CONTENTS 4 WELCOME TO WE ARE PROUD TO PRESENT A PRESENTATION... Letter from SYA Artistic Director Hallie Gordon
EDITOR Paul G. Miller
CONTRIBUTORS 8 R EHEARSAL PHOTOS By Juli Del Prete 10 BIOS 16 C ATCH US ON TOUR! 18 D ECOLONIZING HISTORY MORE THAN JUST ONE SIDE OF THE STORY By Education Associate Abhi Shrestha
Juli Del Prete Hallie Gordon Brianna Parry A.J. Roy Abhi Shrestha
DESIGN Donovan Foote David Masnato
COVER Illustration by David Masnato
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STEPPENWOLF SOCIAL facebook.com/SteppenwolfTheatre youtube.com/user/steppenwolftheatre instagram.com/steppenwolfthtr twitter.com/SteppenwolfThtr steppenwolf.org 2 We Are Proud to Present a Presentation...
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 for Young Adults productions in hopes of inspiring a new generation of theatre enthusiasts and practitioners.
Applications are available on March 1, 2019. Like the Steppenwolf Young Adult Council on Facebook and Instagram! Or visit steppenwolf.org/youngadultcouncil for more information.
STEPPENWOLF SALUTES THE SPONSORS OF WE ARE PROUD TO PRESENT A PRESENTATION... LEADING CORPORATE SEASON PRODUCTION SPONSOR OF STEPPENWOLF EDUCATION
MAJOR SUPPORT FOR STEPPENWOLF EDUCATION IS PROVIDED BY
INDIVIDUAL SUPPORTERS OF STEPPENWOLF EDUCATION Ann and Richard Carr Robert and Louise Sanborn Andrew and Amy Bluhm John Hart and Carol Prins Lynn Lockwood Murphy and Barrett B. Murphy Anne and Don Phillips Cari and Michael J. Sacks Steppenwolf’s young professionals board, the Steppenwolf Associates, dedicates its support to Steppenwolf Education. Steppenwolf Education is a citywide partner of the Chicago Public Schools (CPS) School Partner Program.
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Anna D. Shapiro† Artistic Director
David Schmitz Executive Director
Hallie Gordon Artistic Director of SYA
STEPPENWOLF FOR YOUNG ADULTS PRESENTS
We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German Südwestafrika, Between the Years 1884–1915 By Jackie Sibblies Drury Directed by Hallie Gordon and Gabrielle Randle
FEATURING Will Allan*, Terry Bell, Taylor Blim*, Jeffery Owen Freelon Jr., Michael Holding and Jennifer Latimore*
PRODUCTION Arnel Sancianco Scenic Design Izumi Inaba+ Costume Design Heather Sparling Lighting Design Cooper Forsman Sound Design Breon Arzell Movement Consultant Mark Hairston Artistic Producer Brianna Parry Production Manager JC Clementz CSA Casting Director Michelle Medvin* Stage Manager
Produced by special arrangement with DRAMATIC PUBLISHING, Woodstock, Illinois We Are Proud to Present a Presentation... received its world premiere in April 2012 at Victory Gardens Theater, Chicago, Illinois, directed by Eric Ting, Chay Yew, artistic director, Jan Kallish, executive director, and had its New York premiere at Soho Rep., Sarah Benson, artistic director, Cynthia Flowers, executive director. We Are Proud to Present a Presentation... was developed at Magic Theatre’s Virgin Play Series, San Francisco; the Bay Area Playwrights Festival, Playwrights Foundation, San Francisco; and Victory Garden Theater’s IGNITION Festival. Steppenwolf Theatre Company is a constituent of Theatre Communications Group (TCG), the national organization for nonprofit professional theater. † member of the Steppenwolf Theatre Company ensemble. * member of Actors’ Equity Association, the union of professional actors and stage managers. + member of United Scenic Artists, Local 829 of the IATSE. ‡ member of Stage Directors and Choreographers Society, a national theatrical labor union.
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WELCOME TO WE ARE PROUD TO PRESENT A PRESENTATION... Why do I regard this challenging play, rich with intentional provocations, right for young adults? Why is now the right time to present it? I believe there are many compelling reasons for doing so. We Are Proud to Present a Presentation… deeply considers many of the fraught questions we are grappling with as a culture: the relationship between storytellers and the stories they tell, a relationship subject to the influences of gender, race, and privilege—forces that inevitably shape the ways we comprehend, interpret, and convey stories. Who we are in relation to each other, in relation to prevailing systems of power, to our economic prospects, in relation to complex set of systems that advantage some and exclude others—all these factors have profound effects in shaping our conception of the world. The play also contends with these tough questions surrounding whose stories we tell—what gets documented, what gets perpetuated, what versions of things are permitted to persist. I don’t shy away from tough material for young people. I believe (and they themselves consistently demonstrate to me) that they are more than capable of engaging with material that is uncomfortable, that they have both the ability and the desire to speak about the fears they have about the world they live in, and the dangers they face, how adults have shaped the world they will inherit, and the many consequences not of their own making they must contend with. I feel we must give them a place to speak out and to learn how to take meaningful action on the beliefs that shape their worldview. Too frequently the schools we require them to attend do not afford them much opportunity to discover and refine their own individual convictions—such discovery is an individual experience, usually one that takes place in response to provocations—intentional, thoughtful provocations like this play—provided for them by adults prepared to guide them through the sometimes strong emotions such provocations are designed to inspire, to the complex ideas underlying them. Theatre, with its deft ability to embody multiple viewpoints simultaneously, gives us a singular opportunity to expose ourselves to more than one story at a time, and to consider deeply perspectives, voices and experiences often quite different from our own. It is in the theatre that one can have a totally personal experience, together with others in real time, in shared space—that encompasses empathy, reflection, activism, joy, fear and yes, even learning about the world and ourselves. Textbooks cannot hope to contain the whole objective truth of our history, and despite recent improvements in this regard, the history they do contain too frequently is told through a lens of white privilege. We are Proud to Present a Presentation… talks about all the ways we can and have failed as storytellers of our shared history. Through the eyes of these six unnamed characters, we start to learn the serious consequences and lasting harms that arise from our unwillingness to face and come to terms with our own history. Hallie Gordon Artistic Director of Steppenwolf for Young Adults
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CITY CONNECTIONS What is City Connections? City Connections is Steppenwolf Education’s community engagement model rooted in building authentic and mutually beneficial long-term partnerships. We take no-cost, barrier-free, artistic and educational programming into communities, with the hope that youth feel inspired to come to Steppenwolf and experiment here as artists and arts appreciators. How do we find new partners? City Connections seeks to bring our work outside of Steppenwolf and into neighborhoods by making connections with peer organizations that use the arts to empower youth in geographic and social communities we don’t currently serve. Where do we serve? This year we are working in the Albany Park, Austin, Bronzeville, Chatham, Englewood and South Shore neighborhoods.
