a doll's house - encore spotlight
TRANSCRIPT
2018/19 SEASON A THOUSAND SPLENDID SUNS | A PEOPLE’S HISTORY | IN THE HEIGHTS | LAST OF THE BOYS THE WOMAN IN BLACK | A DOLL’S HOUSE, PART 2 | NINA SIMONE: FOUR WOMEN | TINY BEAUTIFUL THINGS
MARCH 15 - APRIL 28, 2019
A DOLL'S HOUSE PART 2
B Y LUCAS HNATH
D I R E C T E D B Y BRADEN ABRAHAM
MARCH 2019
Encore Stages is an Encore Arts Program that features stories about our local arts community alongside information about performances. Encore Arts Programs are publications of Encore Media Group. We also publish specialty publications, including the Official Seattle Pride Guide and the SIFF Guide and Catalog. Learn more at encoremediagroup.com
ContentsFeature3 Sensory-Friendly Performances
9 Empowerment through Teen Activism
12 A Man of the People: Edwin Lindo and Estelita’s Library
Intermission Brain Transmission15 Test yourself with our trivia quiz!
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MARCH 2019
March 2019Volume 15, No. 5
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More than 3.5 million Americans live with autism spectrum disorder. We spoke with five performing arts organizations in the Seattle area who are committed to providing sensory-friendly performances that welcome all families, including those whose children have autism and other sensory sensitive disabilities.
Being an audience member is powerful. Going to the symphony can connect you with a piece of music that feels like it was made for you. Surrounding yourself with opera can feel like communion with the soul. And that perfect piece of theatre will make you forget that you weren’t right on that stage with them. But too often, the performing arts are created for a very specific audience—an audience without sensory sensitive disabilities like autism spectrum disorder. That’s where sensory-friendly performances come in.
According to the Autism Society of Washington, more than 3.5 million
Sensory-Friendly Performances in Seattle—and Beyond!
(left to right) Christian Roe and Ashley Byam in The Velveteen Rabbit at SCT. Photo by Angela Sterling.
encoremediagroup.com/programs 3
Americans live with autism spectrum disorder. Sensory-friendly performances are spaces created with autistic audiences—often children—in mind. Adjustments are made to productions, including sound levels, house lights and any strobe or other lighting elements that might be directed toward audience members. Designations are also often made to the seating arrangement inside the venue. Certain areas of the theatre are designated as quiet areas, while others allow talking amongst friends and family members. Audiences are free to walk around the theatre or even leave the space—all in the service of creating a performing arts experience that addresses each audience member’s needs.
Taproot Theatre, Village Theatre, Seattle Symphony and Seattle Children’s Theatre (SCT) all include sensory-friendly performances in their programming. The national tour of
The Lion King even included a sensory-friendly performance at The Paramount Theatre earlier this year.
“I think it’s important to be clear that the goal is not to change the art and the performance,” said Tracy Jirikowic, PhD, OTR/L, associate professor in the Division of Occupational Therapy at the University of Washington. Jirikowic has been researching sensory-friendly performances with her colleague Caroline Umeda, PhD, OTR/L, an assistant professor at Dominican University of California. Together, they’ve worked with performing arts organizations to implement sensory-friendly performances in their seasons, with the goal of creating inclusive spaces for audiences with and without disabilities.
“Research thus far indicates that families desire an inclusive experience,” Umeda said, “not a ‘special’ experience that isolates individuals with
disabilities or specific diagnoses from the rest of society.”
In 2014, Jirikowic attended the Sensory Friendly Summit in Washington, D.C., along with two Seattle Children’s Theatre staff members. She stated that, “this summit—and the collective group of people working on these initiatives nationally and internationally—inspired Seattle Children’s Theatre.”
Umeda, who at the time was a PhD student at UW, led SCT’s first sensory-friendly performance during the run of Goodnight Moon in March 2015.
“For many families who attended it was their first time bringing their child to a play,” Umeda said. “Several parents expressed surprise at how much their child enjoyed and connected with the play and how much they got out of coming.”
Spencer Wolfe in The Very Hungry Caterpillar Show at SCT. Photo by Elise Bakketun.
4 ENCORE STAGES
SCT has benefitted greatly from Jirikowic and Umeda’s expertise. Not only does the theatre provide sensory-friendly performances for every production in their season, they also provide a Story Book, introducing autistic children to the building itself with topics such as “The Lobby” and “Entering the Theatre.” The section entitled “My Seat” includes this comforting piece of knowledge: “My seat will always be next to my family. I might have my family on one side of me and a person I don’t know on the other side of me.”
“One of the reasons I was drawn to Seattle Children’s Theatre was its commitment to making an inclusive space for all young people in our region,” said Artistic Director Courtney Sale. When she started at SCT in 2016, the theatre offered sensory-friendly performances for three of the season’s six productions. The next year, they were included in all six.
“Attending a sensory-friendly show is one of the most rewarding aspects of my job,” Sale shared. “After the sensory-friendly performance of Stellaluna, a mother approached me and shared that this offering truly allowed her daughter to be herself. They felt welcome to verbalize and process the show in a way that might not be encouraged with a predominately neurotypical audience.”
But even with all the joy that comes from sensory-friendly performances, that space presents its own challenges. Umeda flagged marketing as one of the key challenges. Visibility is growing, but there are still many audience members who aren’t aware sensory-friendly performances are an option for them. Another key challenge is a lack of financial resources at the non-profit level.
“Organizations invested in these inclusion and equity initiatives need financial support to both get these programs off the ground and make
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them sustainable over time,” Umeda said. “In order to make sensory-friendly programs a reality for non-profit arts organizations, a funding stream is necessary.”
Taproot Theatre began offering sensory-friendly performances of A Charlie Brown Christmas in 2015, after actor Sarah Ware shared her own experiences of creating sensory-friendly performances in graduate school with Associate Artistic Director Karen Lund. And they have continued ever since.
“After one particular performance, a parent told me what a joy it was for them to be able to enjoy theatre as a family in an atmosphere tailored to their needs,” Ware shared. “It’s really a privilege to be able to serve people in this way. Theatre is for everyone—and everyone should have the opportunity to enjoy the art form. Sensory-friendly performances afford people the opportunity to be included in a world that often feels exclusive and out of touch with their needs as a family.”
In addition to many of the sound and lighting adjustments already mentioned, sensory-friendly performances at Taproot begin with a live announcement from the actors.
“They introduce themselves and let it be known they’re all friends putting on a play together,” Lund explained. “So, if they say mean words in the play, they aren’t really mad at each other. They also remind the audience it’s okay to laugh and just have fun.”
Village Theatre began offering sensory-friendly performances through their Pied Piper series for youth and families during their 2012-13 season. Through the generosity of The Mark and Vickie Fund of the Nysether Family Foundation, Village Theatre is able to offer sensory-friendly performances free of charge.
Sarah Ware and Brad Walker in Taproot Theatre’s 2017 production of A Charlie Brown Christmas. Photo by Erik Stuhaug.
Emmanuel Elpenord in The Very Hungry Caterpillar Show at SCT. Photo by Elise Bakketun.
Sarah Diener, Maya Burton, Arika Matoba, Coulson Bingham, Julee Felts and Brad Walker in Taproot Theatre’s 2018 production of A Charlie Brown Christmas. Photo by Erik Stuhaug.
6 ENCORE STAGES
Edgar Arceneaux: Library of Black LiesNOV 17, 2018 –JUN 2, 2019
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Edgar Arceneaux. Library of Black Lies [detail]. 2016. Wood, mirrored glass, mylar, newspaper, hard-bound books, sugar crystals, lighting fixtures, audio component. Photo: Jonathan Vanderweit.
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General Manager Erica Weir shared that during those first few seasons of sensory-friendly performances, Village Theatre put a lot of stress on themselves to deliver the perfect experience for those audiences.
“What we started to realize through talking to families,” Weir said, “was that the most important and valuable thing was for the kids and their families to feel welcome and accepted, and that no apologies were needed.”
Weir elaborated, explaining that every audience member has different needs. Some need to sit still, taking in every detail, while others need to use electronic devices, fidgets or headphones in order to feel comfortable. Some children need to be able to walk around during the performance and others leave before the performance is over. And every experience is accepted and welcome.
In 2015, Seattle Symphony began exploring ways to make their family programming more inclusive to neuro-diverse children. A board member connected the Symphony with the University of Washington Autism Center and, soon after, the Symphony partnered with Seattle Pacific University’s Music Therapy Program and Music Works Northwest. These partners provided the Seattle Symphony with the resources required to develop sensory-friendly programming as part of their season.
“The best part of the Sensory Friendly Concerts is seeing families and children able to experience a concert in a comfortable space where they do not have to worry if their child is going to make too much noise or be singled out for acting strangely,” said Collaborative Learning Manager Amy Heald. “What I love most is how the children and families feel comfortable to experience the concert however is best for them. It’s always incredibly rewarding to watch how the children
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get more comfortable and confident throughout the concert experience. Many are dancing and singing by the end. The dream is for all families to feel welcomed and comfortable attending any family program at the Symphony,” Heald said, “no matter what needs their child may have.”
Seattle Theatre Group experienced their first ever sensory-friendly performance earlier this year with the national tour of The Lion King.
“Seattle Theatre Group has been receiving a number of emails and thank you letters from audience members expressing their most sincere gratitude,” said Associate Director of Education Marisol Sánchez Best. “I’ve read a number of letters that have stated that this show was the first show they’ve attended as a family. As a parent, this is hard to hear because everyone should be allowed to enjoy a night out as a family in a judgement free environment.”
Sánchez Best hopes that this will be the first of many sensory-friendly performances at the organization.
“Seattle Theatre Group is the people’s theatre,” Sánchez Best said, “and we are committed to continuing this work for years to come.”
And a commitment to inclusive, welcoming performing arts experiences for audience members with autism spectrum disorder is a commitment we can all get behind. ■
Danielle Mohlman is a nationally produced feminist playwright and arts journalist based in Seattle. Her play Nexus is among the 2015 Honorable Mentions on The Kilroys list. She is an alumnus of the inaugural class of Playwrights’ Arena at Arena Stage and the 2018 Umbrella Project Writers Group. www.daniellemohlman.com
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8 ENCORE STAGES
TABLE OF CONTENTS
About the Show .................. A-3
Meet the Cast ..................... A-4
Beyond the Stage ............... A-7
From the Artistic Director .. A-8
Donor Recognition ...........A-12
MARCH 2019
EDITOR-IN-CHIEF Noelle McCabe
EDITOR Rowena Yow
ART DIRECTOR Shannon Loys
PHOTOGRAPHER Angela Nickerson
THE MASTER BUILDER (1978) PICTURED: RACHEL GURNEY
& HARRIS LASKAWY
From the Vault
† ex-officio* ArtsFund Board Fellow
BOARD OF TRUSTEES
ARTISTIC DIRECTOR Braden Abraham † Seattle Repertory Theatre
Clodagh Ash Civic Leader
Susan Ashmun Civic Leader
Lynne Bush Civic Leader
Debra Canales Providence Health & Services
SRO PRESIDENT Diane Cody † Civic Leader
Jim Copacino Copacino+Fujikado, LLC
Tracy Daw Funko, LLC
Juli Farris Keller Rohrback LLP
Donte Felder Seattle Public Schools
Karen Fletcher Civic Leader
Scottland Glenn* Kantor Taylor PC
MANAGING DIRECTOR Jeffrey Herrmann † Seattle Repertory Theatre
Alyssa Hochman Point B
Winky Hussey Civic Leader
SRO REPRESENTATIVE Robert Jenkins † Civic Leader
Bruce E.H. Johnson Davis Wright Tremaine, LLP
Deborah T. Killinger Civic Leader
Gwenann Kroon Civic Leader
Mandy Leifheit* Microsoft Corporation
Rachel Lerman The Seattle Times
Marko Liias Washington State Senator 21st District
Charlotte Lin Civic Leader
Marcella McCaffray Civic Leader
Sandy McDade Civic Leader
Rick McMichael Civic Leader
Terri Olson Miller Civic Leader
Glenna Olson U.S. Bank
Anita Ramasastry University of Washington
Tim Rattigan Citigroup Global Markets Inc.
Anne Simpson Civic Leader
Richard B. Stead, M.D. Bio-Pharma Consulting Services LLC
SRT FOUNDATION REPRESENTATIVE Carlyn Steiner † Civic Leader
John Stilin Civic Leader
Janice Tsai Mozilla
Marisa Walker Baird Private Wealth Management
Nancy Ward World Justice Project
Tom Wright Filmmaker
CHAIR John Keegan Civic Leader
PRESIDENT Stellman Keehnel DLA Piper LLP (US)
VICE PRESIDENT/CHAIR-ELECT Amy Bautista Kosmos Management
PAST-PRESIDENT Earle J. Hereford Kutscher Hereford Bertram Burkart Brown & Cashman PLLC
VICE PRESIDENT Elizabeth Choy, M.D. Civic Leader
VICE PRESIDENT Donna M. Cochener HomeStreet Bank
VICE PRESIDENT Adam Cornell Snohomish Co. Prosecuting Attorney
VICE PRESIDENT Brent Deim Amazon
VICE PRESIDENT Rebecca Pomering Moss Adams Wealth Advisors LLC
TREASURER Kevin Millison Boeing Commercial Airplanes
SECRETARY Becky Lenaburg Microsoft Corporation
TRUSTEES EMERITIPam AndersonRobert S. Cline Bill Gates, Sr. John HempelmannToni HoffmanBrent JohnsonRobert L. King, Jr.H.L. (Skip) Kotkins, Jr.Lynn ManleyIlse OlesAnn Ramsay-JenkinsDeborah RosenStanley SavageCarlyn SteinerJanet TrueJames F. Tune
Jean Viereck Jill WatkinsShauna Woods
ADVISORY COUNCILDr. Laila AbdallaSheetal AgarwalDavid AlhadeffKenny AlhadeffMarleen AlhadeffJoanne Euster Carver GaytonTiffany GortonMary Kay HaggardChris Kevorkian
David SchneidermanAnthony ShoecraftPaul StamnesMarty TaucherJane Zalutsky
HONORARY TRUSTEESChap AlvordBill FranklinPhil McCuneNancy MertelRobin NelsonHal Strong Tammy TalmanRichard Weisman‡
SRT FOUNDATION BOARDBruce E.H. Johnson
Chair
Carlyn SteinerVice-Chair
Margaret ClappAllan DavisJohn Keegan†
Stellman Keehnel†
Terri Olson Miller†
Kevin Millison†
Elizabeth D. RudolfJanet True Shauna Woods†
‡ deceased encoremediagroup.com/programs A-1
A DOLL’S HOUSE (1997) PICTURED: SAM GREGORY AND JENNY BACON PHOTO BY PATRICK BENNETT
From the Vault
FOR OUR PATRONS
Code of ConductWe are committed to being a racially, culturally, and socially just organization. We uphold a safe environment wherein all people are treated with respect and dignity. It is our expectation that all staff, visitors, and patrons comply with this code of conduct and we reserve the right to relocate or remove any person from our theatre who disregards our commitment.
Evacuation ProceduresIn an emergency, wait for an announcement for further instructions. Ushers will be available for assistance. Familiarize yourself with the exit route nearest your seat.
Coat CheckCheck items for $1 each.
Food and BeveragePatrons are welcome to bring drinks in plasticware into the theatre. Food and glassware are not allowed in the theatre. You can avoid lines by pre-ordering drinks for intermission!
Emergency NumberIn case of emergency, doctors and other emergency contacts may reach you by calling 206.443.2222. Give your name and seat location to the house manager if you expect to be contacted.
Accessibility ServicesWheelchair-accessible ticketing available. Inquire with the Box Office when you purchase your ticket.
Seattle Rep is equipped with a hearing loop which uses a wireless signal to transmit the sound from the theatre’s PA system to the T-coils in your implant or hearing aid, as well as to receivers that are available on loan at Coat Check. Coverage is provided wherever you see the T-coil symbol.
We offer select captioned, audio-described, and ASL-interpreted performances during our season. Large print programs are available at Coat Check.
FIREARMS & SMOKINGFirearms are not allowed in any part of the building. Smoking is not allowed in our building or within 25 feet of any entrance.
CONTACT SEATTLE REPBOX OFFICE 206.443.2222 Hours: Noon to curtain
ADMINISTRATIVE206.443.2210
ADDRESS 155 Mercer St. P.O. Box 900923 Seattle, WA 98109
Group SalesGroups of 10+ save! 206.443.2224 [email protected]
MISSIONSeattle Repertory Theatre collaborates with extraordinary artists to create productions and programs that reflect and elevate the diverse cultures, perspectives, and life experiences of our region.
VISIONTheatre at the heart of public life.
VALUESArtistic VitalitySustainabilityGenerous and InclusivePractices
We welcome you to take pictures of the set
before the show, during intermission, and after the show.
Photography, recording, and use of cell phones are strictly prohibited
during the performance.
SHARE YOUR PHOTOS
@SEATTLEREP#DOLLSHOUSE2SRT
MARCH 15 - APRIL 28, 2019
The actors and stage managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
SEATTLE REPERTORY THEATRE ARTISTIC DIRECTOR
Braden AbrahamMANAGING DIRECTOR
Jeffrey HerrmannPRESENTS
RUN TIME
Approximately 90 minutes with no intermission.
