, probably of Addison’s disease—adrenal insufficiency—or a lymphoma such as Hodgkin’s Persuasiondisease.andNorthanger
Abbey (the revised Susan) were published shortly after Jane’s death. Again there was no name on the title pages, but now a brief note at the back of the books revealed the author’s identity. Jane Austen was buried in Winchester Cathedral, where her tombstone keeps her secret and makes no mention of her work as an author.
Despite her newfound success, Jane refused to compromise her privacy and never revealed herself as the author of her books except to her closest relatives. She wrote on small papers that looked like stationary, and whenever visitors called she hid her pages away. She preferred to live quietly and enjoy her family status as a muchbeloved maiden aunt.
Over the years Jane had revised Elinor and Marianne, and under the new title Sense and Sensibility—“by a Lady”—it was published at her own expense in 1811. Within two years she had earned £250 from the book. This success encouraged her to revise and publish First Impressions. As another book by that title had recently been published, she changed the name. PrideandPrejudicewas published in 1813 and became her most popular book during her lifetime.
24 Thishand-coloredetching,publishedin1873,isbasedontheonlyknownlifeportraitofJaneAusten,apencilsketchbyhersisterCassandra.
Jane Austen was born in 1775 in Steventon, County Hampshire, England. The daughter of a scholarly country clergyman and his accomplished wife, she had six brothers and one sister: Cassandra, three years older. Jane grew up in a small cottage where her father taught lessons to seminary students and her mother ran the family farm. The two sisters had three years of boarding school; otherwise, they were educated at home. An avid reader, Jane began writing at age 13, stories and poems and even short books. Eventually, her childhood works were collected in three volumes entitled Juvenilia
Much of what we know about Jane comes from 100 surviving letters to and from her sister, Cassandra. Jane was a sociable young woman
EXCLUSIVE BENEFITS FOR UNPARALLELED SUPPORT Celebrating our 50th season of engaging, inspiring, and entertaining ALL of Indiana! CONTINUING OUR MISSION WOULD NOT BE POSSIBLE WITHOUT YOU. PLEASE CONSIDER BECOMING A REPERTORY SOCIETY MEMBER! When you are part of the Repertory Society you are amongst our most generous supporters. Donors giving $1,500 or more each season will join this exclusive group and gain access to a wide variety of benefits that provide special access to our art and artists. REPERTORY SOCIETY BENEFITS INCLUDE: Invitation to Exclusive Special Events, Unlimited Access to Our Exclusive Donor Lounges, Discounts on Single Tickets Purchased, and MUCH MORE! FOR MORE INFORMATION OR TO JOIN THE REPERTORY SOCIETY Contact Kay Swank-Herzog, Individual Giving Manager: kswankherzog@irtlive.com | 317.916.4830
LA SHAWN BANKS | COLONEL BRANDON
CAROLINE CHU | LUCY STEELE, SERVANT, GOSSIP
Cereyna is a proud native of St. Croix where she was born and raised. She studied theatre at Loyola University and Stella Adler Conservatory of the Arts, in addition to working as an acting resident with Milwaukee Repertory Theatre in 2020. Stage credits include Romeo and Juliet, The House That Will Not Stand, and Julius Caesar “As always, I wouldn’t be here without my rock star mother and family.”
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THE COMPANY
CEREYNA JADE BOUGOUNEAU | MARIANNE DASHWOOD
La Shawn is thrilled to return to the IRT where he was last seen in Around the World in 80 Days Most recent stage credits include Choir Boy at Steppenwolf Theatre Company, A Christmas Carol at the Children’s Theatre of Madison, and Oedipus at American Players Theatre. TV credits include Shameless, Chicago PD, Veep, Better Call Saul, and Snowfall.
Casey has appeared at the IRT in TwelveAngryMen and Appoggiatura. He is based out of Chicago where he recently appeared in DearJack,DearLouise at Northlight Theatre and All’s Well That Ends Well at Chicago Shakespeare. After IRT he heads to Milwaukee to work on Who’sAfraidofVirginiaWoolf at Chamber Theatre. Other credits include And Then There Were None (Drury Lane); ExittheKing,TwelfthNight,A View fromtheBridge,DeathofaSalesman,AMidsummerNight’sDream,Arcadia (American Players Theatre); TheJungleBook (Children’s Theatre of Minneapolis); JunoandthePaycock,AMidsummerNight’sDream (Guthrie Theater). He’s an avid reader, board game enthusiast, and amateur illustrator.
Caroline is an actor from Chicago. Recent credits include Mischief Theatre’s The Play That Goes Wrong (Broadway in Chicago), Short Shakespeare! Macbeth (Chicago Shakespeare Theater), Peerless (First Floor Theater), And Then There Were None (Drury Lane), Cambodian Rock Band (Victory Gardens), CROPT (Jackalope Theatre), ColdTown/Hotline (Raven Theatre), and WANDER: Lincoln Square (Chicago Immersive). Abroad, she has appeared in Richard III, Two Gentlemen of Verona, and Love’s Labour’s Lost (Prague Shakespeare Company). Caroline is a proud company member at First Floor Theater and a graduate of Northwestern University. She is represented by Stewart Talent. “With love to the most supportive family and friends in the world!” @carolinechu
CASEY HOEKSTRA | EDWARD FERRARS, ROBERT FERRARS, THOMAS PALMER
PRISCILLA LINDSAY | MRS. JENNINGS
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Elizabeth has previously appeared at IRT in The Three Musketeers and The Crucible. In Chicago: Steppenwolf, Goodman, Court Theatre, Writer’s Theatre, Chicago Shakespeare, and many others. Regional credits: Irish Classical Theatre Company and American Repertory Theatre. Film: Henry Gamble’s Birthday Party, Into the Wake, Eastern College, Dimension, and Three Days. Television: The Red Line, NCIS, Chicago PD, Chicago Med, Crisis, Betrayal, and Boss. She was a producer, co-director, and star of the web-series TheHaven(thehavenweb.com). Elizabeth is the founding artistic director of Lakeside Shakespeare Theatre. Recent work as a stage director includes Girl in the Red Corner with Broken Nose Theatre and the workshop of Pueblo Revolt for Goodman Theatre. She is currently producing and performing in the podcast DERELICT:Fathom(fathompodcast.net).
Jessica SensibilitySwaleJaneAusten’sandSenseadaptedby
ELIZABETH LAIDLAW | MRS. DASHWOOD
From 1974 to 2010, Priscilla appeared in more than 60 productions at the IRT, including Shirley Valentine, Doubt, Death of a Salesman, Driving Miss Daisy, The Grapes of Wrath, and The Glass Menagerie; in 2014 she was in The Game’s Afoot. She directed IRT productions of To Kill a Mockingbird, Romeo and Juliet, The Miracle Worker, and many editions of A Christmas Carol. From 2010 to 2021, Priscilla was Chair of the Department of Theatre and Drama at the University of Michigan, Ann Arbor (her alma mater). There she directed Sense and Sensibility, Henry IV Part I, Three Sisters, Tartuffe, You Never Can Tell, and The Beaux’s Stratagem. In 2018 at Michigan she appeared as Linda Loman with Alec Baldwin in Death of a Salesman.
CLAIRE KASHMAN | MARGARET DASHWOOD
HELEN JOO LEE | ELINOR DASHWOOD
Helen is thrilled to make her Indiana Repertory debut and to be directed by Peter Amster again! She is a proud company member of Jackalope Theatre and has performed all over Chicago, including on Second City’s e.t.c. stage. She has been seen on television with various roles on the CW, NBC, Fox, and Showtime. A nomad at heart, she has traveled to 25 countries and has lived in Melbourne, Seoul, and Rome. “A special thank you to Mr. Roy Bogseth, whose gifted teaching led me to fall in love with Jane Austen in the first place.”
Claire is grateful for the opportunity to perform in IRT’s production of SenseandSensibility. A few of her past roles include Adella in The Little Mermaid, Rafiki in TheLionKing, and Winthrop Paroo in The Music Man. She especially loves singing, but also enjoys playing the piano and clarinet. Claire lives in Indianapolis and is a 7th grader at Saint Luke Catholic School, where she likes to play volleyball and kickball. As an avid reader, her favorite book is TheRemarkableJourneyofCoyoteSunrise. Claire appreciates spending quality time with her parents and younger sisters, Caroline and Georgia. “I would like to thank my family, the directors and the production staff, my teachers, and my voice coach, Darby.”
