2014/15 SEASON
George Orwell’s
PHOTOGRAPHY BY SAVERIO TRUGLIA
ANIMAL FARM
The
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A transcendent new drama by the celebrated author of The Seafarer, Shining City and The Weir.
Night Alive
CONTENTS
16 20
BY CONOR McPH E R SON DIRECTED BY H E N RY WISHCAM PE R
Featuring ensemble members Francis Guinan and Tim Hopper with Helen Sadler, Dan Waller and M. Emmet Walsh
THROUGH NOVEMBER 16
Welcome to Animal Farm
Letter from Steppenwolf for Young Adults Artistic and Educational Director Hallie Gordon
The Costumes of Animal Farm Orwell’s Personal Revolution: Fusing Political and Artistic Purposes
By Education and Community Programs Coordinator Lauren Sivak, Illustrations by Paul G. Miller
E D I TO R
C O N T R I B U TO R S
DESIGN
COVE R
N E E L McN E I LL
HALLI E GOR DON
S H I LLA S HAKOOR I
Cast Member
EVAN HATFI E LD
WI LL ALLAN
PAU L G. M I LLE R
Photographer
JOE L MOOR MAN
SAVE R IO TR UG LIA
MAD E LI N E LONG MEGAN SHUCHMAN LAU R E N S IVAK
TO A D V E R T I S E Contact: smARTMagazines/smARTSponsorships Bryan Dowling 773-360-1767 or bryan@media8midwest.com
This program is printed on FSC® certified paper with the use of soy-based inks.
CONTENTS 3
Martha Lavey†* Artistic Director
David Hawkanson Executive Director
Hallie Gordon Artistic and Educational Director of SYA
S T E P P E N W O L F F O R Y O U N G A D U LT S P R E S E N T S
Leading Corporate Season Production Sponsor of Steppenwolf for Young Adults
George Orwell’s
ANIMAL FARM ADAPTED BY ALTHOS LOW DIRECTED BY HALLIE GORDON
Major foundation support for Steppenwolf for Young Adults is provided by the Polk Bros. Foundation Alphawood Foundation Steppenwolf’s Auxiliary Council, a community of dynamic young professionals, dedicates their support to Steppenwolf for Young Adults. Steppenwolf for Young Adults is a citywide partner of the Chicago Public Schools (CPS) School Partner Program.
F E AT U R I N G
WI LL ALLAN*, JAS M I N E B RACEY*, LUCY CARAPETYAN, AM E LIA H E FFE RON, MATT KAH LE R*, M I LD R E D MAR I E LANG FOR D*, B LAKE MONTGOM E RY, DANA M U R PHY, LANCE N EWTON*, S EAN PAR R I S PRODUCTION B R IAN S I D N EY B E M B R I DG E + Scenic Design I Z U M I I NABA Costume Design J.R. LE D E R LE Lighting Design R ICK S I M S Sound Design and Composition B LAKE MONTGOM E RY Movement Director E R ICA DAN I E LS° Casting Director
Major corporate supporter of Steppenwolf’s career readiness and Professional Leadership Program
CASS I E CALD E RON E* Stage Manager
Steppenwolf Theatre Company is a constituent of Theatre Communications Group (TCG), the national organization for nonprofit professional theater. † member of the Steppenwolf Theatre Company ensemble. * member of Actors’ Equity Association, the union of professional actors and stage managers. + member of United Scenic Artists, Local 829 of the IATSE. ° member of the Casting Society of America.
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CONTENTS 5
Looking for a
WELCOME TO
ANIMAL FARM The world can be a wearying place. The madness and brutality we visit upon each other with such frequency can be dispiriting. But lately, I find I have been struggling even more so than usual to cope with the state of the world. In recent months, human ferocity seems to have escalated—or perhaps I have grown more sensitive and averse to it. As a child, I was terrified of nuclear war—like all the time. When the miniseries The Day After first aired on television, I watched horrified, certain that this fiery end and ghastly aftermath was going to happen in my lifetime. I then had little understanding of the political forces that shape events in the world, the only thing I felt sure of at the time was that I had no control over death raining down from the sky. The fear of not having control over my own destiny has shaped a lot of who I am today. I wondered if other people felt like me. I started going to art museums, theaters, movies, I saw The Day The Earth Stood Still, Fail Safe and Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. I started reading books like Brave New World, 1984 and Animal Farm. Given the dystopian tone of such works, obviously none of these quelled my fear that the world was coming to an end—quite the contrary: they awoke me to the reality that we live in a complex and beautiful world, by turns horrific and funny. I learned I was by no means alone in my abiding and bone-deep fear; more importantly, though, I learned that I should not sit passively by to just watch the onrush of destruction. There were ways that I could live my life to help make the world a better place. Or even 6 WELCOME
just my neighborhood a better place. So my personal revolution became trying to create meaning through art. For George Orwell, his revolution centered on revealing the injustices of the world around him. He did so through an aesthetic enthusiasm, combined with a rigorous intelligence and an unsparing eye, that would allow all readers’ –at whatever level of education or political sophistication –to understand the politics of the day as well as the historical, economic and societal forces underlying those politics. Orwell wrote: “What I have most wanted to do throughout the past ten years is to make political writing into an art…Animal Farm was the first book in which I tried…to fuse political purpose and artistic purpose into one whole.” “A critic whom I respect read me a lecture about it. ‘Why did you put in all that stuff ?’ he said. ‘ You’ve turned what might have been a good book into journalism.’ What he said was true, but I could not have done otherwise. I happened to know, what very few people in England had been allowed to know, that innocent men were being falsely accused. If I had not been angry about that I should never have written the book.”
Our Steppenwolf for Young Adults Season is about CREATING a movement: the ART of a Revolution. Join us. Think and question with us. Create a movement with us. All are welcome.
Hallie Gordon Artistic and Educational Director, Steppenwolf for Young Adults
NEW WAY YOUTH to give your
access to theater?
Give your students a
BACKSTAGE PASS to learn about careers in the arts.
BEHIND THE SCENE: Steppenwolf’s Community Engagement Program for Teens
DESIGNED FOR PROGRAMS THAT WORK WITH TEENS, BEHIND THE SCENE IS AN EXCLUSIVE LOOK AT THE STAFF AND ARTISTS AT STEPPENWOLF THEATRE COMPANY AND HOW THEY CONTRIBUTE TO THE WORK ON STAGE. JOIN US FOR THESE PRIVATE PRE-SHOW EVENTS AND THEN STAY FOR THE SHOW.
