for YOUNG ADULTS
how long will i Cry? voices of youth violence
Steppenwolf for Young Adults’ 2012/13 programming is dedicated to Now Is The Time, a citywide initiative to stop youth violence and intolerance.
Photography by Sandro
2012/13 season
Contents
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Welcome to How Long Will I Cry?: Voices of Youth Violence Letter from Steppenwolf for Young Adults Artistic and Educational Director Hallie Gordon
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A Note from the Playwright Miles Harvey
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Feeling More a Citizen of the City Than I Did Before
A conversation between Steppenwolf for Young Adults Artistic and Educational Director Hallie Gordon and journalist, professor and playwright Miles Harvey
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aPRIL 4 – JUNe 9, 2013
WoRLd PRemIeRe
Head of Passes by EnsEmblE mEmbEr Tarell alvin MCCraney DirEctED by EnsEmblE mEmbEr Tina landau
Profile of a Now Is The Time Teen, Melanie
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How Long Will I Cry? Chicago Public Library Tour
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Somebody Better Say Something A poem by Mama Brenda Matthews
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Featuring ensemble members Alana Arenas and Tim Hopper with Cheryl Lynn Bruce, Glenn Davis and Jacqueline Williams
Now Is The Time
Shelah’s family and friends plan a surprise birthday party for her. But the festivities are quickly overshadowed by a series of revelations that point to a dark secret in the family’s past.
Tickets start at just $20!
Editors Jeffrey Fauver Alicia Graf
Buy online at steppenwolf.org or call 312-335-1650
Corporate Production Sponsor
This project is supported in part by an award from the National Endowment for the Arts.
Contributors Eric Evenskaas Hallie Gordon Evan Hatfield Suzanne Miller Joel Moorman Megan Shuchman Lauren Sivak
Design Lisa Frye Paul Koob
Cover Photographer Sandro
Head of Passes is the recipient of a Joyce Award.
To Advertise Contact smARTMagazines/smARTSponsorships Bryan Dowling 773-463-0980 or bryan@media8midwest.com
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Artistic Director Martha Lavey *†
Corporate Sponsor of Steppenwolf for Young Adults
Sponsor of 2-for-1 Matinees
Major foundation support for Steppenwolf for Young Adults is provided by the Polk Bros. Foundation and Alphawood Foundation. The Individual Consortium of Sponsors for Steppenwolf for Young Adults is comprised of: Henry and Leigh Bienen, Lynn Lockwood Murphy and Barrett B. Murphy, John H. Hart and Carol Prins, Michael Hansen and Nancy Randa and Nina B. Winston. This project is supported by the Illinois Humanities Council. 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. Funding for Now Is The Time is provided by the Hive Chicago Learning Network through the Smart Chicago Collaborative, a joint project of The Chicago Community Trust, the John D. and Catherine T. MacArthur Foundation and the City of Chicago. Steppenwolf’s New Plays Initiative is generously sponsored by the Harold and Mimi Steinberg Charitable Trust, the Zell Family Foundation, the Andrew W. Mellon Foundation, the John S. and James L. Knight Foundation and members of the Directors Circle.
Partial support for open captioning provided by Theatre Development Fund
Executive Director David Hawkanson
SYA Artistic and Educational Director Hallie Gordon
Steppenwolf for Young Adults presents
How Long Will I Cry?: Voices of Youth Violence A Play by Miles Harvey and creative-writing students at DePaul University Directed by Edward F. Torres Artistic Consulting by Kelli Simpkins February 26 – March 23, 2013 Featuring
Charles Gardner Tara Mallen* J. Salomé Martinez, Jr Shannon Matesky Jessie David Perez Gabriel Ruiz* Mark Smith Mark Ulrich* Celeste Williams* Production
William Boles Scenic Design Sally Dolembo Costume Design J.R. Lederle Lighting Design Gregor Mortis Sound Design Michael Fernandez Projection Design Erica Daniels° Casting Director Tess Golden* Stage Manager Sarah Hoeferlin Assistant Stage Manager
Steppenwolf Theatre Company is a constituent of Theatre Communication 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 the Casting Society of America. 4
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Welcome Letter
A Note from the Playwright Miles Harvey
WELCOME TO How Long Will I Cry?: Voices of Youth Violence
A Note About the Names
Dear Friends: In 2009, after months of encountering seldom-read stories of youth who were shot and killed on the far south and west sides of Chicago, a story broke about a sixteen-year-old boy who was beaten to death outside his high school. His beating was caught on video and went viral. For better or worse, the video became national news. It was around this time that I started talking to other organizations and theater companies about the violence happening in and around our schools. It was also around this time that I met with my friend Miles Harvey and we both decided we wanted to work together to find out why this violence was happening and at such alarming rates. Fast forward to now, when Chicago just recorded 506 homicides in 2012. This piece you are about to see is gathered from interviews with people all over Chicago. Journalist, writer and professor Miles Harvey and his DePaul University undergraduate and graduate students have conducted more than 4,000 pages of interviews with people all over Chicago whose lives have been changed by youth violence. As director of education at a cultural institution that works closely with youth both in and outside of school, and as a citizen of this city, I see firsthand the prevalence of violence in the lives of young people and the profound effects it has on their lives. And what I hear over and over again from young people most affected by violence is a lack of resources, mentorship and sense of community in their lives. In response, I believe the arts have a unique opportunity to give youth a sense of belonging, community and connection that they may not have in school or at home. When youth have access to the arts the doors open instead of closed. We are presenting this play to create a dialogue with youth about their experiences with violence and we are presenting programming in conjunction with Now Is The Time to ensure youth have access and alternatives to violence. We want to be in dialogue with you about these issues. Please contribute content about making positive change in your community to the Now Is The Time website, nowisthetimechicago.org. We welcome you to Steppenwolf and hope you will join us to inspire change, take action and feel more a part of our city. Now Is The Time.
Artistic and Educational Director, Steppenwolf for Young Adults Hallie Gordon
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The following DePaul students conducted interviews used in this play: Lisa Applegate Bethany Brownholtz Jacob Sabolo Kristin Scheffers Michael Van Kerckhove Colleen Wick Alexis Wigodsky
Several of the names of young people portayed in this play have been changed to protect their privacy and security.
