Survey
* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project
Download When Only The Best Will Do
Document related concepts
Transcript
FEBRUARY 2015 I AM OF IRELAND | PRIDE AND PREJUDICE | THE D O G OF THE SOUTH | LIT TLE BEE | SLAUGHTERHOUSE-FIVE When Only The Best Will Do 3500 Factoria Blvd. S.E., Bellevue, WA • 425.643.2610 • www.dacels.com January-February 2015 Volume 11, No. 4 Paul Heppner Publisher Susan Peterson Design & Production Director Ana Alvira, Deb Choat, Robin Kessler, Kim Love Design and Production Artists Mike Hathaway Advertising Sales Director Marty Griswold, Seattle Sales Director Joey Chapman, Gwendolyn Fairbanks, Ann Manning, Lenore Waldron Seattle Area Account Executives Staci Hyatt, Marilyn Kallins, Terri Reed, Tim Schuyler Hayman San Francisco/Bay Area Account Executives Carol Yip Sales Coordinator Jonathan Shipley Ad Services Coordinator www.encoreartsseattle.com Paul Heppner Publisher Marty Griswold Associate Publisher Leah Baltus Editor-in-Chief Dan Paulus Art Director EAP 1_3 S template.indd 1 10/8/14 1:06 PM Jonathan Zwickel Senior Editor Stephen Tyrone Williams, Yaegel T. Welch, Derrick Lee Weeden and G. Valmont Thomas in The Piano Lesson, photo by Michael Davis. Gemma Wilson Associate Editor Amanda Manitach Visual Arts Editor Amanda Townsend Events Coordinator www.cityartsonline.com Paul Heppner President Mike Hathaway Vice President Erin Johnston Communications Manager Genay Genereux Accounting Corporate Office 425 North 85th Street Seattle, WA 98103 p 206.443.0445 f 206.443.1246 adsales@encoremediagroup.com 800.308.2898 x105 www.encoremediagroup.com Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in Western Washington and the San Francisco Bay Area. All rights reserved. ©2015 Encore Media Group. Reproduction without written permission is prohibited. 206-443-2222 seattlerep.org season sponsor media sponsor encore art sseattle.com 3 CONTENTS FEBRUARY 2015 The Dog of the South A1 by Charles Portis Adapted by Judd Parkin Directed by Jane Jones A-1 A-3 A-8 A-13 A-16 Welcome The Dog of the South Credits Meet the Cast and Crew Thank You to Our Contributors Company Information I AM OF IRELAND | PRIDE AND PREJUDICE | THE D O G OF THE SOUTH | LIT TLE BEE | SLAUGHTERHOUSE-FIVE ES045 covers.indd 1 12/10/14 9:50 AM ENCORE ARTS NEWS Visit EncoreArtsSeattle.com Five Friday Questions with Spike Friedman BY BRETT HAMIL Friedman’s got a worldly sense of humor and an active curiosity that makes no distinction between high and low culture. He’s always working on something weird and wondrous. I caught up with him for this week’s installment of Five Friday Questions. What’s the best performance you’ve seen lately? A tie between New York Giants wide receiver Odell Beckham Jr.’s circus catch against the Dallas Cowboys from two Sundays ago and the cinematography of Emmanuel Lubezki in Birdman. I think my own lack of physical abilities draw me to admire the truly virtuosic and acrobatic, and both Beckham and Lubezki blew me away with their virtuosity and acrobatics. It’s also worth noting that Lubezki, who is by far the best cinematographer working right now, also has an Instagram account that’s playing on another level. 4 ENCORE STAGES What’s the funniest thing you’ve seen/heard in the last month? Moving from the peak of cinema to the dregs, The Worst Idea of All Time podcast is two comedians from New Zealand who watch Grown Ups 2 every week and then immediately record a podcast about the experience. I just discovered it a couple weeks ago and have already burned through the first 20 or so episodes. It’s so funny. They’re on week 40 and are targeting a full 52 episode run, which means they’ll have watched Grown Ups 2 52 times, which is insane. Their camaraderie, which seems to run in direct contrast to Grown Ups 2’s apparent misanthropy, makes the whole project deeply satisfying and makes me want to watch Grown Ups 2 (despite their weekly sign-off, “DON’T WATCH THE FILM”). GRETA WILSON Spike Friedman is as versatile a theatre artist as you’re likely to find. He’s a playwright and founding member of the Satori Group. He covers sports and culture for Grantland and writes the hilarious Seahawks game recaps for the Stranger. He’s also an Upright Citizens Brigade-trained sketch and improv player. (Full disclosure: Friedman also starred in a video I made with Encore contributor Travis Vogt that was a finalist in this year’s SketchFest Seattle Comedy Film Challenge.) THRIVE ENCORE ARTS NEWS ACHIEVE BE Unfortunately that garbage movie is not available on any streaming service, nor is it rentable on iTunes. I’d have to pay 10 bucks to watch Grown Ups 2 just so I can more deeply in on a joke. Nice try, Sandler, but that’s not gonna happen (yet anyway... I’ve decided that when I’ve caught up with the guys on the podcast, I’m watching the film). What music gets you pumped up? What do you listen to when you’re sad? I’m in a sketch show called Buddies with Ubiquitous They running at the Pocket Theater this month and one of my co-stars, Jason Miller, is supposed to make me a “night running” mix to get me pumped up before the shows. He hasn’t done this yet, so I’m shaming him (while also shamelessly plugging our show). Sans this as of yet non-existent mix, I’ll go with the song “Just” by Radiohead to get me pumped and every other song by Radiohead for when I’m sad. PARENT PREVIEW OPEN HOUSES drop-in event oct. 23, nov. 8, & May 13 Nov. 12 & Dec. 2 jan. 10, 2015 For more information visit WWW.BILLINGSMIDDLESCHOOL.ORG What’s the ideal setting for writing a play? Depends on the point in the process. Early on I like to be as far from everyone as possible so I can spew out whatever I’ve got in my brain onto the page. Then when I have to do the grittier work of defining a story arc or composing a treatment, I like to work closely with a couple collaborators by day, and then recede to my own space at night for scripting. My best time for pumping out text usually comes after 10 pm, because I’m a crazy person for whom the rules don’t apply (or because I’m lazy and deadlines don’t count until whomever you owe a draft to is awake in the morning). What’s the most indispensable thing you own? I hate that the answer is my MacBook Air, but man, I would not be able to survive without it. It’s light and powerful and small, and I do all my work on it. I’m writing these words on it right now! Say hi, MacBook Air. [ ] Nothing. It’s shy. Shy but great. You’ll have to trust me on this. I’ve got a pretty great dog too whom I would not be comfortable dispensing of. Let’s put my dog Edgar Martinez Friedman in a tie with my MacBook Air for the top spot. For a multi-media experience, visit EncoreArtsSeattle.com/SpikeFriedman For more previews, stories, video and a look behind the scenes, visit EncoreArtsSeattle.com PROGRAM LIBRARY CALENDAR PREVIEWS ARTIST SPOTLIGHT encore art sseattle.com 5 ENCORE ARTS PREVIEWS 2014–2015 SEASON A look ahead from EncoreArtsSeattle.Com Little Bee – Book-It Repertory Theatre Apr. 22 – May 17 A father sacrifices his life to keep his son from being deported from Britain in this Book-It adaption of the #1 New York Times bestseller, a wrenching look at the lives of African asylum seekers. Author Chris Cleave says, “It’s all about exploring the mystery and the wonder of an individual human life. Life is precious, whatever its country of origin.” JANUARY 29 & 31 MASTERPIECES BY RACHMANINOV & IVES Ludovic Morlot, conductor / Denis Kozhukhin, piano Seattle Symphony Chorale / Seattle Symphony Pianist Denis Kozhukhin electrifies on Rachmaninov’s treasured Third Piano Concerto, and Ives’ Fourth Symphony reflects on American music – drawing together hymn tunes, popular songs and marching bands. Denis Kozhukin’s performances generously underwritten by Dana and Ned Laird. FEBRUARY 12 & 14 BERLIOZ’S ROMÉO ET JULIETTE Ludovic Morlot, conductor / Sylvie Brunet-Grupposo, mezzo-soprano Kenneth Tarver, tenor / Patrick Bolleire, baritone Seattle Symphony Chorale / Seattle Symphony Ludovic Morlot leads the orchestra in Berlioz’s rarely performed masterwork Roméo et Juliette. Saturday’s performance sponsored by: Media Sponsor: FEBRUARY 5, 7 & 8 BEETHOVEN’S VIOLIN CONCERTO Ludovic Morlot, conductor / Christian Tetzlaff, violin Hailed by The New York Times as a “bold artist with an instinctive feeling for the wild side,” Christian Tetzlaff brings his immense talents to Beethoven’s monumental Violin Concerto. Christian Tetzlaff’s performances generously underwritten by Sheila B. Noonan and Peter M. Hartley. FEBRUARY 26 & 28 MOZART’S PIANO CONCERTO NO. 22 Jonathan Cohen, conductor / Kristian Bezuidenhout, piano One of the most enduringly popular composers of all time takes center stage as piantist Kristian Bezuidenhout performs Mozart’s Piano Concerto No. 22, as well as Beethoven’s bold and playful Symphony No. 1. SEATTLE SYMPHONY CHRISTIAN TETZLAFF LUDOVIC MORLOT DENIS KOZHUKHIN COMING THIS WINTER Tartuffe – Seattle Shakespeare Company Mar. 17–Apr. 12 Seattle Shakespeare mounts Moliere’s most famous work, a story of deception and hypocrisy told in 2000 rhyming alexandrine couplets in which the titular con man tries to swindle patriarch Orgon out of his fortune and reputation. See the show that once carried the threat of excommunication by the Roman Catholic Church but won Moliere a powerful ally in King Louis XIV. Cat On a Hot Tin Roof – ACT Theatre Apr. 17–May 17 ACT Theatre presents the Pulitzer Prize-winning Tennessee Williams play on its fiftieth anniversary. It’s a sweaty Southern tale of sex, lies and deceit set in Mississippi. Big Daddy is dying and Brick, Maggie, Gooper and Mae all vie, lie and manipulate to inherit the estate of the Delta’s big cotton king. Mark Morris Dance Group – UW World Series at Meany Mar. 5–7 The Seattle-bred choreographer known for his ingenuity, humor and commitment to live music, returns to his hometown with his world class Brooklyn-based dance group. The program will include Pacific and the Seattle premieres of Jenn and Spencer, Crosswalk, and Words. All feature live musical accompaniment by the MMDG Music Ensemble. Catalyst Quartet - UW World Series at Meany Mar. 19 Comprised of top Laureates of the internationally acclaimed Sphinx Competition dedicated to the development of young black and Latino classical musicians, the Catalyst Quartet was founded in 1996 by violinist Aaron Dworkin. The program at UW World Series will include works by Philip Glass, Charles Ives, and Samuel Barber amongst others. The Best of Enemies – Taproot Theatre Company Mar. 27–Apr 25 Taproot stages this regional premiere, adapted by Mark St. Germain from a book by Osha Gray Davidson. It’s the story of racial segregation in Durham, North Carolina and the unlikely friendship between a black Civil Rights activist an ex-Klansman in a time of social upheaval. For more previews, stories, video and a look behind the scenes, visit EncoreArtsSeattle.com FO R TI C K ETS: 2 0 6 . 2 1 5 . 