steppenwolf garage
FE B 2 - AP R 8, 2012
welcome to garage rep 2012! We are honored to have three exciting storefront companies as a part of this year’s line-up: LiveWire Chicago, The Inconvenience, and Theatre Zarko. This year’s repertory was conceived so as to be in conversation with our season theme: Dispatches from the Homefront. These stories are asking us to engage with the complicated questions about what divides us, what unites us, and how empathic human connection filters down to the choices we make every day as citizens of the world. The Garage is Steppenwolf’s dedicated space to support emerging artists and cultivate new audiences. We want all kinds of people to feel that this space can be an artistic home—a place to share ideas, find inspiration, dream big, and lounge in our newly remodeled lobby. Have you checked out the very cool wall of scripts? Producing theatre in rotating repertory is like no other experience. It’s a complicated process because the companies must share resources, particularly the resource of the performance space itself. This requires the three groups to look beyond their own inner circles of collaborators and develop creative relationships across “party lines.” While each company brings a unique vision and aesthetic to the program, the shared value of generosity was the driving force behind the work they created together. The companies built community going through this creation process together. I hope you will continue to support these innovative companies by seeing their work throughout the city for years to come. See you in the Garage!
Jacob G. Padrón Associate Producer
ARTISTIC DIRECTOR
EXECUTIVE DIRECTOR
Martha Lavey
David Hawkanson
steppenwolf garage
February 2 – April 8, 2012 Three productions from some of Chicago’s most innovative storefront theatre companies, performing in rotating repertory.
LiveWire Chicago presents
The Inconvenience presents
Theatre Zarko presents
By Bekah Brunstetter Directed by Brad Akin
By Ike Holter Directed by Eric Hoff
Written and Directed by Michael Montenegro
Support for Garage Rep comes through the “Leading for the Future Initiative,” a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation.
Steppenwolf Theatre Company is a constituent of Theatre Communication Group (TCG), the national organization for nonprofit professional theatre.
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Inspiring a movement By Katherine Marshall Artistic Apprentice
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CHICAGO STOREFRONT
The Earl, 2011. The Inconvenience
Chicago draws young audiences to the theatre like no other city can. A lot of this has to do with the thriving and eclectic storefront scene. Jacob Padrón, Associate Producer here at Steppenwolf, and I sat with the artistic directors of Garage Rep, Chris Chmelik of The Inconvenience, Joel Ewing of LiveWire Chicago, and Michael Montenegro of Theatre Zarko, to discuss this phenomenon and what it means to be leaders of their companies in Chicago’s theatre scene. “I think Chicago,” Chris Chmelik begins, “if you compare it to the other major artistic hubs in the country, it’s the only one that this vigor gets instilled in you when you see something produced. It has this ‘you can do this too’ aspect to it.” Both of Chris’s parents were teachers and he spent a lot of time wandering around the school where they taught. By just grade one he met the drama teachers, and in turn, the stage. Dodging bullies in lunch rooms, or just ignoring homework assignments, he quickly discovered that theatre provided a way to escape. This
“It’s magical that we can all get together and play pretend. It’s definitely existential. You put all this work, all this money, all this time, love, and energy into something that’s immediately gone. It is pretty romantic.”
discovery is reflected in his work as artistic director of The Inconvenience: “It’s magical that we can all get together and play pretend. It’s definitely existential. You put all this work, all this money, all this time, love, and energy into something that’s immediately gone. It is pretty romantic.” Joel Ewing, artistic director of LiveWire Chicago, cultivated his initial love for theatre while playing Jake the Snake, a villainous drug pusher in the 4th grade D.A.R.E, the anti-drug campaign, and
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Solo Works, 2011. Theatre Zarko
“an event that requires people sitting right there and whatever you’re creating for them happens in time and it’s very risky and exciting and dangerous and because of that magical things happen.”
production. Armed with peer pressure, he attempted to lure young minds into a life of crime.
theatre because as opposed to film, theatre is an event that requires people sitting right there and whatever you’re creating for them happens in time and it’s very risky and exciting and dangerous and because of that some really magical things happen.”
Unfortunately for the D.A.R.E campaign, he nailed it, and kids ended up loving Jake, cheering and rooting for the bad guy. “It provoked a response and elicited a reaction; it still resonates with me today. That’s the kind of theatre I like to produce, works that provoke or makes me think in a different light.”
