IRT Program: "Cyrano" by Indiana Repertory Theatre

2020-2021 SEASON

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CYRANO based on the book by

Edmond Rostand adapted for the stage by

Jo Roets

Original artwork by Kyle Ragsdale

STREAMING APRIL 15 – MAY 9, 2021 IRTLIVE.COM | 317.635.5252

Community Engagement That’s Built to Last Building a better future together The spirit of giving is strong at OneAmerica®. A community leader since our inception, we proudly support organizations, like the Indiana Repertory Theatre, that make a difference. OneAmerica is pleased to have further extended our support of the IRT. Our community commitment focuses on strategically investing in education; workforce development; community safety, wellness and success; and community vibrancy.

Visit OneAmerica.com to learn more about our involvement with local nonprofits.

C-34420 11/05/20

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 | 2020-2021 SEASON SPONSOR OneAmerica is proud to support the IRT as one of Central Indiana’s most vibrant institutions. Our relationship reflects one of the longest running sponsorships in professional theater nationwide, and we’re pleased to have further extended our partnership support during these unprecedented times. Enjoy the 2020-2021 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. The Navient Foundation is proud to support the Indiana Repertory Theatre as the Education Partner for the 2020-2021 Season. 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 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.

VISION

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

AS AN INSTITUTION, WE VALUE... SUSTAINING A PROFESSIONAL, CREATIVE ATMOSPHERE

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

• Our public-benefit status, where the focus is on artistic integrity, affordable ticket prices that allow all segments of our community to attend, and community service • Fiscal responsibility and financial security based on achieving a balanced budget • Growing our endowment fund as a resource for future development and to ensure institutional longevity. INCLUSIVENESS

• The production of plays from a broad range of dramatic literature addressing diverse communities • The involvement of all segments of our community in our activities • Using theatre arts as a primary tool to bring meaning into the lives of our youth, making creativity a component of their education • The employment of artists and staff that celebrates the diversity of the United States

CONTENTS 3............................ Mission & Values 5 �� Profile 6.....................................Leadership 10 �� Staff 12........................Board of Directors 20 ��Cyrano 27.............................. Company Bios 32.....................................Interview: Jeb Burris & Melisa Pereyra 34...............................Donor Listing

REVIEWS! FACEBOOK/TWITTER: @irtlive EMAIL: reviews@irtlive.com

CONTACT US IRTLIVE.COM TICKET OFFICE: 317.635.5252 ADMIN OFFICE: 317.635.5277 140 W. Washington Street Indianapolis, IN 46204

VIDEO POLICY The video or audio recording of this performance by any means is strictly prohibited.

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.

The arts are the glue that holds a community together. “They’re a key component of our quality of life, and this plate helps me tell that story to everyone I pass by on a daily basis.”

Photography: Courtney Remley Arts Trust License Plate Project: MidZoomers Night Dream, Marion County

www.in.gov/bmv

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. Last season, with a shorter production calendar due to the pandemic, we provided more than 85,000 live professional theatre experiences for audiences. These experiences included 34,000 students and teachers from 51 of Indiana’s 92 counties, making the IRT one of the most youth oriented professional theatres in the country. This season, as we find new methods to offer theatre within safety guidelines, a staff of 40 seasonal and year-round employees creates six productions for streaming audiences in Indiana and beyond. 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 This year the OneAmerica Season includes six 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.

Educational Programs The IRT has a long-time commitment to student audiences. This season, we are sharing our six productions with students virtually. If you are interested in bringing IRT to your students through streaming productions, or hosting a virtual workshop with an artist, please email education@irtlive.com. Auxiliary services include study guides.

Meet the Artists Virtual pre-show chats offer audiences unique insights into each production.

IN HONOR OF FORMER IRT BOARD MEMBER AND COMMUNITY PHILANTHROPIST MARGOT LACY ECCLES, IRT’S ARTISTIC DIRECTOR POSITION HAS BEEN NAMED THE MARGOT LACY ECCLES ARTISTIC DIRECTOR. ESTABLISHED BY M. E. AND KATIE ECCLES, THIS GENEROUS GIFT NAMES AND ENDOWS THE IRT ARTISTIC DIRECTOR POSITION IN PERPETUITY. THIS GIFT WAS MADE TO HONOR BOTH THE LEGACY OF MARGOT ECCLES AND JANET ALLEN’S SIGNIFICANT TENURE AS ARTISTIC DIRECTOR AS WELL AS THEIR LONGTIME FRIENDSHIP.

LEADERSHIP: JANET ALLEN

Margot Lacy Eccles Artistic Director

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), The Diary of Anne Frank (2011 & 2018) and Morning After Grace (2020).

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 Janet’s leadership skills and community service have been first literary manager—dramaturg. After four years in New recognized by the Network of Women in Business–IBJ’s York City, she returned to serve ten years as associate artistic “Influential Women in Business” Award, a Distinguished director. Named the IRT’s fourth artistic director in 1996, she Hoosier Award conferred by Governor Frank O’Bannon, is now in her 25th season in that role. In January 2020, she Girls Inc.’s Touchstone Award for Arts Leadership, and the was named the Margot Lacy Eccles Artistic Director. Indiana Commission on Women’s “Keeper of the Light” Torchbearer Award. She is a proud alum of the Stanley K. During Janet’s tenure, the IRT has significantly diversified Lacy Leadership program (Class XIX) and was a 2013-14 Arts its services to both adults and children, expanded its new Council of Indianapolis Creative Renewal Arts Fellow. She play development programs, and solidified its reputation is a member of two honorary gatherings in the America as a top-flight regional theatre dedicated to diverse Theatre: the College of Fellows of the American Theatre programming and production quality. Janet’s passion for at the John F. Kennedy Center, and the National Theatre nurturing playwrights has led to a fruitful relationship with Conference. In 2017 she was named an Indiana Living James Still, the IRT’s playwright-in-residence for 23 years, Legend by the Indiana Historical Society. and the creation and production of 16 new works—the Indiana Series—that examine Hoosier and Midwestern Janet is a member of the Indianapolis Woman’s Club, the sensibilities (seven of them by James Still). Her collaboration Gathering, and Congregation Beth-El Zedeck. She serves with playwrights has brought the Theatre prestigious on the board of Summit Performance, a small professional grants from the Pew Charitable Trusts, the Joyce Foundation, theatre company that produces work by and about and the Doris Duke Foundation, as well as numerous grants women. She lives in an historic house built in 1855 in the from the National Endowment for the Arts. Chatham Arch neighborhood with her husband, Joel Grynheim, and a lovely canine mutt. They enjoy following the adventures of their three adult children, who are thriving on various continents. 6

Suzanne serves as a member of the board of directors of the League of Resident Theatres, a nationwide association of regional theatres, and she is the associate treasurer of the organization. In 2016, she was honored to serve as a panelist for Shakespeare in American Communities in cooperation with Arts Midwest.

LEADERSHIP: SUZANNE SWEENEY Managing Director

Suzanne is a 22-year veteran of the IRT and is proud to work alongside her mentor and friend, Janet Allen, as co-CEO of the Theatre. Suzanne oversees all of the administrative functions of the organization, including marketing, fundraising, ticket office, house management, finance, human resources, information technology, and building operations. During her tenure, the Theatre has secured a long-term lease for the building with the City of Indianapolis and renovated the Upperstage Lobby and restrooms. In June 2020 the Theatre surpassed its $18.5 million goal for its Front and Center campaign, raising $20 million.

