IRT Program: "Mrs. Harrison" by Indiana Repertory Theatre

2020-2021 SEASON

MRS. HARRISON a play by R. Eric Thomas

Original artwork by Tasha Beckwith

STREAMING MAY 6 – MAY 30, 2021 | IRTLIVE.COM | 317.635.5252 SHARE YOUR REVIEW & TAG US ON SOCIAL MEDIA @IRTLIVE!

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

CONTENTS 3.........................Mission & Values 5 ��Profile 6..................................Leadership 10 ��Staff 12...................... Board of Directors 20............................ Mrs. Harrison 28........................... Company Bios 32................................. Interview: Mikael Burke 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.

• 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.

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-for-profit 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

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. Named the IRT’s fourth artistic director in 1996, she is now in her 25th season in that role. In January 2020, she was named the Margot Lacy Eccles Artistic Director. During Janet’s tenure, the IRT has significantly diversified its services to both adults and children, expanded its new play development programs, and solidified its reputation as a top-flight regional theatre dedicated to diverse programming and production quality. Janet’s passion for nurturing playwrights has led to a fruitful relationship with James Still, the IRT’s playwrightin-residence for 23 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. 6

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), Morning After Grace (2020), and Cyrano (2021). Janet’s leadership skills and community service have been recognized by the Network of Women in Business–IBJ’s “Influential Women in Business” 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 was a 201314 Arts Council of Indianapolis Creative Renewal Arts Fellow. She is a member of two honorary gatherings in the America Theatre: the College of Fellows of the American Theatre at the John F. Kennedy Center, and the National Theatre Conference. In 2017 she was named an Indiana Living Legend by the Indiana Historical Society. 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 small 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 three adult children, who are thriving on various continents.

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 “The Jack Plays” trilogy (The House That Jack Built, Appoggiatura, and Miranda), as well as Looking Over the President’s Shoulder; And Then They Came for Me: Remembering the World of Anne Frank; Amber Waves; The Little Choo-Choo That Thinks She Can; April 4, 1968: Before We Forgot How to Dream; I Love to Eat: Cooking with James Beard; The Velveteen Rabbit; The Heavens Are Hung in Black; 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 8

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.

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.

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 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 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 Ticket Office Manager Kim Reeves Housekeeping Leila Spicklemire

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 Erin Robson-Smith Production Assistant Cat Lovejoy 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

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

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

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@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.

OVATION SOCIETY: READY TO CREATE YOUR OWN LEGACY? The IRT has produced professional, world-class theatre in Indianapolis for nearly 50 years. You can play a vital role in supporting the next 50 years 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 assist you in meeting your financial and charitable goals Include the IRT in your estate plans to help ensure we continue to create stories that invite our community to reflect on our collective history and journeys that make up this vibrant place we call home. Please let us know if you have already included the IRT in your plan so that we can recognize you for your generosity in the Ovation Society!

CREATE A PERSONAL LEGACY AT THE IRT Contact Jennifer Turner, Director of Development: jturner@irtlive.com | 317.916.4835 Laura T. Fisher and Henry Woronicz in the IRT’s 2020 production of Morning After Grace. 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

MRS. HARRISON a play by R. Eric Thomas

STREAMING MAY 6 – MAY 30, 2021 UPPERSTAGE

ARTISTIC

SEASON SPONSOR

Director_______________ MIKAEL BURKE

Scenic Designer_________________ REGINA GARCÍA Costume Designer________________ALEXIS CARRIE Lighting Designer_________________ ERIC WATKINS Sound Designer______________ MELANIE CHEN COLE Dramaturg_________________ RICHARD J ROBERTS Production Coordinator_________ERIN ROBSON-SMITH Production Assistant________________CAT LOVEJOY

SEASON PARTNER

INCLUSION SERIES TITLE SPONSOR

ARTS PARTNERS CORPORATE PARTNERS

REVIEWS!

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

SEASON SUPPORT

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

THE COMPANY Aisha________________________ CELESTE M. COOPER Holly________________________ MARY WILLIAMSON

SETTING A well-appointed faculty restroom at a prestigious university. Present day.

ACKNOWLEDGMENTS Mrs. Harrison was originally produced by Azuka Theatre, Kevin Glaccum, Producing Artistic Director. Mrs. Harrison is presented through special arrangement with and all authorized performance materials are supplied by TRW Plays, 1180 Avenue of the Americas, Suite 640, New York, New York, 10036. www.trwplays.com, trwplays@theatricalright.com. Filmed by arrangement with SAG-AFTRA New Media Agreement. 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.

