Interlude Program by New Conservatory Theatre Center

W E LCO ME

from the Founder & Artistic Director

I am blessed to be working with playwright

Harrison David Rivers again. Developing and producing the world premiere of This Bitter Earth at NCTC with him three years ago is an experience I will always treasure. I am particularly proud that the play has recently been published and despite live theatre lockdown, is still finding productions around the globe. Those performances are all digital for the moment but there are quite a number of productions waiting in the wings for when we can all return to our beloved performance venues. When I contacted Harrison last June, the COVID-19 pandemic was growing worse and our nation was reeling in the wake of the George Floyd murder. Like everyone we were numb with disbelief but felt an urgent call to action. For us that meant reflect, question, and conjure. In short, do what we know - make art. Interlude will reunite some of us and introduce countless others to the character of Jesse Howard from This Bitter Earth once again played by the incomparable H. Adam Harris. In a completely independent story, Jesse has returned home to Manhattan, Kansas and is sheltering in place with his parents. As many of us know, going home often awakens childhood memories that then reveal many formative and lingering ties with our adulthood. In six engaging stream of consciousness dispatches, Jesse unpacks key remembrances, and reconnects with his family as he pursues a path forward in the volatile world that persists. One of the many beauties of Interlude is the poetic opportunity it offers to recalibrate and refocus on the bigger picture. This is the transcendent power of theatre. It serves as yet another commanding reminder that one person’s story is connected to all of our stories. This undeniable circumstance of shared humanity increases the imperative to rise against injustice, racism, and selfishness. Like Jesse Howard, we are all works in progress. I am hoping that we can all find the courage to rewrite the narrative of subjugation, blaze the trail of change, and reunite with the mighty forces of our hearts.

Founder & Artistic Director

NCTCSF

@NCTCSF

NCTCSF

NEW CONSERVATORY THEATRE CENTER PRESENTS

By Harrison David Rivers Directed by ShawnJ West

CREATIVE TEAM Technical Direction by Carlos Aceves Production Management & Casting by Stephanie Desnoyers Sound Design by Elton Bradman

STARRING H. Adam Harris as JESSE Appears courtesy of SAG-AFTRA

W E LCO ME

from the Executive Director

So many of us have felt our lives uprooted and unmoored during the past year. For me, in an effort to balance that feeling, I am attempting to put in a vegetable garden this spring. Whether we are talking carrots, or families, or art - roots are pretty important. This beautiful radio play, Interlude, is rooted in NCTC’s ongoing relationship with the luminous playwright, Harrison David Rivers. We commissioned this piece in June via our New Voices/New Work program, the same program that brought the world premiere of Rivers’ poignant This Bitter Earth to our stage a few years ago. It’s a pleasure and privilege to work with him again. A key component in keeping the creative wheels turning at NCTC during these unusual times has been the support of our Future Stages donors. These visionary donors have committed to multi-year pledges, which ensure NCTC an essential ongoing stream of funding even when our stages are empty, sustaining programs such as New Voices/New Work. I’ll just plant this seed here: if Future Stages sounds like it might be of interest to you, please drop me a line at Barbara@ nctcsf.org. Let’s talk! We appreciate your ongoing presence and support. Thanks to you, NCTC can grow and thrive. I hope the same can be said for my zucchini.