Suzanne is active in the community, having been the treasurer of Irish Fest for nine years, a member of the board of directors and treasurer of the Day Nursery Association (now Early Learning Indiana) for three years, and a past treasurer of IndyFringe. Suzanne is a graduate of the College of William & Mary (undergraduate) and Indiana University (M.B.A.). She started her career as a CPA; prior to coming to Indianapolis, she worked in finance for more than 10 years, living in such varied locales as Washington, DC; Dallas, Texas; Frankfurt, Germany; Honolulu, Hawaii; and even working for three months in Auckland, New Zealand (where, yes, she went bungee jumping). She is a proud alum of the Stanley K. Lacy Leadership Program (Class XXXI). Suzanne lives in Fall Creek Place with her 17-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: DeLanna Studi in the IRT’s 2019 production of And So We Walked: An Artist’s Journey Along the Trail of Tears. Bottom: The cast of the IRT’s 2020 production of Murder on the Orient Express. Photos by Zach Rosing.

AS PART OF THE FRONT AND CENTER CAMPAIGN, SARAH & JOHN LECHLEITER GAVE A GIFT TO THE IRT IN HONOR OF JAMES STILL’S LONG-TIME RELATIONSHIP WITH THE IRT, CREATING THE JAMES STILL 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

During his 23 years as Playwright-in-Residence, IRT audiences have seen all three plays in James’s “Jack Plays” trilogy (The House That Jack Built, Appoggiatura, and Miranda), as well as Looking Over the President’s Shoulder; And Then They Came for Me: Remembering the World of Anne Frank; Amber Waves; The Little ChooChoo That Thinks She Can; April 4, 1968: Before We Forgot How to Dream; I Love to Eat: Cooking with James Beard; The Velveteen Rabbit; The Heavens Are Hung in Black; 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 Twelve Angry Men, A Doll’s House Part 2, The Originalist, Dial “M” for Murder, The Mystery of Irma Vep, Red, Other Desert Cities, God of Carnage, Becky’s New Car, Rabbit Hole, Doubt, The Immigrant, and Dinner with Friends. James is a board 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, and the Orlin Corey Medallion from the Children’s Theatre Foundation of America. His plays have been nominated

four times for the Pulitzer Prize, and have been developed at Robert Redford’s Sundance, the New Harmony Project, Eugene O’Neill Playwrights Conference, Seven Devils Playwrights Conference, Colorado New Play Summit, the Lark, Launch Pad at UC–Santa Barbara, Telluride Playwright’s Festival, New Visions/New Voices, and Fresh Ink. Three of his plays have received the Distinguished Play Award from the American Alliance for Theatre & Education, and his work has been produced throughout the United States, Canada, China, Japan, Europe, South Africa, Australia, and New Zealand. “The Jack Plays” is the 2020 winner for drama of the Eugene and Marilyn Glick Indiana Authors Award. Also in 2020 James wrote the short film A City of Stories commissioned by the New Harmony Project. Current projects include his new plays The Cratchits (in America) commissioned by the IRT, Joy Waves to You From a Distance, (A) New World, Dinosaur(s), and new play commissions with Prison Performing Arts (St. Louis) and American Blues (Chicago). He has recently written dozens of short new plays that are being performed on digital platforms across the country. 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.

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.

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 highquality theatre helps build creative, empathetic people and healthy communities. Ben is thrilled to be in his fourth season at Indiana Repertory Theatre, where he has directed Tuesdays with Morrie, This Wonderful Life, A Christmas Carol (twice), The Little Choo-Choo That Thinks She Can, Elephant & Piggie’s “We Are in a Play!,” and The Town Mouse and the Country Mouse. 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.

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.

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 Frankie Bolda and audience members in the IRT’s 2019-2020 production of The Little Choo-Choo That Thinks She Can. Photo by Zach Rosing.

INDIANA REPERTORY THEATRE STAFF EXECUTIVE LEADERSHIP

Margot Lacy Eccles Artistic Director Janet Allen Managing Director Suzanne Sweeney ARTISTIC & EDUCATION

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

ELECTRICS

Assistant Master Electrician Kayla Brown Master Electrician Beth A. Nuzum FINANCE & HR

Assistant Controller Danette Alles Payroll & Benefits Specialist Jennifer Carpenter MARKETING

Marketing Communications Manager Kerry Barmann Director of Marketing & Sales Danielle M. Dove Graphic Designer Alexis Morin Associate Director of Marketing Elizabeth Petermann PAINT SHOP

Draper Erica Anderson Costume Shop Manager Guy Clark Wardrobe Supervisor Bailey Lewis

Charge Scenic Artist Claire Dana Scenic Artists Z Hakki Jim Schumacher

DEVELOPMENT

PATRON SERVICES

Development Systems Brady Clark Institutional Giving Manager Eric J. Olson Individual Giving Manager Kay Swank-Herzog Director of Development Jennifer Turner

Manager of Public Operations Margaret Lehtinen Building Services Dave Melton Housekeeping Leila Spicklemire Ticket Office Manager Kim Reeves

Tessitura Administrator Molly Wible Sweets Assistant Ticket Office Manager Eric Wilburn PROPERTIES SHOP

Properties Manager Geoffrey Ehrendreich Properties Carpenter Madelaine Foster SCENE SHOP

Carpenters Nick Chamberlain Lee Edmundson Technical Director Chris Fretts Master Carpenter David Sherrill Automation Carpenter Hal Wenk SOUND & VIDEO

Audio Engineer Brittany Hayth Resident Sound Designer Todd Mack Reischman Sound Operator Alexis Sanford STAGE MANAGEMENT

Production Coordinator Nathan Garrison Production Assistant Rebecca Roeber TELESERVICES

Group Sales & Teleservices Manager Doug Sims

PART-TIME STAFF & ASSOCIATES ARTISTIC

ELECTRICS

FINANCE

Teaching Artist Milicent Wright

Katie Johnston

Associates Crowe Horwath LLP External Auditors Legal Counsel Heather Moore

Celebrating the arts and the joy they bring to life every day.

We’re proud to support the Indiana Repertory Theatre in bringing the arts to life in our community.

Visit us online at www.pnc.com

BOARD OF DIRECTORS OFFICERS CHAIR

SECRETARY

VICE CHAIR & CHAIR ELECT

TREASURER

Nadine Givens PNC Wealth Management

It is incredibly gratifying to serve as chair of our Indiana Repertory Theatre. The IRT is perhaps even more important to our community and its citizens when we cannot physically be together. I have been deeply moved by the hard work and dedication of our staff, bringing theatre to our audience in these extraordinary times. We are blessed with amazing leadership and talent. I want to give a special thank you to all of our patrons and partners who supported our successful Front and Center capital campaign, raising $20 million. How critical that will be for the future of our IRT, for generations to come! On behalf of the Board of Directors, I thank you for joining us this season— one which will inspire and entertain.

–Nadine Givens, IRT Board Chair

Mark Shaffer KPMG LLP

Tammara D. Avant American Electric Power

IMMEDIATE PAST CHAIR

Tom Froehle* Faegre Drinker

Andrew Michie OneAmerica Financial Partners, Inc.

MEMBERS Allison Barkel Project Lead the Way IRT Offscript Advisory Council Liaison Keith A. Bice Dentons Bingham Greenebaum Amy Burke Butler University Michael P. Dinius Noble Consulting Services, Inc. Laurie Dippold KAR Global, Inc. Daniel C. Emerson* Indianapolis Colts Troy D. Farmer Fifth Third Bank James W. Freeman OneAmerica Financial Partners, Inc., Retired Ron Gifford RDG Strategies LLC Bruce Glor J.P. Morgan Christopher Gramling Eli Lilly and Company Ricardo L. Guimarães Dow AgroSciences, Retired

Julian Harrell Faegre Drinker Mike Harrington Eli Lilly and Company, Retired Michael N. Heaton Katz Sapper & Miller Holt Hedrick Calumet Specialty Products Partners L.P. Brenda Horn Ice Miller LLP, Retired Rebecca Hutton Leadership Indianapolis Elisha Modisett Kemp Corteva Agriscience Joy Kleinmaier IU Health Jill Lacy The Lacy Foundation Sarah Lechleiter Community Volunteer Alan Mills Barnes & Thornburg LLP Detra Mills Round Room Inc. Michael Moriarty Frost Brown Todd LLC

Brian Payne Central Indiana Community Foundation 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 Shelly Smith Ernst & Young Susan L. Smith Community Volunteer Amy Waggoner Salesforce L. Alan Whaley Ice Miller 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

JOIN US! AN ANNUAL MEMBERSHIP IS A $25 DONATION & LASTS 12 MONTHS FROM PURCHASE DATE! Top-quality theatre, exclusive engagement with IRT artists and artisans, $25 tickets and networking opportunities.

