An Inspector Calls program

AN INSPECTOR CALLS

ARTHUR BIRLING Robert Barnett

SYBIL BIRLING V. Simone Stewart

SHEILA BIRLING ............................................................. Lisa Gryshchenko

ERIC BIRLING ................................................................. Jason (Kelly) Rock

GERALD CROFT.......................................................................... Ty Hendrix

EDNA ...................................................................................... Allison Reid

THE INSPECTOR.............................................................. Gregory Jolivette

TIME & PLACE

Spring, 1912, in Brumley, an industrial city in the North Midlands.

The show runs approximately 1 hour, 40 minutes. There is no intermission.

Any video and/or audio recording of this production is strictly prohibited.

AN INSPECTOR CALLS is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service collection. (www.dramatists.com)

Written by J.B. PRIESTLY

PRODUCTION STAFF

DIRECTOR Isaac Joyce-Shaw

ASSISTANT DIRECTOR Walter Haight

STAGE MANAGER .......................................................... Elizabeth Ming

STAGE CREW .................................................................... Sarah Wright

TECHNICAL DIRECTOR .....................................................Chris Benham

COSTUME DESIGNER............................................. Jamie Breckenridge

COSTUMER .................................................................... Katie Lindbeck

SET DRESSING Isaac Joyce-Shaw, Tony Zandol

SET CONSTRUCTION Quinn Connolly, Saul Coria, Walter Haight, Ty Hendrix, Scott Ramp, Antonio Schoaps, Rob Sim, Becky Tei, Elizabeth Tei

STRIKE CREW ................... Quinn Connolly, Wytt Connolly, Saul Coria, Antonio Schoaps, Tidemann Teigre

SOUND DESIGNER Lucas Hill

PROJECTION DESIGN David Cusick, Isaac Joyce-Shaw

LIGHTING DESIGN ..................................................... Isaac Joyce-Shaw

LIGHT HANG ................................ Walter Haight, Jason Rock, Rob Sim

PHOTOGRAPHY ................................................................. Vicki Woods

POSTER DESIGN .............................................................. Isaac Mitchell

PROGRAM DESIGN ........................................................ Carlee Wright

HOUSE MANAGER Sean Needles

BOARD LIAISON Erik Davis

SPECIAL THANKS

Marshall Cuffe  Katie Lindbeck  Karen McCarty

Gallery Theater  Jared Richard

In the Winter of 1944, the War in Europe was drawing to a close as the Red Army fortified its position around Berlin in preparation for a final assault on the center of Nazi Germany. For the second time in J.B. Priestley’s lifetime, the map and social order of the world were being redrawn. As a man of strong moral and political convictions, and as a man interested in the salience of time, Priestley wanted his voice heard in that moment.

The parallels were clear to him. In 1914, just two years after the date he set this play, a young John Priestley had enlisted in the British Army. He was stationed with the 10th Battalion in France the following year. His experiences of the brutality of war, and the uncaring and unreformed society he and other soldiers met when they returned home radicalized him and many others of his generation against the political consensus of that time.

The world he grew up in was one plagued by rampant economic injustice. There were next to no laws protecting the rights of working people, or support in place for people in poverty. As we see in this play, the only safety nets in place were non-governmental charitable institutions entrenched in the liberal dogma of there being a distinction between the Deserving and the Undeserving Poor. It was a case of more resources being allocated to deciding who to deny resources to than were actually put into just giving people what they needed to survive. Women were not allowed to vote, and there were restrictions on their property rights. There were no protections in place for minority groups. Sexual acts between consenting men were punishable by a term of hard Labor and chemical castration. This law like most others was keenly enforced, but selectively: members of the ruling class were rarely prosecuted. One of the chambers of parliament was entirely hereditary. Both political and economic power was in the hands of a small body of men, and although elections were held and the party in government would switch back and forth, little changed for most people.

The success of the Bolshevik revolution in the former Romanov Empire, the near success of Rosa Luxemburg and the KPD in the attempted German Revolution of 1918-19, and the Women’s Suffrage Movement finding success through a strategy, which included bombings and assassination attempts, inspired people around the world like Priestley to imagine that a better world was possible.