This first year partnering with Steppenwolf has been really impactful. I can see the change in the youth. This partnership is beautiful because these kids need creativity. Steppenwolf sharing their workshops and knowledge of the arts to our kids is more profound than I think most of us realize. - Max Cerda
Street Intervention Specialist, Build, Inc.
800 STUDENTS
SERVED/YEAR THROUGH
CITY CONNECTIONS
To learn more, contact Education Manager Jared Bellot at jbellot@steppenwolf.org
CAST AND CONTRIBUTORS CAST (in alphabetical order)
ADDITIONAL STAFF
Will Allan* Actor 3/Another White Man Terry Bell Actor 2/Black Man Taylor Blim* Actor 5/Sarah Jeffery Owen Freelon Jr. Actor 4/Another Black Man Michael Holding Actor 1/White Man Jennifer Latimore* Actor 6/Black Woman
Aaron Stephenson Sound Engineer Slick Jorgensen Assistant Lighting Designer Lydia Hanchett Additional Properties Devin O’Leary, Adena Rice and Brophy Tolbert Additional Carpentry Sarah Lewis Additional Paint Nakia Avila Stage Management Apprentice Jared Bellot, Rebekah Camm, Lavina Jadhwani, Lauren Katz, Derek Matson, Neel McNeill, Derek McPhatter and Leean Torske Post Show Discussion Moderators
UNDERSTUDIES (in alphabetical order) Christie Coran Actor 5/Sarah Kyle Curry Actor 1/White Man, Actor 3/Another White Man Ciera Dawn Actor 6/Black Woman Michael Turrentine Actor 2/ Black Man, Actor 4/Another Black Man SETTING A large space, a gathering place, a theatre And a smaller space, a private place, a rehearsal This play will be presented with no intermission. There will be a post-show discussion immediately following the performance.
† member of the Steppenwolf Theatre Company ensemble. * member of Actors’ Equity Association, the union of professional actors and stage managers.
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The theater reserves the right to limit admission of children younger than the age of six. As a courtesy to the actors and your fellow patrons, please turn off your cell phones before the performance. 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. Entry and re-entry to the theater after this performance begins is not guaranteed.
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IN-SCHOOL RESIDENCIES Steppenwolf Education reaches nearly 2,500 students per year through its in-school residency work, pairing teaching artists and classroom teachers to enrich students’ experiences of the Steppenwolf for Young Adults plays on our stages.
I am thankful to have this relationship with Steppenwolf because it is so student centered. The students’ faces light up as they are talking enthusiastically about the plays, and the Pre/Post workshops. They are sharing their experiences and gaining self confidence well after our workshops are complete! - Mary Rossi
Pre/Post Classroom Teacher, George Washington High School
TEACHING ARTIST COHORT Steppenwolf Education teaching artists partner with classroom teachers, exploring the themes of the Steppenwolf for Young Adults season in workshops with thousands of students across the Chicagoland area.
To learn more, contact Education Manager Jared Bellot at jbellot@steppenwolf.org steppenwolf 7
WE ARE PROUD TO PRESENT A PRESENTATION... IN REHEARSAL Photography by Juli Del Prete
Co-director Gabrielle Randle
Cast member Jeffery Owen Freelon Jr.
Cast member Michael Holding
Cast members Will Allan, Terry Bell, Jeffery Owen Freelon Jr. and Michael Holding
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Cast member Jennifer Latimore
Cast members Will Allan, Terry Bell and Jeffery Owen Freelon Jr.
Cast members Taylor Blim, Will Allan, Jeffery Owen Freelon Jr. and Jennifer Latimore
Co-director Hallie Gordon
Cast members Michael Holding and Taylor Blim
Visit steppenwolf.org for videos, production images and more rehearsal images. steppenwolf 9
WE ARE PROUD TO PRESENT A PRESENTATION... BIOS Will Allan (Actor 3/Another White Man) returns to Steppenwolf Theatre Company where he has performed in SYA productions of A Separate Peace and Animal Farm, as well as mainstage productions of Good People, The March and The Flick. Other Chicago credits include Ah! Wilderness, The Seagull, Dartmoor Prison (Goodman Theatre); The History Boys (TimeLine Theatre Company); The Whale (Victory Gardens Theater); The Goat Or, Who Is Sylvia? (Remy Bumppo Theatre Company); and Circumference of a Squirrel (Greenhouse Theater Solo Celebration). Regionally, he has worked with Milwaukee Repertory Theatre, Indiana Repertory Theatre, Cardinal Stage and The Human Race Theatre Company. TV credits include Chicago Justice and the current season of Chicago Fire. He is a graduate of North Central College in Naperville, Illinois and is a Company Member with TimeLine Theatre Company. Terry Bell (Actor 2/ Black Man) is proud (ha!) to be returning to Steppenwolf Theatre Company for We Are Proud to Present a Presentation...! Previous theatre credits include The Curious Incident of the Dog in the Night-Time (Steppenwolf Theatre Company); Natural Affection (Eclipse Theatre Company); Mies Julie (u/s Victory Gardens Theater); Sylvester or the Wicked Uncle (Lifeline Theatre); The My Way Residential (Irish Theatre of Chicago); The Snowy Day and Other Stories (Emerald City Theatre); and Cymbeline (Strawdog Theatre). Terry is an ensemble member of Strawdog Theatre and is proudly represented by Gray Talent Group. 10 Bios
Taylor Blim (Actor 5/Sarah) is thrilled to be back at Steppenwolf Theatre Company. Chicago credits include The Crucible, Mary Page Marlowe (Steppenwolf Theatre Company); The Wolves (Goodman Theatre); Love’s Labor’s Lost (Chicago Shakespeare Theater); Sucker Punch (Victory Gardens Theater); Welcome to Jesus (The American Theatre Company); Grizzly Mama (Rivendell Theatre Ensemble); A Christmas Carol (Drury Lane Theatre); Assassins: The Musical, Gruesome Playground Injuries, Anna Bella Eema and Twelve Angry Men (The Theatre School at DePaul University). TV and film credits include Hala (Sundance Film Selction 2019), Chicago Med (NBC); Forever, The Disposal and The Year That Changed Us. Taylor sends big thanks to her family and Stewart Talent. Jeffery Owen Freelon Jr. (Actor 4/Another Black Man) is ecstatic to return to the Steppenwolf Theatre Company stage. He first made an appearance in The New Colony’s Byhalia Mississippi on the 1700 stage and also understudied the role of Kitch in Antoinette Nwandu’s Pass Over. Other Chicago credits include Loy Webb’s The Light (The New Colony); Wonder In My Soul (Victory Gardens Theater); and The American Revolution (Theater Unspeakable) He is proudly represented by Paonessa Talent Agency.
