for YOUNG ADULTS
LEVELING UP
A COMEDY-TURNED-THRILLER ABOUT A RUSSIAN FAMILY STRIVING FOR THE AMERICAN DREAM.
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CONTENTS Welcome to Leveling Up
Letter from Steppenwolf for Young Adults Artistic and Educational Director Hallie Gordon
Hallie Gordon Interviews Clancy McCartney
Edited by Associate Education Director Megan Shuchman
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The History Behind and Future of Drone Warfare
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Meet the Leveling Up Avatars
Article by Steppenwolf For Young Adults Apprentice Lexy Leuszler
N A I S S U R TRANSPORT , 2014 1 1 Y A M – 6 Y R A U FEBR
E D I TO R
C O N T R I B U TO R S
DESIGN
N E E L McN E I LL
HALLI E GOR DON
S H I LLA S HAKOOR I
BY ERIKA SHEFFER DIRECTED BY ENSEMBLE MEMBER YASEN PEYANKOV
TICKETS START AT JUST $20.
Buy online at steppenwolf.org or call 312-335-1650.
Cast Members
EVAN HATFI E LD
CAROLYN B RAVE R
LEXY LE US Z LE R
J E R RY M ac KI N NON
SUZAN N E M I LLE R
CLANCY M c CARTN EY
JOE L MOOR MAN
JJ PH I LLI PS
MEGAN SHUCHMAN
Photographer SAVE R IO TR UG LIA
LAU R E N S IVAK
Featuring ensemble members TIM HOPPER, MARIANN MAYBERRY and ALAN WILDER with AARON HIMELSTEIN and MELANIE NEILAN
COVE R
TO A D V E R T I S E Contact: smARTMagazines/smARTSponsorships Bryan Dowling 773-360-1767 or bryan@media8midwest.com
This program is printed on FSC ® certified paper with the use of soy-based inks. Corporate Production Sponsor
CONTENTS 3
Martha Lavey†* Artistic Director
David Hawkanson Executive Director
Hallie Gordon Artistic and Educational Director of SYA
S T E P P E N W O L F F O R Y O U N G A D U LT S P R E S E N T S
Sponsor of 2-for-1 Matinees
LEVELING UP BY DEBORAH ZOE LAUFER DIRECTED BY HALLIE GORDON
Major foundation support for the Steppenwolf for Young Adults is provided by the Polk Bros. Foundation Alphawood Foundation The Individual Consortium of Sponsors for Steppenwolf for Young Adults is comprised of John H. Hart and Carol Prins Lynn Lockwood Murphy and Barrett B. Murphy Nina B. Winston
F E AT U R I N G
CAROLYN B RAVE R, J E R RY M ac KI N NON*, CLANCY M c CARTN EY*, JJ PH I LLI PS* PRODUCTION B R IAN S I D N EY B E M B R I DG E Scenic Design and Costume Design
Steppenwolf’s Auxiliary Council, a community of dynamic young professionals, dedicates their support to Steppenwolf for Young Adults.
J.R. LE D E R LE Lighting Design
Steppenwolf for Young Adults is a citywide partner of the Chicago Public Schools (CPS) School Partner Program.
AN NA H E N SON Projections Design
R ICK S I M S Sound Design RYAN BOU RQU E Fight Choreographer E R ICA DAN I E LS° Casting Director JONATHAN NOOK* Stage Manager
Major corporate supporter of Steppenwolf’s career readiness and Professional Leadership Program
Orginally Produced by Cincinnati Playhouse in The Park Blake Robinson, Artistic Director/Buzz Ward, Managing Director
Development of Leveling Up was supported by the Eugene O’Neill Theater Center during a residency at the National Playwrights Conference 2011 Preston Whiteway, Executive Director Wendy Goldberg, Artistic Director
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 CONTENTS
CONTENTS 5
Looking for a
WE L C O M E T O
LEVELING UP
NEW WAY YOUTH to give your
access to theater?
Dear Friends, Over the past couple of months, I have tried very hard to get interested in video games. This has been my quest, if you will, in preparation for this show, as I am not by nature a gamer. I have played Bioshock with my son, I have felt the stress of killing and being killed by a zombie. The staff at Steppenwolf even put together a video game party for me with three televisions playing Grand Theft Auto, the other Mortal Kombat and, on the lighter side, Guitar Hero. I have played Call of Duty, Mario Cart, Candy Crush (which is now ruining my life), Mine Craft and a number of others. The most extreme foray on this quest has been buying an Xbox console for my kids (and, let’s face it, my husband), all in a sustained effort to better understand and connect to the world of games. I’m still trying… but I mostly find myself ill-equipped to handle the multi-tasking of the controls and the narrative of these games, many of which I find a little dizzying in their complexity. But I watch a little in awe as my 12-year-old maneuvers gracefully and intuitively through the virtual dark worlds of aliens, zombies and superheroes. As I do the dishes, I’ll hear him in the next room, talking on his headset to his school friends as they play Mine Craft. They collaborate across space—building ever-more elaborate worlds and fighting off Creepers. He plays well with his friends, in a sprawling, pixilated world of their own manufacture. In fact, at the Steppenwolf gaming party, I saw a lot of people play well together, my staff included. There is something about playing video games that brings people together in a way I confess I had not expected. I have definitely learned that gaming is not so isolating as I had taken it to be. On the surface, Leveling Up might seem to be about gaming, but for me it’s actually an intimate and very human play about growing up, forging your identity and understanding that your actions can often have
Give your students a
very real consequences—the backdrop for which is video games and the culture of gaming. This play is not about “video games are good vs. video games are bad.” Taken to extremes, everything can be bad for you. But the play does examine how a group of kids use video games as a crutch to such an extent that real interaction becomes difficult and even painful without a controller in hand. The other side to this story is a look into our present and future relationship to warfare. The generation sitting in these seats watching this play will have a very different sense of war and its implications than we do right now. The play asks “What are the emotional consequences of creating real chaos and death while seated comfortably in an air-conditioned room hundreds or thousands of miles away, while listening to orders over a headset? What happens when we remove all sense of personal danger from the conduct of war, but are still able to kill ‘enemies’ by the score? Do the choices that war demands become easier when we’re able to rain down fire and death by toggling a joystick?” Though the play cannot fully answer these questions, it does offer a peek into this emergent and evolving series of questions about how we fight wars. Leveling Up represents a new slice on the question that Steppenwolf for Young Adults is asking this year: ”When the game turns deadly, how will play?”
Hallie Gordon Artistic and Educational Director, Steppenwolf for Young Adults
BACKSTAGE PASS to learn about careers in the arts.
BEHIND THE SCENE: Steppenwolf’s Community Engagement Program for Teens
DESIGNED FOR PROGRAMS THAT WORK WITH TEENS, BEHIND THE SCENE IS AN EXCLUSIVE LOOK AT THE STAFF AND ARTISTS AT STEPPENWOLF THEATRE COMPANY AND HOW THEY CONTRIBUTE TO THE WORK ON STAGE. JOIN US FOR THESE PRIVATE PRE-SHOW EVENTS AND THEN STAY FOR THE SHOW.