Priestley sets An Inspector Calls in the fictional North-Midlands industrial city of Brumley. A geographical and cultural portmanteau of about half a dozen mid-size and real-life cities, such as Liverpool, Manchester, and Birmingham. Towns like Manchester saw their populations multiply sixfold between 1811 and 1851 as industrialization took hold in response to the huge increase of raw goods coming from slave labor in the British Caribbean. As the enclosures act ended the agrarian lifestyle enjoyed by previous generations, people who had lived in surrounding villages as subsistence farmers had no option but to move into manufacturing towns. The lack of direct support given to starving people in Ireland during the famine of 1845 also led to a wave of Irish immigration into these industrial towns.

In the interwar period, Priestley's career as a writer flourished. He wrote a number of successful plays and novels, although none with the kind of staying power he would later achieve in An Inspector Calls.

A recurring conceit of these early works, such as Time and The Conways and I Have Been here Before is an exploration of the theory of time expressed in J. W. Dunne’s book, An Experiment with Time. The theory espoused, called ‘Serialism’ revolves around the idea of precognition, and postulated explanations for it. Priestley uses this repeatedly throughout his dramatic work, sometimes suggesting a dreamlike characteristic to human existence, and at others of darker, more Sisyphean explanation. Some of his early works, such as Dangerous Corner read almost like rough drafts for An Inspector Calls. The theme of the mysterious stranger, one person in the action who the other characters do not know before the play begins, also recurs. The dramatic use such a character presents to an author, to act both as a catalyst and as an observer is one which Priestley would come to master in the play that we present to you now.

As he became one of the leading literary figures of the era, his political journey continued. While many on the left in the UK had hoped that the Labour Party entering government in the 1920’s would move the country away from the Conservative-Liberal, pro-capitalist hegemony, the leaders of that party failed to do so. And when the Great Depression hit, implemented a devastating wave of austerity with the support of the Conservative and Liberal parties. Partly in response to such failings, Priestley helped to form the Common Wealth Party in 1942, one of many unabashedly socialist parties formed in those decades.

As the Second World War started, Priestley was given a program on BBC radio called Postscripts, which aired on Sunday nights after the evening news. From 1940 to 1941, Priestley used that program to deliver inspirational speeches about the kind of society they could build when the war was over. A quintessential excerpt from these broadcasts comes from the 21st of July, 1940, when he said, “We cannot go forward and build up this new world order, and this is our war aim unless we begin to think differently one must stop thinking in terms of property and power and begin thinking in terms of community and creation. Take the change from property to community. Property is the old-fashioned way of thinking of a country as a thing, and a collection of things in that thing, all owned by certain people and constituting property; instead of thinking of a country as the home of a living society with the community itself as the first test.” These broadcasts served to grow Priestley’s already considerable reputation and left him as one of the well-known and popular figures in the country.

Predictably, the ruling faction of the Wartime Coalition, the Conservatives, led by Winston Churchill, weren’t very keen on a broadcast network they still very much regarded as their mouthpiece giving a platform to such unequivocally Marxist content. Churchill used his authority to have Priestley taken off the air, just as twenty years prior he had used his position in government to pressure the BBC into providing political cover for the government sending in police to attack striking workers.

The program’s cancellation, and even more so the manner of it, served to mark Priestley as in some way “off limits” for respectable society was a real setback for his career. And although his most well regarded work, An Inspector Calls, was yet to come, he never again reached the kind of public stature he had at the beginning of WWII.

He continued to write, and as it came to seem just a matter of time before

the war would end in the Allies favor he felt the need to get his voice heard as the statesmen of Europe began to create a new post-war settlement. He wrote this play in just over a week to do just that.

The Red Army overcame the last of the ragtag line of defenses within the center of Berlin on the second of May, 1944, and just two months later An Inspector Calls was playing in two theaters in the Soviet Republic. In Moscow, at the Kamerny Theatre (a black box production which according to a note Priestley written in 1972, remained his favorite to that date), and in Leningrad (since renamed Saint Petersburg) produced by the Leningrad Comedy Players. Successful productions followed in the West End and on Broadway, with a number of prestigious revivals following in the later decades.

Our production seeks to connect the two contexts Priestley calls upon, his past and his present, with that of our own time. Priestley’s fascination with the idea of time repeating itself has interesting implications when applied to the nature of the course of human history, and to the possibility of change. It lends itself well to an exploration through dramatization of the debate within Marxist theory regarding the extent to which our characters are defined by the conditions in which we live. Are we collectively capable of making the world a better place? Can people change who they are? Does it matter if they do?