JESSICA SWALE | PLAYWRIGHT
RON E. RAINS | JOHN DASHWOOD, THOMAS, SIR JOHN MIDDLETON, MR. PERKS, DOCTOR
THE COMPANY
Ron is best known for his role as Peter Rosenthal, head film critic for The Onion. He makes his IRT debut with SenseandSensibility. Ron regularly works at Chicago’s premier theaters, notably appearing in the Goodman’s A Christmas Carol for 11 seasons. He’s a graduate of Seattle’s Cornish College of the Arts conservatory with a B.F.A. in Theatre and Music. Ron is a proud union member of SAG-AFTRA and Actors Equity Association. He’s represented by Gray Talent Group. ronrains.com
DEVAN MATHIAS | FANNY DASHWOOD, CHARLOTTE PALMER, SOPHIA GREY, GOSSIP
NATE SANTANA | JOHN WILLOUGHBY
Nate is excited to make his debut at IRT! He has worked with various theatres throughout Chicago including Chicago Shakespeare Theater, Northlight Theatre, Steppenwolf, TimeLine Theatre Company, First Folio, Griffin Theatre, and BoHo Theatre. He is an ensemble member with Teatro Vista and Shattered Globe Theatre. He has also worked at the Phoenix Theatre in Indianapolis. On screen, he’s worked on ChicagoMed,ChicagoPD,TheExorcist, and Suits.
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Devan is excited to return to the IRT stage after appearing in Elephant&Piggie’s“WeAreinaPlay!” and The Little Choo Choo That Thinks She Can. She is grateful to be part of the thriving arts community here in Indianapolis as both an actor and a teaching artist. Credits include productions with the Phoenix Theatre, Actors Theatre of Indiana, Beef & Boards, Zach & Zack Productions, and the Indianapolis Shakespeare Company, where she is a company member. Devan was also seen in SilentSky, the premiere production of Summit Performance Indianapolis, Indiana’s first and only woman-focused theatre company. Devan received her B.A. in Musical Theatre from Ball State University.
Jessica Swale’s first play, BlueStockings, earned her an EveningStandardMost Promising Playwright nomination. Nell Gwynntransferred from Shakespeare’s Globe to the West End, winning the Olivier Award for Best New Comedy. Jessica won a 2012 BAFTA screenwriting scholarship, and she is currently developing several film and television projects as writer and director. She founded Red Handed Theatre Company in 2005 and won the Peter Brook Empty Space Award for TheBelle’sStratagem. As director, she has worked with numerous British and Canadian theatre companies. She is an associate artist with Youth Bridge Global, using theatre as a development tool in war-torn countries. She is involved in Times Up UK and the 50:50 campaign, actively campaigning for greater equality across theatre and film.
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Peter has directed 22 productions at the IRT, including YouCan’tTakeItwithYou,Appoggiatura,FindingHome, TheGreatGatsby,TheGame’sAfoot,AMidsummerNight’sDream,The39Steps,and many more. He has been nominated five times for Chicago’s Jefferson Award. His 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.
PETER AMSTER | DIRECTOR
TRACY DORMAN | COSTUME DESIGNER
Jessica SensibilitySwaleJaneAusten’sandSenseadaptedby
Ann’s work at the IRT has included scenery for ADoll’sHousePartTwo,Red,OtherDesertCities, and more; costumes for FindingHome,OurTown, and others; and both scenic and costume designs for Doubt,Ghosts, and more. Her designs have been seen at the Laguna Playhouse, Buffalo’s Studio Arena Theatre, La Jolla Playhouse, the Goodspeed Opera House, Philadelphia’s Walnut Street Theatre, DC’s Ford’s Theatre, and many others. Ann has a long association with award-winning designer Tony Walton, assisting him on the Broadway productions of AnythingGoes,WaitingforGodot,GrandHotel, and TheWillRogersFollies. A graduate of the Yale School of Drama, Ann is head of design for the Department of Theatre and Dance at the University of California, Santa Barbara.
On Broadway Dawn designed ZootSuitand co-designed TangoPasión. Off Broadway: Manhattan Theatre Club, Roundabout Theatre: Encores! Concert Musicals, co-designer. Opera: resident lighting designer, New York City Opera. Regional: Guthrie Theater, Mark Taper Forum, Oregon Shakespeare Festival, South Coast Repertory, Syracuse Stage, Denver Center Theatre Company, Trinity Repertory Company, and many more. Awards: two Syracuse Area Live Theatre Awards, two Drama-Logue Awards. Nominations: Maharam Design Award (from American Theatre Wing), Los Angeles Drama Critics Circle Award, San Francisco Bay Area Theatre Critics Circle. Affiliations: Board of Directors for Theatre Communications Group, Themed Entertainment Association, and Behind the Scenes Foundation. Mentor for Theater Development Fund’s “Wendy Wasserstein Project” outreach program for New York City high school students.
Tracy is pleased to return to IRT where she has designed YouCan’tTakeItwithYou,Appoggiatura,TheGreatGatsby,The HoundoftheBaskervilles,and TheGame’sAfoot,among many others. She has designed at Asolo Repertory Theatre, Cincinnati Playhouse in the Park, the Cleveland Play House, Syracuse Stage, GEVA, Milwaukee Rep, Actors Theatre of Louisville, Gulfshore Playhouse, and Glimmerglass. From 2005 to 2008 she was an associate costume designer on the CBS daytime drama AstheWorldTurns, for which she won a 2007 Emmy Award for Costume Design. Tracy continues to work in TV; most recently she has worked on Law&Order-SVU(NBC), WestWorld(HBO), and TheEqualizer(CBS).
DAWN CHIANG | LIGHTING DESIGNER
ANN SHEFFIELD | SCENIC DESIGNER
Connie is a Professor of Acting, Voice, and Movement at Illinois State University. She has served as voice/ text/dialect coach for the Illinois Shakespeare Festival, Illinois State University, Texas Christian University, and the University of Iowa. She is an associate editor for the International Dialects of English Archive, an M.AmSAT certified teacher of the Alexander Technique, a certified 200 hour Pranakriya yoga teacher, a member of Actor’s Equity Association, and is the co-author of Actor for Life: How to have an amazing career without all the drama, Smith & Kraus publishers.
CONNIE DE VEER | VOICE & DIALECT COACH
MIKE TUTAJ | PROJECTIONS DESIGNER
At the IRT, Michael has composed music for AChristmasCarol,Cyrano,MurderontheOrientExpress; three productions of LookingOverthePresident’sShoulder;ARaisinintheSun;April4,1968 (in which he also acted); and many others. His music has accompanied productions at Oregon Shakespeare Festival, Milwaukee Rep, Mark Taper Forum, Arena Stage, Cincinnati Playhouse, and many others. His international credits include the Market Theatre Johannesburg South Africa, National Theater of Croatia–Zagreb, the Barbican Theatre Center, and Bristol Old Vic. Excerpts from his solo performance piece Voices in the Rain are published by Temple University Press and Alta Mira Press. He is a member of AEA, SAG–AFTRA, ASCAP, PEN, and the Dramatists Guild.
MICHAEL KECK | COMPOSER
LERALDO ANZALDUA | FIGHT CHOREOGRAPHER
THE COMPANY
At the IRT, Mike has designed projections for TheBookClubPlay,TheHoundoftheBaskervilles, and The Mountaintop. Based in Chicago, his designs have been seen and heard on the stages of the Goodman, Steppenwolf, the Chicago Symphony Orchestra, Chicago Shakespeare Theatre, Second City, Victory Gardens, Lookingglass, Writers’ Theatre, the Court Theatre, TimeLine, American Theater Company, Paramount Theatre, the Hypocrites, and many more. Off-Broadway credits include MCC Theater, p73, EnGarde Arts, and the York Theatre. Regional credits include the Alliance Theatre, Philadelphia Theatre Company, South Coast Rep, Center Stage, Syracuse Stage, and more. Mike has taught projection design in the Theatre Department of Columbia College Chicago. He is an artistic associate with TimeLine Theatre, and a member of United Scenic Artists local 829.