Jackie Sibblies Drury Michael Holding (Playwright) Plays include (Actor 1/White Man) is thrilled Fairview, We Are Proud to be a part of We Are Proud to Present a Presentation to Present a Presentation… About the Herero of Namibia, Chicago credits include Formerly Known as South West Africa, Koalas (16th Street Theater); Henry in Henry VIII, The Rivals (Lakeside Shakespeare From the German Sudwestafrika, Between the Years 1884-1915, Really, and Social Theatre); Truth and Reconciliation Creatures. The presenters of her plays (Sideshow Theatre Company); Posh (Steep include Soho Rep, New York City Players & Theatre, Jeff Award Winner Best Ensemble); Abrons Arts Center, Victory Gardens Theate, Really Really (Interrobang Theatre); Trinity Repertory Company, Matrix Theatre, Shining City (Irish Theatre of Chicago); Woolly Mammoth Theatre Company, The Diviners (Organic Theater Company); Undermain Theatre, InterAct Theatre, and The Madness of Edgar Allen Poe Actors Theater of Louisville, Available Light, (First Folio Theatre). Regional credits Company One, and The Bush Theatre in include 4000 Miles (Theatresquared). London. Drury has developed her work at Film and TV credits include Chicago Med (NBC); Southside (Comedy Central); and the Sundance, The Bellagio Center, The Ground Floor at Berkeley Rep, A.C.T., The Soho indie film Finn and the Sea of Noise. Many thanks to the good people at Stewart Talent Rep Writer/Director Lab, New York Theatre and to his mom for her unwavering support. Workshop, PRELUDE.11&14, The Civilians, The Bushwick Starr, The LARK, The Magic Jennifer Latimore Theatre, The Bay Area Playwrights Festival (Actor 6/Black Woman) and The MacDowell Colony. She was a is so excited to make her dramaturg for Zero Cost House by Pig Iron Steppenwolf Theatre Theatre Company & Toshiki Okada, The Company debut. Chicago Garden by Nichole Canuso Dance Company, credits include Twelfth Night, MLK and Futurity by César Alvarez & The Lisps. The Fight For Civil Rights, The Importance She has received a Jerome Fellowship at of Being Earnest (Writers Theatre); Macbeth, The LARK, a Helen Merrill Playwrighting Love’s Labor’s Lost (Chicago Shakespeare Award, and a Windham-Campbell Literary Theater); Harvey (Court Theatre); and Miss Prize in Drama She is a United States Artists Bennet: Christmas at Pemberley (Northlight Gracie Fellow and a NYTW Usual Suspect. Theatre). Regional credits include Good People, A Christmas Carol, Dreamgirls, The Color Purple (Milwaukee Repertory Theater); The African Company Presents Richard III, An Ideal Husband and Arcadia (American Players Theatre). TV credits include The Chi, Empire, Chicago PD and Proven Innocent. Film credits include An Acceptable Loss and Killing Eleanor. Jennifer thanks her family and friends for their constant love and support. Bios 11
…cont’d Bios
Hallie Gordon (Director) is an Artistic Producer at Steppenwolf and the Artistic Director for Steppenwolf for Young Adults, where she has directed many productions for the program including Monster by Walter Dean Myers; George Orwell’s 1984 and Animal Farm, The Book Thief, To Kill a Mockingbird and the world premiere of Toni Morrison’s The Bluest Eye at Steppenwolf Theatre Company and Off-Broadway. In Steppenwolf Theatre Company’s season she has directed The Rembrandt and Taylor Mac’s Hir. She is an ensemble member for Rivendell Theatre where she directed the critically acclaimed Dry Land and Eat Your Heart Out. Gabrielle Randle (Director) is excited to be working at Steppenwolf Theatre Company for the first time. She is a performance scholar, director, and dramaturg based in Chicago. She has a BA in Drama from Stanford University and an MA in Performance as Public Practice from The University of Texas at Austin. She has worked as a dramaturg, producer, and director across the United States including Off-Broadway and internationally on three continents. In Chicago she has worked with Sideshow Theatre Company (Associate Artist), Chicago Dramatists, Victory Gardens Theater, Wirtz Center for the Performing Arts and Court Theatre. She is a third year PhD candidate at Northwestern in The Interdisciplinary PhD in Theatre and Drama. Arnel Sancianco (Scenic Design) is thrilled to make his return to Steppenwolf for Young Adults. Since his last show here, he has designed all around the United States and received an Equity Jeff Nomination for Scenic Design. He has designed the sets for The All Night Strut (Milwaukee Repertory Theatre); Crumbs from the Table
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of Joy (Raven Theatre); Rhoda and the Fossil Hunt, Empower (Lyric Unlimited); The Cake (Rivendell Theatre Ensemble); Master Class, Boy (TimeLine Theatre Company); Photograph 51, The Belle of Amherst (Court Theatre); The Crucible (Steppenwolf Theatre Company); The Wiz, Little Fish (Kokandy Productions); Hangman, Pilgrims (The Gift Theatre Company); Hookman, Earthquakes in London (Steep Theatre Company); Peerless (First Floor Theater); The Total Bent, The Displaced, How We Got On (Haven Theatre); You on The Moors Now (The Hypocrites); Carousel, Titanic, Rock of Ages (Timberlake Playhouse); and Xanadu (American Theater Company). For a more in depth look at his work visit www.ArnelDesigns.com Izumi Inaba (Costume Design) is thrilled to be working at Steppenwolf Theatre Company once again. Previous credits include A Doll’s House, Part 2, The Crucible, Animal Farm and Constellations (Steppenwolf Theatre Company). Chicago credits include works with Goodman Theatre, Court Theatre, Writers Theatre, Chicago Shakespeare Theater, Northlight Theatre, Victory Gardens Theater, Silk Road Rising, Theater Wit, Chicago Children’s Theatre, The House Theatre of Chicago, The Gift Theatre, The Hypocrites and dozens more. Regional credits include the Kirk Douglas Theatre, Milwaukee Repertory Theatre, Repertory Theatre of St. Louis and Baltimore Center Stage. Awards and Exhibits include Michael Maggio, Non-Equity Jeff Awards, USITT and Prague Quadrennial (2019). Izumi is a happy resident artist at Albany Park Theater Project.