$10 TICKETS
• SATURDAY, NOVEMBER 1, 2014 AT 1PM: ANIMAL FARM • SATURDAY, FEBRUARY 28, 2015 AT 1PM: THIS IS MODERN ART
Call 312-335-1650 and use code 17768 to book tickets. Questions? Contact LAUREN SIVAK at lsivak@steppenwolf.org. Corporate Sponsor of Steppenwolf’s Career Readiness Programs
CAST AND CONTRIBUTORS C A S T (in alphabetical order)
TIME
WI LL ALLAN* Man, Benjamin
1945 and after
JAS M I N E B RACEY* Old Major, Julia
PLACE A plot of land first called Manor Farm—later, Animal Farm
LUCY CARAPETYAN Maggie AM E LIA H E FFE RON Squealer
* member of Actors’ Equity Association, the union of professional actors and stage managers.
MATT KAH LE R* Boxer M I LD R E D MAR I E LANG FOR D* Muriel, Cows, Esther
A D D I T I O N A L S TA F F
B LAKE MONTGOM E RY Napoleon
COOPE R FOR S MAN Movement Assistant
DANA M U R PHY Mollie, Dog
E M I LY H ITMAR Stage Management Apprentice
LANCE N EWTON* Moses, Pinkeye
GAB R I E LLE B R U BAKE R Wardrobe
S EAN PAR R I S Snowball, Dog
KAR E N THOM PSON Light Board Operator AARON STE PH E N SON Sound Board Operator
U N DE R STU DI ES
VAN E SSA R U N D LE Running Crew
CE LE STE M. COOPE R Old Major, Julia JAY W. CU LLE N Snowball, Moses, Pinkeye COOPE R FOR S MAN Man, Benjamin CASS I DY S LAUG HTE R-MASON Squealer, Muriel, Mollie, Maggie DOM I N IQU E WOR S LEY Napoleon, Boxer
As a courtesy to the actors and your fellow patrons, please turn off your cell phones before the performance and after the intermission. The taking of photographs and the use of any type of recording device are not allowed in the theater during performances and is a violation of state and federal copyright laws. Digital media will be deleted, and tape or film will be confiscated.
The Scene is a special opportunity for high school students to score an affordable ticket to a Steppenwolf production, meet Chicago’s most celebrated artists and connect with other teens who are passionate about theater. Each ticket includes dinner and post-show discussion with the actors. TICKETS ARE $10 – 15 (CAN ONLY BE USED DURING THE TEEN EVENT SERIES) All performances take place at 1650 N Halsted St Must present student ID at door Purchase tickets at the door 30 minutes before the show, or in advance by calling Steppenwolf Audience Services at 312-335-1650. Use code 17768. Questions? Please contact Steppenwolf for Young Adults Education and Community Programs Coordinator Lauren Sivak at 312-654-5643 or lsivak@steppenwolf.org. Foundation support is provided by The Siragusa Foundation.
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UPCOMING EVENTS ANIMAL FARM
SATURDAY, OCTOBER 25 AT 7:30PM (post-show)
THIS IS MODERN ART
SATURDAY, MARCH 7 AT 7:30PM (post-show)
THE HERD
SATURDAY, APRIL 25 AT 3PM (pre-show)
ANIMAL FARMBIOS WILL ALLAN (Man, Benjamin) returns to Steppenwolf Theatre Company where he was previously seen in Good People, The March and the Steppenwolf for Young Adults’ production of A Separate Peace. Other recent Chicago credits include The Seagull and Dartmoor Prison (Goodman Theatre); The History Boys (TimeLine Theatre Company); The Whale (Victory Gardens Theater); The Goat or, Who is Sylvia? (Remy Bumppo Theatre Company); Romeo and Juliet, Much Ado About Nothing (First Folio Theatre); Speech and Debate, It’s A Wonderful Life(American Theater Company); Red Noses and Good Soul of Szechuan (Strawdog Theatre Company). “Thank you to my family, Bryce, the lovely ladies of Paonessa Talent, my Steppenwolf crew and all the students coming to see this play for their unending support of Animal Farm and the arts.”
Director Hallie Gordon with Cast Members Matt Kahler and Sean Parris
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JASM I N E B RACEY (Old Major, Julia) is thrilled to be making her Chicago theater debut at Steppenwolf Theatre Company and the Steppenwolf for Young Adults’ production of Animal Farm. Regional theatre credits include You Can’t Take It With You (The Alley Theatre); As You Like It (The Acting Company); Wit, The Little Foxes, world premiere of Theresa Rebeck’s O Beautiful, Our Town, A Midsummer Nights Dream (Resident Ensemble Players); Macando (Guthrie Theater); and Antony and Cleopatra (Pennsylvania Shakespeare Festival). Jasmine received her MFA from the University of Delaware and is a very proud graduate from Florida State University.
Cast Members Mildred Marie Langford, Amelia Hefferon and Will Allan
Cast Members Jasmine Bracey, Matt Kahler and Amelia Hefferon
Cast Members Lucy Carapetyan and Dana Murphy
L U C Y C A R A P E T YA N (Maggie) is happy to be back at Steppenwolf Theatre Company, where she has previously appeared in To Kill a Mockingbird and The Crucible. Around Chicago, she has worked with Steep Theatre Company, Griffin Theatre, Lifeline Theatre, Dog & Pony Theatre Co., The House Theatre of Chicago, Oak Park Festival Theatre, Theatre Seven of Chicago, Redtwist Theatre and Two Pence Theatre Company. Lucy serves as the Director of Education for Two Pence, introducing Shakespeare to middle and high school students throughout Chicago. She also teaches and performs with Actors Gymnasium. Lucy is a graduate of Northwestern University and is represented by Paonessa Talent.
M AT T K A H L E R (Boxer) is thrilled to make his Steppenwolf Theatre Company debut. Matt’s regional credits include The Pirates of Penzance (Actors Theater of Louisville; American Repertory Theater). Chicago credits include Equivocation (Victory Gardens Theater); Coriolanus, The Mikado, Frankenstein (The Hypocrites); Richard III, Macbeth, Comedy of Errors (Lakeside Shakespeare Theatre); and Watership Down (Lifeline Theater). Matt is represented by Shirley Hamilton and will be appearing in HMS Pinafore with The Hypocrites in November.
AMELIA HEFFERON (Squealer) is thrilled to be making her Steppenwolf Theatre Company debut with Animal Farm. Chicago credits include The Little Prince (Lookingglass Theatre Company); and the world premiere of Who Rowed Across Oceans (Lost Compass Collective). Amelia is a proud graduate of Northwestern University. “Boundless gratitude to the Animal Farm team, family, friends and mentors.”
MILDRED MARIE L A N G F O R D (Muriel) is very excited to be back at Steppenwolf Theatre Company where she was last seen in Venus, The Twins Would Like To Say and The Crucible. Other Chicago credits include Luck of the Irish, The Overwhelming (Next Theatre); A Raisin in the Sun, My Kind of Town, In Darfur (Timeline Theatre Company); The Three Musketeers, The 13 Clocks (Lifeline Theatre); A Raisin in the Sun (Milwaukee Repertory Theatre); FAILURE: A Love Story (Victory Gardens Theater); Freshly Fallen Snow (Chicago Dramatists); SINBAD: The Untold Tale, Ghost of Treasure Island (Adventure Stage Chicago); BIOS 11
Company, where she most recently appeared in The Wild as part of Steppenwolf ’s Garage Rep 2014. Dana is also the Education Coordinator for Raven Theatre and a teaching artist with Adventure Stage Chicago. Dana received her BA in theatre from University of California, San Diego. “Endless thanks to Patrick, Boss and my loving family for their unwavering support.”