Leraldo is thrilled to return as fight director to IRT, where he previously directed fights for You Can’t Take it With You. Other Indianapolis credits include Phoenix Theatre and Fonseca Theatre. Previous companies outside of Indiana include Alley Theatre, Houston Grand Opera, Colorado Shakespeare Festival, Lake Tahoe Shakespeare Festival, to name a few. He has been a motion capture performer and fight director with Sony Pictures in Tokyo, Japan, and for video games in Stockholm and Uppsala, Sweden. He received a Master’s Degree in Acting from the University of Houston. He is currently an Assistant Professor of Movement and Stage Combat with the Department of Theatre, Drama, & Contemporary Dance at Indiana University.
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This is Richard’s 33rd season with the IRT, and his 25th 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 AChristmasCarol (four times), Bridge&Tunnel,TheNightWatcher,Neat,PrettyFire,TheCay,TheGiver,ThePowerofOne,and Twelfth Night. Other directing credits include Actors Theatre of Indiana (where this season he directs Violet), the Phoenix Theatre, Indianapolis Chamber Orchestra, Edyvean Repertory Theatre, Indianapolis Civic Theatre, Butler University, University of Indianapolis, Marion University, and Anderson University. Richard studied music at DePauw University and theatre at Indiana University and has been awarded a Creative Renewal Arts Fellowship from the Indy Arts Council.
CLAIRE SIMON CSA | CASTING
CLAIRE WILCHER | INTIMACY CONSULTANT
BECKY ROEBER | ASSISTANT STAGE MANAGER
Based in Chicago, Claire Simon CSA has worked with the IRT for the past 23 years on casting more than 40 productions, including MurderontheOrientExpress,TwelveAngryMen,YouCan’tTakeItWithYou,HolmesandWatson,Noises Off,Appoggiatura,TheCuriousIncidentoftheDogintheNight-Time, and many more. Other regional credits include Syracuse Stage, Asolo Theatre, Lyric Opera, Milwaukee Rep, and the Tony Award–winning MillionDollarQuartet.TV credits include Empire,Easy,Sense8,ChicagoFire,ChicagoPD,Crisis,Betrayal,Detroit1-8-7, and Boss. Film credits include Divergent,Contagion,Unexpected,ManofSteel,and SavetheLastDance.Claire has won Artios Awards for casting the pilot of Empireand for Season 1 of Fox’s PrisonBreak.
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RICHARD J ROBERTS | DRAMATURG & ASSISTANT DIRECTOR
NATHAN GARRISON | STAGE MANAGER
This is Nathan’s 27th 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.
Claire is happy to be back home in Indianapolis after earning her Master of Fine Arts in Theatre in 2021 from Michigan State University, where she specialized in acting, pedagogy, and intimacy direction. Claire is a trained professional intimacy director/choreographer with IDC Professionals (Intimacy Directors and Coordinators), where she also works as a teaching artist alongside the industry’s leading educators and practitioners, advocating for consent-based theatre spaces, bodily autonomy for actors, and safe-yet-creative storytelling. Her intimacy choreography has been seen on the stages of the Phoenix Cultural Center, Summit Performance, Marian University, Williamston Theatre in Michigan, Three Brothers Theatre in Waukegan, and Redtwist Theatre in Chicago, among others. More at clairewilcher.com
Becky is now an Indianapolis local and is a proud member of Actors’ Equity Association. This is their sixth season working at Indiana Repertory Theatre. They also serve as Production Manager for Summer Stock Stage and as Production Stage Manager for Summer Stock Stage’s young professionals branch, Eclipse. “I am proud to be a part of the Indianapolis theatre community and grateful to continue to produce theatre with the team at IRT.”
Jessica SensibilitySwaleJaneAusten’sandSenseadaptedby
ANSWERING THE WORLD’S MOST IMPORTANT QUESTION: WHAT’S FOR DINNER? Corteva Agriscience is on a mission to help nourish the world. KEEP GROWING. Corteva.2021©companies.affiliateditsandAgriscienceCortevaofTrademarks®™ LET YOUR OLD CAR GO THE EXTRA MILE! DONATE IT TO THE IRT! We will happily take it off your hands, sell it at auction, and the proceeds benefit the Theatre. And YOU can qualify for a tax deduction for your generous donation! FOR MORE INFO CONTACT Kay Swank-Herzog, Individual Giving Manager: kswankherzog@irtlive.com | 317.916.4830 WE ALSO ACCEPT: Boats | Farm Equipment | Lawn Mowers Motorcycles | Motor Homes | And More!
TELL YOUR STORY SUBMISSION DEADLINE: 9/25/2022 YOU COULD WIN $1,000 CASH! If you’re an Indiana student in grades 6-12, we want to hear from you! Whether you’re a seasoned playwright or you’ve never seen a live production, we know you have a story to tell. Maybe it’s about you, or someone you know. Maybe it’s about somewhere that doesn’t even exist yet. But its there. And we want to help you bring it to life. All submissions, workshop, and events will take place virtually so we can continue to connect students across the state. To learn more visit irtlive.com/ypip or contact Anna Barnett, Education Coordinator at 317.916.4841 or education@irtlive.com Contact Doug Sims to book your ad space today. dsims@irtlive.com | 317.925.0826
IRT’s annual fundraising event returns on Friday, February 10, 2023. Enjoy an evening of entertainment full of laughs, lyrics and all to raise money to support the plays and programs of the IRT. Mark your calendars now and stay tuned for more information! SAVE THE DATE! WANT TO KNOW MORE ABOUT HOW YOU CAN BE PART OF THE EVENT? CONTACT JENNIFER TURNER, DIRECTOR OF DEVELOPMENT AT JTURNER@IRTLIVE.COM. The cast of the IRT’s 2022 Celebrity Radio Show. Photo by Noelani Langille.
Three IU grad students—Ben Mordecai, Greg Poggi, and Ed Stern—decided, with what Poggi described as “boisterous naiveté,” to start their own theatre. And a professional resident theatre was one thing Indianapolis was missing…. Three academics with no professional theatre experience, no roots in the Midwest, and a dusty theatre space (the Athenaeum), but no money—that was a combination that could spell disaster. As Mordecai later explained, “The whole process of founding the Indiana Repertory Theatre was discovering what the questions were, discovering how to answer them, and then learning what the next question really was.”
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“Oh, my, the Athenaeum! The building was ancient even then,” actor Nicholas Hormann recalled of his Indianapolis debut there in the 1977 production of Private Lives. “Pigeons nesting in the fly gallery, dropping stuff on the piano keys. Winter drafts whistling through the building. It was January/February in Indianapolis. I shivered in a lightweight summer suit. Shivered in the wings. Shivered onstage. I remember shivering through the entire run.”
The Indianapolis News ran this blurb about The Tavern in 1976: “Where did the Indiana Repertory Theatre find all those leaves to blow through the Tavern door each time it opens to a raging storm? ‘I had 30 bags of leaves behind my garage,’ explained IRT artistic director Ed Stern after last night’s opening performance. ‘I’m thinking about having a storm show at IRT each spring to get rid of my leaves.’”
Robert Scogin and Jeremiah Sullivan in The Tavern, 1976.
IRT founders Ed Stern, Greg Poggi, and Ben Mordecai.
Greg Poggi and IRT staff install seats at the Athenaeum.
As opening night approached, they had a stage, scenery, costumes, actors—and no audience seats. By chance, the Old Brown Theatre in Louisville was undergoing renovation then and offered to donate 340 of its seats, but it gave IRT only 72 hours to remove and move them. It was a deal they couldn’t refuse. Mordecai reported that “all available personnel and friends of IRT rushed to Louisville with crowbars,” just days before the first play opened.
Nicholas Hormann and Sara Woods in Private Lives, 1977.
EXCERPTS FROM FIVE DECADES OF WONDER: INDIANA REPERTORY THEATRE BY DONNA L. REYNOLDS
The “Gala Grand Opening” of IRT occurred on October 18, 1972, with a reception to follow. The premiere performance of Charley’s Aunt was, Anne Stern recalled, pure entertainment, and the mood festive. “The food was delicious, but the same cheap Champagne was served as at every Opening Night party. I remember the guests were so excited to meet the actors and staff in person. It felt like one big family celebration.”