With so many storefront companies it’s difficult to stand out from the crowd. “The least original idea you can have is to have a theatre company in Chicago,” Joel jokes to the agreeing laughter of the other two men. Despite this sentiment, these three companies have managed to produce stand-out work.
Theatre Zarko’s artistic director, Michael Montenegro, is a painter and sculptor. However, as a child, he was enamored with puppet theatre, fascinated with the ability to create and control a whole world. His father was a painter and his grandfather a writer, and they were also incredible story-tellers. “I loved the aliveness of storytelling. I think that has a lot to do with my fascination with
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“At LiveWire we look for those issues that are meaningful, that resonate within a millennial generation. We try and find the contemporary plays that uniquely address those themes. I think that’s what draws a millennial audience to us.”
CHICAGO STOREFRONT Michael theorizes that the popularity of his puppet theatre has to do with it being low tech. During a recent show their rudimentary sound system failed and the company improvised using their mouths and bodies for sound. Afterwards, a group of Art Institute students praised that element of the production. Michael elaborated, “We’re so inundated with technology that the live, simple, and direct has great appeal.”
“I want to put new things out there and I want to try risky things. If we’re not still risking something, attempting to make something new and profound, we have failed.” Chris wants The Inconvenience to be a platform for new trends in theatre to be explored. Joel hopes that after Garage Rep people will recognize the name LiveWire and associate it with awesome new plays.
13th of Paris, 2011. LiveWire Chicago
This sentiment was echoed by Chris as he described how storefronts such as his cut the fat off of a product leaving only a lean meat and that’s what this millennial audience is hungry for. During our conversation we discussed what it meant to be working in the Garage, a space emblematic of Steppenwolf’s founding as a storefront theatre company. “Steppenwolf’s story is alluring and romantic,” Joel says animatedly. “We have the same lofty dreams. I want to get a big space and make art and the place we’re going to do that is in Chicago. It can be done because Steppenwolf did it.”
“Since we produce Chicago premieres, we can’t bank on a proven track record.” Michael pauses for a moment before responding. “I feel like we are at a very crucial time historically and what is at stake is something as profound as the dignity of human beings, and I think as artists we have a tremendous responsibility to speak to that with our work because it’s going to take the efforts of many, many people to fight to hang on to human dignity. I hope that Theatre Zarko speaks to that and helps to bolster or support the idea of dignity really in any way it can.”
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LiveWire Chicago presents
By Bekah Brunstetter / Directed by Brad Akin February 2 – April 8, 2012
ARTISTIC DIRECTOR EXECUTIVE DIRECTOR
Joel Ewing† Joshua Aaron Weinstein†
Cast (in alphabetical order) Pop Pop Peter Esposito Christopher Joel Ewing† Lacey Madeline Long† Sara Melissa Engle Production Anders Jacobson† Judy Radovsky† Kristin DeiTos Eric Branson† Stephen Ptacek Maria DeFabo Kendra Miller Mary Ellen Rieck Ryan Nash Todd Hill David Seeber Nick Sieben Cory Conrad†
Josh Odor Calliope Porter Ian R. Tranberg
Ron ABBY Chip
Scenic Design Scenic Design Costume Design Lighting Design Sound Design Properties Design Dramaturg Stage Manager Assistant stage Manager Electrics Assistant Electrics Assistant Properties Assistant Production Manager
Setting: Fayetteville, North Carolina: a military town, and an airplane above it. Now. Intermission: There will be a 15 min. intermission. Produced by special arrangement with Samuel French, Inc. New York City †Denotes LiveWire Collective members
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Letter from the Artistic Director LIVEWIRE
Joel Ewing Artistic Director, LiveWire
Steppenwolf’s season theme of “Dispatches from the Homefront” led LiveWire Chicago Theatre to Bekah Brunstetter and her fascinating play, Oohrah! Our company was recently charged with a mission: Come up with a new mission. After many living room meetings, late-night discussions, and bar room debates, LiveWire came to the conclusion that creating theatre that reflects the current cultural landscape of our community through productions of original and contemporary works is most valuable to us. We then took that ideal a step further and dedicated our organization solely to producing world and Chicago premieres. In short, we dig new plays and emerging playwrights and we want to share them with you.