The people responsible for getting this production on its feet are more numerous to mention in this program. I am grateful to all of them and very proud of the work we have done together. A special shout-out is very much merited to Ty Hendrix, Robert Barnett and Walt Haight: all of whom either joined us partway through the process as a replacement or switched to another role on the production as needed.

Isaac Joyce-Shaw

Alice Mary Norton

The family and friends of Alice Mary Norton honor her longtime commitment to Pentacle Theatre by sponsoring this production.

Alice began volunteering at Pentacle in 1985 and immediately fell under its spell. Over the next 35 years, she was involved in a wide range of theatre support roles including building sets, stage management, sound, lights, props, play reading, and fund raising as the long-time Benefits Chairperson. She was also a familiar face to many as the cheerful lady in the jaunty hat who delivered Pentacle posters to businesses around town.

Alice’s dedication and accomplishments were acknowledged in 1994 as the first recipient of the Claytene Vick Volunteer of the Year Award. In 2014, she was selected to be a Pentacle Lifetime Member.

Alice loved volunteering – but even more she loved being part of the Pentacle family. So from her family and friends to you, we hope you enjoy all that live community theatre has to offer.

Make a charitable bequest to Pentacle Theatre in your will.

Isaac Joyce-Shaw Director

This is Isaac’s fourth time directing at Pentacle Theatre. His previous directorial experience includes Twelfth Night in 2022, Distracted in 2019 alongside Lucas Hill, followed by Agatha Christie's Murder on the Orient Express in 2020. He also previously served as the Assistant Director for Noises Off, and in his decade-plus of involvement with the organization, he has had the chance to do just about everything else. Isaac has worked as an actor and designer at a number of other theaters, including Enlightened Theatrics, The Verona Studio and Gallery Theater. He is grateful for the work of this incredibly talented group of artists working on and offstage.

Walter Haight Assistant Director

Walter is returning to Pentacle, where his experience goes back to 2005 with past shows including Over the River and Through the Woods, Distracted, Bus Stop, Little Shop of Horrors (Mushnik), A Christmas Carol (Jacob Marley), Leading Ladies (Rev. Woolery) and more. He also performed in And Then There Were None, Mamma Mia!, The Graduate, The Laramie Project, Beauty and the Beast and others at Gallery Theater in McMinnville. Retired from a career in engineering, Walter’s hobbies include collecting rare sports memorabilia, drawing maps, singing in a quartet, computer mapping and volunteering at McMinnville Community Media. He lives in McMinnville with his wife Dawn.

UPCOMING AUDITIONS

Robert Alan Barnett

Arthur Birling

Bob is delighted to be back at the Pentacle after playing Henry in The Fantasticks. Other favorite roles include Malvolio, Atticus Finch, Sherlock Holmes, Ebenezer Scrooge, John Barrymore, Judas and God. But his favorite roles are that of husband to Laurie, father to Sheena and Halley and grandfather to Jayden.

Gregory Jolivette

The Inspector

Gregory's previous Pentacle Theatre acting credits include Tom Robinson in To Kill a Mockingbird (2014) and the title role in Macbeth (2014). He also served as Assistant Director for The Aliens (2016) and Leading Ladies (2017). Locally, Gregory has also worked with Keizer Homegrown Theatre, Western Oregon University and The Verona Studio, where he directed productions of Miss Julie (2018), Night Mother (2018) and Becky Shaw (2019). Gregory sends special thanks to his mom, Susan, who always encouraged and supported his interest in the performing arts and his wife, Tracy, who picks up the slack at home when he’s off play-ing.

Lisa Gryshchenko

Sheila Birling

Not only is this Lisa’s first time on the Pentacle stage, but also her first experience of acting, auditioning and participating in a theatrical production. She is thrilled to be a part of the Pentacle team and looks forward to bringing this socially significant play into life.

Ty Hendrix

Gerald Croft

Ty's previous work at Pentacle includes assistant directing Twelfth Night and Agatha Christie's Murder on the Orient Express. He also acted in Dracula, Spamalot, Young Frankenstein, Vanya and Sonya and Masha and Spike, as well as in productions with Bag&Baggage, Triangle Productions, The LA Troupe: Theatre in Education, The Verona Studio, Struts and Frets and Experience Theatre Project. Recently, Ty has been part of a few productions with Portland horror theater company, Witch Hunt Theatre. During normal work hours, Ty owns and operates his own tree service and co-owns a remodel company. He's excited to be involved with another Pentacle project.

