IRT Program: "Morning After Grace" & "The Watsons Go to Birmingham-1963" by Indiana Repertory Theatre

2019-2020 SEASON

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ONEAMERICA MAINSTAGE JANUARY 14 - FEBRUARY 9

UPPERSTAGE JANUARY 28 - MARCH 1

IRTLIVE.COM | 317.635.5252

Original artwork by Kyle Ragsdale

Origami model by Brian K. Webb

PROUD SPONSOR OF THE IRT SINCE 1997

At Printing Partners, we look at the bigger picture. To us, print is more than simply putting ink on paper. It’s the act of transforming your thoughts, feelings and hard work into something tangible. Similarly, organizations like the Indiana Repertory Theatre aren’t just organizations, but educational journeys to a broadened mindset and an open heart.

And we’re proud to support it.

Offset & Digital Printing • Packaging • Games & Puzzles • Plastic Substrate Printing Mailing Services • Publishing • Signage • Promotional Products • Apparel • Marketing

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APPLAUSE TO A TRUE COMMUNITY CHAMPION ONEAMERICA | 2019-2020 SEASON SPONSOR

OneAmerica is proud to support the IRT as one of Central Indiana’s most vibrant cultural institutions. Our strong partnership reflects one of the longest running sponsorships in community theater nationwide. On behalf of OneAmerica, we hope you enjoy the 2019-2020 Season.

—Scott Davison, OneAmerica chairman, president and CEO

Through its community outreach efforts, the Navient Foundation supports organizations and programs that address the root causes which limit financial success for all Americans. This season, the Navient Foundation is proud to support the Indiana Repertory Theatre as the Student Matinee Sponsor of The Watsons Go to Birmingham—1963 and the Production Partner for Murder on the Orient Express. Navient is a leading provider of asset management and business processing solutions to education, healthcare, and government clients at the federal, state, and local levels. Millions of Americans rely on financial support to further their education and improve their lives. We work hard each day to help our customers navigate financial challenges and achieve their goals. We at Navient have a deep appreciation for the arts and for the hard work, passion, and emotion that go into them, as well as the positive influences the arts have on individuals and their communities. Our employees in central Indiana are proud to support our community through amazing programs like those offered by IRT. Enjoy the show.

OUR MISSION & VISION

CONTENTS

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

3.................................................Mission & Values 5..................................................................Profile 6......................................................... Leadership 10 ��Staff 12............................................ Board of Directors 24........................................ Morning After Grace 30............................................Company bios for Morning After Grace 36.........................................................Interview: Nathan Garrison 38.......................................... The Watsons Go to Birmingham—1963 47............................................Company bios for The Watsons Go to Birmingham—1963 56................................................... Donor Listing

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

AS AN INSTITUTION, WE VALUE...

REVIEWS!

SUSTAINING A PROFESSIONAL, CREATIVE ATMOSPHERE The professional production of plays that provide insight and celebrate human relationships through the unique vision of the playwright • Professional artists of the highest quality working on our stages in an environment that allows them to grow and thrive • Our leadership role in fostering a creative environment where arts, education, corporate, civic, and cultural organizations collaborate to benefit our community.

FACEBOOK/TWITTER: #irtlive EMAIL: reviews@irtlive.com

PRUDENT STEWARDSHIP OF OUR RESOURCES Our public-benefit status, where the focus is on artistic integrity, affordable ticket prices that allow all segments of our community to attend, and community service • Fiscal responsibility and financial security based on achieving a balanced budget • Growing our endowment fund as a resource for future development and to ensure institutional longevity. INCLUSIVENESS The production of plays from a broad range of dramatic literature addressing diverse communities • The involvement of all segments of our community in our activities • Using theatre arts as a primary tool to bring meaning into the lives of our youth, making creativity a component of their education • The employment of artists and staff that celebrates the diversity of the United States. HERITAGE AND TRADITION Our role as Indiana’s premiere theatre for more than 40 years, recognized by the 107th Indiana General Assembly in 1991 as “Indiana’s Theatre Laureate.” • The historic Indiana Theatre as our home, as a cultural landmark, and as a significant contributor to a vital downtown • Our national, state, and local reputation for 40+ years of quality creative work and educational programming • Our board, staff, volunteers, artists, audiences, and donors as essential partners in fulfilling our mission.

CONTACT US IRTLIVE.COM TICKET OFFICE: 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.

OVATION SOCIETY: CREATE A PERSONAL LEGACY AT THE IRT For 48 seasons, the IRT has produced professional, world-class theatre in Indianapolis. You can play a vital role in supporting the next 48 seasons by making a legacy gift to the Theatre. From a simple bequest to charitable trusts, there are a variety of ways you can include the IRT in your estate plans. Our staff will work with you and your financial advisor, tax professional or family attorney to determine how a planned gift can help you meet your financial and charitable goals. Include the IRT in your estate plans and help ensure one of Indianaâ&#x20AC;&#x2122;s great cultural institutions continues to thrive for generations to come. Have you already included the IRT in your plans? Please let us know so that we can recognize you in the Ovation Society!

READY TO CREATE YOUR LEGACY?

Contact Jennifer Turner, Director of Development: jturner@irtlive.com | 317.916.4835 Milicent Wright and Robert Elliott in the IRT's 2019 production of You Canâ&#x20AC;&#x2122;t Take It With You. Photo by Zach Rosing.

INDIANA REPERTORY THEATRE PROFILE HISTORY Since the Indiana Repertory Theatre was founded in 1971, it has grown into one of the leading regional theatres in the country, as well as one of the top-flight cultural institutions in the city and state. In 1991 Indiana’s General Assembly designated the IRT as “Theatre Laureate” of the state of Indiana. The IRT’s national reputation has been confirmed by prestigious grants from the National Endowment for the Arts, the Lila Wallace–Reader’s Digest Fund, the Theatre Communications Group–Pew Charitable Trusts, the Shubert Foundation, and the Kresge Foundation; and by a Joyce Award from the Joyce Foundation. The IRT remains the largest fully professional resident not-forprofit theatre in the state, providing more than 100,000 live professional theatre experiences for its audience last season. These experiences included 35,000 students and teachers from 55 of Indiana’s 92 counties, making the IRT one of the most youthoriented professional theatres in the country. A staff of more than 100 seasonal and year-round employees creates nine productions exclusively for Indiana audiences. Actors, directors, and designers are members of professional stage unions. The IRT’s history has been enacted in two historic downtown theatres. The Athenaeum Turners Building housed the company’s first eight seasons. Since 1980 the IRT has occupied the 1927 Indiana Theatre, which was renovated to contain three performance spaces (OneAmerica Mainstage, Upperstage, and Cabaret) and work spaces, reviving this historic downtown entertainment site. To keep ticket prices and services affordable for the entire community, the IRT operates as a not-for-profit organization, deriving more than 50% of its operating income from contributions. The Theatre is generously supported by foundations, corporations, and individuals, an investment which recognizes the IRT’s mission-based commitment to serving Central Indiana with top-quality theatrical fare.

PROGRAMS The OneAmerica Season includes nine productions from classical to contemporary, including the INclusion Series, which has lead support from the Margot L. Eccles Arts & Culture Fund. Young Playwrights in Process The IRT offers Young Playwrights in Process (YPiP), a playwriting contest and workshop for Indiana middle and high school students. Community Gathering Place Located in a beautiful historic landmark, the IRT offers a wide variety of unique and adaptable spaces for family, business, and community gatherings of all types. Call Margaret Lehtinen at 317.916.4880 for more information. Opportunities The IRT depends on the generous donation of time and energy by volunteer ushers; call 317.916.4880 to learn how you can become involved. Meet the Artists Regularly scheduled pre-show chats, post-show discussions, and backstage tours offer audiences unique insights into each production. Student Matinees The IRT continues a long-time commitment to student audiences with school-day student matinee performances of all IRT productions. These performances are augmented with educational activities and curriculum support materials. This season The Little Choo-Choo That Thinks She Can, A Christmas Carol, and The Watsons Go to Birmingham—1963 offer extensive opportunities for student attendance. Educational Programs Auxiliary services offered include visiting artists in the classroom, study guides, pre- and post-show discussions, and guided tours of the IRT’s facilities. Classes From creative dramatics to audition workshops to Shakespeare seminars, the IRT offers a wide array of personal learning opportunities for all ages, including our Summer Conservatory for Youth. Call 317.916.4841 for further information.

Among the memorable productions she has directed on the IRT’s stages are The Glass Menagerie (1999), Ah! Wilderness (2002), The Drawer Boy (2004), James Still’s The House That Jack Built (2012), To Kill a Mockingbird (2016), Looking Over the President’s Shoulder (2008 & 2017), and The Diary of Anne Frank (2011 & 2019). This season she directs Morning After Grace.

LEADERSHIP: JANET ALLEN Executive Artistic Director

Creating world-class professional theatre for Central Indiana audiences of all ages has remained a career-long passion for Janet Allen. She began at the IRT in 1980 as the Theatre’s first literary manager—dramaturg. After four years in New York City, she returned to serve ten years as associate artistic director under mentors Tom Haas and Libby Appel. Named the IRT’s fourth artistic director in 1996, she is now in her 23rd season in that role. In 2013 she was named the IRT’s executive artistic director. During Janet’s tenure, the IRT has significantly diversified its programmatic and education services to both adults and children, expanded its new play development programs, solidified its reputation as a top-flight regional theatre dedicated to diverse programming and production quality, and established the IRT as a generous content partner with organizations throughout central Indiana. Janet’s passion for nurturing playwrights has led to a fruitful relationship with James Still, the IRT’s playwright-in-residence for 22 years, and the creation and production of 16 new works—the Indiana Series—that examine Hoosier and Midwestern sensibilities (seven of them by James Still). Her collaboration with playwrights has brought the theatre prestigious grants from the Pew Charitable Trusts, the Joyce Foundation, and the Doris Duke Foundation, as well as numerous grants from the National Endowment for the Arts and Shakespeare for a New Generation.

Janet studied theatre at Illinois State University, Indiana University, University of Sussex, and Exeter College, Oxford. As a classical theatre specialist, she has published and taught theatre history and dramaturgy at IUPUI and Butler University. Janet’s leadership skills and community service have been recognized by Indianapolis Business Journal’s “40 Under 40” Award, the Network of Women in Business–IBJ’s “Influential Women in Business” Award, Safeco’s Beacon of Light in Our Community Award, a Distinguished Hoosier Award conferred by Governor Frank O’Bannon, Girls Inc.’s Touchstone Award for Arts Leadership, and the Indiana Commission on Women’s “Keeper of the Light” Torchbearer Award. She is a proud alum of the Stanley K. Lacy Leadership program (Class XIX) and the Shannon Leadership Institute in Minneapolis, Minnesota, and is a 2013-2014 Arts Council of Indianapolis Creative Renewal Arts Fellow. In 2015 Janet was inducted into the College of Fellows of the American Theatre at the John F. Kennedy Center for the Performing Arts and received a Medallion Award for significant national contributions from the Children’s Theatre Foundation of America. In 2017 she was named an Indiana Living Legend by the Indiana Historical Society. In 2018 she was inducted into the National Theatre Conference, a gathering of distinguished members of the American theatre community. Janet is a member of the Indianapolis Woman’s Club, the Gathering, and Congregation Beth-El Zedeck. She serves on the board of Summit Performance, a fledgling professional theatre company that produces work by and about women. She lives in an historic house built in 1855 in the Chatham Arch neighborhood with her husband, Joel Grynheim, and a lovely canine mutt. They enjoy following the adventures of their children, Daniel, Leah, and Nira, all now safely out of the nest and thriving!

Miranda Troutt and Rob Johansen in the IRT’s 2019 production of The Diary of Anne Frank. Photo by Zach Rosing.

LEADERSHIP: SUZANNE SWEENEY Managing Director

Suzanne is a 21-year veteran of the IRT and is proud to work alongside her mentor and friend, Janet Allen, as co-CEO of the Theatre. She oversees all of the administrative functions of the organization, including marketing, fundraising, ticket office, house management, finance, human resources, information technology, and building operations. During her tenure, the Theatre has secured a long-term lease for the building with the City of Indianapolis, raised funds for our Front and Center campaign that we expect will culminate in excess of the $18.5 million goal by June 2020, and most recently renovated the Upperstage Lobby and restrooms. (While we know our patrons will miss the “early elementary school” vibe to the former restrooms, we are pleased to have increased the number of facilities to improve audience amenities. We think you will like the changes!)

