2018/19 SEASON A THOUSAND SPLENDID SUNS | A PEOPLE’S HISTORY | IN THE HEIGHTS | LAST OF THE BOYS THE WOMAN IN BLACK | A DOLL’S HOUSE, PART 2 | NINA SIMONE: FOUR WOMEN | TINY BEAUTIFUL THINGS
JANUARY 18 - FEBRUARY 10, 2019
BY STEVEN DIETZD I R E C T E D B Y
BRADEN ABRAHAM
JANUARY 2019
Connecting arts, culture
and community.
Become a part of the program:
† ex-officio* ArtsFund Board Fellow
BOARD OF TRUSTEES
TABLE OF CONTENTS
About the Show ......................7
Meet the Cast .........................8
Beyond the Stage ................. 14
From the Artistic Director .... 16
Donor Recognition ............. 20
JANUARY 2019
EDITOR-IN-CHIEF Rowena Yow
EDITOR Noelle McCabe
ART DIRECTOR Shannon Loys
PHOTOGRAPHER Angela Nickerson
THE GREAT SOCIETY (2014) PICTURED: JACK WILLIS PHOTO BY CHRIS BENNION
From the Vault
ARTISTIC DIRECTOR Braden Abraham † Seattle Repertory Theatre
Clodagh Ash Civic Leader
Susan Ashmun Civic Leader
Lynne Bush Civic Leader
Debra Canales Providence Health & Services
SRO PRESIDENT Diane Cody † Civic Leader
Jim Copacino Copacino+Fujikado, LLC
Tracy Daw Funko, LLC
Juli Farris Keller Rohrback LLP
Donte Felder Seattle Public Schools
Karen Fletcher Civic Leader
Scottland Glenn* Kantor Taylor PC
MANAGING DIRECTOR Jeffrey Herrmann † Seattle Repertory Theatre
Alyssa Hochman Point B
Winky Hussey Civic Leader
SRO REPRESENTATIVE Robert Jenkins † Civic Leader
Bruce E.H. Johnson Davis Wright Tremaine, LLP
Deborah T. Killinger Civic Leader
Gwenann Kroon Civic Leader
Mandy Leifheit* Microsoft Corporation
Rachel Lerman The Seattle Times
Marko Liias Washington State Senator 21st District
Charlotte Lin Civic Leader
Marcella McCaffray Civic Leader
Sandy McDade Civic Leader
Rick McMichael Civic Leader
Terri Olson Miller Civic Leader
Glenna Olson U.S. Bank
Anita Ramasastry University of Washington
Tim Rattigan Citigroup Global Markets Inc.
Anne Simpson Civic Leader
Richard B. Stead, M.D. Bio-Pharma Consulting Services LLC
SRT FOUNDATION REPRESENTATIVE Carlyn Steiner † Civic Leader
John Stilin Civic Leader
Janice Tsai Mozilla
Marisa Walker Baird Private Wealth Management
Nancy Ward World Justice Project
Tom Wright Filmmaker
CHAIR John Keegan Civic Leader
PRESIDENT Stellman Keehnel DLA Piper LLP (US)
VICE PRESIDENT/CHAIR-ELECT Amy Bautista Kosmos Management
PAST-PRESIDENT Earle J. Hereford Kutscher Hereford Bertram Burkart PLLC
VICE PRESIDENT Elizabeth Choy, M.D. Civic Leader
VICE PRESIDENT Donna M. Cochener HomeStreet Bank
VICE PRESIDENT Adam Cornell Snohomish Co. Prosecuting Attorney
VICE PRESIDENT Brent Deim Amazon
VICE PRESIDENT Rebecca Pomering Moss Adams Wealth Advisors LLC
TREASURER Kevin Millison Boeing Commercial Airplanes
SECRETARY Becky Lenaburg Microsoft Corporation
TRUSTEES EMERITIPam AndersonRobert S. Cline Bill Gates, Sr. John HempelmannToni HoffmanBrent JohnsonRobert L. King, Jr.H.L. (Skip) Kotkins, Jr.Lynn ManleyIlse OlesAnn Ramsay-JenkinsDeborah RosenStanley SavageCarlyn SteinerJanet TrueJames F. TuneJean Viereck
Jill WatkinsShauna Woods
ADVISORY COUNCILDr. Laila AbdallaSheetal AgarwalDavid AlhadeffKenny AlhadeffMarleen AlhadeffJoanne Euster Carver GaytonTiffany GortonMary Kay HaggardChris KevorkianDavid SchneidermanAnthony Shoecraft
Paul StamnesMarty TaucherJane Zalutsky
HONORARY TRUSTEESChap AlvordBill FranklinPhil McCuneNancy MertelRobin NelsonHal Strong Tammy TalmanRichard Weisman‡
SRT FOUNDATION BOARDBruce E.H. Johnson
Chair
Carlyn SteinerVice-Chair
Alta BarerMargaret ClappAllan DavisJohn Keegan†
Stellman Keehnel†
Terri Olson Miller†
Kevin Millison†
Elizabeth D. RudolfJanet True Shauna Woods†
‡ deceased
Connecting arts, culture
and community.
Become a part of the program:
† ex-officio* ArtsFund Board Fellow
BOARD OF TRUSTEES
TABLE OF CONTENTS
About the Show ......................7
Meet the Cast .........................8
Beyond the Stage ................. 14
From the Artistic Director .... 16
Donor Recognition ............. 20
JANUARY 2019
EDITOR-IN-CHIEF Rowena Yow
EDITOR Noelle McCabe
ART DIRECTOR Shannon Loys
PHOTOGRAPHER Angela Nickerson
THE GREAT SOCIETY (2014) PICTURED: JACK WILLIS PHOTO BY CHRIS BENNION
From the Vault
ARTISTIC DIRECTOR Braden Abraham † Seattle Repertory Theatre
Clodagh Ash Civic Leader
Susan Ashmun Civic Leader
Lynne Bush Civic Leader
Debra Canales Providence Health & Services
SRO PRESIDENT Diane Cody † Civic Leader
Jim Copacino Copacino+Fujikado, LLC
Tracy Daw Funko, LLC
Juli Farris Keller Rohrback LLP
Donte Felder Seattle Public Schools
Karen Fletcher Civic Leader
Scottland Glenn* Kantor Taylor PC
MANAGING DIRECTOR Jeffrey Herrmann † Seattle Repertory Theatre
Alyssa Hochman Point B
Winky Hussey Civic Leader
SRO REPRESENTATIVE Robert Jenkins † Civic Leader
Bruce E.H. Johnson Davis Wright Tremaine, LLP
Deborah T. Killinger Civic Leader
Gwenann Kroon Civic Leader
Mandy Leifheit* Microsoft Corporation
Rachel Lerman The Seattle Times
Marko Liias Washington State Senator 21st District
Charlotte Lin Civic Leader
Marcella McCaffray Civic Leader
Sandy McDade Civic Leader
Rick McMichael Civic Leader
Terri Olson Miller Civic Leader
Glenna Olson U.S. Bank
Anita Ramasastry University of Washington
Tim Rattigan Citigroup Global Markets Inc.
Anne Simpson Civic Leader
Richard B. Stead, M.D. Bio-Pharma Consulting Services LLC
SRT FOUNDATION REPRESENTATIVE Carlyn Steiner † Civic Leader
John Stilin Civic Leader
Janice Tsai Mozilla
Marisa Walker Baird Private Wealth Management
Nancy Ward World Justice Project
Tom Wright Filmmaker
CHAIR John Keegan Civic Leader
PRESIDENT Stellman Keehnel DLA Piper LLP (US)
VICE PRESIDENT/CHAIR-ELECT Amy Bautista Kosmos Management
PAST-PRESIDENT Earle J. Hereford Kutscher Hereford Bertram Burkart PLLC
VICE PRESIDENT Elizabeth Choy, M.D. Civic Leader
VICE PRESIDENT Donna M. Cochener HomeStreet Bank
VICE PRESIDENT Adam Cornell Snohomish Co. Prosecuting Attorney
VICE PRESIDENT Brent Deim Amazon
VICE PRESIDENT Rebecca Pomering Moss Adams Wealth Advisors LLC
TREASURER Kevin Millison Boeing Commercial Airplanes
SECRETARY Becky Lenaburg Microsoft Corporation
TRUSTEES EMERITIPam AndersonRobert S. Cline Bill Gates, Sr. John HempelmannToni HoffmanBrent JohnsonRobert L. King, Jr.H.L. (Skip) Kotkins, Jr.Lynn ManleyIlse OlesAnn Ramsay-JenkinsDeborah RosenStanley SavageCarlyn SteinerJanet TrueJames F. TuneJean Viereck
Jill WatkinsShauna Woods
ADVISORY COUNCILDr. Laila AbdallaSheetal AgarwalDavid AlhadeffKenny AlhadeffMarleen AlhadeffJoanne Euster Carver GaytonTiffany GortonMary Kay HaggardChris KevorkianDavid SchneidermanAnthony Shoecraft
Paul StamnesMarty TaucherJane Zalutsky
HONORARY TRUSTEESChap AlvordBill FranklinPhil McCuneNancy MertelRobin NelsonHal Strong Tammy TalmanRichard Weisman‡
SRT FOUNDATION BOARDBruce E.H. Johnson
Chair
Carlyn SteinerVice-Chair
Alta BarerMargaret ClappAllan DavisJohn Keegan†
Stellman Keehnel†
Terri Olson Miller†
Kevin Millison†
Elizabeth D. RudolfJanet True Shauna Woods†
‡ deceased encoremediagroup.com/programs 3
January 2019Volume 38, No. 4
Paul Heppner President
Mike Hathaway Senior Vice President
Kajsa Puckett Vice President, Sales & Marketing
Genay Genereux Accounting & Office Manager
ProductionSusan Peterson Vice President, Production
Jennifer Sugden Assistant Production Manager
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SalesAmelia Heppner, Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives
Devin Bannon, Brieanna Hansen, Ann Manning Seattle Area Account Executives
Carol Yip Sales Coordinator
MarketingShaun Swick Senior Designer & Digital Lead
Ciara Caya Marketing Coordinator
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Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2019 Encore Media Group. Reproduction without written permission is prohibited.
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Code of ConductWe are committed to being a racially, culturally, and socially just organization. We uphold a safe environment wherein all people are treated with respect and dignity. It is our expectation that all staff, visitors, and patrons comply with this code of conduct and we reserve the right to relocate or remove any person from our theatre who disregards our commitment.
Evacuation ProceduresIn an emergency, wait for an announcement for further instructions. Ushers will be available for assistance. Familiarize yourself with the exit route nearest your seat.
Coat CheckCheck items for $1 each.
Food and BeveragePatrons are welcome to bring drinks in plasticware into the theatre. Food and glassware are not allowed in the theatre. You can avoid lines by pre-ordering drinks for intermission!
Emergency NumberIn case of emergency, doctors and other emergency contacts may reach you by calling 206.443.2222. Give your name and seat location to the house manager if you expect to be contacted.
Accessibility ServicesWheelchair-accessible ticketing available. Inquire with the Box Office when you purchase your ticket.
Seattle Rep is equipped with a hearing loop which uses a wireless signal to transmit the sound from the theatre’s PA system to the T-coils in your implant or hearing aid, as well as to receivers that are available on loan at Coat Check. Coverage is provided wherever you see the T-coil symbol.
We offer select captioned, audio-described, and ASL-interpreted performances during our season. Large print programs are available at Coat Check.
FIREARMS & SMOKINGFirearms are not allowed in any part of the building. Smoking is not allowed in our building or within 25 feet of any entrance.
CONTACT SEATTLE REPBOX OFFICE 206.443.2222 Hours: Noon to curtain
ADMINISTRATIVE206.443.2210
ADDRESS 155 Mercer St. P.O. Box 900923 Seattle, WA 98109
Group SalesGroups of 10+ save! 206.443.2224 [email protected]
A RAISIN IN THE SUN (2016) PICTURED: RICHARD PRIOLEAUPHOTO BY ALAN ALABASTRO
MISSIONSeattle Repertory Theatre collaborates with extraordinary artists to create productions and programs that reflect and elevate the diverse cultures, perspectives, and life experiences of our region.
VISIONTheatre at the heart of public life.
VALUESArtistic VitalitySustainabilityGenerous and InclusivePractices
From the VaultFOR OUR PATRONS
We welcome you to take pictures of the set
before the show, during intermission, and after the show.
Photography, recording, and use of cell phones are strictly prohibited
during the performance.
SHARE YOUR PHOTOS
@SEATTLEREP#LASTOFTHEBOYSSRT
6
Code of ConductWe are committed to being a racially, culturally, and socially just organization. We uphold a safe environment wherein all people are treated with respect and dignity. It is our expectation that all staff, visitors, and patrons comply with this code of conduct and we reserve the right to relocate or remove any person from our theatre who disregards our commitment.
Evacuation ProceduresIn an emergency, wait for an announcement for further instructions. Ushers will be available for assistance. Familiarize yourself with the exit route nearest your seat.
Coat CheckCheck items for $1 each.
Food and BeveragePatrons are welcome to bring drinks in plasticware into the theatre. Food and glassware are not allowed in the theatre. You can avoid lines by pre-ordering drinks for intermission!
Emergency NumberIn case of emergency, doctors and other emergency contacts may reach you by calling 206.443.2222. Give your name and seat location to the house manager if you expect to be contacted.
Accessibility ServicesWheelchair-accessible ticketing available. Inquire with the Box Office when you purchase your ticket.
Seattle Rep is equipped with a hearing loop which uses a wireless signal to transmit the sound from the theatre’s PA system to the T-coils in your implant or hearing aid, as well as to receivers that are available on loan at Coat Check. Coverage is provided wherever you see the T-coil symbol.
We offer select captioned, audio-described, and ASL-interpreted performances during our season. Large print programs are available at Coat Check.
FIREARMS & SMOKINGFirearms are not allowed in any part of the building. Smoking is not allowed in our building or within 25 feet of any entrance.
CONTACT SEATTLE REPBOX OFFICE 206.443.2222 Hours: Noon to curtain
ADMINISTRATIVE206.443.2210
ADDRESS 155 Mercer St. P.O. Box 900923 Seattle, WA 98109
Group SalesGroups of 10+ save! 206.443.2224 [email protected]
A RAISIN IN THE SUN (2016) PICTURED: RICHARD PRIOLEAUPHOTO BY ALAN ALABASTRO
MISSIONSeattle Repertory Theatre collaborates with extraordinary artists to create productions and programs that reflect and elevate the diverse cultures, perspectives, and life experiences of our region.
VISIONTheatre at the heart of public life.
VALUESArtistic VitalitySustainabilityGenerous and InclusivePractices
From the VaultFOR OUR PATRONS
We welcome you to take pictures of the set
before the show, during intermission, and after the show.
Photography, recording, and use of cell phones are strictly prohibited
during the performance.
SHARE YOUR PHOTOS
@SEATTLEREP#LASTOFTHEBOYSSRT
BY Steven Dietz
DIRECTED BY Braden Abraham
JANUARY 18 - FEBRUARY 10, 2019
LAST OF THE BOYS
The actors and stage managers in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
SEATTLE REPERTORY THEATRE
LIGHTING DESIGNER
Ben ZamoraORIGINAL MUSIC & SOUND DESIGN
Victoria Deiorio
STAGE MANAGER
Stina LottiASSISTANT STAGE
MANAGER
Rachael Dorman
ARTISTIC DIRECTOR
Braden AbrahamMANAGING DIRECTOR
Jeffrey HerrmannPRESENTS
Jeeter ................................................Kevin Anderson
Salyer ................................................Emily Chisholm
Ben ...................................................Reginald André Jackson
The Young Soldier .............................Josh Kenji
Lorraine .............................................Kate Wisniewski
PRODUCING PARTNER
SEASON SPONSOR
PLEASE NOTE
This show contains moderate profanity, loud sound effects, haze, depictions of drug use, and partial nudity.