NEW LOCATION!

Now open for dine-in at 508 State Street

BRUNCH IS BACK!

Fri-Sun, 9am-1pm.

Dinner 4pm-close.

Allison Reid

Edna

Allison returns to the Pentacle stage after playing the role of Caitlyn in Over the River and Through the Woods. Other theater-related work experience includes as Pick-A-Little Lady in The Music Man, as Ariel in The Tempest, as The Narrator in The Brothers Grimm Spectaculathon, as Julia Farnsworth in Heaven Can Wait, as Hermia in A Midsummer Night’s Dream, as Fate in Julius Caesar and as Hero in Much Ado About Nothing, all at Keizer Homegrown Theatre. She was also in Salem Theatre Network’s production of All Together Now. Allison works as a speechlanguage pathologist and has three pets: Darcy, Bingley and Bennet.

Jason (Kelly) Rock

Eric Birling

This is Kelly’s first show at Pentacle. Other theater-related work experience includes playing the roles of Jedidiah Shultz and Aaron McKinney, as well as Ed in The Curious Incident of the Dog in the Night-Time. He has also been a stage manager and auditorium technician at South Salem High School.

Victoria-Simone Stewart

Syble Birling

Veteran actor VictoriaSimone Stewart is grateful to be making her Pentacle Theatre debut in this fine production, having recently moved to the North Willamette Valley from Southern Oregon last year.

Mx. Stewart has performed over 70 stage roles and has appeared in numerous films and TV commercials. Favorite stage roles include Carol Burnett in Highlights of the Carol Burnett Show; Lenya Von Bruno in Bullshot Crummond; Mrs. Condomine in Blithe Spirit (Randall Theatre, Medford, OR); Fireman Black in Fahrenheit 451, Noodler the Pirate in Peter Pan the Musical (Camelot Theatre, Talent, OR); Tamara Sachs in Taking Sides (Ashland Contemporary Theatre, Ashland, OR); and Kate in Sylvia (Collaborative Theatre Project, Medford, OR). Most recently, Mx. Stewart performed the role of Blossom White in The Rustlers of Red Rock at the Brush Creek Playhouse in Silverton.

LAND ACKNOWLEDGMENT

Pentacle Theatre in Salem is located within the ancestral homelands of the Kalapuya, Yamhill, and Luckiamute people who had lived here since time immemorial.

In the 1850s, these tribes were displaced by colonization and were

resettled on reservations. We celebrate and honor the Confederated Tribes of Grand Ronde and the Confederated Tribes of Siletz members, their resilience and their present and future right to this land.

PENTACLE THEATRE

LIFETIME MEMBERS

Every five years the Pentacle Theatre Governing Board honors as Lifetime Members five people who have been active in Pentacle Theatre for at least 20 years. We also remember fondly those Lifetime Members who are no longer with us.

Lifetime Members

Pamela Abernethy

Dick Bond

Robin Bower

Maggie Dayton

Jo Dodge

Chris Fletcher

Lois Hanson

Ken Hermens

Robert Herzog

Deborah Johansen

Cec Koontz

Dave Leonard

Katie Lindbeck

Pauli Long

Nancy Moen

Debbie Neel

Jeff Sanders

Ed Schoaps

IN LOVING MEMORY

Wayne Ballantyne

Dean Bartell

Jack Bellamy

Dr. E.B. Bossatti

Edith Bossatti

Benny Bower

Virginia Choate

Ken Collins

David Cristobal

Bill Cross

Phyllis Cross

Dave Davis

Ron Fox

Rose Ann Hansell

Mrs. Ray Loter

Marian Milligan

Alice Norton

Peg Pink

Bob Putnam

Margaret Ringnalda

Murco Ringnalda

Larry Roach

Susan Schoaps

Larry Stevens

Kathryn Straton

Faye Trupka

Cherie Ulmer

Jeffrey D. Witt

De Zajic

Tony Zandol

Dick Schmidt

Pat Schmidt

Helen Shepard

Meryl (Bill) Smith

Barbara Sullivan

Tom Ulmer

Claytene Vick

Madison Vick

Stephen Warnock

Rollie Zajic

Honoring the generous individuals who make a provision in their estate plans for Pentacle Theatre:

Pamela Abernethy

Karen & Edward Arabas

Robin Bower

Laurene & Roger Brousseau

Eden Rose Brown

Cherie & Craig Cline

Susan Elliott

Carol Farber

Chris Fletcher

Linda Gilbert

Lois Harris

Ron & Kelli Jaecks

Ed Kramer

Louise Larsen

MaryKate Lindbeck

Dennis & Linda McIntire

Jackie Miller

Jeanne Miller

Janet Neuburg

Larry Roach

Cesie & Tom Delve Scheuermann

Laurelyn Schellin

Barbara & Bruce Thompson

Bright Lights Society

If you have included Pentacle Theatre in your estate plans, we’d like to know and honor you here. Please contact Executive Director Lisa Joyce at 503-485-4300 or lisa@pentacletheatre.org

In the spirit of gratitude, I want to kick off the 2023 season and my presidency with a giant heartfelt thank you to all who have had a hand in getting us through some of the most trying times our theater has ever seen. In spite of all the challenges we've faced since COVID-19 forced us to go dark, Pentacle Theatre is still here — lifted up by the generous support of many.

To our 2020-2022 Governing Board Presidents — Erik Davis and Chris Fletcher — who demonstrated brave leadership through an unprecedented time...

To the 2020-2022 Governing Board members - David Ballantyne, Clyde Berry, Holly Giesbrecht, Brett Hochstetler, Todd Logan, Patrick Moser, Debbie Neel, Liz Rogers, Liz Santillan, Jon Stuber, Bruce Thompson and Juliet Valdez — who made impossible decisions, challenged our theater to grow, and adapted to an ever-changing stressful environment...

To the fearless directors of our 2021-2022 productions — the late David Cristobal, Jo Dodge, Isaac Joyce-Shaw, Katie Lindbeck, Emily Loberg, Debbie Neel, Scott Ramp and Cherie Ulmer — who were crazy enough to lead a production in a time where nothing was certain, paving the way for all who come after...

To our incredible staff — Chris Benham, Quinn Connolly, Lisa Joyce, Sean Needles and Christie Smith — who did the unglamorous work behind the scenes so this theater we love could function once again...

To the committees and various volunteers who helped share the heavy load...

To our sponsors, donors, members and patrons who offered the financial support we needed to make it all happen...

Thank you.

Please enjoy the show, one of the many fruits of your labor.

Emma Thurston Governing Board President

Mission Statement

Pentacle Theatre provides community members a collaborative opportunity to create and experience theater in an atmosphere of respect, support and enjoyment.

TICKET INFORMATION

Tickets for upcoming productions will be available online at pentacletheatre.org. In 2023, Pentacle Theatre is introducing a new pricing structure designed to improve access to our productions. You can read all about it here. In partnership with Salem For All, Pentacle Theatre offers half-price tickets to individuals who have an Oregon Trail card.

LATECOMERS POLICY

Pentacle Theatre productions will begin on time. At intermission you will be ushered to an available seat. If you leave your seat during the performance, you will not be reseated. Sorry, no refunds for latecomers.

MASK REQUIREMENT

Pentacle Theatre values the safety and health of our patrons and volunteers. Masks are encouraged and recommended at all times in the theater building.

The performers you are about to see have had a recent negative COVID test.

Some concessions are available in the lobby. There is no alcohol for sale at this time. We have provided complimentary bottled water outside the lobby.

SMOKING

Smoking is allowed only in the designated area outside the lobby.

An Inspector Calls in dress rehearsal. Photos by Vicki Woods.

PENTACLE THEATRE COURTESY

Cameras (with or without flash) and recording devices are strictly prohibited. Please turn off beepers and cell phones during the performance.

ADVERTISING

Advertise in Pentacle Theatre programs! All proceeds benefit Pentacle Theatre. Call the business office for more information: 503-4854300, or email lisa@pentacletheatre.org.

HOW TO REACH US

Pentacle Theatre tickets and business office: 503-485-4300.

Online: pentacletheatre.org

MANY, MANY THANKS…

To our ushers. Pentacle Theatre could not be successful without the continued and dedicated help of our community.

PENTACLE THEATRE GOVERNING BOARD

Pentacle Theatre is an established not-for-profit theater company, providing a five-play season. A nine-member governing board assisted by committee chairpersons and countless other volunteers run the theater. Membership is open to all.