Recently, Suzanne was appointed associate treasurer of the League of Resident Theatres, the IRT’s national association. In 2016, she was honored to serve as a panelist for Shakespeare in American Communities in cooperation with Arts Midwest. Suzanne is active in the community, having been the treasurer of Irish Fest for nine years, a member of the board of directors and treasurer of the Day Nursery Association (now Early Learning Indiana) for seven years, and a past treasurer of IndyFringe. Suzanne is a graduate of the College of William & Mary (undergraduate) and Indiana University (M.B.A.). She started her career as a CPA; prior to coming to Indianapolis, she worked in finance for more than 10 years, living in such varied locales as Washington, DC; Dallas, Texas; Frankfurt, Germany; Honolulu, Hawaii; and even working for three months in Auckland, New Zealand (where, yes, she went bungee jumping). She is a proud alum of the Stanley K. Lacy Leadership Program (Class XXXI). Suzanne lives in the Old Northside with her 16-year-old son, Jackson, and their foxhound rescue dog, Gertie, and spends some of her downtime in Palatine, Illinois, with her partner, Todd Wiencek.

Top: Tracy Michelle Arnold and Kim Staunton in the IRT’s 2019 production of A Doll’s House, Part 2. Bottom: Cole Taylor and Renika Williams in the IRT’s 2018 production of Pipeline. Photos by Zach Rosing.

AS PART OF THE FRONT AND CENTER CAMPAIGN, SARAH & JOHN LECHLEITER HAVE GIVEN A GIFT TO THE IRT IN HONOR OF JAMES STILL’S LONG-TIME RELATIONSHIP WITH THE IRT, CREATING THE JAMES STILL PLAYWRIGHT-IN-RESIDENCE FUND, WHICH WILL PROVIDE FUTURE SUPPORT FOR THE PLAYWRIGHT-IN-RESIDENCE AS WELL AS THE CREATION OF NEW WORK FOR THE IRT.

LEADERSHIP: JAMES STILL Playwright-in-Residence

Pulitzer Prize, and have been developed and workshopped at Robert Redford’s Sundance, the New Harmony Project, Eugene O’Neill Playwrights Conference, Seven Devils Playwrights Conference, the Colorado New Play Summit, the Lark in New York, Launch Pad at UC–Santa Barbara, Perry-Mansfield New Works Festival, Telluride Playwright’s Festival, New Visions/New Voices, Fresh Ink, Weston Playhouse Residency, and Write Now at the IRT. Three of his plays have received the Distinguished Play Award from the American Alliance for Theatre & Education, and his work has been produced throughout the United States, Canada, China, Japan, Europe, South Africa, Australia, and New Zealand.

During his 22 years as playwright-in-residence, IRT audiences have seen three productions each of James’s plays Looking Over the President’s Shoulder and And Then They Came for Me: Remembering the World of Anne Frank; two productions of Amber Waves; and all three plays in his trilogy made up of The House That Jack Built, Appoggiatura, and Miranda. Also April 4, 1968: Before We Forgot How to Dream, I Love to Eat: Cooking with James Beard, The Velveteen Rabbit, The Heavens Are Hung in Black, Interpreting William, Iron Kisses, The Gentleman from Indiana, Searching for Eden, He Held Me Grand, and The Secret History of the Future. James has directed many productions at the IRT, including 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, Doubt, Bad Dates, Plaza Suite, The Immigrant, and Dinner with Friends, as well as his own I Love to Eat, Looking Over the President’s Shoulder (2001), and Amber Waves (2000). This season the IRT produces the premiere of The Little Choo-Choo That Thinks She Can, and James directs Twelve Angry Men.

Other theatres that have produced James’s plays include the Kennedy Center, Denver Center, Geva, Cornerstone Theater Company, Ford’s Theatre, People’s Light & Theatre, the Barter, Pasadena Playhouse, Portland Center Stage in Oregon, Portland Stage in Maine, the Station, the Asolo, Company of Fools, the Children’s Theater Company of Minneapolis, Metro Theater Company, B-Street Theatre, Theatrical Outfit, Arkansas Rep, the Round House, American Blues, Shattered Globe, Illusion Theater, and the Mark Taper Forum. His plays are also often produced at community theatres, summer theatres, universities, and high schools.

James is an elected member of the National Theatre Conference in New York, and a Kennedy Center inductee of the College of Fellows of the American Theatre. Other honors include the Todd McNerney New Play Prize from the Spoleto Festival, William Inge Festival’s Otis Guernsey New Voices Award, the Orlin Corey Medallion from the Children’s Theatre Foundation of America, and the Charlotte B. Chorpenning Award for Distinguished Body of Work. His plays have been nominated four times for the

James also works in television and film and has been nominated for five Emmys and a Television Critics Association Award; he has twice been a finalist for the Humanitas Prize. He was a producer and head writer for the TLC series PAZ, the head writer for Maurice Sendak’s Little Bear, and writer for the Bill Cosby series Little Bill. He wrote The Little Bear Movie and The Miffy Movie as well as the feature film The Velocity of Gary. James grew up in Kansas and lives in Los Angeles.

James’s short play When Miss Lydia Hinkley Gives a Bird the Bird has appeared in several festivals around the country after its premiere with Red Bull Theatre in New York. New work includes an adaptation of the classic Black Beauty commissioned by Seattle Children’s Theatre where it premieres this season, as well as new plays (A) New World and Dinosaur(s) and several secret new projects.

LEADERSHIP: BENJAMIN HANNA Associate Artistic Director

Ben is a director, educator, and community engagement specialist whose passion for multigenerational theatre has influenced his work across the country. In all of his myriad roles, Ben is guided by the belief that access to high-quality theatre helps build creative, empathetic people and healthy communities. Ben is thrilled to begin his third season at Indiana Repertory Theatre, where he has directed A Christmas Carol, Elephant & Piggie’s “We Are in a Play!”, and The Town Mouse and the Country Mouse; this season he directs The Little Choo-Choo That Thinks She Can and A Christmas Carol. 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 actively breaking down historical barriers of access to the theatre, he is excited about IRT’s work to create thoughtful, sustainable Equity, Diversity, and Inclusion initiatives. Ben joined the IRT leadership team following the completion of a prestigious 18-month Theatre Communications Group Leadership University Award. This highly competitive grant, administered by TCG and funded by the Andrew W. Mellon Foundation, supported his artistic associate position at the Children’s Theatre Company in Minneapolis, the nation’s largest theatre for young audiences. During his tenure at CTC, Ben directed in-house productions and took shows across the globe, as far afield as South Africa; he played a key role in fundraising, management, education,

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

Carlos Medina Maldonado and Devan Mathias in the IRT’s 2019 production of Elephant & Piggie’s “We Are in a Play!”. Photo by Zach Rosing.

INDIANA REPERTORY THEATRE STAFF EXECUTIVE ARTISTIC DIRECTOR

Janet Allen

ARTISTIC

Associate Artistic Director Benjamin Hanna General Manager Jane Robison Production Manager Brian S. Newman Resident Dramaturg Richard J Roberts Company Manager Hillary Martin Playwright-in-Residence James Still COSTUME SHOP

Costume Shop Manager Guy Clark Drapers

Shop Assistant Jason Gill

Assistant Technical Director John Bennett

ELECTRICS

Shop Foreman Kyle Baker

Master Electrician Beth A. Nuzum Assistant Master Electrician Kayla Brown Electrician Victoria McWilliams PAINT SHOP

Charge Scenic Artist Claire Dana Scenic Artists Jim Schumacher Zahra Hakki PROPERTIES SHOP

Properties Manager Geoffrey Ehrendreich Properties Artisan Rachelle Martin

Carpenters Ariana Sarmiento Fielding David Sherrill Monica Tran Stage Operations Supervisor Hayley Wenk SOUND & VIDEO

Resident Sound Designer Todd Mack Reischman Audio Engineers Brittany Hayth Claudia Escobar STAGE MANAGEMENT

Production Stage Manager Nathan Garrison Stage Manager Erin Robson-Smith

Erica Anderson

Properties Carpenter Madelaine Foster

Costumers Christi Parker Judith Skyles

SCENE SHOP

Production Assistants Rebecca Roeber Jalen Jones

Technical Director Chris Fretts

Young Actor Supervisor Rayanna Bibbs

Magdalena Tortoriello

Wardrobe Supervisor Bailey Lewis

PART-TIME STAFF & ASSOCIATES ARTISTIC

Teaching Artists Kaela Mei-Shing Garvin ShawntÃ© Gaston Tiffany Gilliam Callie Hartz Tom Horan Maura Malloy Daniel A. Martin

Devan Mathias Josiah McCruiston Beverly Roche Milicent Wright

PRODUCTION

ELECTRICS

COSTUMES

Electricians Amanda Blevins Luke Hoefer Jessica Hughes

Wardrobe Emma Fried

Electrics/Paints/Carpentry Lee Edmundson

MANAGING DIRECTOR

FINANCE

ADMINISTRATION

Assistant Controller Danette Alles

Suzanne Sweeney

Receptionist / Administrative Assistant Seema Juneja

Director of Finance Greg Perkins

Teleservices Representatives Margaret Freeman Rebecca Gutzweiler Matt Kennicutt Krystina Valentine PATRON SERVICES

Payroll & Benefits Specialist Jennifer Carpenter

Manager of Public Operations Margaret Lehtinen

INFORMATION SYSTEMS

House Manager Julia McCarty

DEVELOPMENT

Director of Information Systems Dan Bradburn

Tessitura Administrator Molly Wible Sweets

Director of Development Jennifer Turner

MARKETING

Ticket Office Manager Kim Reeves

Executive Assistant Randy Talley Administrative Support Specialist Suzanne Spradlin Beinart

Individual Giving Manager Kay Swank-Herzog Institutional Giving Manager Eric J. Olson Donor Relations Manager Nora Dietz-Kilen Development Systems Brady Clark EDUCATION

Education Manager Sarah Geis Youth Program Coordinator Kristen M. Carter

Director of Marketing & Sales Danielle M. Dove Associate Director of Marketing Elizabeth Petermann Marketing Communications Manager Kerry Barmann Graphic Designer Alexis Morin Multimedia Coordinator Heather Zalewski TELESERVICES

Group Sales & Teleservices Manager Doug Sims Assistant Teleservices Manager Jeff Pigeon

FINANCE ASSOCIATES

External Auditors Crowe Horwath LLP Legal Counsel Heather Moore PATRON SERVICES

Assistant House Managers Meg Barton Pat Bebee Terri Bradburn Nancy Carlson Tim Cocagne Kyla Decker Stephen Denney Dieter Finn

Rene Fox Scot Greenwell Marilyn Hatcher Bill Imel Sarah James Norma Johnson Michelle Kennedy-Coenen Sherry McCoy Gail McDermott-Bowler Dianna Mosedale Deborah Provisor Phoebe Rodgers Kathy Sax Karen Sipes Katherine Stinnett Aidan Sturgeon Brenda Thien Rudy Thien Maggie Ward

Assistant Ticket Office Manager Eric Wilburn Gift Shop Manager & Customer Service Representative Jessie Streeval Customer Service Representatives Geneva Denney-Moore Erin Elliott Hannah Janowicz Bailey Lynch Building Services Dameon Cooper David Dunnaway Mylan Jefferson Dave Melton

Bartenders Sheryl Conner Aaron Henze Sandra Hester-Steele Nancy Hiser Barbara Janiak Susan Korbin Tina Weaver ASL Interpreters Randy Nicolai Tara Parchman Robin Reid Audio Describers Toni Bader Sarah Geis 11

BOARD OF DIRECTORS Welcome to the Indiana Repertory Theatre! This season we have a marvelous mixture of popular classics and wonderful new works to offer you. We’re particularly excited about our new INclusion Series, offering three plays by three women about Native American, African American, and Chinese American experiences. We are committed to broadening diversity in all areas of the IRT, not only in the stories we tell, but also in our staff and artists and the communities we serve. We’re also turning our eyes to the future as we near the goal of our $18.5 million Front and Center campaign. Now more than ever the IRT needs your financial support to expand programming to better serve both adult and youth audiences, to enhance equipment and technology, and to ensure the IRT’s robust future for generations to come. Thank you for your patronage and support.

