A View from the Bridge / buyer & Cellar / come from away / disgraced / constellationsluna gale / brownsville song (b-side for tray) / sherlock holmes and the american problem

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Presented in association with GOODMAN THEATRE and BERKELEY REPERTORY THEATRE

JAN 8 - 31, 2016JANUARY 2016

2

January 2016Volume 35, No. 5

Paul Heppner Publisher

Susan Peterson Design & Production Director

Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design

Mike Hathaway Sales Director

Brieanna Bright, Joey Chapman, Gwendolyn Fairbanks, Ann Manning Seattle Area Account Executives

Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives

Brett Hamil Online Editor

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Leah Baltus Editor-in-Chief

Paul Heppner Publisher

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Jonathan Zwickel Senior Editor

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Amanda Manitach Visual Arts Editor

Paul Heppner PresidentMike Hathaway Vice PresidentMarty Griswold Director of Business & Community DevelopmentGenay Genereux AccountingSara Keats Marketing CoordinatorRyan Devlin Events / Admin Coordinator

Corporate Office425 North 85th Street Seattle, WA 98103p 206.443.0445 f 206.443.1246adsales@encoremediagroup.com800.308.2898 x105 www.encoremediagroup.com

Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2016 Encore Media Group. Reproduction without written permission is prohibited.

encoreartsseattle.com 3

Terri Olson Miller Chair

Tamra Chandler President

Amy Bautista Vice President/Treasurer

Tracy Daw Secretary

Shauna Woods Chair Emeritus

Earle J. Hereford President Elect

TRUSTEESBraden Abraham †

Clodagh AshSusan AshmunBruce BradburnLynne BushElizabeth Choy, M.D.Donna M. CochenerJim CopacinoAdam CornellMark DickisonKaren Fletcher Bill FranklinJ.P. GreenEdie HardingJeffrey Herrmann †

Nancy HochmanWinky HusseyBrent Johnson Bruce E.H. JohnsonJohn Keegan

Stellman KeehnelDeborah T. KillingerSharon Lamm †

Becky LenaburgMarko LiiasMarcella McCaffrayPhil McCuneRick McMichael Kevin MillerKevin MillisonRebecca PomeringTim RattiganAaron RubensonJulie SandlerRobert SpiethRichard B. Stead, M.D.Julie VillegasPallavi Mehta WahiMarisa WalkerNancy WardTom Wright

TRUSTEES EMERITINancy AlvordPam AndersonRobert S. Cline Bill Gates, Sr. John HempelmannToni HoffmanRobert L. King, Jr.Lynn ManleyJohn A. Moga

Ilse OlesAnn Ramsay-JenkinsStanley SavageDorothy L. SimpsonCarlyn SteinerJanet TrueJames F. TuneJean Viereck Jill Watkins

ADVISORY COUNCILDavid AlhadeffChap AlvordJack CortisDebra DoranJoanne Euster Greg GottesmanMary Kay HaggardH.L. (Skip) Kotkins, Jr.

Nancy MertelJ. P. MichaelRobin Nelson Bruce PymDeborah RosenPatrick SchultheisTammy Talman

SRT FOUNDATION BOARD Bruce E.H. Johnson,

ChairmanCarlyn Steiner,

Vice-ChairmanAlta BarerAmy Bautista †

Tamra Chandler †

Margaret ClappAllan DavisTerri Olson Miller †

Ann Ramsay-JenkinsElizabeth D. RudolfJanet True

† ex-officio

Every season, we ask Trustees to focus concerted time and energy to supporting one play of their choice during the season as a “champion.” Show Champions for Disgraced are listed in blue.

Greetings and Happy New Year.

What an incredible season it has been thus far, and we’re just getting started. We’re thrilled to be following up the wildly successful Come From Away with the Pulitzer Prize-winning Disgraced.

Last season, Seattle Rep made a commitment to expand our public programs and encourage discussion around race, diversity, and our place in the world. Disgraced is the perfect next piece with which to continue the conversation. The play touches on so many current topics in the public discourse and the political arena.

In this acclaimed drama, five characters from various backgrounds share their very personal perspectives on adversity, acceptance, and human compassion. They challenge us to recognize our own attitudes towards one another and to consider multiple viewpoints.

To create opportunities for conversation, Seattle Rep will host Post-Play Discussions at the theatre after every performance of Disgraced, as well as several Speak Up! panel discussions around town. We hope you’ll join us.

Disgraced also continues our collaborations with great theatres all across the country, as this production comes to the Rep following hugely successful runs at Goodman Theatre and Berkeley Repertory Theatre. The Seattle run will be the last leg of its journey, and we are honored to be presenting it to you tonight.

As always, thank you for joining us and for choosing the Rep.

Tamra Chandler President, Board of Trustees

FROM THEARTISTIC DIRECTOR

Last month, Mayor Ed Murray addressed a sold-out crowd for Come From Away here in the Bagley Wright Theatre. Commenting on the musical’s themes of compassion and goodwill, he reminded us that when faced with a horrible tragedy—such as 9/11 and the November Paris attacks—we choose, as citizens and as a nation, how to respond.

How we respond matters, not only in the immediate aftermath of these events, but also in the long term. The mayor emphasized that, in spite of the violence we continue to face in the world, we have the proven capacity to respond with compassion, courage and tough-mindedness. Of course, how we delineate between the internal and external influences that drive our responses is pivotal and very difficult to untangle, both as individuals but especially as a nation.

Like many immigrants and their first-generation American children, Pakistani American Amir seeks to attain the quintessential American dream and, by and large, he succeeds. He’s married, owns a beautiful home, and is on the verge of being made partner at his corporate law firm. In the life he’s made for himself, he sees his Muslim background as a liability—a point of view he must continue to grapple with in light of the scrutiny and prejudice endured by Muslims in this country since 9/11.

In Ayad Akhtar’s Disgraced, we see the portrait of a man caught in the chasm separating his ethnic identity from his personal beliefs and the demands of the culture he’s living in. Akhtar, like his predecessor of modern tragedy Arthur Miller (whose play A View from the Bridge was on our stage earlier this fall), creates a tinderbox of human emotion where consequences can be brutal. It is not easy terrain to navigate, but it makes for exciting drama and healthy conversation about how we begin to unpack the complex emotional and historical forces that guide us, so that we might gain a better understanding of how to respond with empathy and tolerance towards each other going forward. We will be hosting conversations after every performance of Disgraced in the theatre. I hope you’ll stay and join us.

Braden Abraham Artistic Director

A MESSAGE FROM THE BOARD OF TRUSTEES

BOARD OF TRUSTEES

4

FOR SEATTLE REP PATRONS

Welcome to Seattle Repertory Theatre! We’re glad you’re with us today. Below you’ll find some information to make your visit even more enjoyable.

Emergency Evacuation ProceduresIn the event of an emergency, please wait for an announcement for further instructions. Ushers will be available for assistance. Please familiarize yourself with the exit route nearest your seat.

Emergency NumberIn case of emergency, doctors and other emergency contacts may reach you at the theatre by calling 206-443-2210. Be sure to give your name and exact seat location to the house manager if you expect to be contacted.

Wheelchair SeatingWheelchair accessible seating is available. Please request accommodations at the time of your ticket purchase.

Services for the Hearing ImpairedAssistive listening devices are available at Coat Check. We offer select captioned performances for each show in the Bagley Wright Theatre and select ASL-interpreted performances for all shows.

Services for the Seeing ImpairedLarge print programs are available at Coat Check. We provide select audio-described performances for each show in the Bagley Wright Theatre.

Phones, Cameras and PagersCell phones and pagers disrupt the performance. Please turn them off or leave them with the house manager before the show starts. Audio and video recording and photography are prohibited.

Coat CheckItems may be checked for $1 each in our lobby.

Food and BeverageFood and glassware are not allowed in the theatre. You can avoid lines by pre-ordering drinks for intermission.

Smoking PolicySmoking is not allowed in our building or within 25 feet of any entrance.

Firearms PolicyNo firearms of any kind are allowed in any part of the building.

Mailing AddressSeattle Repertory Theatre155 Mercer St., P.O. Box 900923Seattle, WA 98109

Phone NumbersBox Office: 206-443-2222 or 877-900-9285 (toll free)Administrative Offices: 206-443-2210Box Office Hours7 days a week: Noon to Curtain

Group SalesGroups of 10 or more can save. Call 206-443-2224 for group discount information.

Websitewww.seattlerep.org

Join the ConversationUse #seattlerep to tell us what you thought of the show.

SEATTLE REPERTORY ORGANIZATION EXECUTIVE BOARD 2015-2016

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.

Sharon Lamm President

Diane Cody First Vice-President

Michael Leake Second Vice-President

Bonnie Briant Treasurer

Maureen Harley Recording Secretary

Darla Hammond Corresponding Secretary

Lynne Bush SRO Representative to the Theatre Board

There’s no shortage of BIG IDEAS at the Rep...

“The Big Idea”

Inspired by all things BIG this year, we present our season-long cocktail:

A tart take on a champagne cocktail, with Aperol, an Italian herbal apertif,

gin, lemon juice and topped with bubbly, it’s sure to inspire a few

big ideas of your own.