Epilogue After the death of her son, Joy McCormack founded Chicago’s Citizens for Change, a group committed to building a citywide response network to support families and loved ones of homicide victims. Find out more: chicagoscitizensforchange.org. During his 94 days on the roof, Pastor Brooks raised $450,000 —enough to purchase and demolish the old motel. But he still needed another $15 million to build the community center, so in the summer of 2012, he walked all the way across the U.S. from New York to Los Angeles. He raised almost $500,000 on the trip, but, as he puts it, “we still have a long way to go.” Find out more: coreybrooks.com. Diane Latiker was named one of the Top Ten Heroes of 2011 by CNN. In 2012, her group, Kids Off the Block, was featured on the ABC show Secret Millionaire. The Chicago City Council recently passed an ordinance for a 12,500-square-foot site to be made into a public park that will house her memorial to young people who have been killed in Chicago. Find out more: kobchicago.org.
This project was made possible by financial and logistical support from the following organizations: Irwin W. Steans Center for Community-Based Service Learning, DePaul University Egan Urban Center, DePaul University Vincentian Endowment Fund, DePaul University Women’s and Gender Studies Program, DePaul University Office of Institutional Diversity and Equity, DePaul University Department of English, DePaul University College of Liberal Arts and Social Sciences, DePaul University
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Cast and Contributors
BIO
Cast (in alphabetical order Carlos Rogelio Diaz Berly Valladares, Ernie Purnell (March 11– 23) Charles Gardner Deshon, others Tara Mallen Joy McCormack, others J. Salomé Martinez, Jr. Berly Valladares, Ernie Purnell (February 26 – March 10), Frankie Valencia, Max Cerda, others (March 11– 23) Shannon Matesky Ora, Daisy Camacho, others Jessie David Perez Narcisco Gatica, Jaime, others Gabriel Ruiz* Frankie Valencia, Max Cerda, others (February 26 – March 10) Mark Smith Pastor Brooks, others Mark Ulrich* Narrator Celeste Williams* Diane Latiker, T-Awannda Piper, others
Bios
in rehearsal 1. Cast members Gabriel Ruiz Shannon Matesky Charles Gardner Jessie David Perez J. Salomé Martinez Jr. Tara Mallen 2. Cast member Mark Smith Director Edward F. Torres cast member Shannon Matesky 3. Cast members J. Salomé Martinez Jr. Gabriel Ruiz Jessie David Perez
How Long Will I Cry?: Voices of Youth Violence
photographer joel Moorman
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Kona Burks Diane Latiker, Daisy Camacho, Ora, others Carlos Rogelio Diaz Narcisco Gatica, Berly Valladares, Ernie Purnell, others Robert Hardaway Pastor Brooks, Deshon, others Laurie Larson Joy McCormack, Narrator, others J. Salomé Martinez, Jr. Frankie Valencia, Max Cerda, others
Setting
Chicago, now. There will be one 15-minute intermission. There will be a post-show discussion immediately following the performance..
Additional Staff
Terrence Mosley Assistant Director Kelli Simpkins Artistic Consultant Megan Shuchman Dramaturg Olivia Castillon Script Supervisor Peter Schmidt Properties Master Emily Guthrie Properties Assistant Adam Gorsky, Chris Kristant, Eric Wegener Scenic Carpenters Aaron Stephenwon Sound Technician Carlene Descalo Wardrobe John Holt, Chris Mathews Run Crew
Tour Staff
Megan Shuchman Producer Sindy Castro Community Outreach
Specialist
Robin Willard Young Adult Specialist,
2.
3.
Chicago Public Library
Katie Eckert Teen Volume Project
Assistant, Chicago Public Library Aaron Stephenson Sound Technician Carlene Descalo Wardrobe
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.
* member of Actors’ Equity Association, the union of professional actors and stage managers.
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Bios
Bios Carlos Rogelio Diaz
(Berly Valladares, Ernie Purnell, March 11–23) is very happy to be working with Steppenwolf for Young Adults. A Chicago native, he has appeared in After (Profiles Theatre); The Giver (Adventure Stage Chicago); At Ease (The Fine Print Theatre); among others, to include various performances designed for younger audiences touring schools across the country (Imagination Theater). Carlos graduated from the University of Illinois at Chicago with a BA in Theater, is a member of The Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA) and is represented by Paonessa Talent Agency. Charles Gardner
(Deshon, others) is ecstatic to be making his debut performance with Steppenwolf Theatre Company. Previous theater credits include Macbeth, Othello (Suitcase Shakespeare Company, Inc.); My Kind of Town (TimeLine Theatre Company); The Great Fire (Lookingglass Theatre Company); and Spectacle Lunatique (Redmoon Theater). Recent commercial credits include Perkins, Disney, McDonalds, AT&T, Western Union, Coors and Dunkin Donuts. Charles was nominated for Best Actor by the Black Theater Alliance Awards for his role in My Kind of Town, and was featured in Chicago Tribune as one of the Hot New Faces to Watch in 2012.
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Tara Mallen
(Joy McCormack, others) is a founding member and Artistic Director for Rivendell Theatre Ensemble, a 17 yearold professional theater company based in Chicago. With Rivendell, she has appeared in Crooked, The Walls, Self Defense, or the Death of Some Salesmen (After Dark Award, Best Ensemble), Wrens (Jeff Award, Best Supporting Actress, Best Ensemble), My Simple City (Jeff Award nomination, Best Actress in a Principal Role), Holy Days, Faulkner’s Bicycle and The Trestle at Pope Lick Creek. She has directed the world premieres of 26 Miles by Quiara Alegría Hudes (Rivendell Theatre Ensemble/Teatro Vista); Fighting Words by Sunil Kuruvilla (Rivendell Theatre Ensemble); Psalms of a Questionable Nature by Marisa Wegrzyn, Elliot, A Soldier’s Fugue (Stageworks/Hudson); and Shady Meadows by Lisa Dillman (Chicago Humanities Festival). Film and television credits include Contagion, Boss and Chicago Fire. Tara graduated magna cum laude with a BFA in Theatre from Brooklyn College. J. Salomé Martinez, Jr.