Cast Members Blake Montgomery, Sean Parris,Lance Newton, Matt Kahler, Lucy Carapetyan, Dana Murphy and Amelia Hefferon
and A Civil War Christmas (Northlight Theatre). Television credits include Boss. Mildred is a graduate of George Mason University and The School at Steppenwolf. “Let your LIGHT shine!” BLAKE M O NTG O M E RY (Napoleon) is thrilled to be working with Steppenwolf Theatre Company for the first time. Chicago credits include Into The Woods (The Hypocrites); The Crownless King, The Nutcracker (The House Theatre of Chicago); What The Butler Saw (Court Theatre); Seagull, Nina and Salao (Redmoon Theater). Blake received a Non-Equity Jeff Award for his original solo performance Charles Dickens Begrudgingly Performs ‘A Christmas Carol.’ Again. (The Building Stage). He trained at the Ecole Jacques Lecoq and the Dell’Arte School of Physical Theater. DANA M U R PHY (Mollie) is thrilled to be making her Steppenwolf Theatre Company debut as a part of its incredible Steppenwolf for Young Adults program. Dana is a proud ensemble member of Walkabout Theater
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L A N C E N E W TO N (Moses, Pinkeye) is more than thrilled to be with Steppenwolf for Young Adults for a second season. Some Chicago credits include Lord of The Flies (Steppenwolf Theatre Company); understudy for Othello Remix (Chicago Shakespeare Company); Marvin Gaye Story (Black Ensemble Theatre); Southbridge (Chicago Dramatists); Six Stories Tall (Adventure Stage Chicago); and Princess and the Pea (Chicago Kids Company). Television credits include Sirens and Chicago Fire. Lance was born and raised in Las Vegas, Nevada and received his BFA from Viterbo University in La Crosse, Wisconsin. “Thanks to my family and friends for their support and my girlfriend for her amazing love and endless faith.” S E A N PA R R I S (Snowball, Dog) is excited and honored to be back at Steppenwolf Theatre Company working on such a great show! Chicago credits include The Drunken City (Steppenwolf’s Next Up 2013); The Solid Sand Below (Goodman Theatre New Stages); The Whipping Man (Northlight Theatre); Seascape (Remy Bumppo Theatre Company); Pornography (Steep Theatre Company); A Midsummer Night’s Dream (Chicago Shakespeare Theater); A Girl With Sun in Her Eyes (Pine Box Theater Company); and Letter’s Home (Griffin Theatre). Regional credits include Butler (Peninsula Players). Sean received his MFA from the Theatre School at Depaul Univeristy and is a graduate of Black Box Acting Academy in Chicago. He is represented by Paonessa Talent Agency. “Love to my Mom, my mfa, black box ensemble and to Paonessa Talent.”
HALLIE GORDON (Director) is the Artistic and Educational Director of Steppenwolf for Young Adults. As a theater artist for SYA, Hallie has directed Leveling Up and To Kill A Mockingbird, as well as the world premiere adaptations The Book Thief, adapted by Heidi Stillman, The House on Mango Street, adapted by Tanya Saracho, and Harriet Jacobs adapted for the stage by Lydia R. Diamond. She also directed a new premiere of Toni Morrison’s The Bluest Eye, adapted by Lydia R. Diamond, which won a Black Excellence Award from the African American Arts Alliance of Chicago, This production also transferred Off-Broadway to The New Victory Theatre. She has also directed for Northlight Theatre and Rivendell Theatre and has done staged readings for Goodman Theatre, Timeline Theatre Company, Chicago Dramatists and Steppenwolf Theatre Company. Hallie is the recipient of The Helen Coburn Meier & Tim Meier Achievement Award. GEORGE ORWELL (Author) was born in 1903 in India, where his father worked for the Civil Service. The family moved to England in 1907 and in 1917 Orwell entered Eton, where he contributed regularly to the various college magazines. From 1922 to 1927 he served with the Indian Imperial Police in Burma, an experience that inspired his first novel, Burmese Days (1934). Several years of poverty followed. He lived in Paris for two years before returning to England, where he worked successively as a private tutor, schoolteacher and bookshop assistant, and contributed reviews and articles to a number of periodicals. Down and Out in Paris and London was published in 1933. In 1936 he was commissioned by Victor Gollancz to visit areas of mass unemployment in Lancashire and Yorkshire, and The Road to Wigan Pier (1937) is a powerful description of the poverty he saw there. At the end of 1936 Orwell went to Spain to fight for the Republicans and was wounded. Homage to Catalonia is his account of the civil war. He was admitted to a sanatorium in 1938 and from then on
was never fully fit. He spent six months in Morocco and there wrote Coming Up for Air. During the Second World War he served in the Home Guard and worked for the BBC Eastern Service from 1941 to 1943. As literary editor of Tribune he contributed a regular page of political and literary commentary, and also wrote for The Observer and later for the Manchester Evening News. His unique political allegory, Animal Farm, was published in 1945, and it was this novel, together with Nineteen Eighty-Four (1949), which brought him world-wide fame. His works have been sold in over 80 translation markets. A LT H O S L O W (Playwright) is the pen name for Shanghai Low Theatricals (SLT), an adaptation development group based in Chicago. For the Animal Farm collaboration, co-founder Steve Pickering serves as Adaptor, playwright Alice Austen as co-Adaptor, and SLT House Artists Fred Baxter and Tom Kyzivat provide pre-production art and dramaturgy. Formed in 2001 as a group of theatre craftspeople adapting literary works for the stage, in 2009 the company expanded into the creation of graphics and visual development. 2014 projects include adapting Alastair Reynolds’ science fiction novella Diamond Dogs for the stage and Lion Miller’s 1953 story The Available Data on the Worp Reaction as a picture book. shanghailow.org
Cast Member Matt Kahler
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BRIAN SIDNEY BEMBRIDGE (Scenic Design) has designed the world premieres of Love Song, Wineburg Ohio, Wendall Greene and Jesus Hopped the A Train at Steppenwolf Theatre Company. His extensive design credits in Chicago include work at Goodman Theatre, Chicago Shakespeare Theater, Timeline Theatre Company, Lookingglass Theatre Company, The Second City, Court Theatre, Writers Theatre, Victory Gardens Theater, Teatro Vista, Northlight Theatre, Drury Lane Theatre, Ravinia Festival, Luna Negra Dance and Civic Ballet. He has worked off-Broadway at The Public Theatre, Second Stage Theatre, Jean Cocteau Repertory Theatre, Kids With Guns and Theatre at St. Clements. Internationally, Brian has designed at Theatre Royal Stratford East in London, Town Hall Theatre in Galway, Ireland and Illawarra Performing Arts Centre and Platform Hip Hop Festival in Sydney, Australia, among others. Regionally, his work has been seen at Guthrie Theater, Children’s Theatre Company, Milwaukee Repertory Theatre, Madison Repertory Theater, Pittsburgh Public Theater, Arden Theatre Company, Theatre Exile, Actors Theatre of Louisville, Alliance Theatre, Geffen Playhouse, Circle X Theatre, Opera Omaha and Virginia Opera. He has received six Jeff Awards, two LA Drama Critic Circle