RUN TIME
Approximately 2 hours, 5 minutes including one intermission.
CAST(in alphabetical order)
ADDITIONAL CASTING
McCorkle Casting LTD
SCENIC & COSTUME DESIGNER
G.W. (Skip) Mercier
SEATTLE CASTING
Kaytlin McIntyre
PRODUCING ASSOCIATES
Last of the Boys is presented by special arrangement with Dramatists Play Service, Inc., NY.
Last of the Boys was originally produced by
McCarter Theatre, Princeton, NJ
EMILY MANN ARTISTIC DIRECTOR
JEFFREY WOODWARD MANAGING DIRECTOR
encoremediagroup.com/programs 7
Kevin AndersonJeeterKevin has starred in over 30 film and television productions and over 30 stage productions worldwide from Steppenwolf (35-year
ensemble member) to Broadway, Off-Broadway, Dublin, and London’s West End. He has been nominated for a Tony Award (Death of a Salesman), Outer Critics Circle Award (Come Back Little Sheba), Golden Globe, Viewers for Quality Television, TV Critics Association Awards (“Nothing Sacred”), and has won Drama Desk and Outer Critics Circle Awards (Death of a Salesman), and Theatre World and Jefferson Awards (Orphans). Some of his most memorable performances include Orphans (with Albert Finney), Sleeping with the Enemy (with Julia Roberts), Sunset Boulevard (with Patti LuPone), RFK in Hoffa (with Jack Nicholson), and Biff in Death of a Salesman. He is perhaps best known for his performance as Father Ray in ABC’s “Nothing Sacred.”
Emily ChisholmSalyerEmily Chisholm previously appeared at the Rep in Outside Mullingar, the world premiere of Pullman Porter Blues, and most
recently as Jane in Pride and Prejudice for which she was nominated for a Gregory Award. She has performed with Arena Stage, ACT Theatre, Seattle Shakespeare Company, Seattle Public Theater, Seattle Children’s Theatre, and with New Century Theatre Company where she was a company member for three years. Recent performances include Vivie in Mrs. Warren’s Profession directed by Victor Pappas and Charlotte in The Mystery of Love and Sex directed by Allison Narver. She also received Gregory Award nominations for her work in The Flick and Bethany and is the recipient of The Stranger’s Genius Award. She is a graduate of Cornish College of the Arts.
Reginald André JacksonBenReginald’s last acting role was Carl in Lonely Planet at West of Lenin, written and directed by Steven Dietz. It was
an experience he believes can only enrich his involvement here, in what Dietz has called his other friendship play. Last year he appeared at Seattle Repertory Theatre as
Wolf in Two Trains Running. Rep audiences may also know him from Well, All The Way, The Great Society, Inspecting Carol, Ma Rainey’s Black Bottom, Romeo and Juliet, and The Cider House Rules, Part Two. He has also worked with Intiman, The Shakespeare Theatre Company, Arena Stage, Lake Tahoe Shakespeare Festival, ACT, Artists Repertory Theatre, Book-It, The Village, ArtsWest, and Seattle Shakespeare Company, among others. As a playwright, he is the recipient of the American Alliance of Theatre & Education’s Distinguished Play Award for his adaptation of Christopher Paul Curtis’ novel Bud, Not Buddy.
Josh KenjiThe Young SoldierJosh Kenji is a local actor and artist. He is honored to be making his Seattle Rep debut working with a talented cast, production team,
and with Steven Dietz on this story. In the past few years, Josh Kenji graduated from UW with degrees in Drama Performance, Musical Theatre, and Voice Performance, and has worked on projects with various local theatres including Sound Theatre Company, ACT, The 5th Avenue Theatre, Village Theatre, and Café Nordo. Thanks for all the love and support to his family, friends, and TJ. “Maybe a survivor is nothing but the last one to come home, the final monarch that lands on a branch already weighted with ghosts” –Ocean Vuong.
Kate WisniewskiLorraineKate Wisniewski is a founding member of upstart crow collective and played Margaret of Anjou in their co-productions with Seattle
Shakespeare Company, Richard III and Bring Down the House (her co-adaptation of Shakespeare’s Henry VI plays). Previously with upstart crow collective: King John and Titus Andronicus. Seattle Shakespeare Company: The Importance of Being Earnest, Richard II, and Much Ado About Nothing with Wooden O. Locally: Intiman, ACT, Book-It Repertory Theatre, Empty Space, Tacoma Actors Guild, New Century Theatre Company, and New City Theatre. Regionally: The American Repertory Theatre in Cambridge, MA. Kate is a graduate of the American Repertory Theatre Institute at Harvard. She is an adjunct faculty member at Seattle University in the Performing Arts and Arts Leadership Department and is a Certified Fitzmaurice Voicework instructor.
MEET THE
CASTSteven DietzPlaywrightSteven Dietz’s 30-plus plays and adaptations have been seen at over 100 regional theatres in the U.S., as well as Off-Broadway. International productions have been seen in over 20 countries, including recently in Brazil, Thailand, South Africa, Estonia, and Iran. Previously at Seattle Rep: Over the Moon (2003) and Private Eyes (1998). Recent world premieres include Bloomsday (Steinberg New Play Award Citation) at ACT, and This Random World (Humana Festival of New American Plays) at Actors Theatre of Louisville. Other recent Seattle projects include Lonely Planet at West of Lenin, On Clover Road at Seattle Public Theater, and Go Dog Go! at Seattle Children’s Theatre. Dietz’s interlocking companion plays for adult and youth audiences (The Great Beyond and The Ghost of Splinter Cove) will premiere in Charlotte, NC this spring. Currently a Dramatists Guild “Traveling Master,” Dietz teaches workshops in playwriting, collaboration, and story-making across the U.S. He and his wife, playwright Allison Gregory, divide their time between Seattle and Austin. Thanks to Joe Sedlachek.
Braden AbrahamDirectorBraden joined Seattle Rep in 2002, starting as an artistic intern, then holding several positions on the artistic staff. He served as Associate Artistic Director for seven years before his appointment as Artistic Director in 2015. An accomplished director, he has directed many productions for the Rep, most recently Ibsen in Chicago, Well, Luna Gale, A View from the Bridge, The Comparables, Who’s Afraid of Virginia Woolf?, and A Great Wilderness. Other productions include The Glass Menagerie; Clybourne Park; and the critically acclaimed, extended runs of Photograph 51; My Name is Rachel Corrie (U.S. regional premiere); and Betrayal. Braden directed the West Coast premieres of This (Seattle Rep), The K of D, an urban legend (Seattle Rep, Pistol Cat, FringeNYC, Illusion Theatre), Opus (Seattle Rep), and White Hot (Marxiano Productions/West of Lenin). Other premieres include Riddled (Richard Hugo House); Clear Blue Sky (On the Boards/Northwest New Works); Breakin’ Hearts and Takin’ Names (Seattle Rep); The Ten Thousand Things (Washington Ensemble Theatre); and Kuwait (Theater Schmeater). Braden has developed new work with Seattle Rep, Denver Theatre Center, On the Boards, The O’Neill Playwrights Conference, Ojai Playwrights Conference, Portland Center Stage, and The Playwrights Center. Member of SDC.
MEET THE
ARTISTIC TEAMG.W. (Skip) Mercier Scenic & Costume DesignerMercier is delighted to return to Seattle Rep where he designed Ibsen in Chicago, Well, and The Time of Your Life. In NY he designed the sets and costumes for Juan Darien: A Carnival Mass, which received a Tony Award nomination and two Drama Desk nominations. At the Vineyard Theatre, Dream True and Bed and Sofa procured him two additional Drama Desk Nominations. He received the AUDELCO award for outstanding set design for Tarell Alvin McCraney’s Head of Passes at The Public. Regionally, he was honored with the Bay Area Critics Award for Outstanding Scenic Design for The Time of Your Life at A.C.T. and Head of Passes at Berkeley Rep. He proudly received the Daryl Roth Creative Spirit Award for Outstanding Talent and Vision in Design.
Ben ZamoraLighting DesignerBen Zamora’s design work has been seen at Arena Stage, Pasadena Playhouse, Portland Center Stage, ACT Theatre, the Park Avenue Armory, The Barbican and Royal Festival Hall in London, the Mariinsky Theatre in Russia, Lincoln Center for the Performing Arts, Brisbane Festival in Australia, Stockholm’s Baltic Sea Festival, the Helsinki Festival, the Berliner Festspiele, Berlin Philharmonic, Deutsche Oper, Deutsche Symphony Orchestra, the Lucerne Festival in Switzerland, Walt Disney Concert Hall with the Los Angeles Philharmonic and the Getty Villa in Los Angeles, the Holland Festival and DeDoelen in The Netherlands, and Festival d’Aix-en-Provence, Grande Halle de La Villette, and Salle Pleyel in France.
Victoria DeiorioOriginal Music & Sound DesignVictoria Deiorio is very happy to be making her Seattle Repertory Theatre debut. Off Broadway: Nine Circles; A Christmas Carol; Two Point Oh; Cassie’s Chimera; The Bluest Eye; Arnie the Doughnut; and Ophelia. Regional: Oregon Shakespeare Festival; Goodman Theatre; Steppenwolf; Chicago Shakespeare; Hartford Stage; Long Wharf Theatre; Syracuse Stage; Baltimore Center Stage; Cincinnati Playhouse; Cleveland Playhouse; Chautauqua Theater Company; Indiana Repertory; Milwaukee Repertory; CATF; among many other theatres in and around Chicago, NY, and LA. Film: Thump, The Interview, Use Me Up, One Sunday Afternoon. Awards: Nominated for 13 and winning seven Joseph Jefferson Awards, two After Dark Awards, and a SALT Award. Professional: Head of Sound Design for The Theatre School at DePaul University in Chicago, and Co-Chair of the Theatrical Sound Designers and Composers Association. victoria-sound-design.com
Casting, Pat McCorkle, (C.S.A.), Katja Zarolinski, (C.S.A.), McCorkle Casting LTDAdditional CastingBroadway: Over 50 productions including On The Town, Amazing Grace, End of the Rainbow, The Lieutenant of Inishmore, Cat on a Hot Tin Roof, One Flew Over The Cuckoo’s Nest, Amadeus, She Loves Me, A Few Good Men, etc. Off-Broadway: Party Face Clever Little Lies, Tribes, Our Town (Barrow Street), Freud’s Last Session, Toxic Avenger, Almost Maine, Driving Miss Daisy. Feature films: Currently: City of the Dead; Sandy Springs; Senior Moment; The Murphys; Mike, Mike Tan. Previously: Child of Grace, Year by the Sea, Premium Rush, Ghost Town, The Thomas Crown Affair, Die Hard with a Vengeance, School Ties, etc. Television: “Twisted,” humans for “Sesame Street,” “Hack” (CBS), “Californication”(Emmy nomination), “Max Bickford”(CBS), “Chapelle’s Show,” “Strangers with Candy,” “Barbershop,” etc. mccorklecasting.com
Stina LottiStage ManagerProduction Stage Manager, Seattle Rep. Select credits: The Servant of Two Masters (Seattle Repertory Theatre, Shakespeare Theatre Company, Guthrie Theater, ArtsEmerson); MAC BETH, The Odyssey, Here Lies Love, Well, A Raisin in the Sun, All the Way, The Great Society, The Piano Lesson, Boeing Boeing, Fences, You Can’t Take It With You, Gem of the Ocean (Seattle Repertory Theatre); The Sound of Music, Cinderella, Guys and Dolls, White Christmas, Cabaret (The 5th Avenue Theatre); Angels in America, A Doctor In Spite of Himself (Intiman Theatre); Brooklyn Bridge, Lyle the Crocodile (Seattle Children’s Theatre).
Rachael DormanAssistant Stage ManagerRachael is so happy to be back at Seattle Rep to work with this amazing cast and team. She was last at the Rep working on Well. Rachael is a proud Rep intern from the 2009/10 season. Most recently, she was the ASM at ACT working on A Christmas Carol. As an ASM at The 5th Avenue Theatre, she has worked on Irving Berlin’s Holiday Inn, The Secret Garden, Paint Your Wagon, Carousel, and A Christmas Story. Much love to her family, friends, Kelly, and Frobie.
8
Kevin AndersonJeeterKevin has starred in over 30 film and television productions and over 30 stage productions worldwide from Steppenwolf (35-year
ensemble member) to Broadway, Off-Broadway, Dublin, and London’s West End. He has been nominated for a Tony Award (Death of a Salesman), Outer Critics Circle Award (Come Back Little Sheba), Golden Globe, Viewers for Quality Television, TV Critics Association Awards (“Nothing Sacred”), and has won Drama Desk and Outer Critics Circle Awards (Death of a Salesman), and Theatre World and Jefferson Awards (Orphans). Some of his most memorable performances include Orphans (with Albert Finney), Sleeping with the Enemy (with Julia Roberts), Sunset Boulevard (with Patti LuPone), RFK in Hoffa (with Jack Nicholson), and Biff in Death of a Salesman. He is perhaps best known for his performance as Father Ray in ABC’s “Nothing Sacred.”
Emily ChisholmSalyerEmily Chisholm previously appeared at the Rep in Outside Mullingar, the world premiere of Pullman Porter Blues, and most
recently as Jane in Pride and Prejudice for which she was nominated for a Gregory Award. She has performed with Arena Stage, ACT Theatre, Seattle Shakespeare Company, Seattle Public Theater, Seattle Children’s Theatre, and with New Century Theatre Company where she was a company member for three years. Recent performances include Vivie in Mrs. Warren’s Profession directed by Victor Pappas and Charlotte in The Mystery of Love and Sex directed by Allison Narver. She also received Gregory Award nominations for her work in The Flick and Bethany and is the recipient of The Stranger’s Genius Award. She is a graduate of Cornish College of the Arts.
Reginald André JacksonBenReginald’s last acting role was Carl in Lonely Planet at West of Lenin, written and directed by Steven Dietz. It was
an experience he believes can only enrich his involvement here, in what Dietz has called his other friendship play. Last year he appeared at Seattle Repertory Theatre as
Wolf in Two Trains Running. Rep audiences may also know him from Well, All The Way, The Great Society, Inspecting Carol, Ma Rainey’s Black Bottom, Romeo and Juliet, and The Cider House Rules, Part Two. He has also worked with Intiman, The Shakespeare Theatre Company, Arena Stage, Lake Tahoe Shakespeare Festival, ACT, Artists Repertory Theatre, Book-It, The Village, ArtsWest, and Seattle Shakespeare Company, among others. As a playwright, he is the recipient of the American Alliance of Theatre & Education’s Distinguished Play Award for his adaptation of Christopher Paul Curtis’ novel Bud, Not Buddy.