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While plays dealing with war and the effects that it can have on the lives of those who have served their country is certainly not uncharted territory for theatre, very few playwrights have tackled these topics with such a unique perspective and distinct voice as Bekah Brunstetter. Rather than using her play as a platform to voice political feelings about the United States’ involvement in current wars, she turns her eyes back home and gives us an intimate and complex comedy with emotionally conflicted characters just trying to do the best they can. Bekah’s world is a balance of the funny, absurd, poignant, and dramatic.
Ooh-rah!:
a spirited cry common to United States Marines since the mid-20th century.
Oohrah! is a deep examination of what drives and compels a soldier to serve his or her country. It’s also about Krispy Kreme donuts and Home Depots. Oohrah! explores the inevitable feeling of futility that invades the soldier when they return from the battlefield and find themselves suddenly back on the homefront. It also has people smoking cigarettes in kitchens and shopping for duvet covers.
Red Angel, 2008. LiveWire Chicago
Oohrah! is a dissection of the dichotomy of coming home from war, but still not finding peace. In addition, there are guns and tiaras. Oohrah! poses questions such as, “When we finally get what we have long-yearned for, why do we still find ourselves wanting more?” It also asks if it’s okay to serve red or white out of plastic wine glasses.
We at LiveWire know that war is a topic that touches all of our lives today in some form or fashion. We know that examination of the reasons for and repercussions of war can be difficult to discuss. We believe that Oohrah! opens the door to a dialogue that brings new light to a subject that we’ve all discussed time and again. We thank Bekah Brunstetter for giving us a voice. We thank Steppenwolf for giving us the microphone. And we thank you for seeing a new play.
Welcome to LiveWire Chicago Theatre.
A Bright New Boise, 2011. LiveWire Chicago
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MISSION // LIVEWIRE CHICAGO LiveWire Chicago is a collective of artists who create theatre that reflects the current cultural landscape of our community through productions of original and contemporary works. In the words of our fearless Artistic Director Joel Ewing, “If it’s been done in Chicago, we aren’t doing it!” We are dedicated to providing a platform for emerging voices in American theater. LiveWire’s recent productions include the Chicago premiere of A Bright New Boise by 2011 Obie Award-winning playwright Samuel D. Hunter, the Chicago premiere of The 13th of Paris by Mat Smart, and the world premiere production of Emily Dendinger’s Hideous Progeny. Along with our season productions, LiveWire presents an annual short play festival, VisionFest, which brings new works to the community and, in turn, asks the community to get involved in new works. Each year we conduct a poll (online or in-person) asking the public to help choose the theme and guidelines for VisionFest submissions. We also invite audiences to provide written feedback about the plays during the festival. LiveWire is thrilled to announce a new play reading series this spring that will emphasize audience interaction, as well as play a major role in our season selection.
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Currently in our sixth season, LiveWire is honored to be a part of the Garage Rep 2012 here at Steppenwolf. We can’t thank them enough for this incredible opportunity. Our 2011-12 season would not be possible without the generous support of the Gaylord & Dorothy Donnelley Foundation and our individual donors. Thank you for joining us and seeing a new play!
Meet the LiveWire Collective Members Erin Barlow, Suzanne Bracken, Eric Branson (Resident Lighting Designer), Brian Cicirello (Patron Manager), Cory Conrad (General Manager), Krista D’Agostino (Literary Manager), Joel Ewing (Artistic Director), Amber Hilgenkamp (Collective Representative), Anders Jacobson (Resident Scenic Designer), Madeline Long (Managing Director), Allison McNeela, Deborah Proud, Glenn Proud (Company Manager), Judy Radovsky (Resident Scenic Designer), Joshua Aaron Weinstein (Executive Director) and Chris Zdenek (Associate Artistic Director).
For more information about LiveWire Chicago Theatre and how to get involved, visit www.livewirechicago.com.
Learn more about Garage Rep and the rest of our 2011/12 season at steppenwolf.org.