READING & LEARNING One of the things COVID brought us was a new relationship to reading plays. I will admit that, at the beginning of last spring’s lockdown, reading plays made me profoundly sad, wondering when we’d be able to get back at it. But slowly, over the summer and fall, we began to dig into the deep reservoir of American playwriting. We found so many hidden gems—plays that were unknown to us, that have been written in the past five years or so, many of them unpublished, but readable electronically on the New Play Exchange. I am now ready to be a walking advertisement for New Play Exchange. It really provides wonderful access to anyone who wants an affordable membership to read a lot of amazing plays; and in turn, it gives playwrights of all levels of experience a pathway into the greater producing community. I learned about so many playwrights I had not previously known, and that learning was really joyous. R. Eric Thomas is one of the writers whose work I learned about, and he is the author of Mrs. Harrison. Eric has a really interesting and multi-disciplinary career, so why didn’t I know of him? He is a long-running host of The Moth Radio Hour, a senior writer at Elle magazine, a book author, a humor and culture contributor to many major publications, a television writer, and a prolific playwright! I got quite caught up in his work, reading several of his plays before arriving on Mrs. Harrison, which struck a very deep chord in me.

Mrs. Harrison, of the title, will have to remain a mystery until you watch the show. What won’t, though, is something of why the play is so powerful. Thomas captures a very intimate conversation in a

very intimate place—a women’s bathroom—and then traps these characters by weather and by dint of their competitive natures. The premise of the play holds many possibilities: two women, one Black, one White, one successful, one struggling, and both with conflicting memories of their shared (or was it?) past. It’s very difficult to know exactly where truth lies in this play, and that’s a huge part of its appeal. Why do we each remember the past so differently? How is memory filtered by what comes after? Or even by what came before? We are delighted to have Mikael Burke back with us at the helm of this project. Last season he directed The Watsons Go to Birmingham—1963, our enormously successful family play that was the last production we finished before the COVID shutdown. It holds a special place in our memories because of the depth with which it touched people, and the fact that we extended it—twice! Mikael has had a very busy COVID year teaching and directing various Zoom productions, so we are glad to have his many skills lavished on this project. This is our first streamed production in the Upperstage this season, which has brought its challenges and delights in figuring out a new space and camera positions, in order to maximize your viewing experience. For the first time ever, we aren’t working the sightlines so that audiences can see from the side sections! So much of our work in the theatre is considering what you see as a live audience member; now we study what we want you to see through the lens of four cameras. Ah, what COVID has taught us!

BY JANET ALLEN, MARGOT LACY ECCLES ARTISTIC DIRECTOR

“It’s very difficult to know exactly where truth lies in this play, and that’s a huge part of its appeal. Why do we each remember the past so differently? How is memory filtered by what comes after? Or even by what came before?”

Original artwork by Tasha Beckwith

STORIES

BY MIKAEL BURKE, DIRECTOR We are made of stories. A collection of moments and memory wrapped in skin and bone. Our stories shape who we are and who we become. And like ourselves, our stories are precious. We hold them close. We keep them safe. Until we meet someone: A kindred spirit, A friend, Someone we trust. Then, we share our stories. We give a part of ourselves. And we hope they hold that part as safe and close as we have. But ...  What if they don’t? What if, as time goes by, They take that part of us, That story, And distort it. Are we still our precious selves? Or are we only what they see? Can we take our stories back? Can we rewrite what’s written? How far are we willing to go to control our own stories? 24

TRUTH

BY R. ERIC THOMAS, PLAYWRIGHT One of my favorite memes features Oprah Winfrey staring probingly at an off-camera subject as she asks “So, what is the truth?” In or out of context, it’s a deceptively simple question with no definitive right answer. I wrote this play years before our era of “alternative facts,” and I don’t think Mrs. Harrison has much to say about the strategic politicization of lies. (Maybe you disagree, though, which is fine. You could be right!) But, what’s at the core of the play is the same thing that is at the center of any conversation where the truth is being debated: the idea that the truth is a story and as such can be interpreted. As a playwright, the idea of the truth being one of many competing narratives is endlessly fascinating. The conflict that animates Aisha and Holly’s interaction can be seen as a disagreement about what story they’re in. Perhaps this is even the backbone of their entire relationship. Or, perhaps they’re not even in the same story at all. Who can say?