LEARN MORE: IRTLIVE.COM/OFFSCRIPT The cast of the IRT’s 2015 production of The Great Gatsby. Photo by Zach Rosing.

Support in the Wings At Faegre Drinker, community takes center stage. We’re proud to stand with the IRT in honoring the resiliency of our city and reimagining the way forward.

EXPLORE ARTS, CULTURE, EVENTS & MORE

INDYARTS.ORG/GUIDE an initiative of

@artscouncilindy Sign up for a weekly, curated list of the city’s best arts and culture events at www.indyarts.org/indyarts-e-news THANK YOU TO OUR FUNDERS

Shamira Wilson, Lepidoptera (detail), mural / Indianapolis Artsgarden

ART HAPPENS HERE.

OVER 34,000 STUDENTS FROM 51 INDIANA COUNTIES EXPERIENCED LIVE THEATRE AT THE IRT LAST SEASON!

Thanks to the Alan and Linda Cohen Education Fund, thousands of students are able to attend IRT performances. Help us continue to give students the experiences they deserve by donating to the Cohen Education Fund today.

“We greatly appreciate your fund that allowed us to attend the play.” —An Indiana teacher regarding The Watsons Go to Birmingham—1963

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

Xavier Adams in the IRT’s 2020 production of The Watsons Go to Birmingham–1963. Photo by Zach Rosing.

THE REPERTORY SOCIETY Exclusive Access and Support

Our role at the IRT is to create stories that invite our community to reflect on our collective history, and the journeys that make up this vibrant place we call home. We also create stories that offer new perspectives, give us time to laugh or maybe shed a tear, or see something about our shared humanity in a new way. CONTINUING OUR MISSION WOULD NOT BE POSSIBLE WITHOUT THE SUPPORT OF OUR DONORS. Become a member of our Repertory Society and be part of what makes our city a great artistic community. 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: Exclusive Special Events, VIP Ticket Concierge, and much much more! Katie Bradley, Andrew May and Gavin Lawrence in the IRT’s 2020 production of Murder on the Orient Express. 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

CYRANO based on the book by

Edmond Rostand adapted for the stage by

Jo Roets

STREAMING APRIL 15 – MAY 9, 2021 ONEAMERICA MAINSTAGE

ARTISTIC

SEASON SPONSOR

Director_____________________ JANET ALLEN Scenic Designer____________________RUSSELL METHENY Costume Designer____________________ LINDA PISANO Lighting Designer____________________ XAVIER PIERCE Composer_________________________ MICHAEL KECK Dramaturg______________________RICHARD J ROBERTS Production Coordinator______________ NATHAN GARRISON Production Assistant_________________ REBECCA ROEBER

ARTS PARTNERS

REVIEWS!

Share your reviews on social media by tagging us at @irtlive, using #irtlive, or by emailing reviews@irtlive.com

SEASON PARTNER

SEASON SUPPORT

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

COMMUNITY CONVERSATIONS SPONSOR

THE COMPANY Cyrano_______________________________________________RYAN ARTZBERGER Christian et al.______________________________________________ JEB BURRIS Roxane et al.____________________________________________MELISA PEREYRA

SETTING France, 1640 and 1655.

ACKNOWLEDGMENTS Cyrano is produced by special arrangement with Plays for New Audiences. Fight Choreographer: Jeb Burris Prosthetic nose by Becky Scott. Filmed by arrangement with SAG-AFTRA New Media Agreement. 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. The video or audio recording of this performance by any means is strictly prohibited. Original artwork by Kyle Ragsdale

THE ENDURING CLASSICS

Words matter. That phrase has taken on deep political meaning in the past few years, as public discourse has veered wildly away from civility and truth-seeking. In Cyrano’s case, the phrase gathers meaning not so much in the political (although he covers that too), but in the personal and the poetic. Words are his essence, his means of spinning great webs of humor for his comrades, or expressing the depths of his soul in his words and letters to his love—a love who does not know that those words are his. Cyrano’s words both hide and illuminate his darkest fear: that he is unlovable because of his over-large nose. He struggles, a man of such prodigious intellect and heart, to realize his own value. This essential struggle binds much of humanity together: are we truly contained only by our outward appearances, or by the depth of our humanity, intellect, and soul? The fact that any of us remember the name Cyrano de Bergerac, or the 17th century story that goes with him, is due not to his historic importance, but rather to his 22

elevation by a French Romantic writer, Edmond Rostand, who died in the 1918 flu epidemic. Rostand plucked Cyrano from obscure French history and made him an unlikely romantic hero in an era that thought it was done with Romanticism, creating a world-renowned play and a gargantuan role much coveted by famous actors for more than 100 years. There have been operas and movies and musicals and animated adaptations, all attesting to our perennial fascination with the poet-duelist whose bravado is only matched by his insane love of words. The themes that reappear in Cyrano de Bergerac—also buried deep in another French fable, Beauty and the Beast—attest to its timelessness. In Cyrano we find the tragic fragility of a man with a noble heart who cannot overcome his fear of being rejected. Instead, he woos in the guise of another, taking the secret of his love nearly to the grave, thereby denying both himself and the soulmate object of his love a lifetime of joy. For Cyrano, the correlative between love and death is constant.

Nicholas Hormann and Shawn Judge in the IRT’s 1990 production of Edmond Rostand’s Cyrano de Bergerac.

BY JANET ALLEN, MARGOT LACY ECCLES ARTISTIC DIRECTOR

This is what the Germans call liebestod—a concept that summons another set of tragic lovers, Tristan and Isolde, and Wagner’s towering opera. Cyrano repeatedly refers to finding love in the same breath as finding death. Here, he speaks for Christian under Roxane’s balcony:

I, and you. Hope never ran so high. And nothing now remains except to die. Has the thought made you shiver as one who grieves? For you do tremble, a leaf among the leaves.

While our cultural moment may not celebrate unconsummated love or rhymed couplet verse, our hearts are still able to soar when art takes us out of the world of logic and into the realm of pure feeling contained in flights of expressive language. The adaptation of Cyrano de Bergerac that we are producing comes from a Belgian theatre company, Blauw Vier, and distills the story to its essence: the interwoven love triangle between Roxane, Christian, and the Count De Guiche, with Cyrano as the puppet-master working hard to control the fate of the others while his own heart hangs in the balance. Rostand’s original play has a cast of more than 50: this adaptation has a cast of three. In this distillation, each character becomes iconic, mythic, larger than life. And the language—from French, to Flemish, to English—retains the power to move us with the simplest gesture and image.

take flight. The third actor—Jeb Burris—also happens to double as Melisa’s husband. He played a very Christianlike role at IRT a few years ago, D’Artagnan in The Three Musketeers. Jeb was also seen at IRT in The Originalist, as one of Antonin Scalia’s law clerks, so his versatility has already been on display—but nothing like it will be when you see him play six roles in Cyrano! Classic stories are classic for a reason: they express something so universal and so timeless that they can bounce between generations and eras and cultures and remain deeply affecting, even primal. No IRT season would be complete without one of them, and this COVID season is no exception. Theatre is one of the great containers and uplifters of the classic story because it connects living people in storytelling transmission, in a time-honored ceremony of community making. While we’ve lost that essential element of the “live” this season, the theatre as an art form has survived pestilences before and will do so again, by going underground in whatever manner it must: whether around the campfire, where storytellers’ faces are illuminated by the flickering flame, or around the screen, where the flickering is the digital movement of the actors encased in light.