Download Steppenwolf’s iPhone App. Order tickets, watch videos and listen to podcasts.
steppenwolf.org/watchlisten blog.steppenwolf.org Join the conversation on
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The Inconvenience presents
By Ike Holter † / Directed by Eric Hoff February 3 – April 8, 2012
Artistic director executive director
Christopher Chmelik† Emily Reusswing†
Cast (in alphabetical order) cop Walter Owen Briggs† Carson Manny Buckley Newbie Daniel Desmaris Mika Desmond Gray Cliff Steve Lenz musicians Josh Lambert Ryan Murphy Will Wood Production John Holt† Coral Gable Jeff Glass Joe Court Ryan Murphy Kelly Kerwin Erin Kilmurray† John Cicora† Ryan Bourque† Ellen Willet Gus Menary† David Seeber Missi Davis†
Layne Manzer Shannon Matesky Rania Manganaro Arturo Soria Mary Williamson†
A-Gay Roberta Peg tano Madeline
understudies Daeshawna Cook Andrew Swanson
Scenic Design Costume Design Lighting Design Sound Design Composer Dramaturg Choreographer Musical Director Fight Choreographer stage Manager Assistant Director SCRIPT SUPERVISOR Production Manager
Setting: Greenwich Village, New York City 1969. Intermission: There will be no intermission. †Denotes The Inconvenience company members
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Letter from the Artistic Director the inconvenience Hit The Wall is about people who are fighting for acknowledgement; they’re fighting because they have nothing left to lose. There is no absolute record of what exactly transpired on the night of June 28, 1969 that set the events at the Stonewall Inn in motion. There was no planning or organization behind the riot that ensued. It was a collective impulse that electrified a group of people who had been pushed beyond the breaking point.
Christopher Chmelik Artistic Director, The Inconvenience
As a straight-identified white male in this world, there are few things that have ever felt off limits to me. When Ike first told The Inconvenience that he was channeling the prompt “War and the homefront” to write a historical remix about The Stonewall Inn riots, I’m not proud to say my immediate reaction was a tentative, “Sounds cool… so is this gonna be a gay play?” To which I received a choice mouthful of words that only Ike (as you will soon bear witness) can so singularly string together. The long and the short of it being: “No”.
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Standing Room Only, 2011. The Inconvenience
The Stonewall Inn riots forced the gay rights issue into the public perspective, and loudly told those who would hate that the response would no longer be passivity. A one-night challenge from a seedy bar full of castoffs gave life to a powerful mass movement. Regardless of how you interpret the show, acknowledge the challenge that it sets forth and celebrate it with us.
MISSION // THE INCONVENIENCE
Company Mission The Inconvenience is a community of interdisciplinary artists who seek to create a new way of experiencing art through a collaboration of music, theatre, dance, fine art and celebration. We create, produce and curate work that challenges audience and artist perspective and ignites social dialogue.
Get Involved The Inconvenience is committed to staking its claim in the cultural landscape of Chicago. To learn more about how you can participate and support our work, visit www.theinconvenience.org.
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Theatre Zarko presents
Written and Directed by Michael Montenegro February 4 – April 8, 2012
Artistic director
Michael Montenegro
Cast (in alphabetical order) 1st Mother Nancy Andria 2nd Mother Karen Hoyer Puppet Manipulator Katherine Jones 3rd Mother Laura Montenegro
Ellen O’Keefe Noah Silver Mathews Colleen Werle
musicians Ben Goldberger Stephen Lieto Jude Mathews Production Michael Montenegro Jude Matthews Karen Hoyer Jeff Glass Danielle Love Rachel Birnbaum Stephen Lieto
Inquisitor & Old Man Puppet Manipulator 4th Mother
understudies Syrie Antrim-Cambium
SCENIC DESIGN, COSTUME DESIGN and CASTING Musical direction & composition DRESS Design Lighting Design Stage manager Assistant Costume design Production Manager
Intermission: There will be no intermission. This production is dedicated to the memory of John Hoyer.