Awards, an LA Weekly Award, three Garland Awards, and an Ovation Award. Brian represented the United States at the Prague Quadrennial in 2011 with his design of The Elaborate Entrance of Chad Deity. Film production designs include Marie and Bruce, Holding Out, Stray Dogs, and Late For Church, and sets for Muppets From Space. briansidneybembridge.com. J.R. LEDERLE (Lighting Design) also designed Leveling Up, Lord of the Flies, The Book Thief, The Heart is a Lonely Hunter, Samuel J and K, To Kill A Mockingbird, The House on Mango Street, The Bluest Eye (also at New Victory in New York), Harriet Jacobs, The Water Engine (also at Theater on the Lake), A Tale of Two Cities, Winesburg Ohio, Division Street and Whispering City for Steppenwolf for Young Adults. His work has also been seen at Kansas City Repertory Theatre, Piven Theatre Workshop, Lookingglass Theatre Company, Victory Gardens Theater, About Face Theatre, Northlight Theatre, Remy Bumppo Theatre Company, Writers Theatre, Drury Lane Theatre, Walkabout Theater Company, Itinerant Theatre Guild, Indiana Repertory Theatre and elsewhere at Steppenwolf, including Sex with Strangers. J.R. also designed lighting for seven years for the Steppenwolf Traffic series, and for five Steppenwolf performances in Chicago’s Millennium Park. He has served as head Lighting Supervisor at Steppenwolf Theatre Company since 1995. RICK SIMS (Sound Design) has designed sound for numerous Chicago area theatres such as Steppenwolf Theatre Company, Lookingglass Theatre Company, Congo Square Theatre Company, Writers Theatre, Lifeline Theatre, Griffin Theatre Company, Chicago Children’s Theatre, The Hypocrites, The House Theatre of Chicago, Court Theatre, American Theater Company, Victory Gardens Theater Company, Raven Theatre, Steep Theatre Company, Northlight Theatre and About Face Theatre. Regional credits include Icarus (Lookingglass Theatre Company commissioned by The J. Paul Getty Museum); Gary (Boston Playwrights’ Theatre) and Cat In The Hat (Arden Theatre). Rick has won a Jeff Award for lyrics in Hephaestus (Lookingglass Theatre Company); and a BTAA award for Brothers In the Dust and Bulrusher (Congo Square Theatre); and has received several nominations for both awards. Rick is an artistic associate of Lookingglass Theatre
Company and an associate designer with Aria Music Designs (Ray Nardelli and Josh Horvath). Rick also wrote the book, music and lyrics for Hillbilly Antigone (Lookingglass Theatre Company). IZUMI INABA (Costume Design) is thrilled to be working at Steppenwolf Theatre Company for the first time. Recent Chicago credits include Mnemonic (Red Tape Theatre); Season On The Line (The House Theatre of Chicago); Agreed Upon Fictions (16th Street Theater); The Hundred Flowers Project (Silk Road Rising). She is a company member at Red Tape Theatre, a resident costume designer at Albany Park Theatre Project and a faculty/designer at National High School Institute. She has received two non-equity Jeff Awards and The Michael Maggio Emerging Designer Award. Izumi received her MFA in Stage Design from Northwestern University. B LAK E M O NTG O M E RY (Movement Director) founded and served as Artistic Director of The Building Stage from 20052013 where he adapted, directed and occasionally performed in thirteen original productions including the Jeff Award-winning Moby-Dick and his solo show, Charles Dickens Begrudgingly Performs ‘A Christmas Carol.’ Again. His directing experience ranges from opera to clown theater and, most recently, spectacle with Bellboys, Bears, and Baggage (Redmoon Theater). Blake trained at L’Ecole Internationale de Theatre Jacques Lecoq (and its scenographic wing, Le Laboratoire d’Etude du Mouvement) as well as the Dell’Arte School of Physical Theater. CASSI E CALDE RON E (Stage Manager) is happy to return to Steppenwolf Theatre Company after Lead Stage Managing First Look Repertory 2014. Recent Steppenwolf credits include Hushabye and Russian Transport. Chicago credits include Betrayal, Gary, Fair Use , The Glass Menagerie (twice), To Kill a Mockingbird, Venus, Man in Love, fml: how Carson McCullers saved my life, Head of Passes , The Wheel, The Gospel of Franklin (Steppenwolf Theatre Company); Song for the Disappeared (Goodman Theatre); Grease, A Chorus Line (Paramount Theatre); The Homosexuals (About Face Theatre); Million Dollar Quartet (Chicago); The MLK Project (Writers Theatre); The Sparrow (The House Theatre of Chicago; Broadway in Chicago); and the Gay Games Opening Ceremony at Soldier
Field. Regional credits include work with ArtsPower National Touring Theatre, Catharsis Productions, Opera Illinois, Portland Stage and the Colorado, Illinois and Virginia Shakespeare Festivals. Cassie is a proud member of AEA. “Love to my wife, Kelly.” MARTHA LAVEY (Artistic Director) has been an ensemble member since 1995 and has appeared at Steppenwolf Theatre Company in The March, Middletown, Endgame, Up, Good Boys and True, Love-Lies-Bleeding, Lost Land, I Never Sang for My Father, The House of Lily, Valparaiso, The Memory of Water, The Designated Mourner, Supple in Combat, Time of My Life, A Clockwork Orange, Talking Heads, SLAVS!, Picasso at the Lapin Agile, Ghost in the Machine, A Summer Remembered, Love Letters, Aunt Dan and Lemon and Savages. Elsewhere in Chicago she has performed at Goodman Theatre, Victory Gardens Theater, Northlight Theatre and Remains Theatre and in New York at the Women’s Project and Productions. She has served on grants panels for the National Endowment for the Arts, Theatre Communications Group, 3Arts, USA Artists and the City Arts panel of Chicago. Lavey holds a doctorate in Performance Studies from Northwestern University and is a member of the National Advisory Council for the School of Communication at Northwestern. She is a recipient of the Sarah Siddons Award and an Alumni Merit Award and honorary Doctorate of Arts from Northwestern University. DAVI D HAWKAN S O N (Executive Director) prior to Steppenwolf Theatre Company was the Managing Director of Guthrie Theater in Minneapolis, Minnesota, under the artistic leadership of Joe Dowling. Before the Guthrie, he served for eight years as the Managing Director of Hartford Stage in Connecticut with Artistic Director Mark Lamos. Earlier in his career, he was Managing Director of Arizona Theatre Company. He was a former senior staff member at the National Endowment for the Arts and subsequently chairman of its Theater Program. He has also had an active career as an arts management consultant and trustee for many national organizations and foundations. He currently serves as a trustee of the League of Chicago Theatres and the Arts Alliance Illinois. He is a graduate of Lawrence University.