I am particularly delighted to be working with the three actors we have assembled for Cyrano: it’s so rare that these three would be available at the same time, an odd blessing of COVID, perhaps. One of our local actor titans, Ryan Artzberger, will play Cyrano, a role he seems to me to be made to play. Melisa Pereyra, a member of the acting company at my favorite Midwestern Shakespeare festival, American Players Theatre, will return to us as Roxane. Melisa, a native of Argentina, has been at IRT only once (in Boeing Boeing), so you are all in for a treat to see her take on this classic role where her language skills will really Constance Macy, Rob Johansen, and Michael Callahan in the IRT’s 2002 production of Jo Roets’s Cyrano.

PANACHE RUSSELL METHENY | SCENIC DESIGNER Cyrano is a three-actor jewel of a play which I have set in an intimate wooden courtyard. Surrounding the courtyard is a romantic surreal sky/landscape. With the actors playing multiple characters, various alleyways

for entrances and exits are designed into the space for quick costume changes. As the play progresses, the courtyard opens up to fully reveal a romantic deep surreal atmosphere for Roxane and Cyrano.

Preliminary sketch by scenic designer Russell Metheny.

LINDA PISANO | COSTUME DESIGNER The story of Cyrano is both beautiful and heartbreaking. The original story is very long with many characters. This adaptation is remarkable in its efficiency. The costume design is not meant to hide the three actors, but rather to allow us to suspend our disbelief and immerse ourselves in the beauty of the storyline. Approaching this idea is

difficult, as it must clearly communicate each character rapidly, yet also convey the ever-changing conditions of their circumstances such as war and aging. The costumes must be as efficient as the adaptation of the language, without compromising the splendor and, of course, the poetry of the storytelling.

MICHAEL KECK | COMPOSER I am excited by the opportunity to add my voice to this adaptation of Cyrano de Bergerac. I am familiar with composers of the period; my inspiration, however, comes directly from conversations with Janet and our creative colleagues. The concept, lean, economical, wastes no time diving into the core of the themes of the play. The fragility

of the heart, the language of love, with a blend of comedy and pathos, set me on a path of composing with equal parts of classic and contemporary tonalities. To this end, our score blends period wind, percussion, and plucked string instruments with a small contemporary string ensemble and electronica.

Preliminary costume sketches for Cyrano, Roxane, and Christian by designer Linda Pisano.

POET & PLAYWRIGHT EDMOND ROSTAND BY RICHARD J ROBERTS, RESIDENT DRAMATURG Edmond his vivacity and panache. As a child Edmond loved reading, especially the works of the English Romantic Sir Walter Scott and the French Emperor Napoleon. Rostand was an outstanding student and young writer, and once wrote several love poems and letters for a less articulate schoolmate to send to his sweetheart. Although he studied to become a lawyer to please his father, he continued to write poetry. Rostand’s first play, debuting in 1894, was Les Romanesques (The Romantics). The play’s simple charm and lyricism inspired a modern musical version, The Fantasticks, which opened in New York City in 1960 and ran until 2002—making it the longest-running theatrical production in American history. Rostand’s other plays included T’Aiglon (The Eaglet) which treated the history of Napoleon II and was awarded the French Legion of Honor. In 1901, he was voted into the French Academy, becoming the youngest writer ever to be admitted. He died in the worldwide flu pandemic in 1918.

Written in 1897, Cyrano de Bergerac was the greatest success of French poet and playwright Edmond Rostand’s career. At a time when France had lost its position as cultural center of Europe, the play symbolized the glory of France. It is said that on opening night the audience remained on their feet applauding for an hour after the final curtain. Born in 1868, Edmond Rostand grew up in an artistic family. His father was a scholar and a poet, his uncle was a composer, his aunt wrote a book of verses. But the strongest influence in his life was his Spanish grandmother, who gave

Even during his own lifetime, Rostand’s poetic drama existed well outside the mainstream. Other playwrights like Ibsen, Chekhov, and Shaw explored contemporary social issues in realistic settings. Rostand deliberately conjured up an oldfashioned, romantic vision of the past. For him, the realities of everyday life were unimportant. Rostand’s characters are obsessed by their dreams and their ambitions, and it is their undying devotion to these dreams, even in the face of failure, that makes these characters great. Rostand returns us to a time when theatre can be heroic and magical, tragic and funny, all at the same time. And he reminds us that while we must live in the real world, it is our dreams and aspirations that give life meaning.

Edmond Rostand in the uniform of the Académie Française, 1905.

THE COMPANY RYAN ARTZBERGER | CYRANO Ryan’s IRT credits include Tuesdays with Morrie, Murder on the Orient Express, A Christmas Carol, The Diary of Anne Frank, Holmes and Watson, Noises Off, Romeo and Juliet, The Three Musketeers, To Kill a Mockingbird, The Crucible, A Midsummer Night’s Dream, Dr. Jekyll and Mr. Hyde, God of Carnage, Julius Caesar, Fire in the Garden, Rabbit Hole, Iron Kisses, Death of a Salesman, and Macbeth. Ryan is a member of Indianapolis Shakespeare Company, where he has directed Hamlet and As You Like It and appeared in Coriolanus, The Winter’s Tale, Twelfth Night, The Tempest, The Taming of the Shrew, and Othello. At the Phoenix Theatre he performed in Reasons to Be Pretty. Regional credits include the Seattle Children’s Theatre, the Shakespeare Theatre and the Studio Theatre in Washington DC, Shakespeare Santa Cruz, the Goodman Theatre, Berkeley Rep, Kansas City Rep, Lookingglass, and Great Lakes Theater Festival. Ryan is a graduate of Ohio University and the Juilliard School.

JEB BURRIS | CHRISTIAN et al. & FIGHT CHOREOGRAPHER Jeb has performed at the IRT in The Originalist and The Three Musketeers. Other credits include Love’s Labor’s Lost and Macbeth at Great Lakes Theatre; Love’s Labor’s Lost at the Idaho Shakespeare Festival; The Comedy of Errors at Lake Tahoe Shakespeare Festival; Pride and Prejudice, The Game of Love and Chance, Othello, The Merry Wives of Windsor, Travesties, Romeo and Juliet, Much  Ado about Nothing, Macbeth, Twelfth Night, and The Book of Will at American Players Theatre; Shakespeare in Love, Romeo and Juliet, As You Like It, The Tempest, King John, Love’s Labor’s Lost, Titus Andronicus, The Merry Wives of Windsor, The Glass Menagerie, Richard III, The Liar, and Othello at the Utah Shakespeare Festival; Romeo and Juliet at Chicago Shakespeare Theater; Romeo and Juliet and Julius Caesar at Sacramento Theatre Company; and Down the Road at Two Crows Theatre Company. Jeb earned his B.A. from Ball State University and his M.F.A. from Illinois State University, and trained with the Royal Shakespeare Company and Shakespeare’s Globe Theatre in the U.K. “Love to Melisa, always.”

MELISA PEREYRA | ROXANE et al. Melisa is thrilled to return to the IRT, where she appeared in Boeing Boeing. An Argentinian actress, writer, and theatre director living in the woods of Wisconsin with her husband and fellow actor Jeb Burris, Melisa is a member of the Core Company at American Players Theatre. Her favorite credits include Juliet in Romeo and Juliet, Lady Macbeth in Macbeth, and Rosalind in As You Like It at APT, and Lucia in Fade at Dallas Theatre Center. She holds an M.F.A. from Illinois State University and a B.F.A from Utah State University, and she trained in the UK at Shakespeare’s Globe Theatre and the Royal Shakespeare Company.