Josh KenjiThe Young SoldierJosh Kenji is a local actor and artist. He is honored to be making his Seattle Rep debut working with a talented cast, production team,
and with Steven Dietz on this story. In the past few years, Josh Kenji graduated from UW with degrees in Drama Performance, Musical Theatre, and Voice Performance, and has worked on projects with various local theatres including Sound Theatre Company, ACT, The 5th Avenue Theatre, Village Theatre, and Café Nordo. Thanks for all the love and support to his family, friends, and TJ. “Maybe a survivor is nothing but the last one to come home, the final monarch that lands on a branch already weighted with ghosts” –Ocean Vuong.
Kate WisniewskiLorraineKate Wisniewski is a founding member of upstart crow collective and played Margaret of Anjou in their co-productions with Seattle
Shakespeare Company, Richard III and Bring Down the House (her co-adaptation of Shakespeare’s Henry VI plays). Previously with upstart crow collective: King John and Titus Andronicus. Seattle Shakespeare Company: The Importance of Being Earnest, Richard II, and Much Ado About Nothing with Wooden O. Locally: Intiman, ACT, Book-It Repertory Theatre, Empty Space, Tacoma Actors Guild, New Century Theatre Company, and New City Theatre. Regionally: The American Repertory Theatre in Cambridge, MA. Kate is a graduate of the American Repertory Theatre Institute at Harvard. She is an adjunct faculty member at Seattle University in the Performing Arts and Arts Leadership Department and is a Certified Fitzmaurice Voicework instructor.
MEET THE
CASTSteven DietzPlaywrightSteven Dietz’s 30-plus plays and adaptations have been seen at over 100 regional theatres in the U.S., as well as Off-Broadway. International productions have been seen in over 20 countries, including recently in Brazil, Thailand, South Africa, Estonia, and Iran. Previously at Seattle Rep: Over the Moon (2003) and Private Eyes (1998). Recent world premieres include Bloomsday (Steinberg New Play Award Citation) at ACT, and This Random World (Humana Festival of New American Plays) at Actors Theatre of Louisville. Other recent Seattle projects include Lonely Planet at West of Lenin, On Clover Road at Seattle Public Theater, and Go Dog Go! at Seattle Children’s Theatre. Dietz’s interlocking companion plays for adult and youth audiences (The Great Beyond and The Ghost of Splinter Cove) will premiere in Charlotte, NC this spring. Currently a Dramatists Guild “Traveling Master,” Dietz teaches workshops in playwriting, collaboration, and story-making across the U.S. He and his wife, playwright Allison Gregory, divide their time between Seattle and Austin. Thanks to Joe Sedlachek.
Braden AbrahamDirectorBraden joined Seattle Rep in 2002, starting as an artistic intern, then holding several positions on the artistic staff. He served as Associate Artistic Director for seven years before his appointment as Artistic Director in 2015. An accomplished director, he has directed many productions for the Rep, most recently Ibsen in Chicago, Well, Luna Gale, A View from the Bridge, The Comparables, Who’s Afraid of Virginia Woolf?, and A Great Wilderness. Other productions include The Glass Menagerie; Clybourne Park; and the critically acclaimed, extended runs of Photograph 51; My Name is Rachel Corrie (U.S. regional premiere); and Betrayal. Braden directed the West Coast premieres of This (Seattle Rep), The K of D, an urban legend (Seattle Rep, Pistol Cat, FringeNYC, Illusion Theatre), Opus (Seattle Rep), and White Hot (Marxiano Productions/West of Lenin). Other premieres include Riddled (Richard Hugo House); Clear Blue Sky (On the Boards/Northwest New Works); Breakin’ Hearts and Takin’ Names (Seattle Rep); The Ten Thousand Things (Washington Ensemble Theatre); and Kuwait (Theater Schmeater). Braden has developed new work with Seattle Rep, Denver Theatre Center, On the Boards, The O’Neill Playwrights Conference, Ojai Playwrights Conference, Portland Center Stage, and The Playwrights Center. Member of SDC.
MEET THE
ARTISTIC TEAMG.W. (Skip) Mercier Scenic & Costume DesignerMercier is delighted to return to Seattle Rep where he designed Ibsen in Chicago, Well, and The Time of Your Life. In NY he designed the sets and costumes for Juan Darien: A Carnival Mass, which received a Tony Award nomination and two Drama Desk nominations. At the Vineyard Theatre, Dream True and Bed and Sofa procured him two additional Drama Desk Nominations. He received the AUDELCO award for outstanding set design for Tarell Alvin McCraney’s Head of Passes at The Public. Regionally, he was honored with the Bay Area Critics Award for Outstanding Scenic Design for The Time of Your Life at A.C.T. and Head of Passes at Berkeley Rep. He proudly received the Daryl Roth Creative Spirit Award for Outstanding Talent and Vision in Design.
Ben ZamoraLighting DesignerBen Zamora’s design work has been seen at Arena Stage, Pasadena Playhouse, Portland Center Stage, ACT Theatre, the Park Avenue Armory, The Barbican and Royal Festival Hall in London, the Mariinsky Theatre in Russia, Lincoln Center for the Performing Arts, Brisbane Festival in Australia, Stockholm’s Baltic Sea Festival, the Helsinki Festival, the Berliner Festspiele, Berlin Philharmonic, Deutsche Oper, Deutsche Symphony Orchestra, the Lucerne Festival in Switzerland, Walt Disney Concert Hall with the Los Angeles Philharmonic and the Getty Villa in Los Angeles, the Holland Festival and DeDoelen in The Netherlands, and Festival d’Aix-en-Provence, Grande Halle de La Villette, and Salle Pleyel in France.
Victoria DeiorioOriginal Music & Sound DesignVictoria Deiorio is very happy to be making her Seattle Repertory Theatre debut. Off Broadway: Nine Circles; A Christmas Carol; Two Point Oh; Cassie’s Chimera; The Bluest Eye; Arnie the Doughnut; and Ophelia. Regional: Oregon Shakespeare Festival; Goodman Theatre; Steppenwolf; Chicago Shakespeare; Hartford Stage; Long Wharf Theatre; Syracuse Stage; Baltimore Center Stage; Cincinnati Playhouse; Cleveland Playhouse; Chautauqua Theater Company; Indiana Repertory; Milwaukee Repertory; CATF; among many other theatres in and around Chicago, NY, and LA. Film: Thump, The Interview, Use Me Up, One Sunday Afternoon. Awards: Nominated for 13 and winning seven Joseph Jefferson Awards, two After Dark Awards, and a SALT Award. Professional: Head of Sound Design for The Theatre School at DePaul University in Chicago, and Co-Chair of the Theatrical Sound Designers and Composers Association. victoria-sound-design.com
Casting, Pat McCorkle, (C.S.A.), Katja Zarolinski, (C.S.A.), McCorkle Casting LTDAdditional CastingBroadway: Over 50 productions including On The Town, Amazing Grace, End of the Rainbow, The Lieutenant of Inishmore, Cat on a Hot Tin Roof, One Flew Over The Cuckoo’s Nest, Amadeus, She Loves Me, A Few Good Men, etc. Off-Broadway: Party Face Clever Little Lies, Tribes, Our Town (Barrow Street), Freud’s Last Session, Toxic Avenger, Almost Maine, Driving Miss Daisy. Feature films: Currently: City of the Dead; Sandy Springs; Senior Moment; The Murphys; Mike, Mike Tan. Previously: Child of Grace, Year by the Sea, Premium Rush, Ghost Town, The Thomas Crown Affair, Die Hard with a Vengeance, School Ties, etc. Television: “Twisted,” humans for “Sesame Street,” “Hack” (CBS), “Californication”(Emmy nomination), “Max Bickford”(CBS), “Chapelle’s Show,” “Strangers with Candy,” “Barbershop,” etc. mccorklecasting.com
Stina LottiStage ManagerProduction Stage Manager, Seattle Rep. Select credits: The Servant of Two Masters (Seattle Repertory Theatre, Shakespeare Theatre Company, Guthrie Theater, ArtsEmerson); MAC BETH, The Odyssey, Here Lies Love, Well, A Raisin in the Sun, All the Way, The Great Society, The Piano Lesson, Boeing Boeing, Fences, You Can’t Take It With You, Gem of the Ocean (Seattle Repertory Theatre); The Sound of Music, Cinderella, Guys and Dolls, White Christmas, Cabaret (The 5th Avenue Theatre); Angels in America, A Doctor In Spite of Himself (Intiman Theatre); Brooklyn Bridge, Lyle the Crocodile (Seattle Children’s Theatre).
Rachael DormanAssistant Stage ManagerRachael is so happy to be back at Seattle Rep to work with this amazing cast and team. She was last at the Rep working on Well. Rachael is a proud Rep intern from the 2009/10 season. Most recently, she was the ASM at ACT working on A Christmas Carol. As an ASM at The 5th Avenue Theatre, she has worked on Irving Berlin’s Holiday Inn, The Secret Garden, Paint Your Wagon, Carousel, and A Christmas Story. Much love to her family, friends, Kelly, and Frobie.
CENTER THEATRE• SEATTLE CENTERBOOK-IT.ORG • 206.216.0833
encoremediagroup.com/programs 9
Braden AbrahamArtistic DirectorSee page 8 for bio.
Jeffrey HerrmannManaging DirectorIn May 2014, Jeffrey Herrmann was appointed as the third Managing Director in Seattle Rep’s 55-year history. In this role, Jeff oversees all the administrative functions of this nearly $13 million, nationally-recognized, not-for-profit performing arts organization, including development, finance, marketing, operations, and Board relations. Since his arrival—which coincided, to the day, with Braden Abraham’s appointment as Artistic Director—activity, attendance, fundraising, and the budget have all shown marked increases. Under Jeff’s management, the theatre also recently completed a significant renovation of the PONCHO Forum, the first major capital project undertaken by the Rep since the construction of the Leo K. Theatre in 1995; saw its world premiere of Come From Away open on Broadway, in Canada, and on national tour; reconfigured the Bagley Wright Theatre in order to produce David Byrne’s groundbreaking, immersive musical Here Lies Love, which now stands as the highest-grossing show in the Rep’s history; has committed to an initiative to increase equity, diversity, and inclusion at every level of the theatre; and completed its first strategic plan in more than a decade. Prior to his arrival in Seattle, Jeff served as Managing Director of Washington D.C.’s Woolly Mammoth Theatre Company for seven seasons. Before that, Jeff served as Producing Director at Perseverance Theatre in Juneau, AK for eight seasons. Jeff started his career in arts administration with the Albany Berkshire Ballet in Pittsfield, MA, where he served as Managing Director for three years. Born in upstate NY and raised in West Hartford, CT, Jeff received his B.A. in English at Vassar College and his M.F.A. in Theatre Management at the Yale School of Drama.
Seattle Repertory TheatreFounded in 1963, Seattle Rep is led by Artistic Director Braden Abraham and Managing Director Jeffrey Herrmann. One of America’s premier not-for-profit resident theatres, Seattle Repertory Theatre has achieved international renown for its consistently high production and artistic standards, and was awarded the 1990 Tony Award for Outstanding Regional Theatre. With an emphasis on entertaining plays of true dramatic and literary worth, Seattle Rep produces a season of plays along with educational programs, new play workshops, and special presentations. Visit seattlerep.org.
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FOR
SEATTLE REP
Seattle Repertory Theatre is a member of the League of Resident Theatres (LORT), a nationwide association of not for profit theatres.
This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the I.A.T.S.E. Scenery Construction and Operations performed by employees represented by I.A.T.S.E. locals 15 and 488. Wardrobe services are performed by employees represented by T.W.U Local 887
Seattle Repertory Theatre is a constituent of Theatre Communications Group (TCG), the national service organization for the nonprofit professional theatre.
Seattle Repertory Theatre is a member of Theatre Puget Sound.
AFFILIATIONS
Seattle Repertory Theatre is a member of NAMT, a not-for-profit organization serving the musical theatre community.
The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union.
ACKNOWLEDGEMENTS
Joe SedlachekConsultant for Last of the Boys
Amanda Scharen, PT, DPTPhysical Therapist
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Braden AbrahamArtistic DirectorSee page 8 for bio.
Jeffrey HerrmannManaging DirectorIn May 2014, Jeffrey Herrmann was appointed as the third Managing Director in Seattle Rep’s 55-year history. In this role, Jeff oversees all the administrative functions of this nearly $13 million, nationally-recognized, not-for-profit performing arts organization, including development, finance, marketing, operations, and Board relations. Since his arrival—which coincided, to the day, with Braden Abraham’s appointment as Artistic Director—activity, attendance, fundraising, and the budget have all shown marked increases. Under Jeff’s management, the theatre also recently completed a significant renovation of the PONCHO Forum, the first major capital project undertaken by the Rep since the construction of the Leo K. Theatre in 1995; saw its world premiere of Come From Away open on Broadway, in Canada, and on national tour; reconfigured the Bagley Wright Theatre in order to produce David Byrne’s groundbreaking, immersive musical Here Lies Love, which now stands as the highest-grossing show in the Rep’s history; has committed to an initiative to increase equity, diversity, and inclusion at every level of the theatre; and completed its first strategic plan in more than a decade. Prior to his arrival in Seattle, Jeff served as Managing Director of Washington D.C.’s Woolly Mammoth Theatre Company for seven seasons. Before that, Jeff served as Producing Director at Perseverance Theatre in Juneau, AK for eight seasons. Jeff started his career in arts administration with the Albany Berkshire Ballet in Pittsfield, MA, where he served as Managing Director for three years. Born in upstate NY and raised in West Hartford, CT, Jeff received his B.A. in English at Vassar College and his M.F.A. in Theatre Management at the Yale School of Drama.
Seattle Repertory TheatreFounded in 1963, Seattle Rep is led by Artistic Director Braden Abraham and Managing Director Jeffrey Herrmann. One of America’s premier not-for-profit resident theatres, Seattle Repertory Theatre has achieved international renown for its consistently high production and artistic standards, and was awarded the 1990 Tony Award for Outstanding Regional Theatre. With an emphasis on entertaining plays of true dramatic and literary worth, Seattle Rep produces a season of plays along with educational programs, new play workshops, and special presentations. Visit seattlerep.org.
Encore Ads
FOR
SEATTLE REP
Seattle Repertory Theatre is a member of the League of Resident Theatres (LORT), a nationwide association of not for profit theatres.
This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the I.A.T.S.E. Scenery Construction and Operations performed by employees represented by I.A.T.S.E. locals 15 and 488. Wardrobe services are performed by employees represented by T.W.U Local 887
Seattle Repertory Theatre is a constituent of Theatre Communications Group (TCG), the national service organization for the nonprofit professional theatre.
Seattle Repertory Theatre is a member of Theatre Puget Sound.
AFFILIATIONS
Seattle Repertory Theatre is a member of NAMT, a not-for-profit organization serving the musical theatre community.
The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union.
ACKNOWLEDGEMENTS
Joe SedlachekConsultant for Last of the Boys
Amanda Scharen, PT, DPTPhysical Therapist
“TOTALLY USER-FRIENDLY!” –The Los Angeles Times
This innovative and crowd-pleasing portrait of Apple’s visionary co-founder dazzles with “visually stunning” (ABQ Journal) staging and lyrical, cutting-edge music mixing traditional and electronic instrumentation. Compelling, funny, and touching, the unique production “does what opera does best: giving audiences a glimpse into the inner life of its title character” (Marin Independent Journal). Don’t miss this remarkable example of theatrical imagination.
West Coast Premiere!In English with English subtitles.Evenings 7:30 PMSunday 2:00 PM
Featuring the Seattle Opera Chorus and members of Seattle Symphony Orchestra.