–Nadine Givens, IRT Board Chair OFFICERS CHAIR

SECRETARY

VICE CHAIR & CHAIR ELECT

TREASURER

Nadine Givens PNC Wealth Management Mark Shaffer KPMG LLP

Tammara D. Avant Taft Stettinius & Hollister LLP

IMMEDIATE PAST CHAIR

Tom Froehle* Faegre Baker Daniels

Andrew Michie OneAmerica Financial Partners, Inc.

MEMBERS Gerald Berg Wells Fargo Advisors Keith A. Bice Dentons Bingham Greenebaum Heather Brogden B. Media House IRT Offscript Advisory Council Liaison Amy Burke Butler University Ann Colussi Dee Duke Realty Gary Denney Eli Lilly and Company, Retired Michael P. Dinius Noble Consulting Services, Inc. Laurie Dippold KAR Global, Inc. Daniel C. Emerson* Indianapolis Colts Troy D. Farmer Fifth Third Bank Richard D. Feldman Franciscan Health Indianapolis James W. Freeman OneAmerica Financial Partners, Inc., Retired

Bruce Glor J.P. Morgan Ricardo L. Guimarães Corteva Agriscience, Retired Julian Harrell Faegre Baker Daniels Michael N. Heaton Katz Sapper & Miller Holt Hedrick Calumet Specialty Products Partners L.P. Rebecca Hutton Leadership Indianapolis Elisha Modisett Kemp Corteva Agriscience Sarah Lechleiter Community Volunteer Alan Mills Barnes & Thornburg LLP Detra Mills Round Room Inc. Lawren K. Mills Ice Miller Strategies LLC, Ice Miller LLP Michael Moriarty Frost Brown Todd LLC

Timothy W. Oliver BMO Harris Bank Lauren Petersen TechPoint Peter Racher Plews Shadley Racher & Braun LLP Peter N. Reist Oxford Financial Group Susan O. Ringo Community Volunteer Myra C. Selby Ice Miller LLP Mike Simmons Jupiter Peak, LLC Susan L. Smith Community Volunteer Amy Waggoner Salesforce L. Alan Whaley Ice Miller LLP, Retired David Whitman* PricewaterhouseCoopers LLP, Retired Heather Wilson Frost Brown Todd LLC

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

David Klapper David Kleiman* E. Kirk McKinney Jr. (in memoriam) Richard Morris*(in memoriam) Jane Schlegel* Wayne Schmidt

Jerry Semler* Jack Shaw* William E. Smith III* Eugene R. Tempel* * Past Board Chairs

THE REPERTORY SOCIETY Exclusive Access for Unparalleled Support

An Indiana child’s awe-inspiring first live theatre experience. An evening filled with laughter, family and friends. A ride-home debate sparked by a new perspective presented onstage.

These moments and many others are made possible through the generous support of Repertory Society members. Donors giving $1,500 or more each season will join this exclusive group and gain access to a slate of benefits created to extend your access to our art and enhance your theatergoing experience. REPERTORY SOCIETY BENEFITS INCLUDE: VIP Ticket Concierge, Donor Lounge Access, Complimentary Valet Parking, Exclusive Special Events, and so much more! Hannah Ruwe and Miranda Troutt in the IRT’s 2019 production of The Diary of Anne Frank. Photo by Zach Rosing.

FOR MORE INFORMATION OR TO JOIN THE REPERTORY SOCIETY

Contact Kay Swank-Herzog, Individual Giving Manager: kswankherzog@irtlive.com | 317.916.4830

the arts enrich our entire community. The largest locally-owned national bank is proud to be a major supporter of the Arts.

317-261-9000 ÂŠ2019 The National Bank of Indianapolis www.nbofi.com

Member FDIC

JOIN US! AN ANNUAL MEMBERSHIP IS JUST $50 & LASTS 12 MONTHS FROM PURCHASE DATE! Top-Quality Theatre, Exclusive Access to Special Events & IRT Artisans, $25 Tickets, Volunteer Opportunities

MARK YOUR CALENDAR FOR THESE UPCOMING MEMBER EVENTS! MORNING AFTER GRACE: January 23, 6 PM event; 7:30 PM performance MURDER ON THE ORIENT EXPRESS: March 25, 6 PM event; 7:30 PM performance

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FEBRUARY 18 - MARCH 1 the magic of make-believe

Actors Isaiah Moore and Devan Mathias in the IRT's The Little Choo-Choo That Thinks She Can. Photo by Alexis Morin.

IRTLIVE.COM | 317.635.5252

Original artwork by Kyle Ragsdale

CELEBRATE THE NEW YEAR WITH INCLUSION SERIES & BYO3 PACKAGES! Our new INclusion Series broadens our perspectives on what it means to be an American. Celebrate diverse storytelling with this series featuring work by female playwrights on the Native American, African American, and Chinese American experience. The full series consists of And So We Walked: An Artist’s Journey Along the Trail of Tears, The Watsons Go to Birmingham—1963 and The Paper Dreams of Harry Chin. 1. INCLUSION SERIES—Select the 2 remaining productions from the series plus 1 additional production from our season. 2. BUILD YOUR OWN 3 (BYO3)—Choose any 3 productions and receive 1 ticket to each production.

FEB 1 - MARCH 1 a family rooted in love

MARCH 3 - MARCH 29 the ultimate whodunit

MARCH 25 - APRIL 19 a surreal journey through past & present

APRIL 14 - MAY 10 beloved romance

SIMMONS FAMILY FOUNDATION

BUY NOW! | IRTLIVE.COM/PACKAGES | 317.635.5252

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JANUARY 14 - FEBRUARY 9 ONEAMERICA MAINSTAGE

ARTISTIC

SCENIC DESIGNER: Bill Clarke LIGHTING DESIGNER: Betsy Cooprider-Bernstein

SEASON SPONSOR

Director_________________________JANET ALLEN Scenic Designer____________________________BILL CLARKE Costume Designer__________________________ GUY CLARK Lighting Designer_______________ BETSY COOPRIDER-BERNSTEIN Sound Designer & Composer___________ TODD MACK REISCHMAN Dramaturg__________________________ RICHARD J ROBERTS Stage Manager_______________________ NATHAN GARRISON Casting_____________________________ CLAIRE SIMON CSA

SEASON 2019 - 2020 SEASON PARTNER

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ARTS PARTNERS

SUPPORTER

JANET ALLEN

Executive Artistic Director

SUZANNE SWEENEY Managing Director

THE COMPANY in order of speaking

Abigail________________________ LAURA T. FISHER Angus_______________________ HENRY WORONICZ Ollie___________________________JOSEPH PRIMES

SETTING a retirement community on Floridaâ&#x20AC;&#x2122;s Suncoast There will be one intermission.

ACKNOWLEDGMENTS Morning After Grace is produced by special arrangement with Mark Orsini, Bret Adams, Ltd., 448 West 44th Street, New York, NY 10036. bretadamsltd.net The world premiere of Morning After Grace was presented by the Purple Rose Theatre Company: Jeff Daniels, Founding Executive Director; Guy Sanville, Artistic Director; Katie Doral, Managing Director. The production was produced and directed by Guy Sanville. Intimacy Coach: Jenny McKnight Fight Consultant: Rob Johansen *Actors and stage managers in this production are members of Actorsâ&#x20AC;&#x2122; Equity Association, the Union of Professional Actors and Stage Managers in the United States. The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. Scenic, costume, lighting, and sound designers in LORT Theatres are represented by United Scenic Artists Local 829, IATSE. Photography of the set without actors and with proper credit to scenic and lighting designers is permitted. Due to union agreements, photography, video, and audio recording are not permitted during the performance. The videotaping of productions is a violation of United States Copyright Law and an actionable Federal Offense. Left: Original artwork by Kyle Ragsdale

MOVING FORWARD

BY JANET ALLEN, EXECUTIVE ARTISTIC DIRECTOR

The Baby Boom generation grew up thinking they’d somehow never grow old. Morning After Grace penetrates that absurdity, even while holding its fallacy in forgiveness and understanding. Few plays chart this territory: a middle ground between loss and surrender. Much hope and life are possible there, but it can require a fierce negotiation—with the world, with one’s body, in one’s relationships, even with one’s memories—a negotiation that earlier phases of life did not seem to require. Going on against great odds, when the past seems to outweigh the future: that is the task at hand for the characters in this charming and insightful play. Angus, Abigail, and OIlie are unlikely confidantes. They are thrown together by circumstance and chance, and a large part of the impact of the play springs from that sense of the unknown. What will they choose out of these odd circumstances? What will they learn? What do they tell each other simply because they think there is little chance they will actually develop friendships? How does age loosen their tongues? There are puzzles upon puzzles in these characters. We are drawn into their explorations of one another because the chance of their connection ignites a kind of brutal honesty that is rare in human interaction—and that is particularly potent in the theatre. How do we negotiate and survive the loss of our past? That is largely the question of the play. For a generation who was taught to seize and make their own power, reckoning with loss of power can be devastating. It very nearly is so for Angus. But Abigail and Ollie’s different brands of courage cause Angus to see the world anew—or at least to want to try to do so. Aging is hard, we know. But aging with open-hearted acceptance is an even harder path. And that path can only be negotiated by keeping old friends—or finding new friends—who will walk the road with you, flaws and scars and all.

Opposite: Original artwork by Kyle Ragsdale

LIVING ON THE SUNCOAST

BILL CLARKE | SCENIC DESIGNER Designing a show like Morning After Grace is a little bit like real-estate shopping for your ideal retirement home in Florida! Director Janet Allen asked us to pull out all the stops and create a larger-and-more-beautiful-than-life version of a dream condo—and thanks to Zillow, Sarasota’s finest homes are only a click away. Soaring pale contemporary walls as a background to colorful modern art and bold colors in decoration are all the rage

there now. But an aspect of my job that is less evident, although maybe even more important, involves arranging the onstage space in a way which feels “real” but is in fact carefully contrived to provide everyone clear sightlines to the sofa, closet, kitchen, and bedroom hallway: the key spots important to enjoying this wonderful comedy.

BETSY COOPRIDER-BERNSTEIN | LIGHTING DESIGNER When Janet asked me to work with her on this January production, I had a tough decision to make. For several years my husband and I have been partially wintering in Florida as a pre-retirement thing. So … do I remain in Floridian warmth watching Alan fish, or do I head back to Indy to light a play that takes place in a Florida retirement community? Ha! Art truly mirrors life in this case! Upon reading the script, I found the characters to be full of charm and surprise as Carey Crim’s play packs a bit of a punch about the realities of aging. Then I

saw Bill Clarke’s beautiful set, so full of opportunities for light: big windows, recessed fixtures, soffit lights, a full kitchen with skylight, and implied sources of light from adjacent rooms. Bill’s high clerestory windows provide an avenue for both direct and ambient Florida sunlight, which can feel downright heavenly. I’ll have my work cut out peeling away light to enhance the play’s more somber, intimate moments. Lighting a gorgeous set, working with awesome co-artists, in my favorite theatre … yep, I’m flying back to Indy!

Preliminary sketch by scenic designer Bill Clarke.

GUY CLARK | COSTUME DESIGNER “People are trapped in history,” James Baldwin wrote, “and history is trapped in them.” Grief is specific, and in Morning After Grace, each character’s personal history informs his or her individual style. Though their costumes may suggest the role that image

has played in their respective careers, their clothes must feel genuine and unstudied: real clothing on real people whose pain— and humor—we recognize.

Preliminary costume renderings for Laura T. Fisher as Abigail, Henry Woronicz as Angus, and Joseph Primes as Ollie, by designer Guy Clark.