4 7 4 7 | S E AT T L E SY M P H O N Y. O R G 2014–2015 Masterworks Season Sponsor: PROGRAM LIBRARY 6 ENCORE STAGES CALENDAR PREVIEWS ARTIST SPOTLIGHT ENCORE ARTS NEWS from city arts magazine Sustainable Sandwiches Paolo Escobar at Beacon Ave Sandwiches Beacon Ave Sandwiches digs into the neighborhood. ANDREW IMANAKA BY BRETT HAMIL FROM A SMALL NOOK at the hilltop junction of Beacon Ave. and 15th Ave. S, Beacon Ave Sandwiches serves up the flavor profile of its surroundings, in delectable forms. The house special, El Centro, is a fusion of a Mexican torta and a Vietnamese banh mi, a chicken-and-avocado number named after the Latino community center a block away. The Jefferson Park, named after the playfield a mile down the road, combines mozzarella, tomato, basil and pesto in homage to the original Italian settlers of “Garlic Gulch,” as part of Beacon Hill used to be known. A new special called Thizz! expands the banh mi repertoire with a Thai twist of chilies and Sriracha on chicken and provolone. At around $8, sandwiches are loaded with an improbable amount of meat and veggies, big enough for lunch and dinner. As a procession of Seattle’s favorite locally owned cafes are pried out of their homes by corporate storefronts (try counting all the bank locations on Broadway) Beacon Ave Sandwiches has become even more local and independent. On Dec. 1, ownership changed hands from Luis and Leona Rodriguez, proprietors of nearby hip-hop coffee hub The Station, to Paolo Escobar and Manuel Rodriguez-Castro, who started as employees of Beacon Sandwiches. The Rodriguezes have their hands full with the busy café and two young sons and were pleased to hand the deli off to family. The success of a specialty sandwich shop is fragile, and if Beacon Ave Sandwiches lasts, it’ll be dependent on support from the neighborhood as well as from the broader multicultural “fam.” For example, hip-hop artist Geo is bringing his pop-up event Food and Sh*t to the deli sometime this month, creating a special that’ll go on the menu and beckoning a broader audience via social media and word of mouth. Changes are in store for Beacon Hill, but Escobar and Rodriguez-Castro inherited five years on the lease, buying them time to build a bigger clientele. They plan to offer local deliveries, breakfast sandwiches and drip coffee from the Station. They’re always experimenting with delicious new sandwichfusion prototypes that they bust out by request; definitely do that. The other day Escobar whipped up a spicy/savory multi-pork construction with peppers and carrot slivers for me—Cuba by way of Vietnam. Escobar, raised in the Philippines and Chicago and trained in French culinary arts and Filipino home cooking, says his Baha’i faith frames his business ethos. “In Baha’i principles, work is one of the highest forms of praise,” he says. “Coming from the streets of Chicago, I’ve got a temper and a huge head, so Baha’i gives me a thing to reflect on while I’m working, to stay levelheaded and show love to the people who come here. We’re on a mission to make them happy, their stomachs full and to build community around us.” n BEACON AVE SANDWICHES 2505 Beacon Ave. S. MARTHA REDBONE ROOTS PROJECT Thursday, January 15, 2015 | 7:30 pm $29, $24 & $19, $15 Youth/Student Martha Redbone’s music is a mix of rhythm and blues and soul music influences, fused with elements of traditional Native American music. TERRANCE SIMIEN & THE ZYDECO EXPERIENCE Thursday, February 12, 2015 | 7:30 pm $34, $29 & $24, $15 Youth/Student Grammy-award winning artist Terrance Simien, 8th generation Louisiana Creole, has been shattering the myths about what his indigenous Zydeco roots music is and is not for nearly 30 years. LES BALLETS TROCKADERO de MONTE CARLO Thursday, February 19, 2015 | 7:30 pm $54, $49 & $44, $15 Youth/Student Les Ballets Trockadero de Monte Carlo presents a playful, entertaining view of traditional, classical ballet in parody form and en travesti. ec4arts.org 425.275.9595 410FOURTHAVE.N. EDMONDSWA98020 encore art sseattle.com 7 ENCORE ARTS NEWS from city arts magazine The Power of Place Reach a SophiSticated audience Chorus • Tacoma City Ballet • Tacoma Philharmonic • Taproot Theatre • UW World Series at Meany Hall • Village Theatre Issaquah & Everett • American Conser vator y Theater • Berkeley Repertory Theatre • Broadway San Jose • California Shakespeare Theater • San Francisco Ballet • San Francisco Opera • SFJAZZ • Stanford Live • TheatreWorks • Weill Hall at Sonoma State University • 5th Avenue Theatre • ACT Theatre • Book-It Repertory Theatre • Broadway Center for the Performing Arts Pacific Northwest Ballet • Paramount & Moore Theatres • Seattle Children’s Theatre • Seat tle Men’s Chorus Seattle Opera • Seattle Repertory Theatre • Seattle Shakespeare Company Seattle Symphony • Seattle Women’s Chorus • Tacoma City Ballet • Tacoma Philharmonic • Taproot Theatre • UW World Series at Meany Hall • Village Theatre Issaquah & Everett • American Co n s e r v a t o r y T h e a t e r • B e r ke l e y Repertory Theatre • Broadway San Jose • California Shakespeare Theater • San Francisco Ballet • San Francisco Opera • SFJAZZ • Stanford Live • TheatreWorks • Weill Hall at Sonoma State University • 5th Avenue Theatre • ACT Theatre • Book-It Repertory Theatre • Broadway Center for the Performing Arts • Pacific Northwest Ballet • Paramount & Moore Theatres • Seattle Children’s Theatre • S eat t l e M e n’s Ch o r us • S eat t l e Opera • Seattle Repertory Theatre • Seattle Shakespeare Company • Seattle Symphony • Seattle Women’s put your business here Chorus • Tacoma City Ballet • Tacoma Philharmonic • Taproot Theatre • UW World Series at Meany Hall • Village www.encoremediagroup.com Multi-talented and community-engaged, veteran MC Gabriel Teodros releases his strongest album yet. ON THE EARLY-NOVEMBER NIGHT of his album release party, Seattle rapper Gabriel Teodros sits upstairs on the balcony of the Columbia City Theater drinking tea with an old friend and group mate. Ben Haggerty (aka Macklemore) is sitting next to him, separated by a skinny table and so much more. Their careers are in vastly different places, but it’s Teodros who’s fully tapping into his creative power now. He recently released Evidence of Things Not Seen, a collaboration with New Zealand-based producer SoulChef, featuring Teodros’ heart-drenched lyricism matched with polished production. The material cuts to the core of his principles of love, artistic faith and sobriety, and suggests that Teodros, 33, is creatively in his Jesus year. JONATHAN CUNNINGHAM Given the title of the album, it’s worth asking: What does faith mean to you? Being a full-time artist in a society where being an artist isn’t seen as a respectable profession takes extraordinary faith. The longer you do it, even making music becomes a practice of trusting instincts. Beyond music, I don’t personally follow any organized religion. I respect whatever faith people hold onto, whatever it is that keeps them grounded, connected and evolving. Religions are like different paths climbing a mountain, and they all start in different places for particular reasons. Different paths sometimes require a different walk, and they have different obstacles. When you get to the mountaintop, there’s a shared view no matter where you started. I believe in the mountain. You’ve said that you’re really proud of the writing on the new record. I see in my own writing a huge improvement and I think it has to do with the fact that I’m experimenting with other types of writing and then I come back to hip-hop. I’ve been writing prose more this year, from a short story in Octavia’s Brood: Sci-Fi Stories from Social Movements to essays [for the music blog Okayafrica.com]. I’ll go from a book that I’m working on to writing a song. And my approach to writing lyrics is more mature. I hope listeners get it. Why did you decide to do Evidence of Things Not Seen with someone in New Zealand? I loved SoulChef’s beats, and I really loved the workflow. We went from him sending a beat to recording, mixing, mastering and having a finished product in the least amount of time I’ve ever spent on a project. I’ve always wanted to go as close to real-time as possible in terms of creating music and then sharing it with people, without sacrificing the quality of the music in any way. This is the closest to that that I’ve ever been. “When you get to the mountaintop, there’s a shared view no matter where you started. I believe in the mountain.” You’ve been making music for a long time but haven’t seen your music break out nationally. Do you feel like you’ll perpetually be an underground artist? I’m grateful for having the ability to make music and touch the people who I do reach. And the people I reach often blow my mind. It’s all perspective. One of my favorite conversations I had with Macklemore was in 2008, and we were talking about how people measure success by comparing where they are versus where someone else is. That mode of thought leads to a life 8 ENCORE STAGES EAP House 1-3V 3.19.13.indd 1 of never being fulfilled, because no matter how popular you are, there’s someone with more influence than you. 3/20/13 2:56 PM And you and SoulChef have never met before. We’ve never met and I don’t even know what he looks like! That was another part of the title too. You included a separate chapbook of your lyrics with this release. That was a last-minute decision. I like the idea of people interacting with the album in a different way, having a book to actually hold to go with it, interacting with the album as a body of text like they would a book of poetry. It’s important to have a physical product, especially as a touring artist, because every time you perform in front of people you’re reaching new ears. And if you’re having a good show, people want to take a piece of that home with them. And I want to have something that’s a collector’s item, something they can’t download. Plus I’m a nerd. I want people to collect the music the way I do. SHANNON PERRY 5th Avenue Theatre • ACT Theatre • Book-It Repertory Theatre • Broadway Center for the Performing Arts • Pacific Northwest Ballet • Paramount & Moore Theatres • Seattle Children’s Theatre • Seat tle Men’s Chorus • Seat tle Opera • Seat tle Reper tor y Theatre • Seat tle Shakespeare Company • Seattle Symphony • Seattle Women’s Managing Director Daniel Y. Mayer; photo by John Ulman. the fate of mid-size theaters When I interviewed for the position of managing director of Book-It, I was asked what prompted me to apply for the position. Of course, I replied that I was attracted to the mission of Book-It; transforming great literature into great theatre. I also added that I care about the fate of mid-size theater in Seattle and wanted to help ensure that Book-It continues to thrive in that unique and special role of one of the only mid-size theaters in town. Mid-size theaters like Book-It represent the best of both worlds—they have the capacity to produce ambitious works like The Amazing Adventures of Kavalier & Clay and Pride and Prejudice, but they are lean on personnel and nimble enough to experiment, and to have all staff working together as a team with minimal administration. As a midsize theater, Book-It can respond to social issues and produce timely shows such as Little Bee, and are large enough that they have a consistently solid artistic reputation and are recognized for their contribution to the arts. In the Seattle area, a mid-size theater is defined as having a budget between one and two million dollars. Book-It Repertory Theatre is a leader in the mid-size theater community. This is a testament to the creativity, stamina, and perseverance of its founding co-artistic directors Jane Jones and Myra Platt. This season we are celebrating the 25th anniversary of their vision of producing simple and sensitive productions that inspire audiences to read. But it must be cautioned that the fate There are only three mid-size theaters left in Seattle. of mid-size theaters in our community is a precarious one and that there are only three mid-size theaters left in Seattle: Book-It, Seattle Shakespeare Company, and Taproot. There used to be many mid-size theaters in Seattle and the reasons for their demise are many, but most relate to lack of revenue. These theaters—The Empty Space, Alice B, the Group Theatre, and Pioneer Square—are totems of Seattle’s great theatre history. Seattle’s mid-size theaters must be nurtured or their numbers will continue to dwindle, and Book-It is no exception. Your support through subscription and donation will keep this company thriving and will enable it to be a leader in the