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Priscilla Lindsay (in her first performance at the IRT) with James Noble (later a star of TV’s Benson) in the 1974 production of Harvey.
The limitations of the IRT’s space at the Athenaeum began posing problems. A 1977 article in the Louisville Times noted: “Like so many regional theatres, IRT is caught in a vicious cycle. It doesn’t have the money or the reputation yet to compete for better actors. Most of its shows play to large, near-capacity audiences. But since it is housed in a 396-seat theatre, its audience growth is limited. IRT can’t make any great artistic leap forward until it has a larger audience and a larger budget.… Within the next three or four seasons, Edward Stern and Benjamin Mordecai hope to move IRT into a permanent home in one of the large downtown movie palaces. Once there, they feel new surroundings and civic pride will inspire greater attendance and a larger budget.”
The cast of Charley’s Aunt, 1972.
ARTISTIC REVIEWS! Share your review on social media by tagging us at @IRTLIVE, using #IRTLIVE or by emailing REVIEWS@IRTLIVE.COM PHOTO CREDIT (SET ONLY): SCENIC DESIGNER: JUNGHYUN GEORGIA LEE LIGHTING DESIGNER: OLIVER WASON UPPERSTAGE OCTOBER 11 – NOVEMBER 6 SEASON SPONSOR SEASON INCLUSIONPARTNERSERIESLEADPARTNER ARTS PARTNERS 38 Lady TheChinesebyLloydSuh Director _____________________________ RALPH B. PEÑA Scenic Designer JUNGHYUN GEORGIA LEE Costume Designer LINDA CHO Lighting Designer OLIVER WASON Composer FABIAN OBISPO Dramaturg RICHARD J ROBERTS Stage Manager MATT SHIVES SEASON 2022-2023 making the arts happen SEASON SUPPORT
Atung ___________________________ TRIEU TRAN
Understudies: Caroline Chu and Sean Qiu
SUZANNE SWEENEY Managing Director
Artwork detail by Tasha Beckwith
APPROXIMATE RUN TIME: 1 hour and 30 minutes (in order of speaking)
SETTING
The United States, beginning in 1834.
The Chinese Lady is presented by special arrangement with Dramatists Play Service, Inc., New York.
THE CAST
ACKNOWLEDGMENTS
Afong Moy __________________________ MI KANG
Co-world premiere presented at Barrington Stage; Julianne Boyd, Artistic Director; Branden Huldeen, Artistic Producer; Pittsfield, Massachusetts, July 2018.
JANET ALLEN Margot Lacy Eccles Artistic Director
Actors and stage managers in this production 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. Scenic, costume, lighting, and sound designers in LORT Theatres are represented by United Scenic Artists Local 829, IATSE. Photography and recording are forbidden in the theatre. The videotaping of this production is a violation of United States Copyright Law and an actionable Federal Offense.
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Commissioned by and co-world premiere presented by Ma-Yi Theater Company; Ralph B. Peña, Artistic Director; in New York DevelopedCity.with support of the Roe Green Award at Cleveland Play House.
This production is a testament to collaborative relationships and small-world celebrations. I first learned about this remarkable play when it premiered before the pandemic, from collaborator Junghyun Georgia Lee, whose design work has graced both IRT’s stages over many years (The Book Club Play, Twelve Angry Men, Pipeline, to name a few). She raved about this play, sending me an early, prepublication draft. Junghyun had been working on it for several years with director Ralph B. Peña, the artistic director of Ma-Yi Theater Company in New York City, who originally developed the work with playwright Lloyd Suh. Thanks to Junghyun’s matchmaking, this IRT production of Lloyd’s luminous play will also be led by Ralph. I learned only as we were negotiating with Ralph, that Lloyd is an Indianapolis native, so this is a homecoming as well as a celebration of an amazing piece of theatre writing, one that is receiving its Indiana premiere.
our culture’s inclination to “other” those not like us and to exploit those differences for financial gain. Second, the play is wildly and amazingly theatrical, spanning many years of Afong’s time in this country, her often piquant responses to what she sees in the West, and how she filters what she experiences through her own cultural lens with more than occasional humor and constant revelation. Suh’s light touch with Moy, as he dramatizes her eager desire to take in fully what she experiences, is dramatically counterpoised against the dark revelations she makes as she encounters a country torn by the slave trade and stained by the violence of westward expansion. She sees clearly things that our history has muted or ignored, and we benefit hugely from her clarity.
What makes this play so unique? First, it gives us insight into a little-known historic character, Afong Moy, thought to be the first Chinese woman to enter the United States in 1834. Her experience as a traveling museum “exhibit,” a cultural curiosity, displayed for paying observers who gaped at her “exotic” ways, captures adroitly
It is worth noting that this play was written and first performed before the pandemic. You may remember how, in its earliest manifestations, Covid was referred to as the “Chinese virus,” a reference that ignited verbal and physical attacks on people of Asian heritage around the country. Suh’s play asks us to consider why we racially profile and to what end, even while inviting us to spend 90 minutes in the company of an unwitting entertainer and savant.
40 AfongMoyinherexhibitroom;lithographbyCharlesRisso&WilliamR.Browne,1835.
This is a continuation of that mission.
41Left:AfongMoyasdepictedinthePittsburghGazette,1836.Right:FacesfromChineseimmigrationforms,1900-1905,courtesyoftheNoPlaceProject.
I have been an eager student of Afong Moy and her translator Atung since I first read Lloyd Suh’s play in 2018. They have led me to a more nuanced appreciation of American history and the inextricable role Chinese immigrants played in nation building, even as they never escaped the indignities of being “the other.”
I am deeply grateful to Janet Allen and Indiana Repertory Theatre for bringing this play to Indianapolis, the playwright’s hometown. I am equally grateful to be working with the enormously talented Mi Kang and Trieu Tran. The humanity they bring to Lloyd’s characters allow us to hear voices long silenced by history and indifference.
I have always thought Lloyd’s play to be timeless. Today, I think of it as timely. Afong Moy considered it her mission to bridge the gap between America and China, and to foster greater empathy between their peoples.
PlaywrightLloydSuh
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upon her without consent—was tragic and destructive. But it’s my hope that in remembering her, and honoring her, it can be redemptive.
It’s impossible to feel pride in representing an idea—let alone a community—without the support of people to feel proud of. I’m grateful to Ralph B. Peña, who championed this play from its earliest pages, and taught me a great deal about service along the way. I’m proudest, of course, of my family: Jeanie, Matilda, Elliot, and Lewis, and all the Indy Suhs: Young and Olivia, Ron, Andrea, Vivian, and Beckett. And thanks to Janet Allen and everyone in the IRT community for giving Afong Moy their attention, on this stage, at this moment.
Lloyd Suh is the author of Charles Francis Chan Jr.’s Exotic Oriental Murder Mystery, American Hwangap, The Wong Kids in the Secret of the Space Chupacabra Go!, Jesus in India, and others. His plays have been produced with Ma-Yi, Magic Theatre, EST, NAATCO, PlayCo, Denver Center, Milwaukee Rep, ArtsEmerson, Children’s Theatre Co, and more. International productions include the Cultural Center of the Philippines and with PCPA in Seoul, Korea. He has received support from the NEA Arena Stage New Play Development program, Mellon Foundation, NYFA, NYSCA, Jerome, TCG, Dramatists Guild, and residencies including NYS&F and Ojai. He is an alum of Youngblood and the Soho Rep Writer/Director Lab. He has received the Helen Merrill Award, the Herb Alpert Award in the Arts, and a Guggenheim fellowship. From 2005-2010 he served as Artistic Director of Second Generation and Co-Director of the Ma-Yi Writers Lab. He has served since 2011 as the Director of Artistic Programs at The Lark, and since 2015 as a member of the Dramatists Guild Council.
I grew up in an Indy suburb, about 15 miles due south of this theatre. There weren’t a lot of Asian Americans there. My parents would sometimes note that in certain situations, I might be the first Asian person that some people had ever encountered, and so I’d need to behave myself accordingly. As a child, this was something I felt daunted by, and as a teenager it was something I often ran from. When I first learned of Afong Moy and her extraordinary life, she helped me grapple with those feelings. Now, as an adult, I’m more ready to embrace the responsibility—and in some cases the privilege— of representing something that much bigger myself. In Afong Moy’s case, the burden of that responsibility—especially as it was imposed
While entry into the United States was uncomplicated at this time, from the beginning the Chinese were treated differently from other immigrants. Children born here of Chinese parents automatically became US citizens; but unlike European immigrants, Chinese immigrants themselves were denied the possibility of becoming naturalized citizens.