Executive Director

LAND ACKNOWLEDGEMENT “My grandmother, my mother and I believe that when song, dancing and ceremony stop so does the earth.” - “Kanyon Coyote Woman” Sayers-Roods In pursuit of New Conservatory Theatre Center’s ongoing mission to effect personal and societal growth, enlightenment, and change, we’ve learned the importance of acknowledging the original inhabitants of what we now know as San Francisco. We recognize that Ramaytush was the first language of this land as spoken by its original peoples, who are the original stewards and understand the interconnectedness of all things, maintaining harmony with nature since time immemorial. Our theatre is located on stolen land of the Ramaytush Ohlone Peoples, the original peoples of what is now the San Francisco Peninsula, and the greater Bay Area is the ancestral territory of the Miwok, Yokuts, Patwin, and other Ohlone to whom we owe a collective debt. We have directly benefited from being settlers on this land and we are privileged to call it our artistic home. Through our own research and in-depth conversations with local Indigenous Generalized Specialist “Kanyon Coyote Woman” Sayers-Roods, we’ve gained a deeper understanding of the many travesties towards Native Americans over hundreds of years that have led to a history of displacement, gentrification, and cultural erasure which informs the context and demographics of our area to this day. Storytelling is the core of theatre. Being unable to gather at NCTC during this time has highlighted how essential it is that we share the story of the land we occupy. This statement is one small step in recognizing the original stewards of this land and paying our respect to these Indigenous communities while educating our patrons, artisans, teachers, and students. More importantly are our actions that follow, which will include but are not limited to: uplifting local Indigenous communities, businesses, and artists, offering space and resources to Indigenous organizations, and being inclusive in the stories we tell and how we tell them. Colonization is ongoing and so must our efforts be to engage, repair, and learn EpisodesWe 3 and 4 were you brought tothe you by as an organization. encourage to visit reference links here to better understand the legacy of the Ramaytush Ohlone people and the history of this serving the community since 1890. land. Please join us in acknowledging and honoring their ancestors, their elders, and their communities.

CATCHING UP WITH

HARRISON DAVID RIVERS, PLAYWRIGHT OF INTERLUDE AND THIS BITTER EARTH

“

In a previous interview about This Bitter Earth, you mentioned that part of the impetus for writing that play was the need to speak to what’s going on in America in regards to young black male bodies. And while Interlude certainly and necessarily does continue that conversation, it delves deeper into the internal life of one black man. Can you speak on that further?

When This Bitter Earth was commissioned in 2015 Black men and women were being killed with alarming regularity. I thought, or rather hoped – foolishly, probably – that it would be a singular moment, which it wasn’t. 8 NCTC 2016-2017 SEASON 6

We find ourselves, again, in a moment; a pandemic moment. And this play, like This Bitter Earth, is an attempt to speak directly to it. When you’re trapped at home you have a lot of time to think (and spiral, frankly). That experience is at the heart of Interlude - both the loneliness of pandemic life and the opportunity it provides for self-reflection. Narratively, we find Jesse five years after the events of This Bitter Earth. He is sheltering in place with his parents in his childhood home. While he’s there he finds an audio recorder in a box of his old things and he begins to use it to chronicle his experiences and also to begin to unpack the sequence of life events that led him to the moment of the play.

In our earliest conversations about this project, we discussed the possibility of writing a sequel to This Bitter Earth. It seemed like a fun idea – a full-length play picking up where the events of This Bitter Earth left off – but given limited time and resources it felt like a daunting endeavor. In a way, Interlude allowed us to have our cake and eat it too. We got to revisit the character, but in a completely different format. H. Adam Harris originated the role of Jesse in the world premiere of This Bitter Earth and returns to the role in Interlude. Did you know when writing this piece that you would be working together? Did his performance in This Bitter Earth inform how you wrote for Jesse in Interlude?

You mentioned that This Bitter Earth was a very personal story, saying “This one is very me” - is this continuation of Jesse Howard’s story still a very personal one? In what ways has it diverged?

I didn’t write Interlude for H specifically - I didn’t know that he would be joining us until much of the piece had already been written – but you wouldn’t know that from listening to him read the words.

I’ve authored a number of plays and they’ve all felt incredibly personal so perhaps me saying “this one is very me” four years ago is a bit of a misnomer at this point.

H understands Jesse on a granular level. Jesse is in his bones. Some of that is because H was the first actor to ever play Jesse. Some of that is because H and I share similar life experiences. I’m thrilled that he was able to join us for this journey.

There are elements of Jesse’s biography that are elements of my biography. Being from Kansas. Coming from a conservative background. An early preoccupation with the Boy Scouts. There’s definitely a connection. Jesse is NOT me, but at the same time, he’s not NOT me. Did you always know you’d revisit the character of Jesse? Why did you choose to continue his journey, as opposed to starting a new story?