MCCAW HALL 206.389.7676 SEATTLEOPERA.ORG/STEVEJOBS2018/19 SEASON SPONSOR: LENORE M. HANAUER
PRODUCTION SPONSORS: ARTSFUND, C.E. STUART CHARITABLE TRUST, TAGNEY JONES FAMILY FUND AT SEATTLE FOUNDATION
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Co-commission with Santa Fe Opera and San Francisco Opera, with support from Cal Performances
THE (R)EVOLUTION OF STEVE JOBSFEB. 23–MAR. 9
encoremediagroup.com/programs 11
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Theatre Forward advances American theatre and its communities by providing funding and other resources
to Seattle Repertory Theatre and other leading nonprofit theatres. Theatre Forward and its member theatres are most grateful to the following funders:
THEATRE EXECUTIVES ($50,000+)AT&T ◊
Bank of America •
Citi •
The Hearst Foundations ◊
The Schloss Family Foundation ץ
James S. & Lynne P. Turley *ץ
Wells Fargo ◊
BENEFACTORS ($25,000-$49,999)Buford Alexander & Pamela Farr •
The Augustine Foundation ◊
BNY Mellon
Steven & Joy Bunson •
EY
Goldman, Sachs & Co.
MetLife
Morgan Stanley
Patti & Rusty Rueff Foundation •
Stephanie Scott •
PACESETTERS ($15,000-$24,999)American Express
AudienceView
Bloomberg Philanthropies
Paula A. Dominick •
The Estée Lauder Companies Inc.
Alan & Jennifer Freedman *•
Frank & Bonnie Orlowski •
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The Music Man Foundation ◊
Meltwater
Pfizer, Inc.
Thomas C. Quick •
Southwest Airlines נ
TD Charitable Foundation ◊
George S. Smith, Jr. *•
UBS
DONORS ($10,000-$14,999)AetnaMitchell J. Auslander •DELLDorsey & Whitney Foundation Bruce R. and Tracey Ewing • Mary Kitchen & Jon Orszag *KLDiscoveryAnthony & Diane Lembke*Evelyn Mack Truitt *Lisa Orberg ◊PresidioRBC Wealth ManagementDaniel A. Simkowitz & Mari Nakachi •S&P GlobalIsabelle Winkles •Willkie Farr & Gallagher
SUPPORTERS ($2,500-$9,999)Joseph Baio and Anne Griffin *Sheri and Les Biller FoundationSue Ann Collins *Dramatists Play Service, Inc.Kevin & Anne Driscoll *John R. Dutt *Jessica FarrLucy Fato & Matt Detmer *Foresight TheatricalSteven & Donna Gartner* Glen Gillen & Michael LawrenceRichard K. Greene •Nancy Hancock Griffith*Joyce & Gregory Hurst •JujamcynRob Kauffman*Jonathan Maurer & Gretchen Shugart •Louise Moriarty & Patrick Stack *Robin and Bob Paulson Charitable FundLeslie C. Quick, Jr. and Regina A. Quick Charitable Trust FoundationSarah RobertsonElliott Sernel & Larry Falconio *Ten Chimneys FoundationTheatermaniaJohn Thomopoulos •Ubiñas Family Charitable TrustMichael A. Wall *Mary Beth Winslow & Bill Darby *Terrence P. Yanni •Westlake Reed Leskosky ◊
Current Funders List as of October 2018
* National Society Membership† Includes In-kind support◊ Educating through Theatre support• Advancing Strong Theatre support
For a complete list of funders, visit theatreforward.org
S P OT L I G H T O N
VETERAN COMMUNITY PROGRAMMINGSeattle Repertory Theatre is proud to be centering the story of two Vietnam War veterans on stage. To all of the veterans in our audience today: Thank you for your service. We are partnering with Vietnam Veterans of America (Region 8) and the King County Veterans Consortium to offer veteran-led panels and community talkbacks following 2:00 p.m. performances on:
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CALLING ALLHIGH SCHOOLERS!
Join us at the Rep as the next generation of Seattle actors perform August Wilson’s iconic words
in the city he cherished. 12 high school finalists will present their monologues,
vying for the once-in-a-lifetime opportunity to advance to New York to perform in the August Wilson Theatre
on Broadway. Come and be inspired by these talented young artists!
Thursday, February 28 at 7:30 p.m.Leo K. Theatre | Tickets: $5
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Encore Ads
Theatre Forward advances American theatre and its communities by providing funding and other resources
to Seattle Repertory Theatre and other leading nonprofit theatres. Theatre Forward and its member theatres are most grateful to the following funders:
THEATRE EXECUTIVES ($50,000+)AT&T ◊
Bank of America •
Citi •
The Hearst Foundations ◊
The Schloss Family Foundation ץ
James S. & Lynne P. Turley *ץ
Wells Fargo ◊
BENEFACTORS ($25,000-$49,999)Buford Alexander & Pamela Farr •
The Augustine Foundation ◊
BNY Mellon
Steven & Joy Bunson •
EY
Goldman, Sachs & Co.
MetLife
Morgan Stanley
Patti & Rusty Rueff Foundation •
Stephanie Scott •
PACESETTERS ($15,000-$24,999)American Express
AudienceView
Bloomberg Philanthropies
Paula A. Dominick •
The Estée Lauder Companies Inc.
Alan & Jennifer Freedman *•
Frank & Bonnie Orlowski •
Marsh & McLennan Companies, Inc.
The Music Man Foundation ◊
Meltwater
Pfizer, Inc.
Thomas C. Quick •
Southwest Airlines נ
TD Charitable Foundation ◊
George S. Smith, Jr. *•
UBS
DONORS ($10,000-$14,999)AetnaMitchell J. Auslander •DELLDorsey & Whitney Foundation Bruce R. and Tracey Ewing • Mary Kitchen & Jon Orszag *KLDiscoveryAnthony & Diane Lembke*Evelyn Mack Truitt *Lisa Orberg ◊PresidioRBC Wealth ManagementDaniel A. Simkowitz & Mari Nakachi •S&P GlobalIsabelle Winkles •Willkie Farr & Gallagher
SUPPORTERS ($2,500-$9,999)Joseph Baio and Anne Griffin *Sheri and Les Biller FoundationSue Ann Collins *Dramatists Play Service, Inc.Kevin & Anne Driscoll *John R. Dutt *Jessica FarrLucy Fato & Matt Detmer *Foresight TheatricalSteven & Donna Gartner* Glen Gillen & Michael LawrenceRichard K. Greene •Nancy Hancock Griffith*Joyce & Gregory Hurst •JujamcynRob Kauffman*Jonathan Maurer & Gretchen Shugart •Louise Moriarty & Patrick Stack *Robin and Bob Paulson Charitable FundLeslie C. Quick, Jr. and Regina A. Quick Charitable Trust FoundationSarah RobertsonElliott Sernel & Larry Falconio *Ten Chimneys FoundationTheatermaniaJohn Thomopoulos •Ubiñas Family Charitable TrustMichael A. Wall *Mary Beth Winslow & Bill Darby *Terrence P. Yanni •Westlake Reed Leskosky ◊
Current Funders List as of October 2018
* National Society Membership† Includes In-kind support◊ Educating through Theatre support• Advancing Strong Theatre support
For a complete list of funders, visit theatreforward.org
S P OT L I G H T O N
VETERAN COMMUNITY PROGRAMMINGSeattle Repertory Theatre is proud to be centering the story of two Vietnam War veterans on stage. To all of the veterans in our audience today: Thank you for your service. We are partnering with Vietnam Veterans of America (Region 8) and the King County Veterans Consortium to offer veteran-led panels and community talkbacks following 2:00 p.m. performances on:
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CALLING ALLHIGH SCHOOLERS!
Join us at the Rep as the next generation of Seattle actors perform August Wilson’s iconic words
in the city he cherished. 12 high school finalists will present their monologues,
vying for the once-in-a-lifetime opportunity to advance to New York to perform in the August Wilson Theatre
on Broadway. Come and be inspired by these talented young artists!
Thursday, February 28 at 7:30 p.m.Leo K. Theatre | Tickets: $5
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A L L I S O N G R E G O RY
I’ve never interviewed a playwright, or my husband, before. This is going to be fun—or the end of our marriage. So, you set out to write a play about male friendship, and then along the way the Vietnam War got involved. How intentional was that?
ST E V E N D I E T Z
The notion of McNamara preceded the notion of friendship. I had been obsessed with McNamara for a while—just as a history lover and news junkie—so I had all this information about him, but I didn’t know how to tell McNamara’s story. I must have been looking for a sort of portal for it. And then I had a commission from San Jose Repertory Theatre to write a new play for them, and the only stipulation is that it had to have something to do with California—it had to be regional somehow. So, I thought, well, I want to write my McNamara play, he had some CA ties, I’ll just set it in the Great Central Valley. And when I set it in the Great Central Valley, then the notion of this Vietnam vet living in a trailer off the grid came in, and that somehow freed me from writing a “McNamara” play. Suddenly I had a loner in a trailer—and then that man’s best friend came —and suddenly the friendship came into the play. I’ve long thought that this play is not “about” Vietnam any more than my play Lonely Planet is about HIV/AIDS. Those are external events used to pressurize the friendships and relationships inside the plays.
AG In this play, how much do the characters reflect people you know...or are currently living with? Because all the characters come in with really strong personalities and needs.
S D I don’t have a one-on-one point of contact between specific people I know or we know and those characters. However, I can see them as almost uber-types of certain friends I know. The character of Jeeter—this crazy shamanic dude—has parallels to a dear friend of mine, but it’s not his story. Lorraine, the angry Vietnam widow; I don’t know that woman, but I know women adjacent to her, in a sense. I also suspect the very naturalistic feel of the play made me a little nervous (it had been a long time since I’d written a “realistic,” “real time” play), and so I wanted to heighten the people. Take their fears or obsessions and put them into overdrive.
AG How do you view your male friendships versus how you view my female friendships?
S D Oh, this is dangerous territory! I think you and your friends have way more fireworks, and we have, like, big slow tectonic plates shifting. They’re not earthquakes. The best description I ever came up with for the end of a male friendship... is, like, you walk down to the basement to get something and the basement’s just not there. It’s a quiet thing.
I think we like to make fun of male friendships; there are jokes in this play about male friendships. But the fact that we jokingly diminish male friendship means we also diminish how it feels when it ends. I’ve seen how complicated it is when a friendship of yours ends. I think male friendship tends to be quieter, but I believe it can be extraordinarily deep. Something I respect about male friendship is that it is seldom effervescent. It survives time. I also think men don’t know how to end them. In my life when a male friendship
Last of the Boys playwright Steven Dietz in conversation with fellow award-winning playwright (and wife!) Allison Gregory.
BEYOND THE STAGE
OF FRIENDS AND FATHERS
ends, it doesn’t end with a bang; it ends with a whimper. Of course, it has to end with some kind of bang in Last of the Boys because it’s a play—but I hope the play maintains the ghost quality of male friendship. I’m not always in the same city as my close circle of male friends...but I feel that they “ghost” in my life in a powerful way. In a play that is also a ghost story, that seems right to me.
AG Here’s the first sentence of the play—the stage description: “You might wonder who lives here. An old rusted trailer; a dirt and gravel yard, old trees forming a canopy behind. You got lost out here you’d need directions.” To me it sounded like your dad, the brevity and sort of straightforwardness.
The legacy of fathers haunts this play. And I know you were deeply close to yourdad. Your dad was alive when you wrote this play, but you lost him shortly after it premiered at the McCarter Theatre in 2004. Can you talk about how, and if, his absence impacts the way you experience this story?
S D Yes, it can’t not, right? John Victor Dietz must be right in the center of this play, somehow. I think of it in terms of gaps. I felt very close to my father, and loved by him, but I also felt a gap. A gap of secrets my dad had (including his service in WWII) or parts of myself that I didn’t share with him. And those are regrets now, but I suspect I’m not the only son who feels this way about his father. And was he aware of this? Did he feel a gap between himself and me? I’ll never know... Also, sitting here across the table from you, I’m aware that the first few productions of this play happened exactly between my dad’s death and the year we adopted our son, Abraham. In some ways this play is a bridge in time that connects my father and my son, who never met each other.
AG Okay, so you just left teaching at the University of Texas after 12 years. And in that time, you somehow managed to write, like, 17 plays.
S D Yeah. Sorry, America.
AG How does teaching inform your creative impulses?
S D The great thing about full-time teaching was that it made me come up with language for what my plays do and how they do it. I had never had to do that before. And I believe that, in turn, sharpened my craft. A lot of Last of the Boys was written by instinct (or so I thought)... but now after 12 years of full-time teaching, I can hear a scene read and think: “Okay, yes, that’s a Turn, that’s a Reversal, that’s a shift in Status, that’s a Story Point I can complicate later,” etc. What I thought was instinct was likely craft, but 12 years ago, I did not have language for it.
AG This is an important play for you. It must feel great to have it finally find a theatrical home in Seattle, a city we love, after all these years.
S D It’s a very powerful feeling. I’m so grateful. When I think about how long I wanted to write a play that became this play, and then to have Braden Abraham say to me that he had heard a reading of it here, maybe back around 2003? And that he had been looking for a chance to do it? That made my day. I didn’t expect anything after that, it just made me so happy that someone was still thinking about this play of mine. Then a year ago he said, “No, I’m not kidding, I’m gonna find a way to do it.” And now he has. It’s so meaningful.
AG 2003? That would’ve been during Go Dog Go!.
S D Few people are aware that they are companion plays.
Can I say one thing about my pal Joe Sedlachek? So now I had a trailer and some guys, and McNamara is gonna figure in this, somehow. And it was
just all false starts. I couldn’t start it. I kept listening to my 60s music, and I couldn’t start it. So instead, one night I just started the play as a letter to Joe, who is a Vietnam vet. And I sent it to him. So, Joe alone has a version of Last of the Boys where the opening stage direction is “Hi Joe. I’m stuck. I’m trying to write a play about these guys, and I know you were there. And I’m trying to write a play about friendship, and you’re my friend. I hope I can find a way to do this.” And it was me trying to find a connection—thinking that if I talked to Joe, a dear pal of mine who was over there, who the play is dedicated to, it might give me some traction. And it did. It got me into the first scene.
AG It got you a connection.
S D A big connection. And then Joe worked as an advisor at the premiere of the play at the McCarter Theatre—and on other productions after that, at theatres where I was not even involved with the play. And now—fittingly—Joe and his family live here in Seattle, so he’s working on the show here at the Rep, getting to be around and talk to the cast and Braden and everyone. And again, when you asked what the connections are between people I know and this play—Last of the Boys is not Joe’s story. But Joe is a spirit guide for this story.
AG That seems apropos for a play like this.
S D I think so.
AG Well, Steven Dietz, it’s been a real pleasure. Anything else?
S D I love you.
AG I don’t know if I can put that in.
I’m trying to write a play about friendship, and you’re my friend. I hope I can find a way to do this.
“
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A L L I S O N G R E G O RY
I’ve never interviewed a playwright, or my husband, before. This is going to be fun—or the end of our marriage. So, you set out to write a play about male friendship, and then along the way the Vietnam War got involved. How intentional was that?