The California Gold Rush of 1848 attracted a significant number of Chinese to immigrate to the United States. Even greater numbers came in the 1860s to work on the Transcontinental Railroad. Many moved to cities such as San Francisco, where they took low-wage jobs, often in restaurants and laundries.
The Chinese Exclusion Act was finally repealed by the 1943 Magnuson Act, which permitted Chinese nationals already residing in the United States to become naturalized citizens. At the same time, the Magnuson Act allowed a national quota of only 105 Chinese immigrants per year. The passage of the Immigration and Nationality Act of 1965 finally ended these restrictions; but Cold War conflicts between the United States and Communistled China continued to keep numbers of immigrants low.
By 1880, there were 105,000 Chinese in the United States—one fifth of one percent of the total population. In 1882, the federal government passed the Chinese Exclusion Act, which banned all immigration of “skilled and unskilled laborers” from China for a period of 10 years. The act was renewed in 1892 for another ten years and then in 1902 indefinitely. The Immigration Act of 1924 banned immigration from East Asia entirely.
In recent years in the United States, patriotism—love for one’s country—has become hopelessly entangled with nationalism— promotion of one’s own country to the detriment of other countries. Xenophobia has been on the rise; but during the pandemic, there has been a particularly sharp rise in anti-Asian violence. One in six Asian Americans experienced race-based violence in 2021—a tenfold increase from previous years. Such statistics are a harsh reminder that, even as restrictions are diminished and opportunities expand, racism is still very much among us
FacesfromChineseimmigrationforms,1900-1905,courtesyoftheNoPlaceProject. 43
As the US economy declined after the Civil War, labor and government leaders began to blame Chinese “coolies” (laborers) for depressed wage levels. Public opinion began to demonize Chinese immigrants, and a series of ever more restrictive laws were placed on Chinese labor, behavior, and even living conditions. Many Chinese Americans were forced into urban conclaves called Chinatowns, where the scarcity of unrestricted jobs pushed many into illegal activities such as gambling, prostitution, and opium.
The first Chinese men in North America arrived in Mexico in the 1630s as sailors via the Spanish colonial Philippines. By the mid-1700s, a few Chinese men had settled in California. In the early days of American independence, as trade was opening with China, others arrived in New England ports, sailing around South America from Guangzhou. When Afong Moy arrived in New York City in 1834 as the first Chinese woman in America, she followed the same route.
In 1977, the People’s Republic of China lifted restrictions on emigration from Mainland China. Since then, the US population of Chinese has grown from under 800 thousand to more than five million. Today’s Chinese immigrants tend towards students and professionals who prefer suburban life and avoid the Chinatowns.
RALPH B. PEÑA | DIRECTOR
Trieu’s previous roles include Alan Strang, Equus (LADCC Nomination) with George Takei at East West Players; the title role in Oedipus the King (Portland), The Legacy Codes (Dean Goodman Award) with TheatreWorks, and The Chinese Lady (Artists at Play/Greenway Court Theatre). Other stage favorites: Rashomon, As You Like It, The Merchant of Venice, Henry IV Part 1, Richard III. Film: Tropic Thunder, Trade of Innocents, Desolate, How High, Hancock, Desperation, Last Call. TV: Monsterland, Altered Carbon, The Newsroom, Intruders, Men At Work, Quickdraw, Malcolm in the Middle. Trieu’s solo play Uncle Ho to Uncle Sam was co-written with Robert Egan, developed at Ojai Playwrights Conference, and premiered at Seattle ACT, with additional runs at the Kirk Douglas Theatre, Shakespeare Orange County, and PlayMakers Rep.
THE COMPANY
MI KANG | AFONG MOY
TRIEU TRAN | ATUNG
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Ralph has been Ma-Yi Theater Company’s artistic director since 1996. Under his leadership, Ma-Yi has become the country’s leading incubator of new plays by Asian American playwrights, as well as garnering nine Obie Awards among many others. For Ma-Yi, Ralph has directed FelixStarro,TheChineseLady,TheChildrenof Vonderly,House/BoyMicrocrisis,HouseRules,TheWongKidsintheSecretoftheSpaceChupacabraGO!, and AmongtheDead. Ralph’s work has been seen on the stages of Laguna Playhouse, Victory Gardens, Long Wharf Theater, Children’s Theater Company, the Public Theater, NAATCO, the Round House Theater, and LaMama ETC., among others. He is the recipient of an Obie Award for his work on TheRomanceofMagnoRubioand a proud member of the Ensemble Studio Theater.
At the IRT Junghyun has designed scenery for The Book Club Play and Pipeline; costumes for This Wonderful Life and The Unexpected Guest; and both for Twelve Angry Men. She is a Korean-born New York–based scenic and costume designer. She has designed for New York Theatre Workshop (Drama Desk Nomination, Kristina Wong, Sweatshop Overlord), Public Theatre (The Chinese Lady), Ma-Yi, Soho Rep, the Play Company, Alley Theatre, the Guthrie Theater, Hartford Stage, Huntington Theatre Company, Cincinnati Playhouse in the Park, PlayMakers Rep, and the Acting Company. She earned her M.F.A. at the Yale School of Drama. junghyungeorgialeedesign.com
Mi is thrilled to be working with IRT on The Chinese Lady. She is a recent Northwestern University M.F.A. Acting graduate and made her professional Chicago theatre debut in The Chinese Lady at TimeLine Theatre earlier this year. Select school credits include: Dance Nation, Peerless, and Hedda Gabler. Mi was previously based in Seattle where select credits include John (ArtsWest Playhouse), The Journal of Ben Uchida (Seattle Children’s Theatre), Jane Eyre, A Tale for Time Being (Book-It Repertory Theatre), and The Great Inconvenience (Annex Theatre). She is represented by Stewart Talent.
JUNGHYUN GEORGIA LEE | SCENIC DESIGNER
LINDA CHO | COSTUME DESIGNER
RICHARD J ROBERTS | DRAMATURG
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OLIVER WASON | LIGHTING DESIGNER
Lady TheChinesebyLloydSuh
Fabian’s IRT credits include The House That Jack Built, The Crucible, The Miracle Worker, Holes, King Lear, Les Trois Dumas, and Ma Rose. Recent off-Broadway credits include MaYi’s Teenage Dick, NAATCO’s Out of Time, Public Theater’s SeaWall/ALife, and Oedipus el Rey. Other off-Broadway credits include MTC, MCC, Atlantic Theatre Company, Vineyard Theatre, New Group, CSC, Primary Stages, New York Theatre Workshop and Theater for a New Audience. His regional theatre credits include Arena Stage, Kennedy Center, Shakespeare Theatre Company, Goodman Theatre, Guthrie Theater, Alliance Theater, American Conservatory Theatre, Cleveland Play House, Oregon Shakespeare Festival, Seattle Repertory Theatre, Huntington Theatre, Cincinnati Playhouse and Hartford Stage, among others. His awards include Barrymore, Berkshire Theatre Critics, International Motion Picture and the LA Film Festival’s Indie Short Fest.
On Broadway, Linda has designed POTUS, Take Me Out, The Great Society, The Lifespan of a Fact, Anastasia (Tony nomination), A Gentlemen’s Guide to Love and Murder (Tony Award), and The Velocity of Autumn Off Broadway: Twilight, Cambodian Rock Band (Signature Theatre); and Kristina Wong, Sweatshop Overlord, and Endlings (NYTW). Regional: A Thousand Splendid Suns (ACT), Bhangin’ It (La Jolla Playhouse), Noir (Alley Theatre). Opera: Samson et Dalila (Met Opera). Other awards: TDF’s Irene Sharaff Young Master Award, Ruth Morley Design Award. Other: Advisory Committee Member of American Theatre Wing. Education: M.F.A. from Yale School of Drama. lindacho.com.