Do you have a favorite memory from the Interlude process? Do you have a favorite moment from the show itself? I love the ending. I love how it mirrors the end of This Bitter Earth. Specifically, how it mirrors, and yet says something different. Something new. And I love that the play ends with laughter.

I suppose that neither Ed [Decker, NCTC Founder & Artistic Director] nor I was completely done with Jesse. 7

Thank You This holiday season, our community came together and raised over $70,000, which will be matched by our anonymous donor. In a year of monumental challenges for the performing arts, this inspiring effort has allowed NCTC to maintain the organization while adapting to new media to commission and produce vital new works like Interlude. We are incredibly grateful for the opportunities made possible by our patrons. If you would like to offer support to NCTC, please visit us at nctcsf.org/donate.

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PRO F I L E S H. ADAM HARRIS (Jesse, pronouns: he/him) is an actor, director, teaching artist, and cultural equity consultant. H. Adam was last seen at New Conservatory Theatre Center as Jesse in the world premiere of This Bitter Earth by Harrison David Rivers. He is the Engagement Associate at the Playwrights’ Center; a resident teaching artist with the Guthrie Theater and CTC, faculty at St. Paul Conservatory for Performing Artists, and Board Chair at Ten Thousand Things Theatre.

HARRISON DAVID RIVERS (Playwright, pronouns: he/him) is a St. Paul based playwright. His plays include The Bandaged Place (Relentless Award), When Last We Flew (GLAAD Award), Sweet (AUDELCO nom), Where Storms Are Born (Berkshire Theatre Award nom), This Bitter Earth (Jeff nom, MN Theatre Award) and the musicals Five Points with Douglas Lyons and Ethan Pakchar (MN Theatre Award) and Broadbend, Arkansas with Ellen Fitzhugh and Ted Shen (Antonyo 10

and AUDELO noms). Harrison was named a Runner-up for the 2018 Artist of the Year by the Star Tribune and a 2017 Artist of the Year by City Pages. He is the recipient of McKnight, Jerome and Van Lier Fellowships, and residencies with the Bogliasco Foundation, Siena Art Institute, the Hermitage, Duke University, NYTW, New York Stage & Film and the Williamstown Theater Festival. Harrison is a member of the Board of Directors of the Playwright Center and The Movement Theatre Company. www.harrisondavidrivers.com SHAWNJ WEST (Director, pronouns: he/him) is a California based director/actor by way of Seattle, WA where he directed cult hit Sex In Seattle: Episodes 15, 16, 17 & 18 with SIS Productions; ReAct’s production of WELL; Redwood Theatre’s The Seven Year Itch and West Coast premiere of Illyria. Bay Area credits include Playwright Center San Francisco’s shorts and showcase; African American Shakespeare Company’s production of Cinderella and assistant director on Macbeth; Lorraine Hansberry Theatre’s A Soulful Christmas.

P R O FIL E S CARLOS ACEVES (Technical Director, pronouns: he/him) has lived and worked in the Bay Area for the past eleven years as a technical director and scenic designer. Recently, he’s worked as a scenic designer for the Eugene O’Neill International Festival of Theatre in New Ross, Ireland. Carlos worked as the scenic designer and technical director for The Awakening at the Breadbox Theatre, which received a Theatre Bay Area award for Outstanding Production of a Play. He’s also received an award for excellence in stage management from the KCACTF, and the title of California Theatre Arts Scholar in 2005. Carlos loves being a part of the NCTC team and to champion their mission. ELTON BRADMAN (Sound Designer, pronouns: he/him) 2020 composer/sound designer credits include radio plays (Aurora Theater’s The Flats and UC Berkeley’s Snowflakes, Or Rare White People), student productions (ACT’s Ironbound and UC Berkeley’s Unstable Connections), and Zoom theater (Shotgun Players’ The Light and Playground SF’s The Rendering Cycle). Other recent adventures include Shotgun Players’ Kill Move Paradise; Marin Theatre Company’s How I Learned What