ST E V E N D I E T Z
The notion of McNamara preceded the notion of friendship. I had been obsessed with McNamara for a while—just as a history lover and news junkie—so I had all this information about him, but I didn’t know how to tell McNamara’s story. I must have been looking for a sort of portal for it. And then I had a commission from San Jose Repertory Theatre to write a new play for them, and the only stipulation is that it had to have something to do with California—it had to be regional somehow. So, I thought, well, I want to write my McNamara play, he had some CA ties, I’ll just set it in the Great Central Valley. And when I set it in the Great Central Valley, then the notion of this Vietnam vet living in a trailer off the grid came in, and that somehow freed me from writing a “McNamara” play. Suddenly I had a loner in a trailer—and then that man’s best friend came —and suddenly the friendship came into the play. I’ve long thought that this play is not “about” Vietnam any more than my play Lonely Planet is about HIV/AIDS. Those are external events used to pressurize the friendships and relationships inside the plays.
AG In this play, how much do the characters reflect people you know...or are currently living with? Because all the characters come in with really strong personalities and needs.
S D I don’t have a one-on-one point of contact between specific people I know or we know and those characters. However, I can see them as almost uber-types of certain friends I know. The character of Jeeter—this crazy shamanic dude—has parallels to a dear friend of mine, but it’s not his story. Lorraine, the angry Vietnam widow; I don’t know that woman, but I know women adjacent to her, in a sense. I also suspect the very naturalistic feel of the play made me a little nervous (it had been a long time since I’d written a “realistic,” “real time” play), and so I wanted to heighten the people. Take their fears or obsessions and put them into overdrive.
AG How do you view your male friendships versus how you view my female friendships?
S D Oh, this is dangerous territory! I think you and your friends have way more fireworks, and we have, like, big slow tectonic plates shifting. They’re not earthquakes. The best description I ever came up with for the end of a male friendship... is, like, you walk down to the basement to get something and the basement’s just not there. It’s a quiet thing.
I think we like to make fun of male friendships; there are jokes in this play about male friendships. But the fact that we jokingly diminish male friendship means we also diminish how it feels when it ends. I’ve seen how complicated it is when a friendship of yours ends. I think male friendship tends to be quieter, but I believe it can be extraordinarily deep. Something I respect about male friendship is that it is seldom effervescent. It survives time. I also think men don’t know how to end them. In my life when a male friendship
Last of the Boys playwright Steven Dietz in conversation with fellow award-winning playwright (and wife!) Allison Gregory.
BEYOND THE STAGE
OF FRIENDS AND FATHERS
ends, it doesn’t end with a bang; it ends with a whimper. Of course, it has to end with some kind of bang in Last of the Boys because it’s a play—but I hope the play maintains the ghost quality of male friendship. I’m not always in the same city as my close circle of male friends...but I feel that they “ghost” in my life in a powerful way. In a play that is also a ghost story, that seems right to me.
AG Here’s the first sentence of the play—the stage description: “You might wonder who lives here. An old rusted trailer; a dirt and gravel yard, old trees forming a canopy behind. You got lost out here you’d need directions.” To me it sounded like your dad, the brevity and sort of straightforwardness.
The legacy of fathers haunts this play. And I know you were deeply close to yourdad. Your dad was alive when you wrote this play, but you lost him shortly after it premiered at the McCarter Theatre in 2004. Can you talk about how, and if, his absence impacts the way you experience this story?
S D Yes, it can’t not, right? John Victor Dietz must be right in the center of this play, somehow. I think of it in terms of gaps. I felt very close to my father, and loved by him, but I also felt a gap. A gap of secrets my dad had (including his service in WWII) or parts of myself that I didn’t share with him. And those are regrets now, but I suspect I’m not the only son who feels this way about his father. And was he aware of this? Did he feel a gap between himself and me? I’ll never know... Also, sitting here across the table from you, I’m aware that the first few productions of this play happened exactly between my dad’s death and the year we adopted our son, Abraham. In some ways this play is a bridge in time that connects my father and my son, who never met each other.
AG Okay, so you just left teaching at the University of Texas after 12 years. And in that time, you somehow managed to write, like, 17 plays.
S D Yeah. Sorry, America.
AG How does teaching inform your creative impulses?
S D The great thing about full-time teaching was that it made me come up with language for what my plays do and how they do it. I had never had to do that before. And I believe that, in turn, sharpened my craft. A lot of Last of the Boys was written by instinct (or so I thought)... but now after 12 years of full-time teaching, I can hear a scene read and think: “Okay, yes, that’s a Turn, that’s a Reversal, that’s a shift in Status, that’s a Story Point I can complicate later,” etc. What I thought was instinct was likely craft, but 12 years ago, I did not have language for it.
AG This is an important play for you. It must feel great to have it finally find a theatrical home in Seattle, a city we love, after all these years.
S D It’s a very powerful feeling. I’m so grateful. When I think about how long I wanted to write a play that became this play, and then to have Braden Abraham say to me that he had heard a reading of it here, maybe back around 2003? And that he had been looking for a chance to do it? That made my day. I didn’t expect anything after that, it just made me so happy that someone was still thinking about this play of mine. Then a year ago he said, “No, I’m not kidding, I’m gonna find a way to do it.” And now he has. It’s so meaningful.
AG 2003? That would’ve been during Go Dog Go!.
S D Few people are aware that they are companion plays.
Can I say one thing about my pal Joe Sedlachek? So now I had a trailer and some guys, and McNamara is gonna figure in this, somehow. And it was
just all false starts. I couldn’t start it. I kept listening to my 60s music, and I couldn’t start it. So instead, one night I just started the play as a letter to Joe, who is a Vietnam vet. And I sent it to him. So, Joe alone has a version of Last of the Boys where the opening stage direction is “Hi Joe. I’m stuck. I’m trying to write a play about these guys, and I know you were there. And I’m trying to write a play about friendship, and you’re my friend. I hope I can find a way to do this.” And it was me trying to find a connection—thinking that if I talked to Joe, a dear pal of mine who was over there, who the play is dedicated to, it might give me some traction. And it did. It got me into the first scene.
AG It got you a connection.
S D A big connection. And then Joe worked as an advisor at the premiere of the play at the McCarter Theatre—and on other productions after that, at theatres where I was not even involved with the play. And now—fittingly—Joe and his family live here in Seattle, so he’s working on the show here at the Rep, getting to be around and talk to the cast and Braden and everyone. And again, when you asked what the connections are between people I know and this play—Last of the Boys is not Joe’s story. But Joe is a spirit guide for this story.
AG That seems apropos for a play like this.
S D I think so.
AG Well, Steven Dietz, it’s been a real pleasure. Anything else?
S D I love you.
AG I don’t know if I can put that in.
I’m trying to write a play about friendship, and you’re my friend. I hope I can find a way to do this.
“
encoremediagroup.com/programs 15
HEN YOU LOOK BACK OVER THE PAST TO WORK OUT THE “STORY” OF A CIVILIZATION OR SOCIETY, OR EVEN YOUR OWN LIFE, YOUfind that some periods and events are more significant than others. That there are times of fundamental,
disruptive, and revolutionary change—what’s sometimes called a “paradigm shift”—that marks a sharp break with what came before and shapes all that comes after. These are not necessarily happy times even when the changes represent progress. New ways of living and thinking rarely emerge without the old ways resisting, without schisms and wounds emerging that can haunt later generations.
This comes to mind in part because November was the centenary of the end of World War I, aka The Great War; to my knowledge, the most radical and sudden “disruption” in human history. The four-year and three-month conflict left some nine million soldiers dead and six empires collapsed or fatally weakened. History is mostly a chronicle of carnage and the fall of kings, and it’s rare for either to produce fundamental change. However, in The Great
War, the destruction was so senseless that it destroyed something far more enduring than any empire: the legitimacy of centuries-old, even millennia-old elites, social structures, value systems, and cultural norms. After such a cataclysm, some embrace radical, even fantastical new ideas, while others fight to restore the old ways. It’s easy to see the last century as an ongoing struggle over the trauma of 1918.
The other reason I’m thinking on this subject is that I’ve been directing Last of the Boys, Steven Dietz’s devastating, comic, poignant, sometimes surreal 2004 drama about the lingering ghosts of the Vietnam War. The 1960s is also an era of “paradigm shift,” one which shapes our America far more than any era since. The Vietnam War was one of the challenges to the status quo that define the 60s “revolution”—the Civil Rights movement, the Sexual Revolution, the “counter-culture,” the women’s liberation movement, etc.—but they all seemed to merge in the protest over
W
FROM THE
ARTISTIC DIRECTOR
The 1960s is also an era of “paradigm shift,” one which shapes our America far more than any era since.
“
FRA
NK
WO
LFE
Vietnam War protestors march at the Pentagon in Washington, D.C. on October 21, 1967.
TOM
MY
LIS
BIN
the immorality of the war, which became the challenge most broadly and bitterly felt by the nation, and the one which most severely discredited cherished myths Americans had about their leaders, their country, and themselves. Last of the Boys examines what came after. Set at the end of the century, the play reveals an America stuck in its anger, perplexity, and shame over what was lost and unable to really accept the loss—because then what would be left?
It has been commonplace almost since the decade’s end to hear that America is “over” some aspect of the 60s; in effect, that we’ve learned and moved on from that tumultuous time period. The 1991 Persian Gulf War was hailed as a sign we were “over” Vietnam. Feminism has been declared “over” because the battle was “won.” Obama’s election in 2008 was celebrated as proof the Civil Rights struggle of the 60s was “over.” But a decade after the first Gulf War, America became bogged down in Afghanistan and Iraq. #MeToo revealed that the battle for women’s equality was never won, and now the fight against abuse is fiercer than ever. A decade after Obama’s election, racism and white supremacy have emerged to a degree unseen since, well, the 1960s.
Last of the Boys makes no reference to these schisms, but I think they and much more about the state of our Union are profoundly illuminated by Steven’s portrait of two Vietnam vets three decades after the war. These old friends are united by their shared 1960s ordeal, but also increasingly divided and estranged by how they carry the legacy of their fathers, and by their very different, deeply embedded responses to losing the old paradigms of manhood and American exceptionalism.
The play reveals an America stuck in its anger, perplexity, and shame over what was lost
“
A writer’s imagination distills from history, whether it’s personal or national; essential insights we could not otherwise experience. That’s the magic, the alchemy of the art, and why we need it. Steven and Last of the Boys join Tim O’Brien, Michael Herr, Bao Ninh, and more recently playwright Qui Nguyen—whose brilliant
Vietgone was seen on our stage a few seasons ago—and Viet Thanh Nguyen on the short list of writers and works that have fundamentally influenced my understanding of the Vietnam War and its legacy. And I feel a personal connection to Last of the Boys. The play is set in rural Northern California, a landscape and world I knew well growing up. Drive today through California’s Central Valley or down the two-lane highways of our state, and you’ll find tucked away places like the one to which the play’s Vietnam vet Benjamin Lee Holloway has retreated, hidden in plain view.
Steven dedicated this play to a real Vietnam vet, his close friend Joe Sedlachek, who lives in the Puget Sound area and I would like to extend that dedication to all our brothers and sisters who served in Vietnam and their families that make their home here. Thank you for joining us.
Braden AbrahamArtistic Director
LET’S HEAR FROM YOU
@SEATTLEREP #LASTOFTHEBOYSSRT
A stretch of highway through Fresno, California and the Central Valley
TOM
MY
LIS
BIN
HEN YOU LOOK BACK OVER THE PAST TO WORK OUT THE “STORY” OF A CIVILIZATION OR SOCIETY, OR EVEN YOUR OWN LIFE, YOUfind that some periods and events are more significant than others. That there are times of fundamental,
disruptive, and revolutionary change—what’s sometimes called a “paradigm shift”—that marks a sharp break with what came before and shapes all that comes after. These are not necessarily happy times even when the changes represent progress. New ways of living and thinking rarely emerge without the old ways resisting, without schisms and wounds emerging that can haunt later generations.
This comes to mind in part because November was the centenary of the end of World War I, aka The Great War; to my knowledge, the most radical and sudden “disruption” in human history. The four-year and three-month conflict left some nine million soldiers dead and six empires collapsed or fatally weakened. History is mostly a chronicle of carnage and the fall of kings, and it’s rare for either to produce fundamental change. However, in The Great
War, the destruction was so senseless that it destroyed something far more enduring than any empire: the legitimacy of centuries-old, even millennia-old elites, social structures, value systems, and cultural norms. After such a cataclysm, some embrace radical, even fantastical new ideas, while others fight to restore the old ways. It’s easy to see the last century as an ongoing struggle over the trauma of 1918.
The other reason I’m thinking on this subject is that I’ve been directing Last of the Boys, Steven Dietz’s devastating, comic, poignant, sometimes surreal 2004 drama about the lingering ghosts of the Vietnam War. The 1960s is also an era of “paradigm shift,” one which shapes our America far more than any era since. The Vietnam War was one of the challenges to the status quo that define the 60s “revolution”—the Civil Rights movement, the Sexual Revolution, the “counter-culture,” the women’s liberation movement, etc.—but they all seemed to merge in the protest over
W
FROM THE
ARTISTIC DIRECTOR
The 1960s is also an era of “paradigm shift,” one which shapes our America far more than any era since.
“
FRA
NK
WO
LFE
Vietnam War protestors march at the Pentagon in Washington, D.C. on October 21, 1967.
TOM
MY
LIS
BIN
the immorality of the war, which became the challenge most broadly and bitterly felt by the nation, and the one which most severely discredited cherished myths Americans had about their leaders, their country, and themselves. Last of the Boys examines what came after. Set at the end of the century, the play reveals an America stuck in its anger, perplexity, and shame over what was lost and unable to really accept the loss—because then what would be left?
It has been commonplace almost since the decade’s end to hear that America is “over” some aspect of the 60s; in effect, that we’ve learned and moved on from that tumultuous time period. The 1991 Persian Gulf War was hailed as a sign we were “over” Vietnam. Feminism has been declared “over” because the battle was “won.” Obama’s election in 2008 was celebrated as proof the Civil Rights struggle of the 60s was “over.” But a decade after the first Gulf War, America became bogged down in Afghanistan and Iraq. #MeToo revealed that the battle for women’s equality was never won, and now the fight against abuse is fiercer than ever. A decade after Obama’s election, racism and white supremacy have emerged to a degree unseen since, well, the 1960s.
Last of the Boys makes no reference to these schisms, but I think they and much more about the state of our Union are profoundly illuminated by Steven’s portrait of two Vietnam vets three decades after the war. These old friends are united by their shared 1960s ordeal, but also increasingly divided and estranged by how they carry the legacy of their fathers, and by their very different, deeply embedded responses to losing the old paradigms of manhood and American exceptionalism.
The play reveals an America stuck in its anger, perplexity, and shame over what was lost
“
A writer’s imagination distills from history, whether it’s personal or national; essential insights we could not otherwise experience. That’s the magic, the alchemy of the art, and why we need it. Steven and Last of the Boys join Tim O’Brien, Michael Herr, Bao Ninh, and more recently playwright Qui Nguyen—whose brilliant
Vietgone was seen on our stage a few seasons ago—and Viet Thanh Nguyen on the short list of writers and works that have fundamentally influenced my understanding of the Vietnam War and its legacy. And I feel a personal connection to Last of the Boys. The play is set in rural Northern California, a landscape and world I knew well growing up. Drive today through California’s Central Valley or down the two-lane highways of our state, and you’ll find tucked away places like the one to which the play’s Vietnam vet Benjamin Lee Holloway has retreated, hidden in plain view.
Steven dedicated this play to a real Vietnam vet, his close friend Joe Sedlachek, who lives in the Puget Sound area and I would like to extend that dedication to all our brothers and sisters who served in Vietnam and their families that make their home here. Thank you for joining us.