$10 TICKETS
6 WELCOME
• FRIDAY, MARCH 7, 2014 AT 6PM: LEVELING UP
(with teen event to follow after)
Call 312-335-1650 and use code 13800 to book tickets. Questions? Contact LAUREN SIVAK at lsivak@steppenwolf.org.
CAST AND CONTRIBUTORS C A S T (in alphabetical order)
A D D I T I O N A L S TA F F
CAROLYN B RAVE R Jeannie
PAU L D E Z I E L, M ICHAE L STAN FI LL Assistants to Projections Designer
J E R RY M ac KI N NON* Chuck
VAN E SSA R U N D LE Projections Operator
CLANCY M c CARTN EY* Ian
J E FFR EY LEVI N Sound Board Operator
JJ PH I LLI PS* Zander
AJ LITTLE FI E LD Wardrobe D E S I R E E AR NOLD Properties
U N DE R STU DI ES PH I LI P D E G UZ MAN Chuck
KEVI N DWYE R Stage Management Apprentice
ROB E RT HOPE Ian AN N I E M U NCH Jeannie COLE O’B E I R N E Zander
SETTING Present Day. Nevada.
INTERMISSION There will be no intermission. There will be a post-show discussion immediately following the performance.
* member of Actors’ Equity Association, the union of professional actors and stage managers.
As a courtesy to the actors and your fellow patrons, please turn off your cell phones before the performance and after the intermission. The taking of photographs and the use of any type of recording device are not allowed in the theater during performances and is a violation of state and federal copyright laws. Digital media will be deleted, and tape or film will be confiscated.
The Scene is a special opportunity for high school students to score an affordable ticket to a Steppenwolf production, meet Chicago’s most celebrated artists and connect with other teens who are passionate about theater. Each ticket includes dinner and post-show discussion with the actors. TICKETS ARE $10 – $15 (CAN ONLY BE USED DURING THE TEEN EVENT SERIES) All performances take place at 1650 N Halsted St Must present student ID at door Purchase tickets at the door 30 minutes before the show, or in advance by calling Steppenwolf Audience Services at 312-335-1650. Use code 14073. Questions? Please contact Steppenwolf for Young Adults Education and Community Programs Coordinator Lauren Sivak at 312-654-5643 or lsivak@steppenwolf.org. Foundation support is provided by The Siragusa Foundation.
8 CAST AND CONTRIBUTORS
UPCOMING EVENTS LEVELING UP
FRIDAY, MARCH 7, 2014 AT 7:30PM
THE WAY WEST
SATURDAY, APRIL 26, 2014 AT 7:30PM
BIOS
LEVELING UP
1.
J E R RY MacK I N N O N (Chuck) is very grateful to be a part of this Steppenwolf for Young Adults production. His previous credits include The Knowledge (Steep Theatre Company); and the Boston, Massachusetts run of columbinus (American Theater Company). “Thank you mom and dad for keeping me focused and showing your love everyday.”
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IN REHEARSAL
1. CAST MEMBER JERRY MacKINNON 2. CAST MEMBER CAROLYN BRAVER AND JJ PHILLIPS 3. CAST MEMBERS JJ PHILLIPS, JERRY MacKINNON AND CLANCY McCARTNEY 4. CAST MEMBER CAROLYN BRAVER
5. PHOTOGRAPHER JOEL MOORMAN
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C A R O LY N B R A V E R (Jeannie) dropped everything and moved to Chicago after seeing Edward Albee’s Who’s Afraid of Virginia Woolf? on the Steppenwolf Theatre Company stage with dreams of performing here someday, so you are watching her dreams come true. Chicago credits include Princes of Waco (Signal Ensemble Theatre) and The Knowledge (Steep Theatre Company). Television credits include Chicago Fire (NBC). “So much thanks to everyone involved, Hallie, the Steeple, my family, Josh, and the lovely people at Stewart Talent”.
5. CAST MEMBER CLANCY McCARTNEY
C LAN CY M c C A R T N E Y (Ian) is overjoyed to be back working with Steppenwolf Theatre Company where he was previously seen in The Book Thief. Other Chicago credits include Pleasant Dreams (Two Lights Theatre Company); The Knowledge (Steep Theatre Company); and Dark Play or Stories for Boys (Collaboraction Theatre Company). Television credits include Chicago Fire (NBC). “I want to thank all of my friends and family for without your love and support I would be nowhere”. J J P H I L L I P S (Zander) is honored to return to Steppenwolf Theatre Company where he last appeared in the Next Up 2012 production of Fat Pig. Other Chicago credits include The North China Lover, Bengal Tiger at the Baghdad Zoo (Lookingglass Theatre Company);
and Punk Rock (Jeff Award, Best Ensemble, Griffin Theatre Company). Upcoming productions include The History of Invulnerability (Milwaukee Repertory Theater). Television credits include Chicago Fire (NBC). JJ studied at The School at Steppenwolf and under Daniel Cantor at Northwestern University. “Love and gratitude to Hallie and Erica for this opportunity, and to my parents for their endless support. For Boppy”. DEBORAH ZOE L A U F E R (Playwright) is a recipient of the Helen Merrill Playwriting Award and the Lilly Award. Her latest play, Informed Consent, was commissioned by the Alfred P. Sloan Foundation and will premiere as a co-production between Geva Theatre Center and Cleveland Playhouse in 2014. Leveling Up premiered this year at Cincinnati Playhouse in the Park. End Days has received more than 50 productions, was awarded The American Critics Association Steinberg citation and appeared at Ensemble Studio Theatre through an Alfred P. Sloan Foundation Grant. It’s been produced in Germany and Russia, is listed in The Burns Mantle Yearbook as one of the best regional plays of 2008, and is published by Smith and Kraus in The Best Plays of 2008. Deborah’s plays Sirens, Out of Sterno, The Last Schwartz, Gulf of Westchester, Fortune, Meta and Miniatures have been produced at theaters around the country including Actors Theatre of Louisville’s Humana Festival, Portland Stage, Florida Stage, Marin Theatre Company and The Hippodrome Theatre with grants from The Edgerton Foundation and the NEA. A graduate of The Juilliard School, Deb is a two-time recipient of the LeCompte du Nouy grant from Lincoln Center Foundation. Her plays are published by Samuel French, and have been developed at PlayPenn, The Eugene O’Neill Playwrights Conference, Williamstown Theatre Festival, The Ojai Playwrights Conference, The Missoula Colony, The Cherry Lane Alternative, The Dramatists Guild Fellowship Program, New Georges, The Lark Play Development Center, Asolo Repertory Theatre and the Baltic Playwrights Conference. She’s received a National New Play Network rolling world premiere and an NNPN commission. She is a member of the BMI Lehman Engel Musical Theatre Workshop and The Dramatists Guild. deborahzoelaufer.com
BIOS 11
HALLIE GORDON (Director; 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. BRIAN SIDNEY BEMBRIDGE (Scenic and Costume Design) has designed the world premieres of Love Song, Wineburg Ohio, Wendall Greene, and Jesus Hopped the A Train at Steppenwolf Theatre Company. His extensive design credits in Chicago include work at Goodman Theatre, Chicago Shakespeare Theater, TimeLine Theatre Company, Lookingglass Theatre Company, The Second City, Court Theatre, Writers’ Theatre, Victory Gardens Theater, Teatro Vista, Northlight Theatre, Drury Lane Theatre, Ravinia Festival, Luna Negra Dance Theater and Civic Ballet. He has worked Off-Broadway at The Public Theatre, Second Stage Theatre, Jean Cocteau Repertory Theatre, Kids With Guns and Theatre at St. Clements. Internationally, Brian has designed at Theatre Royal Stratford East in London, Town Hall Theatre in Galway, Ireland and Illawarra Performing Arts Centre and Platform Hip Hop Festival in Sydney, Australia, among others. Regionally, his work has been seen at Guthrie Theater, Children’s Theatre Company, Milwaukee Repertory Theatre, Madison Repertory Theater, Pittsburgh Public Theater, Arden