I Learned; African-American Shakespeare Company’s productions of Black Eagles, A Streetcar Named Desire, and Richard III; ACT’s Medea and TiJean and His Brothers; and Santa Cruz Shakespeare productions of The Comedy of Errors and Pride & Prejudice. He is currently co-writing a musical for Bay Area Children’s Theater. STEPHANIE DESNOYERS (Production Management & Casting, pronouns: she/her) has been stage managing in the Bay Area since moving here in 2008, working with companies such as Cutting Ball, SF Shakespeare Festival, and BrickaBrack. Ten of her stage management productions have been with NCTC, including Everything That’s Beautiful, Salome, Dance for Me, Compleat Female Stage Beauty and Die, Mommie, Die!. Stephanie has also done some work in both costume and prop design. She began her career in Pittsburgh Pennsylvania and traveling to the Edinburgh Festival Fringe in Scotland.

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Peter Balon, Jeremy Barcan, Walter N. Barnes Jr. & Doug Lucas, Paul J. Bell, Marie Rose Benitez, William K. Benson, Irina, Boris, & Emma Berman, Sandra Berman, Shari Bethel, Wendy Bjorklund, Leanne Borghesi - in honor of Countess Auntie Katya, Brandon Bowen, Richard D. Brabham - in memory of Thomas J Harrison, John Brandeau & Charles Eads, Harry Breaux - in memory of Dan Tiret, Sean Brient, Mark Briggs, Virginia Brown, Lester Bruno, Jr., Michele Brynjulson - in memory of David Beery, Geary & Nancy Busse, Patricia Byrne, Andre Camire, John G. Capo - in memory of Earl Diskin, Ellie Carhart, Nancy Cave, Ronald Schafranek, Annalee Schafranek & Sean Schafranek, Gina Cavellini - in honor of John Cavellini aka Summer Clearance, Judith Chachanidze, Carol Chen, Amelia Chu, James Clarkson & Douglas Scott, Bill Clawson & Frank Benedito, Paul Colfer & Jon Gatto, Jose Colon, Victor Cordon, Robert Costello, Jim Coursey, Martha Sue, & Lia Coursey, Donald Currie, Kevin Daehnke, Philip Dawkins, Mickey De La Rocha, Deana Deatherage, Shannon Dillman, Arnold Dito - in memory of David Beery, Norm Dito & Steve Weiner in memory of David Beery, Jay Dold, Shannon Hall & Paxton Dold, Kathryn Douglas, Roberta Drake, Amina & Layla Durrani, Allyson Dwyer, Elana Dykewomon in honor of Jewelle Gomez, Cheryl Eccles - in honor of Eve Lynch, Alisha Ehrlich, Claudia Ehrlich, Jessica Ellis, Birgit Eschmann, J. M. Eskin, Ingrid Estrada, James Fagler, Lori Yamauchi & Jemma Fagler, Beth Feingold - in honor of Maurice Kelly, Rochelle Felitti, Bonnie Feuer - in memory of Brenda Fahie, Duncan Findlay, Krystyna Finlayson, Joyce Fishback & Marcia Marks - in honor of Bennet Marks, Ryan Flores, Ryan Fogarty, Dennis Fong, Mark Freeman, Douglas Fruehling, E. Frusztajer, Michael Fry, Jonathan Funk & John Arnold, Tamara Gagnidze, Davd & Kendall Galvez, Ilya Garelik, Susan Julian Gates, H. Gelfand - in honor of Yilong Liu, Dorothy Giammona - in honor of William Giammona, Edwin Glazier, Paul Goetz, Michaela Goldhaber, David Grabstald - in memory of Mrs. Ann Getty, Mary E. Grant, Karen Greig, Ray Grimsinger, Sharon Grosekemper, Christopher Hadley & Helen Bersie - in memory of David V. Beery, Susan & Nasus Hansen, H. Adam Harris - in honor of Ed Decker, Kevin J. Harty & Rick Tempone - in honor of Richard Meiss & Peter Rudy, Judy Helfand, Sandrah Henry, Mark Hernandez, Rebecca Hibbs, Lynn Hickman, Ronald Hirsch, Colin Hodgen, Jeffrey Hoffman & Don Labit - in memory of Ms. Mildred Peveto, Dr. Jerry Hofkin & Ms Lynda Stotsky - in honor of Leah Hofkin, Sandy Holmes, Gregory Holmes, Katie Holt, Eric Hsu & James Chambers, Timothy Huls, Jan Hunter, Brandon Jackson, Jessica Jensen, Gregory Jurin & Jim McCrea, Bill Kaiser - in honor of The Purple Circuit Theatres, Rick Kaplowitz, Steve Kehrli & Pablo Patino, Yonju Kim, Cindy King, The Kinsley/Binard Family, Victoria Kirby, Mike Klayman, Leonard Klosinski, Julia