President

Vice President

Secretary

2023 GOVERNING BOARD AND STAFF

Thurston

Katie Lindbeck

.Kelli Jaecks

Treasurer Ty Hendrix

Members-at-Large

Executive Director

Technical Director

Box Office Manager

Facilities Maintenance Coordinator

Bookkeeper

Erik Davis, Kaelynn Kappes, Ken Hermens

Lisa Joyce

Chris Benham

Sean Needles

Quinn Connolly

Christie Smith

Pentacle Theatre would not be possible without the support of the following grantors:

season 2023

An Inspector Calls

January 13 to February 4

Written by J.B. Priestly. Directed by Isaac Joyce-Shaw.

Sponsored by the Family of Alice Mary Norton.

Shrek the Musical

March 3 to 25

Music by Jeanine Tesori and book and lyrics by David Lindsay-Abaire. Directed by Robert Salberg.

Sponsored by The Davis Family.

Rabbit Hole

April 21 to May 13

Written by David Linsday-Abaire. Directed by Jo Dodge.

Sponsored by the Paul C. and Robin E. Bower Family Trust.

The Crucible

June 9 to July 1

Written by Arthur Miller. Directed by Seth Allen.

Sponsored by M&D Cabinets and Millwork, Inc.

The Curious Incident of the Dog in the Night-Time

August 11 to September 2

Written by Simon Stephens. Based on the novel by Mark Haddon. Directed by Debbie Neel.

Sponsored by Duchess and The Munchkn.

A Gentleman's Guide to Love and Murder

September 29 to October 21

Book and lyrics by Robert L. Freedman and the music and lyrics by Steven Lutvak. Directed by Loriann Schmidt. Sponsored by David Hackleman and Stephanie Schoap, in Memory of Deb Hackleman and Mike Schoap.

The Play That Goes Wrong

November 17 to December 9

Written by Henry Lewis, Jonathan Sayer, and Henry Shields. Directed by Susan Schoaps.

Sponsored by Friends and Family of Lyndsey Fields Houser.

YOU MAKE THE DIFFERENCE!

Ticket sales alone do not cover the cost of our productions. Your membership and donation help make this theater possible. Thank you! This list represents gifts between 1/1/2021 and 01/10/2023.

EXECUTIVE PRODUCER

($2,000+)

Chris Fletcher & Pamela Abernethy

Jean M. Linck & Forrest A. Colling

Erik & Laura Davis

Jo Dodge

Leslie & Bill Glassmire

Linda & Dick Haglund

Kelli & Ron Jaecks

Jennifer Martinak

Betsy & Richard Scott

Barbara & Bruce W. Thompson, the Family of Alice Mary Norton

Cherie & Craig Cline

PRODUCER ($1,000+)

Allegheny Technologies, in Honor of Emma Thurston

Sharlen R. Bennett

Sherry & Alan Bennett

Virginia & Alex Bourdeau

Nancy & Doug Bovee

Laurene & Roger Brousseau

Beverly & Michael Carrick

Mr. & Mrs. Maurice Collada

Sherry Collins, in memory of Peter Ronai

Jody & Mark Gordon

Gail A. Harbert

Tom M. Hewitt

Joe & Linda Hillesum

Sally & Ray Hollemon

Lisa & Marty Johnson

Bruce E. Kepford, Match to Robyn Chadwick

Katie & Laslo Kolta

Judith & Greg Linder

Ann Lyman

Rus McCracken

Lorene McMurrin, in Memory of Mrs. Althea

Stevens Ferris

Judith Morris

Patrick Moser

Vanessa Nordyke

Beverly A. North

Kay & Scott Reichlin

Robin Bower

Joan Robinson

Lizabeth Ann Rogers

Kathy D. Saviers DIRECTOR ($500+)

David R. Ballantyne

Sibylle & Richard Beck

Penny Blackwell

Eden Rose R. Brown

Mike Cechovic

Linda D. Cress

Jeanne & Bill Dalton

Dick Day

Cesie Delve Scheuermann

Joyce & Mark Eklund

Pam & Roger Elliott

Oddny & Brad Everson

Beverly L. and Michael A. Freitas

Jo Rita Gann

Holly Giesbrecht

Jay Howe & Janet Gros

Jacques

Lois Hanson

Paula Hartwig

Robynn & John L. Hayek

Bob & Marypat Hill

Cornelia B. Hoppe, in Memory of Ken & Marg Limbocker

Sherril & Lynn Hurt

Shirley Koontz

Mary Ann B. Kosiewicz

Ellen Langsather

Connie Elaine LaRoche

Lynelle Littke

Ruth McGuire

Roberta W. Moore

Laurel & Hinrich Muller

Debbie Neel

Oregon Community Foundation

Liz & Don Oswalt

Scott Ramp

Kristin Ramstad

Carol Kay Riedl

Susanna Rose

Christie L. Smith

Emma Thurston

Juanita & Lloyd Weigel

Gerald & Henrietta Wimer, in Memory of Ken Limbocker

Steven K. Wollenburg

Penny & Bill Wylie

Autumn Lynn Yongchu

ASSISTANT DIRECTOR ($250+)