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Theatre Company, Theatre Exile, Actors Theatre of Louisville, Alliance Theatre, Geffen Playhouse, Circle X Theatre, Opera Omaha and Virginia Opera. He has received six Jeff Awards, two LA Drama Critic Circle Awards, three Garland Awards, a LA Weekly Awards and an Ovation Award. Brian represented the United States at the Prague Quadrennial in 2011 with his design of The Elaborate Entrance of Chad Deity. Film production designs include Marie and Bruce, Holding Out, Stray Dog and Late For Church as well as sets for Muppets From Space. briansidneybembridge.com. J . R . L E D E R L E (Lighting Designer) also designed Lord of the Flies, The Book Thief, The Heart is a Lonely Hunter, Samuel J and K, To Kill A Mockingbird, The House on Mango Street, The Bluest Eye (also at New Victory in New York), Harriet Jacobs, The Water Engine (also at Theater on the Lake), A Tale of Two Cities, Winesburg Ohio, Division Street and Whispering City for Steppenwolf for Young Adults. His work has also been seen at Kansas City Repertory Theatre, Piven Theatre Workshop, Lookingglass Theatre Company, Victory Gardens Theater, About Face Theatre, Northlight Theatre, Remy Bumppo Theatre Company, Writers’ Theatre, Drury Lane Theatre, Walkabout Theater Company, Itinerant Theatre Guild, Indiana Repertory Theatre, and elsewhere at Steppenwolf, including Sex with Strangers. J.R. also designed lighting for seven years for the Steppenwolf Traffic series, and for five Steppenwolf performances in Chicago’s Millennium Park. He has served as head Lighting Supervisor at Steppenwolf Theatre Company since 1995. R I C K S I M S (Sound Designer) has designed sound for numerous Chicago area theaters such as Steppenwolf Theatre Company, Lookingglass Theatre Company, Congo Square Theatre, Writers’ Theatre, Lifeline Theatre, Griffin Theatre, Chicago Children’s Theatre, The Hypocrites, The House Theatre of Chicago, Court Theatre, American Theater Company, Victory Gardens Theater, Raven Theatre, Steep Theatre Company, Northlight Theatre and About Face Theatre. Regional credits include Icarus (Lookingglass Theatre Company commissioned by The J. Paul Getty Museum) and Gary (Boston Playwrights’ Theatre). Rick has won a Jeff Award for lyrics in Hephaestus (Lookingglass Theatre Company); and a BTAA award for Brothers In the Dust and Bulrusher (Congo Square Theatre); and has received several nominations for both awards. Rick is an artistic associate of Lookingglass Theatre Company and an associate designer with Aria Music Designs (Ray Nardelli and Josh Horvath). Rick also
wrote the book, music and lyrics for Hillbilly Antigone (Lookingglass Theatre Company). A N N A H E N S O N (Projection Designer) is delighted to join the Leveling Up team for her first production with Steppenwolf Theatre Company. Anna creates lens-based media in the form of projection design, narrative and non-narrative video, installation, and experimental performance, and has shown work nationally and internationally. Selected Chicago credits include 42nd Street (Paramount Theatre); The Glass Menagerie (MaryArrchie Theatre Co.); columbinus (American Theatre Company); Signs of Life (Victory Gardens Theater); and Freshly Fallen Snow (Chicago Dramatists). Additionally, her work has been seen at Goodman Theatre, Court Theatre, Defibrillator Performance Art Gallery, Syracuse Stage, Off-Broadway at 59E59 Theatres and Glasgow venues Tramway and The Arches. Based between New York City and Chicago, Anna is Adjunct Faculty in Projection Design at The Theatre School at DePaul University and holds an MFA from The Glasgow School of Art. annahenson. com R YA N B O U R Q U E (Fight Choreographer) Performing credits include Cyrano De Bergerac (Chicago Shakespeare Theater); The Mikado, Sophocles: Seven Sicknesses, Woyzeck, The Pirates of Penzance, (The Hypocrites); The Earl (The Inconvenience); and Cherrywood (Mary-Arrchie Theatre Co.). Fight choreography credits include Lord of the Flies, The Book Thief (Steppenwolf Theatre Company); Sweet Bird of Youth (Goodman Theatre); Hit The Wall, Fight Night, The Earl, Chicagoland (The Inconvenience); Appropriate, Equivocation, Oedipus El Rey, We Are Proud to Present a Presentation (Victory Gardens Theater); Romeo Juliet, Sophocles: Seven Sicknesses, Woyzeck (The Hypocrites); Hoodoo Love (The Collective Theatre Company Chicago); Moonshiner (Jackalope Theatre Company), Reverb (Redtwist Theatre); 25 Saints (Pinebox); Cyrano De Bergerac (Chicago Shakespeare Theater); Geography of a Horse Dreamer, Cherrywood (Mary-Arrchie Theatre Co.); Luther, Making Noise Quietly In the Dark and Festen (Steep Theatre Company). As a freelance photographer Ryan captures dance, theater, music and other artistic works for TimeOut Chicago. He is a company member to The Inconvenience and The Hypocrites. “Thank you to my family and friends for your love and support.”
J O N A T H A N N O O K * (Stage Manager) is delighted to return to Steppenwolf Theatre Company, where he has worked on productions of Buena Vista, The Drunken City, South of Settling, Want, Closer Than I Appear and No Sugar Tonight (both featuring Jeff Garlin), Animals Out of Paper, The North Plan and Sex with Strangers. Chicago credits include The Upstairs Concierge (Goodman Theatre); To Master the Art (Chicago Commercial Collective); Collected Stories, Waiting for Lefty (American Blues Theater); Invisible Man, Orlando, Sizwe Banzi is Dead, The Year of Magical Thinking, Ma Rainey’s Black Bottom, The Piano Lesson (Court Theatre); Radio Macbeth (SITI Company/Court Theatre); The North Plan (Theater Wit); and Freshly Fallen Snow (Chicago Dramatists). M A R T H A L A V E Y (Artistic Director) has been an ensemble member since 1993 and has appeared at Steppenwolf Theatre Company in more than 20 productions. 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, Doris Duke Charitable Foundation, 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. D A V I D H A W K A N S O N (Executive Director) prior to Steppenwolf Theatre Company was the Managing Director of Guthrie Theater in Minneapolis, Minnesota, under the artistic leadership of Joe Dowling. Before the Guthrie, he served for eight years as the Managing Director of Hartford Stage in Connecticut with Artistic Director Mark Lamos. Earlier in his career, he was Managing Director of Arizona Theatre Company. He is a former senior staff member at the National Endowment for the Arts and subsequently chairman of its Theater Program. He has also had an active career as an arts management consultant and trustee for many national organizations and foundations. He currently serves as a trustee of the League of Chicago Theatres and the Arts Alliance Illinois. He is a graduate of Lawrence University.