O U R TH ANKS

Kochi, Daniel Koehler, Shelley Kramer, Vivian Kramp, Gary Kukus, Thomas Lakritz, Dale Lancaster, Roberta Langren, Casey Larson, Barry Lawrence, Harris Lehrer, Alison & Ron Limoges, Gary Lomax, Emmy Longo, Alexis Lucio, Karen Lylis, Patricia K. Mack, Amy MacWilliamson, Scott Moore & Imogen Moore, Caroline Maillard, Shai Malka, Aimee Mao, Donna Giammona Mathison, Richard Mazzarisi, David McCrory, Michele McDonald - in honor of Katya & Summer, Georgia McNamara, Edward Melaika, Paul Melcon - in honor of Summer Clearance, Michael Melton, Betsy Mercer, Amy Meyers, Markham Miller, Shannon A. Miller, Katherine Mills, Frank Monti, Ryan Moore, Nicole Moreno-Deinzer, Allison Morrell, Richard Mosqueda, Scott Najima - in honor of Randy Nakano, Marissa Nakano, Zolboo Namkhaidorj, Siobhan Noble, Ron Noriega, Elizabeth O’Connell, Christina O’Halloran - in honor of Andrea Partridge, Edward O’Masta, Arthur Ong, Lynnette Orme, Claudine Ozzello, Mary Padilla, Elaine Page, Maria Paulia Belgado, Joel T. Perlstein, Robin Peterson, Susan Petit, Beth Phillips, Dixon Phillips, Robert P. Pittman, Paul Pleasanton, Patricia Ponzini, Michael Popalardo, Ora Prochovnick, Amy Prosser, Brian Quigley, Vanessa Ramos, Suzan Reily & McKenzie Reily-Isaac, Bryna Rifkind, PhD, Terry Rillera, Adele Rios, Robert Ripps & Steven Spector, Susan Penelope Rix, Richard Roos & Jim Glanton, Michael Rossman, Gordon Sakaue, Mary Jo Schaeffer, Becca Schlichtig, Hope Schmeltzer, Joshua Grossnickle & Isaac Grossnickle, John Schrom, Timothy Schuman, Ron Selge, Donald Senn, Sachiyo Shelton, Karen Sheridan, Gae & Mel Shulman, Stacey Shuster & Joan Lefkowitz, Liz Sizenksy - in honor of Anne & Rodney Vaughan, Evelyn Smith, Lisa Soberanes, Elise Sommerville, James T. Sotiros, Tony Spruill, Marc Stein & Jorge Olivares, Laurence R. Stevens - in memory of Peggy Cooper, Sandra Stober, Michael Stuber, Beli Sullivan, Anthony Swanner, Virgnia Sweeney - in honor of TJ Santiago, Robert Tat, Donna Telepak, Pamela Thornton, Kathie Tompkins - in honor of John Cavellini, Francine Torres , Alina Trowbridge, Sue Trowbridge, Kimberlee Trudeau, Marcelle Trzcinski, Judy Ung, Vaho, Kathryn Vercillo, Rena Vilt, William Vilt, Annika Button & Sydney Button, Noel Viramontes, James J. Vogt, Yae Wada, Mary Kay Wagner, Laurie Waldman, Elizabeth Kim Waldron, Harold Wasson, Ron & Sharon Waterhouse - in honor of Dana Zook, Lisa Wayne, Mary Tienken & Isaac Wayne, Matt Weimer, Amy Weitz, Lori Whitney, Elyzabeth Gregory Wilder, LaDonna Willems, William