Heather Sparling (Lighting Design) is thrilled to be working at Steppenwolf Theatre Company again. Recent designs include A Christmas Carol, Little Women (Thingamajig Theater); Scientific Method (Rivendell Theatre Ensemble); The Fly Honey Show (The Inconvenience); Empower Youth! (Lyric Unlimited); The Burn (Steppenwolf Theatre Company); Twelfth Night, The Heart of Robin Hood (Door Shakespeare); Yardbird (Hackney Empire, London); La Havana Madrid (Teatro Vista); Longer! Louder! Wagner! (Lyric Opera of Chicago); and The Way She Spoke (Greenhouse Theater). She is also Adjunct Professor at Illinois Wesleyan University. Heather is a proud alumna of Boston University. For more information on her work, visit www.sparlingdesigns.com. Cooper Forsman (Sound Design) is excited to be designing for Steppenwolf Theatre Company for the first time. Cooper is a Chicago-based sound artist and physical theater performer and is a founding and current member of the Walkabout Theater laboratory ensemble. Previous design/ composition credits with Walkabout Theater include Monuments, The Brink!, Tall Girl & the Lightning Parade, The Cure and The Wild. Other sound design credits include This Boat Called my Body (For Youth Inquiry); A Perfect Ganesh (Eclipse Theatre Company); and Core of the PUDEL (Trap Door Theatre). Cooper is a graduate of VCU and has also studied in Belgrade with the DAH Theatre. Breon Arzell (Movement Consultant) Most commonly known as an actor, Breon Arzell’s breakout and award-winning, premiere as a Chicago choreographer came with Oracle Productions’ The Hairy Ape. This Detroit native received his first training while at Miami University.
In Chicago, he has worked as a dancer, choreographer and instructor at Joel Hall Dancers & Center, Porchlight M.T., Vagabond School and The Goodman Theatre (for their Musical Theater Program). Developing his own style of dance* and storytelling, movement credits include credits include Total Bent (Haven Theatre); Rightlynd, The House That Will Not Stand (Victory Gardens Theater); Night Runner, Wig Out (DePaul University); Julius Caesar (Writers Theatre); Marie Christine (Bohemian Theatre Ensemble); The Wiz (Kokandy Productions); Scottsboro Boys (Porchlight Music Theatre) and more. His talents have allowed him to work all across the U.S., Canada, England, Italy, Germany, Denmark, Singapore, & Malaysia. *Hip-Hop, Jazz, Modern, Lyrical, Contemporary, & BodyPercussion. Michelle Medvin (Stage Manager) is thrilled to return to Steppenwolf Theatre Company. Favorites over many years with the company include The Curious Incident of the Dog in the Night-Time, two versions of The Crucible, Tribes, Clybourne Park, August: Osage County, The Pillowman, Purple Heart (also at Ireland’s Galway Arts Festival) and Art, among others. She has also worked with Northlight Theatre, Drury Lane Theatre, Victory Gardens Theater, Chicago Children’s Theatre, Hartford Stage, Dallas Theater Center and Portland Center Stage. Michelle serves as Production Manager and Adjunct Faculty at Governors State University. She is proud to be a member of Actors’ Equity, a graduate of Smith College, Mary’s wife and Elliott & Lena’s mama.
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…cont’d Bios
Anna D. Shapiro (Artistic Director) joined the Steppenwolf ensemble in 2005 and was awarded the 2008 Tony Award for Best Direction of a Play for August: Osage County (Steppenwolf, Broadway, London). She was nominated in 2011 in the same category for The Motherf**ker with the Hat (Public Theater, Labyrinth Theater). Other directing credits at Steppenwolf include The Minutes, Visiting Edna, Mary Page Marlowe, Three Sisters, A Parallelogram, Up, The Crucible, The Unmentionables (also at Yale Repertory Theatre), The Pain and the Itch (also in New York), I Never Sang for My Father, Man from Nebraska, Purple Heart (also in Galway, Ireland), The Drawer Boy, Side Man (also in Ireland, Australia and Vail, Colorado), Three Days of Rain, The Infidel and This Is Our Youth (which transferred to Broadway). Other Broadway credits include Of Mice and Men (with James Franco) and Fish in the Dark (with Larry David). OffBroadway credits include Domesticated (Lincoln Center). She is a graduate of the Yale School of Drama and Columbia. She is a full professor in Northwestern University’s Department of Theatre.
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David Schmitz (Executive Director) has worked at Steppenwolf Theatre Company for 13 years, serving in the roles of Director of Finance and Administration, General Manager and currently as Executive Director. Prior to working at Steppenwolf, David was the General Manager at Lookingglass Theatre Company, Associate Artistic Director of Stage Left Theatre and Business Manager at the entertainment agency Adair Performance. Currently, he serves as Vice President of the Board for The House Theatre of Chicago as well as on the boards of the League of Chicago Theatres and Arts Alliance Illinois. David is a former board member for the Lincoln Park Chamber of Commerce and has worked as a strategic planning, business practices, finance and hiring consultant for numerous Chicago organizations, including The House Theatre of Chicago, The Hypocrites and Stage Left Theatre, among others. He holds a BA in theatre from the University of Northern Colorado, an MFA from the Theatre Conservatory at the Chicago College of Performing Arts, Roosevelt University and a Certificate in Non Profit Management from Roosevelt University.
is proud to present… a tour!