BIOS 13
HALLIE GORDON, DIRECTOR OF LEVELING UP SAT DOWN WITH CLANCY McCARTNEY, PLAYING IAN, TWO WEEKS BEFORE THE START OF REHEARSAL.
C M: In grammar school, my mom was a single mom who always had to work until 5pm. So, every day, I went to an after-school program for several hours where they had a small TV in the corner with an original Nintendo. There was a sign-up sheet where you could put your name down to play for 10-15 minutes. I began to love gaming. At one point, I remember finding a magazine, Nintendo Power, which previewed all the new games and systems that were coming out. I would look through Nintendo Power and cut out pictures from upcoming games to post on my wall and think about how cool it all seemed. H G: What made you keep gaming? C M: I was never good at sports. I was asthmatic. I was smaller than other kids. I didn’t like physical aggression… and so with sports and physical games, I could never win. But with videogames, I could. I could compete and win and be around other people and have fun with something that didn’t require physical effort. H G: How do you connect to your character, Ian?
Photographer Lauren Sivak
H a l l i e G o r d o n: What was your initial impression of Leveling Up? C l a n c y M c C a r t n e y : From the first read, I really liked it because I have never read or seen something that addresses videogame culture in this way, particularly by talking about not only the appeal of games, but some of the problems that arise from them. There is a lot of stigma surrounding videogames and this play speaks to that. H G: What is that stigma about? C M: Videogames and gamers represent a world a lot of people don’t understand so they see it as
14 FEATURES
entirely negative, which I don’t think is deserved. Videogames can be a good thing. In videogames, there’s a problem that needs to be solved, there’s cognitive thought involved, there’s a requirement for an intense amount of focus. Plus, some videogames have really wonderful characters and rich story lines. My favorite videogame, Final Fantasy X, involves moving through a beautiful, colorful, complex world in which you explore themes of friendship, religion, love and sacrifice. There’s a lot to be gained and learned from these sorts of games. H G: What was your first experience playing videogames?
C M: High school was a tough time for me and games provided an escape. I liked games because I could enter a world that I liked better than the one I was living in at the time. In Ian, I can see clearly that he has done the same thing. He also plays games to escape. But, for me, playing games as much as I did made it hard to interact with people socially. I began to be stigmatized. So while I connect to Ian, the difference between us is that, unlike Ian, there was a point in my life when I realized the amount of gaming I was doing wasn’t healthy and I stopped. In our play we see that Ian hasn’t stopped, he hasn’t gotten out. H G: With videogames, like acting, when you play you become another character. Was that part of the draw for you? C M: Always. I was very drawn to the idea of living in another world or realm. For a teenager, the world you live in can seem terrible and unappealing. And then with games, you have a magical world in front of you that you want to dive into. But, once I started going out in the real world and facing my fears, I started to change my perspective on life. I started to realize what a wonderful, amazing, beautiful place this world actually is and I began to see real life as better than any videogame.
H G: In the play, your character, Ian, is recruited by the National Security Agency (NSA) to fly unmanned drones. Does he realize the full extent of what he is doing? C M: If he does, he’s burying it away pretty thoroughly. Ian is challenged by his friends to move away from videogames and out into the world, to get a real job. But that’s terrifying to him. So when he has an opportunity to get a job that relates to what he feels safe and secure doing [gaming], he is quick to shut down any voice of opposition, because he sees this job as his only option. And plus, and I’m sure others can relate to this, it’s impressive to be that good at something, no matter what it is. To be recruited by the US military, for them to come to him, it proves that all his gaming, everything he has done to this point, is not a waste. I can relate to that because when I gave up videogames, I felt I was throwing hours of my life down a well. After so much gaming, you don’t want to feel like you’ve spent all that time for nothing. H G: We are doing this play primarily for high school students. What do you hope they get from seeing it? C M: I hope everyone can relate to the play in some way. One thing I believe everyone can connect to is in the title, Leveling Up: the idea of constantly leveling up in life, of increasing your power or getting more money or being promoted or gaining more responsibility. Everyone can relate to wanting that. I also hope people will be able to relate to Ian and all the characters in this play. This is a story about a group of young people struggling to find themselves in the world. They have fears that are holding them back from moving forward and growing up but, for the most part, they all want to level up. To me, the play says, “Don’t let certain things become crutches and escapes for you so that you don’t go out and live in the world.” I hope people get that. H G: I can’t wait to start rehearsing in a few weeks. C M: Me either. I’m excited to dive in.
FEATURES 15
For further information about the play, please explore the Steppenwolf for Young Adults’ study guide. Study guides are available for all teachers attending the production and accessible for all for free on our website at steppenwolf.org/sya. Commonly referred to as “drones,” the use of unmanned aerial vehicles by both the US military and government organizations such as the Central Intelligence Agency (CIA) and National Security Agency (NSA) have sparked controversy around the ethics and cost of the use of such vehicles. Originally constructed for surveillance purposes only, the first unmanned aerial vehicle called the Firebee was used by US forces in Vietnam. Military officials were incredibly successful in tracking and viewing potential surveillance targets with initial drone types but soon grew frustrated with the inability to fire weapons from the drones. In response to these frustrations, in the 1990s, the popular Predator drone was developed with the ability to launch highlyexplosive Hellfire missiles (used to destroy heavy tanks and artillery) at specific targets. On November
3, 2002, the first recorded targeted drone strike by the CIA killed six targets suspected of participating in al Qaeda and posing a US security threat in the country of Yemen. President Obama recently admitted to civilian deaths in Yemen, Somalia and Pakistan attributed to drones. From 2004 - 2013, there have been 455 estimated strikes in those countries resulting in an estimated 4,061 deaths of both civilians and enemy combatants.
development means faster, stronger, stealthier and possibly invisible drone vehicles. The use of drone technology changes the face and nature of warfare on many levels from the ethics around a soldier conducting combat thousands of miles from the actual frontlines to the nature of post-traumatic stress disorder many soldiers face from flying drones and facing the risk of killing innocent civilians in addition to enemy combatants.
In coming years, drone warfare may begin to look like something out of a science fiction novel or mimic the advanced technology available in popular video games. Political scientist and video game consultant P.W. Singer was recently approached by military contractors for the designs to his Charlene drone, a fictional weapon developed for the popular video game, Call of Duty: Black Ops II. The future of drone
In Leveling Up, much like real-life Air Force drone operator, Brandon Bryant, Ian struggles with his culpability in flying unmanned drones, farremoved from the impact. Bryant told NBC in an interview in June 2013 that after quitting his job with the Air Force, he became “troubled by the physical disconnect between his daily routine and the violence and power of the faraway drones.” He explained, “You don’t feel the aircraft turn, you don’t feel the hum of the engine. You hear the hum of the computers, but that’s definitely not the same thing.” Although Bryant and his team did what they could to avoid civilian casualties, he is still haunted by the alleged 1,600 people he helped kill as a part of his job from 2006 to 2011 where he guided unmanned drones over Iraq and Afghanistan bases from faraway bases in Nevada and New Mexico.