Oliver designs lighting and others visuals for theatre, opera, dance, music, or anything in between. Recent work includes Der Freischütz, Fidelio (Heartbeat Opera); The Chinese Lady, Among the Dead, House Rules (Ma-Yi); Sagittarius Ponderosa (NAATCO); Agrippina (Juilliard Opera). Regional credits include shows at Yale Rep, Barrington Stage, Berkeley Rep, Berkshire Theatre Festival, Playmakers Rep, Triad Stage, Speakeasy Stage Company, and the Shanghai Dramatic Arts Center. Faculty: Northeastern University. B.A. Hunter College, M.F.A. Yale.
This is Richard’s 33rd season with the IRT, and his 25th 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 A Christmas Carol (four times), Bridge & Tunnel, The Night Watcher, Neat, Pretty Fire, The Cay, The Giver, The Power of One, and Twelfth Night. Other directing credits include Actors Theatre of Indiana (where this season he directs Violet), the Phoenix Theatre, Indianapolis Chamber Orchestra, Edyvean Repertory Theatre, Indianapolis Civic Theatre, Butler University, University of Indianapolis, Marion University, and Anderson University. Richard studied music at DePauw University and theatre at Indiana University and has been awarded a Creative Renewal Arts Fellowship from the Indy Arts Council.
FABIAN OBISPO | COMPOSER
MATT SHIVES | STAGE MANAGER
This production is Matt’s 31st with IRT. Locally, Matt has worked with Dance Kaleidoscope, Indianapolis Shakespeare Company, Phoenix Theatre, and Summer Stock Stage. Matt was a production team member for the 74th and 75th Annual Tony Awards, The Tony Awards Present: Broadway’s Back, The Super Bowl LIV Halftime Show, The Macy’s Thanksgiving Day Parade on CBS, and NFL events featuring Madonna, Meghan Trainor, Demi Lovato, Yolanda Adams, and Meek Mill. Talent logistics credits include the 2022 NBA All-Star Weekend and 2021 Rock and Roll Hall of Fame Induction Ceremony. For TV, he has worked on The Voice, Encore!, Dear…, Tough as Nails, and others. Matt holds a B.A. in theatre design and production from Purdue University and lives in Indianapolis with his wife and son.
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THE COMPANY
Scott & Lorraine Davison Gary Denney & Louise Bakker Michael Dinius & Jeannie Regan-Dinius Nancy & Berkley Duck Dan & Ginny Emerson David & Ann Frick Tom & Jenny Froehle Mike & Judy Harrington Jill & Peter Lacy Sarah & John Lechleiter Bill & Susie Macias David & Leslie Morgan Jackie Nytes & Patrick O’Brien Mel & Joan Perelman Sue & Bill Ringo
Mark & Gerri Shaffer
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!
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James & Linda Wesley Dr. Christian Wolf & Elaine Holden Charitable Fund
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Kathryn Beiser & Mick Domagala Susie & Joel Blum
ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2022 - AUGUST 30, 2022
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THE SUPPORTING CAST INDIANA REPERTORY THEATRE DONORS
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THE SUPPORTING CAST INDIANA REPERTORY THEATRE DONORS
Rebecca Hutton
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William & Patricia Hirsch
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ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2022 - AUGUST 30, 2022
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AliceJanePaulaChipKarenKenPeterMichaelPeterScottPhilBobCommunityCountyFoundation&KathiPostlethwait&JoyceProbst&SusanPutneyRacher&SarahBinford&MelissaRawlings&KarenReist&DebraRenkens&DickRistine&JaneRutledgeF.SantaW.SchlegelSchlossDonorAdvisedFund,afundoftheJewishFederationofGreaterIndianapolis
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ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2022 - AUGUST 30, 2022
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Mr. & Mrs. Joseph B. Black III Barbara & Christopher Bodem* Steve & Darlene Bricker Vince & Robyn Caponi
Linda & Carl Smith
ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2022 - AUGUST 30, 2022
Dr. & Mrs. Peter Marcus*
Cliff JohnHeatherWilliamsWilson&Margaret
Family Fund
Linda Lough* Mark Magee*
Paul & Carol DeCoursey* Margie Ferguson*
John & Deborah Thornburgh
Roger & Anna Radue
Merrell & Barbara Owen
John & Linda Zimmermann
Benjamin & Anna Roberts
Jeffrey & Jeni Christoffersen Shane and Andrea Crouch* Karen Dace*
Jim & Sara Schacht
Doug Sims
Sunah C Kim Dorantes*
Steven & Mary Koch* Michelle Korin*
Eleanor & Joseph Hingtgen
Jack & Karen Shaw
Frederick & Jacquelyn Winters
Michael Skehan
Rev. Mary Ann Moman* Jim & Judi Mowry
Brady PeterChristopherTateDrs.DanielRobertClarkCliffordP.CorriganEricFarmer&Trujillo&Scott*Furno&Pamela
Mark K. ConstanceBearC. Beardsley*
Lee TheKatyMichaelShevitzSkehan&TimAllenToddA.Andritsch
Alan & Elizabeth Whaley
Steed
Nadine & Alvin Givens
Darshan & Rebecca Shah
Mike & Holly Semler
Wilson
Jeff & Janet Stroebel
Frank & Jacqueline La Vista
Bob & Toni Bader
Megan McKinney Sharon R. Merriman
IN APPRECIATION OF JANET ALLEN | Tom & Nora Hiatt
Dale & Karen Duncan
Bill & Nancy Hunt
Michael D. Moriarty
Marcia O’Brien (in memoriam)
Andra Liepa Charitable Fund, a fund of The Indianapolis Foundation Barbara MacDougall Donald & Ruth Ann MacPherson
Gary JanetAddisonAllen& Joel Grynheim
Jeff & Benita Thomasson Christopher J. Tolzmann
John & Margaret Wilson
50
John R. Carr (in memoriam)
Tom & Nora Hiatt
George & Olive Rhodes (in memoriam)
Mutter Marines--Jim & Carol Deena J. Nystrom
Barbara S. Tully*
*Denotes sustaining members
David A. & Dee Garrett (in memoriam) Michael Gradison (in memoriam)
Bill & Janet Wakefield
John & Mary Challman
Mr. & Mrs. Thomas E. Dapp
The Ovation Society is an exclusive program that recognizes donors that have made a legacy gift to the IRT. The IRT truly appreciates those individuals whose gift will ensure that the Theatre can continue to provide meaningful and inspirational experiences for future generations.
Steve & Barb Tegarden*
Bruce Hetrick & Cheri O’Neill
Norma B. Wallman
Bob & Pat Anker
Emily F. (Cramer) Hancock
IN HONOR OF BILL VARANKA | Catherine M. Turner
Jane W. Schlegel
Michael Skehan
ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2022 - AUGUST 30, 2022
Sergej R. Cotton
Patricia Johnson & Michael Wilson Reba Boyd Wooden* Zionsville Physical Therapy*
Stuart L. Main (in memoriam) Michael R. & Sue Maine
Rollie & Cheri Dick Nancy & Berkley Duck
David & Leslie Morgan
Sherry Watkins
Charlie & Cary Boswell
Meg Gammage-Tucker
Michael Suit (in memoriam)
Gene & Mary Tempel
Frank & Katrina Basile
Nancy Davis & Robert Robinson
Garrett & Elaine Thiel
Dr. James & Linda Trippi Robert & Barbetta True*
Ron & Julia Carpenter
Alan & Elizabeth Whaley
Richard & Lila Morris
David Kleiman & Susan Jacobs
THE SUPPORTING CAST INDIANA REPERTORY THEATRE DONORS
Jim & Julie Freeman
Darcy K. Burthay Charitable Fund, a DonorAdvised Fund of the U.S. Charitable Gift Trust Rollie & Cheri Dick
Dan & Ginny Emerson David & Ann Frick
ANNUAL CAMPAIGN GIFTS
Sarah & John Lechleiter Bill & Susie Macias
Dr. Gregory Gaich & Ms. Erin Fulton
Bill & Nancy Hunt Phil & Colleen Kenney
Nicholas H. Noyes Jr.
Lilly Endowment, Inc.