THE COMPANY JO ROETS | PLAYWRIGHT Jo Roets studied at the Maastricht Academy of Dramatic Arts in the Netherlands and has been working as an actor, playwright, and director since 1989. He was one of the originators of the Antwerp puppet theatre company Froe Froe and a co-founder of Blauw Vier (renamed Laika, Theatre of the Senses, in 2001), where he is co-artistic director. Roets often starts from literary classics, which he pares down to their essence. He has written and directed plays based on the work of Edmond Rostand (Cyrano, Napoleon, Chanticleer ), Fyodor Dostoevsky (The Karamazovs, The Idiot) and William Shakespeare (Twelfth Night, King Lear). Roets’s plays have been performed in Germany, France, Austria, Switzerland, the United States, and Croatia, and have been nominated for numerous awards.

JANET ALLEN | DIRECTOR Janet has been the IRT’s artistic leader for 25 seasons. Among the 24 IRT productions she has directed are Morning After Grace, 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)

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

LINDA PISANO | COSTUME DESIGNER Linda designs for theatre, dance, musical theatre, ballet, and opera throughout the United States; her ballet designs have toured the UK and Canada. This is her 16th design collaboration with IRT. Her work has been selected twice to represent the United States in the Quadrennial World Design Expo in Prague and twice for the World Stage Design exhibition. She is a three-time winner in performance design at the National Stage Expo, and a four-time recipient of the Peggy Ezekiel Award for Excellence in Design. Her work was selected from top designers in the United States to be featured in a world design exhibition with the Bakhrushin Museum in Moscow and the China Institute of Stage Design in Beijing. She serves as chair of the Department of Theatre, Drama, and Contemporary Dance at Indiana University in Bloomington, where she is professor of costume design and directs the Theatre and Drama study abroad program in London. Recent opera includes Candide for the Des Moines Metro Opera, Florencia en el Amazonas at the San Diego Opera, and Salome at Opera San Antonio. For the IU Jacobs School of Music she recently designed Wagner’s Parsifal and will design a new Nutcracker in 2022.

XAVIER PIERCE | LIGHTING DESIGNER Xavier has designed NO. 6, Tuesdays with Morrie, This Wonderful Life, The Watsons Go to Birmingham—1963, and Pipeline at the IRT. Other designs include White Noise at the Public; How to Catch Creation, Othello, and Shakespeare in Love at Oregon Shakespeare Festival; 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; 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.

MICHAEL KECK | COMPOSER At the IRT, Michael has composed music for Murder on the Orient Express; all three productions of Looking Over the President’s Shoulder; Holmes and Watson; A Raisin in the Sun; April 4, 1968 (in which he also acted); Dr. Jekyll and Mr. Hyde; Rabbit Hole; Gem of the Ocean; Searching for Eden; and As You Like It. His music has accompanied productions at Oregon Shakespeare Festival, Milwaukee Rep, Mark Taper Forum, Arena Stage, Cincinnati Playhouse, and many others. His international credits include the Market Theatre Johannesburg South Africa, National Theater of Croatia–Zagreb, the Barbican Theatre Center, and Bristol Old Vic. Excerpts from his solo performance piece Voices in the Rain are published by Temple University Press and Alta Mira Press. Michael received the Theatre Bay Area Award in San Francisco and three Barrymore Award nominations for his work in Philadelphia. He has served as a panelist for the National Endowment for the Arts, the New York State Arts Council, and Meet the Composer. He is a member of AEA, SAG–AFTRA, ASCAP, PEN, and the Dramatists Guild.

RICHARD J ROBERTS | DRAMATURG This is Richard’s 31st season with the IRT, and his 23rd as resident dramaturg. He has also been a dramaturg for the New Harmony Project, Write Now, and the Hotchner Playwriting Festival. He has directed IRT productions of A Christmas Carol (four times), Bridge & Tunnel, The Night Watcher, Neat, Pretty Fire, The Cay, The Giver, The Power of One, and Twelfth Night. Other directing credits include Actors Theatre of Indiana, the Phoenix Theatre, Indianapolis Chamber Orchestra, Edyvean Repertory Theatre, Indianapolis Civic Theatre, Carmel Symphony Orchestra, Butler University, University of Indianapolis, and Anderson University. Richard studied music at DePauw University and theatre at Indiana University and has been awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis.

NATHAN GARRISON | PRODUCTION COORDINATOR This is Nathan’s 25th 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.

ARTIST SPONSORS

Thank you to the following IRT Donors who use their generous gift to recognize and celebrate the artists that bring our stories to life.

MICHAEL DINIUS & JEANNIE REGAN-DINIUS SEASON SPONSORS OF NATHAN GARRISON

ROBERT & TONI BADER

SEASON SPONSORS OF JANET ALLEN

NANCY & BERKLEY DUCK

SPONSORS OF RYAN ARTZBERGER

BILL & SUSIE MACIAS

SPONSORS OF JEB BURRIS

TOM & NORA HIATT

SPONSORS OF MELISA PEREYRA

PRODUCTION SPONSORS:

ROLLIE & CHERI DICK DONALD & TERI HECHT DANIEL & MARTHA LEHMAN DOD & LAURA MICHAEL JOHN & KATHY VAHLE JAMES & LINDA WESLEY BOB & DANA WILSON DR. CHRISTIAN WOLF & ELAINE HOLDEN-WOLF

OUR 3-PLAY VIRTUAL PACKAGE LETS YOU SELECT ANY 3 PRODUCTIONS FROM OUR SEASON FOR ONLY $75!

MRS. HARRISON a play by R. Eric Thomas

MAY 6 – 30 | SIMMERING CONFRONTATION Two women meet at their ten-year college reunion. Aisha is a successful Black playwright. Holly is a struggling White comedian and storyteller. As they dredge up shared memories and past confidences, we begin to wonder—which one is misremembering? Or lying? Or are they both? Wry humor clashes with longsuppressed grudges as this volatile encounter raises the question: who has the right to tell whose story? Part of IRT’s INclusion Series: Celebrating Diverse Storytelling

THE HOUSE THAT JACK BUILT by James Still

MAY 27 – JUNE 20 | A FEAST OF FEELINGS Jack is gone, but his family gathers for Thanksgiving. Delicious aromas carry with them painful memories. Flowing wine dislodges hidden resentments. Old stories evoke shared laughter—and silent tears. This awardwinning play by the IRT’s own playwright-in-residence returns with all its heart, tenderness, joy, and sorrow, reminding us we must accept the past before we can embrace the present.

Already purchased a ticket this season? Apply that purchase to a 3-Play Virtual Package. To redeem this offer, contact 317.635.5252. *3-Play Packages must be purchased by April 30, 2021.

BUY NOW! | IRTLIVE.COM/PACKAGES | 317.635.5252

ACTORS JEB BURRIS & MELISA PEREYRA

Husband & wife Jeb Burris & Melisa Pereyra play Christian & Roxane in the IRT’s production of Cyrano. Melisa is a member of the Core Company at American Players Theatre in Spring Green, Wisconsin, where they live. Jeb is also the fight coordinator for Cyrano. HOW DID YOU EACH FIRST GET INTERESTED IN THEATRE? JEB: I got into theatre in high school in Ohio. I was always into sports, but I have an older sister who was an actress, so I started to do theatre, too. The more I got into theatre, the less I was interested in sports. Then as I went on, I realized that athletics could be part of the theatre world and what I do. I did a bit of stage combat in undergrad at Ball State, but then in graduate school I took classes with Paul Denhart [who did the fights for the IRT’s The Three Musketeers]. Physicality and athleticism and acting. As a little boy, I loved to play with make-believe swords, and now there’s a whole room full of swords! So that’s a huge part of what I do. MELISA: I was born in Buenos Aires, Argentina, and I moved to Idaho Falls, Idaho, with my brother when I was almost 15. I had to start eighth grade again, and the arts were the only place where I was allowed to speak Spanish. I didn’t have to be anything other than myself. Which is funny, right, because theatre is all about pretending to be other people. But I was able to carve some space for myself, which was, as an immigrant, incredibly necessary and powerful. It’s a journey I’ve continued since then. After high school I went to college 32