THE HISTORY BEHIND AND FUTURE OF DRONE WARFARE Article by Steppenwolf For Young Adults Apprentice Lexy Leuszler
“(To Ian) Look, this job–I’m sure you’re great at it, but it’s not worth it. It’s not healthy. And you could do anything. You’re smart, you’re capable... I can’t imagine what you’ve seen. So awful. And even if it is, you know, the ‘bad guys,’–to have to kill them... I mean, they have lives too. Mothers and sisters and girlfriends…” —Jeannie, Leveling Up QUICK FACTS ABOUT DRONE WARFARE 1.
The term “drone” is a simple, shorthand way of referring to an unmanned aerial vehicle or any aircraft that flies without a pilot aboard the vehicle.
2.
Drones offer two main advantages to the military: a pilot does not have to risk his life flying over enemy territory and they can fly for hours on end with no need to rest.
3.
Drones can be as small as an insect or as large as a commercial airplane.
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Unmanned aerial vehicles are used on a daily basis by the US Coast Guard to monitor coastal waters and major gas and oil pipelines.
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It can take up to 170 people to operate and maintain one unmanned aerial vehicle.
6.
It costs $103 million to build one Global Hawk drone.
7.
There are currently more than 8,000 drones used by the United States.
8.
The CIA conducts covert drone strikes in Yemen, Somalia and Pakistan while the US military largely conducts strikes in Afghanistan and Iraq.
9.
Civilian death totals due to drones strikes are nearly impossible to calculate accurately but the Bureau of Investigative Journalism reports that potentially 1,200 civilians have been killed by drones in Yemen, Somalia and Pakistan alone in addition to the deaths of enemy combatants.
10. More than 43 other countries in addition to the United States operate unmanned aerial vehicles.
WHO ARE YOU AT YOUR CORE?
Meet the Leveling Up Avatars PERSONALITY TRAITS
PERSONALITY TRAITS
STRENGTH
STRENGTH
LOYALTY
LOYALTY
INTELLIGENCE
INTELLIGENCE
SPEED
SPEED
CHARISMA
CHARISMA
ZANDER
CHUCK
Good-looking, charismatic and confident as a result, Zander impulsively makes decisions and trusts that things will always work out for the best. Used to being well-liked and popular and having been supported by his parents throughout his college experience, Zander does not always take responsibility for his actions or own up to his mistakes. In the play, this ends up costing him his friendship with Ian and relationship with Jeannie.
Goofy and easygoing, Chuck often plays the role of peacemaker when caught between friends Zander and Ian. While his moral code doesn’t allow him to be sucked into working with the NSA alongside Ian, he is willing to bend the rules when it comes to pushing the limits of his virtual role-playing with Jeannie, with whom he is smitten. Not overlymotivated, Chuck is contented with his job as a blackjack dealer at a casino and has good––though not as good as Ian––gaming skills. At the end of the play, we see Chuck taking charge of what he wants for the first time by finally asking Jeannie out.
QUICK FACTS as described by actor playing Zander, JJ Phillips
QUICK FACTS as described by actor playing Chuck, AKA Chuckstein, Jerry MacKinnon
OCCUPATION: Entrepreneur
OCCUPATION: Blackjack dealer
RELATIONSHIP STATUS: Dating Jeannie
RELATIONSHIP STATUS: Single
GAMER STATUS: Boss
GAMER STATUS: Pretty good
FAVORITE FOOD: Mom’s Lasagna
FAVORITE FOOD: Crab Rangoon all day!
FAVORITE SONG: “Tighten Up” by The Black Keys
FAVORITE SONG: “Amazing” by Das Racist ft. Lakutis FAVORITE BOOK: Yes I Can: The Story of Sammy Davis, Jr.
FAVORITE BOOK: The Hobbit by J.R.R. Tolkien
FAVORITE MOVIE: Back to the Future, Part 1
FAVORITE MOVIE: Children of Men
FAVORITE VIDEOGAME: Uncharted: Drake’s Fortune
FAVORITE VIDEOGAME: Grand Theft Auto V
Steppenwolf for Young Adults created this quiz based on a fictional scenario inspired by Leveling Up. Take the quiz twice: once as yourself, and once as one of the Leveling Up avatars on the previous page. How do your decisions differ from those of your chosen Leveling Up avatar? If you had a once-in-a-lifetime chance to sell a friend’s valuable possession without their permission–—knowing you would share the proceeds, making them money–—would you?
YES:
Absolutely. We both win!
NO:
I am a good friend. I wouldn’t do that.
So you sold your friend’s possession behind their back. How do you split the fee?
50/50: We both did equal parts of the work. It was my friend’s possession, but I am the one smart enough to sell it.
30/70: I give my friend most of the money. It was their possession after all. All I did was sell it.
70/30: I keep most of the money. My friend doesn’t always know the value of his/her possessions. What they don’t know won’t hurt them.
Why wouldn’t you sell the possession?
That would be stealing!
I’d be too afraid to get caught.
On second thought... GO BACK TO
“YES”
You’ve just found out from your landlord that your rent has tripled and you know you won’t be able to pay rent this month. Now you do you sell your friend’s possession? PERSONALITY TRAITS
PERSONALITY TRAITS
STRENGTH
STRENGTH
LOYALTY
LOYALTY
INTELLIGENCE
INTELLIGENCE
SPEED
SPEED
CHARISMA
CHARISMA
IAN
The true gamer of the group, Ian finds solace in his online friends more than his real-life ones. Rarely leaving the house and anti-social, Ian embodies what are often considered characteristics of a stereotypical gamer. Having spent so many hours developing as a gamer, Ian is fiercely protective over the merits of his skills, and does not appreciate being accused that his online, virtual life is illegitimate.
JEANNIE
Smart, loyal and driven, Jeannie commits herself to her schoolwork and to her future goal to work with inner-city children and to be the person who ‘actually helps.’ A bit enchanted by all three of the guys in the play, despite her strength of character, Jeannie is sometimes persuaded to skip class to play games or to push the limits of appropriateness by playing a virtual game with Chuck and taking it too far. In a true sign of who she is, Jeannie finds it in herself to forgive Ian even after he physically and verbally attacks her.
QUICK FACTS as described by actor playing Ian, Clancy McCartney
QUICK FACTS as described by actor playing Jeannie, Carolyn Braver
OCCUPATION: Professional gamer
OCCUPATION: Student!
RELATIONSHIP STATUS: Single...