SEASON SPONSOR
PLEASE NOTEThis show contains profanity and the use of haze.
A DOLL’S HOUSE, PART 2BY
Lucas HnathDIRECTED BY
Braden Abraham
Nora Helmer ......................................Pamela Reed
Torvald Helmer ..................................Michael Winters
Emmy Helmer ...................................Khanh Doan
Anne Marie ........................................Laura Kenny
CAST
LIGHTING DESIGNER
L.B. MorseORIGINAL MUSIC &
SOUND DESIGN
Obadiah Eaves
COSTUME DESIGNER
Deborah TroutSCENIC DESIGNER
Carey Wong
STAGE MANAGER
Stina Lotti
TITLE SPONSORS
A Doll’s House, Part 2 is presented by special arrangement with Dramatists Play Service, Inc., New York.Originally produced on Broadway by Scott Rudin, Eli Bush, Joey Parnes, Sue Wagner, and John Johnson.
Commissioned and first produced by South Coast Repertory.
PRODUCING SPONSORS
Becky Lenaburg & Paul Urla
Cynthia Stroum
PRODUCING PARTNER
A - 2
A DOLL’S HOUSE (1997) PICTURED: SAM GREGORY AND JENNY BACON PHOTO BY PATRICK BENNETT
From the Vault
FOR OUR PATRONS
Code of ConductWe are committed to being a racially, culturally, and socially just organization. We uphold a safe environment wherein all people are treated with respect and dignity. It is our expectation that all staff, visitors, and patrons comply with this code of conduct and we reserve the right to relocate or remove any person from our theatre who disregards our commitment.
Evacuation ProceduresIn an emergency, wait for an announcement for further instructions. Ushers will be available for assistance. Familiarize yourself with the exit route nearest your seat.
Coat CheckCheck items for $1 each.
Food and BeveragePatrons are welcome to bring drinks in plasticware into the theatre. Food and glassware are not allowed in the theatre. You can avoid lines by pre-ordering drinks for intermission!
Emergency NumberIn case of emergency, doctors and other emergency contacts may reach you by calling 206.443.2222. Give your name and seat location to the house manager if you expect to be contacted.
Accessibility ServicesWheelchair-accessible ticketing available. Inquire with the Box Office when you purchase your ticket.
Seattle Rep is equipped with a hearing loop which uses a wireless signal to transmit the sound from the theatre’s PA system to the T-coils in your implant or hearing aid, as well as to receivers that are available on loan at Coat Check. Coverage is provided wherever you see the T-coil symbol.
We offer select captioned, audio-described, and ASL-interpreted performances during our season. Large print programs are available at Coat Check.
FIREARMS & SMOKINGFirearms are not allowed in any part of the building. Smoking is not allowed in our building or within 25 feet of any entrance.
CONTACT SEATTLE REPBOX OFFICE 206.443.2222 Hours: Noon to curtain
ADMINISTRATIVE206.443.2210
ADDRESS 155 Mercer St. P.O. Box 900923 Seattle, WA 98109
Group SalesGroups of 10+ save! 206.443.2224 [email protected]
MISSIONSeattle Repertory Theatre collaborates with extraordinary artists to create productions and programs that reflect and elevate the diverse cultures, perspectives, and life experiences of our region.
VISIONTheatre at the heart of public life.
VALUESArtistic VitalitySustainabilityGenerous and InclusivePractices
We welcome you to take pictures of the set
before the show, during intermission, and after the show.
Photography, recording, and use of cell phones are strictly prohibited
during the performance.
SHARE YOUR PHOTOS
@SEATTLEREP#DOLLSHOUSE2SRT
MARCH 15 - APRIL 28, 2019
The actors and stage managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
SEATTLE REPERTORY THEATRE ARTISTIC DIRECTOR
Braden AbrahamMANAGING DIRECTOR
Jeffrey HerrmannPRESENTS
RUN TIME
Approximately 90 minutes with no intermission.
SEASON SPONSOR
PLEASE NOTEThis show contains profanity and the use of haze.
A DOLL’S HOUSE, PART 2BY
Lucas HnathDIRECTED BY
Braden Abraham
Nora Helmer ......................................Pamela Reed
Torvald Helmer ..................................Michael Winters
Emmy Helmer ...................................Khanh Doan
Anne Marie ........................................Laura Kenny
CAST
LIGHTING DESIGNER
L.B. MorseORIGINAL MUSIC &
SOUND DESIGN
Obadiah Eaves
COSTUME DESIGNER
Deborah TroutSCENIC DESIGNER
Carey Wong
STAGE MANAGER
Stina Lotti
TITLE SPONSORS
A Doll’s House, Part 2 is presented by special arrangement with Dramatists Play Service, Inc., New York.Originally produced on Broadway by Scott Rudin, Eli Bush, Joey Parnes, Sue Wagner, and John Johnson.
Commissioned and first produced by South Coast Repertory.
PRODUCING SPONSORS
Becky Lenaburg & Paul Urla
Cynthia Stroum
PRODUCING PARTNER
encoremediagroup.com/programs A-3
Pamela ReedNora HelmerOn and Off-Broadway: Fools, The November People, Standing on My Knees, and Getting Out (Drama Desk Award). At the New York
Shakespeare Festival, Ms. Reed premiered Curse of the Starving Class (Drama Desk nomination), Aunt Dan and Lemon, Fen, Sorrows of Stephen, and All’s Well That Ends Well. Ms. Reed has received the Obie Award for Sustained Excellence of Performance in Theater. Film: Kindergarten Cop, The Long Riders, Bean, Junior, Melvin and Howard, The Best of Times, Cadillac Man, Rachel River, Passed Away, Proof of Life, and The Right Stuff. Ms. Reed currently has a recurring role on “NCIS:LA.” Other TV credits include “Jericho,” “Grand,” “Home Court,” Robert Altman’s “Tanner ’88” (Cable Ace Award, Best Actress), and as Amy Poehler’s mom in “Parks and Recreation.” She has also contributed her voice to many of the Ken Burns projects for PBS. Since returning home to the Northwest, she has appeared at ACT Theatre in Other Desert Cities and Vanya and Sonia and Masha and Spike. She last appeared at Seattle Repertory Theatre in the Broadway tour of The Humans, as Martha in Who’s Afraid of Virginia Woolf? (Gregory Award, Best Actress), and as Caroline in Luna Gale (Gregory Award, Best Actress). Ms. Reed was delighted to have recently performed with Seattle’s Sandbox Radio.
Michael WintersTorvald HelmerMichael Winters has previously appeared at the Rep in A Delicate Balance, The Cider House Rules, Inspecting Carol, and A Great
Wilderness. In Seattle, he has also appeared with Intiman, ACT, Seattle Shakespeare Company, Book-It Repertory Theatre, The 5th Avenue Theatre, Taproot Theatre Company, and at West of Lenin. He has performed at the Mark Taper Forum, The Matrix, Andak Productions, and The Getty Villa, all in Los Angeles; A.C.T. in San Francisco; The Denver Center for the Performing Arts Theatre Company; Arizona Theatre Company; Studio Theatre in Washington, D.C.; and at the Oregon Shakespeare Festival. He can be seen on television, usually on reruns of “Gilmore Girls.” He has appeared on Broadway, has been a fellow of the Lunt-Fontanne Fellowship Program, and is the grateful recipient of a Fox Fellowship.
Khanh DoanEmmy HelmerKhanh is thrilled to be making her debut at Seattle Repertory Theatre. Most recently, she reprised her role in King of the Yees at
Baltimore Center Stage. Khanh was a 2017 Core Company Member at ACT, where she has appeared in The Crucible, King of the Yees (Gregory Award nominee), Ramayana, and A Christmas Carol. Other local credits: The Little Prince (Seattle Children’s Theatre), A Tale for the Time Being (Book-It), Jesus Christ Superstar (Village Theatre), Miss Saigon (The 5th Avenue Theatre), Julius Caesar and Macbeth (Wooden O), The Tempest (Island Stage Left), Eulogy for Citizen (Theater Schmeater). Portland credits: The Talented Ones (Artists Repertory Theatre), You For Me For You (Portland Playhouse), Redwood Curtain (Profile Theatre). Up next: Dracula at ACT Theatre.
Laura KennyAnne MarieLaura returns to Seattle Rep where she has appeared in many shows over the years. Some of her favorites have been Romeo and Juliet, The
O’Connor Girls, Don Juan, Six Characters in Search of an Author, and The Good Times Are Killing Me. She has performed all over Seattle, and also at The Old Globe, The Shakespeare Theatre in D.C., and The McCarter. She was seen in the latest “Twin Peaks” series and she played Kay Waterman in the ABC mini-series “Rose Red.” She would like to thank you for being here and supporting live theatre. Laura is proud to be a long-time member of AEA and SAG-AFTRA Performer’s Unions.
Lucas HnathPlaywrightLucas Hnath’s plays include A Doll’s House, Part 2 (8 Tony® nominations, including Best Play); Hillary and Clinton; Red Speedo; The Christians; A Public Reading of an Unproduced Screenplay About the Death of Walt Disney; Isaac’s Eye; and Death Tax. He has been produced on Broadway at the John Golden Theatre, Off-Broadway at New York Theatre Workshop, Playwrights Horizons, Soho Rep, and Ensemble Studio Theatre. His plays have been produced nationally and internationally with premieres at the Humana Festival of New Plays, Victory Gardens, and South Coast Rep. He has been a resident playwright at New Dramatists since 2011.
Awards: Kesselring Prize, Guggenheim Fellowship, Whiting Award, two Steinberg/ATCA New Play Award Citations, Outer Critics Circle Award for Best New Play, an Obie, and the Windham-Campbell Literary Prize.
Braden AbrahamDirectorBraden joined Seattle Rep in 2002, starting as an artistic intern, then holding several positions on the artistic staff. He served as Associate Artistic Director for seven years before his appointment as Artistic Director in 2015. An accomplished director, he has directed many productions for the Rep, most recently Last of the Boys, Ibsen in Chicago, Well, Luna Gale, A View from the Bridge, The Comparables, Who’s Afraid of Virginia Woolf?, and A Great Wilderness. Other productions include The Glass Menagerie; Clybourne Park; and the critically acclaimed, extended runs of Photograph 51; My Name is Rachel Corrie (U.S. regional premiere); and Betrayal. Braden directed the West Coast premieres of This (Seattle Rep), The K of D, an urban legend (Seattle Rep, Pistol Cat, FringeNYC, Illusion Theatre), Opus (Seattle Rep), and White Hot (Marxiano Productions/West of Lenin). Other premieres include Riddled (Richard Hugo House); Clear Blue Sky (On the Boards/Northwest New Works); Breakin’ Hearts and Takin’ Names (Seattle Rep); The Ten Thousand Things (Washington Ensemble Theatre); and Kuwait (Theater Schmeater). Braden has developed new work with Seattle Rep, Denver Theatre Center, On the Boards, The O’Neill Playwrights Conference, Ojai Playwrights Conference, Portland Center Stage, and The Playwrights Center. Member of SDC.
Carey WongScenic DesignerCarey Wong’s theatre credits include Berkeley Repertory Theatre, Portland Center Stage, Arizona Theatre Company, Center Stage Baltimore, Syracuse Stage, ACT Theatre, Intiman, Seattle Children’s Theatre, Village Theatre, Tacoma Actors Guild, Childsplay, Phoenix Theatre, Mixed Blood Theatre, Prince Music Theater, and Hey City Theater. He has been Resident Designer for Portland Opera, Opera Memphis, and Wildwood Park for the Arts. Regional opera credits include Seattle Opera, Spoleto Festival USA, New York’s Valhalla Wagnerfest, Pittsburgh Opera, Opera Carolina, Kentucky Opera, Vancouver Opera, and the San Francisco Opera Center. Carey is a graduate of Yale College and attended the Yale School of Drama. Recent projects include The Magic Flute (Beijing Music Festival), Una Pareja De Miedo (Nearco Producciones, Spain), The Nutcracker (Ballet Arizona), the American stage premiere of Franco Faccio’s Amleto (Opera Southwest), Hairspray (Village Theatre), and The Miraculous Journey of Edward Tulane (Seattle Children’s Theatre). He is the Artistic Advisor/Designer for the new Portland Chinatown Museum where he designed the permanent exhibit, Beyond
MEET THE
CAST
MEET THE
ARTISTIC TEAM
the Gate. Previous designs for Seattle Rep include The Comparables, Boeing Boeing, Inspecting Carol, Sylvia, Birdie Blue, Murderers, and The Chosen.
Deborah TroutCostume DesignerDeborah Trout is pleased to return to Seattle Rep after her recent work on Sherlock Holmes and The American Problem, The Hound of the Baskervilles, and Well. Other recent projects range from The Turn of the Screw and Beatrice and Benedict at Seattle Opera; The Crucible and Mr. Burns, a post-electric play at ACT Theatre; as well as her more unusual journey with choreographer Alice Gosti on the transformational “epic dress” for How to Become a Partisan at Seattle’s St. Mark’s Cathedral and in Terni, Italy. A Northwest designer, past collaborations have included shows at Actors Theatre of Louisville, Houston’s Alley Theatre, Atlanta’s Alliance Theatre, The Denver Center Theatre, Intiman Theatre, Manhattan School of Music, Minneapolis Children’s Theatre Company, Oregon Shakespeare Festival, Portland Center Stage, Juneau’s Perseverance Theatre, Seattle Children’s Theatre, Shakespeare Santa Cruz, and Syracuse Stage, among many others. Co-founder of the New York-based millinery company Mackey and Trout, she is a graduate of the Yale School of Drama, a member of United Scenic Artists, and on the design faculty at the University of Washington’s School of Drama.
L.B. MorseLighting DesignerL.B. Morse is a designer for theatre and dance and has designed lighting, scenery, and multimedia for over 25 productions at Seattle Rep. Recent productions include Ibsen in Chicago (lighting); The Odyssey (scenery and multimedia); Well (lighting); Constellations (scenery and lighting); Lizard Boy (scenery and multimedia); and The Hound of the Baskervilles (scenery, lighting, and multimedia). He has also designed for The 5th Avenue Theatre, Intiman, ACT Theatre, Seattle Children’s Theatre, Tantrum Theater, Strawberry Theatre Workshop, Seattle Shakespeare Company, On the Boards, Lingo dancetheater, Maureen Whiting Dance Co., and Empty Space, among others. L.B. holds a B.A. in Theatre Arts and a Graduate Certificate in Scenic Design from University of California, Santa Cruz. He is the Resident Designer here at Seattle Rep and a member of United Scenic Artists, Local 829.
Obadiah EavesOriginal Music & Sound DesignObadiah’s music and sound have appeared at Seattle Rep in Sherlock Holmes and The American Problem, Constellations, The Comparables, A Great Wilderness, The Glass Menagerie, Betrayal, The Night Watcher, My Name is Rachel Corrie, and Nine Parts of
Desire, which played at theatres across the country and garnered the Lortel Award for Outstanding Sound Design. On Broadway, he created music and sound for Saint Joan; The Lieutenant of Inishmore; Shining City; Come Back, Little Sheba; Collected Stories; Accent On Youth; The Country House; The Assembled Parties; A Life In The Theatre; and Harvey. Other recent work includes Hannah and the Dread Gazebo (Oregon Shakespeare Festival); Noura (Playwright’s Horizons); The Portuguese Kid (Manhattan Theatre Club); and The Total Bent (The Public Theater). He has also designed sound and music for the original productions of works by David Mamet, Eric Bogosian, Ethan Coen, Woody Allen, and John Patrick Shanley. He garnered Audelco Viv Awards for his work on The Total Bent and Fucking A (Public/New York Shakespeare Festival) and the Bay Area Critics Circle Award for Heartbreak House (Berkeley Rep). His music can also be heard on HBO, Nickelodeon, Discovery, TLC, and in Fisher-Price toys. www.obadiahmusicandsound.com
Stina LottiStage ManagerProduction Stage Manager, Seattle Rep. Select credits: The Servant of Two Masters (Seattle Repertory Theatre, Shakespeare Theatre Company, Guthrie Theater, ArtsEmerson); Last of the Boys, MAC BETH, The Odyssey, Here Lies Love, Well, A Raisin in the Sun, All the Way, The Great Society, The Piano Lesson, Boeing Boeing, Fences, You Can’t Take It With You, Gem of the Ocean (Seattle Repertory Theatre); The Sound of Music, Cinderella, Guys and Dolls, White Christmas, Cabaret (The 5th Avenue Theatre); Angels in America, A Doctor In Spite of Himself (Intiman Theatre); Brooklyn Bridge, Lyle the Crocodile (Seattle Children’s Theatre).
Braden AbrahamArtistic DirectorSee previous page for bio.