Braden Abraham, Artistic Director | Jeffrey Herrmann, Managing Directorpresents

In association with Goodman Theatre and Berkeley Repertory Theatre

BY AYAD AKHTARDIRECTED BY KIMBERLY SENIOR

Scenic Designer John Lee Beatty Costume Designer Jennifer von Mayrhauser Lighting Designer Christine A. Binder Sound Designer Jill BC Du Boff Goodman Production Dramaturg Jonathan L. Green New York Casting David Caparelliotis, CSA Associate Director Nate Silver Associate Sound Designer Janie Bullard Associate Lighting Designer Josh Benghiat

The Cast

Isaac J. Anthony Crane Abe Behzad Dabu Emily Nisi Sturgis Amir Bernard White Jory Zakiya Young

Stage Manager Julie Haber Assistant Stage Manager Michael John Egan

Running time is approximately 90 minutes with no intermission.

2015-2016 SEASON SPONSOR:

Producing Partner:

January 8 – 31, 2016The actors and stage managers are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.DISGRACED was developed in part at the New Writers New Plays residency at Vineyard Arts Project (Ashley Malone, Founder and Artistic Director).

Original Broadway production produced by The Araca Group, Lincoln Center Theater, Jennifer Evans, Amanda Watkins, Richard Winkler, Rodger Hess, Stephanie P. McClelland, Tulchin/Bartner Productions, Jessica Genick, Jonathan Reinis, Carl Levin/Ashley De Simone/TNT DynaMite Productions,

Alden Bergson/Rachel Weinstein, Greenleaf Productions, Darren Deverna/Jere Harris, and The Shubert Organization, The David Merrick Arts Foundation.

DISGRACED had its world premiere in January 2012 at American Theater Company, Chicago, Illinois (PJ Paparelli, Artistic Director).DISGRACED is presented by special arrangement with Dramatists Play Service, Inc. New York.

SEATTLE REPERTORY THEATRE

encoreartsseattle.com 5

A Conversation with Ayad Akhtar & Kimberly Senior

Disgraced, by playwright, novelist, screenwriter and actor Ayad Akhtar, premiered in Chicago in 2012 at American Theatre Company. The play then went on to New York’s Lincoln Center Theater, subsequently won the Pulitzer Prize and later transferred to Broadway, where it earned a Tony Award nomination for Best Play. Director Kimberly Senior has accompa-nied Akhtar at every step of the play’s continued journey, helming the original production as well as the off-Broadway and Broadway mountings. Akhtar and Senior bring their new production to Seattle Rep, following runs at Goodman Theatre and Berkeley Repertory Theatre. This past fall, Akhtar and Senior spoke with Goodman Theatre’s Literary Management Associate Jonathan L. Green about their enduring collaboration.

Jonathan L. Green: Ayad, in the published version of this script you make a note for directors that although Disgraced is a play dealing with big ideas, it’s actually written to be entertainment: comedy, thriller, tragedy. Why did you feel this story needed to be a play rather than a book or screenplay?

Ayad Akhtar: I got to a point where I was writing

screenplays, but none of the films I wrote were getting made. I knew I wanted to write a play ever since college, but I never really did it. I had ideas for different stories and all that just started percolating into some-thing about this character, Amir. The earliest draft of the play—which very few people have seen—begins with a monologue that Amir delivers to the audience. He’s remembering and talking about this dinner party. I just followed it from there.

Kimberly Senior: Having also read your novel American Dervish, I believe there is something to the medium of theater that denies the audience an interior experience of the characters. That’s essential to Disgraced. We are constantly assessing people’s motives and allegiances and switching of sides. We are presented solely with what they say and do. We don’t get to know what they think. American Dervish is a partnership with the reader, wherein we know what’s going on inside the characters’ heads.

JLG: The play’s protagonist is a Muslim-raised apostate and other religions are discussed in the play. Did your relationship with religion affect your work on the play?

KS: In a larger sense, when audiences interact with Disgraced, they think they’re to align with the person who shares their background. They find very quickly that’s not the case. As an Arab-Jewish woman, I never feel more Jewish than when I am the only Jew in the room. The play made me assess what traditions I practice. Are they old and meaningless, or actually valuable?

AA: I had a high school teacher who really changed my life and made me want to become a writer. She made me read a lot of high-modernist European work. I had this idea for a very long time that being the best writer pos-sible meant aspiring to write like that. And in a way, it put me at odds with my own subject matter and commu-nity. It didn’t seem to me that what I’d grown up with and experienced fit into any paradigm of Thomas Mann’s Death in Venice or Robert Musil’s The Man Without Qualities. Even theatrically, when I went to college and studied Samuel Beckett, Friedrich Dürrenmatt and Harold Pinter, it kept me at a distance from my own subject matter. I think there was also a psychological reason for that: in a way, I was trying to distance myself from my family, my community, the ways I thought that I had been brought up and things that

I had seen which felt very backward and retrograde. I felt like I wasn’t going to be able to make progress as an individual unless I differentiated myself from this part of myself. For a long time that differentiation meant running away from it and pretend-ing it didn’t exist, especially artisti-cally, and I tried to write a certain way. Then, you know, life happens. [Philosopher] Søren Kierkegaard said, “Someday the circumstances of your life may tighten upon you the screws of its rack and compel you to come out with what really dwells in you.” That’s what happens in Disgraced. One of the big, big screws for me through the experience of 9/11 was a recognition that I wasn’t going to be able to run away from myself. I was going to have to account for what was happening in my community, for how life changed not only for me, but also for so many people who I love. I couldn’t just run away from all the dimensions of it: the psychological, the artistic, the sociological, the religious. American Dervish, Disgraced and [Akhtar’s 2014 play] The Who and the What all came from that. It was a real watershed moment in my life as an artist. It was the first time that I began to feel like I had found my voice.

JLG: Kimberly remarked earlier that the characters in Disgraced are all, in a way, minorities. They’re heartfelt and also very conflicted and complicated. Have you seen any particular embrace or push-back from any communities—religious, ethnic or otherwise?

AA: Both embrace and rejection. And very, very vigorous. The play seems to function as a weird kind of litmus test. It tells you where you are in society and has the capacity to connect people to themselves in a more heartfelt way, and to connect them

to others as well. I know a lot of peo-ple resist that. Some people feel like the mirror aspect says stuff it shouldn’t say, and some people feel the mirror does stuff it shouldn’t do. I’ve gotten an equal amount of feedback from both sides of the Muslim community with some people asking, “Why are you doing this?” and others saying, “Thank God you are doing this!”

JLG: You’ve worked on this play many times together—in Chicago, at Lincoln Center, on Broadway. Kimberly told me that each time felt like putting

together a really different production; each run uncovered different aspects of the script. How have you seen the play develop over the last several years you’ve worked together?

KS: It’s become more sophisticated and nuanced, and I think there is a greater reliance on the actor. I was talking to [the actor playing Isaac] J. Anthony Crane and said, “This is a play where the drama can go many ways. There are a million ways to play those moments.” But I promise you I know exactly how the comic parts work. Re-

moving a syllable, flipping a sen-

tence so that it works just

the right way—that’s the math and

science of it. We’ve

been able to perfect how the

table gets set for the dinner party. I can teach somebody how to do that. What actually happens in the conversation where Isaac says to Amir, “I’m sorry if I brought up something sensitive between you and Emily,” that line can be played a myriad of ways. That’s the sophistica-tion—Ayad said we’ve increased the thread count of the production.

Reprinted courtesy of Goodman Theatre.

By Jonathan L. Green

A Conversation with Ayad Akhtar & Kimberly Senior

Disgraced, by playwright, novelist, screenwriter and actor Ayad Akhtar, premiered in Chicago in 2012 at American Theatre Company. The play then went on to New York’s Lincoln Center Theater, subsequently won the Pulitzer Prize and later transferred to Broadway, where it earned a Tony Award nomination for Best Play. Director Kimberly Senior has accompa-nied Akhtar at every step of the play’s continued journey, helming the original production as well as the off-Broadway and Broadway mountings. Akhtar and Senior bring their new production to Seattle Rep, following runs at Goodman Theatre and Berkeley Repertory Theatre. This past fall, Akhtar and Senior spoke with Goodman Theatre’s Literary Management Associate Jonathan L. Green about their enduring collaboration.

Jonathan L. Green: Ayad, in the published version of this script you make a note for directors that although Disgraced is a play dealing with big ideas, it’s actually written to be entertainment: comedy, thriller, tragedy. Why did you feel this story needed to be a play rather than a book or screenplay?

Ayad Akhtar: I got to a point where I was writing

screenplays, but none of the films I wrote were getting made. I knew I wanted to write a play ever since college, but I never really did it. I had ideas for different stories and all that just started percolating into some-thing about this character, Amir. The earliest draft of the play—which very few people have seen—begins with a monologue that Amir delivers to the audience. He’s remembering and talking about this dinner party. I just followed it from there.

Kimberly Senior: Having also read your novel American Dervish, I believe there is something to the medium of theater that denies the audience an interior experience of the characters. That’s essential to Disgraced. We are constantly assessing people’s motives and allegiances and switching of sides. We are presented solely with what they say and do. We don’t get to know what they think. American Dervish is a partnership with the reader, wherein we know what’s going on inside the characters’ heads.