RELATIONSHIP STATUS: Zander’s girlfriend J
GAMER STATUS: God
GAMER STATUS: Bad compared to the guys but much better than the average girl
FAVORITE FOOD: Udon noodles with chicken soy sauce FAVORITE SONG: Toss-up between “Basket Case” by DangerDoom and “One Winged Angel: ACC Long Version” by Nobuo Uematsu
FAVORITE FOOD: Mac and Cheese with Bacon FAVORITE SONG: “We’re Going to Be Friends” by the White Stripes
FAVORITE BOOK: Ender’s Game by Orson Scott Card
FAVORITE BOOK: Harry Potter in this order: 1, 4, 7, 5, 3, 2, 6
FAVORITE MOVIE: The Matrix
FAVORITE MOVIE: Little Miss Sunshine and Mulan
FAVORITE VIDEOGAME: Final Fantasy IVX: A Realm Reborn
FAVORITE VIDEOGAME: Skyrim
Share your avatar online: STEPPENWOLF.ORG/LEVELINGUPAVATAR #LEVELINGUP
Now, how would you spend the money? RESULT RESULT
Give it to a charity.
Spend it on myself.
RESULT
RESULT
I donate my money anonymously. I don’t need the credit.
Use it for something practical. (eg. Money for a college fund or saving money for textbooks)
~OR~
Spend it on something my friend and I can share together.
RESULT I buy something I know I’ll love and assume my friend will like it too. If they don’t like it, their loss. ~OR~
RESULT I donate my money to a charity in my honor. I want my name on that commemorative plaque!
~OR~ RESULT Use it for something impractical. (eg. Buying a flashy sportscar you know you’ll never drive)
RESULT I buy something neither my friend nor I have tried before. I don’t know if we’ll like it, but I’m willing to give it a try.
No. I find a job and make ends meet. No matter what, I don’t steal.
I confess to my friend that I am considering selling his/her possession and see if we can work something out together.
OK. I’ll sell it. GO BACK TO
“YES”
RESULTS
You are an ethical decision-maker. You consider others first, sometimes to your own detriment.
You weigh heavily both sides of an issue. You consider others, but you also know you have to look out for yourself sometimes.
You are an impulsive decision-maker. You make decisions in the moment which can lead to exciting results, but you don’t always consider the consequences.
You are cunning. You know that you have to protect
yourself at all costs, as you are the only person who will ultimately look out for your best interests.
T H E S T E P P E N W O L F E N S E M B L E first began performing in the mid-1970s in the basement of a Highland Park church, the ambitious brainchild of three high school and college friends: Jeff Perry, Terry Kinney and Gary Sinise. Fast forward 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 12 Tony Awards—–have made the theater legendary. Steppenwolf’s artistic force remains rooted in the original vision of its founders: an artist-driven theater, whose vitality is defined by its sharp appetite for groundbreaking, innovative work. That work is represented in production photos displayed throughout the theater.
Joan Allen
Kevin Anderson
Alana Arenas
Randall Arney
Kate Arrington
Ian Barford
Robert Breuler
Gary Cole
Kathryn Erbe
K. Todd Freeman
Frank Galati
Francis Guinan
Moira Harris
Jon Michael Hill
Tim Hopper
Tom Irwin
Ora Jones
Terry Kinney
The Steppenwolf Ensemble Tina Landau
Martha Lavey
Tracy Letts
John Mahoney
John Malkovich
Mariann Mayberry
Tarell Alvin McCraney
James Vincent Meredith
Laurie Metcalf
Amy Morton
Sally Murphy
Austin Pendleton
Jeff Perry
William Petersen
Yasen Peyankov
Martha Plimpton
Rondi Reed
Molly Regan
Anna D. Shapiro
Eric Simonson
Gary Sinise
Lois Smith
Rick Snyder
Jim True-Frost
Alan Wilder
STEPPENWOLF 21
S T E P P E N W O L F S TA F F
B OAR D OF TR USTE ES
MARTHA LAVEY
TERRY KINNEY, JEFF PERRY AND GARY SINISE
DAVID HAWKANSON
Artistic Director
Executive Artistic Board
Executive Director
Artistic
SAMAR SHARBA
JOEL MOORMAN
ERICA DANIELS
IT Associate
Digital Content Producer
Associate Artistic Director
PAUL G. MILLER
NEEL McNEILL
AARON CARTER
Executive Assistant
Marketing Assistant
Director of New Play Development
LUPE GARCIA QUILES
SHILLA SHAKOORI
Events Management Associate
Graphic Designer
GRETA HONOLD
ANGELA JOHNSON
TAMARA TODRES
Office Management Associate & Receptionist
Director of Audience Services
Literary Associate
JACKIE SNUTTJER
Audience Services Manager
JESSAMYN FULLER
Finance Specialist
Casting and School Assistant
Development
Producing Associate
JENNI PAGE-WHITE
TRACY LETTS AMY MORTON JESSICA THEBUS YASEN PEYANKOV
SANDY KARUSCHAK Director of Development
ERIC EVENSKAAS
JIMMY FREUND STEPHANIE HELLER Audience Services Subscription Manager
MIKE BRUNLIEB MATTHEW LYLE Audience Services Supervisors
Associate Artists
Associate Director of Development
SHELDON PATINKIN
EMILIE DE ANGELIS
Group Sales Associate
Director of Campaign Gifts
ROSEANN BISHOP
MEGAN A. SMITH
Subscriptions and Audience Services Assistant
Artistic Consultant
Steppenwolf for Young Adults HALLIE GORDON Artistic and Educational Director
MEGAN SHUCHMAN Associate Education Director
LAUREN SIVAK Education and Community Programs Coordinator
AMANDA ACEVEDO CARA EPSTEIN LARRY GRIMM ALI HOEFNAGEL L’OREAL JACKSON MICHAEL LEON BLAKE MCKAY NICOLE RIPLEY ASHLEY ROBERSON SAMUEL ROBERSON EMILIO ROBLES Teaching Artists
Administration DAVID M. SCHMITZ Managing Director
RACHEL D. FREUND Director of Finance
HEATHER C. JOIREMAN
Director of Corporate Relations
DEBORAH STEWART Director of Foundation and Government Relations
KENDRA VAN KEMPEN Director of Special Events
SUZANNE MILLER Annual Fund Manager
LAUREN FISHER Major Gift Coordinator
JESSICA GRETCH KALEIGH LOCKHART CIOFFI
JAY JUSSAUME Director of Operations
ANTONIO IBARRA
Development Associate
Physical Plant Supervisor
LAUREN CONNOR
PETER VAN KEMPEN
Foundation and Government Associate
Operations Coordinator
SARAH TONGREN Special Events Associate
ERIC VAN TASSELL Corporate Relations Associate
Marketing, Publicity & Audience Services
IT Director
Director of Marketing and Communications
ERIN COOK
ERIKA NELSON
Company Manager
Associate Director of Marketing
KATE HOLST TEST
JEFFREY FAUVER
22 LEVELING UP
Operations
ANNA BRENNER
SCOTT MACOUN
Finance Coordinator
Audience Services Associates
Development Coordinator
JOHN ZINN
BRIAN HURST
CRAIG BARNES BILLIE RYE BRYANT REBECCA BUTLER DERRIK DICKINSON RENALDO DUMAS LACEY HOLMES SOTIRIOS LIVADITIS THERESA MASSE SARAH NELSON TYRONE PHILLIPS CHARLES STRATER
Individual Giving Coordinator
Events Management Director
Human Resources and Professional Leadership Programs Coordinator
MOLLY LAYTON
Communications Director
DONOVAN FOOTE Design Director
JAMIE ALEXANDER Marketing Manager
ADRIAN CASTRO RYAN PALMA Facilities Staff
DAVID BARATI VICTOR DAVID PADAM DHUNGEL TIKA RAM KAFLEY ETHAN OZANIEC BHAGIRATH TIMSINA BIAK SANG Custodial Staff
EVAN HATFIELD Director of Audience Experience
DANIELLE SHINDLER Front of House Manager
AUTUMN CRANOR ANNA DONNELL DANIEL DVORKIN JUNELLA GABRIEL SARAH GOLDBERG BRIDGET HOLMES CHASE KIMBALL JESSICA LIND MICHELLE MAURER ERIN O’BRIEN MAGGIE RITTER ELISSA SHORTRIDGE DAN SMERIGLIO
KEVIN PETERSON Shop Foreman
LYNAE VANDERMEULEN Staff Draper
DAISY LINDAS Project Coordinator
EXECUTIVE COMMITTEE
TR USTE ES
E M E R ITUS TR USTE ES
SARAH B EAR D S LEY
J. ROB E RT BAR R
NORA DALEY Chair
M ICHAE L W. B E N D E R
LAWR E NCE B LOCK
E R IC LE FKOFS KY Secretary
E B S B U R NOUG H
JOH N N. FOX, J R.