For the third year in a row, Steppenwolf Education is touring a Steppenwolf for Young Adults’ production outside of our theater walls. This year, we are partnering with BUILD, Inc., the Chicago Park District and the Chicago Public Library to bring SYA’s We are Proud to Present a Presentation… to 500+ students and community members across our great city. We will tour this production as part of our City Connections programming and the Year of Chicago Theatre. Each workshop will be preceded by a hands-on, hour-long workshop led by Steppenwolf teaching artists allowing participants to interact creatively with themes of the play before they see it.
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CATCH US ON TOUR!
All workshops and shows are
andrake Cultural Center, M Mandrake Park 3858 S Cottage Grove Ave, Chicago, IL 60653
Monday, March 18, 2019 4:30-5:30p workshop 6:00p show
uley Cultural Center, T Tuley Park 501 E 90th Pl, Chicago, IL 60619
Tuesday, March 19, 2019 5-6p workshop 6:30p show
outh Chicago Public Library S 9055 S Houston Ave, Chicago, IL 60617
Wednesday, March 20, 2019 4:30-5:30p workshop 6:00p show
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lbany Park Chicago Public Library A 3401 W Foster Ave, Chicago, IL 60625
Thursday, March 21, 2019 4:30-5:30p workshop 6:00p show
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ustin Town Hall A 5610 W Lake St, Chicago, IL 60644
Friday, March 22, 2019 5-6p workshop 6:30p show
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amilton Cultural Center, H Hamilton Park 513 W 72nd St, Chicago, IL 60621
Saturday, March 23, 2019 1-2p workshop 2:30p show
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Decolonizing History
More Than Just One Side of the Story By Education Associate Abhi Shrestha In We Are Proud to Present a Presentation... we witness six actors attempting to create a theatre piece about the genocide of the Herero Tribe in present day Namibia, by German settlers between the years 1884 and 1915. If you have not heard about this tragic moment in history, you are not alone. The playwright, Jackie Sibblies Drury did not know about it until she googled “black people in Germany” while conducting research for a completely different play she was working on.
WHAT IS COLONIALISM? Colonialism is a structure of oppression that spans time and geography. In practice, colonization is when one country violently invades and takes control of another country, claims the land as its own, and sends settlers to live on and control that land.
There are two significant eras of colonialism in recorded history. The first began in the 15th century, when European countries such as Britain, Spain, France, and Portugal “We must understand that the colonized lands The fact that this erasure of indigenous peoples, across North and South America. event, the first their culture, and stories is at The motivations for mass genocide of the root of colonialism.” this first wave of the 20th century, colonial expansion isn’t a topic that can be narrowed down to religion, is covered in the curriculum of many resources and political power. United States history classes, is due to the fact we can only learn from history The second era of colonial expansion made accessible to us. As we try to occurred during the 19th century on unpack how colonialism has affected the African continent. During what the version of history available to us, has come to be known in the West as we must understand that the erasure “The Scramble for Africa,” these same of indigenous peoples, their culture, European nations (Britain, France, and stories is at the root of colonialism. Portugal, and Spain) split up Africa, This erasure is one of the themes creating borders and boundaries, that playwright Jackie Sibblies Drury and claiming large areas of land for interrogates in this play. As audience themselves. These artificial borders split members engaging with We Are Proud cultural groups, resulting in fierce ethnic to Present a Presentation…, Drury forces tensions that have had devastating us to explore the question: ramifications on indigenous populations What happens when you only have one that still exist today. side of the story?
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Visit steppenwolf.org/education to view our study guide, including an insightful interview with the Creative Team behind the show!
THE HERERO OF SOUTH-WEST AFRICA NAMIBIA Here is what we know about The Herero: Herero is a word that refers to a group of tribes. The various tribes forming the Herero group and speaking a common language of Otjihereroare are the Mbanderu, Himba (also known as the Ovahimba), Herero and Tijimba. The Herero are a pastoral cattle-breeding people and are some of the best cattle farmers in current day Namibia.
Colonial borders created by European nations during the “Scramble for Africa”
ITALY NETHERLANDS SPAIN GERMANY FRANCE BRITAIN
Today, when you attempt to do research, and learn about their origins and culture outside of the genocide, you are confronted with phrases like “Unfortunately little is known of their origin....” or “And most probably...” or “It is believed.” We are met with approximations when attempting to access the history of a people that existed fully and actually still exist, despite the extermination order that German colonial settlers issued during their territorial expansion at the turn of the 20th century. German soldiers forced Herero people into concentration camps, poisoned their water supply,
and committed many other violent acts. Around 65,000 Herero people died of starvation, dehydration, and disease during this period. In this German-Herero War that the play explores, the Herero population was almost completely wiped out, the region’s most prominent tribe reduced substantially in numbers. The repercussions of an event like that—the systematic wiping away of indigenous lives, culture and history—echos for generations.
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DECOLONIZING PERSPECTIVES When we think about the Herero people, we must understand that the fight is not over. The story of the Herero, as is the story of many marginalized communities, is a story of resilience and active persistence. There are Herero activists who are still fighting for justice from the violence that was done to their people. They are navigating a process of decolonization, which refers to the undoing of the pain that colonialism has embedded on so many communities. For the Herero, that means attempting to gain back land stolen during colonialism and a fight for reparations: asking the German government to pay money or otherwise make amends to the Herero people. IN CONVERSATION WITH THE PAST The images accompanying this article are examples of how the past, and the history of the Herero people, is a conversation that continues to this 20 Features
day. Photographer Jim Naughten spent several months in 2012 traveling across Namibia, spending time with and photographing dozens of members of the Herero tribe. Says Naughten, “Each image [from the series ‘Hereros’] harkens the region’s tumultuous past: residents wear Victorian era dresses and paramilitary costume as a direct result and documentation of its early 20th century German colonization.” During the German/Herero War, the Herero tribe was devastated, losing almost eighty percent of its population. Explains Naughten, “Garments became an important expression of identity during these fragile times. Upon killing a German soldier, a Herero warrior would remove the uniform and adopt it to his personal dress as a symbol of his prowess in battle. The wearing of German uniforms became a tradition that is continued to this day by Namibian men who honor their warrior ancestors during ceremonies, festivals and funerals.”