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Letter from the Artistic Director theatre Zarko on their own. What do we give birth to, really? What extended future plays out from the things we bring into the world? After all, doesn’t all of humanity emerge from the womb of a single ancient mother? Ideas, like children, bring endless consequences into the world. The subject is far too enormous for this tiny play to grapple with, much like the mothers in this story who find themselves grappling with an enigmatic giant. As seen from the title character’s point of view: Michael Montenegro “I am the result of another man’s dreams, Artistic Director, Theatre Zarko lost, forever hungry. I am the eternally hidden hungry heart, inert and unable to The title He Who is an unfinished sentence. transcend. To feed me is to extend my This has always seemed to me to be longing. I don’t die, I can’t die, because I appropriate: the play focuses on the idea don’t truly exist. Forever hungry, I devour of unfulfilled desires, unfilled emptiness, the hope of others. I swallow light. And yet, loud absences. my very existence is as fragile as a thought. I expand or contract entirely dependent I have discovered through the making of upon the imagination of others. If a crowd, this play that it deals with the frustrations a throng, a whole population believes in of trying to grasp the ungraspable. me, I can set the world ablaze. But if ignored, I settle, deflated like an empty Poetically speaking, the play asks the bag upon the sand.” questions: Is the ear responsible for drawing words out from another’s mouth? As dedicated artists and musicians, we Do ideas enter into the world to fill a accept the forces eager to speak through vacuum? What does emptiness invite? us. But we are humbled by the difficulty of the task. What we create (or manifest) Longing propels and engenders. Ideas, we struggle to make comprehensible. like babies, appear mysteriously with If things are puzzling, it is because promise. People become pregnant with we are mere human beings attempting to ideas and carry them to term, and give understand the ungraspable. May you birth to projects and schemes. They nurse appreciate our sincere intentions. Many them and diaper them until they stand thanks for being here.
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Misson // Theatre Zarko
Haff the Man, 2010. Theatre Zarko
Theatre Zarko Puppet Symbolist Theatre is a dedicated ensemble of artists led by the innovative vision of Michael Montenegro. Each show organically develops from an original image, a conceptual movement, a scrap of poetry, spontaneous music. The artists are called together and the laboratory begins with puppets, masks, and strange machinery. Soon dynamic theatrical experiments begin, accompanied by live musical improvisation, and gradually solidify into recognizable scenes, stunning spectacle, original compositions, and haunting soundscapes. For 25 years, Midwestern audiences have enjoyed Montenegro’s solo performances, group projects, and puppetry design collaborations including Argonautica with Lookingglass Theatre, directed by Mary Zimmerman, The
War With the Newts and The Long Christmas Ride Home with Next Theatre and The Puppetmaster of Lodz with Writer’s Theatre which garnered a Jeff Award for Puppet Design.
Special Thanks
No. 1 Cooperative, Samuel Allen and Liam Montgomery, Ellen and George Galland, Meagan Downey, Mark Tisdahl, Freddie Levin, Sam Thomas, Tim Bohlander
additional staff
Nancy Andria (Public Relations Coordinator), Hannah Greene (Marketing)
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steppenwolf staff Martha Lavey Artistic Director
Artistic Erica Daniels Associate Artistic Director Rebecca Rugg Artistic Producer Aaron Carter Literary Manager
Jacob g. padrÓn Associate Producer Nick Ward Casting and School Associate Kendra miller Artistic Programs Assistant Tracy Letts Amy Morton Anna D. Shapiro Jessica Thebus Associate Artists Sheldon Patinkin Artistic Consultant
Terry Kinney, Jeff Perry and Gary Sinise Executive Artistic Board
Brian Hurst Finance Coordinator
AliCia GRAF Marketing Assistant
Lupe Garcia Quiles Events Management Associate
JOEL MOORMAN Digital Content Producer