TE R R I L. CAB LE
G LOR IA SCOBY
Lighting Supervisor
PAU L W. GOOD R ICH Treasurer
ERNESTO GOMEZ Head Electrician
J. R. LEDERLE
ROB I N TE N NANT COLB U R N B ETH BOOSALI S DAVI S
PA S T C H A I R P E R S O N S
H E N RY S. B I E N E N
KI M DAVI S
WI LLIAM L. ATWE LL
CAROLE L. B ROWN
AMY E S H LE MAN
LAR RY D. B RADY
House Carpenter
DOUG LAS R. B ROWN
J. SCOTT ETZ LE R
DOUG LAS R. B ROWN
DAWN PRZYBYLSKI
M ICHAE L CAHAN
N E N E FOXHALL
LAU R E NCE E DWAR D S
Parking Staff
Stage Carpenter
E LI ZAB ETH H. CON N E LLY
LAWR E NCE M. G I LL
JOH N N. FOX, J R.
JACK MEYER, THE SAINTS
MARTHA WEGENER
R ICH FE ITLE R
MATTH EW G RAY
E LLIOTT LYON
Volunteer Usher Coordination
GREGOR MORTIS
CARYN HAR R I S
ROBERT J. GREENEBAUM, JR.
GOR DON M U R PHY
Assistant Audio Engineer
LYN N LOCKWOOD M U R PHY
JOH N H. HART
WI LLIAM H. PLU M M E R
CASSIE CALDERONE MALCOLM EWEN CHRISTINE D. FREEBURG LAURA D. GLENN MICHELLE MEDVIN DEB STYER
KE N N ETH J. POR R E LLO
TE R RY J E N KI N S
B R UCE SAGAN
D E BORAH H. QUAZ ZO
G EORG E A. JOS E PH
G LOR IA SCOBY
RAN DALL K. ROWE
DON NA LA PI ETRA
DON NA VOS
B R UCE SAGAN
MARTHA LAVEY
HAR RY J. S E IG LE
MARY LU D FOR D
STE PHAN I E B. S M ITH
RONALD J. MALLICOAT, J R.
JOH N R. WALTE R
JAN ET M E LK
H E LE N Z E LL
DAVI D E. M E N D E LSOH N
Front of House Staff
MUSTAFA CHAUDHRY DONALD COULSON INDRA KAFLEY
Production AL FRANKLIN Production Manager
BRIANNA PARRY Assistant Production Manager
RUSSELL POOLE Technical Director
ROBERT S. BROWN
RICK HAEFELE
Audio Engineer
Stage Managers
Assistant Technical Director
Call Center
CHRISTOPHER KRISTANT
CASEY VANWORMER
Shop Foreman
DANIEL RUBENS TIFFANY RAE WILSON
CHRISTOPHER GRUBB KYLE LAND RUSSELL SCOTT Scenic Carpenters
MELISSA RUTHERFOORD Charge Scenic Artist
JENNY DILUCIANO Properties Master
ANDRIA SMITH Assistant Properties Master
CHARLES MOSER Master Properties Artisan
EMILY GUTHRIE Properties Artisan
JESSICA STRATTON Wardrobe, Hair & Make-up Supervisor
MELISSA TULCHINSKY Staff Wardrobe
CARYN WEGLARZ KLEIN Costume Director
MAE HASKINS Assistant Costume Designer
WILL ALLAN JENNIFER BETANCOURT LAUREL CLAYSON Head Draper ELANA BOULOS KELSEY CHIGAS
Associate Campaign Director
Audience Outreach Supervisors
LAURA BARATI SIDNEY CRISTOL CHARLES FRYDENBERG MARILYN HILLARY JENNIFER HOGAN ELLIOT IVINS MAX LANDO Audience Outreach Associates
MICHAEL BESANCON ALEXIS CHANEY KATHLEEN DICKINSON KEVIN DWYER ELIZABETH GOTTMANN ELLE KAPLAN LEXY LEUSZLER ANDREW LEX GEE HOON LIM ADRIENNE LITTLEFIELD DAVID MASNATO PATRICK MCGOVERN CHRYSTLE MORMAN DIANA RAISELIS TRAVIS RAY RAISA STEBBINS AARON STEPHENSON KARYN TODD KATHRYN ZUKAITIS
L. H EATH E R M ITCH E LL CH R I STOPH E R M. M U R PHY DAVI D C. PI SOR M E R LE R E S KI N M ICHAE L R. SALE M ROB E RT SAN BOR N MAN U E L “MAN NY” SANCH E Z AN NA D. S HAPI RO MATTH EW S HAPI RO COLETTE CACHEY SMITHBURG
Apprentices
STEPPENWOLF 23
G R A N D B E N E FA C TO R S $ 10 0 , 0 0 0 +
WE GRATEFULLY ACKNOWLEDGE THOSE WHO PROVIDE SIGNIFICANT SUPPORT FOR STEPPENWOLF FOR YOUNG ADULTS DURING THE 2013 /14 SEASON.
Jon Michael Hill
Mark and Greta Giesen
Illinois Tool Works Foundation
Gordon and Wendy Gill
George A. Joseph
James and Dianna Goldman
The Daniel F. and Ada L. Rice Foundation
Grund & Leavitt, P.C.
B E N E FA C TO R S $50,000 – 99,999
The Roche Family Foundation, Inc
The Harris Family Foundation
Cari and Michael J. Sacks
Mr. and Mrs. King Harris
Alphawood Foundation
Mr. Leif Selkregg
Kathy Harris
The Crown Family‡
Siragusa Foundation
Dr. and Mrs. Joseph Szokol
Doris Duke Charitable Foundation
Tom and Blaine Wells
Mr. and Mrs. William Friend
J.P.Morgan
Nina B. Winston
Mr. and Mrs. John Harris
A S S O C I AT E S $2,500 – 4,999
Mr. and Ms. Jeff Jacobson Jensen Litigation Solutions
Elizabeth H. Connelly
Mr. and Mrs. Larry Levine
The Steppenwolf Auxiliary Council*
Polk Bros. Foundation‡ The Smart Chicago Trust Fund at the Chicago Community Trust Target Theatre Communications Group
M. Julie and Michael Gustafson
Katie Hazelwood and Todd Kaplan
Amy Eshleman and Lori Lightfoot
Mr. and Mrs. C.H. Randolph Lyon
Peter & Paula Fasseas Foundation
Ronald J. Mallicoat Jr.