JLG: The play’s protagonist is a Muslim-raised apostate and other religions are discussed in the play. Did your relationship with religion affect your work on the play?

KS: In a larger sense, when audiences interact with Disgraced, they think they’re to align with the person who shares their background. They find very quickly that’s not the case. As an Arab-Jewish woman, I never feel more Jewish than when I am the only Jew in the room. The play made me assess what traditions I practice. Are they old and meaningless, or actually valuable?

AA: I had a high school teacher who really changed my life and made me want to become a writer. She made me read a lot of high-modernist European work. I had this idea for a very long time that being the best writer pos-sible meant aspiring to write like that. And in a way, it put me at odds with my own subject matter and commu-nity. It didn’t seem to me that what I’d grown up with and experienced fit into any paradigm of Thomas Mann’s Death in Venice or Robert Musil’s The Man Without Qualities. Even theatrically, when I went to college and studied Samuel Beckett, Friedrich Dürrenmatt and Harold Pinter, it kept me at a distance from my own subject matter. I think there was also a psychological reason for that: in a way, I was trying to distance myself from my family, my community, the ways I thought that I had been brought up and things that

I had seen which felt very backward and retrograde. I felt like I wasn’t going to be able to make progress as an individual unless I differentiated myself from this part of myself. For a long time that differentiation meant running away from it and pretend-ing it didn’t exist, especially artisti-cally, and I tried to write a certain way. Then, you know, life happens. [Philosopher] Søren Kierkegaard said, “Someday the circumstances of your life may tighten upon you the screws of its rack and compel you to come out with what really dwells in you.” That’s what happens in Disgraced. One of the big, big screws for me through the experience of 9/11 was a recognition that I wasn’t going to be able to run away from myself. I was going to have to account for what was happening in my community, for how life changed not only for me, but also for so many people who I love. I couldn’t just run away from all the dimensions of it: the psychological, the artistic, the sociological, the religious. American Dervish, Disgraced and [Akhtar’s 2014 play] The Who and the What all came from that. It was a real watershed moment in my life as an artist. It was the first time that I began to feel like I had found my voice.

JLG: Kimberly remarked earlier that the characters in Disgraced are all, in a way, minorities. They’re heartfelt and also very conflicted and complicated. Have you seen any particular embrace or push-back from any communities—religious, ethnic or otherwise?

AA: Both embrace and rejection. And very, very vigorous. The play seems to function as a weird kind of litmus test. It tells you where you are in society and has the capacity to connect people to themselves in a more heartfelt way, and to connect them

to others as well. I know a lot of peo-ple resist that. Some people feel like the mirror aspect says stuff it shouldn’t say, and some people feel the mirror does stuff it shouldn’t do. I’ve gotten an equal amount of feedback from both sides of the Muslim community with some people asking, “Why are you doing this?” and others saying, “Thank God you are doing this!”

JLG: You’ve worked on this play many times together—in Chicago, at Lincoln Center, on Broadway. Kimberly told me that each time felt like putting

together a really different production; each run uncovered different aspects of the script. How have you seen the play develop over the last several years you’ve worked together?

KS: It’s become more sophisticated and nuanced, and I think there is a greater reliance on the actor. I was talking to [the actor playing Isaac] J. Anthony Crane and said, “This is a play where the drama can go many ways. There are a million ways to play those moments.” But I promise you I know exactly how the comic parts work. Re-

moving a syllable, flipping a sen-

tence so that it works just

the right way—that’s the math and

science of it. We’ve

been able to perfect how the

table gets set for the dinner party. I can teach somebody how to do that. What actually happens in the conversation where Isaac says to Amir, “I’m sorry if I brought up something sensitive between you and Emily,” that line can be played a myriad of ways. That’s the sophistica-tion—Ayad said we’ve increased the thread count of the production.

Reprinted courtesy of Goodman Theatre.

By Jonathan L. Green

encoreartsseattle.com 7

Emily reveals the idea for this new sketch was inspired both by a minor run-in with a racist waiter the night before, as well as Diego Velázquez’s 1650 portrait of Juan de Pareja. “You made him see that gap. Between what he was assuming about you, and what you really are,” Emily says of the interaction with the waiter. Emily also notes original viewers of Velázquez’s portrait of de Pareja – who was his slave and studio assistant – thought they were “looking at a picture of a Moor. An assistant… [But] that portrait has more nuance,

complexity, life than his paintings of kings and queens.” Both inspirations have to do with brown skin, with Orientalism (a Western stereotyping of the cultures of the Middle East, Asia and North Africa) or its progeny

Islamophobia. Both inspirations deal with the difference between appearance and truth.

That Emily’s figurative drawing of Amir is the first thing we see onstage is telling of Amir’s relationship with Islam, the religion taught in his home during his youth. In many cases Islam as a religion is traditionally aniconic, eschewing figurative art, and instead embracing elaborate geometric patterns and calligraphy (though there are exceptions to this, especially from cultures within the Mughal Empire). Creating images of God and the Prophet Muhammad is strictly forbidden in nearly all practices of Islam, but many Sunni hadith (reports of the deeds and teachings of the Prophet Muhammad) are interpreted, especially in more conservative

practices, as forbidding man-made images of sentient beings in general. “Angels of mercy do not enter a house where there are pictures,” says one hadith. Another translation reads, “The people who will receive the severest

punishment on the Day of Resurrection will be

those who try to make the like of God’s creations.” God is here likened to an

artist, a creator, and humans striving

to imitate God’s act of creation commit heresy. To attempt to show the living “truth” of a person or project one’s soul in something man-made can be sacrilege. There is a similar aniconic prohibition against the imaging of God in the teachings of Judaism, though for the majority of the history of the Christian church, there is a rich tradition of the imaging of Jesus and other holy figures.

In Disgraced, Amir describes himself as an apostate—in his adolescence, he shed the conservative Islamic traditions taught by his parents. Emily is also irreligious—she serves pork during a dinner party to other agnostic characters raised Muslim and Jewish, though both religions forbid the consumption of pork. Today, people often confuse race and religion. Even

In the opening moments of Ayad Akhtar’s Pulitzer Prize-winning play Disgraced, we see an intimate image: Emily, a young, white artist, sketching her husband, Amir, a well-to-do Pakistani American lawyer.

// By Jonathan L. Green

Disgraced and Islamic ArtThe Gap Between Optics and Truth

Portrait of Juan Pareja by Diego Velázquez, 1650.

in the secular world of Disgraced, Amir must deal with how others see him, as they wield racial prejudices and the expansive USA PATRIOT Act, to mistake his ethnicity for his religious beliefs.

Though Emily is not Muslim, her art practice usually engages with forms traditional to Islamic art—geometry, patterning, tiling, tessellation, developing incredible ingenuity and complexity from a simple grid—that celebrate Islamic tenets of unity, peace, perspective and universality, and avoids idolatry. One such piece hangs in her and Amir’s living room above the mantle, all blues and whites, “lustrous and magnetic,” as the script describes the art work in the stage directions. This new portrait of Amir stands out from the rest—it’s figurative, representational. Compared to her other art work, the portrait is unusual and certainly from a more Western tradition. Emily’s friend Isaac, taken by her Islam-inspired work, playfully accuses her of Orientalism. “You’ve even got the brown husband,” he jokes. She counters, saying, “We’ve all gotten way too wrapped up in the optics… We’ve forgotten to look at things for what they really are.”

Of course, Emily’s statement can also apply to the prejudices, fears, and power dynamics of the world of Akhtar’s story. Orientalist beliefs target “Eastern” ethnicity, but starting in the 1990s (and especially after the September 11 attacks of 2001), we’ve seen a cultural and societal shift in some areas from American Orientalism to American Islamophobia: destructive

stereotypes of the ethnic “Arab” have transitioned to hateful stereotypes of the religious Muslim, regardless of the actual religious beliefs or ethnicities of their targets. Simple figural traits, like having brown skin, or wearing a turban or veil, can incite hate and violence. In the months following the September 11 attacks, for example, reports of murders and assaults of not only practicing Muslims but also Sikh Indians, Indian Hindus, Coptic Christians and others increased 1500% as anti-Muslim sentiment swept across America—despite the fact that some of these victims did not practice Islam or were not of Arab descent.

In the 2008 presidential election, then-candidate Barack Obama was repeatedly accused of being secretly Muslim and therefore unfit for national leadership—something he denied but stopped short of calling problematic and racist. Now – eight years later – Muslim identity is again at the center of debate in a presidential race following the recent terrorist attacks in both Paris and San Bernardino.

Misrepresentation begins first with simplified representation—these are the building blocks of stereotyping and, further, racializing—whether in 2-D art or in popular society. In his blistering play, Akhtar challenges our perceptions of what it means to misrepresent and to be misrepresented: what are we showing when we depict another person, whether in art, word or deed? What are we showing when we reveal or hide depictions of ourselves? Amir’s

Misrepresentation begins first with simplified representation—these are the building blocks of stereotyping and, further, racializing.

stay after the show and

take part in the conversation

1) Is it right for artists to create art about a culture to which they do not belong?

2) What is the reality of being a Muslim American at this moment in time?

3) In a multicultural world, how does your race define you?