THE COMPANY LAURA T. FISHER | ABIGAIL Laura is thrilled to return to Indiana Rep where she previously played Hannah Jarvis in Tom Stoppard’s Arcadia, directed by Peter Amster. She is a Chicago-based actor who has appeared at Steppenwolf, Goodman, Chicago Shakespeare, Court, Northlight, Milwaukee Rep, Theatre Wit, Victory Gardens, and many others. She is the recipient of the Joseph Jefferson and After Dark awards for her performances. Film and television credits include Contagion, Captive State, Widows, Chicago Fire, Chicago PD, Sense8, Empire, The Red Line, and, upcoming on Showtime, Work in Progress. “I thank Stewart Talent in Chicago for their stellar representation and my husband Don Copper for holding down the Chicago fort and for his never-wavering love and support.” Proud member of AEA and SAG-AFTRA. lauratfisher.com

JOSEPH PRIMES | OLLIE Joseph is excited to make his Indiana Repertory Theatre debut. His Chicago credits include EthiopianAmerican at Definition Theatre, as well as understudying for Lindiwe and Familiar at Steppenwolf Theatre Company, Sweat at the Goodman Theatre, and King Hedley II at the Court Theatre. His Cleveland credits include Dontrell, Who Kissed the Sea at Cleveland Public Theatre; Fabulation, Waitin’ 2 End Hell, The Blacks, A Clown Show, The Bow-Wow Club, and Permanent Collection at Karamu House; and Seeing Red at Great Lakes Theater.

HENRY WORONICZ | ANGUS At the IRT, Henry has acted in Twelve Angry Men, A Doll’s House Part 2, Holmes and Watson, The Originalist, The Mousetrap, Red, An Iliad, A Midsummer Night’s Dream, Young Lady from Rwanda, and King Lear; he has also directed The Three Musketeers and Romeo and Juliet. Regional acting and directing credits include Actors Theatre of Louisville, American Conservatory Theatre, American Players Theatre, Arden Theatre Company, Berkeley Repertory Theatre, Boston Shakespeare Company, Center Stage, Delaware Theatre Company, Hong Kong Repertory Company, La Jolla Playhouse, Meadow Brook Theatre, Syracuse Stage, the Shakespeare Theatre, and the Alabama, Illinois, New Jersey, Pennsylvania, and Utah Shakespeare festivals. He was seen on Broadway in Julius Caesar with Denzel Washington. Television credits include Seinfeld, Cheers, Third Rock from the Sun, Star Trek, and Law & Order. At the Oregon Shakespeare Festival, he was a resident actor/director from 1984 to 1991 and artistic director from 1991 to 1995. Henry also served as executive producer at Lake Tahoe Shakespeare Festival from 2008 to 2009, the head of M.F.A. Acting at Illinois State University from 2009 to 2012, and a visiting professor in the Department of Theatre at IU Bloomington from 2014 to 2017.

CAREY CRIM | PLAYWRIGHT Carey Crim is an award-winning New York–based playwright and resident artist at the Purple Rose Theatre Company in Chelsea, Michigan. Morning After Grace was commissioned by the Purple Rose, where it premiered in 2016. Never Not Once was the winner of the 2017 Jane Chambers Award. Her other plays include Conviction (23.5 Hours), Some Couples May… , and Growing Pretty. She wrote the screenplay for the feature film Wake (2018), adapted from her own play. Her plays have been produced and/or workshopped at Pasadena Playhouse, Primary Stages, Luna Stage, Asolo Repertory Theatre, Ensemble Studio Theatre, Miami City Theatre, Rubicon Theatre, Route 66 Theatre, and Royal Manitoba Theatre Centre. She is a graduate of Northwestern University.

JANET ALLEN | DIRECTOR Janet has been the IRT’s artistic leader for 24 seasons. Among the 23 IRT productions she has directed are The Diary of Anne Frank, Looking Over the President’s Shoulder, A Christmas Carol, To Kill a Mockingbird, On Golden Pond, Who Am I This Time?, The House That Jack Built, The Drawer Boy, Ah, Wilderness!, and The Glass Menagerie. (see full bio on page 6)

BILL CLARKE | SCENIC DESIGNER Bill has previously designed The Diary of Anne Frank, Noises Off, To Kill a Mockingbird, The Ladies Man, A Streetcar Named Desire, The Nerd, and Long Day’s Journey into Night at the IRT. He has designed A Walk in the Woods and Abby’s Song on Broadway; OffBroadway designs include the currently running MsTrial at New World Stages, Lemon Sky for Keen Co, So Help Me God! at the Lortel, Eccentricities of a Nightingale for T.A.C.T., The Daughter-in-Law for Mint Theater (NYTimes 10 Best List), June Moon for the Drama Dep’t, Ann Magnuson’s You Could Be Home Now at NYSF, The Cherry Orchard at Juilliard, and many more. Regional credits include Seattle Rep, Old Globe, Milwaukee Rep, Alley, Asolo, Denver Center, A.R.T., Huntington, McCarter, Coconut Grove, Cincinnati Playhouse, Cleveland Play House, and Pittsburgh Public. Bill earned his M.F.A. at the Yale School of Drama. He is the recipient of Merimack Rep’s Artistic Achievement Award, IRNE (New England) Award, New Hampshire Theatre Award, Hollywood Drama-Logue Award, and the San Diego Theater Critics’ Circle Award.

GUY CLARK | COSTUME DESIGNER A graduate of Sarah Lawrence College, Guy manages the Indiana Repertory Theatre costume shop. His design work for IRT includes costumes for Elephant & Piggie’s “We Are in a Play!,” The Town Mouse and the Country Mouse, The Originalist, Stuart Little, The Mystery of Irma Vep, The Giver, The Velveteen Rabbit, Red, And Then They Came for Me, The House That Jack Built, God of Carnage, I Love to Eat, and Mary’s Wedding. During his 26-year career in professional theatre, he has created costumes for many original Broadway productions, including The Phantom of the Opera, Cats, and The Lion King. In 2007, Aretha Franklin commissioned him to design and build a dress for her performance at that year’s Grammy Awards ceremony, and the following year, he created the two gowns she wore to President Obama’s inaugural balls. Guy is a member of Indianapolis Shakespeare Company, where has designed costumes for several productions. He has also designed costumes for several Dance Kaleidoscope concerts.

THE COMPANY BETSY COOPRIDER-BERNSTEIN | LIGHTING DESIGNER This is Betsy’s 41st production at the IRT, including The Originalist, To Kill a Mockingbird, The Mystery of Irma Vep, On Golden Pond, The Giver, And Then They Came for Me, An Iliad, Jackie and Me, Julius Caesar, Mary’s Wedding, Love Letters, Macbeth, The Power of One, and ten seasons as associate lighting designer for A Christmas Carol. This summer she designed Little Shop of Horrors and Little Women for IU Summer Theatre in Bloomington. With her husband, Chef Alan Bernstein, Betsy owns Alan’s Catered Events. They have long created sumptuous fare for a wide array of events but are semi-retiring in 2020. Betsy has recently started a fresh “mission” to rescue and upcycle vintage jewelry and other objects in the creation of new treasures. You might catch her next summer at local arts and crafts fairs or visit her shop ReVivable Goods on Etsy.

TODD MACK REISCHMAN | SOUND DESIGNER & COMPOSER This is Todd’s 18th season as resident sound designer at IRT. During the off season his work can be heard with Indianapolis Shakespeare Company, Summer Stock Stage, and in a variety of music projects around town. Todd can both create and describe the ruckus.

RICHARD J ROBERTS | DRAMATURG This is Richard’s 30th season with the IRT, and his 22nd as resident dramaturg. He has also been a dramaturg for the New Harmony Project, Write Now, and the Hotchner Playwriting Festival. He has directed IRT productions of The Cay, Bridge & Tunnel, A Christmas Carol, The Night Watcher, Neat, Pretty Fire, The Giver, The Power of One, and Twelfth Night. Next he is directing Sweeney Todd for Actors Theatre of Indiana and the Carmel Symphony Orchestra at the Palladium in February. Other directing credits include the Phoenix Theatre, Indianapolis Chamber Orchestra, Edyvean Repertory Theatre, Indianapolis Civic Theatre, Butler University, Anderson University, and the University of Indianapolis. Richard studied music at DePauw University and theatre at Indiana University and was awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis.

NATHAN GARRISON | STAGE MANAGER This is Nathan’s 24th 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 SIMON CSA | CASTING Based in Chicago, Claire Simon CSA has worked with the IRT for the past 23 years on casting more than 40 productions, including Twelve Angry Men, You Can’t Take It With You, Holmes and Watson, Noises Off, Appoggiatura, Romeo and Juliet, The Originalist, The Curious Incident of the Dog in the Night-Time, Guess Who’s Coming to Dinner, Finding Home, The Great Gatsby, and many more. Other regional credits include Syracuse Stage, Asolo Theatre, Lyric Opera, Milwaukee Rep, New Theatre, Paramount, Writers Theatre, Broadway in Chicago’s Working, and the Tony Award–winning Million Dollar Quartet. TV credits include Empire, Easy, Sense8, Chicago Fire, Chicago PD, Crisis, Betrayal, Detroit 1-8-7, Boss, Mob Doctor, and Chicago Code. Film credits include Divergent, Contagion, Unexpected, Man of Steel, Save the Last Dance, and High Fidelity. Claire has won Artios Awards for casting the pilot of Empire and for Season 1 of Fox’s Prison Break.

NATHAN GARRISON PRODUCTION STAGE MANAGER NATHAN GARRISON HAS BEEN WORKING AT THE IRT SINCE 1993. HE HAS STAGE MANAGED MORE THAN 2500 PERFORMANCES OF MORE THAN 80 IRT PRODUCTIONS, AND HE HAS BEEN THE COMPANY’S PRODUCTION STAGE MANAGER SINCE 2015.

WHERE DID YOU GROW UP? I was born in San Antonio, Texas, but I grew up in Boulder, Colorado, then spent my high school years in New Hampshire.

HOW DID YOU FIRST GET INTERESTED IN THEATRE? The summer before my senior year I made some new friends and they encouraged me to get involved in theatre. They asked me to stage manage Grease. I had no clue, had never done anything other than little church productions. But I bumbled my way through, had a blast, was totally bitten by the theatre bug. I acted in three other productions my senior year and left high school thinking, well, if you can have a career in this, then that’s it, I don’t need to know any more. I went to Colorado College in Colorado Springs, and there I discovered directing. My plan was to go on to grad school in directing, but every place I applied to said go out in the world, get a couple years of experience, and then try again.

The first job I got was at Utah Shakespeare Festival as a basic entry-level crew person. I met Toni Smith who was there working costumes in the summer and working at the IRT the rest of the year. She connected me with the IRT, and I ended up getting hired as the assistant technical director. It wasn’t my ideal job, but it got me in the door, and from there I was able to figure out what else was possible. After a year I moved to the deck manager position—sort of the backstage crew chief. It was great to move from just working in the scene shop to actually being part of the performances. I was involved in the creative thing, the performances, and at the same time I was a skilled technician. Eventually I moved from there into production assistant and assistant stage manager and then stage manager.

WHAT DOES A STAGE MANAGER DO? Stage management is the organization and coordination component of a theatre production. Communication is a big part, making sure everybody’s on the same page so that we can all work together toward a common goal. Facilitation is a huge part of it. We get an understanding of what the goals are, typically from the director but also from the heads of each of the production departments, and then we are sort of in charge of helping that happen, facilitating and implementing. Stage management is a team effort. On every show I have a production assistant, on larger shows there are two. Occasionally for a really big show there is an assistant stage manager. We start by setting up the rehearsal room, taping out the ground plan on the floor to precisely match what the stage set will be like. During rehearsals my chief job is keeping track of the direction that the director gives the actors, primarily staging, sometimes emotional notes or pacing notes, volume, but certainly where they go, when they go there, what they do. Lots of charts and detailed notes. I am also taking notes on any changes: if a prop is added or if we need to modify a prop somehow, or if an actor needs glasses or a pocket. At the end of the day I send out a rehearsal report, so that everybody in the building has the information they need. Stage management is sort of a filter for all the information. It’s all about trying to make sure that we’re all working towards the same goal. We’re also striving for consistency and reliability, so that when we move from the rehearsal room to the stage, we are well equipped with knowledge and with paperwork to help that process move along as efficiently and quickly and safely and comfortably as possible. All working towards eventually an opening performance of the show that is the way we all planned it. Once the show is in performance, it’s my job to run the show: to make sure the actors and the crew are where they are supposed to be, to work with house management to start the show when the audience is ready, and to call the cues. Each change in lighting, sound, or projections is a cue. The placement of those is always specific, and we want to keep it consistent, because that’s how the director and the designers have built the show. In order to keep our performances consistent, the cues have to be very consistent, at the same time, in the same manner, every time, so as not to throw the actors off, and so as to achieve the same result every performance. It’s also the stage manager’s job to maintain the show and make sure that it doesn’t stray too much from what the director intended, that actors aren’t taking it upon themselves to try new things, because that

affects other actors and the rest of us trying to do jobs that are based on reliably consistent cues and pacing. So without strangling the production, I try to keep it as close to consistently the same as I can from show to show, the goal being that no matter when an audience sees the show they’re getting the same quality, the same intention as any other audience.