When I talk about Mrs. Harrison, I always come back around to the idea that I don’t know the whole story any more than you. I mean, I know what happens. I’ve seen this play. But what you’re seeing is one story, what you’re experiencing is another story, and what Holly and Aisha are living is two more stories. At least. Mrs. Harrison is a story about storytelling and the way the past looks different from various vantage points. I’ve always believed that the conversations you’ll have after the play are as important as the part of the story you’re seeing on stage. To me, that’s one of the best parts of theatre. When shows are performed in person, I always refer to that post-show conversation as the Frozen Yogurt Convo, imagining audience members are grabbing a dessert over which to compare stories. One of the great things about viewing theatre online is that you can choose to have a post-show conversation with whomever is in your house, or you can reach out to someone far away who, through the magical combination of technology and good old-fashioned stagecraft, has just seen the same thing you have. And you can ask each other the impossible question: So, what is the truth? 25

REUNION REGINA GARCÍA | SCENIC DESIGNER

Preliminary model by scenic designer Regina García.

ERIC WATKINS | LIGHTING DESIGNER It has been a devastating year… in the country, in the world, and specifically in the theatre. In so many ways, Mrs. Harrison speaks specifically to this very moment. Practically, a small two-person play that takes place in one setting while being digitally distributed allows the 26

story be told as safely as possible during a pandemic. More importantly, a small, intimate, well-written show about the stories we tell each other and tell ourselves, both publicly and privately, speaks directly to us all now.

ALEXIS CARRIE | COSTUME DESIGNER RESEARCH FOR AISHA

RESEARCH FOR HOLLY

Preliminary research for Aisha and Holly by costume designer Alexis Carrie.

MELANIE CHEN COLE | SOUND DESIGNER A question I always ask myself while designing a show is how will I create an environment for the characters to live in? For this production, the director and I are really interested in using diegetic sounds (natural sounds from the environment: distant party, thunder, rain) to sculpt the world around the story. When

non-diegetic music underscoring is used, it often feels very cinematic with emotions that foreshadow the outcome of a story. But for this production, we want the audience to watch and listen to what is unfolding and come up with their own conclusions. 27

THE COMPANY CELESTE M. COOPER | AISHA

Celeste is excited to make her Indiana Rep debut. She most recently performed in Steppenwolf Theatre’s critically acclaimed filmed play Duchess! Duchess! Duchess!, currently streaming. She is a Steppenwolf ensemble member and has performed in BLKS, The Doppelgänger, Familiar, and A Doll’s House, Part 2. Other theatre credits include Blues for an Alabama Sky (Court Theatre); Measure for Measure (Goodman Theatre); Stick Fly (Windy City Playhouse); Ruined (Eclipse Theatre); For Colored Girls… (Kansas City Repertory); and Building The Wall (Curious Theatre). TV/ film credits include Chicago PD, Sense8, Chiraq, and leading indie feature Range Runners, currently streaming. Awards: Most Promising Actress (Black Theater Alliance); Best Actress/ Range Runners (Twister Alley); NewCity Stage magazine—People Who Really Perform for Chicago. Celeste has degrees from Tennessee State University and the Theatre School at DePaul University.

MARY WILLIAMSON | HOLLY

Mary is an actor, comedian, and artist based in Chicago, and she is excited to be working with Indiana Rep for the first time. Some theatre credits include Engines and Instruments of Flight (Goodman), Twelfth Night (Writer’s Theatre), The Minutes (u/s Steppenwolf), A Funny Thing Happened on the Way to the Gynecologic Oncology Unit... (Route 66), Sender (Urbanite Theatre and A Red Orchid Theatre—Time Out Nomination: Best Actor), Reverb (Red Twist—Jeff Nomination and Broadway World Nomination: Best Actress), Three Sisters (The Hypocrites), and Hit the Wall (The Inconvenience/Steppenwolf). TV and film credits include Chicago Fire (NBC), Chicago PD (NBC), The Red Line (CBS), Shrink (NBC), and Bobby and Iza (NBC). Catch Mary in the sci-fi short “Swipe Up, Vivian” now streaming for free though Omeleto on YouTube! She is a graduate of the Theatre School at DePaul University, host and writer for The Fly Honey Show, and represented by Grossman and Jack Talent.