These photos are reprinted with express permission from photographer, Jim Naughten (jimnaughten.com).
“The story of the Herero, as is the story of many marginalized communities, is a story of resilience and active persistence.”
“By using unique costuming to expose the effects of colonization on the Herero, Naughten aims to ‘curate a stillness that allows the past to speak.’”
Naughten traveled Namibia for four months with a Herero guide who helped ensure those photographed were compensated appropriately—negotiating fees, or gifts for the villagers—usually coffee, sugar and maize. Says Naughten, “[During the four months] we camped every day, drove for thousands of miles staying in villages, visiting weddings, funerals, and ceremonies across the whole country, photographing as and when we could. Our guides were key to the process and they would introduce us to chiefs and elders, explaining what we wanted to do. In this way we made sure we could proceed respectfully and spend a great deal of time talking to the people I was photographing.”
the desert to serve as silent witness. By using unique costuming to expose the effects of colonization on the Herero, Naughten aims to “curate a stillness that allows the past to speak.”
Naughten also clarifies that his portraits are not intended to serve as a conventional documentary of Herero culture. The portraits have been placed against the image of the Namibian desert, elevating what happened to the Herero on their land and allowing
Do I know both sides of this story?
WHAT DO WE DO? It is important that we continue to challenge the sources from which we learn history, and understand that as access to the full history of many indigenous and native people is limited, as learners we must have critical curiosity by challenging our textbooks, continuing to dig deeper to navigate the nuances of world history and ask ourselves: Whose perspective am I receiving this narrative from? What can I do to decolonize the history of disenfranchised groups to ensure that certain stories are not erased?
Features 21
THE STEPPENWOLF ENSEMBLE Steppenwolf Theatre Company is the nation’s premier ensemble theater. Formed by a collective of actors in 1976, the ensemble members represents a remarkable cross-section of actors, directors and playwrights. Thrilling and powerful productions from Balm in Gilead and August: Osage County to Pass Over and Downstate—and accolades that include the National Medal of Arts and 12 Tony Awards—have made the theater legendary. Steppenwolf produces hundreds of performances and events annually in its three spaces: the 515-seat Downstairs Theatre, the 299-seat Upstairs Theatre and the 80-seat 1700 Theatre. Artistic programing includes a seven-play season; a two-play Steppenwolf for Young Adults season; Visiting Company engagements; and LookOut, a multi-genre performances series. Education initiatives include the nationally recognized work of Steppenwolf for Young Adults, which engages 15,000 participants annually from Chicago’s diverse communities; the esteemed School at Steppenwolf; and Professional Leadership Programs for arts administration training. While firmly grounded in the Chicago community, nearly 40 original Steppenwolf productions have enjoyed success both nationally and internationally, including Broadway, Off-Broadway, London, Sydney, Galway and Dublin. Anna D. Shapiro is the Artistic Director and David Schmitz is the Executive Director. Eric Lefkofsky is Chair of Steppenwolf’s Board of Trustees.
JOAN ALLEN
KEVIN ANDERSON
ALANA ARENAS
RANDALL ARNEY
KATE ARRINGTON
IAN BARFORD
ROBERT BREULER
CLIFF CHAMBERLAIN
GARY COLE
CARRIE COON
CELESTE M. COOPER
GLENN DAVIS
MALCOM EWEN
KATHRYN ERBE
AUDREY FRANCIS
K. TODD FREEMAN
FRANK GALATI
FRANCIS GUINAN
MOIRA HARRIS
JON MICHAEL HILL
TIM HOPPER
TOM IRWIN
ORA JONES
RAJIV JOSEPH
TERRY KINNEY †
TINA LANDAU
TRACY LETTS
JOHN MALKOVICH
SANDRA MARQUEZ
TARELL ALVIN MCCRANEY
JAMES VINCENT MEREDITH
LAURIE METCALF
AMY MORTON
SALLY MURPHY
CAROLINE NEFF
BRUCE NORRIS
AUSTIN PENDLETON
JEFF PERRY †
WILLIAM PETERSEN
YASEN PEYANKOV
RONDI REED
MOLLY REGAN
KAREN RODRIGUEZ
ANNA D. SHAPIRO°
ERIC SIMONSON
GARY SINISE †
NAMIR SMALLWOOD
LOIS SMITH
RICK SNYDER
JIM TRUE-FROST
ALAN WILDER
CO-FOUNDER ° ARTISTIC DIRECTOR
JOHN MAHONEY
MARIANN MAYBERRY
†
IN MEMORIAM
GLENNE HEADLY
MARTHA LAVEY
STEPPENWOLF STAFF Anna D. Shapiro Artistic Director
Terry Kinney, Jeff Perry and Gary Sinise Executive Artistic Board
David Schmitz Executive Director
Artistic
Administration and Operations
Jimmy Freund VIP Liaison to Audience Services Mike Brunlieb Audience Services Membership Supervisor Rebekah Camm Audience Services Supervisor Molly Layton Group Sales Coordinator Roseann Bishop Membership Coordinator Craig Barnes Itzel Blancas Emily Borges Rebecca Butler Allison Diamond Sam Garrott Rukmini Girish Kenya Hall Hanna Kime Julia Waits Audience Services Associates
Jonathan Berry Artistic Producer Hallie Gordon Artistic Producer and Artistic Director, Steppenwolf for Young Adults JC Clementz Casting Director Polly Hubbard Director of New Play Development Greta Honold LookOut Director Patrick Zakem LookOut Producer Kenya Hall Artistic and Literary Coordinator Glenn Davis Audrey Francis Tracy Letts Sandra Marquez Amy Morton Caroline Neff Yasen Peyankov Artistic Associates
Education Megan Shuchman Director of Education Jared Bellot Education Manager John Rooney Education and Leadership Programs Coordinator Abhi Shrestha Education Associate Sheila Chapman Education Volunteer Peter Andersen Jazmín Corona Cara Greene Epstein Monét Felton Tiffany Fulson Tina El Gamal Charles Andrew Gardner Greg Geffrard Larry Grimm Airos Sung-En Medill Mara Stern Wilfredo Ramos, Jr. Fatima Sowe Teaching Artists