Post-Play Discussions sponsored by:

We invite you to keep the following discussion questions in mind during the performance:

Members of the SRT Company and/or cast

members will join the audience for a dialogue focused on the themes of Disgraced.

ancestral culture placed great value on character, on belief, on truth, shunning representative figuration, relying instead on principles of unity and universality. On what sort of representation does our own culture place value?

Reprinted courtesy of Goodman Theatre.

encoreartsseattle.com 9

seattlerep.org // 206.443.2222

season sponsorTICKETS AND PACKAGES ON SALE NOW!

Luna Gale

THETHEand

ON STAGE LATER THIS SEASON

apr 22 - may 22, 2016

mar 4 - 27, 2016

mar 25 - apr 24, 2016

jan 22 - feb 21, 2016

big bang BIG CHOICES

BIG DREAMS BIG HIJINKS

encoreartsseattle.com 11

J. Anthony Crane Isaac

Anthony’s Broadway credits include The Country House and Sight Unseen (Manhattan Theatre

Club); The Winslow Boy (Roundabout Theatre Company); and Butley with Nathan Lane. His off-Broadway credits include Modern Orthodox, Relativity, and The Brothers Karamazov. His regional credits include Scar in the first national tour of The Lion King, The Music Man (Theatre Under the Stars), Spamalot (Wynn Las Vegas), The Odd Couple (Dallas Theater Center), Absalom (Humana Festival of New Plays at Actors Theatre of Louisville), Farragut North and 50 Words (Contemporary American Theater Festival), Sight Unseen (the Old Globe), and Lost In Yonkers (Papermill Playhouse). Anthony has also appeared in The Recruiting Officer and Our Country’s Good (Buffalo Theater Ensemble). Anthony has also appeared in The Recruiting Officer, Our Country’s Good, Mary Poppins, All My Sons, Twelfth Night, The Taming of the Shrew, The Glass Menagerie, Long Day’s Journey into Night, and Closer. Film and television credits include “The War of the Roses,” “Life on Mars,” “Ugly Betty,” “The Practice,” “Third Watch,” “JAG,” “Six Degrees,” “Frasier,” “CSI,” and “The Big Easy.” Anthony is a graduate of Northwestern University.

Behzad Dabu Abe

Behzad’s Chicago credits include The Matchmaker, Disgraced, The Christmas Carol (Goodman Theatre);

Inana, Blood and Gifts, and The History Boys (TimeLine Theatre Company); Samsara (Jeff nomination for Best Supporting Actor) and Disconnect (Victory Gardens Theater); Disgraced (American Theater Company); Twelfth Night (First Folio Theatre); Holes (Adventure Stage Chicago); and We Live Here (Theatre Seven of Chicago). His film and television credits include “Chicago P.D.,” “You’re So Talented,” “King Rat,” and “Imperfections.” He is a member of the Chicago Inclusion Project and an associate artist with TimeLine Theatre Company. Behzad attended Columbia College Chicago and is represented by Paonessa Talent. Please visit behzaddabu.com.

Nisi Sturgis Emily

Nisi’s New York credits include The 39 Steps, Intimate Apparel, Dysphoria, and The Less We Talk.

Her regional credits include In The Next Room (or the vibrator play) (Cleveland Play House); A Doll’s House, Who’s Afraid of Virginia Woolf?, Life of Riley, Pentecost, Taming of the Shrew, Much Ado About Nothing, and Pericles (The Old Globe); Mrs. Warren’s Profession, Pride and Prejudice, Doubt, You Can’t Take It with You, and Richard III (Denver Center Theatre Company); A Streetcar Named Desire, To Kill a Mockingbird, Arms and the Man, Our Town, and Trelawny of the Wells (Shakespeare Theatre of New Jersey); Hamlet and Emma (Pioneer Theatre Company); Failure: A Love Story and Macbeth (Illinois Shakespeare Festival); Twelfth Night (Arkansas Shakespeare Theatre); and Trying (Merrimack Repertory Theatre). Her television credits include the recurring role of June Thompson on HBO’s “Boardwalk Empire.” Nisi received her MFA from the Old Globe.

Bernard White Amir

Bernard’s off-Broadway credits include The Tempest and The Death of Garcia Lorca (The Public Theater/New

York Shakespeare Festival); The Who & The What and Blood and Gifts (Lincoln Center Theater); Landscape of the Body (Signature Theatre Company); and Sakharam Binder (Play Company). His regional credits include Troilus and Cressida and Henry V (Oregon Shakespeare Festival); Art (East West Players); The Who & The What, The Seven, and Dogeaters (La Jolla Playhouse); Wings of Desire (American Repertory Theater/Toneelgroep Amsterdam); and Blithe Spirit and Lucy and the Conquest (Williamstown Theatre Festival). Bernard’s film credits include Miss India America, Captain America: The Winter Soldier, Vino Veritas, It’s Kind of a Funny Story, Alvin and the Chipmunks, Quarantine, The World Unseen, American Dreamz, Land of Plenty, Raising Helen, The Matrix Reloaded/Revolutions, Scorpion King, Pay It Forward, and City of Angels. His TV credits include recurring roles on “The Brink” and “Silicon Valley” (in third season) in addition to “Madame Secretary,” “Grey’s Anatomy,” “Touch,” “Castle,” “The Good Wife,” “N.C.I.S.,” and over 100 more.

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Zakiya Young Jory

Zakiya’s Broadway credits include Stick Fly, The Little Mermaid, and The Radio City Christmas Spectacular.

Her off-Broadway credits include Storyville (Audelco Award nomination for Outstanding Performance in a Musical – Female); Tenderloin (York Theatre Company); The Lightning Thief (Lucille Lortel Theatre); Chasing the Bird (Joyce Theater); and Greenwood (New York Musical Theatre Festival). Her regional credits include Good People (George Street Playhouse and Seattle Repertory Theatre); Aida (Music Theatre Wichita and Starlight Theatre); It’s a Bird…It’s a Plane…It’s Superman (Dallas Theater Center); White Christmas (Syracuse Stage); and Little Miss Sunshine (La Jolla Playhouse). Zakiya’s television credits include “Orange Is the New Black,” “Made in Jersey,” “This American Life – Live at BAM” (video and radio), and the web series “Submissions Only.” Please visit zakiyayoung.com.

ARTISTIC AND PRODUCTION

Ayad Akhtar Playwright

Ayad’s plays include Disgraced (Broadway, LCT3/Lincoln Center Theater, 2013 Pulitzer Prize for Drama, and 2013 Obie Award for Extraordinary Achievement); The Who & The What (LCT3/Lincoln Center Theater and La Jolla Playhouse); and The Invisible Hand (New York Theatre Workshop/The Repertory Theatre of St. Louis). Also a novelist, Ayad is the author of American Dervish, published in 2012 by Little, Brown and Company, also in 20 languages worldwide. He co-wrote and starred in “The War Within” (Magnolia Pictures), which was released internationally and nominated for an Independent Spirit Award for Best Screenplay. As an actor, Ayad also starred as Neel Kashkari in HBO’s adaptation of Andrew Ross Sorkin’s book Too Big to Fail. He studied at Brown University and Columbia University’s School of the Arts.

Kimberly Senior Director

Kimberly directed the Broadway premiere of Disgraced, which she previously directed off-Broadway at Lincoln Center Theater. Her other off-Broadway credits include

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The Who & The What (Lincoln Center Theater). Her regional credits include Disgraced (Berkeley Repertory Theatre); The Who & The What (La Jolla Playhouse); Little Gem (City Theatre); Murder on the Nile and A Few Good Men (Peninsula Players); and Mauritius (Theatre Squared, Fayetteville, AR). Her many Chicago credits include Disgraced and Rapture, Blister, Burn (Goodman Theatre); Marjorie Prime, The Diary of Anne Frank, Hedda Gabler, and The Letters (Writers Theatre); 4000 Miles and The Whipping Man (Northlight Theatre); Want and The North Plan (Steppenwolf Theatre Company); Inana, My Name is Asher Lev, and Dolly West’s Kitchen (TimeLine Theatre); Disgraced (American Theater Company); The Great God Pan, After the Revolution, Madagascar, The Overwhelming, and The Busy World Is Hushed (Next Theatre); The Cripple of Inishmaan, Bug, The Pillowman (Redtwist Theatre); Old Times, Uncle Vanya, Cherry Orchard, Three Sisters (Strawdog Theatre Company); Thieves Like Us (The House Theatre of Chicago); and Waiting for Lefty (American Blues), among others. Senior is the Founder of Collaboraction, a resident director at Writers Theatre, and an Associate Artist at TimeLine Theatre Company. Senior was named the 2012 Best Director in Chicago by Chicago Magazine. She has been nominated for several Joseph Jefferson Awards and Citations, was a finalist for both SDC’s Zelda Fichandler and Joe A. Callaway Awards and is the recipient of the 2010 Excellence in Teaching Award from Columbia College. Senior lives in Evanston with her two children, Noah and Delaney, and is a proud member of SDC. kimberlysenior.net

John Lee Beatty Scenic Designer

John’s Broadway credits include Disgraced, The Heidi Chronicles, Chicago, The Nance, Outside Mullingar, Venus in Fur, Other Desert Cities, Good People, Rabbit Hole, After Midnight, The Color Purple, Doubt, Proof, The Sisters Rosensweig, Talley’s Folly, Fifth of July, A Delicate Balance, The Heiress, Last Night of Ballyhoo, Ain’t Misbehavin’, and Abe Lincoln in Illinois. His recent off-Broadway credits include Dada Woof Papa Hot, Shows for Days, The City of Conversation, and Much Ado About Nothing and King Lear in Central Park. Designer of more than 100 Broadway shows, he is the recipient of multiple Tony, Obie, Outer Critics Circle, and Drama Desk Awards and is a member of the Theater Hall of Fame.