WHAT IS IT ABOUT STAGE MANAGEMENT THAT YOU LOVE? There’s a part of me that is driven to create. Growing up it was either through writing or eventually through theatre, acting and directing. Yet I’m also a very logical, reasonable, organized person. I originally wanted to be a director, and I have directed shows, but I found that I enjoyed that less and less, maybe because it didn’t engage both sides of me. Stage management requires organization and thoroughness and the ability to keep track of a lot of different variables, and merges it with this completely creative human process of trying to figure out the best way to show human interaction. In rehearsal, as we try different things, we’re really trying to get at truth and honesty and what speaks to us as the most meaningful version of an interaction between humans. That’s all sort of in the brain at the same time that we’re getting specific production elements in place and keeping organized and communicating and all of that. So at the same time that we try to put a show together, we’re also examining ourselves and imagining what it’s like for these characters and how that is relevant to us. As a stage manager, I feel very balanced between the creative and the reason-logic-organization parts of my brain. It fits me.

YOU’VE WORKED AT THE IRT FOR 27 YEARS. WHAT HAS MADE YOU STAY? Really it’s the sense of family. Every time I talk to actors who are new to this theatre, they are pretty much blown away by how welcomed they feel and how much they feel taken care of. Whether you work here full time or just for a single show, you are part of the IRT family. And that’s fairly easy to say, but it really means a lot to the visiting artists who are here just for a show as well as to the people who work in the technical staff, and everybody, really. It’s company wide. And that, combined with the high standards we have for our productions, and a commitment to quality—I think that’s what it is for me. If it felt like a family but the work wasn’t that great, I don’t think I could do it. And if the work was awesome but I felt like I was just doing a job, or it was all about the bottom line, that wouldn’t feed my soul at all. So for me it really all goes back to this balance again of the human side, the emotional, creative side, and the practical side. The IRT’s sense of family and also the quality of the work are a perfect balance for me. 37

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based on the book The Watsons Go to Birminghamâ&#x20AC;&#x201D;1963 by

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Director________________________MIKAEL BURKE Scenic & Projection Designer__________________ REUBEN LUCAS Costume Designer________________________ ALEXIS CARRIE Lighting Designer________________________ XAVIER PIERCE Sound Designer___________________________ TOM HORAN Dramaturg__________________________ RICHARD J ROBERTS Stage Manager______________________ ERIN ROBSON-SMITH*

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JANET ALLEN

Executive Artistic Director

SUZANNE SWEENEY Managing Director

THE COMPANY in order of speaking

Mama_________________________ TIFFANY GILLIAM Daddy_______________________ BRYANT BENTLEY* Byron__________________________ BRIAN WILSON Kenny__________________________ XAVIER ADAMS Joey___________________________ DALILA YODER Buphead_______________________ GRAYSON MOLIN Grandma Sands_________________MILICENT WRIGHT*

SETTING from Flint Michigan, to Birmingham, Alabama 1963 There will be no intermission.

ACKNOWLEDGMENTS The Watsons Go to Birmingham—1963 was co-commissioned by Seattle Children’s Theatre, Courtney Sale, Artistic Director; Chicago Children’s Theatre, Jacqueline Russell, Artistic Director; and the Launch Pad at University of California Santa Barbara Department of Theater and Dance, Risa Brainin, Artistic Director. Dialect Coach: Allison Moody Movement Coach: Rob Johansen Understudies: Shawnté Gaston, Daniel A. Martin, Keilyn Bryant, Marcus Williams Jr, Genesis Brown Special Thanks to Asante Children’s Theatre *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. Scenic, costume, lighting, and sound designers in LORT Theatres are represented by United Scenic Artists Local 829, IATSE. Photography of the set without actors and with proper credit to scenic and lighting designers is permitted. Due to union agreements, photography, video, and audio recording are not permitted during the performance. The videotaping of productions is a violation of United States Copyright Law and an actionable Federal Offense. Left: Original artwork by Kyle Ragsdale

HISTORY BECOMES PERSONAL BY JANET ALLEN, EXECUTIVE ARTISTIC DIRECTOR

Many of us who have raised children in the last 20 years will know the source material of this play. The Watsons Go to Birmingham—1963 is a piece of youth historical fiction that was published in 1996 and quickly became a staple of junior high reading lists. Its warm heart and deep and often amusing plunge into family dynamics almost keeps us from remembering what the Watsons are headed into. Their car journey from their home in Flint, Michigan, to the Deep South of the early 1960s—the pre–Civil Rights era South, the Jim Crow South—also moves them directly into an historic hotspot of violence. It is in part the surface normalcy of this story—what could be more human and ordinary than taking a cross-country car ride to visit Grandma?—that allows us to see how very un-normal this and many journeys have been and continue to be for African American people in our country. It is much to the credit of both Christopher Paul Curtis (the novelist) and Cheryl West (the playwright-adaptor) that the play stays focused on a child’s view of the events. Ten-yearold Kenny, the middle child in the Watson family, serves as the play’s lodestar. It is his curiosity and growing fear that move us from the literal geographic journey into an emotional journey of awakening into the real perils of racism. Much of what Kenny observes as the family gets into the South—and he is a keen observer—is at first simply odd to him. It is the perception of his parents’ fears that moves the journey from one of delight to one of deep concern for his and his family’s safety. And of course, as is true in any defining historic moment, the people caught up in it often don’t realize the magnitude of what they are witnessing until long after the fact. This is true for adults, and doubly true for children, whose survival instincts are tied to their parents.

The Watsons do survive—and thrive. When they return to Flint, we see some new-found family cohesion, some maturing in the kids, deep relief from the parents, and a profound awakening of the racial divide in this country—particularly for the audience. What we sometimes forget is that the Civil Rights Movement was not only adults marching, it was not only the heroic acts of Rosa Parks, Martin Luther King, and other icons of the time. It was also children: specifically, four girls in a Birmingham church who were martyred by the Klan in a horrific crime against all humanity. The Watsons’ fictional nearness to this event is what provides the historic backdrop of this story. Their love for one another is what we take away as indelible.

Left: Original artwork by Kyle Ragsdale

THE FRONT SEAT BY MIKAEL BURKE, DIRECTOR

Growing up. One day, you’re a kid, and then suddenly you’re not. How did it happen? When did it happen? How do you know when you’ve grown up? Are you grown when you graduate high school? When you get your driver’s license? After your bar mitzvah? When your facial hair starts to grow? When you have the talk? When you’re no longer afraid of the dark? Or, perhaps, when you sit in the front seat of the car with your dad on the family road trip for the first time? My dad loved road trips. Loved. Them. Every summer we’d go somewhere wild and new and strange, involving being in the car for hours or days. But looking back, one particular trip sticks out to me. I don’t remember where we were going, but the getting there I’ll never forget. I was probably 11 or 12, and I was sitting in the front seat for the first time. My dad and I were talking, and all of a sudden I realized we weren’t just talking about nothing, or one of us talking while the other just half listened. We were having a real conversation, about music

and school and “being while black” and pressure and “the man,” and I remember suddenly feeling so mature, so grown up. In a way it felt like a rite of passage. I had transitioned from boy to man through riveting conversation and the sacredness of the front seat. When I first read this play, it was Kenny’s similar front-seat rite of passage that immediately struck me, and became my touchstone for the whole play. This is a story about growing up. It is a rite of passage in which we see Kenny go from childhood innocence to the beginnings of adolescence and manhood, against a backdrop of monsters—both seen and unseen, imaginary and all too real. The whole weird Watson tribe wants nothing more than to keep one another safe, and in this pursuit, Kenny and his family find themselves in the midst of our country’s most monstrous legacy: racism. And this monster forces Kenny to grow up. He cannot unsee what he’s seen or unlearn what he now knows. But as he moves through his trial by fire, he learns that his family is the sword and shield that allows him to overcome the monsters that haunt him.

THE CIVIL RIGHTS MOVEMENT In 1963, the United States was in the midst of the Civil Rights Movement, a struggle to ensure basic human rights for all people, regardless of color. The Declaration of Independence states that “all men are created equal,” and after the Civil War the U.S. Constitution was amended to include African Americans as citizens; but people’s behavior does not always change when laws change. Discrimination against African Americans occurred throughout the nation, but it was particularly prevalent in the South. Southern states and cities enacted laws and regulations that created unfair practices in jobs, housing, and schools; that prohibited marriages between races; and that mandated segregation with “separate but equal” facilities that were anything but equal. Throughout most of the South, African Americans were forbidden to attend the same schools as whites. They could not use the same parks and pools, playgrounds, public restrooms, or drinking fountains. Many hospitals, restaurants, hotels, and stores would not serve African Americans. Whites sat in the front of buses and movie theatres, while African Americans were required to sit in the back. White children attended large, modern, well-equipped schools, while African American students attended one-room schoolhouses without enough books or teachers. Bogus regulations and “tests” prevented African Americans from voting.

The Southern Christian Leadership Conference and the National Association for the Advancement of Colored People worked to end these practices. Martin Luther King Jr., Thurgood Marshall, Medgar Evers, Ralph Abernathy, Rosa Parks, and many others provided leadership for the movement—often at great personal sacrifice. They focused on non-violent protests: sit-ins and boycotts of stores and public transportation to create economic pressures. Black students attempted to enroll in segregated schools. Protest marches raised public awareness. White supremacists fought back with guns, bombs, and other violence. In 1964, President Lyndon Johnson signed the Civil Rights Bill; the next year he signed the Voting Rights Act. These were major steps forward, but they did not by any means solve the problems of racism in this nation. In recent years there has been a resurgence of white supremacists. In 2013, the Supreme Court gutted the Voting Rights Act. The struggle continues for equal opportunity and equal rights for all peoples.

A Civil Rights march in Birmingham in 1963.

THE BOMBING OF THE 16TH STREET BAPTIST CHURCH The 16th Street Baptist Church was organized in 1873, the first black church in the city of Birmingham, Alabama, which had been founded just two years before. The current structure, built in 1911, was designed by a black architect and built by a black contractor. As one of the primary black institutions in Birmingham, the 16th Street Baptist Church has hosted prominent visitors throughout its history. W. E. B. Du Bois, Mary McLeod Bethune, Paul Robeson, and Ralph Bunche all spoke at the church during the first part of the 20th century. During the 1950s and 1960s, the church was a center for Civil Rights activism. On Sunday, September 15, 1963, white terrorists, members of the Ku Klux Klan, planted a bomb at the church, set to explode as people gathered for Sunday worship. The explosion blew large holes in the church’s walls, destroyed the rear steps to the church, and blew a passing motorist out of his car. Several other cars parked near the site of the blast were destroyed, and

windows of properties located more than two blocks from the church were also damaged. All but one of the church’s stainedglass windows were destroyed in the explosion. Dozens of people were seriously injured in the blast, and four girls were killed: Denise McNair, age 11; Carole Robertson, age 14; Addie Mae Collins, age 14; and Cynthia Wesley, age 14. Across the country, people were outraged by the loss of these young lives. Today, many historians contend that the church bombing was among the pivotal events that helped the nation to focus on the need to protect the rights of all its citizens, leading to passage of the landmark Civil Rights Act of 1964. Although four suspects were identified by the FBI within nine months of the bombing, there were no trials or convictions inthe case until 1977, 2001, and 2002. A fourth suspect died of cancer in 1994 without ever coming to trial.

(pictured, left to right) Denise McNair, age 11; Carole Robertson, age 14; Addie Mae Collins, age 14; Cynthia Wesley, age 14.