(Berly Valladares, Ernie Purnell, February 26– March 10, Frankie Valencia, Max Cerda, others, March 11–23) is excited to be making his Steppenwolf Theatre Company debut. Some of his theater credits include After (Profiles Theatre); As You Like It, Man of La Mancha, The Seagull (Constans Theatre); and A Christmas Carol (Hippodrome
State Theatre). Some of his television and film credits include Law & Order, Castle, Generation Kill (HBO, Emmy Award), New York, I Love You and the Oscar Awardnominated film The Messenger. He received his BA in Theatre from Barat College and his MFA in Acting from the University of Florida. Shannon Matesky
(Ora, Daisy Camacho, others) returns to Steppenwolf Theatre Company where she was last seen as Pearl in the world premiere of The March. Other Chicago credits include Hit The Wall (Steppenwolf Garage, The Inconvenience, world premiere); Sophocles: Seven Sicknesses (The Hypocrites); Sonnets For An Old Century (Steppenwolf Garage, UrbanTheater Company); and Zulu Fits (MPAACT). Shannon assistant directed Race (Goodman Theatre). Shannon is also a poet, teacher and playwright. She has written her first solo play She Think She Grown. Shannon holds a BFA from The Theatre School at DePaul University and is represented by Paonessa Talent. She is forever grateful for all the love and support. Jessie David Perez (Narcisco,
Gatica, Jaime, others) is excited to be making his Steppenwolf Theatre Company debut. Other Chicago credits include Oedipus El Rey (Victory Gardens Theater, Chicago premiere); and Momma’s Boyz (Teatro Vista, Chicago premiere). Television credits include Boss (Starz). “I am very thankful for this wonderful opportunity. This is for you mom, I love you.”
Gabriel Ruiz
(Frankie Valencia, Max Cerda, others, February 26– March 10) returns to Steppenwolf Theatre Company where he recently understudied Jackie and Cousin Julio in The Motherf**ker with the Hat. He is a proud ensemble member of Teatro Vista and a graduate of The Theatre School at DePaul University. Chicago credits include Sita Ram (Harris Theater); After (Profiles Theatre); Working (Broadway Playhouse); Richard III, Short Shakespeare! A Midsummer Night’s Dream (Chicago Shakespeare Theater); Our Lady of the Underpass (Teatro Vista); and Esperanza Rising (Chicago Children’s Theater). New York credits include Blood and Gifts (Lincoln Center Theater). Other regional credits include Why Torture is Wrong and the People Who Love Them (Forward Theater Company in Madison, Wisconsin). He can also be seen as Dilip Singh in both seasons of Boss (Starz). Mark Smith
(Pastor Brooks, others) is honored to be working at Steppenwolf Theatre Company. He was last seen in the production of Katori Hall’s Hoodoo Love (The Collective Theater). Other Chicago credits include Dream Girls, The Color Purple and All My Single Ladies (Theater 47). Television credits include Under Employed, Mob Doctor and Boss. “Unending thanks to my family for their continual and enthusiastic support.”
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Bios
Bios Mark Ulrich
(Narrator) returns to Steppenwolf Theatre Company where he recently appeared as Hans Hubermann in the Steppenwolf for Young Adults production of The Book Thief. Other Chicago area appearances include Goodman Theatre, Northlight Theatre and Writers’ Theatre. Regional credits include City Theatre Company (Pittsburgh, Pennsylvania), Palm Beach Dramaworks, Next Act Theatre (Milwaukee, Wisconsin) and Forward Theater Company (Madison, Wisconsin). Mark received the Joseph Jefferson and After Dark awards for his performance in Juno and The Paycock at The Artistic Home. He is a proud member of Rivendell Theatre Ensemble, and an Associate Artist with Chicago Dramatists. Celeste Williams
(Diane Latiker, T-Awannda Piper, others) returns to Steppenwolf Theatre Company where she appeared in the Steppenwolf for Young Adults production of Harriet Jacobs. Other Chicago credits include Tree, Knock Me a Kiss, Emma’s Child, Pecong (Victory Gardens Theater); Drowning Crow, A Raisin in the Sun, A Christmas Carol, Miss Evers’ Boys (Goodman Theatre); King Lear, Macbeth (Chicago Shakespeare Theater); Eastville (Writers’ Theatre); Permanent Collection (Northlight Theatre); and In the Blood (Next Theatre Company). Celeste can be seen in two episodes in the second season of Boss; and in the short film, Rose White.
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Miles Harvey
(Playwright) is the author of The Island of Lost Maps: A True Story of Cartographic Crime (Random House), a national and international bestseller that USA Today named one of the ten best books of 2000, and Painter in a Savage Land: The Strange Saga of the First European Artist in North America (Random House), which received a 2008 Editors’ Choice honor from Booklist, and a best-books citation from Chicago Tribune. The recipient of a 2007/08 Knight-Wallace journalism fellowship at the University of Michigan, he currently teaches creative writing at DePaul University. Edward F. Torres (Director) returns to Steppenwolf Theatre Company where he last directed Reuben Gonzalez’s The Boiler Room for Steppenwolf for Young Adults. Most recently, Edward collaborated with Goodman Theatre on Fish Men (Jeff Award nominated, Best Production Mid-Size 2012) during the 2011/12 season. He directed the world premiere of Kristoffer Diaz’s The Elaborate Entrance of Chad Deity at Victory Gardens Theater (produced in association with Teatro Vista), which was named Best Play of 2009 by Chicago Tribune, Chicago Sun-Times and Time Out Chicago, was nominated for the Pulitzer Prize and earned Jeff Awards for Best Production and Best Director. He also directed subsequent productions Off-Broadway at New York’s Second Stage Theatre (2010 Lucille Lortel Award for Outstanding Play, Obie Award for Best Play), and at Geffen Playhouse in Los Angeles to critical acclaim. He has produced more than 25 plays as the artistic director of Teatro Vista over the last 12 years. His Teatro Vista directing credits include The Show Host, Jamie Pachino’s Aurora’s Motive, Romulus
Linney’s Ambrosio, Edwin Sánchez’s Icarus, and Reuben and Karen Zacarías’s The Sins of Sor Juana. Other Chicago directing credits include Amparo Garcia-Crow’s Cocks Have Claws and Wings to Fly and Migdalia Cruz’s Lolita de Lares at Latino Chicago Theater Company. As an actor he was last seen in Oedipus El Rey (Victory Gardens Theater). Recently he was seen in El Grito del Bronx (Collaboraction, Goodman Theatre); The Cook (Goodman Theatre); Massacre (Sing to Your Children) (Teatro Vista, Goodman Theatre); and Elliot, A Soldier’s Fugue (Teatro Vista, Rivendell Theatre Ensemble, Visiting Company Initiative at Steppenwolf Theatre Company). Other Chicago acting credits include roles at Goodman Theatre, Steppenwolf Theatre Company, Victory Garden Theater, Latino Chicago Theater Company, Court Theatre, Apple Tree Theatre, Chicago Shakespeare Theater and Teatro Vista. He was the recipient of a 2010 3Arts Award, and was featured as guest director for The Happiest Song Plays Last by Quiara Alegría Hudes at the 2011 Eugene O’Neill National Playwrights Conference. He has a BA in Theater from Roosevelt University in Chicago and an MFA in film from Columbia College Chicago. He serves on the Illinois Arts Council, and has served on the National Endowment for the Arts Theater Panel (2005 – 2007) and on the MAP Fund Theatre Panel (2008). William Boles (Scenic Design) Recent