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Jennifer von Mayrhauser Costume Designer

Jennifer’s Broadway credits include Disgraced, Wit, Rabbit Hole, Knock Knock, Hay Fever, The Heidi Chronicles, Night of the Iguana, Talley’s Folly, Da, Execution of Justice, Baby, Beyond Therapy, and Angels Fall. Her off-Broadway credits include work with Lincoln Center Theater, Manhattan Theatre Club, Playwrights Horizons, Second Stage Theatre, and Circle Repertory Company. She received an Obie Award for Sustained Excellence. Her film credits include Hateship Loveship, The Private Lives of Pippa Lee, The Ballad of Jack and Rose, Captain Ron, The Hand That Rocks the Cradle, I’m Not Rappaport, Lean on Me, The Real Blonde, and Mystic Pizza. Jennifer’s television credits include “The Slap,” “Unforgettable,” “Under the Dome,” and “Law & Order” (Emmy nomination). Please visit jennifervonmayrhauser.com.

Christine A. Binder Lighting Designer

Christine’s Chicago credits include Lookingglass Alice and Death Tax (Lookingglass Theatre Company); An Issue of Blood (Victory Gardens Theater); A Kid Like Jake (About Face Theatre); and Swan Lake (Joffrey Ballet). Her opera designs include work at the Lyric Opera of Chicago, Chicago Opera Theater, San Diego Opera, New York City Opera, Pittsburgh Opera, Houston Grand Opera, as well as the recent Eugene Onegin for Grand Theatre de Geneve in Switzerland. Upcoming designs include Heir Apparent (Chicago Shakespeare Theater); Eugene Onegin (Houston Grand Opera); Thaddeus and Slocum: A Vaudeville Adventure (Lookingglass); and Cinderella (Joffrey Ballet). Christine received Jeff Award nominations for her work with Court Theatre, Lookingglass, and Northlight Theatre.

Jill BC Du Boff Sound Designer

Jill designed the sound for Berkeley Rep’s production of Mother Courage. Her Broadway credits include Hand to God, The Heidi Chronicles, Picnic, Wit, Other Desert Cities, Good People, The Constant Wife, The Good Body, and Bill Maher: Victory Begins at Home. Her off-Broadway credits include work at Lincoln Center Theater, Manhattan Theatre Club, Atlantic Theater Company, Vineyard Theatre, MCC Theater, Playwrights Horizons, The Public Theater, Second Stage Theatre, New York Theatre Workshop, Women’s

Project Theater, New Georges, The Flea Theater, Cherry Lane Theatre, Signature Theatre Company, Clubbed Thumb (affiliate artist), and Penguin Rep Theatre. Her regional credits include work with Bay Street Theater, La Jolla Playhouse, Cincinnati Playhouse, Westport County Playhouse, Portland Stage Company, Long Wharf Theatre, New York Stage and Film, Humana Festival of New Plays at Actors Theatre of Louisville, Williamstown Theatre Festival, and the Adirondack Theatre Festival. Radio credits include Studio 360, Naked Radio, and Radiolab. Jill has received the Ruth Morley Design Award, an Obie Award for Sustained Excellence, and a Lilly Award. She has also been nominated for Drama Desk and Henry Hewes Awards and is an adjunct professor at Sarah Lawrence College. Jill is the audio producer for The New Yorker magazine.

Julie Haber Stage Manager

Julie is delighted to return to Seattle Rep after working here previously on Anna in the Tropics and The Time of Your Life. She stage managed Disgraced at Berkeley Rep and has stage managed at many regional theatres around the country, including Seattle’s Intiman and 5th Avenue Theatres. She served as administrative stage manager at American Conservatory Theater and as company stage manager for 20 seasons at South Coast Rep. She enjoys doing children’s theatre at MainStreet Theatre Company. She received her MFA from the Yale School of Drama and has taught stage management at UC Irvine, UC San Diego, CalArts, and Yale. Julie is a proud member of Actors’ Equity.

Michael John Egan Assistant Stage Manager

Broadway: Les Misérables, Man of La Mancha, Never Gonna Dance. National Tours: Billy Elliot, Les Misérables, Miss Saigon, Cabaret, Mamma Mia!. Seattle Rep: Lizard Boy, The Piano Lesson, How to Write a New Book for the Bible, Good People. Seattle Opera: Wagner’s Ring Cycle (twice!), Pearl Fishers, An American Dream, Parsifal, Lohengrin, Iphigenie en Tauride. Seattle Children’s Theatre: James and the Giant Peach, The Wizard of Oz. Spoleto Festival USA: The Rise and Fall of the City of Mahagonny, La Cenerentola, Kepler. Other credits include Pittsburgh Civic Light Opera, Pittsburgh Public Theater, 5th Avenue Theatre, ACT Theatre. A proud Equity member and English major.

FOR SEATTLE REPBraden Abraham Artistic Director

Braden Abraham has served Seattle Rep since 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 recent appointment as Acting Artistic Director in June 2014 and Artistic Director in October 2015. During his tenure at the theater, Braden has helped re-envision the New Play Program, starting the Writers Group for local playwrights and bringing exciting new voices to the Rep such as Samuel D. Hunter, Laura Schellhardt and Anna Ziegler. An accomplished director, he has directed many productions for the Rep including Arthur Miller’s A View from the Bridge, Edward Albee’s Who’s Afraid of Virginia Woolf?, Samuel D. Hunter’s A Great Wilderness and Anna Ziegler’s Photograph 51.

Jeffrey Herrmann Managing Director

Jeffrey Herrmann joined Seattle Rep in July 2014 after seven years as Managing Director of Washington, DC’s Woolly Mammoth Theatre Company. During his time there, he oversaw 18 World Premieres, a 100% increase in the operating budget, the execution of a $4 million artistic capital campaign and the purchase of Woolly’s award-winning theatre facility. Prior to joining Woolly Mammoth, he served as Producing Director for eight years at Perseverance Theatre in Juneau, Alaska. Jeffrey received his B.A. in English at Vassar College and his M.F.A. in Theatre Management at the Yale School of Drama.

encoreartsseattle.com 15

Seattle Repertory TheatreFounded in 1963, Seattle Rep is led by Artistic Director Braden Abraham and Managing Director Jeffrey Herrmann. One of America’s premier non-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.

Berkeley Repertory Theatrehas grown from a storefront stage to an international leader in innovative theater. Known for its core values of imagination and excellence, as well as its educated and adventurous audience, the non-profit has provided a welcoming home for emerging and established artists since 1968. In four decades, four million people have enjoyed nearly 400 shows at Berkeley Rep. These shows have gone on to win five Tony Awards, seven Obie Awards, nine Drama Desk Awards, one Grammy Award and many other honors. In recognition of its place on the national stage, Berkeley Rep received the Tony Award for Outstanding Regional Theatre in 1997. Its bustling facilities – which include the 400-seat Thrust Stage, the 600-seat Roda Theatre, the Berkeley Rep School of Theatre, the Osher Studio and a spacious new campus in West Berkeley – are helping revitalize a renowned city. Learn more at BerkeleyRep.org.

Goodman Theatre, Chicago’s flagship theater since 1925, is an artistic and community institution dedicated to the art of theater and to civic engagement in the issues of the contemporary world. Under the leadership of Artistic Director Robert Falls and Executive Director Roche Schulfer, achievements include the Goodman’s state-of-the-art two-theater complex in the heart of the downtown Theatre District. Over the past three decades, the Goodman has generated more than 150 world or American premieres and more than 30 new-work commissions. From new plays to “first-class revivals” (The New York Times), the Goodman has earned numerous awards for its productions: two Pulitzer Prizes; 22 Tony Awards, including Outstanding Regional Theatre (1992); and nearly 160 Joseph Jefferson Awards.

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MEET OUR NEW EDUCATION DIRECTOR,ARLENE MARTíNEZ-VáZQUEZ

Arlene Martínez-Vázquez moved to Seattle in 2009 and has worked as a Teaching Artist with many local organizations including Seattle Public Theater, Stone Soup Theatre, eSe Teatro, St. Matthew School, Lakeside School, and Seattle Children’s Theatre. She served as SST’s Education Director from 2010-2014.

Also a director, Martínez-Vázquez brought her bilingual staged reading of Passport to first-generation immigrants and ELL students, after a sold-out performance at ACT Theatre. Her latest production, The Passion as Told by Antígona Pérez, was seen by 700 students (52% of whom are of Latino descent) at Evergreen Campus in White Center. Evergreen Campus has also enlisted her theatre company Thriving Artists to develop an after-school drama class for the school— the first in nearly a decade.