Jeffrey HerrmannManaging DirectorIn May 2014, Jeffrey Herrmann was appointed as the third Managing Director in Seattle Rep’s 55-year history. In this role, Jeff oversees all the administrative functions of this nearly $13 million, nationally-recognized, not-for-profit performing arts organization, including development, finance, marketing, operations, and Board relations. Since his arrival—which coincided, to the day, with Braden Abraham’s appointment as Artistic Director—activity, attendance, fundraising, and the budget have all shown marked
increases. Under their management, the theatre also recently completed a significant renovation of the PONCHO Forum, the first major capital project undertaken by the Rep since the construction of the Leo K. Theatre in 1995; saw its world premiere of Come From Away open on Broadway, in Canada, and on national tour; reconfigured the Bagley Wright Theatre in order to produce David Byrne’s groundbreaking, immersive musical Here Lies Love, which now stands as the highest-grossing show in the Rep’s history; has committed to an initiative to increase equity, diversity, and inclusion at every level of the theatre; and completed its first strategic plan in more than a decade. Prior to his arrival in Seattle, Jeff served as Managing Director of Washington, D.C.’s Woolly Mammoth Theatre Company for seven seasons. Before that, Jeff served as Producing Director at Perseverance Theatre in Juneau, AK for eight seasons. Jeff started his career in arts administration with the Albany Berkshire Ballet in Pittsfield, MA, where he served as Managing Director for three years. Born in upstate NY and raised in West Hartford, CT, Jeff received his B.A. in English at Vassar College and his M.F.A. in Theatre Management at the Yale School of Drama.
Seattle Repertory TheatreFounded in 1963, Seattle Rep is led by Artistic Director Braden Abraham and Managing Director Jeffrey Herrmann. One of America’s premier not-for-profit resident theatres, Seattle Repertory Theatre has achieved international renown for its consistently high production and artistic standards, and was awarded the 1990 Tony Award for Outstanding Regional Theatre. With an emphasis on entertaining plays of true dramatic and literary worth, Seattle Rep produces a season of plays along with educational programs, new play workshops, and special presentations. Visit seattlerep.org.
FOR
SEATTLE REP
A member of the League of Resident Theatres (LORT), a nationwide association of not for profit theatres.
This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the I.A.T.S.E. Scenery Construction and Operations performed by employees represented by I.A.T.S.E. locals 15 and 488. Wardrobe services are performed by employees represented by T.W.U Local 887.
AFFILIATIONS
Directors and Choreographers at this theatre are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.
A - 4
Pamela ReedNora HelmerOn and Off-Broadway: Fools, The November People, Standing on My Knees, and Getting Out (Drama Desk Award). At the New York
Shakespeare Festival, Ms. Reed premiered Curse of the Starving Class (Drama Desk nomination), Aunt Dan and Lemon, Fen, Sorrows of Stephen, and All’s Well That Ends Well. Ms. Reed has received the Obie Award for Sustained Excellence of Performance in Theater. Film: Kindergarten Cop, The Long Riders, Bean, Junior, Melvin and Howard, The Best of Times, Cadillac Man, Rachel River, Passed Away, Proof of Life, and The Right Stuff. Ms. Reed currently has a recurring role on “NCIS:LA.” Other TV credits include “Jericho,” “Grand,” “Home Court,” Robert Altman’s “Tanner ’88” (Cable Ace Award, Best Actress), and as Amy Poehler’s mom in “Parks and Recreation.” She has also contributed her voice to many of the Ken Burns projects for PBS. Since returning home to the Northwest, she has appeared at ACT Theatre in Other Desert Cities and Vanya and Sonia and Masha and Spike. She last appeared at Seattle Repertory Theatre in the Broadway tour of The Humans, as Martha in Who’s Afraid of Virginia Woolf? (Gregory Award, Best Actress), and as Caroline in Luna Gale (Gregory Award, Best Actress). Ms. Reed was delighted to have recently performed with Seattle’s Sandbox Radio.
Michael WintersTorvald HelmerMichael Winters has previously appeared at the Rep in A Delicate Balance, The Cider House Rules, Inspecting Carol, and A Great
Wilderness. In Seattle, he has also appeared with Intiman, ACT, Seattle Shakespeare Company, Book-It Repertory Theatre, The 5th Avenue Theatre, Taproot Theatre Company, and at West of Lenin. He has performed at the Mark Taper Forum, The Matrix, Andak Productions, and The Getty Villa, all in Los Angeles; A.C.T. in San Francisco; The Denver Center for the Performing Arts Theatre Company; Arizona Theatre Company; Studio Theatre in Washington, D.C.; and at the Oregon Shakespeare Festival. He can be seen on television, usually on reruns of “Gilmore Girls.” He has appeared on Broadway, has been a fellow of the Lunt-Fontanne Fellowship Program, and is the grateful recipient of a Fox Fellowship.
Khanh DoanEmmy HelmerKhanh is thrilled to be making her debut at Seattle Repertory Theatre. Most recently, she reprised her role in King of the Yees at
Baltimore Center Stage. Khanh was a 2017 Core Company Member at ACT, where she has appeared in The Crucible, King of the Yees (Gregory Award nominee), Ramayana, and A Christmas Carol. Other local credits: The Little Prince (Seattle Children’s Theatre), A Tale for the Time Being (Book-It), Jesus Christ Superstar (Village Theatre), Miss Saigon (The 5th Avenue Theatre), Julius Caesar and Macbeth (Wooden O), The Tempest (Island Stage Left), Eulogy for Citizen (Theater Schmeater). Portland credits: The Talented Ones (Artists Repertory Theatre), You For Me For You (Portland Playhouse), Redwood Curtain (Profile Theatre). Up next: Dracula at ACT Theatre.
Laura KennyAnne MarieLaura returns to Seattle Rep where she has appeared in many shows over the years. Some of her favorites have been Romeo and Juliet, The
O’Connor Girls, Don Juan, Six Characters in Search of an Author, and The Good Times Are Killing Me. She has performed all over Seattle, and also at The Old Globe, The Shakespeare Theatre in D.C., and The McCarter. She was seen in the latest “Twin Peaks” series and she played Kay Waterman in the ABC mini-series “Rose Red.” She would like to thank you for being here and supporting live theatre. Laura is proud to be a long-time member of AEA and SAG-AFTRA Performer’s Unions.
Lucas HnathPlaywrightLucas Hnath’s plays include A Doll’s House, Part 2 (8 Tony® nominations, including Best Play); Hillary and Clinton; Red Speedo; The Christians; A Public Reading of an Unproduced Screenplay About the Death of Walt Disney; Isaac’s Eye; and Death Tax. He has been produced on Broadway at the John Golden Theatre, Off-Broadway at New York Theatre Workshop, Playwrights Horizons, Soho Rep, and Ensemble Studio Theatre. His plays have been produced nationally and internationally with premieres at the Humana Festival of New Plays, Victory Gardens, and South Coast Rep. He has been a resident playwright at New Dramatists since 2011.
Awards: Kesselring Prize, Guggenheim Fellowship, Whiting Award, two Steinberg/ATCA New Play Award Citations, Outer Critics Circle Award for Best New Play, an Obie, and the Windham-Campbell Literary Prize.
Braden AbrahamDirectorBraden joined Seattle Rep in 2002, starting as an artistic intern, then holding several positions on the artistic staff. He served as Associate Artistic Director for seven years before his appointment as Artistic Director in 2015. An accomplished director, he has directed many productions for the Rep, most recently Last of the Boys, Ibsen in Chicago, Well, Luna Gale, A View from the Bridge, The Comparables, Who’s Afraid of Virginia Woolf?, and A Great Wilderness. Other productions include The Glass Menagerie; Clybourne Park; and the critically acclaimed, extended runs of Photograph 51; My Name is Rachel Corrie (U.S. regional premiere); and Betrayal. Braden directed the West Coast premieres of This (Seattle Rep), The K of D, an urban legend (Seattle Rep, Pistol Cat, FringeNYC, Illusion Theatre), Opus (Seattle Rep), and White Hot (Marxiano Productions/West of Lenin). Other premieres include Riddled (Richard Hugo House); Clear Blue Sky (On the Boards/Northwest New Works); Breakin’ Hearts and Takin’ Names (Seattle Rep); The Ten Thousand Things (Washington Ensemble Theatre); and Kuwait (Theater Schmeater). Braden has developed new work with Seattle Rep, Denver Theatre Center, On the Boards, The O’Neill Playwrights Conference, Ojai Playwrights Conference, Portland Center Stage, and The Playwrights Center. Member of SDC.
Carey WongScenic DesignerCarey Wong’s theatre credits include Berkeley Repertory Theatre, Portland Center Stage, Arizona Theatre Company, Center Stage Baltimore, Syracuse Stage, ACT Theatre, Intiman, Seattle Children’s Theatre, Village Theatre, Tacoma Actors Guild, Childsplay, Phoenix Theatre, Mixed Blood Theatre, Prince Music Theater, and Hey City Theater. He has been Resident Designer for Portland Opera, Opera Memphis, and Wildwood Park for the Arts. Regional opera credits include Seattle Opera, Spoleto Festival USA, New York’s Valhalla Wagnerfest, Pittsburgh Opera, Opera Carolina, Kentucky Opera, Vancouver Opera, and the San Francisco Opera Center. Carey is a graduate of Yale College and attended the Yale School of Drama. Recent projects include The Magic Flute (Beijing Music Festival), Una Pareja De Miedo (Nearco Producciones, Spain), The Nutcracker (Ballet Arizona), the American stage premiere of Franco Faccio’s Amleto (Opera Southwest), Hairspray (Village Theatre), and The Miraculous Journey of Edward Tulane (Seattle Children’s Theatre). He is the Artistic Advisor/Designer for the new Portland Chinatown Museum where he designed the permanent exhibit, Beyond
MEET THE
CAST
MEET THE
ARTISTIC TEAM
the Gate. Previous designs for Seattle Rep include The Comparables, Boeing Boeing, Inspecting Carol, Sylvia, Birdie Blue, Murderers, and The Chosen.
Deborah TroutCostume DesignerDeborah Trout is pleased to return to Seattle Rep after her recent work on Sherlock Holmes and The American Problem, The Hound of the Baskervilles, and Well. Other recent projects range from The Turn of the Screw and Beatrice and Benedict at Seattle Opera; The Crucible and Mr. Burns, a post-electric play at ACT Theatre; as well as her more unusual journey with choreographer Alice Gosti on the transformational “epic dress” for How to Become a Partisan at Seattle’s St. Mark’s Cathedral and in Terni, Italy. A Northwest designer, past collaborations have included shows at Actors Theatre of Louisville, Houston’s Alley Theatre, Atlanta’s Alliance Theatre, The Denver Center Theatre, Intiman Theatre, Manhattan School of Music, Minneapolis Children’s Theatre Company, Oregon Shakespeare Festival, Portland Center Stage, Juneau’s Perseverance Theatre, Seattle Children’s Theatre, Shakespeare Santa Cruz, and Syracuse Stage, among many others. Co-founder of the New York-based millinery company Mackey and Trout, she is a graduate of the Yale School of Drama, a member of United Scenic Artists, and on the design faculty at the University of Washington’s School of Drama.
L.B. MorseLighting DesignerL.B. Morse is a designer for theatre and dance and has designed lighting, scenery, and multimedia for over 25 productions at Seattle Rep. Recent productions include Ibsen in Chicago (lighting); The Odyssey (scenery and multimedia); Well (lighting); Constellations (scenery and lighting); Lizard Boy (scenery and multimedia); and The Hound of the Baskervilles (scenery, lighting, and multimedia). He has also designed for The 5th Avenue Theatre, Intiman, ACT Theatre, Seattle Children’s Theatre, Tantrum Theater, Strawberry Theatre Workshop, Seattle Shakespeare Company, On the Boards, Lingo dancetheater, Maureen Whiting Dance Co., and Empty Space, among others. L.B. holds a B.A. in Theatre Arts and a Graduate Certificate in Scenic Design from University of California, Santa Cruz. He is the Resident Designer here at Seattle Rep and a member of United Scenic Artists, Local 829.
Obadiah EavesOriginal Music & Sound DesignObadiah’s music and sound have appeared at Seattle Rep in Sherlock Holmes and The American Problem, Constellations, The Comparables, A Great Wilderness, The Glass Menagerie, Betrayal, The Night Watcher, My Name is Rachel Corrie, and Nine Parts of
Desire, which played at theatres across the country and garnered the Lortel Award for Outstanding Sound Design. On Broadway, he created music and sound for Saint Joan; The Lieutenant of Inishmore; Shining City; Come Back, Little Sheba; Collected Stories; Accent On Youth; The Country House; The Assembled Parties; A Life In The Theatre; and Harvey. Other recent work includes Hannah and the Dread Gazebo (Oregon Shakespeare Festival); Noura (Playwright’s Horizons); The Portuguese Kid (Manhattan Theatre Club); and The Total Bent (The Public Theater). He has also designed sound and music for the original productions of works by David Mamet, Eric Bogosian, Ethan Coen, Woody Allen, and John Patrick Shanley. He garnered Audelco Viv Awards for his work on The Total Bent and Fucking A (Public/New York Shakespeare Festival) and the Bay Area Critics Circle Award for Heartbreak House (Berkeley Rep). His music can also be heard on HBO, Nickelodeon, Discovery, TLC, and in Fisher-Price toys. www.obadiahmusicandsound.com
Stina LottiStage ManagerProduction Stage Manager, Seattle Rep. Select credits: The Servant of Two Masters (Seattle Repertory Theatre, Shakespeare Theatre Company, Guthrie Theater, ArtsEmerson); Last of the Boys, MAC BETH, The Odyssey, Here Lies Love, Well, A Raisin in the Sun, All the Way, The Great Society, The Piano Lesson, Boeing Boeing, Fences, You Can’t Take It With You, Gem of the Ocean (Seattle Repertory Theatre); The Sound of Music, Cinderella, Guys and Dolls, White Christmas, Cabaret (The 5th Avenue Theatre); Angels in America, A Doctor In Spite of Himself (Intiman Theatre); Brooklyn Bridge, Lyle the Crocodile (Seattle Children’s Theatre).
Braden AbrahamArtistic DirectorSee previous page for bio.
Jeffrey HerrmannManaging DirectorIn May 2014, Jeffrey Herrmann was appointed as the third Managing Director in Seattle Rep’s 55-year history. In this role, Jeff oversees all the administrative functions of this nearly $13 million, nationally-recognized, not-for-profit performing arts organization, including development, finance, marketing, operations, and Board relations. Since his arrival—which coincided, to the day, with Braden Abraham’s appointment as Artistic Director—activity, attendance, fundraising, and the budget have all shown marked
increases. Under their management, the theatre also recently completed a significant renovation of the PONCHO Forum, the first major capital project undertaken by the Rep since the construction of the Leo K. Theatre in 1995; saw its world premiere of Come From Away open on Broadway, in Canada, and on national tour; reconfigured the Bagley Wright Theatre in order to produce David Byrne’s groundbreaking, immersive musical Here Lies Love, which now stands as the highest-grossing show in the Rep’s history; has committed to an initiative to increase equity, diversity, and inclusion at every level of the theatre; and completed its first strategic plan in more than a decade. Prior to his arrival in Seattle, Jeff served as Managing Director of Washington, D.C.’s Woolly Mammoth Theatre Company for seven seasons. Before that, Jeff served as Producing Director at Perseverance Theatre in Juneau, AK for eight seasons. Jeff started his career in arts administration with the Albany Berkshire Ballet in Pittsfield, MA, where he served as Managing Director for three years. Born in upstate NY and raised in West Hartford, CT, Jeff received his B.A. in English at Vassar College and his M.F.A. in Theatre Management at the Yale School of Drama.
Seattle Repertory TheatreFounded in 1963, Seattle Rep is led by Artistic Director Braden Abraham and Managing Director Jeffrey Herrmann. One of America’s premier not-for-profit resident theatres, Seattle Repertory Theatre has achieved international renown for its consistently high production and artistic standards, and was awarded the 1990 Tony Award for Outstanding Regional Theatre. With an emphasis on entertaining plays of true dramatic and literary worth, Seattle Rep produces a season of plays along with educational programs, new play workshops, and special presentations. Visit seattlerep.org.
FOR
SEATTLE REP
A member of the League of Resident Theatres (LORT), a nationwide association of not for profit theatres.
This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the I.A.T.S.E. Scenery Construction and Operations performed by employees represented by I.A.T.S.E. locals 15 and 488. Wardrobe services are performed by employees represented by T.W.U Local 887.
AFFILIATIONS
Directors and Choreographers at this theatre are members of the Society of Stage Directors and Choreographers, Inc., an independent national labor union.
encoremediagroup.com/programs A-5
Nancy Alvord & Dorothy (Dottie) Lewis Simpson
GEM OF THE OCEAN (2007) PHOTO BY CHRIS BENNION PICTURED: MICHELE SHAY, CRYSTAL R. FOX, STANLEY WAYNE MATHIS, AND ALLIE WOODS
From the Vault
S E AS O N D E D I CAT I O N I N M E M O RY O F
Nancy’s and Dottie’s passion for the arts and years of service at the theatre were profound, and their dedication to the Rep continues to have an impact that will carry on for generations to come. Join us in
celebrating their generous spirits. This season is for them.