Braden AbrahamArtistic Director
LET’S HEAR FROM YOU
@SEATTLEREP #LASTOFTHEBOYSSRT
A stretch of highway through Fresno, California and the Central Valley
TOM
MY
LIS
BIN
encoremediagroup.com/programs 17
TO OUR PROSPERO CIRCLE DONORSWe gratefully acknowledge the following individuals who are bestowing Seattle Rep with a planned gift and whose philanthropic leadership helps ensure the theatre will
remain at the forefront of artistic excellence for generations to come.
We strive to keep our records as accurate as possible. If you believe you are listed or omitted in error, please contact Director of Development Jamie Herlich at [email protected]
Diana & Warren Aakervik, Jr.
Bob & Clodagh Ash
Patti & Jimmy Barrier
Michael Betts
Sharon Black
Philip Brazil
Adam & Whitney Cornell
Maria Ehsan
Joanne R. Euster
Lyn & Paul Fenton
Maureen & John Harley
Sherri Havens
Suzanne Hittman
Bruce E. H. Johnson & Sandra E. Davis
H. David Kaplan
Mark Levine & John Keppeler
Leigh Manheim
Lynn Manley & Lex Lindsey
Jo Merkli
Vic & Mary Kay Moses
Everett P. & Andrea Paup
Hillary & David Quinn
Margaret Stanley
Carlyn J. Steiner
Janet & Doug True
Jean Baur Viereck
Richard & Catherine Wakefield
Matt Warmack
Scott R. & Cindy Weaver
Dorothy Wendler
Shauna Colton Woods
Anonymous (2)
JOIN THE PROSPERO CIRCLE
The Prospero Circle is comprised of individuals who have generously chosen to include Seattle Rep in their estate plans. With a planned gift, you can make a significant investment in the theatre’s future,
without impacting your current financial situation. We invite you to join Artistic Director Braden Abraham and other Prospero Circle Partners on
to hear how you can leave your legacy at the Rep, while also supporting the theatre’s ambitious artistic trajectory.
RSVP: [email protected] | 206.443.2203
Saturday, March 30, 2019 at 12:30 p.m.MAKE IT A DATE
Exchange or purchase tickets to the 2 p.m.
performance of A Doll’s House, Part 2 directed by Braden!
Nancy Alvord & Dorothy (Dottie) Lewis Simpson
THE HUMANS (2017) PHOTO BY JULIETA CERVANTES PICTURED: DAISY EAGAN AND THERESE PLAEHN
From the Vault
S E AS O N D E D I CAT I O N I N M E M O RY O F
Nancy’s and Dottie’s passion for the arts and years of service at the theatre were profound, and their dedication to the Rep continues to
have an impact that will carry on for generations to come. Join us in celebrating their generous spirits. This season is for them.
It’s the intricate details that set Seattle Rep apart from other regional theatres across the country. The Last of the Boys set showcases
a unique blend of this ingenuity with a real trailer onstage, alongside a hand-painted backdrop and a world of lovingly detailed set
pieces.
When you make a gift to the theatre, you
help ensure that our creative teams have the resources necessary to put extraordinary art
on stage, season after season.
join our donor family. MAKE A GIFT TODAY. SEATTLEREP.ORG/DONATE
3 pLAYS $99FOR
LAST CHANCE TO SUBSCRIBE TO OUR 18/19 SEASON
SEATTLEREP.oRG/3for99
AN
GEL
A N
ICK
ERS
ON
THE HOUSE THAT SEATTLE REP BUILT
DETAILED CRAFTSMANSHIP.TECHNICAL BRILLIANCE.IMPECCABLE ARTISTRY.
1 8
TO OUR PROSPERO CIRCLE DONORSWe gratefully acknowledge the following individuals who are bestowing Seattle Rep with a planned gift and whose philanthropic leadership helps ensure the theatre will
remain at the forefront of artistic excellence for generations to come.
We strive to keep our records as accurate as possible. If you believe you are listed or omitted in error, please contact Director of Development Jamie Herlich at [email protected]
Diana & Warren Aakervik, Jr.
Bob & Clodagh Ash
Patti & Jimmy Barrier
Michael Betts
Sharon Black
Philip Brazil
Adam & Whitney Cornell
Maria Ehsan
Joanne R. Euster
Lyn & Paul Fenton
Maureen & John Harley
Sherri Havens
Suzanne Hittman
Bruce E. H. Johnson & Sandra E. Davis
H. David Kaplan
Mark Levine & John Keppeler
Leigh Manheim
Lynn Manley & Lex Lindsey
Jo Merkli
Vic & Mary Kay Moses
Everett P. & Andrea Paup
Hillary & David Quinn
Margaret Stanley
Carlyn J. Steiner
Janet & Doug True
Jean Baur Viereck
Richard & Catherine Wakefield
Matt Warmack
Scott R. & Cindy Weaver
Dorothy Wendler
Shauna Colton Woods
Anonymous (2)
JOIN THE PROSPERO CIRCLE
The Prospero Circle is comprised of individuals who have generously chosen to include Seattle Rep in their estate plans. With a planned gift, you can make a significant investment in the theatre’s future,
without impacting your current financial situation. We invite you to join Artistic Director Braden Abraham and other Prospero Circle Partners on
to hear how you can leave your legacy at the Rep, while also supporting the theatre’s ambitious artistic trajectory.
RSVP: [email protected] | 206.443.2203
Saturday, March 30, 2019 at 12:30 p.m.MAKE IT A DATE
Exchange or purchase tickets to the 2 p.m.
performance of A Doll’s House, Part 2 directed by Braden!
Nancy Alvord & Dorothy (Dottie) Lewis Simpson
THE HUMANS (2017) PHOTO BY JULIETA CERVANTES PICTURED: DAISY EAGAN AND THERESE PLAEHN
From the Vault
S E AS O N D E D I CAT I O N I N M E M O RY O F
Nancy’s and Dottie’s passion for the arts and years of service at the theatre were profound, and their dedication to the Rep continues to
have an impact that will carry on for generations to come. Join us in celebrating their generous spirits. This season is for them.
It’s the intricate details that set Seattle Rep apart from other regional theatres across the country. The Last of the Boys set showcases
a unique blend of this ingenuity with a real trailer onstage, alongside a hand-painted backdrop and a world of lovingly detailed set
pieces.
When you make a gift to the theatre, you
help ensure that our creative teams have the resources necessary to put extraordinary art
on stage, season after season.
join our donor family. MAKE A GIFT TODAY. SEATTLEREP.ORG/DONATE
3 pLAYS $99FOR
LAST CHANCE TO SUBSCRIBE TO OUR 18/19 SEASON
SEATTLEREP.oRG/3for99
AN
GEL
A N
ICK
ERS
ON
THE HOUSE THAT SEATTLE REP BUILT
DETAILED CRAFTSMANSHIP.TECHNICAL BRILLIANCE.IMPECCABLE ARTISTRY.
encoremediagroup.com/programs 19
BUYER & CELLAR (2015) PICTURED: SCOTT DRUMMOND PHOTO BY CHRIS BENNION
PLATINUM ARTISTIC DIRECTOR’S CIRCLE $100,000+
Chap & Eve Alvord
Mrs. E.C. Alvord †
David & Joanna Beitel
Stellman Keehnel & Patricia Britton
Ann Ramsay-Jenkins & The William M. Jenkins Advised Trust
Anonymous
GOLD ARTISTIC DIRECTOR’S CIRCLE $75,000 - $99,999
Katharyn GerlichMarcella McCaffrayAnn P. WyckoffMarcia & Klaus ZechAnonymous
Bob & Clodagh AshRod & Nancy HochmanWinky & Peter HusseyLinda & Ted JohnsonJohn & Nancy Jo Keegan
Charlotte Lin & Robert PorterTaucher Family FoundationJanet & Doug TrueAnonymous
SILVER ARTISTIC DIRECTOR’S CIRCLE $50,000 - $74,999
Bobbe & Jon BridgeDebra CanalesAllan & Nora DavisSuzanne HittmanBecky Lenaburg & Paul UrlaKaren Rose MitchellVic & Mary Kay MosesRobin & Dave NelsonEstate of Carmel Pope
Tim & Paula RattiganPaula & Steve ReynoldsRichard B. Stead & Elizabeth A. RyllHal & Ann StrongMary Ann & John UnderwoodJean Baur ViereckAnonymous
ACTOR’S CIRCLE $15,000 - $24,999
Each year, support from our generous donor family ensures Seattle Rep’s artistic vitality and financial stability. We gratefully acknowledge the following individuals whose philanthropic investment is pivotal to supporting the theatre’s mission-driven work.
Join Seattle Rep’s donor family. No gift is too small.
Mary Tedd Allen & George E. ScottRich & Nancy AlvordStuart & Sue AshmunSteven A. & Connie E. BallmerAlta & Stan BarerLeslie & Dale ChihulyMargaret ClappDonna CochenerBob & Loretta Comfort FundJay Hereford & Margaret Winsor
Deborah T. KillingerThe Knossos FoundationSandy & Chris † McDadeTom Miller & Terri Olson MillerElizabeth Rudolf & Fernando SanchoDr. & Mrs. Bill SchnallNancy Lee Ward & Toby BrightKenneth & Rosemary WillmanBagley & Virginia Wright FundAnonymous
ARTISTIC DIRECTOR’S CIRCLE $25,000 - $49,999
This list acknowledges individuals whose cumulative support of productions, programming, and projects received between 9/1/2017 and 11/30/2018 totaled $1,200 or more, and is inclusive of gifts made towards general operations, the Endowment, Gala Raise the Paddle, capital investments, and matching gifts.
Thank You
INDIVIDUAL DONORS
Give Online
seattlerep.org/support
Questions?
Jamie Herlich, Director of Development 206.443.2532 [email protected]
From the Vault
EXECUTIVE PRODUCER’S CIRCLE $10,000 - $14,999
Diana & Warren Aakervik, Jr.AHS FoundationMarleen & Kenny Alhadeff Fund for Theatre PractitionersMary Blodgett & Carlton CalvinMichael & Lynne BushElizabeth Choy & James E. LobsenzEstate of Phyllis ClarkJames & Jacqueline CopacinoBrent Deim & Michael Rivera-DirksJuli FarrisEllen Ferguson & Diana SillKaren & Doug FletcherWilliam E. FranklinAnne E. GittingerMaureen & John HarleyMr. & Mrs. Richard C. HedreenJohn & Ellen HillJudith Jesiolowski & David ThompsonBrent JohnsonBruce E. H. Johnson & Sandra E. DavisNorman & Lisa JudahLeslie LackeyLynn Manley & Lex LindseyKevin Millison & Jeanne BallotGlenna Olson & Conrad WoutersRachel M. & David P. RobertDavid RobinsonLee & Stuart RolfeHerman & Faye Sarkowsky Charitable FoundationCarlo & Lalie ScandiuzziDavid & Catherine SkinnerInda Taylor & Raymond SpindleCynthia StroumJames & Katherine TuneShirley & David UrdalMaggie WalkerRichard L. WeismanMelinda & Sterling WilsonThomas Wright & Alexandra Brouwer-WrightAnonymous
PRODUCER’S CIRCLE $5,000 - $9,999Kenny & Marleen AlhadeffPaige & Doug ArmentroutAmy & Bob BautistaD’Anne Bissell & Janice NewellGlenn Bonci & Joan RonnenkampPatricia Anne BonnellJeanne & Jon CantaliniTom & Cynthia CaptainTamra Chandler & Jeff MosierDeanna CochenerAmy CoreyAdam & Whitney CornellDarrel S. CowanDick & Jill DavisTracy & Suzanne DawSusan & Dave DentonJeanne Eagleson & John V. GrayLonnie & Susan EdelheitJoanne R. EusterDick & Mary Beth GemperleNatalie GendlerPeter Goldman & Martha KongsgaardTiffany R. GortonEdith W. HardingKristin Ovregaard HeeterHirayama FamilyToni & Rod HoffmanElise Holschuh & Brian McAndrews
Parul & Gary HoulahanDonna & Gary IversonKawasaki FoundationTim & Megan KirleyCathy KittoKaren Koon & Brad EdwardsMoe & Susan KrabbeCaptain M. Thomas & Gwenann KroonMichael LeakeCara Beth Lee & Amy TheobaldDena & Ron LevineLaura & Roy LundgrenMaria C. MackeyNicholas & Dana MasingtonLora & Parker MasonBlanche & Stephen MaxwellKevin McCarthy & Annalisa GironiPhilip & Jill McCuneKaren & Rick McMichaelSarah Burnell MeardonEverett P. & Andrea PaupJudy PigottMary PigottRebecca & Grant PomeringKate RiordanNicholas Roberts & Yvonne Chang RobertsValerie RobinsonJudy & Kermit RosenDeborah & Doug RosenAaron & Erika RubensonAnne Simpson & Charlie ConnerMrs. Dorothy L. Simpson †Sherry & John StilinHelen R. StusserMaryanne Tagney & David JonesAnnette Toutonghi & Bruce ObergMarisa & Brad WalkerBruce & Peggy WantaJohn Wicher & Travis PennShannon WilliamsShauna Woods & Benjamin ArenasBrien WygleWyman Youth TrustAnonymous (2)
PLAYWRIGHT’S CIRCLE $3,000 - $4,999
Adrienne & Blaise • Bob & Ali Alexander • Rene Alkoff • Rhoda Altom & Cory Carlson • Pam Anderson • William & Nancy Bain • Eileen Birge • Su Chang & Peter Williams • Susan Corwin • Joan Cremin • Todd & Sylvie Currie • Dennis & Deborah DeYoung • Emily Evans & Kevin Wilson • Sandy & Katie Farewell • Peter Feichtmeir & Sarah Patton • Anne Middleton Foster • Ginny Gilder & Lynn Slaughter • Dan & Molly Goldman • Lynn & Brian Grant Family • Katharine Graubard • Jean-Pierre Green & Jennifer Ladd • Mary Kay Haggard • Laura & David Heard • Jan Hendrickson & Chuck Leighton • Jeffrey Herrmann & Sara Waisanen • Peter Hiatt & Ron Huden • Grady & Heather Hughes • Connie & Dan Hungate • Nancy Iannucci & Harvey Jones • Joan E. Mathews Julnes • Mike & Debbie Koss • Morris & Carolyn Kremen • Christopher & Alida Latham • Ross & Tracy Lincoff • Greg & Diane Lind • J. Pierre & Felice Loebel • Mike & Lisa Losh • May McCarthy & Don Smith • Karen & Jeffrey McHenry • Wayne & Carla Millage • Mark & Susan Minerich • Matt & Jenny Muilenburg • Jerry Nagae • Samantha Temple Neukom • Grace Nordhoff & Jonathan Beard • John & Joyce O’Connell • Declan & Tricia O’Neill • Carol & Doug Powell • Ann Pryde • Mary Pugh • Paul Purcell & Barbara Guzzo • Scott & Shawn Redman • Greg Smith & Betty Mattson-Smith • Carlyn J. Steiner • Delphine & Charles Stevens • Leonard & Marsha Stevens • Todd & Jane Summerfelt • Tammy A. Talman • Vijay & Sita Vashee • Richard & Catherine Wakefield • Michael & Marsha Warden • Kinnon W. Williams • Jane Zalutsky & Mark Kantor • Anonymous (6)