Suzanne Miller Individual Giving Director Karena Fiorenza Jessica Gretch General Manager Individual Giving LaDonna Lane Manager Human Resources Max Lando Director Institutional Giving Maria Nondorf Manager Finance Director A.J. Roy Cory Jeanes Director of Operations Board Relations Manager Jovito Alvarez Chelsea Smith Finance Manager Campaign Manager Brian Hurst Samantha Price Finance Coordinator Institutional Giving Paul Miller Coordinator Office Manager Natasha Freeman Lupe Garcia Quiles Donor Services Events Management Assistant Director Gabriel Alaniz Marketing, Events Management Communications & Associate Audience Services Nic Andrews Kara Henry IT Administrator Director of Marketing and Communications Peter Van Kempen Facilities Manager Madeline Long Senior Adrian Castro Communications Operations Director Coordinator Erika Nelson James Heppler Senior Marketing Harold Jaffe Director Facilities Staff Joel Moorman Irukia Ahmed Ali Creative Director Victor David Tul Ghaley Donovan Foote Madan Gurung Design Director Rina Gurung Javier Dubon Ababe Mekonen Marketing Manager Shamshuddin Maya Fazio-Siu Mohamed Shofi Marketing Aminata Talawally Coordinator Custodial Staff Leean Kim Torske PR Associate Development Lowell Thomas Leslie Bradberry Video Content Director of Producer Development Juli Del Prete Kristy Conway Communications and Senior Development Marketing Assistant Director Corinne Neal Eric Evenskaas Audience Services Senior Development Director Director Stephanie Heller Mercedes Rohlfs Audience Services Campaign Director Membership Manager Courtney Anderson William Benjamin Director of Special Audience Services Events Manager
24 We Are Proud to Present a Presentation...
Audience Outreach Brian Hyunsuk Lee Audience Outreach Sales Manager Brandi Jones Audience Outreach Supervisor Alena Cook Tallis Geohegan Freifeld Greg Glomb Marilyn Hillary Jeffrey Jauch Audience Outreach Associates
Audience Experience Evan Hatfield Director of Audience Experience Danielle Shindler Food & Beverage Director Donald Coulson Parking Manager Aaron Aptaker Audience Experience Coordinator Kate Lerner Bar Manager Ashley Schilling Café Manager
Nick Burt David Clauson Matthew Glenn Havalah Grace Jake Green Taylor Hobart Caitlyn Johnson Megan Kaminsky Marshall Kious Georgette Kirkendall Laura LoChirco Nora Manz Airos Sung-En Medill Claudia Price Rio Ragazzone Chrystle Rivers Hoot Sanders Jessica Smith Kyla Spencer Paige Williams Marie Wolfe Audience Experience Associates Morgan Burkey Sydney Charles Annie Cleveland Omar Dyette Cameron Harrie Dani Nicole James Brian Keys Walker Lee Patty Malaney Jay Mast Greg Mehl Meaghan Morris Jack Newton Ian Palmer Hoot Sanders Kyla Spencer Shayla Tharp Shannon Vogt Front Bar Staff Angel Aguilar Mustafa Chaudry Sam Morales Gabriel Sanchez Parking Associates Jack Meyer and Lauren Louer, The Saints Volunteer Usher Coordination
Production Tom Pearl Director of Production Brianna Parry Associate Production Manager Erin Cook Company Manager and Assistant to the Artistic Director
BOARD OF TRUSTEES Claire Haupt Production Office Coordinator Mike Donohue Technical Director Chad Hain Associate Technical Director Tom Egan Scene Shop Supervisor Lydia Strini Draftsperson Kyle Land Shannon Perry Russell Scott Scenic Carpenters Zoe Shiffrin Scenic Charge Artist Jenny DiLuciano Properties Director Emily Feder Jay Tollefsen Associate Properties Directors Charles Moser Master Properties Artisan Erin Ohland Properties Artisan Melissa Humbert First Hand Shannon Higgins Wardrobe, Hair and Make Up Supervisor Melissa Motz Assistant Wardrobe Supervisor Caryn Weglarz Klein Costume Director Mae Haskins Assistant Costume Designer Laurel Clayson Head Draper Lynae Vandermeulen Work Room Supervisor and Draper Daisy Lindas Assistant Costume Director J. R. Lederle Lighting Supervisor Ernesto Gomez Master Electrician Karen Thompson Light Board Operator Rick Haefele Stage Operations Supervisor
Vanessa Gomez Assistant Stage Supervisor Martha Wegener Sound Supervisor Gregor Mortis Associate Sound Supervisor Matthew Chapman 1700 Tech Coordinator Malcolm Ewen Christine D. Freeburg Laura D. Glenn Production Stage Managers Kathleen Barrett Elise Hausken Mary Hungerford Amanda Landis Michelle Medvin Stage Managers
Professional Leadership Program Carlos Enrique Arellano Nakia Shalice Avila Becca Brown Jacqueline Corte Amy Couey Tina El Gamal Allison Granat Brittney Symone Grant Mark H. Anthony Harden Rachel Kennedy JuJu Laurie Mihika Miranda Caleb Naugle Reagan O’Malley May Treuhaft-Ali Eva Trunzo Abigail Vass Sarah Wallace
Agency of Record Grip
Production Counsel provided by Rick Pappas
Organizational Counsel provided by
Executive Committee Eric Lefkofsky, Chair Keating Crown, Vice Chair Deborah H. Quazzo, Secretary L. Heather Mitchell, Treasurer Henry S. Bienen Douglas R. Brown Elizabeth H. Connelly Nora Daley Rich Feitler Paul W. Goodrich Lynn Lockwood Murphy Bruce Sagan Matthew Shapiro Stephanie B. Smith John R. Walter Helen Zell Trustees Sarah Beardsley Michael W. Bender Susan O. Berghoef Jonathan Blanc Amy Bluhm Meredith Bluhm-Wolf Marlene Breslow-Blitstein Carole L. Brown Ebs Burnough Beth Boosalis Davis Amy Eshleman D. Cameron Findlay Matthew Gray Robert J. Greenebaum, Jr. Caryn Harris John Hart Jon Michael Hill Dennis D. Howarter Tina Landau Tracy Letts Mary Ludford Ronald J. Mallicoat, Jr.