at Utah State University. Jeb and I met in graduate school at Illinois State. The arts have made me wrestle with questions of identity, and made me stand on my own two feet about what it means to be me—with all of my privilege, and all of my not privilege as an artist of today. HOW DID YOU BOTH COME TO STUDY IN GREAT BRITAIN? JEB: It was part of our program that Henry Woronicz put together at Illinois State. After our first year, we went over and studied at the Globe in London, with all their wonderful teachers—voice, text, movement, acting, swordsmanship— and we were fortunate enough to work with some of the wonderful people at the Royal Shakespeare Company as well. Becoming familiar with the actual Globe stage, being where Shakespeare walked, being in Stratford-on-Avon—for me at least, and I think for both of us, it gave us a different understanding of what we were studying, and how it lived in the air over there. When we came back here, it informed how we performed it. (above left) Jeb Burris, David Folsom, and Nathan Hosner in the IRT’s 2016 production of The Three Musketeers. (above right) Matt Schwader, Melisa Pereyra, Greta Wohlrabe, and Chris Klopatek in the IRT’s 2017 production of Boeing Boeing. Photos by Zach Rosing.

MELISA: To have such primal experiences at the Globe in an outdoor space, learning the dynamics of an outdoor space, understanding the power of your own voice—metaphorically and literally—it was really, really powerful and ancient. It felt really important at the time, and continues to be today. Plus, we not only got to have that theatrical experience, but Jeb and I spent a couple of months afterwards traveling all over Europe. Getting out of this country and experiencing other cultures—it was so incredible and important to see the world. WHAT’S IT LIKE BEING A COUPLE WHO ARE BOTH ACTORS? JEB: It’s a gift and a curse, right? [They both laugh.] No, to me, it’s wonderful, because I have someone who understands everything that I go through. There’s a shortcut of language for what it means both to get a job and not to get a job. Luckily, between us, there’s no competition, because we’re two totally different people, so I root for her success every day. In that way, it’s a gift. And when I joke that it’s a curse, it’s because it’s a hard lifestyle. Obviously, this last year has been hard. But I would not trade it for anything. MELISA: I would not change it. What’s that from? Shakespeare said that. “I would not change it.” WHAT HAVE YOU BEEN DOING OVER THIS COVID YEAR? JEB: I’ve done two Zoom readings, and those were really great. But the rest of the time I’ve just been at home in Spring Green. I’ve had the time to learn how to do woodworking. I’ve remodeled multiple things in our house. I’m a very hands-on person, so I’ve loved to do that. But it hasn’t been challengefree. I see Melisa and other actors working, and my actor brain says to me, what are you doing? It took a lot of mental work for me to say, there is no work. Relax. I was fortunate, and grateful, and privileged to have two Zoom readings. MELISA: And we did that short film together. JEB: Oh, that’s right! That was also on Zoom. MELISA: This has been such a difficult time for artists, and I can’t wait for us to figure out how we are going to move forward. How we get our union to help us get back to work both safely and in a way that is mentally healthy as well, as we all begin to re-integrate ourselves back into society. Like so many people, I’ve spent the year trying to do as much work as possible on Zoom. I’ve met a lot of new-to-me theatre companies.

I’m usually at American Players Theatre for seven or eight months, and I don’t really have a lot of outside contact for that time. So it was really good to be asked to do things. I was really grateful, but, like other people who have experienced Zoom exhaustion, it was exhausting. I couldn’t understand it. I’ve just been sitting in front of my computer for eight hours, why am I tired? You can’t fool yourself into thinking that just because it’s a Zoom reading it’s easier. It actually takes more energy in a different type of way. Jeb and I kept saying to each other, is the grass greener? Where is the green grass? But I’m grateful that we have a community that supports us, and was able to employ me at least some of the time so we could live, and pay our bills. It got real, real fast. WHAT’S IT LIKE DOING CYRANO RIGHT NOW? JEB: It’s a trip. We started rehearsal literally one year to the day after our last live performance together. The opportunity to do a three-person show that’s so imaginative like this, and to work with Ryan Artzberger, it’s really exciting. But I was terrified. And I had to say on the first day of rehearsal, I’m really worried that I may never learn my lines. And that’s not just because I play 3,000 characters; there was something in my mind that said, I don’t know how to do this any more. Maybe a small gift that the pandemic gave me is that I was able to put myself out there, and be vulnerable about my fears, and then as we got to work they melted away. It’s been a challenge, but it’s also been invigorating and exciting. And now I’m used to rehearsing with my scene partner while wearing a mask, and hoping that people can understand what I’m playing through just seeing my eyes. MELISA: What we are experiencing as a country is a traumatic experience. Wherever you were a year ago, when you return to that space, your body knows that. How do we tell ourselves, hey, you’re safe, you can do this, you are an artist, you have experience. Just because you’ve not been here for a while doesn’t mean you can’t do this again. The other day we had our first stumble-through, and Nathan Garrison, our stage manager, said, “Five minutes to top of show.” And I had to take a second, because like Jeb said, it’s been a while since we’ve heard that. So the mundane things have taken a bigger significance. Especially doing a play that is about love, and how do you find the courage to say how you feel out loud to those who you love. I think we’ve all learned a lot about that this year. So I’m grateful to be involved in telling that story. 33

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, 2020 – MARCH 14, 2021 PLAYWRIGHT CIRCLE $10,000+ Bob & Toni Bader David & Jackie Barrett AJ & Erin Bir Scott & Lorraine Davison Rollie & Cheri Dick Michael Dinius & Jeannie Regan-Dinius Nancy & Berkley Duck Dan & Ginny Emerson David & Ann Frick Tom & Jenny Froehle Susan & Charlie Golden Mike & Judy Harrington David I. & Betty Klapper Sarah & John Lechleiter Bill & Susie Macias David & Leslie Morgan Jackie Nytes & Patrick O’Brien Mel & Joan Perelman Sue & Bill Ringo Mary Frances Rubly & Jerry Hummer Wayne & Susan Schmidt Simmons Family Foundation, a fund of CICF Cheryl & Ray Waldman David P. Whitman & Donna L. Reynolds DIRECTOR CIRCLE $5,000 – $9,999 A.J. Allen & Kathy Maeglin Leo Bianchi & Jill Panetta Susie & Joel Blum Darcy K. Burthay Charitable Fund, a Donor-Advised Fund of the U.S. Charitable Gift Trust Gary Denney & Louise Bakker Dr. Brian Dillman & Erin Hedges* Drs. Cherryl & Shelly Friedman Nadine & Alvin Givens Tom & Nora Hiatt

Ann Hinson Bill & Nancy Hunt The Kenney Family Steve & Bev Koepper John & Laura Ludwig 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* Ken Qualls Drs. Eric Schultze & Marcia Kolvitz Marguerite K. Shepard, M.D. The Michael L. Smith and Susan L. Smith Family Fund, a fund of Hamilton County Community Foundation Ambassador Randall & Deborah Tobias John & Kathy Vahle Lainie Veenstra Dr. Christian Wolf & Elaine Holden-Wolf ARTIST CIRCLE $3,000 – $4,999 Dan Bradburn & Jane Robison Mary Findling & John Hurt Dick & Brenda Freije Charles Goad & James Kincannon Jeffrey Harrison Donald & Teri Hecht Richard & Elizabeth Holmes Brenda S. Horn Rebecca Hutton The Indianapolis Fellows Fund, a fund of The Indianapolis Foundation David Kleiman & Susan Jacobs John & Susan Kline Kevin Krulewitch & Rosanne Ammirati*