Arabas Family

Gayle McMurria & George Bachik

Katy & Charles Bayless

Leora Berger

Carol Coley & Ron Boucher

Megan Brazo-Erickson, in Memory of Charlene Riley

Marlene Buker

Tracie B. Burger

Grover R. Carter

Susan F. Christensen

Diane & Aaron Clingerman

Tylee Cloyd

Dennis & Barbara Curtin Miles

Merry Davidson

Annette Day

Lois & Dale Derouin

Edna Denton & Carel

Dewinkel

Dean & Beth Vargas

Duncan

Patricia Ehrlich & James

Willhite

Karen & Bill Farmer

Darlene Fletcher

Albert & Ginny

Furtwangler

Thomas & Margaret Grove

Frank & Pat Gruber

Deb & David Hackleman

Walter D. Haight

Hockman-Wert, DavidP.

Nancy Hull

Patricia Johnson

Norma Jean Standlea & Hank Keeton

Paul Allen Kyllo

Fran J. Lattin

Linda Ann Lockwood

Pauli Long

Sherry & Terry L. Lowells

Dr. Betsy McDowell & John Gussenhoven

Rachel McMillen Pratt

Nancy Moen, in Memory of Kevin Moen

Ruth & Roger Monette

Network for Good

Beth I. Nevue

Jim & Sondra Nice

Hella Nordberg

Louise & Keith Putman

Omar D. Quintero

Susan & Richard Ray

Marjorie Reuling

Winifred Sangirardi

Schwab Charitable

Fred Eugene Shaub

Carlene Kaliher Shultz in Memory of Jack Johnson

Diane McLin & David Smedema

Joanna & Ronald Stout

Susan & Toru E. Tanabe

Jim & Rhonda Lyn Thompson

Heather & Bryan Toller

John Whitney

Laureal Williams

LEADING ACTOR ($100+)

Anonymous

Janie Abernethy & Philip Cohen, in Honor of Pamela Abernethy

Sandra & William Albright

Edna & Richard Anderson

Gordon & Pat Bacon

Mary V. Bailey

Kenn & Nancy Battaile

Keith & Madge Bauer

Jack & Sharyl Beattie

Edward Beaudry

Clyde Otis Berry

Jenni E. Bertels, in Memory of David Cristobal

Bill & Anita Blaumer

Cliff & Lynda Boyer

Jenan & Gary Brandt

Mar'Sue & Perry Brown

Gary & Diane Buckley

Barbara Castle

Nanci Chambers

William Chisholm

Kay & Philip Cogswell

Gretchen Coppedge

Maggie Dayton

Cliff Deighan

Tamara L. Dohrman

Carol Doolittle

David & Velma Du Fault

Carolyn & Bob Engle

Fidelity Charitable

Sue Frauendiener

Valorie A. Freeman

Linda Gilbert

Brandon Gitchel

Steve Gorham & Candace Reed

Mark & Allana Hadden

Debby & Mark Hamlin

June & Harvey Hammer, in Loving Memory of Ruth Lundstrom

Ryan Hanauska

Ann & Dave Hanus

Julie Harrison, in Memory of David Cristobal

Janice M. Henry

Franca Hernandez

James & Beverly Herzog

Elizabeth & Scott Hess

Brett Hochstetler

Gloria & Alan Holland

Sue Hoover

Bill Howell

Tickets are on sale now!

“Shrek, which draws from William Steig’s book about a lovable ogre and the DreamWorks animated movie that it inspired, is nonetheless a triumph of comic imagination with a heart as big and warm as Santa’s. It is the most ingeniously wacky, transcendently tasteless Broadway musical since The Producers, and more family-friendly …” – USA Today

With book and lyrics by David Lindsay-Abaire and music by Jeanine Tesori, Shrek The Musical runs March 3 through 25, 2023. Tickets will be available soon.

For more information visit www.pentacletheatre.org or call 503-485-4300.