R. ERIC THOMAS | PLAYWRIGHT

R. Eric Thomas is the national bestselling author of Here for It, or How to Save Your Soul in America, a Read with Jenna book club pick featured on Today, and the co-author with Helena Adrews Dyer of a biography of Rep. Maxine Waters, Reclaiming Her Time. He is a television writer (AppleTV+’s Dickinson, FX’s Better Things), a playwright, and the long-running host of The Moth in Philadelphia and DC. For four years he was a senior staff writer for Elle.com where he wrote “Eric Reads the News,” a daily current events and culture column. He won the 2016 Barrymore Award for Best New Play (Time Is on Our Side) and the 2018 Dramatists Guild Lanford Wilson Award. His other plays include Safe Space, Backing Track, Merland, The Ever Present, Human Resources, and Always the Bridesmaid. He has been published multiple times in the New York Times, TIME, Philadelphia Inquirer, and others.

MIKAEL BURKE | DIRECTOR

Mikael is a Chicago-based director, deviser, and educator. At the IRT he has directed The Watsons Go to Birmingham—1963. A Princess Grace Award winner in Theatre and a Jeff Awardnominated director, Mikael has worked in Chicago with Victory Gardens Theatre, Northlight Theatre, Jackalope Theatre Company, Windy City Playhouse, About Face Theatre, First Floor Theater, American Theatre Company, Chicago Dramatists, and the Story Theatre; and regionally with Asolo Repertory Theatre, Milwaukee Rep, Milwaukee Chamber Theatre, Geva Theatre Center, and Phoenix Theatre. Mikael serves as associate artistic director at About Face Theatre in Chicago, is head of the Directing Concentration of the Summer High School Training Program of the Theatre School at DePaul University, and is an adjunct faculty member at DePaul as well as at the Chicago College of the Performing Arts at Roosevelt University. Recent directing credits include The Island by Athol Fugard; we are continuous by Harrison David Rivers; Kill Move Paradise by James Ijames; and The Agitators by Mat Smart. Mikael earned his M.F.A. at the Theatre School at DePaul University. mklburke.com

REGINA GARCÍA | SCENIC DESIGNER

Regina is a Chicago-based scenic designer from Puerto Rico. She has had long standing relationships with the Latinx theatre’s renowned teatros including Repertorio Español, the Puerto Rican Traveling Theater, Teatro Vista, and Pregones Theater. She has also completed projects for the Oregon Shakespeare Festival, American Players Theatre, the Goodman Theatre, and Boundless Theatre Company, amongst others. Regina is a Fellow of the NEA/TCG Career Development Program for Designers and the Princess Grace Awards, USA; a regional associate member of the League of Professional Theatre Women; and company member with Rivendell Theatre Ensemble, Chicago, and Boundless Theatre Company, San Juan/New York. She teaches at the Theatre School, DePaul University. garciaportfolio.com

ALEXIS CARRIE | COSTUME DESIGNER

Alexis is a Los Angeles–based costume designer and social justice warrior. At the IRT she has designed The Watsons Go to Birmingham—1963. Some of her other credits include Sorority of the Damned (A Blood Brothers Film), Hoodoo Love and Yen (Raven Theatre), Good Grief (Point Park University), Man of God (East West Players), In the Blood (Austin Peay State University), Gloria (Hatch Arts Collective), No Child (Definition Theatre Company), and Curve of Departure (Northlight Theatre). She 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 ERIC WATKINS | LIGHTING DESIGNER

Based in Chicago, Eric is a lighting designer for theatre, opera, and dance who is thrilled to be making his IRT debut. Selected Chicago credits include Sugar in Our Wounds and Hooded: or Being Black for Dummies (First Floor Theater); EthiopianAmerica (Definition Theatre Company); Machinal (The Greenhouse Theater Center; Jeff nomination); In the Blood (Red Tape Theatre); A Swell in the Ground (The Gift Theatre); The Man Who Was Thursday (Lifeline Theatre); Porcelain (Prologue Theatre; Jeff nomination); and The Property, a commissioned klezmer opera (Lyric Unlimited). Selected regional credits include Don Pasquale (Fort Worth Opera); Show Boat and Falstaff (Dallas Opera); A Streetcar Named Desire (Opera Santa Barbara and Kentucky Opera); The Rake’s Progress (Merola Opera); and Barber of Seville (Lithuanian National Opera). Just before the pandemic he had the opportunity to design a small international tour through Eastern Europe of Song of Home, a new devised work exploring stories of displaced women through history. Eric received his M.F.A. from Boston University and is a proud member of USA829, the theatrical design union. ericwatkins.com

MELANIE CHEN COLE | SOUND DESIGNER

Melanie is a San Diego–based freelance sound designer. At the IRT she has designed Tuesdays with Morrie. Her recent regional credits include A Christmas Carol, Alabama Story, Buzz, and Romeo and Juliet (Alabama Shakespeare Festival); Where the Mountain Meets the Moon (South Coast Rep); White Pearl (Studio Theatre in Washington DC); Noura, Tiny Beautiful Things, and The Imaginary Invalid (the Old Globe); the 2019 POP Tour Light Years Away, At the Old Place, and the 2017 POP Tour #SuperShinySara (La Jolla Playhouse); Silent Sky (Tantrum Theatre/Ohio University); Steel Magnolias (Dallas Theater Center); and Sherwood: The Adventures of Robin Hood (PlayMakers Repertory Company). Melanie holds an M.F.A. in sound design for theatre and dance from UC–San Diego. melaniesound.com

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.