Holly Maloney Tarell Alvin McCraney David E. Mendelsohn Verett Mims Christopher M. Murphy Pam Netzky Yasen Peyankov Anne M. Phillips Cari B. Sacks Robert Sanborn Manuel “Manny” Sanchez Anna D. Shapiro Matthew Shapiro Colette Cachey Smithburg Elliot A. Stultz Bryan Traubert Emeritus Trustees J. Robert Barr Lawrence Block Michael Cahan John N. Fox, Jr. Lawrence M. Gill Donna La Pietra Kenneth J. Porrello Merle Reskin Randall K. Rowe Gloria Scoby Past Chairpersons William L. Atwell Larry D. Brady Douglas R. Brown Nora Daley Laurence Edwards John N. Fox, Jr. Elliott Lyon Gordon Murphy William H. Plummer Bruce Sagan Gloria Scoby Donna Vos
the attorneys at Schiff Hardin, LLP
steppenwolf 25
WE GRATEFULLY ACKNOWLEDGE THOSE WHO PROVIDE SIGNIFICANT SUPPORT FOR STEPPENWOLF FOR YOUNG ADULTS DURING THE 2018/19 SEASON.
PHOTOGRAPHER MICHAEL LITCHFIELD
Grand Benefactor $100,000+ Anonymous The Crown Family‡ Polk Bros. Foundation* United Airlines
Benefactors $50,000 – $99,999 Paul M. Angell Foundation Ann and Richard Carr Steppenwolf Associates*
Producers $25,000-$49,999
American Express Andrew and Amy Bluhm Archer Daniels Midland Company Walter E. Heller Foundation JPMorgan Chase & Co. Lefkofsky Family Foundation Lynn Lockwood Murphy and Barrett B. Murphy ‡ Cari and Michael J. Sacks‡ Robert and Louis Sanborn Stephanie Smith and Gerald Smith Zell Family Foundation
Sustainers $5,000 – $9,999
Michael Bender and Sheridan Prior Marlene Breslow-Blitstein and Berle Blitstein The Boeing Company Michael and Cathy Brennan Cheryl Lynn Bruce and Kerry Marshall ComEd Mary Dempsey, Philip J. Corboy Foundation Brian Duwe Amy Eshleman and Lori Lightfoot Juliette Feld and Andrew Grossman John Hart and Carol Prins Ice Miller LLP Anne Kaplan John D. and Catherine T. MacArthur Foundation* Mesirow Financial The Orlebeke Foundation Reynolds Family Foundation Schiff Hardin LLP Louis & Nellie Sieg Fund The Smithburg Family Foundation Robert and Susan Warrington Winston & Strawn, LLP
Patrons $10,000 – $24,999
Robert and Isabelle Bass Foundation, Inc. The Bluhm Family Charitable Foundation Douglas R. Brown Carol and Douglas Cohen Caroline and Keating Crown Mary and Paul Finnegan Joan Hall Helen Brach Foundation Illinois Tool Works Foundation Anne and Don Phillips‡ Deborah and Stephen Quazzo Dr. Scholl Foundation Siragusa Family Foundation Bryan Traubert and Penny Pritzker Nina B. Winston
‡ Multi Year Pledge * The Steppenwolf Associates is a community of more than 100 dynamic young professionals who work each season to raise funds for Steppenwolf for Young Adults.
steppenwolf 27
Accessibility at Steppenwolf Committed to providing services and programming that enhance the experience of guests with disabilities, Steppenwolf is proud to feature: • Assistive listening devices in our Downstairs, Upstairs and 1700 theaters. • Audio-described performances, artistic conversations and touch tours of the stage for patrons who are blind or have low vision. • Sign language-interpreted and open-captioned performances for guests who are deaf or hard of hearing.
Induction hearing loops in the 1700 and Downstairs Theatre
If you use a hearing aid or cochlear implant that has a T-Coil, feel free to turn it on for the performance! The 1700 Theatre and both levels of the Downstairs Theatre are equipped with induction loops. Individual portable neck loops are available in our Upstairs Theatre—just ask any member of the house staff if you’d like to use one. Steppenwolf’s induction loop was made possible in part by a generous gift from John Hart and Carol Prins. 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 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. 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 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 survey inserted in this program or join the conversation at facebook. com/steppenwolftheatre. 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.
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
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.
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 does not offer advisories about subject matter, as sensitivities vary from person to person. If you have any questions about content, age-appropriateness or stage effects (such as strobe lights or theatrical fog) that might have a bearing on patron comfort, please contact the box office at 312-335-1650.
AD
A WARM, CREATIVE SPACE TO GRAB A DRINK, HAVE A BITE, OR MEET UP WITH FRIENDS AND COLLABORATORS, DAY OR NIGHT.
1700 N HALSTED ST | ALL DRINKS, NO DRAMA.
Join us THE SCENE
STEP IN
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.
STEP IN is a series that offers teens from all over the city the chance to participate in hands-on theatre workshops alongside some of the most exciting theatre artists working in the city right now while learning more about the Steppenwolf Young Adult Council, an afterschool program for teens interested in careers in the arts.
TICKETS ARE JUST $10
ADMISSION IS FREE!
Purchase tickets at the door or online 30 minutes before the show, or in advance by calling Steppenwolf Audience Services at 312-335-1650. Use code 43428
To reserve your spot, please RSVP to Education Associate Abhi Shrestha at ashrestha@steppenwolf.org
UPCOMING EVENTS
UPCOMING EVENTS
THE SCENE: WE ARE PROUD TO
WEDNESDAY, APRIL 10 WEDNESDAY, MAY 1
PRESENT A PRESENTATION... SATURDAY, MARCH 9 @ 7:30PM (post-show)
Events last from 4:30-6:00pm
Questions? Please contact Steppenwolf’s Education Associate Abhi Shrestha at 312-654-5603 or ashrestha@steppenwolf.org.