scenic design work includes She Kills Monsters (Buzz22 Chicago, Steppenwolf Garage); The Gifts of the Magi (Porchlight Music Theatre); Equivocation (Victory Gardens Theater); The Glass Menagerie (Next Up 2012, Steppenwolf Garage); and The Amish Project (American Theater Company). William received his BFA from the University of Central Florida and is an MFA candidate at Northwestern University. In 2008, he was awarded the National Design Award from the
Kennedy Center American College Theater Festival for his design of August Wilson’s The Piano Lesson, which was featured in American Theatre magazine. See more of his work at wbdesigns.carbonmade.com. Sally Dolembo (Costume Design) is
thrilled to be returning to Steppenwolf Theatre Company. Select credits include The Book Thief (Steppenwolf for Young Adults); DIRTY (The Gift Theatre Company); Life and Limb, The Glass Menagerie (Next Up 2012, Steppenwolf Garage); The Little Prince, Never the Sinner, Brighton Beach Memoirs, The Goat or, Who is Sylvia?, The Beauty Queen of Leenane (Northwestern University); Evita (Dunes Summer Theatre); Kokoschka: A Love Story, Bloody Poetry, Chopin’s The Awakening and Kid Peculiar at the Coral Court Motel (Washington University in St. Louis, Missouri). Sally was a 2007/08 Fulbright Scholar to Italy, where she researched and worked at Tirelli Costumi in Rome. Sally is a graduate of the MFA Design Program at Northwestern University. sallydolembo.com. J.R. Lederle (Lighting Design) also
designed 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 The 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 Theatre Company. J.R. also designed lighting for seven years of the Steppenwolf Traffic
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Bios Series, and five Steppenwolf performances in Chicago’s Millennium Park. He has served as head of the lighting department at Steppenwolf Theatre Company since 1995. Gregor Mortis (Sound Design) has been
an audio engineer at Steppenwolf Theatre Company since 2005, where his designs include When The Messenger is Hot (also 59E 59th Street Theatre in New York); Tranquility Woods, Gary, When in the Course of Human Events: Creative Disobedience and Why the World Can’t Wait (directed by ensemble member Anna D. Shapiro). As an ensemble member of Strawdog Theatre Company, Gregor’s designs include Aristocrats (directed by Steppenwolf ensemble member Rick Snyder), A Lie Of The Mind (Jeff Award), Pontypool and Wireless: Radio Theatre. Other credits include Action Movie: The Play (Jeff Award, After Dark Award), Ubu Raw (After Dark Award), Sci-Fi Action Movie in Space Prison, pool (no water), Mother Courage and Her Children, Wiggerlover and Overweight, unimportant: Misshape – A European Supper (Jeff Award recommended, directed by Steppenwolf ensemble member Yasen Peyankov). Gregor just finished work on the horror film Air Conditions and his next sound design will be for Kill Shakespeare at Strawdog Theatre Company in February and March. Michael Fernandez (Projection Design) is excited to be working on his first show with Steppenwolf Theatre Company. He has been working as a projections designer in Chicago for three years. Productions include Heddatron (Sideshow Theatre Company); Five Flights (Immediate Theatre Chicago); The Homosexuals (About Face Theatre); and 44 Plays for 44 Presidents (The NeoFuturists). Michael has a BA in Theater from George Mason University, a Masters in Digital Cinema from DePaul University, and currently works as a freelance motion graphics artist and videographer when not
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Bios working in theater. Michael would like to thank Steppenwolf for the chance to work with them on this important production. Tess Golden (Stage Manager) is so
happy to be back at Steppenwolf Theatre Company. She had the good fortune of stage managing Oblivion and Where We’re Born in the Garage Theatre in 2011. She has since spent the last year at Lookingglass Theatre Company, where she was Production Stage Manager for Mr. Rickey Calls a Meeting and Assistant Stage Manager for Metamorphoses and Eastland: A New Musical. She has also worked at Chicago Shakespeare Theater, Goodman Theatre, Raven Theatre and the side project. Sarah Hoeferlin (Assistant Stage
Manager) is excited to be working with Steppenwolf for Young Adults! Recent Stage Management credits include Richard II (Two Pence Theatre Company); The Nutcracker (2012) and Iron Stag King: Part One (The House Theatre of Chicago). She received her BS in Theatre Arts from Bradley University. Hallie Gordon (Artistic and Educational Director of SYA) has created and facilitated many educational programs for Steppenwolf Theatre Company. Along with selecting the young adult productions each season she has created the Young Adult Council, a group of high school students who collectively help to create innovative programming for their peers. As Educational Director, Hallie has worked closely with the Chicago Public Schools to create an environment in which all students and teachers have access to the theater. As a theater artist, Hallie has directed Eclipsed at Northlight Theatre. For Steppenwolf, Hallie has directed The Book Thief, Heart is a Lonely Hunter, To Kill a Mockingbird, the world premiere of a new adaptation by Tanya Saracho of The House on Mango Street and Harriet Jacobs adapted for the stage by Lydia R. Diamond. A new
premiere of Toni Morrison’s The Bluest Eye also adapted by Lydia R. Diamond won a Black Excellence Award from the African American Arts Alliance of Chicago and also transferred Off-Broadway to The New Victory Theatre. She has directed 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. 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. David Hawkanson (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 is Chairman of the Arts Alliance Illinois. He is a graduate of Lawrence University.
in rehearsal Cast members Mark ulrich Charles Gardner Director Edward F. Torres Cast members Mark smith Shannon Matesky photographer joel Moorman
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Feature
Feeling More a Citizen of the City Than I Did Before Edited by Megan Shuchman Photos from a recent workshop for How Long Will I Cry?. Photographer Michael Litchfield Artistic and Educational Director for Steppenwolf Young Adults, Hallie Gordon, sat down to speak with journalist, professor and playwright Miles Harvey.