Seattle Repertory Theatre is honored to have Microsoft as a Title Sponsor for A Doll’s House, Part 2. Since its founding in 1975, Microsoft has strived to make community involvement an integral part of its business and corporate culture. With the majority of the company’s employees and their families calling our region home, Microsoft believes it has both an opportunity and a responsibility to support the work of local nonprofits and to encourage employee investment and volunteerism in the community. At Seattle Rep, we are fortunate to have Microsoft employee Becky Lenaburg as a longtime member of our Board of Trustees and Microsoft employee Mandy Leifheit as our current ArtsFund Board Fellow. We are so grateful to Microsoft for its generous support of the Rep.
Thank You to Our
TITLE SPONSOR
ACKNOWLEDGEMENTS
Amanda Scharen PT, DPT
BEYOND THE STAGE
Return to the Doll House
PICKING UP WHERE WE LEFT OFF
Though you do not need to have read or seen the original A Doll’s House by Henrik Ibsen prior to seeing Part 2, it will be helpful to know where the “original” left off and this continuation begins. Read the final dialogue from Ibsen’s A Doll’s House (translated by Eva Le Gallienne), first performed at The Royal Theatre in Copenhagen in December 1879:
HELMER: You really mean it’s over, Nora? Really over? You’ll never think of me again?
NORA: I expect I shall often think of you; of you—and the children, and this house.
HELMER: May I write to you?
NORA: No—never. You mustn’t! Please!
HELMER: At least, let me send you—
NORA: Nothing!
HELMER: But, you’ll let me help you, Nora—
NORA: No, I say! I can’t accept anything from strangers.
HELMER: Must I always be a stranger to you, Nora?
NORA: Yes, unless it were to happen—the most wonderful thing of all—
HELMER: What?
NORA: Unless we both could change so that—Oh, Torvald! I no longer believe in miracles, you see!
HELMER: Tell me! Let me believe! Unless we both could change so that—
NORA: —So that our life together might truly be a marriage. Good-bye. [She goes to the door.]
HELMER: Nora! Nora! She is gone! How empty it all seems! The most wonderful thing of all—? [From below is heard the reverberation of a heavy door closing.]
[END OF PLAY.]
The original script and production of A Doll’s House shook the core of a society very set in its ways. Critical reception of the 1879 premiere was varied, but reactions fell on extreme ends of the spectrum, and all of these responses had to do with the memorable last 15 minutes of the play:
REFERENCES
South Coast Repertory dramaturgy by Kimberly Colburn “Commentary by Artists or Critics – ‘A Doll’s House’” by Shannon CronThe London Standard: “A Doll’s House Has a Modern Agenda”WaterTower Theatre dramaturgy, edited by Kelsey Leigh Ervi, Debbie Ruegsegger, and Joanie Schultz
Critics and Controversy
“it would be a misfortune were such a morbid and unwholesome play to gain the favour of the public”–The London Standard (1879)
“I am thinking about the fact that it is Nora, that is, the woman, who acts as a spokesman both when it comes to the dissolution of the marriage and to entrusting the children herself has born to the care of a nanny. There is something
indescribably unnatural in this, and therefore, in the final instance,
artificial. Even if one can accept that there possibly may exist a woman who has done such a thing,
one still feels dissatisfied to the utmost degree when it appears to be
something that perhaps also has the
sympathy of the author.”
–Erik Vullum (1879)
“Finally an event at The Royal Theatre, and an event of the first class! This play touches the lives of thousands of families; oh yes there are thousands of such doll-homes, where the husband treats his wife as a child he amuses himself with, and so that is what the wives become… Who, after seeing this play, has the courage to speak scornfully about run-away wives? Is there anyone who does not feel that it is this young and delightful young woman’s duty, her inescapable duty, to leave this gentleman, this husband, who slowly sacrifices her on the altar of his egotism, and who fails to understand her value as a human being...”
–Social Demokraten (1879)
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Nancy Alvord & Dorothy (Dottie) Lewis Simpson
GEM OF THE OCEAN (2007) PHOTO BY CHRIS BENNION PICTURED: MICHELE SHAY, CRYSTAL R. FOX, STANLEY WAYNE MATHIS, AND ALLIE WOODS
From the Vault
S E AS O N D E D I CAT I O N I N M E M O RY O F
Nancy’s and Dottie’s passion for the arts and years of service at the theatre were profound, and their dedication to the Rep continues to have an impact that will carry on for generations to come. Join us in
celebrating their generous spirits. This season is for them.
Seattle Repertory Theatre is honored to have Microsoft as a Title Sponsor for A Doll’s House, Part 2. Since its founding in 1975, Microsoft has strived to make community involvement an integral part of its business and corporate culture. With the majority of the company’s employees and their families calling our region home, Microsoft believes it has both an opportunity and a responsibility to support the work of local nonprofits and to encourage employee investment and volunteerism in the community. At Seattle Rep, we are fortunate to have Microsoft employee Becky Lenaburg as a longtime member of our Board of Trustees and Microsoft employee Mandy Leifheit as our current ArtsFund Board Fellow. We are so grateful to Microsoft for its generous support of the Rep.
Thank You to Our
TITLE SPONSOR
ACKNOWLEDGEMENTS
Amanda Scharen PT, DPT
BEYOND THE STAGE
Return to the Doll House
PICKING UP WHERE WE LEFT OFF
Though you do not need to have read or seen the original A Doll’s House by Henrik Ibsen prior to seeing Part 2, it will be helpful to know where the “original” left off and this continuation begins. Read the final dialogue from Ibsen’s A Doll’s House (translated by Eva Le Gallienne), first performed at The Royal Theatre in Copenhagen in December 1879:
HELMER: You really mean it’s over, Nora? Really over? You’ll never think of me again?
NORA: I expect I shall often think of you; of you—and the children, and this house.
HELMER: May I write to you?
NORA: No—never. You mustn’t! Please!
HELMER: At least, let me send you—
NORA: Nothing!
HELMER: But, you’ll let me help you, Nora—
NORA: No, I say! I can’t accept anything from strangers.
HELMER: Must I always be a stranger to you, Nora?
NORA: Yes, unless it were to happen—the most wonderful thing of all—
HELMER: What?
NORA: Unless we both could change so that—Oh, Torvald! I no longer believe in miracles, you see!
HELMER: Tell me! Let me believe! Unless we both could change so that—
NORA: —So that our life together might truly be a marriage. Good-bye. [She goes to the door.]
HELMER: Nora! Nora! She is gone! How empty it all seems! The most wonderful thing of all—? [From below is heard the reverberation of a heavy door closing.]
[END OF PLAY.]
The original script and production of A Doll’s House shook the core of a society very set in its ways. Critical reception of the 1879 premiere was varied, but reactions fell on extreme ends of the spectrum, and all of these responses had to do with the memorable last 15 minutes of the play:
REFERENCES
South Coast Repertory dramaturgy by Kimberly Colburn “Commentary by Artists or Critics – ‘A Doll’s House’” by Shannon CronThe London Standard: “A Doll’s House Has a Modern Agenda”WaterTower Theatre dramaturgy, edited by Kelsey Leigh Ervi, Debbie Ruegsegger, and Joanie Schultz
Critics and Controversy
“it would be a misfortune were such a morbid and unwholesome play to gain the favour of the public”–The London Standard (1879)
“I am thinking about the fact that it is Nora, that is, the woman, who acts as a spokesman both when it comes to the dissolution of the marriage and to entrusting the children herself has born to the care of a nanny. There is something
indescribably unnatural in this, and therefore, in the final instance,
artificial. Even if one can accept that there possibly may exist a woman who has done such a thing,
one still feels dissatisfied to the utmost degree when it appears to be
something that perhaps also has the
sympathy of the author.”
–Erik Vullum (1879)
“Finally an event at The Royal Theatre, and an event of the first class! This play touches the lives of thousands of families; oh yes there are thousands of such doll-homes, where the husband treats his wife as a child he amuses himself with, and so that is what the wives become… Who, after seeing this play, has the courage to speak scornfully about run-away wives? Is there anyone who does not feel that it is this young and delightful young woman’s duty, her inescapable duty, to leave this gentleman, this husband, who slowly sacrifices her on the altar of his egotism, and who fails to understand her value as a human being...”
–Social Demokraten (1879)
encoremediagroup.com/programs A-7
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CCASIONALLY A PLAY IS SO EXTRAORDINARY, IT TRANSFORMS THEATRE, BUT IT ’S VERY RARE FOR A PLAY TO SIGNIFICANTLY INFLUENCE SOCIAL NORMS. HENRIK IBSEN’SA Doll’s House did both. When A Doll’s House
first appeared in 1879, what we sometimes call “first wave feminism” was already decades old. A small number of women were campaigning for greater legal rights and debates over gender equality appeared in the press, but the issue had not really penetrated mainstream culture in any serious, much less sympathetic form. Received by friends and foes alike as a scandalous attack on the pillars of society, A Doll’s House put the question of a “woman’s place” at the center of mainstream culture. For generations and across the world, the play and its protagonist—middle-class housewife and mother, Nora Helmer—would become a provocative reference point and inspiring symbol of woman’s struggle for independence; which is one reason you need not have read or seen Ibsen’s masterpiece to be riveted by Lucas Hnath’s ingenious and thought-provoking A Doll’s House, Part 2. Ibsen’s A Doll’s House is so much a part of our shared cultural imagination and legacy that almost everyone knows the play even if they don’t know they do.
What we most often recall is the play’s final 15 minutes, a denouement legendary in theatre and social history and, I think, worth recalling here. It comes after Torvald Helmer has condemned his wife, Nora, for committing (for his sake) a fraud that threatens his reputation, and then, when he discovers the evidence implicating Nora is destroyed, Torvald immediately forgives the “foolish, childish woman.” Victorian audiences no doubt expected the play to end here with the domestic order and happiness restored. But for Nora, the old order cannot be restored. She has suddenly realized that all of the rules she has been taught and all of her ideals about herself, her marriage, and, sadly, her husband, are fiction. She is, as Torvald said, a child: she’d been her father’s doll-child, then became Torvald’s doll-wife, and now her three children are her dolls, and she will never be more than a doll until she understands herself and the world—but to do that she must leave. Torvald, who loves his wife, is stunned. How could Nora abandon her most sacred duty to her husband and children? “I have another duty just as sacred,” says Nora. “My duty to myself.”
TORVALD But you are before all else a wife and a mother.
NORA I don’t believe that any longer. I believe that before all else I am a human being, just as you are—or, in any case, that I must try and become one.
O
FROM THE
ARTISTIC DIRECTOR
Scenic Designer Carey Wong’s set model for A Doll’s House, Part 2
Nora feels she cannot be a fit mother until she ceases to be a “doll,” nor can Torvald be a better man unless his doll is taken away from him. When Torvald asks if they can ever be reconciled, she tells him a true marriage would require they both change—but it is a change she can neither describe nor hope for. The play ends with Torvald on stage alone as we hear the front door slamming behind the departing Nora.
Even today, the play is intense and disconcerting. Nora never talks about “rights.” She intuits, without being able to articulate, that her culture is so fundamentally and completely hostile to women that to become herself, a woman must first repudiate everything—law, religion, marriage, even family—but herself. For a culture convinced that women are inferior to men, a culture that idealized (at least for middle-class women) marriage and motherhood—but denied the married woman any individual existence apart from the husband who controlled her possessions, body, children, opportunity to work, and whatever she might earn—A Doll’s House was a scandal on a scale we can’t imagine today.
“What happened after Nora left?” Countless millions have asked the question, and Lucas Hnath offers an intriguing answer, but I think it’s a mistake to view A Doll’s House, Part 2 as a true “sequel” to Ibsen’s play. Hnath makes no effort to write like Ibsen or create a realistic “period piece,” and his Nora, Torvald, et al. are clearly his own. One way to think about the play is to consider the question, “What happened after Nora left?” as also the question, “What happened to us because Nora left?” We, too, are living with the consequences of Ibsen’s daring decision to have Nora walk out on her marriage, so
imagining Ibsen’s characters as they might be 15 years after Nora’s “rebellion” is a way for Hnath to explore where we are 140 years after A Doll’s House.
In his distinctively “post-modern” and often comic way, Lucas Hnath imaginatively shares Ibsen’s impulse to agitate, critique, examine big ideas, uncover disturbing complexities, and provoke audiences into asking difficult questions. The high concept of A Doll’s House, Part 2 is so fertile that it’s possible for each of us to leave the show with a different question. I found myself reflecting on how
much—and, even more, how little—our society’s view of women has progressed; on the class issues that have long divided feminism; on how and how well spouses can know each other; on the mysterious bonds of family; and very much on Nora’s “duty” to herself. Nora had good reasons to leave, but a break like this one isn’t clean or easy—that’s true for both Nora and those she left behind.
Ibsen had no interest in offering solutions to moral difficulties. And like Ibsen, Hnath has no interest in creating heroines or villains or in answering the disquieting questions. Hnath lets each of his flawed but extremely vital characters go wherever the character’s passion, ideals, and, yes, selfishness leads—which has always been a good choice for surprising and illuminating theatre.
Braden AbrahamArtistic Director
LET’S HEAR FROM YOU
@SEATTLEREP #DOLLSHOUSE2SRT
A Doll’s House was a scandal on a scale we can’t imagine today.
“
Director Braden Abraham discusses A Doll’s House, Part 2 at the production’s first Meet & Greet.
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AN
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CCASIONALLY A PLAY IS SO EXTRAORDINARY, IT TRANSFORMS THEATRE, BUT IT ’S VERY RARE FOR A PLAY TO SIGNIFICANTLY INFLUENCE SOCIAL NORMS. HENRIK IBSEN’SA Doll’s House did both. When A Doll’s House
first appeared in 1879, what we sometimes call “first wave feminism” was already decades old. A small number of women were campaigning for greater legal rights and debates over gender equality appeared in the press, but the issue had not really penetrated mainstream culture in any serious, much less sympathetic form. Received by friends and foes alike as a scandalous attack on the pillars of society, A Doll’s House put the question of a “woman’s place” at the center of mainstream culture. For generations and across the world, the play and its protagonist—middle-class housewife and mother, Nora Helmer—would become a provocative reference point and inspiring symbol of woman’s struggle for independence; which is one reason you need not have read or seen Ibsen’s masterpiece to be riveted by Lucas Hnath’s ingenious and thought-provoking A Doll’s House, Part 2. Ibsen’s A Doll’s House is so much a part of our shared cultural imagination and legacy that almost everyone knows the play even if they don’t know they do.
What we most often recall is the play’s final 15 minutes, a denouement legendary in theatre and social history and, I think, worth recalling here. It comes after Torvald Helmer has condemned his wife, Nora, for committing (for his sake) a fraud that threatens his reputation, and then, when he discovers the evidence implicating Nora is destroyed, Torvald immediately forgives the “foolish, childish woman.” Victorian audiences no doubt expected the play to end here with the domestic order and happiness restored. But for Nora, the old order cannot be restored. She has suddenly realized that all of the rules she has been taught and all of her ideals about herself, her marriage, and, sadly, her husband, are fiction. She is, as Torvald said, a child: she’d been her father’s doll-child, then became Torvald’s doll-wife, and now her three children are her dolls, and she will never be more than a doll until she understands herself and the world—but to do that she must leave. Torvald, who loves his wife, is stunned. How could Nora abandon her most sacred duty to her husband and children? “I have another duty just as sacred,” says Nora. “My duty to myself.”
TORVALD But you are before all else a wife and a mother.
NORA I don’t believe that any longer. I believe that before all else I am a human being, just as you are—or, in any case, that I must try and become one.
O
FROM THE
ARTISTIC DIRECTOR
Scenic Designer Carey Wong’s set model for A Doll’s House, Part 2
Nora feels she cannot be a fit mother until she ceases to be a “doll,” nor can Torvald be a better man unless his doll is taken away from him. When Torvald asks if they can ever be reconciled, she tells him a true marriage would require they both change—but it is a change she can neither describe nor hope for. The play ends with Torvald on stage alone as we hear the front door slamming behind the departing Nora.
Even today, the play is intense and disconcerting. Nora never talks about “rights.” She intuits, without being able to articulate, that her culture is so fundamentally and completely hostile to women that to become herself, a woman must first repudiate everything—law, religion, marriage, even family—but herself. For a culture convinced that women are inferior to men, a culture that idealized (at least for middle-class women) marriage and motherhood—but denied the married woman any individual existence apart from the husband who controlled her possessions, body, children, opportunity to work, and whatever she might earn—A Doll’s House was a scandal on a scale we can’t imagine today.
“What happened after Nora left?” Countless millions have asked the question, and Lucas Hnath offers an intriguing answer, but I think it’s a mistake to view A Doll’s House, Part 2 as a true “sequel” to Ibsen’s play. Hnath makes no effort to write like Ibsen or create a realistic “period piece,” and his Nora, Torvald, et al. are clearly his own. One way to think about the play is to consider the question, “What happened after Nora left?” as also the question, “What happened to us because Nora left?” We, too, are living with the consequences of Ibsen’s daring decision to have Nora walk out on her marriage, so
imagining Ibsen’s characters as they might be 15 years after Nora’s “rebellion” is a way for Hnath to explore where we are 140 years after A Doll’s House.