DIRECTOR’S CIRCLE $1,200 - $2,999
Brian P. Abeel & Leticia Lopez • Braden Abraham & Cheyenne Casebier • Nancy Abramson • Nikhil & Sheetal Agarwal • Will Ahrens • Patricia Akiyama & David Larsen • Mary & David Alhadeff • David & Gay Allais • Jon Anderson & Frederique Levrat • Phoebe Andrew • Patty & Jimmy Barrier • Craig S. Bartholomew • Douglas & Maria Bayer • Stephen W. Behnen • George & Joan Berry • Luther Black & Christina Wright • Larry Blake • Susan & William Block • Kellis & Jeff Borek • Susan Brandt & Van White • Kent R. Burnham • Werner & Janet Cadera • Betsy & John Cadwallader • Rita Calabro & Jim Kelly • Patrick & Mary Callan • Gretchen C. & Don E. Campbell • Sonya Campion • Roland Carette-Meyers & Kiki Penoyer • Stephen & Stacy Carlson • Bill Cavender & Mary K. Neumeister • D. Thompson & Karen Challinor • Sylvia & Craig Chambers • Bernard Choi & Scott Gregory • Sarah Cole • Theodore J. & Patricia S. Collins • Ben Coscarart • Jennifer Coursen • Dan Crawford & Cora Breuner • W. Michael Crenshaw & Mary Brodd • Mr. & Mrs. James P. Crutcher • Heidi de Laubenfels & Harris Clarke • Leslie Decker & Steve Rimmer • Dottie Delaney • Alison W. Hicks • Dan & Mimi Dixon • Bob Dowdy & Cherry Tinker • Elizabeth & Miles Drake • Theodore J. Dubinsky MD, Jean K. Dubinsky, RN • Jim & Gaylee Duncan • Susan Dunn • Betty Dykstra • Jill Ekar & Al Barney • Jon & Laurene Ekse • Richard & Marlene Fallquist • Jean Falls • Elisabeth Farwell-Moreland & Gary Moreland • Lyn & Paul Fenton • Stan & Jane Fields • Carol Finn • Nancy Gallup • Bill, Lindy, & Louisa Gaylord • Mr. & Mrs. Carver Gayton • Nick Gerner & Susan Moskwa • Lynne Graybeal & Scott Harron • Timothy Greenleaf & Rebecca Roe • Eric Gustafson & Martin Sanchez • Andrew & Michelle Haines • Jeannie Hale • Adrienne L. Hall • Kathleen Hamilton • Sandy & Dave Hanower • Drs. Michael & Teresa Hart • Jan P. Havlisch • Roger & Kelly Heeringa • Kara Hefley & James Leigh • John Hempelmann & Mary McGill • Amy Henry • Jamie Herlich & Joe McIalwain • Wanda Herndon • Andrew & Delney Hilen & the Hilen Foundation • Steve & Sandy Hill • Alyssa Hochman • Bruce & Bridget Horne • Eric & Mary Horvitz • Shaun & Kathleen Hughbanks • Mark Igra & Nancy Simon • Dean M. Ishiki • Jon Jensen & Kathy Early • Jonelle Johnson • Gary & Susan Jones • Robert Kaplan & Margaret Levi • Daphne & Brett Kelley • Bill Kelliher & Sabra Gertsch • Lorna Kneeland • Therese & Bruce Kroon • Jim & Jean Kunz • Stuart Lane • Rosanne Lapan • Liam Lavery & Yazmin Mehdi • Eileen Lennon & Barrie Carter • Rachel Lerman • Sen. Marko Liias • Abe Lillard & Julia Kalmus • Michael & Barbara Luxenberg • Donald Marcy • Patrick & Rosalie McHale • Joy McNichols • Frances Mead • Brian Meenaghan • John, Gail, Daniel & Ian Mensher • Susan Mersereau & Philip White • Chuck & Nancy Mertel • Steve & Libby Miller • Michael Milligan & Jeanne E Fund & Bainbridge Foundation • Pamela & Donald Mitchell • Robert & Claudia Nelson • Erika J. Nesholm • Joe G. Norman, Jr. • Ilse H. Oles • John Palo • Stewart Parker • Lee & Alison Parsons • Terri & Ron Pehrson • Kyle & Michele Peltonen • Donald Pogoloff • Judy G. Poll • K. R. Prabha & Unmesh Wankhede • Geoffrey T. Prentiss • Nancy & Kelley Price • Andrea & Alan Rabinowitz • Dr. & Mrs. Patrick A. Ragen • Anita Ramasastry & Walter Walsh • Sharon K. & Paul B. Ramey • Kirk Redmond & Connie Clark-Redmond • Michael Repass • Jean & Kirk Robinson • Jeffrey Robinson & Mary Dicke • John Ryan & Jody Foster • Bill & Rae Saltzstein • Barbara Sando • Ingrid & Stanley Savage & the Hilen Foundation • Kristen Webb & David Schooler • Joe Schwartz • Seattle Spine & Sports Medicine • Jeanne Sheldon & Marvin Parsons • Richard & Barbara Shikiar • Don & Goldie Silverman • Evelyn Simpson • H. Warren & Nancy Smith • Kristen & Michael Soltman • Robert & Susan Spieth • Kathleen & Rob Spitzer • Paul & Michelle Stamnes • Jane Stevens & Jerry Zimmerman • Norman H. & M. Lynn Swick • David & Nancy Thacher • Rick & Suzy Titcomb • Judge Brian & Mrs. Linda Tollefson • Bill & Alice Van Pelt • Michael Von Korff & Linda Le Resche • Howard & Joan Voorheis • Mary M Webster • Judith A. Whetzel • Heather Wilde & James Gierman • Jay & Linda Willenberg • Chelle Williams • Matthew Williams & Patricia Read-Williams • John & Marta Wilson • Sarah & Jason Wine • Mrs. Howard S. Wright • Scott & Jenny Wyatt • John Zagula • Anonymous (11)
† Deceased
The accuracy of this list is important to us; we welcome notification of unintended errors or omissions.
[email protected] 206.443.2202 x1163
2 0
BUYER & CELLAR (2015)PICTURED: SCOTT DRUMMONDPHOTO BY CHRIS BENNION
PLATINUM ARTISTIC DIRECTOR’S CIRCLE$100,000+
Chap & Eve Alvord
Mrs. E.C. Alvord †
David & Joanna Beitel
Stellman Keehnel & Patricia Britton
Ann Ramsay-Jenkins & The William M. Jenkins Advised Trust
Anonymous
GOLD ARTISTIC DIRECTOR’S CIRCLE$75,000 - $99,999
Katharyn GerlichMarcella McCaffrayAnn P. WyckoffMarcia & Klaus ZechAnonymous
Bob & Clodagh AshRod & Nancy HochmanWinky & Peter HusseyLinda & Ted JohnsonJohn & Nancy Jo Keegan
Charlotte Lin & Robert PorterTaucher Family FoundationJanet & Doug TrueAnonymous
SILVER ARTISTIC DIRECTOR’S CIRCLE$50,000 - $74,999
Bobbe & Jon BridgeDebra CanalesAllan & Nora DavisSuzanne HittmanBecky Lenaburg & Paul UrlaKaren Rose MitchellVic & Mary Kay MosesRobin & Dave NelsonEstate of Carmel Pope
Tim & Paula RattiganPaula & Steve ReynoldsRichard B. Stead &Elizabeth A. RyllHal & Ann StrongMary Ann & John UnderwoodJean Baur ViereckAnonymous
ACTOR’S CIRCLE$15,000 - $24,999
Each year, support from our generous donor family ensures Seattle Rep’s artistic vitality and financial stability. We gratefully acknowledge the following individuals whose philanthropic investment is pivotal to supporting the theatre’s mission-driven work.
Join Seattle Rep’s donor family. No gift is too small.
Mary Tedd Allen &George E. ScottRich & Nancy AlvordStuart & Sue AshmunSteven A. & Connie E. BallmerAlta & Stan BarerLeslie & Dale ChihulyMargaret ClappDonna CochenerBob & Loretta Comfort FundJay Hereford & Margaret Winsor
Deborah T. KillingerThe Knossos FoundationSandy & Chris † McDadeTom Miller & Terri Olson MillerElizabeth Rudolf &Fernando SanchoDr. & Mrs. Bill SchnallNancy Lee Ward & Toby BrightKenneth & Rosemary WillmanBagley & Virginia Wright FundAnonymous
ARTISTIC DIRECTOR’S CIRCLE$25,000 - $49,999
This list acknowledges individuals whose cumulative support of productions, programming, and projects received between 9/1/2017 and 11/30/2018 totaled $1,200 or more, and is inclusive of gifts made towards general operations, the Endowment, Gala Raise the Paddle, capital investments, and matching gifts.
Thank You
INDIVIDUAL DONORS
Give Onlineseattlerep.org/support
Questions?Jamie Herlich, Director of Development206.443.2532 [email protected]
From the Vault
EXECUTIVE PRODUCER’S CIRCLE $10,000 - $14,999
Diana & Warren Aakervik, Jr.AHS FoundationMarleen & Kenny Alhadeff Fund for Theatre PractitionersMary Blodgett & Carlton CalvinMichael & Lynne BushElizabeth Choy & James E. LobsenzEstate of Phyllis ClarkJames & Jacqueline CopacinoBrent Deim & Michael Rivera-DirksJuli FarrisEllen Ferguson & Diana SillKaren & Doug FletcherWilliam E. FranklinAnne E. GittingerMaureen & John HarleyMr. & Mrs. Richard C. HedreenJohn & Ellen HillJudith Jesiolowski & David ThompsonBrent JohnsonBruce E. H. Johnson & Sandra E. DavisNorman & Lisa JudahLeslie LackeyLynn Manley & Lex LindseyKevin Millison & Jeanne BallotGlenna Olson & Conrad WoutersRachel M. & David P. RobertDavid RobinsonLee & Stuart RolfeHerman & Faye Sarkowsky Charitable FoundationCarlo & Lalie ScandiuzziDavid & Catherine SkinnerInda Taylor & Raymond SpindleCynthia StroumJames & Katherine TuneShirley & David UrdalMaggie WalkerRichard L. WeismanMelinda & Sterling WilsonThomas Wright & Alexandra Brouwer-WrightAnonymous
PRODUCER’S CIRCLE $5,000 - $9,999Kenny & Marleen AlhadeffPaige & Doug ArmentroutAmy & Bob BautistaD’Anne Bissell & Janice NewellGlenn Bonci & Joan RonnenkampPatricia Anne BonnellJeanne & Jon CantaliniTom & Cynthia CaptainTamra Chandler & Jeff MosierDeanna CochenerAmy CoreyAdam & Whitney CornellDarrel S. CowanDick & Jill DavisTracy & Suzanne DawSusan & Dave DentonJeanne Eagleson & John V. GrayLonnie & Susan EdelheitJoanne R. EusterDick & Mary Beth GemperleNatalie GendlerPeter Goldman & Martha KongsgaardTiffany R. GortonEdith W. HardingKristin Ovregaard HeeterHirayama FamilyToni & Rod HoffmanElise Holschuh & Brian McAndrews
Parul & Gary HoulahanDonna & Gary IversonKawasaki FoundationTim & Megan KirleyCathy KittoKaren Koon & Brad EdwardsMoe & Susan KrabbeCaptain M. Thomas & Gwenann KroonMichael LeakeCara Beth Lee & Amy TheobaldDena & Ron LevineLaura & Roy LundgrenMaria C. MackeyNicholas & Dana MasingtonLora & Parker MasonBlanche & Stephen MaxwellKevin McCarthy & Annalisa GironiPhilip & Jill McCuneKaren & Rick McMichaelSarah Burnell MeardonEverett P. & Andrea PaupJudy PigottMary PigottRebecca & Grant PomeringKate RiordanNicholas Roberts & Yvonne Chang RobertsValerie RobinsonJudy & Kermit RosenDeborah & Doug RosenAaron & Erika RubensonAnne Simpson & Charlie ConnerMrs. Dorothy L. Simpson †Sherry & John StilinHelen R. StusserMaryanne Tagney & David JonesAnnette Toutonghi & Bruce ObergMarisa & Brad WalkerBruce & Peggy WantaJohn Wicher & Travis PennShannon WilliamsShauna Woods & Benjamin ArenasBrien WygleWyman Youth TrustAnonymous (2)
PLAYWRIGHT’S CIRCLE $3,000 - $4,999
Adrienne & Blaise • Bob & Ali Alexander • Rene Alkoff • Rhoda Altom & Cory Carlson • Pam Anderson • William & Nancy Bain • Eileen Birge • Su Chang& Peter Williams • Susan Corwin • Joan Cremin •Todd & Sylvie Currie • Dennis & Deborah DeYoung •Emily Evans & Kevin Wilson • Sandy & Katie Farewell • Peter Feichtmeir & Sarah Patton • Anne MiddletonFoster • Ginny Gilder & Lynn Slaughter • Dan & MollyGoldman • Lynn & Brian Grant Family • KatharineGraubard • Jean-Pierre Green & Jennifer Ladd• Mary Kay Haggard • Laura & David Heard • JanHendrickson & Chuck Leighton • Jeffrey Herrmann& Sara Waisanen • Peter Hiatt & Ron Huden • Grady& Heather Hughes • Connie & Dan Hungate • NancyIannucci & Harvey Jones • Joan E. Mathews Julnes• Mike & Debbie Koss • Morris & Carolyn Kremen •Christopher & Alida Latham • Ross & Tracy Lincoff •Greg & Diane Lind • J. Pierre & Felice Loebel • Mike& Lisa Losh • May McCarthy & Don Smith • Karen &Jeffrey McHenry • Wayne & Carla Millage • Mark &Susan Minerich • Matt & Jenny Muilenburg • JerryNagae • Samantha Temple Neukom • Grace Nordhoff& Jonathan Beard • John & Joyce O’Connell • Declan& Tricia O’Neill • Carol & Doug Powell • Ann Pryde •Mary Pugh • Paul Purcell & Barbara Guzzo • Scott &Shawn Redman • Greg Smith & Betty Mattson-Smith• Carlyn J. Steiner • Delphine & Charles Stevens •Leonard & Marsha Stevens • Todd & Jane Summerfelt • Tammy A. Talman • Vijay & Sita Vashee • Richard& Catherine Wakefield • Michael & Marsha Warden •Kinnon W. Williams • Jane Zalutsky & Mark Kantor •Anonymous (6)
DIRECTOR’S CIRCLE $1,200 - $2,999