Angela johnson Office Management Associate & Receptionist Richard Kang IT Associate PAUL G. MILLER Executive Assistant Jackie Snuttjer Finance Specialist Development SANDY KARUSCHAK Director of Development ERIC EVENSKAAS Director of Individual Giving and Donor Services
Steppenwolf for Young Adults
Megan a. Smith Director of Corporate Relations
Hallie Gordon Artistic and Educational Director
DEBORAH STEWART Director of Foundation and Government Relations
Megan Shuchman Education Manager
KENDRA VAN KEMPEN Director of Special Events
Lauren Sivak Education Assistant
JESSICA GRETCH Individual Giving Coordinator
Amanda Jane Dunne Larry Grimm Ali hoefnagel Robert Hines III l’oreal jackson Ashley roberson Samuel roberson Emilio Robles NIcole Ripley Carla Stillwell John Wilson Teaching Artists
Suzanne Miller Donor Services Coordinator
Administration David M. Schmitz Managing Director Rachel Domaracki Director of Finance Heather C. Joireman Events Management Director Scott Macoun IT Director Erin Cook Company Manager Kate holst Human Resources and Professional Leadership Programs Coordinator
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Lauren Fisher Special Events Associate LOUISE GERAGHTY Donor Relations Associate KALEIGH LOCKHART Corporate Relations Associate Marketing, Publicity & Audience Services LINDA GARRISON Director of Marketing and Communications jason kriegler Creative Director THOMAS WEITZ Digital Assets Director
LUIS A. IBARRA Graphic Designer SUSANNAH KIM Digital Design Associate TAMARA TODRES Director of Audience Services JIMMY FREUND Audience Services Manager STEPHANIE HELLER Audience Services Subscription Manager Mike brunlieb MATTHEW LYLE Audience Services Supervisors Allan Waite Group Sales Associate Roseann Bishop TARA BRANHAM Billie bryant Rebecca Butler ALI HOEFNAGEL LACEY HOLMES SOTIRIOS LIVADITIS MARISSA MCKOWN PETER PARSONS MEG SANTISI Audience Services Associates
David Hawkanson Executive Director
amber dettmers Al Heartley Robert Hines III Michelle Jacobson Jessica Lind Becky Mock michael mroch Danielle Shindler elissa shortridge Front of House Staff MUSTAFA CHAUDHRY DONALD COULSON Indra Kafley Parking Staff LAUREN LOUER, THE SAINTS Volunteer Usher Coordination Production AL FRANKLIN Production Manager DIXIE UFFELMAN Associate Production Manager
ROGELIO RIOJAS Scene Shop Foreman
CORY CONRAD Facilities Manager
Jenny DiLuciano Properties Master
Antonio Ibarra Facilities Coordinator
ANDRIA SMITH Assistant Properties Master
Padam dhungel RYAN PALMA Peter VanKempen Facilities Staff
CHARLES MOSER Master Properties Artisan
VICTOR DAVID Tika Ram Kafley HAROLD KRIPPS Ethan ozaniec Custodial Staff
DAWN PRZYBYLSKI Stage Carpenter
Ron Bogacki Adelina Bradshaw Ashten Burris bridgette burtoN Matt Campbell autumn cranor
GREGOR MORTIS Assistant Audio Engineer J. R. LEDERLE Lighting Supervisor ERNESTO GOMEZ House Electrician MALCOLM EWEN CHRISTINE D. FREEBURG LAURA D. GLENN MICHELLE MEDVIN DEB STYER ROSE MARIE PACKER KATHLEEN PETROZIELLO Stage Managers Call Center
PATRICK WALSH Associate Sales Manager
Melissa rutherfoord Charge Scenic Artist
LIBET WILFONG House Manager
MARTHA WEGENER Audio Engineer
Robert S. Brown Assistant Technical Director
Operations
LUCAS CRAWFORD Marketing Manager
Melissa tulchinsky Staff Wardrobe
CASEY VANWORMER Associate Campaign Director
JAY JUSSAUME Director of Operations
EVAN HATFIELD Director of Audience Experience
JESSICA STRATTON Wardrobe Supervisor
RUSSELL POOLE Technical Director
christopher aler christopher grubb Kyle Land Scenic Carpenters
erika Nelson Marketing Manager
Lynae Vandermeulen Staff Draper
RICK HAEFELE House Carpenter
CARYN WEGLARZ KLEIN Costume Director MAE HASKINS Assistant Costume Designer LAUREL CLAYSON Head Draper KEVIN PETERSON Shop Foreman
aoife carolan SYDNEY CRISTOL CHARLES FRYDENBERG deborah granite MARILYN HILLARY ali hoefnagel Terrence Mosley melissa rosenberg Rania SalemManganaro michael wise Call Center Representatives l. adelina treviÑo bradshaw alicia graf alfred heartley mary hungerford nora mally katherine marshall Jennifer mcclendon rebecca noble brianna parry joseph pauli nijeul porter rachel spear cassidi stuckman jessica trier barbara trinh staci weigum Apprentices
board of trustees Executive Committee
Trustees
Emeritus Trustees
Nora Daley Chair
Sarah Beardsley
J. Robert Barr
Eric Lefkofsky Secretary
Michael W. Bender
Lawrence Block
Paul W. Goodrich Treasurer
Terri L. Cable
John N. Fox, Jr.