In his distinctively “post-modern” and often comic way, Lucas Hnath imaginatively shares Ibsen’s impulse to agitate, critique, examine big ideas, uncover disturbing complexities, and provoke audiences into asking difficult questions. The high concept of A Doll’s House, Part 2 is so fertile that it’s possible for each of us to leave the show with a different question. I found myself reflecting on how
much—and, even more, how little—our society’s view of women has progressed; on the class issues that have long divided feminism; on how and how well spouses can know each other; on the mysterious bonds of family; and very much on Nora’s “duty” to herself. Nora had good reasons to leave, but a break like this one isn’t clean or easy—that’s true for both Nora and those she left behind.
Ibsen had no interest in offering solutions to moral difficulties. And like Ibsen, Hnath has no interest in creating heroines or villains or in answering the disquieting questions. Hnath lets each of his flawed but extremely vital characters go wherever the character’s passion, ideals, and, yes, selfishness leads—which has always been a good choice for surprising and illuminating theatre.
Braden AbrahamArtistic Director
LET’S HEAR FROM YOU
@SEATTLEREP #DOLLSHOUSE2SRT
A Doll’s House was a scandal on a scale we can’t imagine today.
“
Director Braden Abraham discusses A Doll’s House, Part 2 at the production’s first Meet & Greet.A
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encoremediagroup.com/programs A-9
Join us in congratulating our August Wilson Monologue Competition Winners, Analisa Allen (Timberline High School)
and J’Dyn Plater (Lakeside School)! Continue to cheer for Analisa and J’Dyn
as they set off on an all-expenses-paid trip to New York to perform on a
Broadway stage with other finalists from 12 cities across America. They both
worked incredibly hard and we couldn’t be prouder to have them representing
Seattle in the Big Apple!
THE EDUCATION TEAMIS OFF TO NEW YORK!
MAT
TEO
MO
DIC
A
seattlerep.org/AWMC
LEARN MORE:
COMING UP AT SEATTLE REP
NINA SIMONEFOUR WOMEN
APRIL 26 - JUNE 2 MAY 17 - JUNE 23
BY CHRISTINA HAM
TINY
BEAUTIFUL THINGS
ADAPTED BY NIA VARDALOS
Analisa Allen
J’DYN PLAtER
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Theatre Forward advances American theatre and its communities by providing funding and other resources
to Seattle Repertory Theatre and other leading nonprofit theatres. Theatre Forward and its member theatres are most grateful to the following funders:
DONORS ($10,000-$14,999)AetnaDELLPaula A. DominickFloyd GreenKLDiscoveryEvelyn Mack Truitt*
Lisa Orberg ◊PresidioRBC Wealth ManagementDaniel A. Simkowitz & Mari Nakachi •S&P GlobalTerrence P. Yanni
SUPPORTERS ($2,500-$9,999)AudienceViewJoe Baio & Anne Griffin*Sheri and Les Biller FoundationDLR ◊
Dramatists Play Service, Inc.Kevin & Anne Driscoll*Lucy Fato & Matt Detmer*Foresight TheatricalAlan & Jennifer Freedman* ◊Steven & Donna Gartner*Richard K. Greene •Nancy Hancock Griffith*Joyce & Gregory Hurst •Mary Kitchen & Jon Orszag*Louise Moriarty & Patrick Stack *Frank & Bonnie OrlowskiRobin and Bob Paulson Charitable FundThomas C. Quick •Sarah RobertsonPatti & Rusty Rueff Foundation •Elliott Sernel & Larry Falconio*Ten Chimneys FoundationJohn Thomopoulos •Ubiñas Family Charitable TrustMichael A. Wall*Mary Beth Winslow & Bill Darby*
Current Funders List as of February 2019
* National Society Membership† Includes In-kind support◊ Educating through Theatre support• Advancing Strong Theatre support
For a complete list of funders, visit theatreforward.org
These intricate details set Seattle Rep apart from other regional theatres across the country, and we are grateful to the extraordinary
donors who make our work possible. For A Doll’s House, Part 2, we especially want to thank our Producing Sponsors,
Becky Lenaburg and Paul Urla Cynthia Stroum
for their personal investment in today’s production. Producing Sponsorship is a great way for individuals and
households to directly support a specific show, ensuring that our creative team has the resources necessary to put astonishing art on stage. Exclusive benefits allow sponsors to see firsthand the
difference that their investment makes!
SPONSOR A PRODUCTION TODAYSEATTLEREP.ORG/SPONSORSHIP
Contact Director of Development Jamie Herlich McIalwain [email protected] | 206.443.2532
AN
GEL
A N
ICK
ERS
ON
PRODUCING SPONSORS MAKE A DIFFERENCE!
DETAILED CRAFTSMANSHIP.TECHNICAL BRILLIANCE.IMPECCABLE ARTISTRY.
LEARN MORE:
THEATRE EXECUTIVES ($50,000+)Bank of America •
Buford Alexander & Pamela Farr •BNY Mellon
Citi •The Schloss Family Foundation ◊ •James S. & Lynne P. Turley * ◊ •Wells Fargo ◊
BENEFACTORS ($25,000-$49,999)Mitchell J. Auslander •The Augustine Foundation •Steven & Joy Bunson •Goldman, Sachs & Co.MetLifeMorgan StanleyStephanie Scott •
PACESETTERS ($15,000-$24,999)American ExpressBloomberg PhilanthropiesDorsey & Whitney LLPThe Estée Lauder Companies Inc.Bruce R. & Tracey Ewing •EYAnthony & Diane Lembke*Pfizer, Inc.Jonathan Maurer & Gretchen Shugart •Daniel A. Simkowitz & Mari Nakachi •George S. Smith, Jr.* •Southwest Airlines ◊ †TD Charitable Foundation ◊UBSIsabelle Winkles •
A - 1 0
Join us in congratulating our August Wilson Monologue Competition Winners, Analisa Allen (Timberline High School)
and J’Dyn Plater (Lakeside School)! Continue to cheer for Analisa and J’Dyn
as they set off on an all-expenses-paid trip to New York to perform on a
Broadway stage with other finalists from 12 cities across America. They both
worked incredibly hard and we couldn’t be prouder to have them representing
Seattle in the Big Apple!
THE EDUCATION TEAMIS OFF TO NEW YORK!
MAT
TEO
MO
DIC
A
seattlerep.org/AWMC
LEARN MORE:
COMING UP AT SEATTLE REP
NINA SIMONEFOUR WOMEN
APRIL 26 - JUNE 2 MAY 17 - JUNE 23
BY CHRISTINA HAM
TINY
BEAUTIFUL THINGS
ADAPTED BY NIA VARDALOS
Analisa Allen
J’DYN PLAtER
AN
GE
LA N
ICK
ER
SO
NAN
GELA
NIC
KER
SO
N
Theatre Forward advances American theatre and its communities by providing funding and other resources
to Seattle Repertory Theatre and other leading nonprofit theatres. Theatre Forward and its member theatres are most grateful to the following funders:
DONORS ($10,000-$14,999)AetnaDELLPaula A. DominickFloyd GreenKLDiscoveryEvelyn Mack Truitt*
Lisa Orberg ◊PresidioRBC Wealth ManagementDaniel A. Simkowitz & Mari Nakachi •S&P GlobalTerrence P. Yanni
SUPPORTERS ($2,500-$9,999)AudienceViewJoe Baio & Anne Griffin*Sheri and Les Biller FoundationDLR ◊
Dramatists Play Service, Inc.Kevin & Anne Driscoll*Lucy Fato & Matt Detmer*Foresight TheatricalAlan & Jennifer Freedman* ◊Steven & Donna Gartner*Richard K. Greene •Nancy Hancock Griffith*Joyce & Gregory Hurst •Mary Kitchen & Jon Orszag*Louise Moriarty & Patrick Stack *Frank & Bonnie OrlowskiRobin and Bob Paulson Charitable FundThomas C. Quick •Sarah RobertsonPatti & Rusty Rueff Foundation •Elliott Sernel & Larry Falconio*Ten Chimneys FoundationJohn Thomopoulos •Ubiñas Family Charitable TrustMichael A. Wall*Mary Beth Winslow & Bill Darby*
Current Funders List as of February 2019
* National Society Membership† Includes In-kind support◊ Educating through Theatre support• Advancing Strong Theatre support
For a complete list of funders, visit theatreforward.org
These intricate details set Seattle Rep apart from other regional theatres across the country, and we are grateful to the extraordinary
donors who make our work possible. For A Doll’s House, Part 2, we especially want to thank our Producing Sponsors,
Becky Lenaburg and Paul Urla Cynthia Stroum
for their personal investment in today’s production. Producing Sponsorship is a great way for individuals and
households to directly support a specific show, ensuring that our creative team has the resources necessary to put astonishing art on stage. Exclusive benefits allow sponsors to see firsthand the
difference that their investment makes!
SPONSOR A PRODUCTION TODAYSEATTLEREP.ORG/SPONSORSHIP
Contact Director of Development Jamie Herlich McIalwain [email protected] | 206.443.2532
AN
GEL
A N
ICK
ERS
ON
PRODUCING SPONSORS MAKE A DIFFERENCE!
DETAILED CRAFTSMANSHIP.TECHNICAL BRILLIANCE.IMPECCABLE ARTISTRY.
LEARN MORE:
THEATRE EXECUTIVES ($50,000+)Bank of America •
Buford Alexander & Pamela Farr •BNY Mellon
Citi •The Schloss Family Foundation ◊ •James S. & Lynne P. Turley * ◊ •Wells Fargo ◊
BENEFACTORS ($25,000-$49,999)Mitchell J. Auslander •The Augustine Foundation •Steven & Joy Bunson •Goldman, Sachs & Co.MetLifeMorgan StanleyStephanie Scott •
PACESETTERS ($15,000-$24,999)American ExpressBloomberg PhilanthropiesDorsey & Whitney LLPThe Estée Lauder Companies Inc.Bruce R. & Tracey Ewing •EYAnthony & Diane Lembke*Pfizer, Inc.Jonathan Maurer & Gretchen Shugart •Daniel A. Simkowitz & Mari Nakachi •George S. Smith, Jr.* •Southwest Airlines ◊ †TD Charitable Foundation ◊UBSIsabelle Winkles •
encoremediagroup.com/programs A-11
IBSEN IN CHICAGO (2018) PICTURED: KIRSTEN POTTER AND ALLEN FITZPATRICK PHOTO BY ALAN ALABASTRO
Each year, support from our generous donor family ensures Seattle Rep’s artistic vitality and financial stability. We gratefully acknowledge the following individuals whose philanthropic investment is pivotal to supporting the theatre’s mission-driven work.
Join Seattle Rep’s donor family. No gift is too small.
Thank You
INDIVIDUAL DONORS
Give Online
seattlerep.org/support
Questions?
Jamie Herlich McIalwain, Director of Development 206.443.2532 [email protected]
From the Vault
PLATINUM ARTISTIC DIRECTOR’S CIRCLE $100,000+
Chap & Eve Alvord
Mrs. E.C. Alvord †
David & Joanna Beitel
Stellman Keehnel & Patricia Britton
Ann Ramsay-Jenkins & The William M. Jenkins Advised Trust
Anonymous
GOLD ARTISTIC DIRECTOR’S CIRCLE $75,000 - $99,999
Katharyn GerlichMarcella McCaffrayAnn P. WyckoffMarcia & Klaus ZechAnonymous
Bob & Clodagh AshAllan & Nora DavisRod & Nancy HochmanWinky & Peter HusseyLinda & Ted Johnson
John & Nancy Jo KeeganCharlotte Lin & Robert PorterJanet & Doug TrueAnonymous
SILVER ARTISTIC DIRECTOR’S CIRCLE $50,000 - $74,999
Bobbe & Jon BridgeDebra CanalesEllen Ferguson & Diana SillSuzanne HittmanBruce E. H. Johnson & Sandra E. DavisBecky Lenaburg & Paul UrlaKaren Rose MitchellVic & Mary Kay Moses
Robin & Dave NelsonEstate of Carmel PopeTim & Paula RattiganPaula & Steve ReynoldsRichard B. Stead & Elizabeth A. RyllHal & Ann StrongMary Ann & John Underwood
ACTOR’S CIRCLE $15,000 - $24,999
Mary Tedd Allen & George E. Scott
Rich & Nancy Alvord
Stuart & Sue Ashmun
Steven A. & Connie E. Ballmer
Alta & Stan Barer
Leslie & Dale Chihuly
Margaret Clapp
Donna Cochener
Bob & Loretta Comfort Fund
Jay Hereford & Margaret Winsor
Deborah T. Killinger
The Knossos Foundation
Sandy & Chris † McDade
Tom Miller & Terri Olson Miller
Elizabeth Rudolf & Fernando Sancho
Dr. & Mrs. Bill Schnall
Taucher Family Foundation
Nancy Lee Ward & Toby Bright
Kenneth & Rosemary Willman
Bagley & Virginia Wright Fund
Anonymous (2)
ARTISTIC DIRECTOR’S CIRCLE $25,000 - $49,999
This list acknowledges individuals whose cumulative support of productions, programming, and projects received between 1/1/2018 and 1/31/2019 totaled $600 or more, and is inclusive of gifts made towards general operations, the Endowment, Gala Raise the Paddle, capital investments, and matching gifts.
EXECUTIVE PRODUCER’S CIRCLE $10,000 - $14,999
Diana & Warren Aakervik, Jr.AHS FoundationMarleen & Kenny Alhadeff Fund for Theatre PractitionersMary Blodgett & Carlton CalvinMichael & Lynne BushElizabeth Choy & James E. LobsenzEstate of Phyllis ClarkJacki & Jim CopacinoJuli FarrisKaren & Doug FletcherWilliam E. FranklinAnne E. GittingerMaureen & John HarleyMr. & Mrs. Richard C. HedreenJohn & Ellen HillJudith Jesiolowski & David ThompsonNorman & Lisa JudahLeslie LackeyLynn Manley & Lex LindseyKevin Millison & Jeanne BallotGlenna Olson & Conrad WoutersMary PigottRachel M. & David P. RobertDavid RobinsonLee & Stuart RolfeAaron & Erika RubensonHerman & Faye Sarkowsky Charitable FoundationCarlo & Lalie ScandiuzziAnne Simpson & Charlie ConnerDavid & Catherine SkinnerInda Taylor & Raymond SpindleCynthia StroumJames & Katherine TuneShirley & David UrdalJean Baur ViereckMaggie WalkerRichard L. Weisman †
Thomas Wright & Alexandra Brouwer-WrightAnonymous
PRODUCER’S CIRCLE $5,000 - $9,999
Kenny & Marleen AlhadeffPaige & Doug ArmentroutAmy & Bob BautistaD’Anne Bissell & Janice NewellGlenn Bonci & Joan RonnenkampPatricia Anne BonnellJeanne & Jon CantaliniTom & Cynthia CaptainTamra Chandler & Jeff MosierDeanna CochenerAmy CoreyAdam & Whitney CornellDarrel S. CowanDick & Jill Davis
Tracy & Suzanne DawBrent Deim & Michael Rivera-DirksSusan & Dave DentonJeanne Eagleson & John V. GrayLonnie & Susan EdelheitJoanne R. EusterSandy & Katie FarewellDick & Mary Beth GemperleNatalie GendlerVirginia Gilder & Lynn SlaughterPeter Goldman & Martha KongsgaardTiffany R. GortonKristin Ovregaard HeeterHirayama FamilyKen HitzToni & Rod HoffmanElise Holschuh & Brian McAndrewsParul & Gary HoulahanGrady & Heather HughesDonna & Gary IversonBrent JohnsonJoan E. Mathews JulnesKawasaki FoundationTim & Megan KirleyCathy KittoKaren Koon & Brad EdwardsMike & Debbie KossMoe & Susan KrabbeCaptain M. Thomas & Gwenann KroonMichael LeakeCara Beth Lee & Amy TheobaldDena & Ron LevineLaura & Roy LundgrenMaria C. MackeyNicholas & Dana MasingtonLora & Parker MasonBlanche & Stephen MaxwellKevin McCarthy & Annalisa GironiKaren & Rick McMichaelSarah Burnell MeardonGrace Nordhoff & Jonathan BeardEverett P. & Andrea PaupJudy PigottRebecca & Grant PomeringKate RiordanNicholas Roberts & Yvonne Chang RobertsValerie RobinsonJudy & Kermit RosenDeborah & Doug RosenEliza SheldenMrs. Dorothy L. Simpson †
Sherry & John StilinHelen R. StusserMaryanne Tagney & David JonesThomas TilfordAnnette Toutonghi & Bruce ObergVijay & Sita VasheeMarisa & Brad WalkerBruce & Peggy WantaJohn Wicher & Travis PennShannon WilliamsMelinda & Sterling WilsonShauna Woods & Benjamin ArenasBrien WygleWyman Youth Trust
Steven & Tina YentzerAnonymous (2)
PLAYWRIGHT’S CIRCLE $3,000 - $4,999
Adrienne & BlaiseBob & Ali AlexanderRene AlkoffRhoda Altom & Cory CarlsonWilliam & Nancy BainEileen BirgeSu Chang & Peter WilliamsSusan CorwinJoan CreminDennis & Deborah DeYoungHolly & Eric DillonEmily Evans & Kevin WilsonSarah Patton & Peter FeichtmeirGil & Karen FlanaganAnne Middleton FosterSusan Moskwa & Nick GernerDan & Molly GoldmanLynn & Brian Grant FamilyKatharine GraubardJean-Pierre Green & Jennifer LaddLaura & David HeardJan Hendrickson & Chuck LeightonJeffrey Herrmann & Sara WaisanenPeter Hiatt & Ron HudenAndrew & Delney Hilen & the Hilen FoundationConnie & Dan HungateNancy Iannucci & Harvey JonesMorris & Carolyn KremenChristopher & Alida LathamRoss & Tracy LincoffGreg & Diane LindJ. Pierre & Felice LoebelMike & Lisa LoshMay McCarthy & Don SmithPhilip & Jill McCuneKaren & Jeffrey McHenryJohn, Gail, Daniel & Ian MensherWayne & Carla MillageMark & Susan MinerichMatt & Jenny MuilenburgJerry NagaeSamantha Temple NeukomJohn & Joyce O’ConnellDeclan O’Neill & Patricia Pearson O’NeillCarol & Doug PowellAnn PrydeMary PughPaul Purcell & Barbara GuzzoScott & Shawn RedmanGreg Smith & Betty Mattson-SmithCarlyn J. SteinerDelphine & Charles StevensLeonard & Marsha StevensTodd & Jane SummerfeltTammy A. TalmanJanice TsaiRichard & Catherine WakefieldMichael & Marsha WardenKinnon W. WilliamsJane Zalutsky & Mark KantorAnonymous (7)
Tribute Gifts TRIBUTES IN MEMORY OF JERRY & FLORENCE FREEDMAN by Lawrence Peters |
CHARLES ROBERT GRAPPIN by Sharon Boguch | CHRISTINE MCDADE by Patricia Akiyama
& David Larsen | PHYLLIS by Carol Finn | SANDY WALKER by Muffy Walker
Tribute gifts to Seattle Repertory Theatre are a wonderful way to remember a loved one, honor a friend, or celebrate a special occasion.