arts community for the next twenty-five years! Thank you for joining us this evening for The Dog of the South and welcome to Book-It Repertory Theatre! Dan Mayer Managing Director There are many ways to support Book-It and we hope you’ll consider these alternatives: • Make your gift online anytime 24/7 at book-it.org • Become a Silver Jubilee Sustaining Member by setting up a monthly gift, starting at just $10/mo. You can do this online or by calling our office. • Have your employer match your donation. Many employers match your donation including Boeing, Expedia, and Microsoft. Contact us for a complete list of matching gift companies. • Donating stock has many tax advantages and is easy! Email or call us for instructions. encore artsseattle.com A-1 YO U A R E I N V I T E D S AT U R D AY , M A R C H 7 , 2 0 1 5 C E LE B RAT E 2 5 Y E A R S O F T H E AT R E AS B O O K - I T R E M E M B E R S I T S PAST A N D TOAST S T H E F U T U R E O U R C E LE B RAT I O N B EG I N S F E B 2 7 S I LV E R J U B I L E E S I L E N T AU C T I O N The party is on March 7, but we’re kicking it off early with a special online auction! Visit our website starting February 27 to bid on some fantastic items. T IC K E T S O N SA LE N OW ! B O O K - I T. O R G JANE JONES & MYRA PLATT, FOUNDING CO-ARTISTIC DIRECTORS | DANIEL Y. MAYER, MANAGING DIRECTOR THE DOG OF THE SOUTH by Charles Portis Adapted by Judd Parkin | Directed by Jane Jones cast Thomas J. Foster Jim Gall* Jorge Gomez Gin Hammond* Suzy Hunt* Shannon Loys Nikolai Mell† Christopher Morson Cheyenne B. Reynosa† Bill Ritchie Joshua C. Williamson Laura Karavitis* David Hartig Webster / Ensemble Dr. Reo Symes / Ensemble Officer / Ensemble Melba / Ensemble Mrs. Symes / Ensemble Norma / Ensemble Religious Pilgrim / Ensemble Ray Midge Waitress / Ensemble Mr. Meigs / Ensemble Guy Dupree / Ensemble Stage Manager Assistant Stage Manager Artistic Team Christopher Mumaw Marnie Cumings Chelsea Cook Nathan Wade Anthea Carns Gin Hammond Scenic Designer Lighting Designer Costume Designer Sound Designer Dramaturg Dialect Coach * Member Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The director is a member of SDC Stage Directors and Choreographers Society † Book-It Acting Intern season support media sponsor Lucky Seven Foundation Additional generous support is provided by individuals and by The Ex Anima Fund, The Williams Miller Family Foundation, and Spark Charitable Foundation. Many thanks to all our supporters! encore artsseattle.com A-3 notes adapter from the Why do we fall hopelessly in love with certain books? It’s a strange, unscientific process, as mysterious as why we fall in love with our significant others and spouses. From the moment I read the opening paragraph of Charles Portis’ The Dog of the South, I knew I had lost my heart to Ray Midge, the story’s hapless hero. On the surface, Midge and I have very little in common. I’m a Northerner, a man of mature years, the married father of three; Midge is a Southerner to his core, a boy-man in his twenties whose It takes guts to soldier on when everyone and everything in the universe is telling you to quit. marriage has unraveled in a spectacularly humiliating fashion. We are nothing alike, and yet my identification with him is complete. Why? photos from the rehEarsAl rOoM A-4 BOOK-IT REPERTORY THEATRE Adapter Judd Parkin and Director Jane Jones; photo by Josh Aaseng. Because Ray Midge is a hero of great and heart-breaking courage. That may seem an odd way to describe a penniless cuckold who’s driving a broken-down ’63 Buick. Certainly, no one will ever compare Midge to Napoleon, except perhaps for his diminutive stature. No, Midge is a hero in the vein of Don Quixote and Buster Keaton, a hopeless romantic, born out of time and place, who is repeatedly clobbered by windmills. He refuses to be defeated by the slings and arrows of outrageous fortune, and he keeps coming back for more. It takes guts to soldier on when everyone and everything in the universe is telling you to quit. That’s real heroism. That’s courage. In another writer’s hands, The Dog of the South might be a dark melodrama, or even a tragedy. But Charles Portis is no ordinary writer. Roy Blount Jr. once said of Portis, “he could be Cormac McCarthy if he wanted to, but he’d rather be funny.” Portis’ stories deal with the weighty themes of great literature—love, God, man’s place in the cosmos, and so forth—but he comes at these issues from an absurdist comic slant. Portis’ heroes don’t stand on a blasted heath like Lear and howl at the furies—they’re too busy worrying about that weird clicking noise in their car’s carburetor. So welcome, dear theatregoer, to the wonderfully off-kilter world of The Dog of the South. I would recommend you fasten your seatbelts, except this old Buick doesn’t have any—so just hold on tight and enjoy the ride. Judd Parkin Adapter Charles Portis was born in El Dorado, Arkansas on December 28, 1933, and grew up in several Arkansas towns. As a young man, Portis served in the Marine Corps in the Korean War, reaching the rank of sergeant. After his discharge in 1955, Portis returned to Arkansas to pursue a degree in journalism at the University of Arkansas. Portis began his writing career as a reporter, first at the UA student paper and then as a reporter and columnist at the Arkansas Gazette. After two years at the Gazette, Portis moved to the New York Herald Tribune. His four years there coincided with the rise of the civil rights movement, and he frequently returned to the South to report on civil rights-related events, including biting accounts of Ku Klux Klan rallies and riots. He served for a year as the Herald Tribune’s London bureau chief, before making the move back to Arkansas and into fiction in 1964. Portis garnered a good deal of praise for his first novel, Norwood (1966), the story of an ex-Marine driving from Texas to New York at the behest of a con man. Norwood established Portis’ style: deadpan humor, madcap adventures, a keen eye for eccentricities and a fascination with cars, guns, and the American West. His second novel, the classic Western True Grit (1968), was serialized in The Saturday Evening Post and was so immediately successful that it was adapted for the screen the very next year. The 1969 film won John Wayne his only Oscar, for his portrayal of Rooster Cogburn. (True Grit’s enormous popularity has long been a point of contention for Portis fans: opinions are divided on whether it rightly stands out as his masterpiece, or whether it overshadows his later, greater works.) Eleven years passed between writing True Grit and The Dog of the South (1979), wherein Portis returned to the present day and forayed south of the border. Another six years passed between The Dog of the South and Masters of Atlantis (1985), “the oddest ball among his works,” and six more before Gringos (1991). Portis’s last published fiction was the melancholy short story “I Don’t Talk Service No More” (1996), and most recently, he published a memoir piece, “Combinations of Jacksons,” in the Atlantic Monthly (May 1, 1999) and the collection Escape Velocity (2012). The 2010 remake of True Grit (which Portis was not involved with) revitalized interest in his novels, and brought several of them back into print. Charles Portis currently resides in Little Rock, where he mostly avoids reporters. by Anthea Carns The Portis Canon 1966: Norwood 1968: True Grit 1979: The Dog of the South 1985: Masters of Atlantis 1991: Gringos To read more about Charles Portis, visit our website. book-it.org encore artsseattle.com A-5 Tales of thE RoAd The open road, the quest, the first step on the journey away from home–storytellers have been fascinated by tales of travel and trips from time immemorial. Charles Portis’ The Dog of the South is a quintessential road trip story, filled with colorful locations, odd characters, and an everyman with a goal. Ray Midge is driving in the footsteps of centuries of heroes–some looking for enlightenment, some for love, and some just for their next buzz. by Anthea Carns The Odyssey Journey To the WEst Homer’s epic poem, a sequel of sorts to The Iliad, tells the story of the Greek soldier Odysseus and his ten-year journey home to his wife after the Trojan War. Along the way, Odysseus outsmarts monsters like the Cyclops and the witch Circe, spends years as the captive of the seductive nymph Calypso, travels to the underworld, and narrowly escapes the Sirens before finally making it back to Ithaca. This 16th century Chinese novel, also known as Monkey in English, is an account of a Chinese Buddhist monk who travels to India to retrieve a set of sacred scrolls. Xuanzang, also known as Tripitaka, is accompanied by the Monkey King and the disgraced immortals Zhu Bajie and Sha Wujing, all three of whom are searching for redemption. Their adventures have been adapted into novels, several movies, and a cult TV show. the Grapes of WrATH John Steinbeck’s 1939 classic tells the story of the Joad family, driving their old truck along Route 66 from Oklahoma to California in search of work during the Great Depression. The tragic plight of the Joads and their quest for a better life, away from the Dust Bowl, has inspired music, movies, plays, and an opera. Even Cowgirls GEt the bluEs Tom Robbins’ 1976 novel features the unusually large-thumbed Sissy Hankshaw, who puts her thumbs to use hitchhiking across the country. Her travels introduce her to tycoons, mystics, and the titular cowgirl, Bonanza Jellybean. From our production of Cowgirls in 2008. A-6 BOOK-IT REPERTORY THEATRE Thelma & Louise Susan Sarandon and Geena Davis hit the road in a Thunderbird, intending to take a two-day vacation; things soon go wrong, though, and the two women find themselves on the run from the law. The 1991 film was nominated for six Academy Awards, including Best Actress nods for both its stars, and won Best Original Screenplay. Alice In WonderlanD Lewis Carroll’s Alice’s Adventures in Wonderland (1865) and Through the Looking Glass (1871) follow Alice as she wanders through fantastical lands, meeting iconic characters like the Mad Hatter, the Queen of Hearts, the Caterpillar, and the Cheshire Cat. We’re touring Alice to schools now! Catch an at-home performance on May 6 or 19. See A-11 for details. On the ROad On the Road (1957) defined the Beat generation. Jack Kerouac based the novel on his own travels with fellow Beat author Neal Cassady. Protagonist Sal Paradise and his friend Dean Moriarty criss-cross the continent by bus and by car in search of meaning and self-understanding. The MotOrcyClE DiarIes In 1952 Che Guevara and his friend Alberto Granado take a year off from their medical studies to explore South America on a thirteenyear-old motorcycle. The nine-month journey opens Guevara’s eyes to the situation of the working-class, the ostracized, and the marginalized. His memoirs from the trip were first published as The Motorcycle Diaries in Cuba in 1993. The Wizard of Oz There’s no road more familiar than L. Frank Baum’s Yellow Brick Road. The Wonderful Wizard of Oz (1900) introduced American children to the world of Oz and beloved characters like the Tin Man, the Scarecrow, and the Cowardly Lion. Everyone is headed to the Emerald City for something—a heart, a brain, courage—but like Odysseus, Dorothy Gale just wants to get home. Fear And Loathing In Las Vegas Hunter S. Thompson first published this classic account of his road trip to Las Vegas—and his drug trips in Las Vegas—in Rolling Stone in 1971. Thompson called Fear and Loathing a “failed experiment” in gonzo journalism, a blending of fiction and fact, and many critics initially panned the novel for its drug use and meandering plot, or lack thereof. o BrOther, WhEre ART thou? The Coen Brother’s 2000 classic brought the story of