ERIN ROBSON-SMITH | PRODUCTION COORDINATOR

Since moving to Indianapolis in 2013, Erin has had the pleasure of working with IRT and its incredible staff. Favorite productions include The Watsons Go to Birmingham—1963, Pipeline, Romeo and Juliet, and Finding Home at IRT; The Hotel Nepenthe and Vino Veritas at the Phoenix Theatre; Sometimes a Great Notion and Frost/Nixon at Portland Center Stage; and Metamorphoses and The Drawer Boy at Artists Repertory Theatre. Erin spent the summers of 2008 and 2009 working with the JAW Festival at Portland Center Stage.

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. REBECCA HUTTON

SPONSOR OF MIKAEL BURKE

MIKE & LIZ SIMMONS

SPONSORS OF CELESTE M. COOPER & MARY WILLIAMSON PRODUCTION SPONSORS:

DICK & BRENDA FREIJE NADINE & ALVIN GIVENS JOHN & SUSAN KLINE N. CLAY & AMY MCCONKEY ROBBINS BEN PECAR & LESLIE THOMPSON SUE & MIKE SMITH JOE & JILL TANNER

DIRECTOR MIKAEL BURKE

Indianapolis audiences are familiar with Mikael Burke’s work from his time as a student at Butler and as artistic director of No Exit. After grad school at DePaul, and several shows around Chicago, he directed The Watsons Go to Birmingham—1963 at the IRT, and now Mrs. Harrison. HOW DID YOU FIRST GET INTERESTED IN THEATRE? I went to a very small church growing up in Nashville, Tennessee. I remember wearing a teal tulip costume for some Easter play—that’s the earliest memory I have of the theatre. The first play I ever did for real was in first grade: I played the Cowardly Lion in The Wizard of Oz. I’m 95% sure that’s because I was the only brown person in school. I don’t have proof of that, it’s just what it feels like in retrospect. I was really more of a singer when I was growing up. I was in choir and show choir. I didn’t take an acting class until I was in college at Butler. WHAT DREW YOU TO BUTLER? Interestingly enough, I think it was the Jordan College of Arts as a whole—the fact that there were many different disciplines under one roof. At the time, I wanted to be an opera singer, and I was looking at Butler for music. But there was a Butler Theatre brochure, and it had an image from John Green’s Hamletmachine, somebody with a faceless mask. I remember thinking, I don’t know what this is, but it’s really interesting. I want to go there—in this other department. Eventually I discovered I have a good instrument, but it is not the incredible instrument. That existential crisis my sophomore year in college led me to realize that the thing I liked about singing was not necessarily the singing itself, but the performing. The study of performing, and the study of the stage suddenly became very interesting, and that’s when I thought, I’m going to go into theatre.

HOW DID YOU DECIDE THAT DIRECTING WOULD BE YOUR FOCUS? I knew I was interested in directing at Butler, and I put a lot of energy into creating projects for myself. I began to discover that I was pretty good at directing, and I had a propensity for the imagistic translation of directing. I directed three different shows my senior year, which in retrospect was two shows too many, but you could not tell me that at the ripe old age of 22. One of those was an adaptation of Euripides’s Medea that we took to IndyFringe the next year, and then four other fringe festivals around the country the following year, and that was really my starting point as a professional. After graduating from Butler I applied to 15 different internships and fellowships, and proceeded to get exactly zero of them. So I said, if you don’t want me to do it, I will do it myself. Somebody saw Medea and connected me to Dale Harkins who owns the Irving Theatre in Irvington. That first year out of school I did three shows in that crazy DIY space, using whatever money I could find, and working with my friends. I worked with Susurrus, Melli Hoppe’s company. I became a part of No Exit, and we did I Am Peter Pan and The Beast, the Lady, and the Sanguine Man at Indy Fringe. We did This Is Not Shakespeare’s Macbeth set in a mental hospital, performed in an old school cafeteria, and Will Eno’s Middletown, and Danny and the Deep Blue Sea at the Piccadilly Penthouse. I also assisted Peter Amster at the IRT on Dracula and A Midsummer Night’s Dream.