Hallie Gordon: You are a journalist,
not necessarily a playwright. You have never written a play before. What was your initial thought when I asked you to write this?
Miles Harvey: I thought it was exciting!
I’ve always been a big playgoer. I am married to an actress. I’ve always been interested in theater. So in one way it’s a big leap, in another way, it’s just an extension of what I am already doing because I consider myself, above all, a storyteller.
HG: What drew you to a project about youth
violence?
MH: Depending on your neighborhood, you can live in Chicago for many years without really thinking about your city or traveling around your city. The violence, some of the really cruel, brutal violence involving young people, kind of shook me out of that and started me on this project.
HG: Is this an act of theater, journalism or both?
MH: I want it to be a piece of theater in that I
want it to come to life on the stage. But I also see it as a piece of journalism and even more so I see it as a piece of storytelling.
HG: Your undergraduate and graduate
students from your DePaul creative writing classes conducted many of the interviews used in this play. Did you talk to your students about their roles as storytellers as they went out into the city and collected these interviews?
MH: Absolutely. I’ve always taught oral
history in my creative non-fiction classes because I think students can really learn from
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it. Just hearing other people tell stories, you learn about how to write stories. Even before we did this project, I felt very strongly that just listening to people is a really important exercise for a writer.
HG: How many people in the city did you and your students interview?
MH: About 70 people total. HG: How many pages of transcripts is that? MH: Altogether, we have around 4,000
pages of transcripts. I have been saying to everyone who asks that we have 2,000 pages of transcriptions, but then I realize that’s wrong because there are 2,000 pages of just the interviews we did with young people. In total, it is closer to 4,000 pages.
HG: You’re also editing a book of oral
histories that will serve as a companion piece to the play. What has been the greatest challenge of working on these two projects simultaneously?
MH: I didn’t anticipate all the moving parts. It’s been a ton of work to coordinate the subjects, the real people, involved in the process. For the past month, I have been trying to get all the stories to the people I interviewed because these are their stories. Before I include them in the play or the book, they have to read and sign off on them. Getting in touch with the people we interviewed isn’t always easy. When you’re a gangbanger on the south side, your address from a year ago isn’t necessarily your address now. Neither is your e-mail address. Potentially, nothing is the same.
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HG: When you and I initially sat down to
talk about the possibility of doing this, there was a specific incident that inspired us to dive deeper into the problem of violence happening all over the city. Now it is three years later and we are coming off of a very violent 2012. That saddens me, but also makes me realize how important that we as a community create forums for teens to speak at.
MH: On the one hand, murders are down
significantly from 10 to 20 years ago; on the other hand, they are up from four years ago. According to the Chicago Police Department, there were 506 murders in 2012. That’s crazy. People keep saying, “Boy, your timing sure is good on this project” and I say, “No, our timing is really bad on this project.” But, despite these desperate numbers, there is a sense of people starting to come together all over the city. Maybe we can play a role in that? I hope we can.
HG: Where are you in the book-editing process?
MH: I am in the final stages of editing the
book. Some of these stories have been whispering in my head for a couple of years now and they really affect me personally. Throughout this project there are stories of people who survive and thrive against really long odds. People who have traumas in their lives, and maybe don’t overcome them, but use them to build upon and to change their lives and their own world.
HG: Do you have any expectations or hopes for what this piece will do for the city?
MH: I don’t have any didactic hopes, such
as “I hope this specific piece of legislation will be passed as a result of this,” but a lot of people who inspire me in the play are people who are active in their communities—exgangbangers who are trying to pull kids out of gangs, for instance.
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A former gang member who is currently a YMCA street-intervention specialist told us, “If I pull one guy out of a gang, that’s a big deal. I probably saved a life.” I would say if we can affect a few people in a similar way, and then they can affect a few people, that’s it. We’ve succeeded.
human impact that violence has on real human beings, the cost of it. The play is about mourning but also, the other definition of cry, which is, “I am crying now: this has got to stop! Let’s see if we can stop it.”
HG: In partnering this year with so many
MH: A new sense of being more a part of my city. Not just a citizen of my block or neighborhood, but of the city as a whole. Driving around the city, seeing people, talking to people, getting to know these stories so intimately. The joy of feeling more immersed in the city, more a part of it, more a citizen of the city than I did before.
other institutions as part of Now Is The Time—a citywide call to action against youth violence and intolerance—I’ve learned about the many people on the front lines working hard on this complex, challenging issue. That has been really inspiring.
MH: Absolutely. This is where Now Is The
Time, and hopefully this play and the book, can serve a purpose. I went to one of the events organized by the young people associated with Now Is The Time’s Teens at the Table [Editor’s Note: Teens at the Table is a series of town hall forums on youth violence being organized by a committee of teens from all across the city]. It was clear that some of the speakers at the event had never talked to young people directly about this issue and never talked to one another. There was this real electricity in the room that was exciting.
HG: Thank you for talking with me and for tackling this project.
MH: Thank you.
HG: What has been the most rewarding part of working on this project?
1.
1. Playwright Miles Harvey 2. Director Edward Torres, Artistic Consultant Kelli Simpkins, Artistic and Educational Director of SYA Hallie Gordon 3. Members of the artistic team and cast of HLWIC; foreground — actor Mark Ulrich
2.
HG: Can you tell us about the title of the play, How Long Will I Cry?
MH: The title is from a passage in the Old
3.