Cast Members Dana Murphy, Lucy Carapetyan and Sean Parris
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Costume Designer Izumi Inaba and Costume Director Caryn Weglarz Klein ( photographer: Lauren Sivak)
Education and Community Programs Coordinator Lauren Sivak sat down with Animal Farm costume designer Izumi Inaba and Steppenwolf Costume Director Caryn Weglarz Klein to discuss some of the unique challenges in bringing animals to life on Steppenwolf’s stage.
LAUREN SIVAK: Izumi, you are in the process of designing the costumes for Animal Farm. Would you mind walking me through the design process for this show? IZUMI INABA: After the initial reading I did a lot of research, and after that I did a lot of sketches. I drew out ideas for masks and the posture of each animal. Early on we had a
LS: Caryn, when does the Costume Shop receive the designs? How early on in the process are you involved? CARYN KLEIN: Fortunately, for this play I was brought in early and I have been brainstorming ways to execute Izumi’s designs within the parameters of our budget. My job is to get her designs from page to stage. It’s a challenge, but it is also really exciting!
which was a number of years ago. In the 13 years I have worked at Steppenwolf and the 20 years I have been involved with the company, we have not done a play like this. It is very unusual and thrilling. LS: How big is the team that will be working on this show? CK: This play will require our whole staff. We will also need to bring on a special craft person and people for stitching. I would say that there will be at least ten people working on this project. LS: How many costumes are you building?
design. You are using familiar objects in so many new and different ways. What inspires you?
IN: When I show my designs to a director and playwright, they give me feedback. They might say, “How about we try this? Have you also thought of that?” So ultimately we come up with ideas together. We collaborate. And then I draw out our ideas so we can ensure what we have been imagining together really works. CK: Izumi, one thing that makes you such a good designer is how cohesive your design is. It has a very distinct language. I look at these designs [for Animal Farm] and I see the world of the play appear before me. As the Costume Director, I get to work with so many talented people. I get to work with designers, artisans and actors. Working with creative people like you is one of my favorite parts of the job. LS: Speaking of actors, given the nature of the show, how do you keep in mind the physical demands of the costumes?
specific idea of having these animals move on crutches, but as the design progressed, we then saw using crutches would actually prohibit the actors’ mobility and movement onstage. We have decided to use masks and other specific traits for each animal instead of crutches.
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LS: How is this show different from the work that Steppenwolf typically produces?
CK: That’s the big question! Currently, it looks like we will build 17 costumes.
CK: It’s abstract. Most Steppenwolf plays are not. The closest thing we’ve produced to anything like this would be The Tempest,
LS: Izumi, one of the things that I am most excited about is all of the familiar materials—like sporting equipment—that you are using in your
CK: We know that the actors are going to be moving around a lot: they will be using the space in interesting ways, even climbing on things, and they will be masked. So, our challenge is that they have to be safe, the audience has to be able to hear and understand them, and we want to be able to see parts of their face. There is a lot to consider! LS: I can’t wait to see what you both come up with. Thank you so much for meeting with me. CK AND IN: Thank you!
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For further information about the play, please explore the Steppenwolf for Young Adults’ study guide. Study guides are available for all teachers attending the production and accessible for all for free on our website at steppenwolf.org/sya. This article was excerpted from the guide.
Orwell’s Personal Revolution:
Fusing Political and Artistic Purposes Written by Education and Community Programs Coordinator Lauren Sivak Illustrations by Paul G. Miller The year was 1936. Hitler had power in Germany, he witnessed the following seed for Animal Farm. Stalin in Russia and George Orwell had just returned Orwell writes, “I saw a little boy, perhaps ten years home from the Spanish Civil War. In Spain, Orwell old, driving a huge cart-horse along a narrow path, fought alongside socialist Republicans, who were whipping it whenever it tried to turn. It struck me fighting for the working class that if only such animals against the Nationalists, became aware of their supported in part by Nazi strength we should have What I have most wanted to do Germany and Fascist Italy. no power over them, and throughout the past ten years is While fighting, he suffered a that men exploit animals gunshot wound to the throat in much the same way to make political writing into art. and witnessed the brutality as the rich exploit _ George Orwell of war, particularly for those the proletariat.” in lower classes who were On the surface, Animal Farm is an allegorical most often on the front lines taking the brunt of the story about a group of animals that stand up for violence. Orwell returned from war longing for a themselves against their oppressive owner in society free of class distinctions and a purer version hopes for a better life. The ideals presented by the of Socialism, one that actually represented the character of Old Major, an aged sow, undereducated and powerless. represent a push towards a society He wanted to put his words founded on equality and justice. into action. In the beginning, the animals Orwell committed to writing work together; However, their a story that would not only positive ideals are systematically expose the lies of the Russian betrayed by Old Major’s fellow pigs government—which he believed and the principles of equality are claimed socialistic ideals but abandoned. As a result, animals did not practice them—but a are divided by power and class, by story that could be understood laborers and leaders, by the educated by many and easily translated and the not. Animal Farm was into a variety of languages. He Orwell’s personal revolution. What was searching for the right will yours be? way to tell this story when 20 FEATURES
HOW DO YOU FEEL ABOUT MAKING DECISIONS? HOW DO YOU FEEL ABOUT MAKING DECISIONS? HOW WOULD YOU FEEL IF YOU NEVER HAD TO MAKE ONE AGAIN? HOW WOULD YOU FEEL IF YOU NEVER HAD TO MAKE ONE AGAIN? The Night Alive
BY CONOR McPHERSON DIRECTED BY H E N RY WISHCAM PE R Featuring ensemble members Francis Guinan and Tim Hopper TH R O U G H N OVE M B E R 16, 2014
A transcendent, dangerous and funny Irish drama.
Airline Highway
Marie Antoinette
BY LISA D’AMOU R DIRECTED BY JOE MANTE LLO
BY DAVI D ADJ M I DIRECTED BY ROB E RT O’HARA
Featuring ensemble members Robert Breuler and K. Todd Freeman
Featuring ensemble members Alana Arenas, Tim Hopper, Ora Jones and Alan Wilder
D E C E M B E R 4, 2014 – F E B R UARY 8, 2015
F E B R UARY 5 – MAY 10, 2015
The party of a lifetime in a new pre-Broadway play.