EVENTS - Martin Luther King writes Letter from Birmingham Jail - NAACP worker Medgar Evers slain in Mississippi - Patsy Cline dies in a plane crash - President John F. Kennedy speaks at the Berlin Wall: “Ich bin ein Berliner” - Martin Luther King’s “I Have a Dream” speech in Washington, DC - President Kennedy assassinated - Lyndon Johnson sworn in as president

THEATRE - Exit the King by Eugene Ionesco - She Loves Me by Bock, Harnick, & Masteroff - Barefoot in the Park by Neil Simon - The Milk Train Doesn’t Stop Here Anymore by Tennessee Williams - Marat/Sade by Peter Weiss

THE WORLD BOOKS - The Fire Next Time by James Baldwin - The Feminine Mystique by Betty Friedan - The Group by Mary McCarthy - Cat’s Cradle by Kurt Vonnegut - Where the Wild Things Are by Maurice Sendak

NEW IN 1963 - first African American graduates of U.S. Air Force Academy - first African American students at the University of Alabama - first woman in space: Russian cosmonaut Valentine Tershkova - zip codes - touch-tone telephones - the instant replay - FM radio in cars

MOVIES - Cleopatra - Tom Jones - Dr. No - The Birds - How the West Was Won

TELEVISION - The Judy Garland Show - General Hospital - The Fugitive - Petticoat Junction - Let’s Make a Deal

IN 1963 PRICES - loaf of bread—22 cents - gallon of gas—29 cents - movie ticket—85 cents - average new car—$3,200 - average new house—$19,000

MUSIC - “Surfin’ USA” by the Beach Boys - “She Loves You” & “I Want to Hold Your Hand” by the Beatles - “Blowin’ in the Wind” by Peter, Paul, and Mary - “Walk like a Man” by the Four Seasons - “Heat Wave” by Martha and the Vandellas

ON THE ROAD

ALEXIS CARRIE | COSTUME DESIGNER This design started where all good designs should: with the Detroit and Birmingham would look like. The research, combined story we want to tell. Who are the Watsons? What do they with character and script analysis, answers questions about color, want? What are their hopes and fears? And how do those ideas texture, TheWatsons Gopattern, fit—all essential to costuming a show. What you show themselves in their clothing? Once you have an idea of see on the stage is the product of a large-scale collaboration that toBirmingham 1963 the character, you hit the books. Family photo albums from my helps the actors embody their characters, and lets them look and own family and back issues of Ebony and Jet magazine were feel right to the audience. priceless resources to help me discover what black families in SCEN IC DESIGN STORYBOARD REN DERI NGS | 10-30-2019 | MIKAEL BU RKE, DIRECTOR | REU BEN LUCAS, SCEN IC DESIGN ER

REUBEN LUCAS | SCENIC & PROJECTION DESIGNER SHIFT The design is approached from the viewpoint of Kenny and the The couch, the bathroom fixtures, the dashboard of the Brown PLOT #1 may TOP OF SHOW PRESET & PGS. 2-3 trauma that has affected him so terribly. This world is structured Bomber, and other essential elements of the Watsons home but askew and delicately asymmetrical to create a sense of or not be items that Kenny remembers quite clearly. The safety unease. Memories tend to become jumbled or cloudy over time, and warmth of the Watsons home is interrupted by a disorienting with only the strongest visuals being remembered vividly. This paint treatment on the floor, representing the emotional idea is used within the design, along with selective realism, to whirlwind within Kenny. It is only with the support and love of his create a world that we both recognize and don’t recognize. family that Kenny can begin to heal. 46

Preliminary costume designs for Daddy, Grandma Sands, Mama, Joey, & Kenny by costume designer Alexis Carrie. Preliminary rendering by scenic and projection designer Reuben Lucas.

THE COMPANY XAVIER ADAMS | KENNY Xavier is proud to make his IRT debut in The Watsons Go to Birmingham—1963. He lives in Indianapolis with his parents and two dogs Buddy and Psyrus. Xavier is in the 8th grade, and his favorite subjects are science, history, and geometry. After school, he is in a class to write and produce a musical. He has previously appeared in Alice in Wonderland and Herstory. “I would like to thank my mom and dad for their love and support, Justin and Georganna for giving me my first taste of acting and for getting me hooked, and director Mikael Burke for allowing me to enjoy this valuable experience. A special thanks to Milicent!”

BRYANT BENTLEY | DADDY IRT has a special place in Bryant’s heart. Here is where he received his Equity card playing Jackie Robinson in Most Valuable Player directed by David Alan Anderson. Bryant’s theatre credits include Between Riverside and Crazy at Pittsburgh Public Theater and Studio Theatre; Fences at American Players Theatre; “Master Harold” … and the Boys at Clarence Brown Theatre; The Color of Justice at IRT, directed by Priscilla Lindsay; and productions of The Piano Lesson, Two Trains Running, Ma Rainey’s Black Bottom, A Soldier’s Play, Detroit ’67, and many more. Film and TV credits include One Dollar (CBS), The Killing of a Sacred Deer, All or Nothin’, My Days of Mercy, Missed It, and The Public written and directed by Emilio Estevez. “I am excited to return to where it all started. I credit God for my accomplishments and the love and support of my family.”

TIFFANY GILLIAM | MAMA Tiffany appeared at the IRT last season in Elephant & Piggie’s “We Are in a Play!” She is from Indianapolis and is a graduate of Indiana University. Tiffany is very active in local theatre; her recent productions include Yuletide Celebration at the Indianapolis Symphony Orchestra, Same Blood with Summit Performance, and Newsies at Booth Tarkington Civic Theatre. “What a blessing to take part in this production! Thank you to my husband and our children for their continued love, support, and understanding.”

GRAYSON MOLIN | BUPHEAD Grayson is thrilled to return to the IRT stage, where he has appeared as Jonas in The Giver, Jem Finch in To Kill a Mockingbird, and the Ghost of Christmas Past, the Lamplighter, and various other roles in three seasons of A Christmas Carol. As a high-school senior, he is currently taking duel-credit classes at Ivy Tech Community College with the intent to transfer to another school to study nursing. His previous stage roles include Troy Bolton in High School Musical and Clayton in Tarzan for Christian Youth Theatre; Haman in Esther the Musical for Wisdom Builders Homeschool; and Thelonius in Shrek the Musical with Summer Stock Stage. “I would like to thank those who have helped me thus far, and the IRT for giving me this role.”

THE COMPANY BRIAN WILSON | BYRON Brian is a 13-year-old 8th grade student at Edison School of the Arts. He has been dancing since he was a baby, singing since he learned how to use his mouth, and acting since he was about 7 years old. He also plays piano and drums. He has worked with the Asante Children’s Theatre and Conner Prairie, and he was the understudy for Travis in IRT’s A Raisin in the Sun. “When I grow up, I want to be in movies, but I mainly want to make music and tour all around the world. I believe that God blessed me with my talents to spread my light and my positive energy to all. I love the energy I get when I’m on stage and the smiles on the audience’s faces when I perform. It makes me feel like I’m making my family proud.”

MILICENT WRIGHT | GRANDMA SANDS Milicent’s IRT appearances include You Can’t Take It with You, Romeo and Juliet, Bridge & Tunnel, The Night Watcher, Julius Caesar, Neat, Pretty Fire, The Power of One, As You Like It, Hard Times, and 13 seasons of A Christmas Carol. Other credits include Building the Wall for the Fonseca Theatre Company, where she is a company member; As You Like It for Indianapolis Shakespeare Company, where she is a new company member; Fairfield, Human Rites, and Dontrell Who Kissed the Sea at the Phoenix on Park Avenue; Doubt at Cardinal Stage; and the Human Race Theatre. Milicent enjoyed 17 years as manager of outreach programs at the IRT, where she is currently a teaching artist. She has done youth programming for the Asante Children’s Theatre and Young Audiences of Indiana and taught adult classes for Indianapolis Civic Theatre. Milicent was a 2011 Arts Council of Indianapolis Creative Renewal Fellowship recipient and a 2015 award recipient from the Center for Leadership and Development.

DALILA YODER | JOEY Dalila is excited to make her IRT debut. She lives in Indianapolis and attends second grade in Washington Township. She enjoys spending time with her brother and sister, many friends, and two dogs. Her hobbies include writing songs, dancing, and traveling. Dalila’s motto is “Don’t let anyone dull your sparkle.” Dalila is a member of Asante Children’s Theater, and she would like to thank her mentors at ACT for their guidance as well as her teachers and extended family for their support.

CHRISTOPHER PAUL CURTIS | AUTHOR Christopher Paul Curtis was born in 1953 in Flint, Michigan, where many of his books are set. After graduating from high school, he spent 13 years working on the Fisher Body assembly line. He later worked as a groundskeeper, a political campaign manager, a customer service representative, a temp worker, and a warehouse clerk. In 1995 he published his first book, The Watsons Go to Birmingham–1963. The book was a runner-up for the Newbery Medal and was selected as a top book of the year by many publications and organizations. In 2013, it was named as one of the New York Public Library’s 100 Great Children’s Books of the Last 100 Years. Curtis has written a total of nine children’s books, including Bud, Not Buddy (1999), winner of the 2000 Newbery Medal; Bucking the Sarge (2004); and Elijah of Buxton (2007). Curtis earned a degree from the University of Michigan–Flint in 2000.

CHERYL L. WEST | PLAYWRIGHT Cheryl L. West’s 1990 play Before It Hits Home won the Susan Smith Blackburn Prize, the AUDELCO Award, and the Helen Hayes Charles McArthur Award. She received a National Endowment for the Arts Playwriting Award in 1995. Her other plays include Puddin ’n Pete (1993); Holiday Heart (1994), which was adapted for Showtime in 2000 starring Ving Rhames and Alfre Woodard; Jar the Floor (1995), winner of the NAACP Best Play Award; Play On! (1997), a Broadway musical adaptation of Shakespeare’s Twelfth Night with songs by Duke Ellington; and Pullman Porter Blues (2012). West’s stage adaptation of The Watsons Go to Birmingham–1963 was co-commissioned by Seattle Children’s Theatre, Launch Pad—UC Santa Barbara, and Chicago Children’s Theatre, where it premiered last spring.

MIKAEL BURKE | DIRECTOR Mikael is a Chicago-based director, deviser, and educator. A Princess Grace Award winner in Theatre and a Jeff Award-nominated director, Mikael has most recently worked with Victory Gardens Theatre, Northlight Theatre, Jackalope Theatre Company, Windy City Playhouse, and the Story Theatre. A former Victory Gardens Theatre Director’s Inclusion Initiative Fellow, he recently served as Northlight Theatre’s inaugural artistic fellow and also serves as head of the Directing Concentration of the Summer High School Training Program of the Theatre School at DePaul University. Recent directing credits include Sugar in Our Wounds by Donja R. Love; At the Wake of a Dead Drag Queen by Terry Guest; This Bitter Earth by Harrison David Rivers; and Hooded, or Being Black for Dummies by Tearrance Arvelle Chisholm. mklburke.com

REUBEN LUCAS | SCENIC & PROJECTION DESIGNER At the IRT, Reuben has designed scenery for Every Brilliant Thing and The Originalist and projections for Pipeline. His designs have been seen onstage at the Denver Center Theatre Company, National Theatre Conservatory, Theatre Aspen, Indiana Festival Theatre, Rocky Mountain Repertory Theatre, Curious Theatre Company, and others. He is the head of the graduate scenic design program at Indiana University in Bloomington. Before Indiana University, he was a Chicago-based freelance associate scenic and exhibit designer on museum and theatre projects at various national companies. Additionally, he served as the resident scenic design associate at the Denver Center Theatre Company for four years. Reuben received his M.F.A. from the University of Illinois at Urbana-Champaign and is a member of United Scenic Artists Local 829.