The Odyssey to 1937 Mississippi: Odysseus becomes Ulysses Everett McGill, an escaped convict trying to con, hitchhike, and sing his way home before his wife remarries. What’s your roadtrip story? We want to hear your best story from the open road! Draw a map and share a memory in the lobby. encore artsseattle.com A-7 meet the Cast THOMAS J. FOSTER Webster / Ensemble This is Thomas’ debut with Book-It. He is very excited about this opportunity and being the only child actor in the cast! Thomas has a true love for theatre; he is only ten years old, but has studied performing arts at the Langston Hughes Performing Arts Institute for the past three years. There he has performed in their summer youth productions, most recently in the musicals Rooted and Keepers of the Fire. A fifth-grade Discovery program scholar at Campbell Hill Elementary, Thomas enjoys studying art, science, and participating in drama troupe. When he’s not acting, you can find him reading a book, drawing anime, or practicing Taekwondo. JIM GALL* Dr. Reo Symes / Ensemble Some of Jim’s favorite Book-It credits include If I Die in a Combat Zone…, Pride and Prejudice, Moby-Dick, or The Whale, and Border Songs. His most recent credits include a national tour of The Miracle Worker with Montana Rep as Captain Keller, The Two Gentlemen of Verona with Seattle Shakespeare Company’s Wooden O Theatre, and The Bunner Sisters with Athena Productions at Theatre Off Jackson. Other favorite roles include Atticus Finch in To Kill a Mockingbird and Mountain McClintock in Requiem for a Heavyweight. Locally Jim has worked at The 5th Avenue Theatre, Seattle Rep, Intiman, Village Theatre, and ACT Theatre, to name a few. Jim has been named best actor by the Seattle Times’ Footlight Awards three times. He is proud to be married to the beautiful Kelly Kitchens. JORGE GOMEZ Officer / Ensemble Jorge graduated from the University of Nebraska at Omaha in 2006 with a BA in Spanish and a minor in theatre. In 2009 he graduated with his Masters of Education in higher education leadership from the University of Nevada at Las Vegas, where he also studied film. Since then, he has worked as a cinematographer * Member Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. † Book-It Acting Intern A-8 BOOK-IT REPERTORY THEATRE for Desert Rose Productions and Sinner Magazine in Las Vegas. He has performed with The Rose Theater in Omaha, Traveling Lantern Theatre Company in Portland, Ore., Open Door Theatre in Arlington, Wash., and most recently finished a tour of Book-It’s bilingual show La Mariposa. www.behance.net/georgiegomez GIN HAMMOND* Melba / Ensemble Gin is a Harvard University/Moscow Art Theatre grad, and thrilled at the opportunity to work with this busload of talented artists. She received a Helen Hayes Award for Outstanding Lead Actress for her performance in The Syringa Tree, and has performed in Russia, Germany, Ireland, Scotland, Canada, and England. A certified voice-over geek, Hammond’s voice can be heard on commercials, audiobooks, and a variety of video games including Undead Labs: State of Decay, DotA 2, Aion, and Halo 3 ODST. Enjoy the ride. SUZY HUNT* Mrs. Symes / Ensemble Earlier this season, Suzy performed in Book-It’s I Am of Ireland. She is a proud member of Actors’ Equity. Locally she has performed at ACT Theatre, Seattle Repertory Theatre, The Empty Space, The 5th Avenue Theatre, and Intiman. Regionally she has performed on Broadway, Off-Broadway, the Guthrie, Denver Center Theatre, the Alley, Arizona Theatre Company, and the Spoleto Festival. Plum roles include Fraulein Schneider in Cabaret, Stella in Light Up the Sky, the Countess in The Women, and Carrie in Trip to Bountiful. Next up is Seattle Shakespeare Company’s production of Tartuffe. SHANNON LOYS Norma / Ensemble Shannon last performed at Book-It in their two most recent productions of Owen Meany’s Christmas Pageant. Her theatre adventures have taken her everywhere from Washington, D.C., playing patients for medical school training, to Scotland and France with original, devised work. Around town, you may have seen her in staged readings with Endangered Species Project, and you have certainly seen her posters, as she is Book-It’s full-time graphic designer. NIKOLAI MELL† Religious Pilgrim / Ensemble Nikolai is excited to graduate from Cornish College of the Arts (BFA ‘15) with a degree in theatre. His favorite roles include Tuzenbach in The Three Sisters, El Gallo in The Fantasticks, and Commander Gomez in Fuenteovejuna; he will be playing the part of Hero in Seattle Musical Theatre’s upcoming production of A Funny Thing Happened on the Way to the Forum. He is delighted to be a part of Book-It’s brilliant ensemble and is thrilled to make tonight a memorable night of theatre. CHRISTOPHER MORSON Ray Midge Christopher is extremely happy to return to Book-It for The Dog of the South! His past roles with Book-It include Huck Finn in Adventures of Huckleberry Finn: Uncensored and Say in their touring production of Pink and Say, where he enjoyed engaging with students and teaching the Book-It Style. You may have seen him this past summer in a leather jacket and wielding a mini water gun as Speed in Two Gentlemen of Verona with Seattle Shakespeare Company’s Wooden O Theatre or in their mainstage production of Twelfth Night as Sebastian. Christopher has also been working his way into the Seattle film scene–catch him in the season one finale of “Z Nation” as Johnny or in the new online fantasy mini-series, Chaldea. He holds a BFA in theatre from Cornish. www.christophermorson.com CHEYENNE B. REYNOSA† Waitress / Ensemble Cheyenne is extremely proud to be a part of the cast of The Dog of the South and to work with such diligent actors and a driven director. Some of Cheyenne’s favorite roles include The Governor from Bonnie and Clyde, Pascuala from Fuente Ovejuna, and ensemble roles in the production of Penelopiad. She is currently a theatre student at Cornish College of the Arts, graduating this spring. BILL RITCHIE Mr. Meigs / Ensemble Over the past 40 years, Bill has been a member of the acting companies of The Old Globe in San Diego, The Oregon Shakespeare Festival, Seattle Repertory Theatre, and a founding member of the Oregon Repertory Theatre (along with Book-It’s Jane Jones). He has appeared in a number of Book-It productions, including Anna Karenina, Red Ranger Came Calling, Breathing Lessons, and Ethan Frome. His favorite role was playing Scrooge for four seasons in A Christmas Carol. JOSHUA C. WILLIAMSON meet the Guy Dupree / Ensemble This is Joshua’s Book-It debut, and he has loved his experience with this show. Joshua is a local actor and Cornish alum who recently has been seen working with Centerstage Theatre in Federal Way in My First Time and this year’s holiday pantomime, Jack and the Beanstalk. Artistic staff JUDD PARKIN Adapter Judd is delighted to return to Book-It, where he adapted Adventures of Huckleberry Finn: Uncensored in 2013. He began his career as an actor and director with the Oregon Shakespeare Festival, and at other regional theatres around the country. He later worked as an executive for NBC and ABC, where he oversaw the development and production of over 250 movies and miniseries. In recent years, Judd has produced and written numerous television films, including the acclaimed CBS miniseries Jesus, the Christopher Award-winning Nicholas’ Gift, and the Lifetime Television Christmas favorite Comfort and Joy. He is the author of the novel The Carpenter’s Miracle, which he adapted and produced for UP TV. Judd is currently writing the limited series “World Changers” for NBC. JANE JONES Director See bio on page A-10. CHRISTOPHER MUMAW Scenic Designer Christopher is grateful to be working on his second production with Book-It, having previously designed for their Gregory Award-winning production of The Amazing Adventures of Kavalier & Clay. This past year he has designed scenery for SPRAWL with Pete Rush at Washington Ensemble Theatre, Judy’s Scary Little Christmas with ArtsWest, and worked as a set designer for the Amazon Studios television pilot “The Man in the High Castle.” Past designs include The Rape of Lucretia at St. Mark’s Cathedral with Vespertine Opera Theater, Little Women with ArtsWest, and The Last Five Years with Cornish College of the Arts. Upcoming projects include The Magic Flute with Vespertine Opera Theater and Grease with The 5th Avenue Theatre. ChristopherMumaw.com MARNIE CUMINGS Lighting Designer Marnie is very happy to be back working with Book-It after designing Truth Like the Sun last year. Recent work includes The Rape of Lucretia at St. Mark’s Cathedral with Vespertine Opera Theater, The Barber of Seville with Tacoma Opera, and Le Bourgeois Gentilhomme at the Cornish Playhouse. Marnie received her MFA from the University of Washington in 2012 and is thrilled to have been continually designing since. CHELSEA COOK Costume Designer Chelsea Cook is a freelance costume designer, shop manager, and small business owner. Favorite designs include Ernest Shackleton Loves Me and Spring Awakening with Balagan Theatre; The Addams Family with Coeur d’Alene Summer Theatre; Trails, Lizzie Borden, and Hairspray with Village Theatre; and She’s Come Undone with Book-It. Her work has also been seen at ACT Theatre, Washington Ensemble Theatre, Seattle Public Theater, SecondStory Repertory, Intiman, Seattle Gilbert & Sullivan Society, and iDiom Theatre. She has been on management staff at Seattle Repertory Theatre, Village Theatre, and the Intiman Theatre Festival. Chelsea graduated with a BA in performance production at Cornish College of the Arts, and also owns an educational sewing and craft company. NATHAN WADE Sound Designer Nathan is a long-time Book-It veteran whose musical and audio handiwork has been featured in stage adaptations of Truth Like the Sun, Frankenstein; or, The Modern Prometheus, Border Songs, Moby-Dick, or The Whale, and Don Quixote. His sound/music design for Jesus’ Son was nominated for a 2014 Gregory Award. www.nathanwademusic.com LAURA KARAVITIS* Stage Manager Laura returns to Book-It after assistant stage managing Hotel on the Corner of Bitter and Sweet. She began her career touring internationally as a personal assistant and illusion specialist for magician David Copperfield, and has stage managed at several regional and fringe theatres across the country. Favorite credits include August: Osage County with Balagan Theatre; One Man, Two Guvnors and The Mystery of Edwin Drood with Barnstormers Theatre in New Hampshire; Violet, The Full Monty, and Dead Man’s Cell Phone with Barter Theatre in Virginia; and The Little Dog Laughed with Good Medicine Theatre in Nevada. She recently relocated to Cincinnati with her husband, David, and their little cocker spaniel sidekick, Yoshi. She is a proud member of Actors’ Equity, but an even prouder alumna of Washington State University. www.stageleftlaura.com DAVID HARTIG Assistant Stage Manager David is thrilled to be back at Book-It again where he previously worked on Frankenstein; or, The Modern Prometheus. Recent local credits include Summerland, part of the New Play Festival with Seattle Rep, and his Wisconsin credits include The Importance of Being Earnest, Travesties, All My Sons, The Admirable Crichton, The Critic, Twelfth Night, and The Tempest with American Players Theatre; Cabaret, My Name is Asher Lev, The Bomb-ity of Errors, Othello, and In the Next Room (or the Vibrator Play) with Milwaukee Repertory Theater; and A Day in Hollywood/A Night in the Ukraine with Peninsula Players Theatre. David has spent the last three seasons as the touring stage manager for the Eugene Ballet Company, where he recently stage managed the world premiere of Toni Pimble’s Mowgli: The Jungle Book Ballet. ANTHEA CARNS Dramaturg Anthea is pleased