Testament of The Bible. A prophet goes and speaks to God during a violent time and he says: O Lord, how long will I cry, and you will not hear? I cry out to you “Violence!” and will you not save? (Habakkuk 1:2) I liked the two meanings of cry: to grieve and to protest. That encapsulates what we are trying to do. The play is a record of the
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Feature
Profile of a Now Is The Time Teen, Melanie photographer Peter Andersen
Melanie is a junior at Prosser Career Academy and a member of Steppenwolf’s Young Adult Council, an after-school program for theater enthusiasts. She is profiled as part of a Now Is The Time (NITT) documentary being created by film maker Bill Ward. She is also a core leader of the Now Is The Time’s Teens at the Table, a series of town-hall meetings that Melanie and her peers are hosting with representatives from Chicago’s educational, legal, restorative-justice and lawenforcement communities to ask questions and learn about what is being done to address youth violence in Chicago. To see videos of Melanie’s work with NITT this year, please visit nowisthetimechicago.org.
In your own words, how would you describe Now Is The Time?
Why should other teens, teachers and schools join Now Is The Time?
NITT is becoming a movement. Everywhere, there is injustice among Chicago youth and NITT is serving as a sign, as a beckoning call to the city saying, “We’re here, and we’re not going anywhere till things change.” It’s radical and different and everything we need right now.
Others should join NITT because something as profound as this initiative can’t be done on a small scale. If you’re going to dream big, you have to go all the way with everything you have because lives are depending on it. If people want to get involved, they should start by talking and listening to one another about what’s really going through their minds when they see a slain kid make the 9 o’clock news.
How did you get your school, Prosser Career Academy, involved in NITT this fall?
I introduced NITT to Prosser at an assembly this fall. I was asked to introduce what I do as a young person involved with NITT and to give the crowd a little insight into how violence in Chicago looks from my perspective. The reason I was so inclined to share the initiative with my peers is because I want them to see that violence doesn’t have to control them, that they didn’t have to live in fear anymore. They have a voice and that voice has power. They can rise above.
Why is this initiative important to you? To teens? To the city of Chicago?
This initiative is important to me because I firmly believe that people should have a voice and an opinion on what’s going on in the city they live in. It should be important to teens because it’s happening to them. Chicago should care because we’re better than this. This is a city that can be so much stronger. It can be a symbol of hope and resistance against violence in the country and around the world. But it isn’t just about the glory of it all, it’s about people loving people and being willing to save each other instead of the opposite.
Tour Schedule* *Subject to change
How Long Will I Cry?: Voices of Youth Violence – Tour to Chicago Public Libraries Steppenwolf for Young Adults is proud to partner with Chicago Public Library (CPL) and Gary Comer Youth Center for a weeklong tour of How Long Will I Cry? featuring performances of the play at eight CPL branches, with workshops and discussions for the public to follow each performance. Free of charge, all ages welcome. Monday March 11, 2013
Wednesday March 13, 2013
Thursday March 14, 2013
11am Woodson Regional Library 9525 S Halsted St, 60628 312-747-6900
11am Little Village Branch 2311 S Kedzie Ave, 60623 312-745-1862
5pm West Englewood Branch 1745 W 63rd St, 60636 312-747-3481
5pm Gary Comer Youth Center (in partnership with Chicago Public Library Greater Grand Crossing Branch) 7200 S Ingleside Ave, 60619 773-358-4100
11am Harold Washington Library Center 400 S State St, 60605 312-747-4780
Tuesday March 12, 2013 11am Austin Branch 5615 W Race Avenue, 60644 312-746-5038
5pm Whitney Young Branch 7901 S King Dr, 60619 312-747-0038 Saturday March 16, 2013 11am Humboldt Park Branch 1605 N Troy St, 60647 312-744-2244
Please visit steppenwolf.org for more information about the tour.
A special thank you to Michael Rohd for all the help and support in planning our Teens At the Table series.
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PHotographer Joe l Moor man
Feature
Somebody Better Say Something By Mama Brenda Matthews
My eyes cry salty tears My soul yearns to see something different Who do we blame Whose fault is it I walk down Westside streets With broken beer bottles and whiskey bottles under my feet As glass and garbage cans replace flowers and grass The 2900 block of West Lexington Had become the dope express Cars block the streets stopping traffic As heroin and crack consumers Make their way to the Wal-Mart of dope spots
Young Adult Council 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 theater enthusiasts and practitioners.
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Or visit steppenwolf.org/ youngadultcouncil for more information.
We got churches on every corner And lots of Arabs’ stores too The police Right up the street And liquor stores That have something for the whole family Half pints and forties-For those who like cocktails After a day of washing windshields Or begging loose change
Join us for the 2013/14 Season. Applications are available on March 1, 2013.
Like the Steppenwolf Young Adult Council on Facebook
A better bang for your buck A bigger blow for your nose Ready rock Ready rock Just park stop and blow
Foundation support is provided by The Siragusa Foundation.
We have Tops Tops for all the brothers and sisters who swear
That reefer is an herb And will heal any sickness known to mankind There is candy for the children Milk for the babies And Hoghead cheese For those needing a quick snack Somebody better say something Somebody better do something Somebody better feel something
Have we become numb Have we choked in our own vomit And died a hopeless case of I don’t care no more Has fear locked up our minds Are we once again bound by slavery A slavery we created for ourselves So we let our children die With no explanation Or no recourse Somebody better say something Somebody better do something Somebody better feel something
We have families without fathers We have families without husbands We have families without men We have children Who have never laid eyes on their daddy Because it was never about the baby But all about the booty call with daddy’s boo
Now we have sisters having babies Talking about I don’t need a man I’m gon’ take care of me and mine Yet we see these same sisters Or these stupid talk shows Trying to prove paternity Crying like a fool Talking about I don’t know Who my baby daddy is And you’ve done tested three on the show already Somebody better say something Somebody better do something Somebody better feel something
We blow our money on casinos On lotto’s We buy top shelf alcohol We drive the fanciest cars We wear the most expensive clothes We’ve cornered the market On five dollar rocks and ten dollar blows Our boys have become ballers Ad our girls The rappers and the community Calling them hoes Somebody better say something Somebody better do something Somebody better feel something Before it is too late
Mama Brenda Matthews is a poet and community activist on the West Side.
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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 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.
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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
Tina Landau
Martha Lavey
Tracy Letts
John Mahoney
John Malkovich
Mariann Mayberry
Tarell Alvin McCraney
James Vincent Meredith
Laurie Metcalf
Amy Morton
Sally Murphy
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
Tim Hopper
Tom Irwin
Ora Jones
Terry Kinney
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We gratefully acknowledge the contributions of those who provide significant support for Steppenwolf for Young Adults during the 2012/13 Season.