As Education Director, Arlene will oversee the Rep’s acclaimed educational programs, including our two widest-reaching programs: the performance-based August Wilson Monologue Competition and our popular Student Matinee series. In addition, she will lead the Professional Arts Training Program, Seattle Rep’s learning-based internship program. We are thrilled to have her aboard!

NEWs fROM sRT’s EDUCATION DEPARTMENT

BEGINNING JANUARY 17: COACHING WORKsHOPs fOR

The August Wilson Monologue CompetitionIn partnership with regional theatres across the country, Seattle Rep will present the sixth national August Wilson Monologue Competition this spring. This competition is an opportunity for high school students to perform an August Wilson monologue for a chance to win cash prizes and an all expenses paid trip to New York City to compete in the national finals. All registered students can receive free coaching from theatre professionals at workshops hosted at Seattle Rep.

>> Workshop dates available online: seattlerep.org/AWMC

UPDATEs TO OUR

student Matinee ProgramWe’re proud to host thousands of students each year at our Student Matinee performances. This year, we have re-mounted the program with a three-step process to assist classroom teachers in getting the most out of the experience for their students. The program includes:

1. Pre-show classroom workshop in which students will physically explore the themes of the show

2. Student Matinee performance followed by a post-show talk with the artists

3. Wrap-up workshop with students back in the classroom

>> Classroom teachers can download our Play Guides, which meet EALR’s CCSS, online: seattlerep.org/studentMatinees

For more information about all of our Education programs, contact Arlene Martínez-Vázquez at arlene.martinez-vazquez@seattlerep.org

encoreartsseattle.com 17

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THANK YOU!Did you know? The cost of tickets only covers half of the cost of production. As a nonprofit theatre, Seattle Repertory Theatre relies on the generosity of over 4,500 individuals who make contributions above and beyond the cost of tickets to support the art on stage and ensure that ticket prices remain accessible.

The following individuals made cumulative contributions of $1,000 or more between November 1, 2014 – December 4, 2015. This list includes Annual Fund and Endowment gifts, Gala Raise the Paddle donations, Matching Gifts, and support of Special Projects.

Philanthropic contributions ensure Seattle Rep’s artistic excellence and financial stability. Every gift – no matter the size – makes a difference. We thank all of you for being a part of the Rep community.

Join Seattle Rep’s donor family. To make your gift, please go to seattlerep.org/support/donate or contact Jamie Herlich at 206.443.2532 or jamie.herlich@seattlerep.org.

$100,000 AND ABOVEAnn Ramsay-Jenkins & The William M.

Jenkins Advised Trust*

$75,000 - $99,999Stellman Keehnel

$50,000 - $74,999Ken & Marleen Alhadeff Fund for Theatre

PractitionersChap & Eve AlvordMarcella McCaffray*Anonymous

$25,000 - $49,999Mrs. E.C. AlvordDonna Cochener*Joan CreminAllan & Nora DavisWilliam E. FranklinJay Hereford & Margaret Winsor*Winky & Peter Hussey*Linda & Ted Johnson*Deborah T. KillingerTom Miller & Terri Olson Miller*Elizabeth D. RudolfRobert & Susan SpiethCynthia StroumBagley & Virginia Wright FundAnn P. WyckoffAnonymous

$15,000 - $24,999Mary Tedd Allen & George ScottBob & Clodagh Ash*Margaret ClappRod & Nancy HochmanBrent & Catherine JohnsonThe Knossos FoundationVic & Mary K. MosesTimothy & Paula Rattigan

Paula & Steve ReynoldsRachel M. & David P. RobertJean Baur ViereckAnonymous (2)

$10,000 - $14,999Stuart & Sue AshmunAmy & Bob Bautista*Bottler Charitable TrustMichael & Lynne Bush*James & Jacqueline CopacinoDick & Jill DavisBruce E. H. Johnson & Sandra E. DavisNorman & Lisa JudahJohn & Nancy Jo Keegan*Chris & Kathleen KosmosBecky Lenaburg & Paul UrlaLynn Manley & Lex LindseyEverett P. & Andrea PaupCarlo & Lalie ScandiuzziMr. & Mrs. Douglas ScheumannSherry & John StilinHal & Ann Strong*Janet & Doug TrueShirley & David UrdalNancy Ward & Toby Bright*Richard L. WeismanKenneth and Rosemary WillmanThomas Wright & Alexandra Brouwer-WrightAnonymous

$5,000 - $9,999Diana & Warren Aakervik, Jr.David & Joanna BeitelEileen & James† BirgeBruce Bradburn & Meg HolgateMr. & Mrs. Jeffrey BrotmanJeanne & Jon CantaliniTamra Chandler & Jeff MosierElizabeth Choy & James E. LobsenzBob & Loretta Comfort FundJane & David R. DavisTracy & Suzanne DawJoanne EusterKaren & Doug FletcherAnne & Will FosterMrs. Robert E. GilmanJean-Pierre Green & Jennifer Ladd*

Edith W. HardingJohn & Maureen HarleyJohn & Ellen HillJudith Jesiolowski & David ThompsonLewis Levin & Emily NeilsonPhilip & Jill McCune*Karen & Rick McMichaelKevin Miller & Stephanie McBainKevin Millison & Jeanne Ballot*Karen Rose MitchellRobin & Dave Nelson*Rebecca & Grant Pomering*David & Valerie Robinson*Deborah & Doug RosenAaron RubensonHerman & Faye Sarkowsky Charitable

FoundationBeverly & Chris SchubertAnne Simpson & Charlie Conner*Mrs. Dorothy L. SimpsonRichard B. Stead & Elizabeth A. Ryll*Tammy A. Talman*Taucher Family FoundationJames & Katherine TunePallavi & Ashish WahiBruce & Peggy WantaShauna Woods & Benjamin Arenas*Marcia & Klaus ZechAnonymous (2)

$3,000 - $4,999Rhoda Altom & Cory CarlsonPam AndersonLucius & Phoebe AndrewVernon C. Bryant, Jr.Gretchen & Don CampbellTom & Cynthia CaptainSteven & Judith CliffordAdam & Whitney Cornell*Todd & Sylvie CurrieLeslie Decker & Steve RimmerMark & Julie DickisonEddie Gali Jr. & Andy BrinkRichard & Mary Beth GemperleNatalie GendlerSherri HavensLaura & David HeardMr. & Mrs. Richard C. Hedreen

CUMULATIVE GIFTS RECEIVED AND PLEDGES MADE NOVEMBER 1, 2014 – DECEMBER 4, 2015

encoreartsseattle.com 19

Kristin Ovregaard HeeterJeffrey Herrmann & Sara WaisanenSuzanne HittmanToni & Rod HoffmanLisa & Donald ImmerwahrDonna & Gary IversonMichael LeakeSusan Mersereau & Philip WhiteJerry & Marcia Nagae*Samantha NeukomMrs. E.A. NowogroskiStuart & Ilse OlesRoberta Riley & Peter MasonKate Riordan*Judy & Kermit RosenJulie SandlerStanley D. & Ingrid H. SavageCarlyn J. SteinerLeonard & Marsha StevensAnnette Toutonghi & Bruce ObergRichard & Catherine WakefieldMarisa & Brad WalkerMichael & Marsha WardenScott R. & Cindy WeaverKinnon Williams & Amy FunkhouserSu Chang & Peter WilliamsWyman Youth TrustJohn & Terri ZagulaJane Zalutsky & Mark KantorAnonymous (3)

$2,000 - $2,999George Benway & Susan Nelson-BenwayDarrel S. CowanCarol FinnNancy Gallup & Kenneth KeenanDan & Molly GoldmanDr. T.K. & Sandra GreenleeLyn & Jerry GrinsteinJan Hendrickson & Chuck LeightonParul & Gary HoulahanJoan Matthews JulnesCathy KittoMike & Debbie KossMorris & Carolyn KremenGwenann KroonMark Levine & John KeppelerChristine & Sandy McDadeDrs. Donald & Pamela MitchellDr. Joe G. Norman Jr.Cheri & Lou PerazzoliJudy PigottMrs. Harry PrydeH. Warren & Nancy SmithChristopher & Cameron SnowRick & Suzy TitcombDr. Jerry & Cheryl WaldbaumDoug & Margaret WalkerSusan Brandt & Van WhiteAnonymous

$1,500 - $1,999Douglas & Maria BayerGeorge & Joan BerryBobbe & Jon BridgeBruce BurgerStephen & Stacy CarlsonDonald V. CavanaughWilliam T. CavenderJudy & Bob ClineW. Michael Crenshaw & Mary BroddSusan & Dave DentonJohn Gray & Jeanne Eagleson

The Lewis S. & Susan D. Edelheit FundLyn & Paul FentonPaul & Penny FredlundJamie HerlichDale & Donna HolpainenJoy McNicholsChuck & Nancy MertelMark & Susan MinerichNick Gerner & Susan MoskwaDyann ProvenzanoHillary & David QuinnDr. Donna Richman & Mike EhrenbergRichard & Barbara ShikiarHelen R. StusserJohn Wicher & Travis Penn