The rise and fall of history’s most fabulous pop icon.
The Herd
Grand Concourse
Featuring ensemble members Francis Guinan and John Mahoney
Featuring ensemble member Tim Hopper and Mariann Mayberry
AP R I L 2 – J U N E 7, 2015
J U LY 2 – AU G U ST 3 0, 2015
A witty look at a modern family.
Friendship vs forgiveness in a New York soup kitchen.
BY RORY KI N N EAR DIRECTED BY ENSEMBLE MEMBER FRAN K GALATI
BY H E I DI SCH R ECK DIRECTED BY ENSEMBLE MEMBER YASE N PEYAN KOV
T H I N K M O R E. F E E L M O R E. L I V E M O R E.
We have a subscription package for everyone! Flexible options, discount options, dinner theater options—you name it.
Subscribe at the box office or at steppenwolf.org/subscribe.
CT
JE PRO
ABOUT PROJECT COMPASS Project Compass is a series of events aimed at engaging you, our theater audience, to get you thinking and dialoguing about what goes into making a decision and how we are each guided by our own moral compass. These events will serve as fodder for a world premiere Steppenwolf for Young Adults’ play to be created by artist Michael Rohd that imagines a fictional App that makes better decision for a young person than they can make for themselves (premiereing in Winter 2016). Be a part of the making of this play.
PROJECT COMPASS EVENTS: are FUN are FREE (and with free food)
WILL MAKE YOU THINK
(about the decisions you make in your life, each and every day) For more information, please visit Steppenwolf.org/projectcompass
T H E S T E P P E N W O L F E N S E M B L E first began performing in the mid-1970s in the basement of a Highland Park church, the ambitious brainchild of three high school and college friends: Jeff Perry, Terry Kinney and Gary Sinise. Fast forward 39 years and the Steppenwolf Theatre Company has become the nation’s premier ensemble theater—redefining the landscape of acting and performance. The ensemble has grown to 44 members who represent a remarkable generation of actors, directors and playwrights. Thrilling, powerful, groundbreaking productions from Balm in Gilead and The Grapes of Wrath to August: Osage County—and accolades that include the National Medal of Arts and 12 Tony Awards—have made the theater legendary. Steppenwolf’s artistic force remains rooted in the original vision of its founders: an artist-driven theater, whose vitality is defined by its sharp appetite for groundbreaking, innovative work. That work is represented in production photos displayed throughout the theater.
Joan Allen
Kevin Anderson
Alana Arenas
Randall Arney
Kate Arrington
Ian Barford
Robert Breuler
Gary Cole
Kathryn Erbe
K. Todd Freeman
Frank Galati
Francis Guinan
Moira Harris
Jon Michael Hill
Tim Hopper
Tom Irwin
Ora Jones
Terry Kinney
The Steppenwolf Ensemble Tina Landau
Martha Lavey
Tracy Letts
John Mahoney
John Malkovich
Mariann Mayberry
Tarell Alvin McCraney
James Vincent Meredith
Laurie Metcalf
Amy Morton
Sally Murphy
Bruce Norris
Austin Pendleton
Jeff Perry
William Petersen
Yasen Peyankov
Martha Plimpton
Rondi Reed
Molly Regan
Anna D. Shapiro
Eric Simonson
Gary Sinise
Lois Smith
Rick Snyder
Jim True-Frost
Alan Wilder
STEPPENWOLF 25
S T E P P E N W O L F S TA F F
B OAR D OF TR USTE ES
MARTHA LAVEY
TERRY KINNEY, JEFF PERRY AND GARY SINISE
DAVID HAWKANSON
Artistic Director
Executive Artistic Board
Executive Director
A rti s ti c
Finance Coordinator
Erica Daniels Associate Artistic Director
Samer Sharba It Associate
Aaron Carter Director Of New Play Development Greta Honold Producing Associate Jenni Page-White Literary Associate Jessamyn Fuller Casting And School Associate Tracy Letts Amy Morton Yasen Peyankov Anna D. Shapiro Associate Artists Sheldon Patinkin Artistic Consultant
Ste p pe n wo l f Fo r You n g A d u l t s Hallie Gordon Artistic and Educational Director Megan Shuchman Associate Education Director Lauren Sivak Education and Community Programs Coordinator Larry Grimm Emilio Robles Senior Facilitators of Curriculum and Instruction Sindy Castro Amanda Dunne Acevedo Cara Greene Epstein Ali Hoefnagel L’Oreal Jackson Jeremy Ohringer Thom Pasculli Nicole Ripley Ashley Roberson Samuel Roberson Mara Stern Teaching Artists
A d m i n i s tra t i o n David M. Schmitz Managing Director Rachel D. Freund Director of Finance Scott Macoun It Director
Paul G. Miller Executive Assistant Lupe Garcia Quiles Events Management Associate
and Communications
Courtney Anderson Events Management Director
Madeline Long Communications Director
26 ANIMAL FARM
Shilla Shakoori Graphic Designer Casey VanWormer Audience Services Director
David Barati Victor David Padam Dhungel Tul Ghaley Tika Ram Kafley Ethan Ozaniec Mohammad Ismail Shamshuddin Mohamed Shofi Bhagirath Timsina Custodial Staff
Jimmy Freund Social Media Director and Audience Services Supervisor Evan Hatfield Director of Audience Jackie Snuttjer Billie Rye Bryant Experience Finance Specialist Audience Services Manager Danielle Shindler Stephanie Heller D e v e l op men t Front of House Manager Audience Services Sandy Karuschak Elana Boulos Subscription Manager Director of Development Hayley Burgess Mike Brunlieb Eric Evenskaas Autumn Cranor Sarah Nelson Associate Director Colleen Debelius Audience Services of Development Amber Dettmers Supervisor Kristy Conway Anna Donnell Molly Layton Director of Foundation and Daniel Dvorkin Group Sales Associate Government Relations Leanna Harney Roseann Bishop Emilie De Angelis Subscriptions and Audience Bridget Holmes Director of Campaign Gifts Seth Klapman Services Assistant Megan A. Smith Chase Kimball Craig Barnes Director of Corporate Renee LaCroix Rebecca Butler Relations Jessica Lind Heather Petersen Chrisler Derrik Dickinson Kendra Van Kempen Jack Miggins Reynaldo Dumas Director of Special Events Kendra Miller Elizabeth Gottmann Will Quam Suzanne Miller Lacey Holmes Annual Fund Manager Maia Reed-Siragusa Geehoon Lim Eleni Sauvageau Lauren Fisher Theresa Masse Major Gift Coordinator Dan Smeriglio Jake Allen Miller Brittany Stock Tyrone Phillips Jessica Gretch Toby Walters Individual Giving Coordinator Charles Strater Audience Services Associates Front of House Staff Kaleigh Lockhart Cioffi Development Coordinator A u d ien ce O u treach Mustafa Chaudhry Donald Coulson Anna Brenner Tiffany Rae Wilson Mayom Acien Development Associate Audience Outreach Manager Parking Staff Lauren Connor Max Lando Jack Meyer, The Saints Foundation and Daniel Rubens Volunteer Usher Coordination Government Associate Audience Outreach Supervisors Sarah Tongren Product ion Special Events Associate Sidney Cristol Tom Pearl Charles Frydenberg Eric Van Tassell Production Manager Marilyn Hillary Corporate Relations Brianna Parry Jennifer Hogan Associate Assistant Production Stephanie Katz Manager M a r k e tin g , Annaliese Mcsweeney C o m m un ic atio n s & Victoria Morris Russell Poole Technical Director Au d i e nce Se rvice s Audience Outreach Associates Mike Donohue John Zinn Assistant Technical Director O p eratio n s Director of Marketing Donovan Foote Design Director