Michael Dinius & Jeannie Regan-Dinius Nancy & Berkley Duck
The Penrod Society
Derek & Elizabeth Hammond Ann Hinson
David & Jackie Barrett
David & Leslie Morgan
Thank you to all of the individuals who supported our 2021-2022 Season. Their gifts helped make every laugh, plot twist, costume and lighting instrument possible!
John & Laura Ludwig
Drs. Eric Schultze & Marcia Kolvitz Marguerite K. Shepard, M.D. Cynthia & William Smith III The Michael L. Smith and Susan L. Smith Family Fund, a fund of Hamilton County Community Foundation
The Margot L. Eccles Arts & Culture Fund, a fund of CICF
Memorial Foundation, Inc.
$300+ |
The Glick Family Foundation
Bob & Toni Bader
Tom & Jenny Froehle Susan & Charlie Golden Mike & Judy Harrington Jill & Peter Lacy
Allen Whitehill Clowes
National Endowment for the Arts
Kathryn Maeglin Dod & Laura Michael David & Robin Miner
Sue & Bill Ringo
Mr. & Mrs. Kimball Morris Carl Nelson & Loui Lord Nelson Mr. Stephen Owen Sr. & Dr. Cheryl Torok Owen Jill Panetta & Leo Bianchi Ben Pecar & Leslie Thompson Noel & Mary Phillips*
The Shubert Foundation
John & Kathy Vahle Lainie Dr.JamesVeenstra&LindaWesleyChristianWolf&Elaine
Holden-Wolf 51
David P. Whitman & Donna L. Reynolds
Drs. Cherryl & Shelly Friedman
OneAmericaAgriscienceFinancial Partners
Indiana Arts Commission
JULY 1, 2022 - AUGUST 30, 2022
Charitable Foundation
Indy Arts Council
Mel & Joan Perelman
FOUNDATION
Steve & Bev Koepper
Jackie Nytes & Patrick O’Brien
CORPORATE
AJ & Erin Bir
Lacy Foundation
Barnes & Thornburg Corteva
Mary Frances Rubly & Jerry Hummer Wayne & Susan Schmidt
A.J. SusieAllen&Joel Blum
Christel DeHaan Family Foundation
Oxford Financial Group, Ltd.
GOVERNMENT
Scott & Lorraine Davison Gary Denney & Louise Bakker
Simmons Family Foundation, a fund of CICF Cheryl Gruber Waldman
Daniel T. Jensen & Steven Follis Andrew & Brianna Johnson
Mary L. Forster, M.D.
Donald & Teri Hecht
Charles Goad & James Kincannon
Dr. Christine Phillips & Mr. Michael Phillips N. Clay & Amy McConkey Robbins
Dr. Gregory Dedinsky & Dr. Cherri Hobgood
Janet Allen & Joel Grynheim Anonymous (2)
Dr. & Mrs. Lee Phipps
Garth & Christine Gathers Robert & Christy Gauss
Carol Weiss
Frank & Katrina Basile Ray & Kathy Brinkmeyer
Trudy W. Banta
David Kleiman & Susan Jacobs
Ann & Kenneth Dee
Brenda Horn
52
Edward & Elizabeth Frazier
Dr. Brian Dillman & Erin Hedges*
Drs. Richard & Rebecca Feldman Barrie & Gary R. Fisch
Dr. & Mrs. Alan Ladd Ed & Ann Ledford
The Blake Lee and Carolyn Lytle Neubauer Charitable Fund, a fund of Hamilton County Community Foundation
Tom & Nora Hiatt
Mr. & Mrs. Kenneth A. Peterson
Lauren James Patrick & Barbara James Tom & Kathy Jenkins
Drs. Meredith & Kathleen Hull
Dr. Ayesha Nichols & Troy Nichols Rob & Sara Norris
Rebecca Hutton
Mary & Gary Gustafson Julian E. Harrell
Gene & Mary Tempel
JULY 1, 2021 - JUNE 30, 2022
Mrs. Janet Johnson
Sarah C. Barney
ANNUAL CAMPAIGN GIFTS $1,500+ |
Jerry & Rosie Semler
Steve & Kim Chatham
Kathy & Gene Gentili Robert Giannini
Dr. Michael & Molly Kraus Kurt & Judy Kroenke
Christopher & Sheila Gramling
Margaret Lehtinen & Lawrence Mark Joe & Deborah Loughrey Barbara MacDougall
Laurie Dippold* Paul & Glenda Drew
Steve & Debbie Oldham Dr. Joseph M. Overhage & Dr. Mary R. Brunner Larry & Louise Paxton
Joe & Jill Tanner
The Winner Family
Dan & Martha Lehman
Dan Bradburn & Jane Robison
Alan & Linda Cohen
The Payne Family Foundation, a fund of CICF
Don Anderson
Kevin Krulewitch & Rosanne Ammirati* Douglas and Detra Mills Giving Fund
Craig & Marsha Dunkin Troy D. Farmer
Pegg & Mike Kennedy
Jeff & Benita Thomasson Lynne & Alex Timmermans
Denny & Judi Jones Elisha & Reed Kemp Max Kime
Jim & Julie Freeman
Dick & Brenda Freije
Joy Kleinmaier
Mike & Pat McCrory Sharon R. Merriman Andrew & Amy Michie Michael D. Moriarty
Joan M. FitzGibbon
Donald & Ruth Ann MacPherson Kellie McCarthy
John & Susan Kline
Ron & Kathy Gifford Bruce WalterGlor&Janet Gross Bill & Phyllis Groth Chad & Kelli Grothen Ricardo & Beatriz Guimarães
Mr. Jim DorotheaGawne*&Philip Genetos
The Indianapolis Fellows Fund, a fund of The Indianapolis Foundation
Brian & Lorene Furrer Future Keys Foundation
Lisa Harris, M.D.* Michael N. Heaton Holt WilliamHedrick&Patricia Hirsch
Mark & Gerri Shaffer
Bob & Dana Wilson
Thomas & Victoria Broadie Amy DavidSherryBurkeA.Butler&JudithChadwick
Don & Dolly Craft
Daniel & Catherine Cunningham Frank & Norah Deane
THE SUPPORTING CAST INDIANA REPERTORY THEATRE DONORS
Randy & Becky Horton
Jack & Karen Shaw
Tim & Karen Seiler
CNO Financial Group
Judy Roudebush
John & Deborah Thornburgh
Gail & William Plater
Michael Skehan
John & Linda Zimmermann
Thomas & Teresa Sharp
Dan Wheeler & Susan Wakefield
Dennis & Amy Haworth
Sallie RichardRowland&Christine Scales
Paul Boykas
Ken & Debra Renkens
Frederick & Jacquelyn Winters
Alan & Elizabeth Whaley
Philip & Shandon Whistler
of Greater Indianapolis
Ed & Jane Stephenson
Charitable Fund, a donor-advised fund
David H. Moore, M.D. & M. Kristine Beckwith, M.D.