to be working with Book-It once again. She has worked in Pennsylvania, Alaska, and Washington as a dramaturg, director, writer, and arts administrator. Her co-written play Bad Hamlet was an official selection of the 2011 Last Frontier Theatre Conference; more recently she worked on Book-It’s Pride and Prejudice and Burmer Music’s Dante’s Inferno. Her current projects include branching into original fiction and exploring digital media. www.antheacarns.com GIN HAMMOND Dialect Coach See bio on preceding page. encore artsseattle.com A-9 meet the Artistic staff JANE JONES Founder, Founding Co-Artistic Director Jane is the founder of Book-It and founding co-artistic director of Book-It Repertory Theatre, with Myra Platt. In her 27 years of staging literature, she has performed, adapted, and directed works by such literary giants as Charles Dickens, Eudora Welty, Edith Wharton, Kurt Vonnegut Jr., Pam Houston, Raymond Carver, Frank O’Connor, Jim Lynch, Ernest Hemingway, Colette, Amy Bloom, John Irving, John Steinbeck, Daphne du Maurier, and Jane Austen. A veteran actress of 30 years, she has played leading roles in many of America’s most prominent regional theatres. Most recently, she played the role of Miss Havisham in Book-It’s Great Expectations. Film and TV credits include The Hand That Rocks the Cradle, Singles, Homeward Bound, “Twin Peaks,” and Rose Red. She co-directed with Tom Hulce at Seattle Rep, Peter Parnell’s adaptation of John Irving’s The Cider House Rules, Parts I and II, which enjoyed successful runs here in Seattle, at the Mark Taper Forum in Los Angeles (Ovation Award, best director) and in New York (Drama Desk Nomination, best director). Jane directed Pride and Prejudice and Twelfth Night at Portland Center Stage which won the 2008 Drammy award for Best Direction and Production. For Book-It, she has directed Adventures of Huckleberry Finn: Uncensored, Truth Like the Sun, The House of Mirth, The Highest Tide, Travels with Charley, Pride and Prejudice, Howard’s End, In a Shallow Grave, The Awakening, Owen Meany’s Christmas Pageant, A Tale of Two Cities, and The Cider House Rules, Parts I and II, winner of the 2010 and 2011 Gregory Awards for Outstanding Production. In 2008 she, Myra Platt, and Book-It were honored to be named by the Seattle Times among seven Unsung Heroes and Uncommon Genius for their 20year contribution to life in the Puget Sound region. She is a recipient of the 2009 Women’s University Club of Seattle Brava Award, a 2010 Women of Influence award from Puget Sound Business Journal, and the Paul G. Allen Family Foundation’s 20th Anniversary Founders Grant, and was a finalist for the American Union for Stage Directors and Choreographers Foundation’s 2012 Zelda Fichandler Award. MYRA PLATT Founding Co-Artistic Director As co-founder, Myra has helped Book-It produce over 100 world premiere mainstage productions and over 30 education touring productions. Most recently she directed The Amazing Adventures of Kavalier & Clay, which won the 2014 Gregory Award for Outstanding Production and received a Seattle Times 2014 Footlight Award. She directed Persuasion, Plainsong, Cry, the A-10 BOOK-IT REPERTORY THEATRE Beloved Country, and Sweet Thursday, and she adapted and directed The Financial Lives of the Poets, The River Why, Night Flight, Red Ranger Came Calling, The House of the Spirits, Giant, I Know Why the Caged Bird Sings, Cowboys Are My Weakness, Roman Fever, A Little Cloud, A Telephone Call, and A Child’s Christmas in Wales. She adapted The Art of Racing in the Rain, co-adapted Owen Meany’s Christmas Pageant with Jane Jones, and composed music for Prairie Nocturne, Night Flight (with Joshua Kohl), Red Ranger Came Calling (with Edd Key), The Awakening, Ethan Frome, Owen Meany’s Christmas Pageant, A Child’s Christmas in Wales, A Telephone Call, and I Am of Ireland. Her acting credits include Prairie Nocturne, The Beautiful Things That Heaven Bears, The Awakening (West Los Angeles Garland Award), Howards End, and The Cider House Rules, Parts I and II (original production). She has performed at Seattle Repertory Theatre, Intiman, New City Theatre, and the Mark Taper Forum. Myra is the recipient, with Jane Jones, of a Paul G. Allen Family Foundation Anniversary grant, the 2010 Women of Influence from Puget Sound Business Journal, and was named by Seattle Times an Unsung Hero and Uncommon Genius for their 20year contribution to life in the Puget Sound region. Economics. He has taught at Columbia College in Chicago, New York University, and Columbia University School of Law; in Seattle he has been a lecturer at Cornish College of the Arts, Edmonds Community College, and the EDGE Artist Professional Development Program at Artist Trust. Mayer is the co-chair of the Arts Advisory Council of 4Culture and on the board of directors of Khambatta Dance Company and Coyote Central. affiliations ACTORS’ EQUITY ASSOCIATION This theatre operates under an agreement within AEA, the union of professional actors and stage managers in the United States. Actors’ Equity Association (AEA), founded in 1913, represents more than 49,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org THEATRE PUGET SOUND DANIEL Y. MAYER Managing Director Daniel is delighted to join the staff of Book-It as its managing director. Most recently, he spent eight years as executive director of the Kirkland Performance Center. Prior to that, Mayer worked in a variety of arts nonprofits in the Seattle area including Photographic Center Northwest, Spectrum Dance Theater, On the Boards, Seattle Jewish Film Festival, Sand Point Arts & Cultural Exchange, The Empty Space, and the Bellevue Philharmonic. Dan returned to his hometown of Seattle 16 years ago from New York where he worked as a consultant to POZ Publishing and Condé Nast Publications and as executive director at Volunteer Lawyers for the Arts for five years. Earlier, Mayer lived in Washington, D.C. where he was the executive director of artsave, an artist rights project founded by People for the American Way, a civil liberties organization founded by Norman Lear. Mayer began his legal career in Chicago as executive director of Lawyers for the Creative Arts, a pro bono legal assistance organization for artists of all genres. During this time he was also a fellow at the Office of Policy, Planning and Research at the National Endowment for the Arts. Mayer is a graduate of Case Western Reserve University School of Law and Claremont McKenna College, and also studied at the London School of THEATRE COMMUNICATIONS GROUP special thanks to Michelle Mai Smith, The Makeup Session Elisa Chavez Blue Water Taco Grill Gemma Cody, Gray Stowers, and Matt Smucker at Cornish College of the Arts Joshua Williamson production staff COMING UP AT BOOK-IT BRYAN BURCH Interim Production Manager LINDSAY CARPENTER† Assistant Director TREVOR CUSHMAN Assistant Lighting Designer / Master Electrician KELSEY RODGERS Assistant Costume Designer KATHLEEN LE COZE Resident Properties Master ELIZABETH STASIO† Stage Management Intern DAN SCHUY Interim Technical Director / Scenic Carpenter ANDERS BOLANG Master Carpenter SUZI TUCKER Scenic Carpenter CARMEN RODRIGUEZ Charge Artist JESSICA JONES Sound Board Operator ANNA CURTIS Wardrobe Head † Book-It Intern encore artsseattle.com A-11 ArtsFund strengthens the community by supporting the arts through leadership, advocacy and grant making. Campaign 2014 Donors 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. Pledges and donations made between 7/1/13 - 6/30/14 Visit www.artsfund.org for a full list of our donors and to learn more about ArtsFund $350,000 and up $250,000 - $349,999 $50,000 - $249,999 Support from The Boeing Company, Microsoft Corporation, POP, Sellen Construction and Starbucks Coffee Company includes employee workplace giving. $25,000 - $49,999 $10,000 - $24,999 $5,000 - $9,999 ADP/Cobalt* Getty Images* K&L Gates* KeyBank KING Broadcasting* King County Employees* Perkins Coie* Russell Investment Group Safeco Insurance Stoel Rives LLP* Washington State Combined Fund Drive* Weyerhaeuser Company* Amazon.com Amgen Foundation BNY Mellon Wealth Management Comcast The Commerce Bank of Washington* Davis Wright Tremaine LLP* Delta Air Lines Delta Dental of Washington DLA Piper* Dorsey & Whitney LLP* JPMorgan Chase Nordstrom, Inc. R.D. Merrill Company Union Bank Alaskan Copper & Brass Company and Alaskan Copper Works APCO Worldwide Clise Properties Inc. Columbia Bank Ernst & Young LLP Federal Home Loan Bank of Seattle* Financial Resources Group Fishing Company of Alaska Foss Maritime Company Gaco Western, Inc. Gensler Architects Goldman, Sachs & Co. Arts Benefactor Circle William Beeks Sandy and Chris McDade Mr. and Mrs. Lawrence and Mary Ellen Hughes Katharyn Alvord Gerlich Joshua Green Foundation, Inc. John Graham Foundation Jim and Gaylee Duncan Ray Heacox and Cynthia Huffman Peter and Peggy Horvitz Glenn Kawasaki Patricia Britton and Stellman Keehnel Deborah Killinger Thomas and Gwen Kroon Charlotte Lin and Robert Porter Moccasin Lake Foundation Norman Archibald Charitable Foundation Herman and Faye Sarkowsky Sequoia Foundation Jon and Mary Shirley Foundation Mary Snapp James and Katherine Tune Arlene Wright Conductor’s Circle First Chair $10,000 - $24,999 $5,000 - $9,999 Nancy Alvord Judi Beck and Tom A. Alberg Carl and Renee Behnke Allan and Nora Davis Chap and Eve Alvord Casey Banack Steve Behnen and Mary Hornsby Michael and Anne Bentley Gold Club $200,000 and up Raynier Institute & Foundation $100,000 - $199,999 Neukom Family Mary Pigott $50,000 - $99,999 Stephen P. and Paula R. Reynolds Pete and Julie Rose $25,000 - $49,999 A-12 BOOK-IT REPERTORY THEATRE Toby Bright Matthew Clapp Melanie Curtice Mrs. Jane Davis and Dr. David R. Davis Kevin and Lynne Fox Heather Howard Ann Ramsay-Jenkins and the William M. Jenkins Fund Ed Kim Loeb Family Charitable Foundations Douglas and Joyce McCallum Rosanne Esposito - Ross and Louis Ross Douglas and Theiline Scheumann Vijay and Sita Vashee Douglas and Margaret Walker Dr. Clyde and Mrs. Kathleen Wilson Ann P. Wyckoff Lynn Hubbard and David Zapolsky Encore $2,500 - $4,999 Jon Anderson Kim A. Anderson Jones Lang LaSalle Medical Consultants Network, Inc.