Brian Hurst
Neel McNeill Marketing Assistant
Angela Johnson Office Management Associate & Receptionist
Erin Cook Company Manager
Yolanda Davis Human Resources & Professional Leadership Programs Coordinator
Kevin Castillo Digital Marketing Manager
Erika Nelson Marketing Director Joel Moorman Digital Content Producer Jamie Alexander Marketing Manager
Jay Jussaume Director Of Operations Antonio Ibarra Physical Plant Supervisor Peter Van Kempen Operations Coordinator Adrian Castro Harold Jaffe Scott Stratton Facilities Staff
Christopher Kristant Shop Foreman Kyle Land Russell Scott Jon Woelfer Scenic Carpenters
Melissa Rutherfoord Charge Scenic Artist Jenny DiLuciano Properties Master
Andria Smith Assistant Properties Master Charles Moser Master Properties Artisan Emily Guthrie Properties Artisan Jessica Stratton Wardrobe, Hair and Make-Up Supervisor AJ Littlefield Staff Wardrobe Caryn Weglarz Klein Costume Director Mae Haskins Assistant Costume Designer Laurel Clayson Head Draper Kevin Peterson Shop Foreman Lynae Vandermeulen Staff Draper Daisy Lindas Project Coordinator J. R. Lederle Lighting Supervisor Ernesto Gomez Head Electrician Rick Haefele House Carpenter Dawn Przybylski Stage Carpenter Martha Wegener Audio Engineer Gregor Mortis Assistant Audio Engineer Cassie Calderone Malcolm Ewen Christine D. Freeburg Laura D. Glenn Jonathan Nook Deb Styer Stage Managers
EXECUTIVE COMMITTEE Nora Daley Chair Eric Lefkofsky Secretary Paul W. Goodrich Treasurer
TR USTE ES
E M E R ITUS TR USTE ES
Sarah Beardsley
J. Robert Barr
Michael W. Bender
Lawrence Block
Marlene Breslow-Blitstein Ebs Burnough
John N. Fox, Jr. Gloria Scoby
Terri L. Cable
PA S T C H A I R P E R S O N S
Henry S. Bienen
Robin Tennant Colburn
William L. Atwell
Carole L. Brown
Keating Crown
Larry D. Brady
Douglas R. Brown
Beth Boosalis Davis
Douglas R. Brown
Michael Cahan
Amy Eshleman
Laurence Edwards
Elizabeth H. Connelly Rich Feitler Matthew Gray
D. Cameron Findlay Nene Foxhall
John N. Fox, Jr. Elliott Lyon Gordon Murphy
Caryn Harris
Lawrence M. Gill
William H. Plummer
Lynn Lockwood Murphy
Aimee Graham
Bruce Sagan
Kenneth J. Porrello
Robert J. Greenebaum, Jr.
Gloria Scoby
Deborah H. Quazzo Randall K. Rowe Bruce Sagan
John H. Hart Dennis D. Howarter
Harry J. Seigle
Terry Jenkins
Stephanie B. Smith
George A. Joseph
John R. Walter
Donna La Pietra
Helen Zell
Donna Vos
Martha Lavey Mary Ludford Ronald J. Mallicoat, Jr. Janet Melk David E. Mendelsohn
Prof essional Lea dership Program
L. Heather Mitchell
Rebecca Adelsheim Kathleen Barrett Jared Bellot Gabrielle Brubaker Caitlin Dalton Geneva Galloway Alex Goldberg Tiffany Goarcke Julian Gonzalez Julia Grigg Emily Hitmar Malia Hu Hillary Luong Brandon Reed Jacqueline Rosas Zachary Schmitt Leela Singh Tyler Welden Lauren Yarbrough 2014/15 Apprentices and Fellows
David C. Pisor
Christopher M. Murphy
Merle Reskin Michael R. Salem Robert Sanborn Manuel “Manny” Sanchez Anna D. Shapiro Matthew Shapiro Colette Cachey Smithburg
STEPPENWOLF 27
WE GRATEFULLY ACKNOWLEDGE THOSE WHO PROVIDE SIGNIFICANT SUPPORT FOR STEPPENWOLF FOR YOUNG ADULTS DURING THE 2014/15 SEASON.
B E N E FA C TO R S $50,000 – 99,999
Jon Michael Hill
Bob and Amy Greenebaum‡
Illinois Tool Works Foundation
Adnaan Hamid and Elissa Efroymson
Alphawood Foundation
George A. Joseph and Carolyn Bateman
Carrie and Greg Hart
Tarell Alvin McCraney
Kathleen and Terry Jenkins
Allstate Insurance Company The Crown Family‡ J.P.Morgan Polk Bros. Foundation‡ The Steppenwolf Auxiliary Council*
Diana and Bruce Rauner
Khushboo and Neil Joshi
Siragusa Foundation
Peter and Amy Kaden
Ralph Senst and Karen Zelden
Ronald J. Mallicoat Jr. Lyn McKeaney
Theatre Communications Group‡
PRODUCERS $25,000 – 49,999
Dennis D. Howarter
A S S O C I AT E S $2,500 – 4,999
Tamara and James Meyer
Mike Bolton
Cynthia and Eric Mogentale
Mr. and Ms. David E. Mendelsohn
Cindy and Michael Bonds
Pradip Patiath and Shalini Sharma
Carol and Douglas Cohen
Frank and Mary Phillips
David Herro and Jay Franke
Amy Eshleman and Lori Lightfoot
Sarah and Cody Phipps
Lynn Lockwood Murphy and Barrett B. Murphy‡
David R. Hawkanson
David and Hilary Pisor
Martha Lavey
Douglas P. Regan and Kathy Brock
Paul M. Angell Foundation
Cynthia Luse-McKeen and Douglas McKeen
Randy and Betsy Rochman
Stephanie B. Smith and Gerald Smith
Guyneth and William H. Sharp
Chicago Community Trust Michael and Jacky Ferro
Sun-Times Foundation, A Fund of The Chicago Community Foundation
Sue and Timothy Sullivan
PAT R O N S $ 10 , 0 0 0 – 2 4 , 9 9 9
Lynne Remington and Geoff Goldberg
Louis and Nellie Sieg Fund Jeffrey Singer and Patricia Carman
G U A R A N TO R S $1,000 – 2,499
Nick Trakas and Marc Cerone
Helen Brach Foundation CNA Financial Corporation
Mike and Karen Atwood
John & Carol Walter Family Foundation
The Field Foundation of Illinois
Kevin Boehm and Courtney Moon
Jim Welch
Douglas R. Brown
Tara K. Marsh and Greg Winsor
Lloyd A. Fry Foundation Northern Trust Charitable Trust
Eduardo Conrado
Dr. Scholl Foundation
Jennifer and Kevin Convery
Frances E. Tuite
Deborah and Bruce Crown
S U S TA I N E R S $5,000 – 9,999
Michael DiMedio
Anonymous
Charles B. Edelstein
Kent and Liz Dauten
Robert and Isabelle Bass Foundation, Inc.