The Todd A. Andritsch Family Fund Anonymous (4)
Chip & Jane Rutledge
Jonathan T. Tempel
David & Mary Allen
Peter & Karen Reist
Suzanne Sweeney & Todd Wiencek
Phylis & Paul Gesellchen
Richard & Sharon Gilmor
Dr. Rosalind Webb
Nadine & Alvin Givens
Kay Swank-Herzog & Robert Herzog
Emily F. (Cramer) Hancock*
Bob & Kathi Postlethwait
Dr. Mellonee Burnim
Daniel P. Corrigan
PriscillaFarisGerde
Sherry
Paul Pickett & William A. Powell
Susan M. Cross
Jana JenniferVaranka&Gary Vigran
Phil & Joyce Probst
Mr. & Mrs. Michael R & Rochelle F Cohen
Alice Schloss Donor Advised Fund, a fund of Jewish Federation
Daniel’s Vineyard
Michael & Melissa Rawlings
Cliff JohnHeatherWilliamsWilson&Margaret Wilson
Mark K. Bear
Charlie & Cary Boswell
Paul & Renee Cacchillo
Spence Family Vision Fund
Jane W. Schlegel
B. Black III
Lamar & Margaret Jean Richcreek Aleatha Romig, NY Times Bestselling Author
Peter Racher & Sarah Binford
Roger & Anna Radue
Ann Marie Ogden & Brian Murphy
Lora Peloquin
Jim & Cheryl Strain
Karen & Dick Ristine
Emily A. West
The Ruth E. Stilwell Endowment Fund, a fund of CICF Dorothy Webb
Paula F. Santa
Mike & Holly Semler
John & Carolyn Mutz
Jennifer C. Turner
John Krauss & Marnie Maxwell
Scott & Susan Putney
William Witchger, II & Kimberly Witchger
Kurt & Charlene Heinzman
Jon & Laura Baugh
Amy Waggoner
Mr.AndreaAnonymousAnkerBest&Mrs.Joseph
Edward & Susann Stahl
Brady Clark
Andrea Hatch & Rich Dionne
Kathryn Godwin Stuart, DDS
Lee StephenShevitzJ.Shideler
Bob & Pat
Peter & Karen Reist
Linda & Carl Smith
Karen J. Weyrauch
Aldy & Natinne Keene
53
Donald & Carla Bennett
THE SUPPORTING CAST INDIANA REPERTORY THEATRE DONORS
Nikki Eller
Dan & Barb Bickel
Bob & Patricia Edwards
Davie & Dorian Poole
Karry K. Book & John P. Hansberry III Stuart & Patricia Breslin
Drs. Eric Farmer & Tate Trujillo & Christopher Scott* Anna PeterRogerArthurMargieFenderFerguson*FieldIV&SusanFrickFurno&Pamela
The Steven Herker Charitable Fund, a donor-advised fund Sandra Hester-Steele
Mr. & Mrs. Robert M. & Kelli DeMott Park
Flora
The Mark V. Bromund Fund, a fund of CICF
Dorsa
Tim & Jennifer Holihen David Ingram & Sarah Stelzner Greg & Pat Jacoby Dr. & Mrs. Louis Janeira
Shane and Andrea Crouch* Karen Dace*
Dave & Donna Kaiser Sunah C Kim Dorantes* Jay & Carole Kirkpatrick
Greg Pugh & Jill Woerner
Betsy & Ted Kleinmaier Steven & Mary Koch* Michelle Korin* Mary & Rick Kortokrax Shirley M. & Heather Kulwin Kathy & David Lentz Katie AndraLenzLiepa
Charles W. Brown & Louise Tetrick David & Beverly Butler
John & Mary Ann Grogan
Lyle & Deborah Mannweiler Dr. & Mrs. Peter Marcus* James M. McMechan William McNiece
Richard Goehring & Kevin Petsche Thecla HowardGossett&Linnea Green
Norma & Carl Crabiel
Jesse L. & Carolynne Bobbitt Barbara & Christopher Bodem* Joseph & Louise Boling
John Champley & Julie Keck
Vince & Robyn Caponi Allen B. Carter & Patricia Hester
Fr. Clem Davis* Paul & Carol DeCoursey* Steve & Mary DeVoe Eric RosemaryDiters
Steed
Jeffrey & Jeni Christoffersen
Phyllis & Ed Gabovitch Gamma Nu Chapter of Psi Iota Xi
Ron & Ellie Hackler Diane Hall
Mr. & Mrs. David & Jeanne Hamernik Don & Carolyn Hardman Don & Elizabeth Harmon Mark & Laurie Hartman David & Tish Haskett Tony & Amy Hatton
Terry & Lew Mumford
Steven & Pat Mundy
John & Beth Murphy
Pamela J. Bennett
Steve & Kathy Heath Catherine Herber
Clarence & Carol Casazza Robert Cedoz
Jim & Judi Mowry
Sharon & Dan Murphy* Susan & Jim Naus
Charitable Fund, a fund of The Indianapolis Foundation Carlos & Eleanor Lopez Linda Lough* Mark MichaelMagee*R.&Sue Maine
The Ostergaard Family
Lauren Morris
Merrell & Barbara Owen
Judy & Sidney Pellissier
Constance C. Beardsley*
Steve & Paula Pletcher
Dr. LeeAnne M. Nazer
Debbie Rawlings
RobertDr.DonaldDowningTheMaryGarrettSteveDr.NelaSunWarriorGreggDavidLukeKimberlyLillianRandyVickyDr.JohnMyraRev.RichardRichardDouglasReichanadterPaulReichl&DianeRhodes&AnnRiegnerRobert&Dr.RitaSchillingC.Selby&BruceCurryShearin*JillShedd*Sherman,M.D.&LindaShieldsSmith*Sorg-GravesStark*&LoriStarr&JudySummervilleSolarSwinehart*Tim&TinaTanselle&BarbTegarden*&ElaineThielAnnThielLoriThompson&BenCharitableFund&ShirleyTrappJames&LindaTrippi&BarbettaTrue*
Greg Grossart
Jerry & Carol Collins
R. Keith & Marion Michael Rev. Mary Ann Moman* James & Valerie (Purcell) Monn Jay & Tammy Morris
54
IN MEMORY OF RICHARD W. JUDY | Sarah C. Barney
IN MEMORY OF JAN LUCAS GRIMM | Richard M. Warren & Tammey Kikta
IN MEMORY OF E. KIRK & ALICE MCKINNEY | Tom & Nora Hiatt
Prof. Gail F. Williamson
Norma B. Wallman
IN HONOR OF OUR FRIEND JANET ALLEN | Shirley M. & Heather Kulwin
IN MEMORY OF DR. BRIAN DILLMAN | Karolyn & Arie Leibovitz • Birl, Wendy, Karey & Cameron Noe • Ed & Judy O’Brien • Jennifer Thompson
IN MEMORY OF ROBERT NEAL | Janet Allen & Joel Grynheim • Susan & Kerry Ashe The Chappell Family (co-worker at IRT) • Michael Dinius & Jeannie Regan-Dinius • Joel Ericson • Christine & Rich Fogel Tricia Hern • Carol Y. Kellogg • Grace & Jordan Meier • Lauren Morris • Joanie Neal • Sally Neal • Ellen Neal Packard Lynne Perkins-Socey • Jerry Raab • Christopher J. Tolzmann • Milicent Wright
Carleigh & Joel Wilson John & Judy Wilson Patricia Johnson & Michael Wilson Reba Boyd Wooden*
Angie & Andy Wilkinson
Barbara S. Tully*
Robert & Cathy Turner
*Denotes sustaining members
A. Donald & Jeanette Wiles
IN MEMORY OF GLORIA DORSON | Marci Reddick
IN MEMORY OF RON BOWLER | Pat Bebee • Mike & Pat Cracraft • Mr. & Mrs. Bruce Grosvenor
55
Robina Zink Family Charitable Fund Zionsville Physical Therapy* Chuck & Ruth Ann Zwolle
THE BLOCK BISTRO & GRILL Free appetizer with entree purchase 115 W. Market Street Indianapolis, IN 46204 PIER 48 FISH HOUSE & OYSTER BAR 10% DISCOUNT 130 S. Pennsylvania Street, Suite B, Indianapolis, IN 46204 THE GALLERY PASTRY SHOP Free glass of bubbles (sparkling wine) OldNorthsidelocationonly 319 E. 16th St Indianapolis, IN 46202 GREEK ISLANDS Free Baklava with purchase of dinner entree 906 S. Meridian Street Indianapolis, IN 46225 THE DISTRICT TAP 15% OFF FOOD downtownlocationonly 141 S. Meridian 317.632.0202Street IRT STAGE DOOR RESTAURANTS DISCOUNTS FOR OUR SEASON TICKET HOLDERS TICKETS ON SALE! | IRTLIVE.COM | 317.635.5252 Original artwork by Tasha Beckwith adapted by Tom Haas ACharlesChristmasDickens’Carol INDY’S FAVORITE HOLIDAY TRADITION COME CELEBRATE WITH US THIS SEASON
Oxford is independent and unbiased — and always will be. We are committed to providing multi-generational estate planning advice and forward-thinking investment solutions to families and institutions. CHICAGO F CINCINNATI F GRAND RAPIDS F INDIANAPOLIS F TWIN CITIES 317.843.5678 F WWW.OFGLTD.COM/IRT Oxford is an investment advisor registered with the U.S. Securities and Exchange Commission. Registration does not imply a certain level of skill or training. More information about Oxford’s investment advisory services and fees can be found in its Form ADV Part 2, which is available upon request. OFG-2109-4 Oxford proudly supports the Indiana Repertory Theatre.