WHAT DID YOU GET OUT OF THOSE YEARS HERE IN INDIANAPOLIS? My time at Butler and here in Indy taught me that the only real limit is your imagination. There’s no reason not to at least try. We certainly made some things that were not good, but we also made some things that were really cool. It took a ton of blood, sweat, and tears, and sacrifice, but none of them would have happened if we hadn’t been brave enough to try. My time here taught me that everyone’s voice has value, including my own voice. I have a specific and unique point of view that I should not be afraid to share, and that people seem to be interested in experiencing. It gave me the confidence to think that this is something I could do for the rest of my life. And I was fortunate that I had artistic partners and colleagues and very good friends, and we all believed in one another, and that made things possible. I knew I was good with the visuals. But as time went on, I also knew that I struggled a bit with: How do I work with actors? How do I make a text clear if it’s not something that originated in my brain? How do plays work? What is text analysis? I decided to go to grad school, and I chose DePaul specifically because they said you are going to learn how to tell story, and how to work with actors to activate a text, and those were the things I was afraid of. So I said, I should go there. It was the hardest thing I’ve ever done in my life: the time investment, the mental investment, the exhaustion, and the constant bombardment to your self-esteem that is learning a new set of skills. I did not know how much I didn’t know. Now that I’m on the other side, I feel like I’m still the director that I was before I went to grad school, but my toolbox is exponentially larger. My ability to effectively communicate the insanity that is living up here in my head, in terms that normal people can understand and translate into the practical realities of space and design and intention—I’m a fully changed artist in that regard. The other interesting thing that happened in grad school

involved a lot of personal soul searching. If you look at my earlier work, there is esthetic and spectacle, but it’s harder to find where I am inside of that work. And now I’m much more confident in my ability to ground myself in my work, and ground my work in myself, which only makes it better. HOW DOES MRS. HARRISON FIT INTO THIS STAGE OF YOUR CAREER? When I look back at when I was a younger artist, Mrs. Harrison is the kind of play that I would have thrown my hands up in frustration about, because for all intents and purposes, it is realism. It is two people in a room, in real time, for about an hour. There’s no “imagery,” no weird magical stuff I can make happen. A younger me would have been very flummoxed by that, because I didn’t understand how to make theatre without images that way. But now I’m so excited about it, because I do feel like it is the exact kind of thing that I went to school to learn how to do. The fun of it is figuring out what is going on between these two people, second by second. And that is delicious! The images are built out of the way the emotional spaces between these two people are bending, and not a bunch of extra stuff that I’m throwing on top of it. I’m excited at my own growth and development that I can recognize that now. This play is stunning. We’re having a really good time making some really electric theatre in a bathroom. What I love about IRT is everyone is at the top of their game. Which means that the work just gets to be the work. You’re not worried if X, Y, or Z person is going to be able to execute the thing they said they were going to execute. You can focus on the thing that’s in front of you. I always feel taken care of and supported. It’s where the best artists in town are working, and it’s really fun to be counted among those people. After so many years looking up to the IRT, and thinking, “One day! One day I’ll get to play up there!” It’s been ten years, but we made it! Which is pretty cool.

(opposite left) Xavier Adams in the IRT’s 2020 production of The Watsons Go to Birmingham–1963. (opposite right) Tiffany Gilliam, Dalila Yoder, Bryant Bentley, and Brian Wilson in the IRT’s 2020 production of The Watsons Go to Birmingham–1963. Photos by Zach Rosing.

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 – APRIL 4, 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 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 Frank & Katrina Basile 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 Brian & Lorene Furrer Future Keys Foundation 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 Dr. & Mrs. Alan Ladd Ed & Ann Ledford Joe & Deborah Loughrey Barbara MacDougall Donald & Ruth Ann MacPherson David McCaskill & Tammie Nelson Mike & Pat McCrory Sharon R. Merriman Lawren Mills & Brad Rateike Michael D. Moriarty The Blake Lee and Carolyn Lytle Neubauer Charitable Fund, a fund of Hamilton County Community Foundation *Denotes sustaining members

REPERTORY SOCIETY CONTINUED ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2020 – APRIL 4, 2021 PATRON CIRCLE CONTINUED $1,500 – $2,999 Steve & Debbie Oldham 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 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 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 – APRIL 4, 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 Mary & Rick Kortokrax 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 *Denotes sustaining members