A - 1 2
IBSEN IN CHICAGO (2018) PICTURED: KIRSTEN POTTER AND ALLEN FITZPATRICK PHOTO BY ALAN ALABASTRO
Each year, support from our generous donor family ensures Seattle Rep’s artistic vitality and financial stability. We gratefully acknowledge the following individuals whose philanthropic investment is pivotal to supporting the theatre’s mission-driven work.
Join Seattle Rep’s donor family. No gift is too small.
Thank You
INDIVIDUAL DONORS
Give Online
seattlerep.org/support
Questions?
Jamie Herlich McIalwain, Director of Development 206.443.2532 [email protected]
From the Vault
PLATINUM ARTISTIC DIRECTOR’S CIRCLE $100,000+
Chap & Eve Alvord
Mrs. E.C. Alvord †
David & Joanna Beitel
Stellman Keehnel & Patricia Britton
Ann Ramsay-Jenkins & The William M. Jenkins Advised Trust
Anonymous
GOLD ARTISTIC DIRECTOR’S CIRCLE $75,000 - $99,999
Katharyn GerlichMarcella McCaffrayAnn P. WyckoffMarcia & Klaus ZechAnonymous
Bob & Clodagh AshAllan & Nora DavisRod & Nancy HochmanWinky & Peter HusseyLinda & Ted Johnson
John & Nancy Jo KeeganCharlotte Lin & Robert PorterJanet & Doug TrueAnonymous
SILVER ARTISTIC DIRECTOR’S CIRCLE $50,000 - $74,999
Bobbe & Jon BridgeDebra CanalesEllen Ferguson & Diana SillSuzanne HittmanBruce E. H. Johnson & Sandra E. DavisBecky Lenaburg & Paul UrlaKaren Rose MitchellVic & Mary Kay Moses
Robin & Dave NelsonEstate of Carmel PopeTim & Paula RattiganPaula & Steve ReynoldsRichard B. Stead & Elizabeth A. RyllHal & Ann StrongMary Ann & John Underwood
ACTOR’S CIRCLE $15,000 - $24,999
Mary Tedd Allen & George E. Scott
Rich & Nancy Alvord
Stuart & Sue Ashmun
Steven A. & Connie E. Ballmer
Alta & Stan Barer
Leslie & Dale Chihuly
Margaret Clapp
Donna Cochener
Bob & Loretta Comfort Fund
Jay Hereford & Margaret Winsor
Deborah T. Killinger
The Knossos Foundation
Sandy & Chris † McDade
Tom Miller & Terri Olson Miller
Elizabeth Rudolf & Fernando Sancho
Dr. & Mrs. Bill Schnall
Taucher Family Foundation
Nancy Lee Ward & Toby Bright
Kenneth & Rosemary Willman
Bagley & Virginia Wright Fund
Anonymous (2)
ARTISTIC DIRECTOR’S CIRCLE $25,000 - $49,999
This list acknowledges individuals whose cumulative support of productions, programming, and projects received between 1/1/2018 and 1/31/2019 totaled $600 or more, and is inclusive of gifts made towards general operations, the Endowment, Gala Raise the Paddle, capital investments, and matching gifts.
EXECUTIVE PRODUCER’S CIRCLE $10,000 - $14,999
Diana & Warren Aakervik, Jr.AHS FoundationMarleen & Kenny Alhadeff Fund for Theatre PractitionersMary Blodgett & Carlton CalvinMichael & Lynne BushElizabeth Choy & James E. LobsenzEstate of Phyllis ClarkJacki & Jim CopacinoJuli FarrisKaren & Doug FletcherWilliam E. FranklinAnne E. GittingerMaureen & John HarleyMr. & Mrs. Richard C. HedreenJohn & Ellen HillJudith Jesiolowski & David ThompsonNorman & Lisa JudahLeslie LackeyLynn Manley & Lex LindseyKevin Millison & Jeanne BallotGlenna Olson & Conrad WoutersMary PigottRachel M. & David P. RobertDavid RobinsonLee & Stuart RolfeAaron & Erika RubensonHerman & Faye Sarkowsky Charitable FoundationCarlo & Lalie ScandiuzziAnne Simpson & Charlie ConnerDavid & Catherine SkinnerInda Taylor & Raymond SpindleCynthia StroumJames & Katherine TuneShirley & David UrdalJean Baur ViereckMaggie WalkerRichard L. Weisman †
Thomas Wright & Alexandra Brouwer-WrightAnonymous
PRODUCER’S CIRCLE $5,000 - $9,999
Kenny & Marleen AlhadeffPaige & Doug ArmentroutAmy & Bob BautistaD’Anne Bissell & Janice NewellGlenn Bonci & Joan RonnenkampPatricia Anne BonnellJeanne & Jon CantaliniTom & Cynthia CaptainTamra Chandler & Jeff MosierDeanna CochenerAmy CoreyAdam & Whitney CornellDarrel S. CowanDick & Jill Davis
Tracy & Suzanne DawBrent Deim & Michael Rivera-DirksSusan & Dave DentonJeanne Eagleson & John V. GrayLonnie & Susan EdelheitJoanne R. EusterSandy & Katie FarewellDick & Mary Beth GemperleNatalie GendlerVirginia Gilder & Lynn SlaughterPeter Goldman & Martha KongsgaardTiffany R. GortonKristin Ovregaard HeeterHirayama FamilyKen HitzToni & Rod HoffmanElise Holschuh & Brian McAndrewsParul & Gary HoulahanGrady & Heather HughesDonna & Gary IversonBrent JohnsonJoan E. Mathews JulnesKawasaki FoundationTim & Megan KirleyCathy KittoKaren Koon & Brad EdwardsMike & Debbie KossMoe & Susan KrabbeCaptain M. Thomas & Gwenann KroonMichael LeakeCara Beth Lee & Amy TheobaldDena & Ron LevineLaura & Roy LundgrenMaria C. MackeyNicholas & Dana MasingtonLora & Parker MasonBlanche & Stephen MaxwellKevin McCarthy & Annalisa GironiKaren & Rick McMichaelSarah Burnell MeardonGrace Nordhoff & Jonathan BeardEverett P. & Andrea PaupJudy PigottRebecca & Grant PomeringKate RiordanNicholas Roberts & Yvonne Chang RobertsValerie RobinsonJudy & Kermit RosenDeborah & Doug RosenEliza SheldenMrs. Dorothy L. Simpson †
Sherry & John StilinHelen R. StusserMaryanne Tagney & David JonesThomas TilfordAnnette Toutonghi & Bruce ObergVijay & Sita VasheeMarisa & Brad WalkerBruce & Peggy WantaJohn Wicher & Travis PennShannon WilliamsMelinda & Sterling WilsonShauna Woods & Benjamin ArenasBrien WygleWyman Youth Trust
Steven & Tina YentzerAnonymous (2)
PLAYWRIGHT’S CIRCLE $3,000 - $4,999
Adrienne & BlaiseBob & Ali AlexanderRene AlkoffRhoda Altom & Cory CarlsonWilliam & Nancy BainEileen BirgeSu Chang & Peter WilliamsSusan CorwinJoan CreminDennis & Deborah DeYoungHolly & Eric DillonEmily Evans & Kevin WilsonSarah Patton & Peter FeichtmeirGil & Karen FlanaganAnne Middleton FosterSusan Moskwa & Nick GernerDan & Molly GoldmanLynn & Brian Grant FamilyKatharine GraubardJean-Pierre Green & Jennifer LaddLaura & David HeardJan Hendrickson & Chuck LeightonJeffrey Herrmann & Sara WaisanenPeter Hiatt & Ron HudenAndrew & Delney Hilen & the Hilen FoundationConnie & Dan HungateNancy Iannucci & Harvey JonesMorris & Carolyn KremenChristopher & Alida LathamRoss & Tracy LincoffGreg & Diane LindJ. Pierre & Felice LoebelMike & Lisa LoshMay McCarthy & Don SmithPhilip & Jill McCuneKaren & Jeffrey McHenryJohn, Gail, Daniel & Ian MensherWayne & Carla MillageMark & Susan MinerichMatt & Jenny MuilenburgJerry NagaeSamantha Temple NeukomJohn & Joyce O’ConnellDeclan O’Neill & Patricia Pearson O’NeillCarol & Doug PowellAnn PrydeMary PughPaul Purcell & Barbara GuzzoScott & Shawn RedmanGreg Smith & Betty Mattson-SmithCarlyn J. SteinerDelphine & Charles StevensLeonard & Marsha StevensTodd & Jane SummerfeltTammy A. TalmanJanice TsaiRichard & Catherine WakefieldMichael & Marsha WardenKinnon W. WilliamsJane Zalutsky & Mark KantorAnonymous (7)
Tribute Gifts TRIBUTES IN MEMORY OF JERRY & FLORENCE FREEDMAN by Lawrence Peters |
CHARLES ROBERT GRAPPIN by Sharon Boguch | CHRISTINE MCDADE by Patricia Akiyama
& David Larsen | PHYLLIS by Carol Finn | SANDY WALKER by Muffy Walker
Tribute gifts to Seattle Repertory Theatre are a wonderful way to remember a loved one, honor a friend, or celebrate a special occasion.
encoremediagroup.com/programs A-13
HEDDA GABLER (1992)PICTURED: BARBARA DIRICKSON
From the Vault
† Deceased
The accuracy of this list is important to us; we welcome notification of unintended omissions.
[email protected] 206.443.2202 x1163
DIRECTOR’S CIRCLE $1,200 - $2,999
Brian P. Abeel & Leticia Lopez • Braden Abraham & Cheyenne Casebier • Nancy Abramson • Nikhil & Sheetal Agarwal • Will Ahrens • Patricia Akiyama & David Larsen • Mary & David Alhadeff • Jon Anderson & Frederique Levrat • Jane & Brian Andrew • Phoebe H. Andrew • Patty & Jimmy Barrier • Craig S. Bartholomew • Douglas & Maria Bayer • Stephen W. Behnen • George & Joan Berry • Luther Black & Christina Wright • LarryBlake • Susan & William Block • Kellis & Jeff Borek •Kent R. Burnham • Werner & Janet Cadera • Betsy &John Cadwallader • Rita Calabro & Jim Kelly • Patrick& Mary Callan • Gretchen C. & Don E. Campbell •Sonya Campion • Roland Carette-Meyers & Kiki Penoyer • Stephen & Stacy Carlson • Bill Cavender & Mary K.Neumeister • D. Thompson & Karen Challinor • Sylvia & Craig Chambers • Bernard Choi & Scott Gregory • Sarah Cole • Theodore J. & Patricia S. Collins • Ben Coscarart • Jennifer Coursen • Dan Crawford & Cora Breuner • W. Michael Crenshaw & Mary Brodd • Mr. & Mrs. James P. Crutcher • Todd & Sylvie Currie • Heidi de Laubenfels & Harris Clarke • Leslie Decker & Steve Rimmer • DottieDelaney • Alison W. Hicks • Dan & Mimi Dixon • BobDowdy & Cherry Tinker • Elizabeth & Miles Drake •Jim & Gaylee Duncan • Susan Dunn • Betty Dykstra •Susann & Don Edmond • Jill Ekar & Al Barney • Jon &Laurene Ekse • Richard & Marlene Fallquist • Jean Falls• Elisabeth Farwell-Moreland & Gary Moreland • Lyn &Paul Fenton • Carol Finn • Nancy Gallup • Bill, Lindy,& Louisa Gaylord • Mr. & Mrs. Carver Gayton • LynneGraybeal & Scott Harron • Timothy Greenleaf & RebeccaRoe • Eric Gustafson & Martin Sanchez • Mary KayHaggard • Andrew & Michelle Haines • Jeannie Hale •Adrienne L. Hall • Kathleen Hamilton • Sandy & DaveHanower • Drs. Michael & Teresa Hart • Jan P. Havlisch • Roger & Kelly Heeringa • Kara Hefley & James Leigh• John Hempelmann & Mary McGill • Amy Henry • Joe& Jamie Herlich McIalwain • Wanda Herndon • Steve &Sandy Hill • Alyssa Hochman • Bruce & Bridget Horne• Eric & Mary Horvitz • Shaun & Kathleen Hughbanks• Thomas Hurley • Mark Igra & Nancy Simon • DeanM. Ishiki • Jon Jensen & Kathy Early • Jonelle Johnson
• H. David Kaplan • Robert Kaplan & Margaret Levi • Daphne & Brett Kelley • Donor Redacted • Lorna Kneeland • Richard & Claire Knierim • Therese & Bruce Kroon • Jim & Jean Kunz • Stuart Lane • Rosanne Lapan • Liam Lavery & Yazmin Mehdi • Eileen Lennon & Barrie Carter • Rachel Lerman • Sen. Marko Liias • Ellen Look & Tony Cavalieri • Michael & Barbara Luxenberg • Dr. Peter & Jackie Mansfield • Donald Marcy • Patrick & Rosalie McHale • Joy McNichols • Frances Mead • Brian Meenaghan • Susan Mersereau & Philip White • Chuck & Nancy Mertel • Steve & Libby Miller • Michael Milligan & Jeanne E Fund & Bainbridge Foundation • Pamela & Donald Mitchell • Marcia Nagae • Erika J. Nesholm • Donald & Melissa Nielsen • Joe G. Norman, Jr. • Ilse H. Oles • John & Teresa Osborn • John Palo • Lee & Alison Parsons • Terri & Ron Pehrson • Bob Platte & Sharon Bailey • Donald Pogoloff • K R Prabha & Unmesh W • Geoffrey T. Prentiss • Nancy & Kelley Price • Andrea & Alan Rabinowitz • Dr. & Mrs. PatrickA. Ragen • Anita Ramasastry & Walter Walsh • SharonK. & Paul B. Ramey • Kirk Redmond & Connie Clark-Redmond • Michael Repass • Jean & Kirk Robinson• Jeffrey Robinson & Mary Dicke • Michelle UlickRosenthal • Steve & Liz Rummage • Nina Russell &Tom Rubin • John Ryan & Jody Foster • Barbara Sando • Ingrid & Stanley Savage & the Hilen Foundation • Joe Schwartz • Seattle Spine & Sports Medicine • JeanneSheldon & Marvin Parsons • Richard & Barbara Shikiar• Evelyn Simpson • Kristen & Michael Soltman • Robert & Susan Spieth • Kathleen & Rob Spitzer • Paul &Michelle Stamnes • Barbara & Burton Sternoff • David& Nancy Thacher • Rick & Suzy Titcomb • Judge Brian& Mrs. Linda Tollefson • Bill & Alice Van Pelt • MichaelVon Korff & Linda Le Resche • Howard & Joan Voorheis • Judith A. Whetzel • Heather Wilde & James Gierman• Jay & Linda Willenberg • Chelle Williams • MatthewWilliams & Patricia Read-Williams • John & Marta
Wilson • Sarah & Jason Wine • Mrs. Howard S. Wright • Scott & Jenny Wyatt • John Zagula • Anonymous (9)
BENEFACTOR’S CIRCLE $600 - $1,199
David & Gay Allais • Virginia Anderson • Ashley W. Andrew & Adam A. Crowley • John Aslin & Carole Grisham • Kendall & Sonia Baker • Art & Mary Fran Barkshire • Andy & Megan Beers • Luann & Irv Bertram • Philip Brazil • George W. Bright • Andrew Bruce &Deborah Donnell • Ed Bulchis & Theresa Gallant •Bruce Burger • Bill & Christine Campbell • Carey Family Foundation • Midge & Steve Carstensen • Dennis &Aline Caulley • Aru & Vibhas Chandorkar • Judy & BobCline • Lynn & Carolyn Cockrum • Tracy & MichelleCodd • Marc Cohen & Eleanor Hoague • Greg Conner& Matthew Steed • Gary & Consuelo Corbett • Zac &Ashleigh Corker • Susan Coughlin & John Lauber • Mary Cranstoun • Crissa Cugini • Steve & Susanne Daley •Janice D’Amato • Craig Davison • Helen Blair Day &Jeff Day • Liz & Wayne Deckman • Mark Diamond &Deborah Perluss • John & Misty Doty • Erin & Bill Ellis • Victor & Patricia Feltin • Stan & Jane Fields • Stephan & Judy Fihn • Charlie Fink & Leonard Jones • Bob & Micki Flowers • Bruce Funkhouser & Michelle Friars • Sue& Frank Gallo • Jacob Garcia • Erina Gehring & PeterVersnel • Joe & Marilyn Germano • Sharon Goldberg •Robert Greco • Alexandre Grigorovitch & Vera Kirichuk• Lyn & Jerry Grinstein • Lawrence & Hylton HardFund • Lynn Hays & Nancy Nordhoff • Lisa Henry •Brian & Valerie Hogan • Dr. Francis P. Hunkins & Dr.Patricia Hammill • Peggy & George Hunt • Frederick& Joan Hutto • Stuart Jennings & Jan Ng • Ted & JulieKalmus • Paul Kassen • Katharine Kreis • Chris &Nancy Kevorkian • Ford W. Kiene • Dong Kim • JoeKnight • Brittney Kroon & Colin Prince • Greg Kucera& Larry Yocom • Ted & Susan Kutscher • Sharon Lamm • Shannon Lawless & Paul Crisalli • Mandy Leifheit •Mark Levine & John Keppeler • Carla & Don Lewis •Betsy Lieberman • Mark & Joni Light • Abe Lillard &Julia Kalmus • Arni Litt • Loeb Family Foundation •Shelley Logan • Carl Lucks & Jennifer Peters • Mr. &Mrs. Michael J. Malone • Chris & Bill Marks • DebraMcBaugh & Arden Scroggs • Debbie Ann McCallister •Carol McDonald • Eric Mendelsohn • Charlotte Merritt • Don & Maxine Miller • Michael Montwill • James Moore & Joan Romano • Kevin J. Murphy & Karen Freeman •Robert & Claudia Nelson • Carla & Dean Nichols • Chuck Nordhoff • Craig & Deanna Norsen • Neil Oldenburg •Lourdes Orive • Martin Owen & Dana Shemorry • Kim& Curo Pasciuto • Kyle & Michele Peltonen • Anthony& Sharon Perez • Lawrence Peters • Trina Pierre Kelly& Alex Kelly • Joan Poliak • Judy G. Poll • Eric Candell& William Powell • Amy Whittenburg & Stephen Rattner • Heather & Eric Redman • Carrie Rhodes • VictoriaRies & Samuel Saracino • Jim & Deb Rockwell • AlanRothblatt & Sima Kahn • Nancy & Richard Rust • Donna Sakson • Judie Sanders • Terry Sateren • Kristen Webb & David Schooler • Gayle & Bob Seda • Julie Shapiro &Shelly F. Cohen • Michael Sheirbon • Jeffrey Sherman• Shout Sister LLC, Dawn Smalberg, & Bev Ragovoy •Don & Goldie Silverman • Laurette & LeRoy Simmons• Lawrence Soriano & Elizabeth Starkand-Soriano •Ronald & Dawnelle Spaulding • Margaret Stanley • JaneStevens & Jerry Zimmerman • Lisa & John Stewart •Stephen Strong & Lorri Falterman • Alex Sutton & Karen Easterbrook • Norman H. & M. Lynn Swick • C. Rhea& Wendy Thompson • Dennis Tiffany • Lynne Varner &Paul Hollie • Moya Vazquez • Ellen & Mike Vernon •Tony & Pat Vivolo • Arthur & Hattie Vogel • Jim & Mimi Vosper • Muffy Walker • Blair Washington • Dr. & Mrs.Michael Washington • Brooke & Josh Williams • Donald & Arda Williams • Nancy Williams • Gary & Nancy Willis • Mary Wood • Virginia Wyman • Phily Xu & Zhaolu Song• Anonymous (14)