Brian Fabes and Lisa Schneider Fabes
Michael Bender and Sheridan Prior
Rich and Margery Feitler
Mary Dempsey Philip H.Corboy Foundation
Diane Riley Gavin
Nene Foxhall
Valerie and Paul Goodrich
John H. Hart and Carol Prins
Richard and Catherine Gottfred
Mara and Andy Gloor
‡ Multi Year Pledge * Steppenwolf’s Auxiliary Council is a community of more than 100 dynamic young professionals who strive to make a difference for the next generation of theater-enthusiasts. All proceeds raised by the Auxiliary Council benefit Steppenwolf for Young Adults.
STEPPENWOLF 29 PHOTOG RAPH E R M ICHAE L LITCH FI E LD
ACCESSIBILITY AT STEPPENWOLF Committed to providing services and programming that enhance the experience of guests with disabilities, Steppenwolf is proud to feature: • Audio-described performances, artistic conversations and touch tours of the stage for guests who are blind or visually-impaired. • Guides dedicated to assisting patrons during audio-described performances. • Complimentary playbills in Braille, large-print and audio formats. • Sign language-interpreted and open-captioned performances for guests who are deaf or hard-of-hearing. • Volunteers who use sign language to greet the audience at sign-interpreted performances. • Assistive listening devices in our Downstairs and Upstairs theaters. • Wheelchair accessible seats and restrooms in all of our theaters. Would you like to utilize or learn more about these services? Audience Services 312-335-1650 TTY 312-335-3830 E-mail access@steppenwolf.org
STEPPENWOLF CUSTOMER SERVICE TIPS
Spending your intermission in line at the bar? Enjoy the entire break by ordering and paying for your intermission refreshments before the show. When you exit the theater at the end of the first act, your drinks will be waiting for you. Need restaurant information or the score of the ballgame? Please visit our book shop and information desk at the south end of the main floor lobby. Hailing a cab after the play? This is typically an easy affair—Halsted is a busy street and sees a fair amount of taxi traffic. If you’d like assistance hailing a cab or calling a company, though, just ask a member of the house staff; we’re happy to help.
2014/15 SEASON
Lost or Found? On-site? Please check in with a member of the house staff. Already left? Call the Front of House office at 312-932-2445. Want to provide feedback? Your input is always valuable to us. Have an opinion about the play or artistic content? Stick around for the post-show discussion featured after every performance, fill out the 60-Second Survey inserted in this program or join the conversation at facebook.com/steppenwolftheater. Have a comment about your overall experience at the theater ? Please ask us for a customer service form to fill out, or e-mail us at customerservice@steppenwolf.org. Need to contact a patron during a performance? If you need to contact a patron during a performance in our Downstairs or Upstairs Theaters, please call our Concierge Desk at 312-932-2476. Hours: one hour prior to curtain until 15 minutes after curtain call.
YOUNG ADULT COUNCIL Images from Steppenwolf’s 2011 Red or White Ball
Driving to the theater? Rather than arriving to discover that our garage has reached capacity (which can happen during busy performances), please enter the Steppenwolf Parking Hotline (312-335-1774) into your cell phone and call us when you’re a few minutes away from the theater—we’ll tell you if there’s still space available in our facility, or suggest the most convenient alternative.
The Young Adult Council
is a unique program for passionate and motivated high school students who wish to learn the inner-workings of professional theater from the most celebrated artists in the city. In addition to face time with these leading professionals, Council members attend the best plays in Chicago, learn how to analyze and speak about these plays and lead events for their peers around Steppenwolf productions in hopes of inspiring a new generation of theatre enthusiasts and practitioners.
Latecomers will be seated at the discretion of the House Manager. The theater reserves the right to limit admission of children younger than the age of six. The taking of photographs and the use of any type of recording device is not allowed in the theater during performances and is a violation of state and federal copyright laws. Digital media will be deleted, and tape or film will be confiscated. Photo/Video Disclaimer: During your visit, you or members of your family may be filmed, videotaped, and/ or photographed by a Steppenwolf employee, contract photographer or the media. Your attendance at Steppenwolf events serves as permission for the use of your image, or the image of your family members, by Steppenwolf.
Content Disclaimer: Steppenwolf offers an advisory about any stage effect of potential concern to patrons’ health. We will post this information as soon as it’s available. We don’t offer advisories about subject matter, as sensitivities vary from person to person. If you have any concerns about content, please contact audience services.
Applications are available on March 1, 2015. Corporate Sponsor of Steppenwolf’s Career Readiness Programs
Like the Steppenwolf Young Adult Council on Facebook! Or visit steppenwolf.org/youngadultcouncil for more information. Foundation support is provided by The Siragusa Foundation.
ON 2014/15 SEAES F A REVOLUTION O T R A E H T : T N E M
CREATE A MOV
OLF FO NEXT UP FROM STEPPE NW
R YOUNG ADULTS:
T R A N R E D O M S I TH I S By Kevin Coval and
Idris Goodwin
FEBRUARY 26 – MARCH 15, 2015
r their art. g to risk anything fo llin wi is ) UL (M ok Lo Chicago graffiti The crew of Made U tive terrorists, these ea cr en ev ls, ina im cr Called vandals, heard and alter the to make their voices ht nig r te af ht nig t est artists set ou crew finishes the bigg e th en wh t Bu . rld wo and spark way people view the equences get serious ns co e th s, er re ca by acclaimed graffiti bomb of their art belong? Written es do e er wh g, kin as val, a public debate mb founder Kevin Co Bo a an th er ud Lo d dwin an graffiti playwright Idris Goo e anonymous lives of th o int e ps im gl a s ve This Is Modern Ar t gi ose of art. estion the true purp qu to us ks as d an artists
2-335-1650. nwolf.org or call 31 pe ep st at e lin on y Bu