F. Wilson, Timothy Wolfred, Lawrence & Hillary Wollin, Joyce Ycasas, May Young - in honor of Randall Nakano INSTITUTIONAL PARTNERS

New Conservatory Theatre Center is sponsored in part by a grant from Grants for the Arts, and supported in part by the National Endowment for the Arts and the Bill Graham Supporting Foundation of the Jewish Community Federation and Endowment Fund. $50,000+ William & Flora Hewlett Foundation San Francisco Arts Commission San Francisco Grants for the Arts $25,000 - $49,999 Bothin Foundation San Francisco Department of Children, Youth & Their Families The Shubert Foundation Small Change Foundation $15,000 - $24,999 Centers for Disease Control & Prevention California Arts Council Horizons Foundation Kimball Foundation $10,000 - $14,999 Fleishhacker Foundation National Endowment for the Arts Bernard Osher Foundation $2,500 - $9,999 Wells Fargo Foundation This event is sponsored in part by the National Endowment for the Arts and a grant from Grants for the Arts.

Every effort is made to ensure the accuracy of this listing. If an error has been made, you would like to change your listing, or would like to make a gift, please contact Director of Individual Giving Andrea Partridge at 415.694.6158 or andreap@nctcsf.org.

WAYS TO GIVE Support NCTC by making a secure donation online at NCTCSF.ORG/DONATE or mail a check to: NEW CONSERVATORY THEATRE CENTER, 25 Van Ness Ave., LL, San Francisco, CA 94102 NCTC also accepts bequests, stock transfers and in-kind contributions. For more information about supporting NCTC, please contact Andrea Partridge, Director of Individual Giving 415.694.6158 | andreap@nctcsf.org

NCTC THANKS THE FOLLOWING INSTITUTIONS FOR MATCHING THEIR EMPLOYEES’ DONATIONS

STAF F

FOUNDER & ARTISTIC DIRECTOR

Ed Decker

EXECUTIVE DIRECTOR

Barbara Hodgen

TECHNICAL DIRECTOR

Carlos Aceves

FRONT OF HOUSE & BAR MANAGER

Walt Anthony

DIRECTOR OF MARKETING & COMMUNICATIONS MARKETING & PRESS MANAGER PRODUCTION MANAGER & CASTING COORDINATOR CONSERVATORY PROGRAMS MANAGER BOX OFFICE & PATRON SERVICES MANAGER YOUTHAWARE PROGRAM DIRECTOR & CASTING ASSOCIATE DIRECTOR OF INDIVIDUAL GIVING BUSINESS MANAGER DIRECTOR OF INSTITUTIONAL GIVING PHOTOGRAPHER CONSERVATORY DIRECTOR

Kate Jones Butler April Culver Stephanie Desnoyers Kathleen Lee Alessandro McLaughlin Nicole Meñez Andrea Partridge Brad Pence Vanessa Ramos Lois Tema Stephanie Temple

B OARD OF DIREC TOR S Ed Decker - Artistic Director Larry Vales - Board Chair Eric Valko - Treasurer Eli Lazarus- Secretary Andrew Smith - Chair Emeritus J. Conrad Frank Leah A. Hofkin Robert Holgate Maurice Kelly Eve Lynch

Christopher Murriel Andrew Nance Melanie Nathan Charles Renfroe Desiree Rogers Renee Roux Stephanie Walker Nathan Williams Dana Zook

NEW CONSERVATORY THEATRE CENTER 25 Van Ness Avenue at Market Street San Francisco, CA 94102 BOX OFFICE: 415.861.8972 OFFICES: 415.861.4914 New Conservatory Theatre Center is a constituent of the Theatre Communications Group (TCG), the National Organization for American Theatre, Associate Member National New Play Network, and a company member of Theatre Bay Area.