Thomas & Teresa Sharp Lee Shevitz Rosemarie Springer Ed & Jane Stephenson The Ruth E. Stilwell Endowment Fund, a fund of CICF 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 John Chlapik

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 Lori 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* Christine M. Hansen 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* Dr. Loretta Kroin 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*

THE SUPPORTING CAST

INDIANA REPERTORY THEATRE DONORS

DONOR GUILDS CONTINUED ANNUAL CAMPAIGN GIFTS $300 – $1,499 | JULY 1, 2020 – APRIL 4, 2021 THEATRE GUILD CONTINUED $300 – $749 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

Merrell & Barbara Owen Mr. & Mrs. 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 GENE & MARY TEMPEL Anna M. Fender

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 – APRIL 4, 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 – APRIL 4, 2021 The Basement

2021 CELEBRITY RADIO SHOW Thank you to the following individuals and organizations who helped make the 2021 Celebrity Radio Show a huge success. The Celebrity Radio Show, the IRT’s annual fundraising event, was on Friday, March 12, 2021. Janet Allen & Joel Grynheim Robert & Kristin L. Altice Anonymous (2) Tammara D. Porter Avant & Jesse Avant Connor & Kathy Avery Amy Baker Ball And Biscuit Ball State University Jeri Ballantine Chris & Kristin Ballard Allison Barkel Bar Bosco Judy Barmann Kerry Barmann Frank & Katrina Basile Bedel Financial Consulting, Inc. Jason Beehler Leo Bianchi & Jill Panetta Jim & Alison Birge Alan Blaskowski Travis Blessing Michael Bluem Barbara & Christopher Bodem

Julia T. Bonnett Monica Bopp James Bork & Cathy Ferree Kimberly Bostic Charlie & Cary Boswell Bottleworks Hotel Indy Abdel & Kristine Bouaichi Dan Bradburn & Jane Robison Michael & Barbara Branic Barbara Bridges Jan & Roger Brinkman Patricia Ann Brown Amy Burke Bob & Julie Burns Darcy K. Burthay Charitable Fund, a Donor-Advised Fund of the U.S. Charitable Gift Trust Don Caddy Shannon Carroll-Frey Central Indiana Community Foundation Central Indiana Land Trust Cliff Chapman

Cheese Desert Adam L. Clevenger & Jessica L. Trimble Carolyn Coleman Sue Collier Russell & Mary Cox Don & Dolly Craft Crew Carwash Daniel & Catherine Cunningham Bruce Curry & Myra Selby Kathleen A. Custer Claire Dana & Chris Fretts Susan & Edmund Dana Thomas I. Davis Kathleen DeLaney Gary Denney & Louise Bakker Ann Dettwiler Rollie & Cheri Dick Michael Dinius & Jeannie Regan-Dinius Laurie Dippold Danielle M. Dove Michele P. Dow

James Due Nancy Dynes Anthony & Jennifer Dzwonar Kathleen Eccles & ME Eccles Bob & Patricia Edwards Ellis Mechanical, Inc. Dan & Ginny Emerson Emily Emerson Ferris Deborah Engelke Rebecca Engle Tim & Reba Ericksen Faegre Drinker Biddle & Reath Troy D. Farmer Drs. Richard & Rebecca Feldman Margie Ferguson Sarah Fisher Franklin College Shelley Fraser & Reynold Berry Jim & Julie Freeman Dick & Brenda Freije Tom & Jenny Froehle Gallery Pastry Shop Robert & Christy Gauss

THE SUPPORTING CAST

INDIANA REPERTORY THEATRE DONORS

2021 CELEBRITY RADIO SHOW Thank you to the following individuals and organizations who helped make the 2021 Celebrity Radio Show a huge success. The Celebrity Radio Show, the IRT’s annual fundraising event, was on Friday, March 12, 2021. Mr. Jim Gawne Dorothea & Philip Genetos Gina Giacone Ron & Kathy Gifford Nadine & Alvin Givens Marianne Glick & Mike Woods Bruce Glor Robert Goldstein Julie Goodman Marisol Gouveia & Desiree Brandon-Gouveia Jane Graham Christopher & Sheila Gramling John & Elizabeth Gresehover Cheryl Guieb Ricardo & Beatriz Guimarães JD Haines Mollette Hall Elizabeth Hamilton Kristen Marie Hanley Hard Truth Distillery Julian E. Harrell Mike & Judy Harrington Steve Hazelbaker Michael N. Heaton Donald & Teri Hecht Holt Hedrick Mark Helmus Dawn Higgins Mark Hindal Douglas Hodge Glenn E. Hoge Carolyne V. Holcomb Brenda S. Horn Abby Howe David Hudson Bill & Nancy Hunt Susan J. Hutchens Rebecca Hutton Ice Miller LLP Indianapolis Art Center Indianapolis Colts The Indianapolis Fellows Fund, a fund of The Indianapolis Foundation Indianapolis Motor Speedway/ Penske Entertainment Kathy Isbon & Steven Pockrass Greg Islan Barbara Janiak Suzanne & William Jannetta Kathy Jenkins