Daniel & Martha Lehman Douglas & Detra Mills David & Robin Miner Bob & Dale Nagy N. Clay & Amy McConkey Robbins Jerry & Rosie Semler Mark & Gerri Shaffer Joe & Jill Tanner Gene & Mary Tempel Jeff & Benita Thomasson James & Linda Wesley Pam & Bill Williams Bob & Dana Wilson PATRON CIRCLE $1,500 – $2,999 Janet Allen & Joel Grynheim Anonymous (2) Trudy W. Banta Sarah C. Barney Amy Burke Alan & Linda Cohen Don & Dolly Craft Daniel & Catherine Cunningham Frank & Noreen Deane Dr. Gregory Dedinsky & Dr. Cherri Hobgood Ann & Kenneth Dee Laurie Dippold Paul & Glenda Drew Craig & Marsha Dunkin Troy D. Farmer Drs. Richard & Rebecca Feldman Joan M. FitzGibbon Mary L. Forster, M.D. Jim & Julie Freeman Frost Brown Todd Brian & Lorene Furrer Robert & Carrie Gano Garth & Christine Gathers Robert & Christy Gauss Mr. Jim Gawne Dorothea & Philip Genetos Kathy & Gene Gentili

Robert Giannini Ron & Kathy Gifford Marianne Glick & Mike Woods Christopher & Sheila Gramling Walter & Janet Gross Bill & Phyllis Groth Ricardo & Beatriz Guimarães Derek & Elizabeth Hammond Julian E. Harrell Lisa Harris, M.D.* Michael N. Heaton William & Patricia Hirsch Randolph & Rebecca Horton Drs. Meredith & Kathleen Hull Nicholas Ide & Audra Baumgartner Tom & Kathy Jenkins Daniel T. Jensen & Steven Follis Denny & Judi Jones Reed & Elisha Kemp Pegg & Mike Kennedy Joy Kleinmaier Molly & Michael Kraus, MD Kurt & Judy Kroenke Jill & Peter Lacy Ed & Ann Ledford Joe & Deborah Loughrey Donald & Ruth Ann MacPherson David McCaskill & Tammie Nelson Mike & Pat McCrory Sharon R. Merriman Andrew & Amy Michie Lawren Mills & Brad Rateike Michael D. Moriarty The Blake Lee and Carolyn Lytle Neubauer Charitable Fund, a fund of Hamilton County Community Foundation Steve & Debbie Oldham Larry & Louise Paxton The Payne Family Foundation, a fund of CICF Lauren Petersen Mr. & Mrs. Kenneth A. Peterson *Denotes sustaining members

REPERTORY SOCIETY CONTINUED ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2020 – MARCH 14, 2021 PATRON CIRCLE, CONTINUED $1,500 – $2,999 Dr. & Mrs. Lee Phipps Gail & William Plater Bob & Kathi Postlethwait Phil & Joyce Probst Scott & Susan Putney Michael & Melissa Rawlings Peter & Karen Reist Ken & Debra Renkens Karen & Dick Ristine Chip & Jane Rutledge

Paula F. Santa Jane W. Schlegel Tom & Barbara Schoellkopf Tim & Karen Seiler Jack & Karen Shaw Michael Skehan Shelly M. Smith Edward & Susann Stahl Robert & Barbara Stevens Jim & Cheryl Strain Kathryn Godwin Stuart, DDS Kay Swank-Herzog & Robert Herzog

Suzanne Sweeney & Todd Wiencek Jonathan T. Tempel Lynne & Alex Timmermans Jennifer C. Turner Larry & Nancy VanArendonk Bill & Jana Varanka Jennifer & Gary Vigran Amy Waggoner Carol Weiss Emily A. West Alan & Elizabeth Whaley Cliff & Molly Williams

Heather Wilson John & Margaret Wilson James B. Winner Frederick & Jacquelyn Winters William Witchger, II & Kimberly Witchger John & Linda Zimmermann

DONOR GUILDS ANNUAL CAMPAIGN GIFTS $300 – $1,499 | JULY 1, 2020 – MARCH 14, 2021 DRAMA GUILD $750 – $1,499 David & Mary Allen Pat & Bob Anker Anonymous (4) John & Mary Bartley Jesse L. & Carolynne Bobbitt Charlie & Cary Boswell Thomas & Victoria Broadie Sherry A. Butler Paul & Renee Cacchillo Dr. & Mrs. John J. Coleman III Edward & Elizabeth Frazier Elizabeth Hansen Don & Carolyn Hardman Crystal L. Jones M.D. Aldy & Natinne Keene Betsy & Ted Kleinmaier Vally Allen and Charley Koehler James LaMonde* James & Sara Lootens James M. McMechan David H. Moore, M.D. & M. Kristine Beckwith, M.D. John & Carolyn Mutz Rob & Sara Norris Ann Marie L. Ogden Deb & Greg Perkins Roger & Anna Radue Thomas & Jill Ristine Sallie Rowland Richard & Christine Scales Thomas & Teresa Sharp *Denotes sustaining members

Lee Shevitz Rosemarie Springer Ed & Jane Stephenson John & Deborah Thornburgh Dan Wheeler & Susan Wakefield Philip & Shandon Whistler Carlos Wright* THEATRE GUILD $300 – $749 Allison & Jeff Ackerman John & Eileen Ahrens* Todd Allen Andritsch Anonymous (3) Constance C. Beardsley* Dan & Barb Bickel Mr. & Mrs. J. Burton Black Barbara & Christopher Bodem* Karry K. Book & John P. Hansberry Paul Boykas Charles W. Brown & Louise Tetrick Vince & Robyn Caponi Robert Cedoz John Champley & Julie Keck Steve & Kim Chatham Jeff & Jeni Christoffersen Brady Clark Richard Clark Robert & Jennifer Cochrane William & Judy Coleman Jerry & Carol Collins Michael & Jennifer Courtney Norma & Carl Crabiel

Karen Dace* Fr. Clem Davis* Jeffrey & Barbara Dean Paul & Carol DeCoursey* Mary & Steve DeVoe Eric Diters Lorie Ecker & Ronnie Katz Bob & Patricia Edwards Dr. & Mrs. John & Sheryn Ellis Sherry Faris Drs. Eric Farmer & Tate Trujillo & Christopher Scott* Margie Ferguson* Kerry Foster Eric & Hayley Frandsen Roger & Susan Frick The David T. & E. Jean Fronek Charitable Fund, a fund of Hamilton County Community Foundation Peter Furno & Pamela Steed Phyllis & Ed Gabovitch Mary Lee Gambone & Doug Brooks Gamma Nu Chapter of Psi Iota Xi Priscilla Gerde Phylis & Paul Gesellchen Todd & Jan Gillespie Thecla Gossett Howard & Linnea Green John & Mary Ann Grogan Diane Hall Mr. & Mrs. David J. Hamernik Emily F. (Cramer) Hancock*

Don & Elizabeth Harmon David & Tish Haskett Tim & Jennifer Holihen Greg & Patricia Jacoby Mr. & Mrs. Lawrence Jahnke George & Dianne Kelley* Sunah C Kim Dorantes* Linda L. Kirby Jay & Carole Kirkpatrick Rachel Barrett Knight & Jacob Knight* Steven & Mary Koch* Michelle Korin* Andra Liepa Charitable Fund, a Donor Advised Fund of the U.S. Charitable Gift Trust Jane Lommel Carlos & Eleanor Lopez Linda Lough* Mark Magee* Lyle & Deborah Mannweiler Dr. & Mrs. Peter Marcus* Seth & Marsha McCorkle Donald & P.J. McCullough William McNiece R. Keith & Marion Michael Rev. Mary Ann Moman* Jim & Shantel Morris Jim & Judi Mowry John & Beth Murphy Sharon & Dan Murphy* Susan & Jim Naus Dr. LeeAnne M. Nazer Niels & Kathy Ostergaard