$1,000 - $1,499Dean and Lynda AndersonWilliam & Nancy BainPatti & Jimmy BarrierCraig S. BartholomewRod & Mary Jo BenchSusan & William BlockTheresa GallantKent & Sandra CarlsonD. Thompson & Karen ChallinorDr. & Mrs. Hugh ClarkKirk Redmond & Connie Clark-RedmondLynn & Carolyn CockrumJoellen CongletonAmy & Paul CurtisDottie DelaneyMr. & Mrs. Charles DickeySusan DunnMichael Milligan & Jeanne ERon & Bonnie ElginElisabeth Farwell-Moreland & Gary MorelandOvina Maria FeldmanBob & Micki FlowersSue & Frank GalloLisa GarbrickKatharine GraubardLeeds & Wendy GulickCharlotte & Douglas GuymanMary Kay HaggardJeannie HaleCharles S. & Adrienne L. HallNancy & Hamilton HarrisDrs. Michael & Teresa HartJan P. HavlischJohn W. HempelmannLisa HenryWanda HerndonPeter Hiatt & Ron HudenHill Family FoundationMack Hogans & Anastacia MilesBruce & Bridget HorneMary & Eric HorvitzConnie & Dan HungateDean M. IshikiTerry L. Jones & Walter Yund, Jr.Janet W. KetchamBob & Carolyn KitchellKaren Koon & Brad EdwardsGeorge O. and Linda W. LambCharlotte Lin & Robert PorterMike & Lisa LoshStephen H. & Ellen O. LutzBarbara & Michael LuxenbergDebbie MacomberBlanche & Stephen MaxwellMay McCarthy & Don SmithJohn, Gail, Daniel & Ian Mensher

Matt & Jenny MuilenburgChelle Nelson & Steven CoreyLisbet Nilson & Mark AshidaPeter D. OlsonTerri & Ron PehrsonKyle & Michele PeltonenCharles PepkaKathleen PierceAndrea & Alan RabinowitzSharon K. Ramey & Paul B. RameyCarrie RhodesGregory Roeben & Susan RaunigJeff & Mary Jo SakoiBill & Rae SaltzsteinBarbara SandoShelley Saunders & Andy BenjaminLangdon SimonsEvelyn SimpsonCatherine & David SkinnerGreg Smith & Betty Mattson-SmithDr. & Mrs. Alexander R. Stevens, Jr.Lou Rhea & Luther TownerBill & Alice VanPeltVijay & Sita VasheeAndrew & Jessica VolkMichael Von Korff & Linda Le RescheJudith A. WhetzelNancy WilliamsMrs. Howard S. WrightBrien WygleAnonymous (5)

* Member of Seattle Rep’s Multi-Year Giving Club

† Deceased

The accuracy of this list is important to us;we welcome notification of unintended

omissions.(heidip@seattlerep.org or 206.443.2203)

TRIBUTE GIFTSTribute gifts to Seattle Repertory Theatre are a wonderful way to remember a loved one, honor a friend, or celebrate a special occasion.  Seattle Rep joins in paying tribute to the following individuals:

In Honor of Andi Alhadeff,Steve Brown, Sasha Habash, Anne Heinlein, Jamie Herlich, Melissa Husby, and Catherine Majorby Kenny & Marleen Alhadeff

In Memory of Karl Hendricksonby Peter Hendrickson

In Memory of Sharon Maifeldby Kevin Maifeld

In Honor of Jennifer Oasterby Ellen Oaster

In Memory of Michelle Reichenbachby Karen Jennings

In Honor of Lou Schragenby Craig Mitchell

In Memory of Niro Sweeneyby Eanna Sweeney

In Memory of Coleen Yearyby Glenn Yeary

Gold Club$50,000 - $150,000

Neukom Family

Mary Pigott

Pete and Julie Rose

$25,000 - $49,999

Bamford Foundation

William Beeks

Carl and Renee Behnke

Katharyn Alvord Gerlich

Mr. and Mrs. Lawrence and Mary Ellen Hughes

John Graham Foundation

Joshua Green Foundation

Patricia Britton and Stellman Keehnel

Sandy and Chris McDade

Norcliffe Foundation

Moccasin Lake Foundation

Stephen P. and Paula R. Reynolds

Conductor’s Circle$10,000 - $24,999Nancy Alvord

Judi Beck and Tom A. Alberg

Allan E. and Nora Davis

Jim and Gaylee Duncan

Ray Heacox and Cynthia Huffman

Peter and Peggy Horvitz

Jon and Mary Shirley Foundation

Glenn Kawasaki

Deborah Killinger

Thomas and Gwen Kroon

Charlotte Lin and Robert Porter

Faye Sarkowsky

Mary Snapp

Anonymous (1)

First Chair$5,000 - $9,999Chap and Eve AlvordSteve Behnen and Mary HornsbyMichael and Anne BentleyMatthew N. Clapp Jr.Creelman FoundationMrs. Jane Davis and Dr. David R.

Davis

Rosanne Esposito-Ross and Louis Ross

Kevin and Lynne FoxWilliam FranklinHeather HowardThe Hugh and Jane Ferguson

FoundationEd KimLoeb Family Charitable

FoundationsBlanche and Stephen MaxwellDouglas and Joyce McCallumAnthony R. MilesNesholm Family FoundationNorman Archibald Charitable

FoundationJudy PigottCarol and Doug PowellAnn Ramsay-Jenkins and the

William M. Jenkins FundJames and Katherine TuneVijay and Sita VasheeRichard and Leslie WallisRichard L. WeismanDr. Clyde and Mrs. Kathleen WilsonAnn P. WyckoffLynn Hubbard and David ZapolskyAnonymous (1)

Encore$2,500 - $4,999Kim A. AndersonBob and Clodagh AshBill and Nancy BainMichelle BarnetJohn H. BauerAnnette and Daniel BeckerSue and Artie BuerkJudith ChapmanMs. Melanie CurticePeter and Susan DavisKarl John EgeMichael and Melanie FinkRobert FlemingJed Fowler and Elisabeth BeaberRod FujitaLynn and Brian GrantMaria GunnAya HamiltonRichard and Marilyn HerzbergPete Higgins and Leslie Magid

HigginsMari HoritaDan and Connie HungateJeff Ing in Honor of Vera and

Joey IngRandle Inouye in Honor of Frank

Fujii

Janet Wright Ketcham FoundationDana and Roger LorenzeMichael and Barbara MaloneTim Mauk and Noble GoldenBruce and Jolene McCawAlison and Glen MillimanDouglas E. & Nancy P. NorbergNancy S. NordhoffGlenna Olson and Conrad WoutersCara PostilionMarlene PriceScott RedmanMark and Daryl RussinovichStan and Ingrid SavageSchoenfeld-Gardner FoundationKeith Schreiber and Clare KapitanAlane and Doyle SimonsJane SimpsonElaine Spencer and Dennis ForsythJohn StarbardCharles and Delphine StevensBrad Smith and Kathy Surace-

SmithGail and Bill Weyerhaeuser

Anonymous (1)

$100,000 - $349,999$350,000 and up

$25,000 - $49,999DLA Piper*

Getty Images*

King County Employee Charitable Campaign*

Little Big Show – KEXP, STG & Starbucks

Perkins Coie*

Stoel Rives LLP*

Washington State Combined Fund Drive*

$10,000 - $24,9994CultureAmazonCenturyLinkChihuly Garden and GlassClise Properties Inc.The Commerce Bank of Washington*Dapper + AssociatesDavis Wright Tremaine LLP*Dorsey & Whitney LLP*K&L Gates*King County

Medical Consultants Network, Inc.*Nordstrom, Inc.R.D. Merrill CompanyRealNetworks FoundationRussell InvestmentsUnion BankVisit Seattle

$5,000 - $9,999Alaskan Copper & Brass Company and

Alaskan Copper WorksBellevue Arts CommissionBNY Mellon Wealth Management

Columbia BankErnst & Young LLPFishing Company of AlaskaGaco Western, Inc.Gensler ArchitectsNeiman MarcusNintendo of America Inc.Puget Sound Business JournalRaisbeck FoundationSeattle Office of Arts & Cultural AffairsVirginia Mason

Arts Benefactor Circle

Support from Microsoft Corporation, The Boeing Company, Sellen Construction, Starbucks Coffee Company, KING 5 and POP includes employee workplace giving.

*Includes employee workplace giving

Pledges and donations made between 7/1/14 - 6/30/15Visit www.artsfund.org for a full list of our donors and to learn more about ArtsFund

Thank you to all our donors for sharing and supporting our vision of a community with a dynamic and world-class arts and cultural sector where the arts are accessible to all and valued as central and critical to a healthy society.

Campaign 2015 Donors

ArtsFund strengthens the community by supporting the arts through leadership, advocacy and grant making.

$50,000 - $99,999

$25,000 - $49,999

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encoreartsseattle.com 21

Extraordinary theatre requires extraordinary support.

We could not produce these kinds of BIG works without the generous patronage of our donors. We extend our deepest

gratitude to all of our season supporters.

Whether you renewed your annual support, contributed to our $38 for 38 planes campaign,

or made a year-end donation, THANK YOU.

Your investments help to make great art happen and ensures Seattle Rep’s future as a vital and vibrant organization.