Daniel T. Jensen & Steven Follis Jet Linx Aviation Andy Johnson Polly Jones JPMorgan Chase Bank Bob & Rhonda Kasper Katz, Sapper & Miller, LLP Dana & Marc Katz Reed & Elisha Kemp Linda L. Kirby Joy Kleinmaier John & Susan Kline Sherrie & John Knighton Gwen Kopecky Jessica Kotzan KPMG LLP Molly & Michael Kraus, MD Kevin Krulewitch & Rosanne Ammirati Glen Kwok Lacy Foundation Jill & Peter Lacy Sarah & John Lechleiter Kevin Likes & Kay Bejong Joe & Deborah Loughrey Barbara MacDougall Warren & Lesley Mackellar Jinee Majors Karen Martin Brent Marty Massage Heights Ironworks Clint Meeks Don & Kimberly Meyer Andrew & Amy Michie Douglas & Detra Mills David & Robin Miner David & Leslie Morgan Michael D. Moriarty Chris & Marie Gabrielle Morrison James Napolitan Carl Nelson & Loui Lord Nelson Larry & LaTheda Noonan Tom Noonan & Marian Mather Hannah Northup Jackie Nytes & Patrick O’Brien Joel & Mary O’Brien OneAmerica Financial Partners Oxford Financial Group, Ltd. Ellen Pactor Brian & Gail Payne Penchant 4

Lauren Petersen Petite G Jewelers Greg Petrowich Michael Pettry Craig Pinkus & Margaret Drew Jen Pittman Gail & William Plater Plews Shadley Racher & Braun J. Thomas & Jane Ann Porter Dr. David Posey & Kerrie Posey Printing Partners Scott & Susan Putney Peter Racher & Sarah Binford Cynthia Middle Ragsdale Tommy Reddicks & Kelly Wensing Red’s Classic Barber Shop Co. Paul Reis Peter & Karen Reist Lamar & Margaret Jean Richcreek Sue & Bill Ringo Roberts Camera Megan Robertson Karin Sarratt Mary Anne Schager Janet D. Schantz Heather Ann Scheel Rebecca Scheer Josh Scheumann Dan & Patty Schipp Wayne & Susan Schmidt Nan Schulte & Matt Russell Adam Seale Mark & Gerri Shaffer Shred415 Silver in the City Simmons Family Foundation, a fund of CICF Ron Smith The Michael L. Smith and Susan L. Smith Family Fund, a fund of Hamilton County Community Foundation Shelly M. Smith Jerry & Reah Smolek MaryJane Sorbera Luke Stark Ed & Jane Stephenson Shelley Stewart Jim & Cheryl Strain

Sharon Stroud Sun King Brewery Co. Kay Swank-Herzog & Robert Herzog Suzanne Sweeney & Todd Wiencek Joe & Jill Tanner Angela Stephens Tarter Audrey Taylor Jo Taylor Gene & Mary Tempel Carole Terry Lisa Thielmeyer Julia Thorpe Jennifer Tornatta Total Wine & More Karen C. Turchi Jennifer C. Turner Pamela S. Turner Wayne & Karen Turner Barb Tyner Larry & Nancy VanArendonk Visit Indy Amy Waggoner Cheryl & Ray Waldman Christen Wall & Jeramy Foltz Bill & Ann Walters David Wantz Lisa Warrun Ophelia Wellington Mindy Westrick Brown James & Shelley Wetzel WFYI Alan & Elizabeth Whaley Jess Wheeler David P. Whitman & Donna L. Reynolds Ryan Wilhite Brian & Susan Brock Williams Jerry & Sandy Williams Mark Williams Scott Williams Heather Wilson John & Margaret Wilson Dr. Christian Wolf & Elaine Holden-Wolf Joseph Zielinski & Rev. Bethany Lowery

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 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 & Rev. Bethany Lowery

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