* Nintendo of America Inc. Raisbeck Engineering RealNetworks Foundation Sparling, Inc. *Includes employee workplace giving Bob and Clodagh Ash John H. Bauer Lisa Lawrence Beard Annette and Daniel Becker John and Shari Behnke Sue and Artie Buerk C. Kent and Sandra C. Carlson Peter and Susan Davis Karl Ege Lea Ennis Michael and Melanie Fink William Franklin Rod Fujita Lynn and Brian Grant Maria Gunn Darren Hamby Aya Hamilton Richard and Marilyn Herzberg Kevin and Eddy Hoffberg Mari Horita Dan and Connie Hungate Randle Inouye Janet Wright Ketcham Foundation James Kraft John and Tina Lapham Tim Mauk and Noble Golden Blanche and Stephen Maxwell Rachel and Doug McCall Bruce and Jolene McCaw Anthony R. Miles Alison and Glen Milliman Douglas E. and Nancy P. Norberg Mary Ellen Olander Glenna Olson and Conrad Wouters Tyler Petri Kathleen Pierce in memory of Douglas Beighle Ms. Carol Powell Marlene Price Scott Redman Joanne Salisbury Stanley D. and Ingrid H. Savage Schoenfeld-Gardner Foundation Jane Simpson Bonnie and Jim Towne Joseph D. Weinstein Gail and Bill Weyerhaeuser honoring book-it contributors Book-It would like to thank the following for their generous support! Literary Legends’ Circle $75,000+ Leadership circle, cont. Nobel Prize Circle, cont. The Paul G. Allen Family Foundation Bill & Melinda Gates Foundation Anne Repass Shirley Roberson Steve Schwartzman & Daniel Karches Martha Sidlo Deborah Swets Kathy & Jim Tune U.S. Bank Elizabeth Warman Charlotte Tiencken & Bill West Janet Vail Vanguard Charitable H. Randall Webb & Judy Brandon Beverly Welti & John Pehrson Virginia Sly & Richard Wesley Judith Whetzel Williams Miller Family Foundation Anne McDuffie & Tim Wood Literary CHampions’ Circle $25,000+ ArtsFund The Boeing Company Charitable Trust Sonya & Tom Campion Matthew Clapp The Hearst Foundations, Inc. Lucky Seven Foundation Beth McCaw & Yahn Bernier National Endowment for the Arts Mary Pigott Ann Ramsay-Jenkins Gladys Rubinstein+ producers’ circle $10,000+ 4Culture City of Seattle Office of Arts & Cultural Affairs Ellen & John Hill Stellman Keehnel Nordstrom Michell & Larry Pihl Safeco Insurance Foundation The Shubert Foundation, Inc. Shirley & David Urdal Kris & Mike Villiott Washington State Arts Commission Mary Ann and Robert Wiley Fund— United Way Partners’ circle $5,000+ Arthur N. Rupe Foundation The Boeing Company Joann Byrd Stuart Frank & Marty Hoiness Gretl Galgon Lucy Helm Holly & Bill Marklyn Cheryl & Tom Oliver Lynne & Nick Reynolds Drella & Garth Stein April Williamson Leadership circle $2,500+ Monica Alquist Boeing Gift Matching Program Amy & Matthew Cockburn D.A. Davidson & Co. Margaret Kineke & Dennis West Emily Anthony & David Maymudes Joni Ostergaard & Will Patton Christiane Pein & Steven Bull Nobel Prize Circle $1,000+ Anonymous (4) Adobe Systems Incorporated All One Family Fund Stephen Bauer Janet Boguch & Kelby Fletcher Karen Brandvick-Baker & Ross Baker Amanda & Jeff Cain Mary Anne Christy & Mark Klebanoff Carol & Bill Collins Carolyn & George Cox Emily Davis Nora & Allan Davis The Ex Anima Fund Mary Frances & Harold Hill Jean Gorecki Heather Howard Humanities Washington Judith Jesiolowski & David Thompson Pamela Johnson Clare Kapitan & Keith Schreiber Deborah Killinger Lea Knight Stephen & Ellen Lutz Lee & Darcy MacLaren Melissa & Don Manning Peter Maunsell Mary Metastasio Microsoft Matching Gifts Program Steve Miller & Pamela Cowan Minar Northey LLP Joyce Latino & John O’Connell Colette Ogle Deborah & Jeff Parsons Puget Sound Business Journal Reeya Raman Stephen & Paula Reynolds Stephen Robinson Sage Foundation Pamela & Nate Searle Gail & John Sehlhorst Mary Snapp The Seattle Foundation Spark Charitable Foundation Karen & D. Thompson Challinor Pulitzer Prize Circle $500+ Anonymous Christina Amante Connie Anderson Kathleen Best Julie Edsforth & Jabez Blumenthal Elizabeth Braun Patricia Britton Don Brown Sally Brunette Linda & Peter Capell Diana & Chuck Carey Nancy Cleveland Mark Dexter Katie Enarson Kim & Rob Entrop Jane & Stanley Fields R. Brooks Gekler Mark Hamburg Laura Hanson Phyllis Hatfield Margaret Winsor & Earle Hereford Mary Horvitz Joleen Hughes Hughes Media Law Group Jane Austen Society of Puget Sound Jane Jones & Kevin McKeon Pam Kendrick Jacqueline Kiser Larry Lewin Craig Lorch Ellen Maxson Ann McCurdy & Frank Lawler Jim McElroy Merck Foundation Richard Monroe Eleanor Moseley Pollnow & Charles Pollnow Whitney & Jerry Neufeld-Kaiser Glenna Olson & Conrad Wouters Meta Pasternak Cecilia Paul & Harry Reinert Corliss Perdaems Judy Pigott Myra Platt & Dave Ellis encore artsseattle.com A-13 honoring book-it contributors Book-It would like to thank the following for their generous support! Pulitzer Prize Circle $500, cont. National Book Award Circle, cont. Pen/Faulkner Award Circle, cont. Roberta Reaber & Leo Butzel Bradley Renner Janey L. Repensek Paula Riggert Rebecca Roe & T.A. Greenleaf Martha & Donald Sands Polly Schlitz Charyl & Earl Sedlik Jo & Michael Shapiro Marcia & Peter Sill B. Richal Smith Eric Taylor Sara Thompson & Richard Gelinas Ruth Verhoff Leora & Robert Wheeler Christina Wright & Luther Black Mary Zyskowski Elaine Mathies • Ruth McCormick • Susan Mecklenburg • Christine Mosere • Hillary Namba • Inez Noble Black • Sherry Perrault • Gloria Pfeif • Scott Pinckney • Anne Pipkin • Olivia Pi-Sunyer • Gordon Prouty • Linda Quirk • Doris & Charles Ray • Beth Rutherford • Debby & Dave Rutherford • Lena Saba • Donna & Robert Saunders • Frank Schumann • Schwab Charitable Fund • Colleen & Barry Scovel • William Severson & Meredith Lehr • Diane Stark • Christine Stepherson • Paul Stucki • LiAnn Sundquist • Jill Sylwester • Jennifer Lee Taylor • Melinda Teeny • Alan Tesler • Kerry Thompson & Shari Zehm • Ruth Valine & Ed McNerney • Matthew Villiott • Pat Walker • Jerry Watt • Sandra Waugh • Kristi & Tom Weir • Gregory Wetzel • Bo Willsey • Janet & Lawrence Wilson • Michael Winters • Daniel & Sherri Youmans • Juliet Ziegler Suzanne Goren • Anke Gray • Pamela Greenwood • Heather Griffin • Laurie Griffith • Jim Hamerlinck • Lian Handaja • Faith Hanna • Rachel Hansen • Janet & Corina Hardin • Jill Hashimoto • Elizabeth Heath • Diana Hice • Patricia Highet • Stephanie Hilbert • Sandy Hill • Cynthia Huffman • Kristina Huus Campbell • IBM Matching Grants Program • Wendy Jackson • Lani Johnson • Robert Jones • Gil Joynt • Joan Kalhorn • David Kasik • Malia & Chang Kawaguchi • Amie Kidane • Shannon Knipp • Larry Knopp • Art Kobayashi • Alan Kristal • Fay Krokower • Gerald Kroon • Sandy Kubishta • Barb & Art Lachman • Erika Larson • Judd Lees • Sylvia Levy • Sandy Lew-Hailer • Bonnie Lewman • Nancy Lomneth & Mark Boyd • Sheila Lukehart • Carol Lumb • Kjristine Lund • Scott Maddock • Kathleen Maki • Elizabeth Mathewson • Susan McCloskey • Kathy McCluskey • Deirdre & Jay McCrary • Patricia McCreary • Jim McDermott • Morna McEachern • Marcie & John McHale • Nancy McSharry & Andy Jensen • Bonnie Miller • Gary Miller • Shyla Miller • Donna Miller-Parker • Marion & George Mohler • Susan Jones & Christopher Monck • Becky Monk • Cornelia & Terry Moore • Elizabeth Morrison & Geoff Crooks • Susan Mozer • Milly Mullarky • Dawna Munson • Patricia Graves & David Nash • Judy Niver • Pam & Scott Nolte • Deanna Norsen • Northwest Asian Weekly • Mikel O’Brien • Kevin O’Morrison • Timothy O’Sullivan • Lauren Packman • Sam Pailca • Kelly & Dave Pearson • Donna Peha • Steve Pellegrin • Carol & Ed Perrin • Barbara Peterson • Robert Pillitteri • Felicia Porter • Susan Porterfield • Joan & William Potter • Jason Powell • Andrea Ptak • Barbara & Daniel Radin • Connie Reed • Roberta & Brian Reed • Esther Reese • Jane Reich • Nancy Reichley • Jeannette Reynolds • Eric & Karen Richter • Rebecca Ripley • Roberta Roberts • Amy Robertson • Beth Rollinger • Fernne & Roger Rosenblatt • Harriett Cody & Harvey Sadis • Donna Sand • Betty Sanders • Claudia Sanders • Lisa Schafer • Andy Schneider • Cindi Schoettler • Greg Scully • Lavonne & Josh Searle • Julie Howe & Dennis Shaw • Mark Siano • Charly Silva • Sumeer Singla • Marilyn Sloan • George Smith • Warren Smith • Diane Snell • Janice & Pat Strand • Streamline Consulting, LLC National Book Award Circle $250+ Anonymous (4) • 3 Rudders, LLC • Rachel Alquist • Sarah & Robert Alsdorf • Virginia Anderson • Joel Aslanian • Dan Atkinson • Laura-Mae & Sylvie Baldwin • Bob Blazek • Susan Bradley • Mary Anne Braund & Steve Pellegrin • Margaret Bullitt • Molly Thompson & Joe Casalini • Sylvia & Craig Chambers • Mary Chambers • Mala Chandra • Wendy Cohen & John Chenault • Susan Chiavelli • Susan Cotterell • Dottie Delaney • Rebecca Dietz • David Dong • Beth Dubey • Lauren Dudley • Jim & Gaylee Duncan • Lori Eickelberg & Arni Litt • Laura Einstein • Lynne Ellis • Judith Endejan • Constance Euerle • Mary Fallon • Jane Faulkner • Liz Fitzhugh & Jim Feldman • Elizabeth & Paul Fleming • Denise & James Fortier • Jayn & Hugh Foy • Listbeth & Alan Fritzberg • Jamie & Steve Froebe • Norman Garner • Claire Gebben • Julia Geier & Phil Borges • Elizabeth Gilchrist • Vicki & Gerrie Goddard • Katharine Godman • Terry Graham • Diane Grover • Pamela & W.B. Harer • Kat Hazzard • Nancy & Bruce Herbert • Lloyd Herman & Richard Wilson • Barbara Hieronymus • Chris Higashi • Carolyn Holtzen • Elizabeth Hubbard • Melissa Huther • Joyce & John Jackson • Edwin Jones • Kris Jorgensen • Janine King • Mary Klubben • Karen Koon • Tami & Robert Kowal • Eleni Ledesma • Lennon Keegan Family • Lynn Manley & Alexander Lindsey • Cynthia Livak & Peter Davenport • Stephen Lovell • Molly & Mike Martinez A-14 BOOK-IT REPERTORY THEATRE Pen/Faulkner Award Circle $100+ Anonymous (7) • Carole Aaron • Douglas Adams • Lynne & Shawn Aebi • Andrea Albers • Rachel Allen • Heather Allison • Christopher Alston • Katherine Anderson & Robert DiPietrae • Marjorie Anderson • Cinnimin Avena • Anne Banks • Jo Ann Bardeen • Mary & Doug Bayley • Susan Bennett • Lenore & Dick Bensinger • Julia Bent • Maribeth Berberich • Deb Bigelow • Richard Billingham • Lindsay & Tony Blackner • Rebecca Bogard • Mary Wilson & Barry Boone • Brad Borst • Betty Bostrom • Gina Breukelman • Rebecca Brewer • Jonathan Buchter • Rachel & David Bukey • Barbara Buxbaum • Carrie Campbell • Michela Carpino • Joyce Chase • Marilyn & David Chelimer • Carl Chew • Deborah Christensen • Marianna Clark & Charles Shafer • Jack Clay • Catherine Clemens • Shelly Clift • Susan Connors & Eric Helland • Joe Copeland • Kay & Garry Crane • Gordon Crawford & Rebecca Herzfeld • Shelly Crocker • Amy Curtis • Kate Curtis • Robin Dearling & Gary Ackerman • Sandra & Paul Dehmer • Richard Detrano • Susan Dyer • Marilyn Endriss • Randy Engstrom • Joyce Erickson • Judith Erickson • Polly Feigl • Laura Fischetti • Jessica Foss • Susan Fuchs • Kai Fujita • Steve Fury & Nancy Lawton • Jean & Mike Gannon • Susan George • Siobhan Ginnane • Mitzi Gligorea • Ann Glusker Pen/Faulkner Award Circle, cont. O. Henry Award Circle, cont. Constance Swank • Amy Sweigert • Gail Tanaka • Margaret Taylor • Terry Tazioli • Anne Terry • Jennifer Teunon & Adam Smith • Catherine Thayer • Cappy Thompson • Richard Thorvilson • Eric Thuau • Jennifer Tice • Marcellus Turner • Eugene Usui • Marcia Utla • Elizabeth Valentine • Karen Van Genderen • Pieter Vandermeulen • Verizon Foundation • Jorie Wackerman • Colin Wagoner • Todd Warren • Susan Warwick • Deb Watson • Jennifer Weis • Julie Weisbach • Laurie Wenzel • Edna & Adam Westerman • Dan Whalen • Jean & David White • Sara White • Chelene Whiteaker • Paula & Bill Whitham • Margaret Whittemore • Jane Wiegenstein • Melinda Williams • Blake Wilson • John Wilson • Lauren Wilson • Patricia Wilson • Elana Winsberg • Nicole Winters • Jodie Wohl & Richard Hert • Irene Yamamoto • Kim York Arlyn Losey • Robert Lowe • Susan Lynette • M. Joan Maguire • Betty Ngan & Tom Mailhot • Cecilia Matta • Eile McClellan • Theresa McLean • Jeanne Metzger • Kathleen Moore • Mark Morgan • Shirley Munro • Donna Murphy • Martha Noerr & Jeff Keane • Marion & Curtis Northrop • Nancy & Stephen Olsen • Amy Olsson • Janice O’Mahony • Pat O’Rourke • Susan Palmer • Julia Paulsen • Annie Pearson & Jacyn Stewart • Nan Peele • Harold Pelton • Alison Peters • Susan Petitpas • Carolita Phillips • Wilson Platt • Kim Port • Marion Reed • Mildred Renfrow • Rhein Haus • Ginger Rich • Maren Richter • Carla Rickerson • Virginia & Thomas Riedinger • Jo Ann Roberts • J.D. Royer • Michele Ruess • David Rush • Jennifer Russell • Joshua Ryder • Rebecca Sadinsky • Clint Sallee • Michael Sandner • Deanna & Bo Saxbe • Julie Schoenfeld • Heidi Schor • B. Charlotte Schreiber • Noah Seixas & Dana Standish • Sally Sheck • Linda Snider • Barbara Spear • Eloise Stachowiak • Dale Stammen • Jane Stevens • Julie Stohlman • Sheila Striegl • Sarah Thomas & Tom Sykes • Annette Thompson • Deborah Torgerson • Marilyn Tracey • Rebecca Barnett & Roger Tucker • Kathleen Vasquez • Jonna Ward • Cristina Wenzl • Richard White • Christopher Wiggins • Kim Winward • Woodland Park Zoo • Kathy Young • Sam Zeiler O. Henry Award Circle $50+ Judith Alexander • Marilee Amendola • Amgen Foundation • Hilari Anderson • Sonia & Kendall Baker • Anne & Roger Baker • Beverly Barnett • Sybil Barney • Susan Bean • Brook Becker • Beth & Benjamin Berman • Colleen Bernier • Ellen Bezona & Shawn Baz • John Bigelow • Crai Bower • Bridge Partners LLC • Carolyn Burger • Melanie Calderwood • Tracy Chellis • Greta Climer • Frank Cohee • Samantha Cooper • Susan Corzatte • Maureen Crawford • Margaret Curtin • Nancy Cushwa • Lara Davis • Claudette Davison • Terence DeHart • Ellen Downey • Dan Drais • Betty Eberharter • Karen Elledge • Nancy Ellingham • Brent Enarson • Nancy Erickson • Fidelity Charitible Gift Fund • Judi Finney • Mary Ellen Flanagan • Gregory Flood • Susan Ford • Lisa Foss • Mike Garner • Alan Garrett • Nina Gerbic • Neil Gerth • Carla Granat & Stephen Smith • Scott Guettinger • Shuko Hashimoto • Kate Hemer • John Hirschel • Kate Hokanson • Kathy Holloway • Glenn Horton • Rebecca Hsia • Zhen Huang • Beatrice Hull • Heather Hutchinson • Hanah Igama • Alison Inkley • Tricia Jackson • Michael Johnson • Elizabeth Jones • Patricia Rytkonen & William Karn • Trina Kauf-Jones • Jim Kelly • Vicki & James King • Jean & Harris Klein • Shirley Knight • David Krakora • Stewart Landefeld • Barbara Laubacher • Jo Anne Laz • Teri J. Lazzara • Shawn LeValley • Liberty Mutual Insurance • Madalene Lickey in-kind donors 3 Rudders, LLC • Alaska Distributors • Blue Highway Games • Bookwalter Winery • Brimmer & Heeltap • Buckley’s • Christine Mosere • DeLille Cellars • Eltana • Fox’s Gem Shop • Irish Reels Film Festival • Kimberly King • Lloyd Martin Restaurant • Mary & Doug Bayley • Mediterranean Inn • Perennial Tea Room • Poquito’s • Puget Sound Business Journal • Rhein Haus • Schilling Cider • Seattle Children’s Theatre • Seattle International Film Festival • Seattle Repertory Theatre • Seattle Shakespeare Company • Seattle Theatre Group • Something Silver • Ten Mercer • Toulouse Petit Kitchen and Lounge • Turgeon Raine • UW World Series • Vashon Allied Arts • Virginia Mason Medical Center • Woodhouse Wine Estates • Woodland Park Zoo Gifts in Honor & memory Polly Schlitz, Blake Wilson, and Patricia Wilson in honor of Myra Platt’s birthday Deborah Swets in memory of Jack Slater Kathy Holloway in memory of Nancy Cushwa Susan Bennett, Sonja Coffman, and Kathleen Maki in honor of Sara Elward & Joadey eStar’s wedding + deceased This list reflects gifts received October 1, 2013 – January 9, 2015. Book-It makes every attempt to be accurate with our acknowledgements. Please email Development Associate Leslie Witkamp at lesliew@book-it.org with any changes. $1,820,000 budget 53% of budget from contributions 648 individual donors 54 business, foundation & government donors 20 full- and part-time staff 200 actors, designers, and technicians 9 interns 137 volunteers 16,000 patrons at Mainstage, Circumbendibus, and Special Editions productions 60,000 students and educators at Arts & Education programs encore artsseattle.com A-15 OUR MISSION IS TO TRANSFORM GREAT LITERATURE INTO GREAT THEATRE THROUGH SIMPLE AND SENSITIVE PRODUCTION AND TO INSPIRE OUR AUDIENCES TO READ. book-it staff Jane Jones Myra Platt Founder & Founding Co-Artistic Director Daniel Y. Mayer Founding Co-Artistic Director artistic marketing & communications Josh Aaseng Literary Manager administrative Casting Associate Anthea Carns Bill Whitham Bookkeeper Stuart Frank, President Shannon Loys production Thomas Oliver, Vice-President Publications & Media Manager Literary & Artistic Intern Sarah Roza Lindsay Carpenter Anders Bolang Publications Intern Scene Shop Manager Patron Services Natasha Ransom Education Associate Dana Masters Tour Manager Tom Dewey Education Intern Nikita Ares development services Box Office Associate Sally Brunette Adam Smith Photography Alan Alabastro Photography Chris Bennion Photography John Ulman Photography The Makeup Session Robert Thornburgh, Custodian Tom Wahl, IT Support Ana Duenas Director of Development Box Office Associate Leslie Witkamp Anna Heinen Development Associate Box Office Associate Anna Strickland Amelia Reynolds Development Intern Box Office Associate Shirley Roberson, Secretary Monica Alquist Ross Baker Public Policy Director, Virginia Mason Medical Center Joann Byrd Journalist & Editor, Retired Jane Jones Founder & Founding Co-Artistic Director, Book-It Margaret Kineke Senior V.P., D.A. Davidson & Co. contact us Mary Metastasio Senior Portfolio Manager, Safeco, Retired BOOK-IT REPERTORY THEATRE Myra Platt 2010 Mayor’s Arts Award-winner, recipient of the 2012 Governor’s Arts Award and the 2014 Inaugural Sherry Prowda Literary Champion Award, Book-It Repertory Theatre began 27 years ago as an artists’ collective, adapting short stories for performance and touring them throughout the Northwest. The company incorporated as a non-profit in 1990. Today, with over 100 world-premiere adaptations of literature to its credit—many of which have garnered rave reviews and gone on to subsequent productions all over the country—Book-It is widely respected for the consistent artistic excellence of its work. center theatre + box office admin offices box office contact 206.216.0833 | boxoffice@book-it.org admin contact 206.216.0877 | info@book-it.org 305 Harrison Street, Seattle, WA 98109 CPA, Minar and Northey LLP Director of Events & Special Projects, Puget Sound Business Journal Costume Shop Intern Box Office Associate Kristine Villiott, Treasurer Elizabeth Stasio Ali Rose Schultz Haley Alaji Educator Jocelyne Fowler Stage Management Intern Box Office Manager Amelia Reynolds Community Leader Senior Associate, Hughes Media Law Group Costume Shop Manager House Manager Katie McKellar Interim Production Manager Technical Director Dana Masters education Bryan Burch Dan Schuy Marketing Intern Literary & Artistic Intern board of directors Patricia Britton Director of Marketing & Communications Gavin Reub Managing Director Founding Co-Artistic Director, Book-It David Quicksall Independent Theatre Artist & Teacher Anne Repass Community Leader Stephen Robinson 158 Thomas Street, Seattle, WA 98109 Writer Steven Schwartzman Attorney, U.S. Postal Service, Western Area Law Department book-it.org Deborah Swets V.P. for Membership, Washington State Hospital Association FACEBOOK TWITTER INSTAGRAM VINE /bookitrep @book_it bookitrep Book-It A-16 BOOK-IT REPERTORY THEATRE Elizabeth J. Warman Director Global Corporate Citzenship, NW Region, The Boeing Company ENCORE ARTS NEWS from city arts magazine American Beauty Eleanor Petry exudes an old-Hollywood feel. BY AMANDA MANITACH WHO Eleanor Petry, the 20-year-old photographer and filmmaker from Seattle whose portraits of subjects washed in silvery half-light or reposing in beds of blossoms capture the twilight of adolescence. A self-taught artist, Petry started using her first point-and-shoot at the age of 12 to create fantastical scenes and turn her sibling-models into fictional characters. She owes at least some of her cinematic feel to early Hollywood. “Growing up, my dad always had me watching classics like D. W. Griffith’s Intolerance,” she says. “Also, lots of Hitchcock.” STEALING SOULS “I want to capture stories of depth and emotion,” Petry says. “I photograph people with the aim to freeze those qualities and cement them into something tangible, remembered.” Since 2012 Petry’s penchant for photographic storytelling has turned toward music, with clients like Chastity Belt, Black Hat, Fox and The Law, and Duke Chevalier. Earlier this year Petry co-directed the music video for Rose Windows’ “There is A Light,” released on Sub Pop this June. THE LOOK “I like to wear black—sheer, velvet, nylon, leather, mostly—but I have a few colorful pieces that are my favorite items. I wear whatever I’m feeling day to day, so my style can be a little sporadic. I like to feel as if my clothes kind of melt into me, so I wear the same look for multiple days before changing it.” ICONS “Wim Wenders, Federico Fellini, Georgia O’Keeffe, Alfred Hitchcock, Miles Davis, Jennie Livingston. Local designers Aykut Ozen, Rachel Ravitch, CMRTYZ and Mark Mitchell. It’s hard to start naming friends because there are so many I truly admire!” LAUREN MAX UPCOMING This winter, Petry will be producing her first short film. “The short film is essentially a symbolic story of dying. It’s about leaving this world. Very bizarre and dreamy.” encore art sseattle.com 9 ENCORE ARTS NEWS SUSTAINABLE STREAMING A Music Subscription Service Goes Grassroots NEVER MISS AN ISSUE! Subscribe and get City Arts delivered right to your mailbox. 1 year/12 issues/ $36 cityartsonline.com/subscriptions STRAWBERRY THEATRE WORKSHOP TOW N R U O By thornton wilder JA NUA 1620 12TH AVE, SEATTLE 10 ENCORE STAGES RY 2 2 – FEB RUARY WWW.STRAWSHOP.ORG 21 800-838-3006 THU-FRI-SAT 7:30PM, SUN 2PM With chatter about Taylor Swift’s exit from Spotify reaching deafening levels, The Roots Channel offers an appealingly high-minded musical alternative. The video streaming service, launched in early November by musician and recording engineer Michael Connolly, brings subscribers high-quality roots music and related programming with no ads and no data mining. Most importantly, Roots’ business model ensures as much money as possible goes to the artists. “They’re arguing about how many thousandths of a cent should be paid per song played,” Connolly says of the Spotify debate. “There’s not a whole lot of perceived value. And I get it, because very few people think of recorded music as a primary entertainment. For most people it’s wallpaper for another activity.” Connolly sees things differently. Connolly grew up in Memphis playing instruments like mandolin, guitar and piano in everything from punk bands to school jazz band. He almost pursued classical clarinet until the limited orchestral job market changed his mind. Instead, Connolly followed his passion for computer programming, first to the medical world programming software for things like pacemakers and defibrillators, then to Seattle and a job at Amazon in 2004. Five years ago he quit his last computing gig and opened acoustic music haven Empty Sea Studios on Phinney Ridge, where he’s recorded 60plus albums and held over 250 shows to date. The Roots Channel idea sparked in 2011 when Connolly’s band Coyote Grace was touring and a fan set up a live webcast. Six hundred people paid $6 each to tune in. Connolly immediately wired his recording studio for videography. Since then, he’s captured 40-something full-length concert movies—but realized in-house material wasn’t enough. “I learned that a lot of people are sitting on great content,” he says. “Musicians are spending thousands of dollars making a music video and then saying, ‘What do we do with this?’” The Roots Channel is a super-slick, one-man operation, running on sweat equity and Connolly’s unique skill set. No investors means that 70 percent of net subscription revenue goes to artists and content providers. For $9 a month, Roots offers full-length concerts, live and on-demand, as well as artist interviews and documentaries, all accessible on desktop, tablet and smartphone and soon devices like Roku and Apple TV. For Connolly, “roots” is as much a lifestyle as a genre. “In a very broad sense, folk music has always been music that people made for each other, social music as opposed to productized music,” he says. The Roots Channel includes jazz, blues, folk, singer-songwriters and all kinds of world music, as well as programming about sustainable living and urban farming. “It’s all about mindful consumption,” Connolly says. “Let’s be mindful of the media we consume and how it compensates the people who make it.” GEMMA WILSON from city arts magazine ALBUM REVIEW Handcrafting artisan confections in Seattle for over 32 years 1325 1st Avenue, Seattle 206.682.0168 2626 NE University Village Street, Seattle 206.528.9969 10036 Main Street, Bellevue 425.453.1698 5900 Airport Way South, Seattle 206.508.4535 “DEPRESSING JOG ENDS WELL.” A story of machine music, a secondary soundtrack personal transformation told in four words; to some kind of activity (like ambivalent also the title of the first single from DJAO’s exercise?). Osuch matches soul—the