THE SUPPORTING CAST

INDIANA REPERTORY THEATRE DONORS

DONOR GUILDS CONTINUED ANNUAL CAMPAIGN GIFTS $300 – $1,499 | JULY 1, 2020 – MARCH 14, 2021 THEATRE GUILD, CONTINUED $300 – $749 Merrell & Barbara Owen Robert M. & Kelli DeMott Park Beverly Petsel Dixie Platt and Michael Burke The David and Arden Pletzer Endowment Fund, a fund of Hamilton County Community Foundation Davie & Dorian Poole

Richard & Diane Rhodes Richard & Ann Riegner Robert & Cynthia Robinson Scott & Dottie Rouse Elizabeth Russell Alice Schloss Donor Advised Fund, a fund of Jewish Federation of Greater Indianapolis John Shearin* Dr. Jill Shedd* Lillian Smith* Luke Stark*

David & Lori Starr Dr. Nenetzin Stoeckle* Nela Swinehart* Steve & Barb Tegarden* Garrett & Elaine Thiel Mary Ann Thiel Dr. James & Linda Trippi Robert & Barbetta True* Barbara S. Tully* Ron Walker Bill & Ann Walters Dorothy Webb

Judge Martha Wentworth Rob Whitacre A. Donald & Jeanette Wiles Prof. Gail F. Williamson Reba Boyd Wooden* Brant & Lorene Wright Ms. Robina Zink & Family Charitable Trust Zionsville Physical Therapy*

TRIBUTE GIFTS IN HONOR OF PETER AMSTER Richard M. Warren & Tammey Kikta

IN LOVING MEMORY OF MY DEAREST HUSBAND RICHARD W. JUDY Jane Lommel

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 Sergej R. Cotton Mr. & Mrs. Thomas E. 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

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 Mutter Marines—Jim & Carol 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 ALAN AND LINDA COHEN EDUCATION FUND Eli Lilly and Company

*Denotes sustaining members

CORPORATE, FOUNDATION & GOVERNMENT ANNUAL CAMPAIGN GIFTS $300+ | JULY 1, 2020 – MARCH 14, 2021 CORPORATE AARP Indiana Barnes & Thornburg LLP Corteva Agriscience Faegre Drinker Biddle & Reath KPMG LLP Navient Community Fund OneAmerica Financial Partners Oxford Financial Group, Ltd. PNC Printing Partners Stifel Nicolaus

FOUNDATION The Ackerman Foundation Elba L. & Gene Portteus Branigin Foundation, Inc. The Jerry L. and Barbara J. Burris 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 Lilly Endowment, Inc. Nicholas H. Noyes Jr. Memorial Foundation The Penrod Society The Shubert Foundation United Way of Central Indiana’s Nonprofit Restart Program

GOVERNMENT Arts Council of Indianapolis Indiana Arts Commission Indiana Arts Commission, with special thanks to the Arts, Cultural & Destination Marketing Organization Grant Program and the Indiana Arts Emergency Relief Fund National Endowment for the Arts

IN-KIND/TRADE ANNUAL CAMPAIGN GIFTS $300+ | JULY 1, 2020 – MARCH 14, 2021 The Basement

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! Michael & Jennifer Abbott A.J. Allen & Kathy Maeglin Janet Allen & Joel Grynheim Dr. Patrick & Danette Alles Pat & Bob Anker Anonymous (6) Susan & Carl Arvin Tammara D. Porter Avant & Jesse Avant Bob & Toni Bader Kay Jett Baker Charles Bantz & Sandra Petronio Allison Barkel Frank & Katrina Basile Mark Bear Gerald & Moira Berg Leo Bianchi & Jill Panetta Susie & Joel Blum Karry Book & John Hansberry Sheila Barton Bosron & Bill Bosron Dan Bradburn & Jane Robison Amy Burke Brady Clark Mary Beth Claus

Allen Whitehill Clowes Charitable Foundation Alan & Linda Cohen The Cohen Family Foundation, Inc. John & Ulla Connor Sammi Coppedge & Joel Weyrauch Don & Dolly Craft Ethan & Anne Craig Daniel & Catherine Cunningham Mike & Irene Curry Claire Dana & Chris Fretts Brian & Jodie Daugherty Ann & Kenneth Dee Christel DeHaan Family Foundation Gary Denney & Louise Bakker Tom Detmer Mary & Steve DeVoe Rollie & Cheri Dick Michael Dinius & Jeannie Regan-Dinius Jim & Deana Dinsmore Laurie Dippold Danielle M. Dove

Nancy & Berkley Duck Duke Realty Julie Dunigan M.E. & Katie Eccles Geoff Ehrendreich Dan & Ginny Emerson Patricia Fansler Troy Farmer Drs. Richard & Rebecca Feldman Jeff & Chery Ferguson Mr. & Mrs. Mark W. Forde Jim & Julie Freeman David & Ann Frick Drs. Cherryl & Shelly Friedman Tom & Jenny Froehle Jan & Rick Fulmer David A. & Dee Garrett (in memoriam) Kathy & Gene Gentili Ron & Kathy Gifford Nadine & Alvin Givens Bruce Glor Gary Glor & Mark Spina Susan & Charlie Golden Dave & Mary Lou Gotshall

Laurie Gutmann 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 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 Jim & Nancy Kean Michael Kirkmeyer David Kleiman & Susan Jacobs

THE SUPPORTING CAST

INDIANA REPERTORY THEATRE DONORS FRONT and CENTER CONTINUED 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! John & Susan Kline Gary Knott & Colette Irwin-Knott Steve & Bev Koepper Kurt & Judy Kroenke Jill & Peter Lacy Lacy Foundation Sarah & John Lechleiter Margaret Lehtinen & Dr. Lawrence Mark Elisabeth Lesem Shelby Lewis Hugh & Olga Lilienkamp Lilly Endowment, Inc. Linnea’s Lights, LLC John & Laura Ludwig Bill & Susie Macias Michael R. & Sue Maine Hillary Martin & Rudy Bustamante Vince & Kristy Mathews Lauren McDaniel Andrew & Amy Michie Korea Milledge Amber Mills Lawren Mills & Brad Rateike David & Robin Miner Sidney & Sharon Mishkin

David & Leslie Morgan Michael D. Moriarty Vicki Murphy Carl Nelson & Loui Lord Nelson Nicholas H. Noyes, Jr. Memorial Foundation, Inc. Jackie Nytes & Michael O’Brien Eric & Suzanne Olson OneAmerica Financial Partners The Payne Family Foundation, a fund of CICF Randy D. Pease Ben Pecar & Leslie Thompson Patricia Pelizzari Mel & Joan Perelman Deb & Greg Perkins Samantha Pezzute Jeff Pigeon Scott & Susan Putney Peter & Karen Reist Tony Ren George & Olive Rhodes (in memoriam) Richard & Diane Rhodes Sue & Bill Ringo The Robert S. and Margot L. Eccles Charitable Fund, a fund of CICF

Richard J Roberts Kathy Sax Dale & Teresa Schaeffer Dan & Patty Schipp Maggie Barrett Schlake & Joshua Schlake Jane W. Schlegel Wayne & Susan Schmidt Nanette Schulte & Matthew Russell Tim & Karen Seiler Michael & Holly Semler Mark & Gerri Shaffer Jack & Karen Shaw Simmons Family Foundation, a fund of CICF Doug Sims & Amanda Jackson Michael Skehan Joyce & Steve Smidley Kendra & Andrew Smith Sue & Mike Smith Victoria Smith & Scott Wampler Rosemarie Springer Doshia & John Stewart Dan & Diana Sullivan Martin & Lee Summers Richard & Lois Surber

Suzanne Sweeney & Todd Wiencek Randy Talley Jay & Barbara Taylor Gene & Mary Tempel Adam Ternet Jeff & Benita Thomasson Gordon & Mary-Anne Thompson Tony & Jane Tietz Steve & Maria Tilmans Miriam Friedman Towles 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 Terry & Nancy Young Joseph Zielinski & Bethany Lowery

IRT STAGE DOOR RESTAURANTS

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