Henry S. Bienen
Keith Cardoza
Gloria Scoby
Carole L. Brown
Beth Boosalis Davis
Douglas R. Brown
J. Scott Etzler
Past Chairpersons
Michael Cahan
Rich Feitler
William L. Atwell
Elizabeth H. Connelly
Nene Foxhall
Larry D. Brady
Lynn Lockwood Murphy
Scott P. George
Douglas R. Brown
Geoff Nyheim
Lawrence M. Gill
Laurence Edwards
Deborah H. Quazzo
Robert J. Greenebaum, Jr.
John N. Fox, Jr.
Randall K. Rowe
John H. Hart
Elliott Lyon
Bruce Sagan
George A. Joseph
Gordon Murphy
Harry J. Seigle
Donna La Pietra
William H. Plummer
Stephanie B. Smith
Martha Lavey
Bruce Sagan
Helen Zell
Ronald J. Mallicoat, Jr.
Gloria Scoby
Janet Melk
Donna Vos
David C. Pisor Kenneth J. Porrello Merle Reskin Francis C. Sadac Michael R. Salem John R. Samolis Manuel “Manny” Sanchez Anna D. Shapiro Colette Cachey Smithburg John R. Walter
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A witty, intelligent look at love and loss, refracted through the lens of war.
time stands still By Pulitzer Prize winner Donald Margulies Directed by ensemble member Austin Pendleton
Featuring ensemble members Francis Guinan and Sally Murphy with Randall Newsome and Kristina Valada-Viars
January 19 - May 13, 2012 In the Steppenwolf Upstairs Theatre
buy tickets at steppenwolf.org or call 312-335-1650
STEPPENWOLF ACKNOWLEDGEMENTS Garage Rep Committee Bob Brueler
Ensemble Member
Erica Daniels
Associate Artistic Director
Eric Evenskaas
Director of Individual Giving and Donor Services
Alexandria Frisch
Steppenwolf Young Adult Council Member
Linda Garrison
Director of Marketing and Communications
Hallie Gordon
Artistic and Educational Director of Steppenwolf for Young Adults
Julia Kulon
Steppenwolf Young Adult Council Member
Evan Hatfield
Director of Audience Experience
Kendra Miller
Artistic Programs Assistant
Dixie Uffelman
Production manager
David Schmitz
Managing Director
Special production Staff Becky Mock
Assistant Production Manager
Maria Gerbino
Technical Director
Paul Doran
Master Electrician and Board Operator
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The Steppenwolf ensemble 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 36 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 43 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 nine Tony® Awards—have made the theatre legendary. Steppenwolf’s artistic force remains rooted in the original vision of its founders: an artist-driven theatre, whose vitality is defined by its sharp appetite for groundbreaking, innovative work. That work is represented in production photos displayed throughout the theatre.
Joan Allen
Kevin Anderson
Alana Arenas
Randall Arney
Kate Arrington
Ian Barford
Robert Breuler
Gary Cole
Katherine Erbe
K. Todd Freeman
Frank Galati
Francis Guinan
Moira Harris
Jon Michael Hill
Tim Hopper
Tom Irwin
Ora Jones
Terry Kinney
Tina Landau
Martha Lavey
Tracy Letts
John Mahoney
John Malkovich
Mariann Mayberry
Tarell Alvin McCraney
James Vincent Meredith
Laurie Metcalf
Amy Morton
Austin Pendleton
Jeff Perry
William Petersen
Yasen Peyankov
Martha Plimpton
Rondi Reed
Anna D. Shapiro
Eric Simonson
Gary Sinise
Lois Smith
Rick Snyder
Jim True-Frost
Sally Murphy
Molly Regan
Alan Wilder
coming next to the
steppenwolf garage
Three Productions from Chicago’s Next Generation of theatre artists, presented in rotating repertor y. J UN E 5 — 24, 2012
Tickets $20
/
Buy online at steppenwolf.org or call 312-335-1650
Su pp o rt fo r Next Up c o m es th r o u g h th e “Lead i n g fo r th e Futu re I n itiati v e,” a pr o gram o f th e N o n pr o fit Fi nan c e Fu n d, fu n d e d by th e D o r i s D u ke C har itable Fo u n dati o n.