vocals, debut album. A song with a title like that the rhythms—with intellect—the unique could end up as any kind of music; DJAO aesthetic concept—to create a sound that’s translates the tale into a slow-shutter-speed simultaneously engaging and challenging, beat fugue. A minimalist, staccato piano alien and comfortable. line gradually falls apace with a cascade of Similar to fellow Seattle electronic luminary ride cymbals and electronic drums. Reverb Kid SMPL, AO works with plush, user-friendly ebbs and expands as if slipping between a sonic textures. Drum sounds are rounded, cavernous gymnasium and sound-dampened buffed smooth, shapes on the roadside studio apartment. Footfalls in sharp relief up half-obscured by fog and blurred by motion. close, background smudged out of focus. The Melodies, mostly provided by keyboards song imparts enough discreet information and vocals, are elliptic snippets. Osuch’s to establish a tiny world, fully voice floats through the album formed. And it implies even reverbed into abstraction, more. syllabic sounds suggesting All of DJAO is built on what may or may not be actual i m p l i c at i o n , s u g g e s t i o n , words. Is that hey love, come negative space. It plays like a back you’re hearing in “Tan musical allegory of wei wu wei, Jacket”? The first time I ever the Taoist principle of action saw you in “The Last Time”? without action—which requires Sometimes it scat-sings, as on either a beginner’s grace or upbeat album opener “Good master’s patience to achieve. Morning.” On gorgeous closer Alex Osuch, acronymed “Can’t Make Music Forever singer/producer/musician / (Juke Blues),” it dissolves into a DJAO writer behind the music, is hazy, angelic moan. DJAO closer to the latter, the album That voice is beguiling, and (Dropping Gems) developed over the course of it sets AO apart from a lot of three meticulous years. During that time it fell electronic music. It’s the most vulnerable, in beside Osuch’s other musical projects and naked instrument. Osuch girds himself activities in Seattle’s literary scene, and so through digital obfuscation, then allows DJAO feels authored as much as produced, detail in pinpoint song titles like “Kitchen” the result of planning, strategizing, and edited and “Basement” and “Wood Grain.” But effusing. Music like this challenges what it picking apart individual songs from DJAO means to be a writer: Writer of stories? Writer is like choosing a favorite chapter in a book. of songs? Yes and yes. The whole is greater than the sum of its parts. Like with a good novel, your primary sense JONATHAN ZWICKEL picks up what’s there and your imagination fills in what isn’t. This is the active way of Listen to “DJAO” at listening, though DJAO is just as useful as CITYARTSONLINE.COM/MUSIC f ra n s c h o co l a te s .com We treat the whole you. Attentive care that considers every aspect of your health. Naturopathic Medicine • Counseling Acupuncture • Ayurveda • Nutrition Healthy.BastyrCenter.net | 206.834.4100 encore art sseattle.com 11 ENCORE ARTS NEWS from city arts magazine Dance With Danger “The main attraction was a rare performance by Rajasthani Gypsy Caravan, a group of hereditary folk musicians and dancers from the colorful state of Rajasthan in India, touring the U.S. for the first time. Suvi Devi is performing the Bhawai Dance; the dancer dances while balancing several water pots on her head and often does daredevil acts such as balancing and dancing on sharp objects like swords.” BRUCE CLAYTON TOM —Latha Sambamurti, artistic director of Festival of Lights, a celebration of the Hindu festival Diwali held at the Seattle Center Armory on Nov. 9 and produced by the Vedic Cultural Center of Sammamish. ENCORE ARTS NEWS HIGH WEIRDNESS BACK AT SCRATCH DELI After Tragic Loss, Creative Hub Regenerates It’s Saturday night and a man in a giant mask made of beer cartons with cans for eyes lumbers onstage. Accompanied by festive music, the entire audience passes in front of him in a conga line and he stabs each one with a cardboard sword. Weird comedy is back at Scratch Deli. Two years ago, Tristan Devin committed suicide on the back patio of this scruffy Capitol Hill café, then known as People’s Republic of Koffee. His death shocked the close-knit community of performers who made the former thrift shop their clubhouse and home stage. Many of the core group, devastated by the loss of a catalyzing central figure, drifted off to do other things and the flurry of creativity ended. But lately a scene has re-emerged there with a full calendar of monthly shows guided by the striving and funky ethos Devin established. “Tristan truly cared about doing new and exciting things with comedy,” says Zach Gabriel, a former regular who quit comedy after Devin’s death but has returned to the stage. “I gained an understanding of what was possible to do with a show in a tiny space and with no budget.” Under Devin’s leadership a core group of five or six comedians put on numerous one-night-only productions, from an outdoor show set at a pro wrestling match to a Game of Thrones parody based around a clan of wolves, complete with a Kenny Loggins musical interlude. A similar eclecticism continues with the current batch of Saturday night shows: Flight Space 7, a serialized sci-fi sitcom; Boring Time, a variety show; The Good Fun Show, the only standupbased offering; and The Tiny Baby Talk Show, the lineup’s longest-running show. They make use of the entire space, with performers popping up from behind the bar, climbing in through windows and toggling between the original, makeshift stage and the newly built Tristan Devin Theater stage. Ian Thackaberry was running his sandwich business out of the café at the time of Devin’s death and took over ownership in the aftermath, changing the name to Scratch Deli. Tall and darkhaired, he’s not a comedian himself—his creative background is in music—but he’s committed to continuing the tradition of wild experimentation. Recognizing the current glut of cattle-call open mics sprouting up all over the city, Thackaberry emphasizes other forms of comedy. “My goal is to give people a space to work together to present something creative that’s a team effort, that’s scripted,” says Thackaberry. He envisions the shows eventually outgrowing this incubator and finding their way in the wider world, but time is limited. Tall new buildings have sprung up all around the tiny cafe; many of them didn’t exist two years ago when Devin was still alive. “People can always see standup,” says Wilfred Padua, a producer of Boring Time. “What we’re doing is creating events that will never happen again.” BRETT HAMIL A N N H A M I LT O N the common S E N S E ON VIEW THROUGH APRIL 26, 2015 HENRY ART GALLERY H E N RYA RT.O RG Ann Hamilton. Digital scan of a specimen from University of Washington’s Burke Museum of Natural History and Culture Ornithology Collection. Courtesy of the artist. Untitled-7 1 11/24/14 11:25 AM encore art sseattle.com 13 ENCORE ARTS NEWS from city arts magazine Kale Class A night at the Hot Stove Society inspires a noncook in the kitchen. BY AMANDA MANITACH IN MAY, Seattle superchef Tom Douglas opened an intimate, hands-on cooking school called Hot Stove Society. Classes are dedicated to Douglas’ triple coconut cream pie, prime rib roast or seasonal foods like corn and potatoes. Located downtown in the cozy Hotel Ändra (which also houses Douglas’ Greek restaurant Lola), the atmosphere is reassuringly homey—inviting even to non-Betty Crocker types who are otherwise traumatized by the prospect of properly boiling an egg. Like me. My mother’s culinary high point was nailing the Famous Amos chocolate-chip cookie recipe. My dad called M&Ms his “vitamins.” In an act of teenage rebellion I became vegetarian. After a few botched attempts at making veggie burgers in my teens, I forsook experimentation for saltines and beans. On a recent Thursday evening I climb a set of stairs and enter Hot Stove Society. A door opens into a picture-perfect commercial kitchen decorated with squash, hand-carved totem poles and burgundy walls. An open bottle of 2000 14 ENCORE STAGES Valdecampaña Crianza nestles among other wines and beers, next to a platter of perfectly quartered ripe figs, marcona almonds and pickled baby beets. Students sit with notebooks at a spacious black bar overlooking a stovetop. Most are return visitors (“die-hard Hot Stovers,” I learn). One describes baking a perfect macaron at home after a class earlier that week. On the bar top, a huge basket bursts with bouquets of thickstemmed, ruffling leaves of kale. Chef Bridget Charters, director at Hot Stove Society, worked for 17 years at the Art Institute of Seattle before joining the Tom Douglas empire. Tonight she guides the class through an evening of kaleinspired “intensive edutainment.” The class begins with a smoothie—and a history lesson. Bananas, raspberries, almond and coconut butter are blended with heaps of kale stripped from the stem. Charters explains that until three years ago, kale almost exclusively appeared as decorative garnishes at the country club. In part because of its robust vitamin and mineral content, kale has since become the It Girl of vegetables. After the salubrious amuse-bouche, Charters returns to the blender to make a kale pesto with pistachios and garlic cloves. Drizzled over cold rigatoni with a dusting of shaved Pecorino Romano, the dish has an intense garden flavor. Next up: a shredded kale couve a mineira (Charters’ take on a Brazilian recipe for collard greens). “This dish is why I started growing kale,” she says as she stacks bunches of lacinato kale leaves, rolls them, then cuts them into slender ribbons. These are placed in a pot and caramelized along with onions, garlic and a healthy amount of olive oil. The lesson winds down as Charters adds the final touches to a simmering pot of callaloo, a Caribbean- and Africaninspired pepper pot, which has been slowly taking shape for the past hour. Essences of bacon, thyme, taro root and coconut milk infuse the kitchen. Now it’s our turn. Charters kicks the students off the bar seats and lets us loose in the kitchen. “Just play!” she instructs. …the atmosphere is reassuringly homey—inviting even to non-Betty Crocker types who are otherwise traumatized by the prospect of properly boiling an egg. Compared to the Hot Stovers, my corner of the kitchen looks like Top Chef for Dummies, as I fumblingly caramelize my couve a mineira without setting anything on fire and pull together a kale Caesar with dressing from scratch—which previously would have been tantamount to parting the Red Sea. There’s a unique, masochistic joy that comes from the ache in your arms after you’ve whisked for minutes on end, watching oil and freshsqueezed lemon emulsify before your eyes. As the class draws to an end, Chef Charters helps us box up the food we’ve cooked, then ladles bowls of kale callaloo for everyone. When it finally meets my mouth, my lapsed-vegetarian heart skips a beat: chunks of bacon and kale swimming in a base of hot, buttery coconut milk are among the best things I’ve ever tasted. I’ll have to work up some courage to make it at home, but there’s hope for me yet. n BRUCE CLAYTON TOM Chef Charters, right, provides “intensive edutainment.” SEE MORE LEARN MORE KNOW MORE EncoreArtsSeattle.com Q&A BEHIND THE SCENES ARTIST SPOTLIGHT NEWS PREVIEWS NEW CONSTRUCTION | REMODELING | HIGH PERFORMANCE BUILDING INCITING EVOLUTION IN BUILDING THROUGH SERVICE, CRAFT, AND SCIENCE. KARUNA HOUSE, DESIGNED BY HOLST ARCHITECTURE AND BUILT BY HAMMER & HAND, IS THE FIRST BUILDING IN THE WORLD TO ACHIEVE THE GREEN BUILDING TRIPLE CROWN OF LEED, PASSIVE HOUSE, AND MINERGIE CERTIFICATION. HAMMERANDHAND.COM PORTLAND 503.232.2447 CCB#105118 SEATTLE 206.397.0558 WACL#HAMMEH1930M7