Amy Danneker and Mark Zeisler in A View from the Bridge. Photo by Alan Alabastro.

Scott Drummond in Buyer & Cellar. Photo by Chris Bennion.

The company of Come From Away. Photo by Chris Bennion.

2 2

INSTITUTIONAL DONORS

BUSINESS, FOUNDATION AND GOVERNMENT SUPPORTSeattle Repertory Theatre is proud to acknowledge the support of the following regional and national organizations. Their generous gifts make possible a wide variety of artistic, educational, and outreach programs that serve more than 100,000 audience members each year. For more information about sponsorship programs and benefits, please contact Melissa Husby at (206) 443-2210 ext. 1014 or melissa.husby@seattlerep.org. This list reflects contributions made through December 15, 2015; gifts received after this date will be recognized in future issues of Encore.

$10,000 - $24,999

Baird Bruce G. Cochener FoundationChristensen O’Connor Johnson Kindness PLLCClark Nuber HD Fowler CompanyHomewood Suites by HiltonThe Morgan FundMoss Adams Wealth Advisors LLC NordstromSummit Law Group U.S. Bank Foundation Washington State Arts Commission

$5,000 - $9,999

Air CanadaAlaska AirlinesAT&T FoundationAvenniaDavis Wright TremaineDelta AirlinesHumanities WashingtonKPMG LLPKutscher Hereford Bertram Burkart PLLCLoeb Family Charitable FoundationSheridan CollegeTheatre Communications GroupTreeline Foundation

$2,500 - $4,999Compton LumberCopacino + FujikadoHolland America Line Inc.K&L GatesKeyBankMorgan StanleyPerkins Coie LLPSeattle Rotary Service FoundationThe T.E.W. Foundation

Under $2,499

Carney Badley Spellman, P.S.Center Art LLCChateau Ste. MichelleFour Park Avenue LLCHenry M. Jackson FoundationSavage Color LLCSeattle Spine & Sports MedicineTulalip Tribes Charitable Foundation

Italics represent in-kind gifts.

* For capital support.

$150,000 or more

John Graham Foundation

The Chisholm Foundation

The Ballinger Family Foundation

Seattle Repertory Organization

Nesholm Family Foundation Anonymous

$100,000 - $149,999 $50,000 - $99,999

$25,000 - $49,999

Seattle Repertory Theatre Foundation

Edgerton Foundation New Play Awards

Season SponsorArtsFund strengthens the community by supporting the arts through leadership, advocacy, and grant making. ArtsFund donors support nearly 60 local arts

groups, large and small, so that they can provide stimulating and enlightening arts for our community. ArtsFund also helps arts groups improve how they run themselves through systematic feedback on their operations, based on its finely crafted allocations process. ArtsFund serves as an advocate for the arts through programs like Building for the Arts and the Board Leadership Training program. The bottom line is that ArtsFund’s cash grants, capacity building, and other services make arts groups like Seattle Rep stronger so that they can serve this region and make it a great place to live, work, raise a family, and run a business. Our thanks to ArtsFund for season-long support!

*

encoreartsseattle.com 23

ARTISTICMarya Sea Kaminski

Associate Artistic DirectorKristin Leahey

Literary DirectorKaytlin McIntyre

Casting DirectorWiliam (L.B.) Morse*

Resident Designer

EDUCATIONArlene Martínez-Vázquez

Education DirectorZoe Wilson

Interim Education ManagerBarbara Fuentes

Artistic Engagement CoordinatorJazzy DuCay

Youth Ambassador

PRODUCTIONElisabeth Farwell-Moreland

Producing DirectorChristy Bain*

Director of Artist RelationsBrian Fauska

Technical DirectorMatt Giles

Associate Producing DirectorSann Hall

Production AssociateWiley

Assistant Technical DirectorRobert J. Aguilar

Lighting Associate

CarpentersJon Zucker*

Scene Shop ForemanDenny Hartung*

Master Shop CarpenterPatrick Robinson*Randall ReeceBenjamin RadinJoe LeporatiNick Koester

Scenic Carpenters

Costume ShopDenise Damico

Costume Department DirectorAnastasia Goodwin

Assistant Costume Department Manager

Michaela Petrovich Costume Design Assistant

Naomi Weber Tailor/Draper

Lisa Lockard*Laura Mé Smith*

1st HandsSarah Gladden*

Costume Stock ManagerJoyce Degenfelder*

Wig MasterBrent Roberts

Dyer/Props ArtisanImelda Daranciang*

Bagley Wright Wardrobe Supervisor

Cindy Sabye Leo K. Wardrobe Supervisor

PropertiesJolene Obertin*

Properties DirectorAlisha Flaumenbaum

Properties AssistantJames Severson*Nicolette Vannais*Samantha Sayers

Properties Artisans

Scenic ArtsMaureen Wilhelm*

Charge Scenic ArtistRuth Gilmore

Lead Scenic ArtistLinda Jo Nazarenus

Scenic Artist

STAGE CREWSBagley Wright TheatreEmil “Mo” Ellis

Master Stage CarpenterAndrew Willhelm*

Master ElectricianJeremiah Foglesong*

Master PropertiesNathan Kahler

Head Sound EngineerTony Smith

Head FlymanDave Scamporlina

Swing Technician/Followspot

Leo Kreielsheimer TheatreCatharine Case Lutes*

Master Stage CarpenterBrad Howe

Head Sound EngineerJedidiah Roe

Head Electrician

STAGE MANAGEMENTJessica C. BomballMichael John EganJennifer KozumplikStina LottiMichael B. PaulArturo E. PorazziCristine Anne ReynoldsShellie Stone

EXECUTIVESarah Newell*

Director of Board Relations

HUMAN RESOURCESKatrina Miller

Director of Human ResourcesDottie Kelly

Volunteer HR Assistant

FINANCE & OPERATIONSRachel M. Robert*

Director of Finance & OperationsGi Hara*

ControllerSarah Nguyen

AccountantJohn R. McNamara*

Operations DirectorDebra Forman*

Receptionist

INFORMATION TECHNOLOGYColin Warriner*

Information Technology DirectorKyle Spens

Information Technology Assistant

MARKETING & COMMUNICATIONSAndrew Haines

Director of Marketing & Communication

Steve Brown Marketing Director

Kina Ackerman Marketing Coordinator

Noelle McCabe Marketing Associate

Shannon Loys Lead Graphic Designer

Angela Nickerson Graphic Design Coordinator

Anne Heinlein PR Manager

Richie Carpenter Web Production Specialist

DEVELOPMENTJamie Herlich

Director of DevelopmentMelissa Husby

Director of Institutional GivingLori Gicklhorn

Grants AssociateKate Schaefer

Events ManagerCam Williams Bernhardt

Major Gifts ManagerMollie Boliek-Crews

Patron Development ManagerHeidi Pardo*

Development AdministratorSasha Habash

Development CoordinatorJanet Shaughnessy

Donor Services Specialist

PATRON EXPERIENCELexi Clements

Director Patron ExperienceRyan Rowell

Tessitura Operations Manager

Patron ServicesSarah Jo Kirchner

Patron Services ManagerRoland Carette-MeyersClaire Koleske

Patron Services LeadsMalena Jones

Group Sales SpecialistChris QuiliciMarcus WilliamsSutton Vie

Patron Services SpecialistsVee Butler

Patron Services Assistant

Front of HouseLance Park

Audience Services DirectorLiza Gonzalez-Ramos

Lead Lobby Manager & Volunteer Coordinator

Sheryl Kool ASL Interpreting Coordinator

PROFESSIONAL ARTS TRAINING PROGRAMMichael Myers

Artistic: CastingMaggie Rogers

Artistic: LiteraryJennifer Oaster

Costume ShopAnna Strickland

DevelopmentSarah Menke

EducationLily McLeoud

Lighting DesignSara Komorowski

Production ManagementMelanie Guinto

PropertiesCayla Raymaker

Scenic Art: PaintDana Stringer

Stage ManagementQuy Ton

Stage Management

COMMISSIONSTodd AlmondDavid GrimmMarc KenisonLisa PetersonDavid PichetteCheryl L. WestR. Hamilton WrightAnna Ziegler

WRITERS GROUPJosh BeermanTrista BaldwinKeiko GreenKaren HartmanCourtney MeakerY York

ARTIST IN RESIDENCEConstanza Romero

SEATTLE REPERTORY THEATRE STAFF

Braden Abraham* Artistic Director Jeffrey Herrmann Managing Director

* Indicates an employee of 10 or more years.

Bold = member of Seattle Rep Executive Leadership

Up Next

Constellationsby Nick Payne | directed by Desdemona Chiang JANUARY 22 - FeBRUARY 21, 2016

BIG BANG. Can one word alter the course of your life? Audiences watch as Marianne and Roland’s relationship unfolds across time and space, with each variation sending their relationship on an entirely new trajectory. Science and romance collide in this unusual love story that’s delighted audiences in New York and London.

Meet the artists of Disgraced at our SRO Spotlight Lunch:

Thursday, January 21, 11 a.m. in the Rotunda

seattlerep.org/SROspotlights

plUs

Get the best price with

2016 season subscriptions,

on sale now!

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Photo from Christopher Hampton’s Dangerous Liaisons.

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