ALEXIS CARRIE | COSTUME DESIGNER Alexis is a Los Angeles–based costume designer and social justice warrior. Recent and upcoming credits include Perkup Perkup at City Theatre Company, Hoodoo Love and Yen at Raven Theatre, Good Grief at Point Park University, Man of God at East West Players, In the Blood at Austin Peay State University, Gloria with Hatch Arts Collective, No Child with Definition Theatre Company, and Curve of Departure at Northlight Theatre. Alexis has an M.F.A. in costume design from Carnegie Mellon University and is a proud founding member of First Floor Theater in Chicago. alexiscarrie.com

THE COMPANY XAVIER PIERCE | LIGHTING DESIGNER Xavier designed Pipeline last season at the IRT. Other designs include How to Catch Creation, Othello, and Shakespeare in Love at Oregon Shakespeare Festival; White Noise at the Public; Native Gardens, Harvey, and Blithe Spirit at the Guthrie; Smart People and Native Gardens at Arena Stage; The Roommate at Steppenwolf; Angels in America (Parts 1 & 2) and Pride and Prejudice at St. Louis Rep; Nina Simone: Four Women at Seattle Rep; Fun Home at Baltimore Center Stage; Little Girl Blue at George Street Playhouse; Yours Unfaithfully and A Day by the Sea at Mint Theater NYC; Misery at Cincinnati Playhouse in the Park; Noises Off at Syracuse Stage; Fences at Long Wharf Theatre and McCarter Theatre; Peter and the Starcatcher, 4000 Miles, The Mountaintop, and Detroit ’67 at PlayMakers Rep; Everybody, The Glass Menagerie, black odyssey, and Fences at Cal Shakes; Hamlet and Pippin at Arkansas Shakespeare Theatre; Othello at America Repertory Theatre; and many more.

TOM HORAN | SOUND DESIGNER Tom has designed sound at the IRT for A Doll’s House Part 2, The Mountaintop, The Giver, Peter Rabbit and Me, and The Town Mouse and the Country Mouse. He is a writer, sound designer, and co-artistic director of the Austin-born theatre collective The Duplicates. His works have been honored with several awards, including Best-of-Week and Best-of-Fest honors at the Austin FronteraFest for The King and the Clockmaker (solo, 2012) and the Austin Table Critics Award for The Poison Squad (The Duplicates, 2013). Currently, Tom serves as playwright-in-residence at the Phoenix Theatre and is assistant professor of playwriting and new works development at Ball State University.

ERIN ROBSON-SMITH | STAGE MANAGER Since moving to Indianapolis in 2013, Erin has had the pleasure of working with IRT and its incredible staff. Favorite productions include Pipeline, Romeo and Juliet, The Cay, Finding Home, and And Then They Came for Me at IRT; The Hotel Nepenthe and Vino Veritas at the Phoenix Theatre; Sometimes a Great Notion, How to Disappear Completely and Never be Found, and Frost/Nixon at Portland Center Stage; and Metamorphoses, Frozen, and Retreat from Moscow at Artists Repertory Theatre. Erin spent the summers of 2008 and 2009 working with the JAW Festival at Portland Center Stage.

For 48 seasons the IRT has created a tradition of live professional theatre that continues to give back to Central Indiana.

THE FRONT AND CENTER CAMPAIGN WILL - Support artistic innovation, onstage and behind the scenes

- Help us better serve new and diverse segments of our community

- Ensure the sustainability of the Theatre for future generations

- Make capital improvements to our historic building, including the renovation of the Upperstage Lobby

Your support creates great theatre today and ensures the sustainability for future generations. For more information, contact Jennifer Turner, Director of Development, jturner@irtlive.com | 317.916.4835 David Alan Anderson and Marcus Naylor in the IRTâ&#x20AC;&#x2122;s 2016 production of Fences. Photo by Zach Rosing.

51 MAKE YOUR GIFT TODAY! IRTLIVE.COM/FRONTANDCENTER

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THE SUPPORTING CAST

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

REPERTORY SOCIETY ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2019 - DECEMBER 9, 2019 PLAYWRIGHT CIRCLE $10,000+ Bob & Toni Bader Scott & Lorraine Davison Michael Dinius & Jeannie Regan-Dinius Nancy & Berkley Duck Dan & Ginny Emerson David & Ann Frick Tom & Jenny Froehle Susan & Charlie Golden Mike & Judy Harrington Tom & Nora Hiatt Phil & Colleen Kenney David I. & Betty Klapper Sarah & John Lechleiter Bill & Susie Macias Jackie Nytes & Michael Oâ&#x20AC;&#x2122;Brien Mel & Joan Perelman Sue & Bill Ringo Wayne & Susan Schmidt Simmons Family Foundation, a fund of CICF Cynthia & William Smith III Sue & Mike Smith David P. Whitman & Donna L. Reynolds

DIRECTOR CIRCLE $5,000 - $9,999 Anonymous David & Jackie Barrett Leo Bianchi & Jill Panetta AJ & Erin Bir Susie & Joel Blum Gary Denney & Louise Bakker Rollie & Cheri Dick

Nadine & Alvin Givens Bill & Nancy Hunt Steve & Bev Koepper Dod & Laura Michael Mr. & Mrs. Kimball Morris Carl Nelson & Loui Lord Nelson Mr. Stephen Owen Sr. & Dr. Cheryl Torok Owen Ben Pecar & Leslie Thompson Noel & Mary Phillips* Drs. Eric Schultze & Marcia Kolvitz John & Kathy Vahle Cheryl & Ray Waldman Dr. Christian Wolf & Elaine Holden-Wolf

ARTIST CIRCLE $3,000 - $4,999 A.J. Allen & Kathy Maeglin Keith A. & Heather Bice Ann & Kenneth Dee Charles Goad & James Kincannon Mary Findling & John Hurt Dick & Brenda Freije Donald & Teri Hecht Richard & Elizabeth Holmes Mike & Pegg Kennedy John & Susan Kline Kevin Krulewitch & Rosanne Ammirati* Daniel & Martha Lehman John & Laura Ludwig David & Robin Miner David & Leslie Morgan Bob & Dale Nagy Dr. & Mr. Nichols N. Clay & Amy McConkey Robbins

Jerry & Rosie Semler Mark & Gerri Shaffer Marguerite K. Shepard, M.D. Gene & Mary Tempel Jeff & Benita Thomasson Bob & Dana Wilson

PATRON CIRCLE $1,500 - $2,999 David & Mary Allen Janet Allen & Joel Grynheim Anonymous Tammara D. Porter Avant & Jesse Avant Trudy W. Banta Sarah C. Barney Frank & Katrina Basile Benjamin & Ashley Blair Dan Bradburn & Jane Robison Sherry A. Butler Alan & Linda Cohen Diane Conrad Daniel & Catherine Cunningham Dr. Gregory Dedinsky & Dr. Cherri Hobgood Dr. Brian Dillman & Erin Hedges* Laurie Dippold Paul & Glenda Drew Craig & Marsha Dunkin Troy Farmer Drs. Richard & Rebecca Feldman Gary R. & Barrie K. Fisch Janice Fitzgerald Joan M. FitzGibbon Mary L. Forster, M.D.

REPERTORY SOCIETY CONT. ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2019 - DECEMBER 9, 2019 PATRON CIRCLE, CONT. $1,500 - $2,999 Jim & Julie Freeman Brian & Lorene Furrer Future Keys Foundation Mr. Jim Gawne Dorothea & Philip Genetos Robert Giannini Ron & Kathy Gifford Bruce Glor Goins Family Fund, a donor-advised fund Walter & Janet Gross Ricardo & Beatriz GuimarÃ£es Julian E. Harrell Michael N. Heaton William & Patricia Hirsch Jane Herndon & Dan Kramer Brenda S. Horn Randolph & Rebecca Horton Rebecca Hutton The Indianapolis Fellows Fund, a fund of The Indianapolis Foundation Tom & Kathy Jenkins Daniel T. Jensen & Steven Follis Mrs. Janet Johnson Joy Kleinmaier Kurt & Judy Kroenke Dr. & Mrs. Alan Ladd Ed & Ann Ledford

Joe & Deborah Loughrey Donald & Ruth Ann MacPherson Mike & Pat McCrory Sharon R. Merriman Douglas & Detra Mills Michael D. Moriarty Brian S. Newman & Francisnelli Bailoni dos Santos Larry & Louise Paxton The Payne Family Foundation, a fund of CICF Lauren Petersen Mr. & Mrs. Kenneth A. Peterson Dr. & Mrs. Lee Phipps Gail & William Plater Bob & Kathi Postlethwait Phil & Joyce Probst Scott & Susan Putney Peter Racher & Sarah Binford Michael & Melissa Rawlings Peter & Karen Reist Ken & Debra Renkens Karen & Dick Ristine Chip & Jane Rutledge Paula F. Santa Charles & Jenny Schalliol Jane W. Schlegel Tom & Barbara Schoellkopf Tim & Karen Seiler Jack & Karen Shaw

Michael Skehan Edward & Susann Stahl Sarah Stelzner Ed & Jane Stephenson Robert & Barbara Stevens Jim & Cheryl Strain Kay Swank-Herzog & Robert Herzog Suzanne Sweeney & Todd Wiencek Jonathan T. Tempel John & Deborah Thornburgh Jennifer C. Turner Larry & Nancy VanArendonk Eric van Straten & Karri Emly Bill & Jana Varanka Jennifer & Gary Vigran Amy Waggoner Dorothy Webb Dr. Rosalind Webb Carol Weiss James & Linda Wesley Alan & Elizabeth Whaley Cliff & Molly Williams Ken & Peggy Williams Heather Wilson John & Margaret Wilson Jim Winner John & Linda Zimmermann

DONOR GUILDS ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2019 - DECEMBER 9, 2019 DRAMA GUILD $750 - $1,499 Anonymous (2) Jesse L. & Carolynne Bobbitt Charlie & Cary Boswell Brady Clark

Dr. & Mrs. John J. Coleman III Daniel P. Corrigan Phyllis & Ed Gabovitch Derek & Elizabeth Hammond Mike & Noel Heymann David Kleiman & Susan Jacobs

Liz & JD Masur James M. McMechan Carl & Monique McMillian David H. Moore, M.D. & M. Kristine Beckwith, M.D. John & Carolyn Mutz

*Denotes sustaining members

THE SUPPORTING CAST

INDIANA REPERTORY THEATRE DONORS DONOR GUILDS CONT. ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2019 - DECEMBER 9, 2019 DRAMA GUILD, CONT. $750 - $1,499 Robert & Sara Norris Ann Marie L. Ogden The David and Arden Pletzer Endowment Fund, a fund of Hamilton County Community Foundation Roger & Anna Radue Thomas & Jill Ristine Sallie Rowland Nan Schulte & Matt Russell Thomas & Teresa Sharp Leona J. Shevitz Karen S. Waltz Frederick & Jacquelyn Winters

THEATRE GUILD $300-$749 John & Eileen Ahrens* Eric & Catherine Allen Annee and Bartram Heating and Cooling Company Anonymous (5) Walter Bartz* Constance C. Beardsley* Barbara & Christopher Bodem* Jason & Jessica Bohac* Karry Book & John Hansberry Jan & Roger Brinkman Bob & Chris Broughton Charles W. Brown & Louise Tetrick Dr. Mellonee Burnim David & Beverly Butler Robert Cedoz Steve Chatham & Family Jeff & Jeni Christoffersen Cantor Melissa & Dr. Marc Cohen Don & Dolly Craft Karen Dace* Fr. Clem Davis* Jeffrey & Barbara Dean

Paul & Carol DeCoursey* Phillip & Caroline Dennis* Sarah Donaldson* Danielle M. Dove Dr. & Mrs. John & Sheryn Ellis Jennifer Farmer Drs. Eric Farmer & Tate Trujillo & Christopher Scott* Margaret Ferguson* Bill & Jennie Forehand Eric & Hayley Frandsen Peter Furno & Pamela Steed Priscilla Gerde Thecla Gossett John & Mary Ann Grogan Greg Grossart Tim & Diane Hall Emily F. (Cramer) Hancock* Elizabeth Hansen Don & Carolyn Hardman Don & Elizabeth Harmon George & Dianne Kelley* Rachel Barrett Knight & Jacob Knight* Ted Korupp Molly & Michael Kraus, MD Linda Lantry & Ken Qualls I.M. Larrinua & M.T. Wolf Robert Larsen Andra Liepa Charitable Fund, a Donor Advised Fund of the U.S. Charitable Gift Trust Linda Lough* Jason Maddox Lyle & Deborah Mannweiler Dr. & Mrs. Peter Marcus* Dr. & Mrs. Scott E. Mattson Donald & P.J. McCullough Don & Kimberly Meyer R. Keith & Marion Michael Rev. Mary Ann Moman* James A. & Tammy Morris Jim & Judith Mowry

Mr. Electric of Central Indiana Terry & Lew Mumford Marcia Munshower John & Beth Murphy Sharon & Dan Murphy* Mutter Marinesâ&#x20AC;&#x201D;Jim & Carol Leigh Ann Naas Susan & Jim Naus Dr. LeeAnne M. Nazer Merrell & Barbara Owen Robert M. & Kelli DeMott Park Gary & Pam Pedigo* Mark Perkins Mike & Cheryl Rettig Richard & Diane Rhodes Richard & Ann Riegner River Bend Hose Specialty Inc. Richard & Christine Scales Scampers the Cat Ms. Karen Schnyder* Dr. Jill Shedd* Vicky Sherman, M.D. Rosemarie Springer Luke Stark* David & Lori Starr Dr. Nenetzin Stoeckle* Gregg & Judy Summerville Richard & Lois Surber Nela Swinehart* Steve & Barb Tegarden* Mary Ann Thiel Robert & Barbetta True* Barbara S. Tully* Susan Weatherly* John & Susan Whitaker Prof. Gail F. Williamson Reba Boyd Wooden* Brant & Lorene Wright Zionsville Physical Therapy*

*Denotes sustaining members

IN-KIND/TRADE GIFTS ANNUAL CAMPAIGN GIFTS $300+ | JULY 1, 2019 - DECEMBER 9, 2019 Best Chocolate in Town Black Plate Catering Brooks Publications/Urban Times Candlewood Suites Current Publishing

Hotel Tango Artisan Distillery Indiana Roof Ballroom Midwest Parenting Publications National Institute of Fitness & Sport Pac-Van, Inc.