TRIBUTES IN HONOR OF DONNA COCHENER by H. Randall Webb & Judy Brandon | MIKE DAISEY’S A PEOPLE’S HISTORY by Cindy
Klettke | WILLIAM GREGORY HUNICUTT by Martin & Linda Hunicutt | IN THE HEIGHTS CAST AND CREW by Anonymous | CHARLOTTE LIN by Kelly Miller | BOB & DEE MULFORD by Gary Povirk | TRISTA DUVALL WILKINSON by Carol & Chuck Bell
John GrahamFoundation
*
SeattleRepertory
Organization
The ChisholmFoundation
The BallingerFamily Foundation
The Laurents/HatcherFoundation
HD Fowler Company
Virginia B. Toulmin
Foundation
Seattle Repertory Theatre is proud to acknowledge the support of the following regional and national organizations, whose generous grants and sponsorships make possible a wide variety of artistic and audience programs that serve more than 125,000 theatregoers each year, including the Rep’s mainstage productions, new play readings and workshops, youth arts education offerings, public programs, and community engagement initiatives.
Join these philanthropic leaders in supporting great theatre in Seattle.
Thank You
INSTITUTIONAL DONORS
For more informationMelissa HusbyAssociate Director of Development206.443.2202 [email protected]
$550,000
Seattle Repertory Theatre Foundation
$150,000 - $549,999
$100,000 - $149,999
Washington State Building for the Arts Program*
$50,000 - $99,999
$25,000 - $49,999
Bruce G. Cochener Foundation*
AN ENEMY OF THE PEOPLE (1980)PICTURED: DAVID WHITE & BIFF MCGUIRE
From the Vault
Theatre Forward’s Advancing Theatre
Program
Garneau-NiconFamily Foundation
LIST AS OF FEBRUARY 2019 Italics represent in-kind gifts. * Includes capital support
ATLAS WorkbaseBaird Private Wealth ManagementBank of America Charitable FoundationBECUThe Boeing CompanyClark Nuber
DLA PiperHomeStreet BankHomewood Suites by HiltonThe Morgan Fund at Seattle FoundationTreeline FoundationU.S. Bank Foundation
$10,000 - $24,999
AT&TForest FoundationHazel Miller FoundationKutscher Hereford Bertram BurkartBrown & Cashman PLLCLoeb Family Charitable Foundations
Moccasin Lake FoundationMuckleshoot Charitable FundPuyallup Indian Tribe Charity Trust BoardSellen Community FoundationSummit Law GroupU.S. Bank Private Wealth Management
$5,000 - $9,999
$2,500 - $4,999Alaska AirlinesDeLille CellarsFales Foundation TrustHorizons FoundationLester and Phyllis Epstein FoundationMacy’sMorgan Stanley Private Wealth ManagementPerkins Coie LLPWashington State Arts Commission
MEDIA SPONSORS
A - 1 4
HEDDA GABLER (1992)PICTURED: BARBARA DIRICKSON
From the Vault
† Deceased
The accuracy of this list is important to us; we welcome notification of unintended omissions.
[email protected] 206.443.2202 x1163
DIRECTOR’S CIRCLE $1,200 - $2,999
Brian P. Abeel & Leticia Lopez • Braden Abraham & Cheyenne Casebier • Nancy Abramson • Nikhil & Sheetal Agarwal • Will Ahrens • Patricia Akiyama & David Larsen • Mary & David Alhadeff • Jon Anderson & Frederique Levrat • Jane & Brian Andrew • Phoebe H. Andrew • Patty & Jimmy Barrier • Craig S. Bartholomew • Douglas & Maria Bayer • Stephen W. Behnen • George & Joan Berry • Luther Black & Christina Wright • Larry Blake • Susan & William Block • Kellis & Jeff Borek • Kent R. Burnham • Werner & Janet Cadera • Betsy & John Cadwallader • Rita Calabro & Jim Kelly • Patrick & Mary Callan • Gretchen C. & Don E. Campbell • Sonya Campion • Roland Carette-Meyers & Kiki Penoyer • Stephen & Stacy Carlson • Bill Cavender & Mary K. Neumeister • D. Thompson & Karen Challinor • Sylvia & Craig Chambers • Bernard Choi & Scott Gregory • Sarah Cole • Theodore J. & Patricia S. Collins • Ben Coscarart • Jennifer Coursen • Dan Crawford & Cora Breuner • W. Michael Crenshaw & Mary Brodd • Mr. & Mrs. James P. Crutcher • Todd & Sylvie Currie • Heidi de Laubenfels & Harris Clarke • Leslie Decker & Steve Rimmer • Dottie Delaney • Alison W. Hicks • Dan & Mimi Dixon • Bob Dowdy & Cherry Tinker • Elizabeth & Miles Drake • Jim & Gaylee Duncan • Susan Dunn • Betty Dykstra • Susann & Don Edmond • Jill Ekar & Al Barney • Jon & Laurene Ekse • Richard & Marlene Fallquist • Jean Falls • Elisabeth Farwell-Moreland & Gary Moreland • Lyn & Paul Fenton • Carol Finn • Nancy Gallup • Bill, Lindy, & Louisa Gaylord • Mr. & Mrs. Carver Gayton • Lynne Graybeal & Scott Harron • Timothy Greenleaf & Rebecca Roe • Eric Gustafson & Martin Sanchez • Mary Kay Haggard • Andrew & Michelle Haines • Jeannie Hale • Adrienne L. Hall • Kathleen Hamilton • Sandy & Dave Hanower • Drs. Michael & Teresa Hart • Jan P. Havlisch • Roger & Kelly Heeringa • Kara Hefley & James Leigh • John Hempelmann & Mary McGill • Amy Henry • Joe & Jamie Herlich McIalwain • Wanda Herndon • Steve & Sandy Hill • Alyssa Hochman • Bruce & Bridget Horne • Eric & Mary Horvitz • Shaun & Kathleen Hughbanks • Thomas Hurley • Mark Igra & Nancy Simon • Dean M. Ishiki • Jon Jensen & Kathy Early • Jonelle Johnson • H. David Kaplan • Robert Kaplan & Margaret Levi • Daphne & Brett Kelley • Bill Kelliher & Sabra Gertsch • Lorna Kneeland • Richard & Claire Knierim • Therese & Bruce Kroon • Jim & Jean Kunz • Stuart Lane • Rosanne Lapan • Liam Lavery & Yazmin Mehdi • Eileen Lennon & Barrie Carter • Rachel Lerman • Sen. Marko Liias • Ellen Look & Tony Cavalieri • Michael & Barbara Luxenberg • Dr. Peter & Jackie Mansfield • Donald Marcy • Patrick & Rosalie McHale • Joy McNichols • Frances Mead • Brian Meenaghan • Susan Mersereau & Philip White • Chuck & Nancy Mertel • Steve & Libby Miller • Michael Milligan & Jeanne E Fund & Bainbridge Foundation • Pamela & Donald Mitchell • Marcia Nagae • Erika J. Nesholm • Donald & Melissa Nielsen • Joe G. Norman, Jr. • Ilse H. Oles • John & Teresa Osborn • John Palo • Lee & Alison Parsons • Terri & Ron Pehrson • Bob Platte & Sharon Bailey • Donald Pogoloff • K R Prabha & Unmesh W • Geoffrey T. Prentiss • Nancy & Kelley Price • Andrea & Alan Rabinowitz • Dr. & Mrs. Patrick A. Ragen • Anita Ramasastry & Walter Walsh • Sharon K. & Paul B. Ramey • Kirk Redmond & Connie Clark-Redmond • Michael Repass • Jean & Kirk Robinson • Jeffrey Robinson & Mary Dicke • Michelle Ulick Rosenthal • Steve & Liz Rummage • Nina Russell & Tom Rubin • John Ryan & Jody Foster • Barbara Sando • Ingrid & Stanley Savage & the Hilen Foundation • Joe Schwartz • Seattle Spine & Sports Medicine • Jeanne Sheldon & Marvin Parsons • Richard & Barbara Shikiar • Evelyn Simpson • Kristen & Michael Soltman • Robert & Susan Spieth • Kathleen & Rob Spitzer • Paul & Michelle Stamnes • Barbara & Burton Sternoff • David & Nancy Thacher • Rick & Suzy Titcomb • Judge Brian & Mrs. Linda Tollefson • Bill & Alice Van Pelt • Michael Von Korff & Linda Le Resche • Howard & Joan Voorheis • Judith A. Whetzel • Heather Wilde & James Gierman • Jay & Linda Willenberg • Chelle Williams • Matthew Williams & Patricia Read-Williams • John & Marta
Wilson • Sarah & Jason Wine • Mrs. Howard S. Wright • Scott & Jenny Wyatt • John Zagula • Anonymous (9)
BENEFACTOR’S CIRCLE $600 - $1,199
David & Gay Allais • Virginia Anderson • Ashley W. Andrew & Adam A. Crowley • John Aslin & Carole Grisham • Kendall & Sonia Baker • Art & Mary Fran Barkshire • Andy & Megan Beers • Luann & Irv Bertram • Philip Brazil • George W. Bright • Andrew Bruce & Deborah Donnell • Ed Bulchis & Theresa Gallant • Bruce Burger • Bill & Christine Campbell • Carey Family Foundation • Midge & Steve Carstensen • Dennis & Aline Caulley • Aru & Vibhas Chandorkar • Judy & Bob Cline • Lynn & Carolyn Cockrum • Tracy & Michelle Codd • Marc Cohen & Eleanor Hoague • Greg Conner & Matthew Steed • Gary & Consuelo Corbett • Zac & Ashleigh Corker • Susan Coughlin & John Lauber • Mary Cranstoun • Crissa Cugini • Steve & Susanne Daley • Janice D’Amato • Craig Davison • Helen Blair Day & Jeff Day • Liz & Wayne Deckman • Mark Diamond & Deborah Perluss • John & Misty Doty • Erin & Bill Ellis • Victor & Patricia Feltin • Stan & Jane Fields • Stephan & Judy Fihn • Charlie Fink & Leonard Jones • Bob & Micki Flowers • Bruce Funkhouser & Michelle Friars • Sue & Frank Gallo • Jacob Garcia • Erina Gehring & Peter Versnel • Joe & Marilyn Germano • Sharon Goldberg • Robert Greco • Alexandre Grigorovitch & Vera Kirichuk • Lyn & Jerry Grinstein • Lawrence & Hylton Hard Fund • Lynn Hays & Nancy Nordhoff • Lisa Henry • Brian & Valerie Hogan • Dr. Francis P. Hunkins & Dr. Patricia Hammill • Peggy & George Hunt • Frederick & Joan Hutto • Stuart Jennings & Jan Ng • Ted & Julie Kalmus • Paul Kassen • Katharine Kreis • Chris & Nancy Kevorkian • Ford W. Kiene • Dong Kim • Joe Knight • Brittney Kroon & Colin Prince • Greg Kucera & Larry Yocom • Ted & Susan Kutscher • Sharon Lamm • Shannon Lawless & Paul Crisalli • Mandy Leifheit • Mark Levine & John Keppeler • Carla & Don Lewis • Betsy Lieberman • Mark & Joni Light • Abe Lillard & Julia Kalmus • Arni Litt • Loeb Family Foundation • Shelley Logan • Carl Lucks & Jennifer Peters • Mr. & Mrs. Michael J. Malone • Chris & Bill Marks • Debra McBaugh & Arden Scroggs • Debbie Ann McCallister • Carol McDonald • Eric Mendelsohn • Charlotte Merritt • Don & Maxine Miller • Michael Montwill • James Moore & Joan Romano • Kevin J. Murphy & Karen Freeman • Robert & Claudia Nelson • Carla & Dean Nichols • Chuck Nordhoff • Craig & Deanna Norsen • Neil Oldenburg • Lourdes Orive • Martin Owen & Dana Shemorry • Kim & Curo Pasciuto • Kyle & Michele Peltonen • Anthony & Sharon Perez • Lawrence Peters • Trina Pierre Kelly & Alex Kelly • Joan Poliak • Judy G. Poll • Eric Candell & William Powell • Amy Whittenburg & Stephen Rattner • Heather & Eric Redman • Carrie Rhodes • Victoria Ries & Samuel Saracino • Jim & Deb Rockwell • Alan Rothblatt & Sima Kahn • Nancy & Richard Rust • Donna Sakson • Judie Sanders • Terry Sateren • Kristen Webb & David Schooler • Gayle & Bob Seda • Julie Shapiro & Shelly F. Cohen • Michael Sheirbon • Jeffrey Sherman • Shout Sister LLC, Dawn Smalberg, & Bev Ragovoy • Don & Goldie Silverman • Laurette & LeRoy Simmons • Lawrence Soriano & Elizabeth Starkand-Soriano • Ronald & Dawnelle Spaulding • Margaret Stanley • Jane Stevens & Jerry Zimmerman • Lisa & John Stewart • Stephen Strong & Lorri Falterman • Alex Sutton & Karen Easterbrook • Norman H. & M. Lynn Swick • C. Rhea & Wendy Thompson • Dennis Tiffany • Lynne Varner & Paul Hollie • Moya Vazquez • Ellen & Mike Vernon • Tony & Pat Vivolo • Arthur & Hattie Vogel • Jim & Mimi Vosper • Muffy Walker • Blair Washington • Dr. & Mrs. Michael Washington • Brooke & Josh Williams • Donald & Arda Williams • Nancy Williams • Gary & Nancy Willis • Mary Wood • Virginia Wyman • Phily Xu & Zhaolu Song • Anonymous (14)
TRIBUTES IN HONOR OF DONNA COCHENER by H. Randall Webb & Judy Brandon | MIKE DAISEY’S A PEOPLE’S HISTORY by Cindy
Klettke | WILLIAM GREGORY HUNICUTT by Martin & Linda Hunicutt | IN THE HEIGHTS CAST AND CREW by Anonymous | CHARLOTTE LIN by Kelly Miller | BOB & DEE MULFORD by Gary Povirk | TRISTA DUVALL WILKINSON by Carol & Chuck Bell
John GrahamFoundation
*
Seattle Repertory
Organization
The Chisholm Foundation
The Ballinger Family Foundation
The Laurents/Hatcher Foundation
HD Fowler Company
Virginia B. Toulmin
Foundation
Seattle Repertory Theatre is proud to acknowledge the support of the following regional and national organizations, whose generous grants and sponsorships make possible a wide variety of artistic and audience programs that serve more than 125,000 theatregoers each year, including the Rep’s mainstage productions, new play readings and workshops, youth arts education offerings, public programs, and community engagement initiatives.