Grand Benefactors $100,000+ The Steppenwolf Auxiliary Council* Benefactors $50,000 – $99,999 Alphawood Foundation The Smart Chicago Trust Fund at the Chicago Community Trust The Crown Family‡ Polk Bros. Foundation JPMorgan Chase & Co. Target Producers $25,000 – $49,999 Paul M. Angell Foundation Patrons $10,000 – $24,999 Henry and Leigh Bienen Helen V. Brach Foundation CNA Financial Corporation Field Foundation of Illinois Lloyd A. Fry Foundation Michael G. Hansen and Nancy Randa John H. Hart and Carol Prins Northern Trust Charitable Trust Dr. Scholl Foundation
Sustainers $5,000 – $9,999 Robert and Isabelle Bass Foundation, Inc. Illinois Tool Works Inc. Lynn Lockwood Murphy and Barrett B. Murphy Mr. and Mrs. Robert Parkinson, Jr. Deborah and Stephen Quazzo Siragusa Foundation Nina B. Winston Sponsors $2,500 – $4,999 Michael Bender and Sheridan Prior Robert G. Clark Kent and Liz Dauten Richard and Catherine Gottfred Martha Lavey Janet Melk Kenneth J. Porrello and Sherry L. McFall Carla Young
This program is partially supported by a grant from the Illinois Arts Council, a state agency, and by a CityArts Program 4 grant from the City of Chicago Department of Cultural Affairs and Special Events.
photographer Kyle flubacker
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Guarantors $1,000 – $2,499 Nicole Bell Leslie Bluhm Mr. and Mrs. Scott Byron Fran and Kenneth Camp Joyce Chelberg Anne and Thomas Cox Michael Davis Philip H. Corboy Foundation Chris and Karen Dickerson Amy Eshleman and Lori Lightfoot Rich and Margery Feitler Scott and Rita George Mark and Greta Giesen Gordon and Wendy Gill James and Dianna Goldman Mrs. Louise Hart Illinois Humanities Council Terry Kinney Michele C. Mayes Mr. and Mrs. Steve Monieson Sherry and Bob Reum Randy and Betsy Rochman Eve and Randy Rogers George and Kimberly Ruhana Ralph Senst and Karen Zelden Stephanie B. Smith and Gerald Smith Evonne Taylor
‡ 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.
How Long Will I Cry?: Voices of Youth Violence is a Steppenwolf for Young Adults contribution to Now Is The Time. Funding for Now Is The Time is provided by the Hive Chicago Learning Network through the Smart Chicago Collaborative, a joint project of The Chicago Community Trust, the John D. and Catherine T. MacArthur Foundation and the City of Chicago. Please visit nowisthetimechicago.org.
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Steppenwolf Staff
Board of Trustees
Martha Lavey
Terry Kinney, Jeff Perry and Gary Sinise
David Hawkanson
Artistic Director
Executive Artistic Board
Executive Director
Artistic
PAUL G. MILLER
JOEL MOORMAN
Erica Daniels
Executive Assistant
Digital Content Producer
Associate Artistic Director
Lupe Garcia Quiles
Alicia graf
Rebecca Rugg
Events Management Associate
Marketing Assistant
Artistic Producer
Angela johnson
TAMARA TODRES
Aaron Carter
Office Management Associate & Receptionist
Director of Audience Services
Jackie Snuttjer
Audience Services Manager
Literary Manager
Jacob g. padrÓn Associate Producer
Nick Ward Casting and School Associate
Tracy Letts Amy Morton Anna D. Shapiro Jessica Thebus
Finance Specialist
Development SANDY KARUSCHAK
JIMMY FREUND STEPHANIE HELLER Audience Services Subscription Manager
Director of Development
Mike brunlieb MATTHEW LYLE
Emilie De Angelis
Audience Services Supervisors
Director of Campaign Gifts
Molly Layton
Associate Artists
BROOKE EISENMENGER
Group Sales Associate
Sheldon Patinkin
Director of Major Gifts
ROSEANN BISHOP
ERIC EVENSKAAS
Subscriptions and Audience Services Assistant
Artistic Consultant
Steppenwolf for Young Adults
Director of Individual Giving and Donor Services
Megan a. Smith
Hallie Gordon
Director of Corporate Relations
Artistic and Educational Director
DEBORAH STEWART
Megan Shuchman
Director of Foundation and Government Relations
Craig barnes Billie bryant Rebecca Butler Derrik Dickinson Reynaldo dumas Joshua Goode LACEY HOLMES SOTIRIOS LIVADITIS Neel McNeill sarah nelson sarah tongren
Education Manager
KENDRA VAN KEMPEN
Lauren Sivak
Director of Special Events
Education Assistant
JESSICA GRETCH
Amanda Jane Dunne Ali hoefnagel Marie Cisco l’oreal jackson Michael Leon Blake McKay NIcole Ripley Ashley roberson Samuel roberson Emilio Robles
Individual Giving Coordinator
Special Events Associate
Physical Plant Supervisor
LOUISE GERAGHTY
Peter van kempeN
Teaching Artists
Donor Relations Associate
Operations Coordinator
Eric van tassell
Adrian castro Padam dhungel RYAN PALMA
Administration David M. Schmitz Managing Director
Rachel D. Freund
KALEIGH LOCKHART Development Coordinator
Suzanne Miller
JAY JUSSAUME Director of Operations
Lauren Fisher
Antonio Ibarra
Corporate Relations Associate
Marketing, Publicity & Audience Services JOhn Zinn
Heather C. Joireman
Director of Marketing and Communications
Scott Macoun IT Director
Erin Cook Company Manager
Kate holst Test
jeffrey fauver Communications Director
paul Koob Design Director
Facilities Staff
VICTOR DAVID Tika Ram Kafley Jerome lee Ethan ozaniec Bhagirath timsina Custodial Staff
EVAN HATFIELD Director of Audience Experience
Front of House Staff
MUSTAFA CHAUDHRY DONALD COULSON Indra Kafley
Volunteer Usher Coordination
Production AL FRANKLIN Production Manager
DIXIE UFFELMAN Associate Production Manager
RUSSELL POOLE Technical Director
Robert S. Brown
Lisa Frye Graphic Designer
Assistant Audio Engineer
J. R. LEDERLE Lighting Supervisor
ERNESTO GOMEZ
Stage Managers
Call Center
Scene Shop Foreman
Associate Campaign Director
christopher aler christopher grubb kyle land
Audience Outreach Supervisor
Scenic Carpenters
Melissa rutherfoord Charge Scenic Artist