Saint Joseph Brewery, LLC Skyline Exhibits By Reitz & Associates Studio 2000 West Fork Whiskey Co. WFYI

TRIBUTE GIFTS IN HONOR OF DANIELLE DOVE Anonymous

IN HONOR OF JULIAN HARRELL Westgate Chrysler Jeep Dodge RAM

IN MEMORY OF JOHN KLINE CNO Financial Group

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

Michael Gradison (in memoriam) Emily F. (Cramer) Hancock Bruce Hetrick & Cheri O’Neill Tom & Nora Hiatt Bill & Nancy Hunt David Kleiman & Susan Jacobs Frank & Jacqueline La Vista Andra Liepa Charitable Fund, a Donor Advised Fund of the U.S. Charitable Gift Trust John & Barbara MacDougall Donald & Ruth Ann MacPherson Stuart L. Main (in memoriam) Michael R. & Sue Maine Megan McKinney Sharon R. Merriman David & Leslie Morgan

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

THE SUPPORTING CAST

INDIANA REPERTORY THEATRE DONORS

CORPORATE, FOUNDATION & GOVERNMENT ANNUAL CAMPAIGN GIFTS $300+ | JULY 1, 2019 - DECEMBER 9, 2019 CORPORATE AARP Barnes & Thornburg LLP Bingham Greenebaum Doll LLP BMO Harris Bank The Cellular Connection LLC Duke Realty Faegre Baker Daniels Frost Brown Todd KAR Global Katz, Sapper & Miller, LLP Navient Foundation of the Delaware Community Foundation OneAmerica Financial Partners Oxford Financial Group, Ltd.

PNC Printing Partners Taft Stettinius & Hollister LLP Wells Fargo Foundation in cooperation with Wells Fargo Advisors

FOUNDATION The Jerry L. and Barbara J. Burris Foundation Central Indiana Community Foundation Allen Whitehill Clowes Charitable Foundation Christel DeHaan Family Foundation The Margot L. Eccles Arts & Culture Fund, a fund of CICF The Glick Family Foundation

F.R. Hensel Fund for Fine Arts, Music, and Education, a fund of the Indianapolis Foundation The Indianapolis Foundation, a CICF affiliate Lacy Foundation Lilly Endowment, Inc. Nicholas H. Noyes, Jr. Memorial Foundation, Inc. The Penrod Society The Shubert Foundation Simmons Family Foundation, a fund of CICF

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

THE ALAN AND LINDA COHEN EDUCATION FUND Efroymson Family Fund, a fund of CICF

Eli Lilly and Company

Offscript: IRT Young Professionals Group

YOUNG PLAYWRIGHTS IN PROCESS (YPiP) Richard Vonnegut

FRONT

and CENTER

Front and Center is a campaign to support the long-term sustainability of the IRT. It is with deep appreciation that we thank the individuals and organizations who have committed a gift to keep the IRT Front and Center! A.J. Allen & Kathy Maeglin Janet Allen & Joel Grynheim Dr. Patrick & Danette Alles Pat & Bob Anker Anonymous Bob & Toni Bader

Kay Jett Baker Allison Barkel Frank & Katrina Basile Leo Bianchi & Jill Panetta Susie & Joel Blum Sheila Barton Bosron & Bill Bosron

Dan Bradburn & Jane Robison Amy Burke Brady Clark Mary Beth Claus Allen Whitehill Clowes Charitable Foundation Alan & Linda Cohen

Gifts made through December 9, 2019

FRONT

and CENTER

Front and Center is a campaign to support the long-term sustainability of the IRT. It is with deep appreciation that we thank the individuals and organizations who have committed a gift to keep the IRT Front and Center! The Cohen Family Foundation, Inc. Don & Dolly Craft Daniel & Catherine Cunningham Claire Dana & Chris Fretts Ann & Kenneth Dee Christel DeHaan Family Foundation Gary Denney & Louise Bakker Tom Detmer Rollie & Cheri Dick Michael Dinius & Jeannie Regan-Dinius Danielle M. Dove Nancy & Berkley Duck Duke Realty Geoff Ehrendreich Dan & Ginny Emerson Troy Farmer Drs. Richard & Rebecca Feldman Jim & Julie Freeman David & Ann Frick Drs. Cherryl & Shelly Friedman Tom & Jenny Froehle David A. & Dee Garrett (in memoriam) Gene & Kathy Gentili Ron & Kathy Gifford Nadine & Alvin Givens Susan & Charlie Golden Dave & Mary Lou Gotshall Mr. & Mrs. Jeff Griman Tom Haas Endowment Fund Benjamin Hanna Mike & Judy Harrington Michael N. Heaton Donald & Teri Hecht Holt Hedrick Aaron Henze Ann Hinson William & Patricia Hirsch Lindsey & Tom Horan

Gifts made through December 9, 2019

Brenda S. Horn Jan Hornaday & Brett Brewer Bill & Nancy Hunt Rebecca Hutton The Indianapolis Fellows Fund, a fund of The Indianapolis Foundation The Indianapolis Foundation, a CICF affiliate Johnson Grossnickle & Associates David Kleiman & Susan Jacobs John & Susan Kline Gary Knott & Colette Irwin-Knott Steve & Bev Koepper Jill & Peter Lacy Lacy Foundation Sarah & John Lechleiter Margaret Lehtinen & Dr. Lawrence Mark Elisabeth Lesem Shelby Lewis Lilly Endowment, Inc. Linneaâ&#x20AC;&#x2122;s Lights, LLC John & Laura Ludwig Bill & Susie Macias Hillary Martin & Rudy Bustamante Lauren McDaniel Andrew & Amy Michie Korea Milledge Amber Mills Lawren Mills & Brad Rateike David & Robin Miner David & Leslie Morgan Michael D. Moriarty Carl Nelson & Loui Lord Nelson Nicholas H. Noyes, Jr. Memorial Foundation, Inc. Jackie Nytes & Michael Oâ&#x20AC;&#x2122;Brien Eric & Suzanne Olson OneAmerica Financial Partners The Payne Family Foundation a fund of CICF Randy D. Pease

Ben Pecar & Leslie Thompson Mel & Joan Perelman Deb & Greg Perkins Jeff Pigeon Peter & Karen Reist George & Olive Rhodes (in memoriam) Sue & Bill Ringo Richard J Roberts Kathy Sax Maggie Barrett Schlake & Joshua Schlake Jane W. Schlegel Wayne & Susan Schmidt Michael & Holly Semler Mark & Gerri Shaffer Jack & Karen Shaw Simmons Family Foundation, a fund of CICF Doug Sims and Amanda Jackson Michael Skehan Kendra & Andrew Smith Sue & Mike Smith Victoria Smith & Scott Wampler Suzanne Sweeney & Todd Wiencek Randy Talley Gene & Mary Tempel Jeff & Benita Thomasson Dr. & Mrs. James Trippi Jennifer C. Turner John & Kathy Vahle Jennifer & Gary Vigran Amy Waggoner Cheryl & Ray Waldman Dr. Rosalind Webb Carol Weiss Alan & Elizabeth Whaley David P. Whitman & Donna L. Reynolds Heather & Andy Wilson John & Margaret Wilson Joseph Zielinski & Bethany Lowery

Proud to be associated with the Indiana Repertory Theatre since 1989

STUDIO 2000 SALON & DAY SPA 55 MONUMENT CIRCLE Right above Starbucks

STUDIO2000SPA.COM

35,000 STUDENTS FROM 55 INDIANA COUNTIES EXPERIENCED LIVE THEATRE AT THE IRT LAST SEASON Without the Alan and Linda Cohen Education Fund, thousands of students would not be able to attend. Help us give students the experiences they deserve by donating to the Cohen Education Fund today! “A student told me he couldn’t pay for the trip because his family doesn’t have a lot of money right now. I told him that the IRT had helped cover the cost. His eyes lit up and he kept saying ‘thank you!’ throughout the day.” -An Indiana Teacher

The cast of the IRT’s 2019 production of Elephant & Piggie’s “We Are in a Play!”. Photo by Zach Rosing.

FOR MORE INFORMATION ABOUT SUPPORTING STUDENT MATINEES, CONTACT: KAY SWANK-HERZOG: KSWANKHERZOG@IRTLIVE.COM | 317.916.4830

OFFICIAL CATERERS

A FINE SELECTION FOR YOUR EVENT AT THE IRT

Keith Little

Antonia Zunarelli

Jacqueline Bols

2025 E. 46th Street, Indianapolis, IN 46205 blackplatecatering.com | 317.255.8030

140 W. Washington Street, Indianapolis, IN 46204 indianaroof.com | 317.236.1874

9840 N. Michigan Road, Carmel, IN 46032 jacquiesgourmetcatering.com | 317.283.2776

Christina Walker

Debbie Lambert

950 S. White River Pkwy W. Drive, Indianapolis, IN 46221 mbpcatering.com | 317.636.4444

10 N. Illinois Street, Indianapolis, IN 46204 webergrillrestaurant.com | 317.636.7607

IRT STAGE DOOR RESTAURANTS

DISCOUNTS FOR OUR SEASON TICKET HOLDERS

BURGER STUDY

CONNER'S KITCHEN + BAR

FOGO DE CHÃO

THE DISTRICT TAP

ONE FREE ORDER OF BEER CHEESE TOTS limit one per table 28 W. Georgia Street 317.777.7770

25% OFF FOOD 350 W. Maryland Street 317.405.6100

10% DISCOUNT IN THE FULL CHURRASCO EXPERIENCE 117 E. Washington Street 317.638.4000

15% OFF FOOD downtown location only 141 S. Meridian Street 317.632.0202

THE GREEK ISLANDS RESTAURANT

LOUVINO

OCEANAIRE

ROCK BOTTOM

COMPLIMENTARY SAGANAKI WITH PURCHASE OF TWO DINNER ENTRÉES 906 S. Meridian Street 317.636.0700

$15 OFF FOOD PURCHASE OF $25 dinner service only 530 Massachusetts Ave Suite 140 317.744.9955

COMPLIMENTARY APPETIZER WITH THE PURCHASE OF AN ENTRÉE restrictions may apply 30 S. Meridian Street 317.955.2277

COMPLIMENTARY APPETIZER (UNDER $9.99) WITH PURCHASE OF AN ENTRÉE 10 W. Washington Street 317.681.8180

SAINT JOSEPH BREWERY & PUBLIC HOUSE

TONY’S STEAKS & SEAFOOD

WEBER GRILL

10% OFF FOOD ONLY excluding raw bar 110 W. Washington Street 317.638.8669

10% OFF excluding alcohol 10 N. Illinois Street 317.636.7600

RUTH’S CHRIS 10% OFF excluding alcohol, downtown only 45 S. Illinois Street 317.633.1313

15% OFF FOOD 540 N. College Ave 317.602.5670

DON'T HAVE SEASON TICKETS? BUY NOW! 317.635.5252 | IRTLIVE.COM/PACKAGES