PRODUCERS $25,000 – 49,999
Mrs. Keith Goldstein and Mr. Rodney Goldstein
Paul M. Angell Foundation The Sage Foundation
David R. Hawkanson
David E. Mendelsohn
Martha Lavey
Tamara Meyer
Mr. and Mrs. Richard D. Gottfred
Daniel and Vida Marks Cynthia Luse-McKeen and Douglas McKeen
PAT R O N S $ 10 , 0 0 0 – 2 4 , 9 9 9
Alex and Pat Marren
Christopher and Eileen Murphy
Janet Melk
Bruce Norris
Helen Brach Foundation
Michael Shannon
Mark and Christie Osmond
CNA Financial Corporation
Frances E. Tuite
Linda Lowy and Jeff Perry
Mary and Paul Finnegan
Cate and Rick Waddell
Mr. Robbie Robinson Ms. Sonia Sahai
Lloyd A. Fry Foundation John H. Hart and Carol Prins Lynn Lockwood Murphy and Barrett B. Murphy ‡ The Pritzker Traubert Family Foundation Dr. Scholl Foundation
S U S TA I N E R S $5,000 – 9,999 Robert and Isabelle Bass Foundation, Inc Philip H. Corboy Foundation Nene Foxhall John H. Hart and Carol Prins
G U A R A N TO R S $1,000 – 2,499 Ellen Alberding and Kelly Walsh Kris Alden and Trisha Rooney Alden Michael and Cathy Brennan Ebs Burnough
Louis and Nellie Sieg Fund Ralph Senst and Karen Zelden Stephanie B. Smith and Gerald Smith Mr. and Mrs. William Wardrop Mr. Jim Welch Clifford Yuknis
John Butler and John Vanderlinder Michael Davis Rachel Dvorken Rich and Margery Feitler Michael and Jacky Ferro Cindy Galvin
‡ Multi Year Pledge * Steppenwolf’s Auxiliary Council is a community of more than 100 dynamic young professionals who strive to make a difference for the next generation of theater-enthusiasts. All proceeds raised by the Auxiliary Council benefit Steppenwolf for Young Adults.
STEPPENWOLF 25 PHOTOG RAPH E R M ICHAE L LITCH FI E LD
ACCESSIBILITY AT STEPPENWOLF
2013/14 SEASON
Committed to providing services and programming that enhance the experience of guests with disabilities, Steppenwolf is proud to feature:
YOUNG ADULT COUNCIL
• Audio-described performances, artistic conversations and touch tours of the stage for guests who are blind or visually-impaired. • Guides dedicated to assisting patrons during audio-described performances. • Complimentary playbills in Braille, large-print and audio formats. • Sign language-interpreted and open-captioned performances for guests who are deaf or hard-of-hearing. • Volunteers who use sign language to greet the audience at sign-interpreted performances. • Assistive listening devices in our Downstairs and Upstairs theaters. • Wheelchair accessible seats and restrooms in all of our theaters. Would you like to utilize or learn more about these services? Audience Services 312-335-1650 TTY 312-335-3830 E-mail access@steppenwolf.org
STEPPENWOLF CUSTOMER SERVICE TIPS
Spending your intermission in line at the bar? Enjoy the entire break by ordering and paying for your intermission refreshments before the show. When you exit the theater at the end of the first act, your drinks will be waiting for you. Need restaurant information or the score of the ballgame? Please visit our book shop and information desk at the south end of the main floor lobby. Hailing a cab after the play? This is typically an easy affair—Halsted is a busy street and sees a fair amount of taxi traffic. If you’d like assistance hailing a cab or calling a company, though, just ask a member of the house staff; we’re happy to help.
Lost or Found? On-site? Please check in with a member of the house staff. Already left? Call the Front of House office at 312-932-2445. Want to provide feedback? Your input is always valuable to us. Have an opinion about the play or artistic content? Stick around for the post-show discussion featured after every performance, fill out the 60-Second Survey inserted in this program or join the conversation at facebook.com/steppenwolftheater. Have a comment about your overall experience at the theater ? Please ask us for a customer service form to fill out, or e-mail us at customerservice@steppenwolf.org. Need to contact a patron during a performance? If you need to contact a patron during a performance in our Downstairs or Upstairs Theaters, please call our Concierge Desk at 312-932-2476. Hours: one hour prior to curtain until 15 minutes after curtain call.
Latecomers will be seated at the discretion of the House Manager. The theater reserves the right to limit admission of children younger than the age of six. The taking of photographs and the use of any type of recording device is not allowed in the theater during performances and is a violation of state and federal copyright laws. Digital media will be deleted, and tape or film will be confiscated. Photo/Video Disclaimer: During your visit, you or members of your family may be filmed, videotaped, and/ or photographed by a Steppenwolf employee, contract photographer or the media. Your attendance at Steppenwolf events serves as permission for the use of your image, or the image of your family members, by Steppenwolf.
Content Disclaimer: Steppenwolf offers an advisory about any stage effect of potential concern to patrons’ health. We will post this information as soon as it’s available. We don’t offer advisories about subject matter, as sensitivities vary from person to person. If you have any concerns about content, please contact audience services.
Images from Steppenwolf’s 2011 Red or White Ball
Driving to the theater? Rather than arriving to discover that our garage has reached capacity (which can happen during busy performances), please enter the Steppenwolf Parking Hotline (312-335-1774) into your cell phone and call us when you’re a few minutes away from the theater—we’ll tell you if there’s still space available in our facility, or suggest the most convenient alternative.
The Young Adult Council
is a unique program for passionate and motivated high school students who wish to learn the inner-workings of professional theater from the most celebrated artists in the city. In addition to face time with these leading professionals, Council members attend the best plays in Chicago, learn how to analyze and speak about these plays and lead events for their peers around Steppenwolf productions in hopes of inspiring a new generation of theater enthusiasts and practitioners. Applications are available on March 1, 2014. Like the Steppenwolf Young Adult Council on Facebook! Or visit steppenwolf.org/youngadultcouncil for more information. Foundation support is provided by The Siragusa Foundation.
coming next to the
th r e e c o m pan i e s. th r e e plays. o n e stag e.
february 14 – april 20, 2014
th r e e pr o d u cti o n s by s o m e o f c h i cag o’s m o st i n n ovative sto r e fr o nt th eat e r c o m pan i e s, pr e s e nte d i n r otati n g r e pe rto ry.
wr ite r s wh o r o c k. awe s o m e n ew plays. s e e th e m fi r st.
july 26 – august 24, 2014
th r e e d eve lo pm e ntal pr o d u cti o n s o f b r an d-n ew plays by e m e r g i n g am e r i can play wr i g h ts.
all tickets are only $20. steppenwolf.org/garage