Join these philanthropic leaders in supporting great theatre in Seattle.
Thank You
INSTITUTIONAL DONORS
For more information
Melissa Husby Associate Director of Development 206.443.2202 x1014 [email protected]
$550,000
Seattle Repertory Theatre Foundation
$150,000 - $549,999
$100,000 - $149,999
Washington State Building for the Arts Program*
$50,000 - $99,999
$25,000 - $49,999
Bruce G. Cochener Foundation*
AN ENEMY OF THE PEOPLE (1980) PICTURED: DAVID WHITE & BIFF MCGUIRE
From the Vault
Theatre Forward’s Advancing Theatre
Program
Garneau-Nicon Family Foundation
LIST AS OF FEBRUARY 2019 Italics represent in-kind gifts. * Includes capital support
ATLAS WorkbaseBaird Private Wealth ManagementBank of America Charitable FoundationBECUThe Boeing CompanyClark Nuber
DLA PiperHomeStreet BankHomewood Suites by HiltonThe Morgan Fund at Seattle FoundationTreeline FoundationU.S. Bank Foundation
$10,000 - $24,999
AT&TForest FoundationHazel Miller FoundationKutscher Hereford Bertram Burkart Brown & Cashman PLLCLoeb Family Charitable Foundations
Moccasin Lake FoundationMuckleshoot Charitable FundPuyallup Indian Tribe Charity Trust BoardSellen Community FoundationSummit Law GroupU.S. Bank Private Wealth Management
$5,000 - $9,999
$2,500 - $4,999Alaska AirlinesDeLille CellarsFales Foundation TrustHorizons FoundationLester and Phyllis Epstein FoundationMacy’sMorgan Stanley Private Wealth ManagementPerkins Coie LLPWashington State Arts Commission
MEDIA SPONSORS
encoremediagroup.com/programs A-15
SRO EXECUTIVE BOARDSEATTLE REPERTORY ORGANIZATION (SRO)
The Seattle Repertory Organization is a 100+ member volunteer group established in 1963 for the purpose of supporting Seattle Repertory Theatre. Through The Shop at the Rep, New York and London theatre tours, and more, the SRO donates more than $30,000 and over 12,000 volunteer hours each season.
Learn more about SRO at seattlerep.org/volunteer
Meet the artists of A Doll’s House, Part 2. SRO Spotlight luncheons and interviews are an opportunity to informally visit with the cast members, theatre artists, and staff who make each show possible.
seattlerep.org/SROspotlights
upcoming SRO SPOTLIGHT:
Thursday, April 411:00 a.m. in the Rotunda
STAFF
Diane CodyPRESIDENT
Laurette Poulos SimmonsFIRST VICE PRESIDENT
Linda WillenbergSECOND VICE PRESIDENT
Judy HuckaTREASURER
Cathy KittoRECORDING SECRETARY
Carmen SpoffordCORRESPONDING SECRETARY
Robert JenkinsSRT REPRESENTATIVE
Jeffrey Herrmann Managing DirectorBraden Abraham* Artistic Director
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Elisabeth Farwell-Moreland*PRODUCING DIRECTOR
Christy Bain**DIRECTOR OF ARTIST RELATIONS
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WileyASSOCIATE TECHNICAL DIRECTOR
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Lance ParkAUDIENCE SERVICES DIRECTOR
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Jamie Herlich McIalwainDIRECTOR OF DEVELOPMENT
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PROFESSIONAL ARTS TRAINING PROGRAM
Ben Swenson-KlattDEVELOPMENT
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Tessa BroylesPAINT
ARTIST IN RESIDENCEConstanza Romero
A - 1 6
As I’ve gotten older, activism has become increasingly popular among my peers. Maybe it’s because we desire a sense of belonging, have discovered unwavering principles to hold on to, or seek to create change—each individual has different motivations. But collectively, my generation has found power in our voices. As students, we have begun to speak out about the changes we want to see in society. We’ve planned walkouts, formed clubs and attended protests—we have become activists. But while some of us have pursued activism, another group has set out to bring us down. Growing up among a fairly kind bunch of students, it was unusual to see kids doubt the activism of their peers. Yet, I have come to realize that such a reaction is inherent to activism; someone will always second-guess you.
For this issue, Encore asked TeenTix if one of their members from the TeenTix Press Corps program would contribute a piece about what teen activism means to them. Huma Ali shares her experience as an activist and feminist as a teen today.
Ali’s Feminism club (Ali second from right). All photos in article courtesy of Huma Ali.
Empowerment through Teen Activism
Contributor Huma Ali.
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In the seventh grade, I befriended an upper-class student who introduced me to activism and the need for it in today’s world. Until that point, I had been under the impression that conflict was absent in our world. I thought war was a tale of the past, and that we lived in a utopian society. To some extent, I blame my elementary school curriculum for this because every Martin Luther King Day lesson left me, and other students, thinking that racism didn’t exist anymore. Well, I soon realized that’s not true. I learned that the world is not a perfect place. The world probably can’t be perfect, but it can be better. I became an avid human rights activist, labeling myself a feminist. Activism provides an outlet for individuals to support their beliefs in a way they will be heard. The power of their words allows for change, in a society that needs it. Freshman year I joined my high school’s Feminism Club. It was a nice
We’ve planned walkouts, formed clubs and attended protests—we have become activists. But while some of us have pursued activism, another group has set out to bring us down.
“Everyone is welcome” sign for Ali’s Feminism Club.
10 ENCORE STAGES
April 12 – May 4ponyworld.org
space, quite positive and full of like-minded individuals. But a torrent of hate lingered behind the club. Many students thought it was unnecessary—and some still do. Another group tried to start a “Meninist” club. Many of my peers thought of feminism as a derogatory term, and often called our events, like one of our walkouts, “stupid.” But these people wouldn’t make time to understand the reasons behind our actions. It is safe to say that it wasn’t always easy to be a part of the club. Recently, someone defaced our “Feminism Club! Everyone is Welcome!” poster by adding a line that read “no straight males.” It’s hard to comprehend a student’s motivation behind writing such a comment because our club’s priority is inclusivity. In response, we created an arrow out of tape, at the tail of which was another poster reading, “This is why we need Feminism Club. This type of mentality is exactly what we are trying to overcome. Feminism by nature is inclusive. We hope you will visit our club with an open mind!” I hope they actually come to one of our meetings. If they do, I don’t think I’ll be mad at them for defacing the poster—I’ll be happy they showed up and gave feminism a chance. Being a teen activist, the most important thing I have learned is that you must stay rooted in your beliefs. People have agendas, intentional or not. You need to know what you are fighting for. There is value in the ideas of others, but there is power in the ideas you form by yourself. Activism empowers youth to fight for their beliefs through a viable means, in which they are given a chance to influence change in our society—at the very least, this is what it has done for me. ■
Huma Ali is a junior at Lake Washington High School who is passionate about the power of words. She is a patron of the arts, an active writer and works to make teen voices heard through TeenTix’s Press Corps program.
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In an unassuming building that used to be home to a wine bar, a community library and bookstore lies, ready to be explored. With a focus on social justice, ethnic studies and liberation movements, Estelita’s Library is open to anyone and has something for everyone.
A Man of the People: Edwin Lindo and Estelita’s Library
Estelita’s Library. All photos in article courtesy of Jonathan Shipley.
Invisible Man, by Ralph Ellison. Ceremony, by Leslie Marmon Silko. To Be Young, Gifted and Black, adapted by Robert Nemiroff. There is no order to the books on the shelves. There is an element of discovery. Chinese Communism and the Rise of Mao, by Benjamin Schwartz. The Souls of Black Folk, by W.E.B. Du Bois. Homer’s The Iliad. It’s like someone’s den. A few shelves long against one wall. Another shelf on the far wall with paperbacks. Most of all the books dealing with race, politics, gender, justice. Crazy Laws and Lawsuits: A Collection of Bizarre Court Cases and Legal Rules, by Robert Allen.
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in by the window. There’s a church pew. There are a couple of tables with burgundy tablecloths on them to read, or commiserate, or to play chess.
The Responsibility of Intellectuals, by Noam Chomsky. The Buddha in the Attic, by Julie Otsuka. Long Walk to Freedom, by Nelson Mandela.
“This is the sort of place I grew up in,” Lindo says. He grew up in the Bay Area to a Nicaraguan father and a Salvadoran mother. His dad would take him to a restaurant where there would frequently be discussions of art and politics, books and the news of the day.
“I wanted to bring that here,” he says. “I hated books, I didn’t really start reading until after college. It was when I started listening to my elders that I started reading. They told me that books are where the secrets lie.”
The Rights of Indians and Tribes, by Stephen Pevar. Radical Dharma, by Jasmine Syedullah, Lama Rod Owens and Rev. angel Kyodo Williams. Roots, by Alex Haley.
The books on the shelves have been placed there by Edwin Lindo. He’s never run a library before. He teaches at the University of Washington with the Department of Family Medicine. He got his BS in Business Administration/International Relations from the University of the Pacific in Stockton, California and a Doctor of Jurisprudence degree from the UW School of Law. He’s never worked in a bookstore, either. He runs this place—Estelita’s social justice library, bookstore and community space crammed into a little space on Beacon Hill. It’s across the street from El Centro de la Raza and behind a place called Chop House—a beauty salon.
Estelita’s was in a wine bar. The old counter now has vintage Black Panther comic books in it, old Black Scholar magazines, too. There are “Democracy is Power” postcards available for the taking. On the walls—African masks, tree branches with little bird nests in them (art created by local Briar Bates). Paper skeletons sweep across the front window. There are Che Guevara posters. An upright piano is shoved
Edwin Lindo (center) in conversation with patrons.
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The Quran. How to Rap, by Paul Edwards. The Macho Paradox, by Jackson Katz.
More than a place for knowledge to decentralize, it’s a place for the community to gather—play chess, have conversations with strangers, debate. Eager to bring people off the street, Lindo is also wanting to partner with like-minded community organizations. He wants to offer classes, book talks, lectures. “My wife asks me why I spend so much time here,” Lindo says. “It’s because I love it. I can spend hours here—jazz playing on the speakers, people coming in to talk, all these books.”
The Negro Revolution in America, by Louis Harris and William Brink. Native Son, by Richard Wright. Stamped from the Beginning: The Definitive History of Racist Ideas in America, by Ibram X. Kendi.
Teenagers sit in the corner of the shop, peruse the titles and chitchat. It’s raining outside and they didn’t want
to go home quite yet. Two old women come in, warmly chatting. Two thirty-somethings come in soon after. They ask Lindo about that night’s poetry open mic. “It’s been cancelled,” Lindo says, reluctantly. But then, “That doesn’t mean you can’t have it anyway,” Lindo tells them.
The old women sit at a table with the thirty-somethings. They don’t know each other. They introduce themselves. They start talking. They get to know each other.
“That,” Lindo says, smiling. “That right there is what this is all about.” ■
Jonathan Shipley is a freelance writer living in West Seattle. He’s been published in the Los Angeles Times, Fine Books & Collections Magazine, and Seattle Magazine, among others.
Estelita’s Library. Collection of postcards at Estelita’s.
The books on the shelves are mostly his own. It’s an interesting collection. Behind the counter he has piles of The Black Panther newspapers. The official newspaper of the Black Panther Party began in 1967, founded by Huey P. Newton and Bobby Seale. He believes he may have the greatest collection of them in the world. Approximately 400 editions of the paper were created. He’s got 380 of them. He’s angling to get the whole set. “I tried to show them off to Bobby Seale. He said, ‘Cool, cool.’”
The library is named after his daughter, Estelita, and opened in March 2018. The library operates through membership. From $30 to $50 or so, you can have access to the books (about 1,200 are in circulation now and he’s always looking for suitable donations) and have the books for a two-week stretch. Currently, Estelita has 336 members. “It’s amazing,” Lindo says of the growth. And more, the non-profit is already growing. He’s received a grant from the city to open a second location. It’ll be in the Central District. Plans are still being formulated.
Vintage copy of The Black Panther comic book.
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ANSWERS: 1.) a. Tribes. Joshua Castille played the role of Billy in Tribes in March 2017 at ACT. 2.) b. Concord, Mass. Emerson was born in Boston and traveled far and wide, but settled in Concord with his second wife, Lidian. 3.) c. Virginia Patterson Hensley. She changed her name to Cline when she married and her manager later suggested she shorten and use her middle name as well. 4.) b. Christmas time. The first scene opens with the character Nora bringing home unappreciated gifts, which becomes the running theme of the play. 5.) c. Oliver Goldsmith. Goldsmith became a writer after varied short careers and is celebrated in his home country of Ireland. 6.) d. Rebecca Lee Crumpler. Dr. Crumpler graduated from the New England Female Medical College with her doctorate in 1864. Her career focused on the poor, former slaves, women and children.
Intermission Brain TransmissionAre you waiting for the curtain to rise? Or, perhaps, you’ve just returned to your seat before the second act and have a few minutes to spare? Treat your brain to this scintillating trivia quiz!Email us the answer to the last question and have a chance to win tickets to a show!
Bonus QuestionWhat was the last arts performance you attended that you liked best and why?
Email your response to [email protected] with “Trivia Quiz” in the subject line.
Romeo and Juliet, attributed to Benjamin West. Public domain.
1) March 1 through 31, ACT Theatre will produce Romeo + Juliet, Shakespeare’s classic tale of ill-fated love. Juliet will be played by Seattleite Gabriella O’Fallon and Romeo will be played by Joshua Castille of Los Angeles. Joshua is an emerging Deaf Broadway actor and performs in Seattle regularly. In what play did he grace ACT’s stage in 2017?
a) Tribes
b) Alex & Aris
c) The Legend of Georgia McBride
d) Oslo
2) Emerson String Quartet will perform at Meany Center for the Performing Arts on March 6. The New York-based quartet was named after famed intellectual Ralph Waldo Emerson. Where did Emerson live for most of his life?
a) Ames, Iowa
b) Concord, Massachusetts
c) Cincinnati, Ohio
d) Dover, Delaware
3) Taproot Theatre Company will produce Always . . . Patsy Cline from March 14 to April 6. This sentimental musical tells the story of the country singer’s blossoming friendship with a fan. Patsy Cline used a stage name. What was her real name?
a) Patricia Jean Griffin
b) Patty Lee Ramey
c) Virginia Patterson Hensley
d) Mary Patricia Plangman
4) March 15 through April 28, Seattle Repertory Theatre will show Lucas Hnath’s A Doll’s House, Part 2. This 2017 play was written as an unofficial sequel to Henrik Ibsen’s A Doll’s House, which premiered in 1879. At what time of year is A Doll’s House set?
a) Around Easter
b) Christmas time
c) The dead of summer
d) During Lent
5) She Stoops to Conquer will be on stage at Seattle Shakespeare Company March 19–April 14. This is one of the most popular English-language plays that was originally produced in the 18th century. Which Irish dramatist wrote it?
a) John Banim
b) Mary Devenport O’Neill
c) Oliver Goldsmith
d) Henry Jones
6) Book-It Repertory Theatre will present Returning the Bones March 28 through April 14. Seattle-based actor Gin Hammond wrote and will perform this solo play with 28 characters. Set in rural Texas during the era of Jim Crow, it follows the story of Hammond’s Aunt Bebe on her journey to become a doctor. Who was the first African American woman to become a physician in the U.S.?
a) Rebecca J. Cole
b) Mary Eliza Mahoney
c) Charlotte E. Ray
d) Rebecca Lee Crumpler
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