Jenny DiLuciano Properties Master
ANDRIA SMITH Assistant Properties Master
CHARLES MOSER Master Properties Artisan
RICK HAEFELE House Carpenter
DAWN PRZYBYLSKI Stage Carpenter Costume Director
IT Associate
Audio Engineer
GREGOR MORTIS
CASEY VANWORMER
MAE HASKINS
Samar Sharba
Staff Wardrobe
MARTHA WEGENER
ROGELIO RIOJAS
Jennifer Betancourt Ron Bogacki Adelina TrevinoBradshaw Ashten Burris Jesse Cannady Kelsey Chigas
Marketing Manager
Wardrobe Supervisor
Melissa tulchinsky
Assistant Technical Director
erika Nelson
Finance Coordinator
Staff Draper
JESSICA STRATTON
House Electrician
Elana Boulos
jamie alexander
lynae vandermeulen
MALCOLM EWEN CHRISTINE D. FREEBURG LAURA D. GLENN MICHELLE MEDVIN kim osgood ROSE MARIE PACKER Jonathan Nook KATHLEEN E. PETROZIELLO deb styer cassie wolgamott
SYA House Manager
Associate Director of Marketing
Shop Foreman
Jack Miggins, THE SAINTS
Digital Assets Director
Brian Hurst
KEVIN PETERSON
Parking Staff
CARYN WEGLARZ KLEIN
THOMAS WEITZ
Human Resources and Professional Leadership Programs Coordinator
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Operations
Donor Services Coordinator
Director of Finance Events Management Director
Audience Services Associates
Autumn Cranor Amber Dettmers Daniel Dvorkin Sarah Goldberg Bridget Holmes Michelle Jacobson Chase Kimball Jessica Lind Michelle Maurer Mike Mroch Emma Palermo Melissa Rose Danielle Shindler Elissa Shortridge Dan Smeriglio
Assistant Costume Designer
LAUREL CLAYSON Head Draper
Daisy lindas Outside Project Coordinator
Ali Hoefnagel SiDNEY CRISTOL rob dieringer CHARLES FRYDENBERG deborah granite julia guettier MARILYN HILLARY Terrence Mosley Tiffany Rae Wilson Daniel rubens
Executive Committee Nora Daley, Chair Eric Lefkofsky, Secretary Paul W. Goodrich, Treasurer Henry S. Bienen Carole L. Brown Douglas R. Brown Michael Cahan Elizabeth H. Connelly Lynn Lockwood Murphy Kenneth J. Porrello Deborah H. Quazzo Randall K. Rowe Bruce Sagan Harry J. Seigle Stephanie B. Smith John R. Walter Helen Zell
Trustees Sarah Beardsley Michael W. Bender Terri L. Cable Keith Cardoza Beth Boosalis Davis Kim Davis J. Scott Etzler Rich Feitler Nene Foxhall Scott P. George Lawrence M. Gill Robert J. Greenebaum, Jr. Caryn Harris John H. Hart George A. Joseph Donna La Pietra Martha Lavey Ronald J. Mallicoat, Jr. Janet Melk Christopher M. Murphy David C. Pisor Merle Reskin Michael R. Salem John R. Samolis Manuel “Manny” Sanchez Anna D. Shapiro Colette Cachey Smithburg
Emeritus Trustees J. Robert Barr Lawrence Block John N. Fox, Jr. Gloria Scoby Past Chairpersons William L. Atwell Larry D. Brady Douglas R. Brown Laurence Edwards John N. Fox, Jr. Elliott Lyon Gordon Murphy William H. Plummer Bruce Sagan Gloria Scoby Donna Vos
Audience Outreach Associates
Peter Andersen Fatimah Asghar Nikki Blue Carlene Descalo Kelsy Durkin Geno Franco Patrick French Lindsay Fussell Joshua Goode Neel McNeill Kelsey Munson Rebecca noble Marie Quinn Peter Schmidt Michael Tutino Anne Walaszek Jon Woelfer Apprentices
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Accessibility at Steppenwolf
Auxiliary Council
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.
Chicago’s Premier Young Professional Group
• 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
Connect with a community of more than 100 dynamic young professionals. Help raise critical funds in support of Steppenwolf for Young Adult’s important programming . Volunteer your time with Steppenwolf for Young Adults and provide mentorship to members of Steppenwolf’s Young Adult Council. Share our mission to make a difference for the next generation of theater enthusiasts. Join Today—Membership starts at only $75! Call 312-654-5623 or e-mail auxiliarycouncil@steppenwolf.org
save the date
For the Auxiliary Council’s signature fundraising event, The Red or White Ball on April 5. Visit steppenwolf.org/rowb for more information!
Stage Manager Malcolm Ewen assists Alberta O’Shaughnessy and George Hedges, Subscribers who are visually-impaired, during the touch tour for Edward Albee’s Who’s Afraid of Virginia Woolf?
Steppenwolf Customer Service Tips Driving to Steppenwolf? 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. 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. 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.
Latecomers will be seated at the discretion of the House Manager. The theater reserves the right to limit admission of children under 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.
Learn more at nowisthetimechicago.org
Now Is The Time is a citywide call to action against youth violence and intolerance. As part of this initiative, a group of young people involved with the Now Is The Time theater coalition, Now Is The Time to ACT, has created Teens at the Table. Teens at the Table is hosting town hall forums on youth violence and wants you to join the conversation. Join us for the next Teens at the Table meeting on February 28. Visit nowisthetimechicago.org for more information about upcoming Teens at the Table events. Need help? Resources are available! If you or someone you know has been personally affected by violence and is looking for resources, please visit our NITT website at nowisthetimechicago.org/resources and click the link for a comprehensive list of organizations and services available in the Chicagoland area. follow @nowisthetimechi
facebook.com/nowisthetimechicago
Funding for Now Is The Time is provided by the Hive Chicago Learning Network through the Smart Chicago Collaborative, a joint project of The Chicago Community Trust, the John D. and Catherine T. MacArthur Foundation and the City of Chicago.