Brian P. Abeel & Leticia Lopez • Braden Abraham & Cheyenne Casebier • Nancy Abramson • Nikhil & Sheetal Agarwal • Will Ahrens • Patricia Akiyama & David Larsen • Mary & David Alhadeff • David & Gay Allais • JonAnderson & Frederique Levrat • Phoebe Andrew • Patty& Jimmy Barrier • Craig S. Bartholomew • Douglas &Maria Bayer • Stephen W. Behnen • George & Joan Berry• Luther Black & Christina Wright • Larry Blake • Susan& William Block • Kellis & Jeff Borek • Susan Brandt &Van White • Kent R. Burnham • Werner & Janet Cadera• Betsy & John Cadwallader • Rita Calabro & Jim Kelly •Patrick & Mary Callan • Gretchen C. & Don E. Campbell •Sonya Campion • Roland Carette-Meyers & Kiki Penoyer• Stephen & Stacy Carlson • Bill Cavender & Mary K.Neumeister • D. Thompson & Karen Challinor • Sylvia &Craig Chambers • Bernard Choi & Scott Gregory • SarahCole • Theodore J. & Patricia S. Collins • Ben Coscarart• Jennifer Coursen • Dan Crawford & Cora Breuner • W.Michael Crenshaw & Mary Brodd • Mr. & Mrs. James P.Crutcher • Heidi de Laubenfels & Harris Clarke • LeslieDecker & Steve Rimmer • Dottie Delaney • Alison W.Hicks • Dan & Mimi Dixon • Bob Dowdy & Cherry Tinker •Elizabeth & Miles Drake • Theodore J. Dubinsky MD, JeanK. Dubinsky, RN • Jim & Gaylee Duncan • Susan Dunn• Betty Dykstra • Jill Ekar & Al Barney • Jon & Laurene Ekse • Richard & Marlene Fallquist • Jean Falls • Elisabeth Farwell-Moreland & Gary Moreland • Lyn & Paul Fenton• Stan & Jane Fields • Carol Finn • Nancy Gallup • Bill, Lindy, & Louisa Gaylord • Mr. & Mrs. Carver Gayton • Nick Gerner & Susan Moskwa • Lynne Graybeal & Scott Harron• Timothy Greenleaf & Rebecca Roe • Eric Gustafson & Martin Sanchez • Andrew & Michelle Haines • Jeannie Hale • Adrienne L. Hall • Kathleen Hamilton • Sandy & Dave Hanower • Drs. Michael & Teresa Hart • Jan P. Havlisch • Roger & Kelly Heeringa • Kara Hefley & James Leigh • John Hempelmann & Mary McGill • Amy Henry • Jamie Herlich & Joe McIalwain • Wanda Herndon • Andrew & Delney Hilen & the Hilen Foundation • Steve & Sandy Hill • Alyssa Hochman • Bruce & Bridget Horne • Eric & Mary Horvitz • Shaun & Kathleen Hughbanks • Mark Igra & Nancy Simon • Dean M. Ishiki • Jon Jensen & Kathy Early• Jonelle Johnson • Gary & Susan Jones • Robert Kaplan & Margaret Levi • Daphne & Brett Kelley • Donor Name Redacted • Lorna Kneeland • Therese & Bruce KroonJim & Jean Kunz • Stuart Lane • Rosanne Lapan • LiamLavery & Yazmin Mehdi • Eileen Lennon & Barrie Carter • Rachel Lerman • Sen. Marko Liias • Abe Lillard & JuliaKalmus • Michael & Barbara Luxenberg • Donald Marcy •Patrick & Rosalie McHale • Joy McNichols • Frances Mead• Brian Meenaghan • John, Gail, Daniel & Ian Mensher •Susan Mersereau & Philip White • Chuck & Nancy Mertel• Steve & Libby Miller • Michael Milligan & Jeanne E Fund& Bainbridge Foundation • Pamela & Donald Mitchell• Robert & Claudia Nelson • Erika J. Nesholm • Joe G.Norman, Jr. • Ilse H. Oles • John Palo • Stewart Parker • Lee & Alison Parsons • Terri & Ron Pehrson • Kyle &Michele Peltonen • Donald Pogoloff • Judy G. Poll • K.R. Prabha & Unmesh Wankhede • Geoffrey T. Prentiss •Nancy & Kelley Price • Andrea & Alan Rabinowitz • Dr. &Mrs. Patrick A. Ragen • Anita Ramasastry & Walter Walsh• Sharon K. & Paul B. Ramey • Kirk Redmond & ConnieClark-Redmond • Michael Repass • Jean & Kirk Robinson• Jeffrey Robinson & Mary Dicke • John Ryan & Jody Foster• Bill & Rae Saltzstein • Barbara Sando • Ingrid & StanleySavage & the Hilen Foundation • Kristen Webb & DavidSchooler • Joe Schwartz • Seattle Spine & Sports Medicine • Jeanne Sheldon & Marvin Parsons • Richard & BarbaraShikiar • Don & Goldie Silverman • Evelyn Simpson • H.Warren & Nancy Smith • Kristen & Michael Soltman •Robert & Susan Spieth • Kathleen & Rob Spitzer • Paul& Michelle Stamnes • Jane Stevens & Jerry Zimmerman •Norman H. & M. Lynn Swick • David & Nancy Thacher •Rick & Suzy Titcomb • Judge Brian & Mrs. Linda Tollefson • Bill & Alice Van Pelt • Michael Von Korff & Linda Le Resche • Howard & Joan Voorheis • Mary M Webster • Judith A.Whetzel • Heather Wilde & James Gierman • Jay & LindaWillenberg • Chelle Williams • Matthew Williams & Patricia Read-Williams • John & Marta Wilson • Sarah & Jason Wine • Mrs. Howard S. Wright • Scott & Jenny Wyatt • JohnZagula • Anonymous (11)
† Deceased
The accuracy of this list is important to us; we welcome notification of unintended errors or omissions.
[email protected] 206.443.2202 x1163
encoremediagroup.com/programs 21
LIST AS OF DECEMBER 2018 Italics represent in-kind gifts. * Includes capital support
ATLAS WorkbaseBaird Private Wealth ManagementBank of America Charitable FoundationBECUThe Boeing CompanyClark Nuber
HomeStreet BankHomewood Suites by HiltonThe Morgan Fund at Seattle FoundationTreeline FoundationU.S. Bank Foundation
John GrahamFoundation
*
Seattle Repertory
Organization
The Chisholm Foundation
The Ballinger Family Foundation
HD Fowler Company
Elizabeth George Foundation
Seattle Repertory Theatre is proud to acknowledge the support of the following regional and national organizations, whose generous grants and sponsorships make possible a wide variety of artistic and audience programs that serve more than 125,000 theatregoers each year, including the Rep’s mainstage productions, new play readings and workshops, youth arts education offerings, public programs, and community engagement initiatives.
Join these philanthropic leaders in supporting great theatre in Seattle.
Thank You
INSTITUTIONAL DONORS
For more information
Melissa Husby Associate Director of Development 206.443.2202 x1014 [email protected]
$550,000
Seattle Repertory Theatre Foundation
$150,000 - $549,999
$100,000 - $149,999
Washington State Building for the Arts Program*
$50,000 - $99,999
$25,000 - $49,999
Bruce G. Cochener Foundation*
$10,000 - $24,999
AT&TDavis Wright TremaineForest FoundationHazel Miller FoundationKutscher Hereford Bertram Burkart PLLCLoeb Family Charitable FoundationsMacy’s
Moccasin Lake FoundationMuckleshoot Charitable FundPuyallup Indian Tribe Charity Trust BoardSellen Community FoundationSummit Law Group U.S. Bank Private Wealth Management
$5,000 - $9,999
$2,500 - $4,999Alaska AirlinesDeLille CellarsFales Foundation TrustHorizons FoundationLester and Phyllis Epstein FoundationMorgan Stanley Private Wealth ManagementPerkins Coie LLPSeattle FoundationWashington State Arts Commission
CONSTELLATIONS (2016) PICTURED: MAX GORDON MOORE & ALEXANDRA TAVARES PHOTO BY ALAN ALABASTRO
From the Vault
MEDIA SPONSORS
Theatre Foward’s Advancing Theatre Program
Garneau-Nicon Family Foundation
Virginia B. Toulmin
Foundation
SRO EXECUTIVE BOARD
Diane CodyPRESIDENT
Laurette Poulos SimmonsFIRST VICE PRESIDENT
Lina WillenbergSECOND VICE PRESIDENT
Judy HuckaTREASURER
Cathy KittoRECORDING SECRETARY
Carmen SpoffordCORRESPONDING SECRETARY
Robert JenkinsSRT REPRESENTATIVE
SEATTLE REPERTORY ORGANIZATION (SRO)
The Seattle Repertory Organization is a 100+ member volunteer group established in 1963 for the purpose of supporting Seattle Repertory Theatre. Through The Shop at the Rep, New York and London theatre tours, and more, the SRO donates more than $30,000 and over 12,000 volunteer hours each season.
Learn more about SRO at seattlerep.org/volunteer
Meet the artists of Last of the Boys. SRO Spotlight luncheons and interviews are an opportunity to informally visit with cast members, theatre artists, and staff who make each show possible.
seattlerep.org/SROspotlights
upcoming SRO SPOTLIGHT:
Thursday, January 3111:00 a.m. in the Rotunda
STAFF
Jeffrey Herrmann Managing DirectorBraden Abraham* Artistic Director
* Indicates an employee of 10 or more years.
** Indicates an employee of 20 or more years.
Bold = member of Seattle Rep Senior Leadership Team
Artistic
Kaytlin McIntyreCASTING DIRECTOR & ASSOCIATE PRODUCER OF THE OTHER SEASON
Hattie Claire AndresASSISTANT TO THE ARTISTIC DIRECTOR & ARTISTIC ASSOCIATE
William (L.B.) Morse*RESIDENT DESIGNER
Angie KamelPUBLIC WORKS DIRECTOR
Jéhan ÒsanyìnPUBLIC WORKS CURRICULUM MANAGER
Lia FakhouriPUBLIC WORKS ASSOCIATE
EDUCATION
Arlene Martínez-VázquezEDUCATION DIRECTOR
B. Alex ReedEDUCATION PROGRAMS MANAGER
PRODUCTION
Elisabeth Farwell-Moreland*PRODUCING DIRECTOR
Christy Bain**DIRECTOR OF ARTIST RELATIONS
Brian Fauska*TECHNICAL DIRECTOR
Sann HallPRODUCTION MANAGER
Tyler KriegARTIST RELATIONS ASSOCIATE
WileyASSOCIATE TECHNICAL DIRECTOR
Stina LottiPRODUCTION STAGE MANAGER
Robert J. Aguilar*LIGHTING DESIGN ASSOCIATE
Sean Gillies AltunaPRODUCTION PURCHASER
CARPENTERS
Jon Zucker**SCENE SHOP FOREMAN
Denny Hartung**MASTER SHOP CARPENTER
Patrick Robinson*Randall ReeceMichael McKenna Joel HerreraSCENIC CARPENTERS
COSTUME SHOPDenise Damico*COSTUME DEPARTMENT DIRECTOR
Emily BlancheASSISTANT COSTUME DEPARTMENT MANAGER
Danielle NievesCOSTUME DESIGN ASSOCIATE
Naomi WeberTAILORS/DRAPERS
Lisa Lockard**Laura Mé Smith**FIRST HANDS
Sarah Gladden**COSTUME STOCK MANAGER
Joyce Degenfelder**WIG MASTER
Brent RobertsDYER/PROPS ARTISAN
Imelda Daranciang*BAGLEY WRIGHT WARDROBE SUPERVISOR
Cindy Sabye*LEO K. WARDROBE SUPERVISOR
Maggie Carrido AdamsMAKEUP & WIGS
PROPERTIES
Jolene Obertin**PROPERTIES DIRECTOR
Karla DavenportPROPERTIES ASSISTANT
James Severson*Nicolette Vannais*Angela ZyllaPROPERTIES ARTISANS
SCENIC ARTS
Maureen Wilhelm*CHARGE SCENIC ARTIST
Ruth GilmoreLEAD SCENIC ARTIST
Beth PetersonSCENIC ARTIST
STAGE CREWSBAGLEY WRIGHT THEATRE
Noel ClaytonMASTER STAGE CARPENTER
Andrew Willhelm*MASTER ELECTRICIAN
Jeremiah Foglesong*MASTER PROPERTIES
Nathan Kahler*HEAD SOUND ENGINEER
Tony SmithHEAD FLYMAN
Dave ScamporlinaSWING TECHNICIAN
Lynne EllisSWING ELECTRICIAN
LEO KREIELSHEIMER THEATRE
Joel WilmotMASTER STAGE CARPENTER
Desirae BrownleeMASTER ELECTRICIAN
Mark KridaHEAD SOUND ENGINEER
STAGE MANAGEMENTDani Bae Jessica C. Bomball Rachael Dorman Michael John Egan Stina Lotti Adrienne Mendoza Michael B. Paul Shellie Stone
EXECUTIVE
Alyssa BostwickEXECUTIVE ASSISTANT & BOARD LIAISON
ADMINistration & HUMAN RESOURCES
Stuart JenningsINTERIM DIRECTOR OF HUMAN RESOURCES
FINANCE & OPERATIONS
Rachel M. Robert**DIRECTOR OF FINANCE & OPERATIONS
Gi Hara**CONTROLLER
Wollansa ChekolAP COORDINATOR
Supriya HariharanACCOUNTANT
John R. McNamara**OPERATIONS DIRECTOR
Debra Forman*RECEPTIONIST
INFORMATION TECHNOLOGY
Colin Warriner*INFORMATION TECHNOLOGY DIRECTOR
Ingrid RichterINFORMATION TECHNOLOGY COORDINATOR
MARKETING & COMMUNICATIONS
Andrew L. HainesDIRECTOR OF MARKETING & COMMUNICATIONS
Steve BrownMARKETING DIRECTOR
Rowena YowCOMMUNICATIONS DIRECTOR
Michelle S. LeyvaPUBLICIST
Noelle McCabeMARKETING & COMMUNICATIONS PROJECT MANAGER
Shannon LoysLEAD GRAPHIC DESIGNER
Angela NickersonMULTIMEDIA MANAGER
Richie CarpenterWEB PRODUCTION SPECIALIST
Allison DunmoreDIGITAL & SOCIAL MEDIA MANAGER
Veliere CrumpGROUP SALES MANAGER
PATRON EXPERIENCE
Evan CartwrightBUSINESS OPERATIONS DIRECTOR
Joanna BarnebeyDATA OPERATIONS MANAGER
Linnea IngallsGIFT PROCESSING SPECIALIST
PATRON SERVICES
Claire KoleskePATRON SERVICES MANAGER
Sutton ViePATRON SERVICES ASSISTANT MANAGER
Marcus WilliamsPATRON SERVICES LEAD
Dylan Gervais Alyssa Hall Emily HallCeline Myer Nan TilghmanPATRON SERVICES SPECIALISTS
FRONT OF HOUSE
Lance ParkAUDIENCE SERVICES DIRECTOR
Kiefer HarringtonLEAD LOBBY MANAGER & VOLUNTEER COORDINATOR
Zach Gray Taylor Kesterson Carlos SalazarHOUSE MANAGERS
Sheryl KoolASL INTERPRETING COORDINATOR
DEVELOPMENT
Jamie HerlichDIRECTOR OF DEVELOPMENT
Melissa HusbyASSOC. DIRECTOR OF DEVELOPMENT
Sasha HabashANNUAL GIVING DIRECTOR
Kate NevilleINSTITUTIONAL PARTNERSHIPS DIRECTOR
Sarah BednarCORPORATE PARTNERSHIPS DIRECTOR
Darragh KennanDONOR RELATIONS OFFICER
Janet ShaughnessyDONOR RELATIONS OFFICER
Anna StricklandDONOR STEWARDSHIP ASSOCIATE
Lori GicklhornGRANTS ASSOCIATE
Chris QuiliciDONOR SERVICES SPECIALIST
Sarah WrightINDIVIDUAL GIVING ASSISTANT
PROFESSIONAL ARTS TRAINING PROGRAM
Ben Swenson-KlattDEVELOPMENT
Jennifer BurkleyPROPS
Sara AlbertsonEDUCATION
Sulaiman As-SalaamLIGHTING
Natalie H. BergShay TrustySTAGE MANAGEMENT
Jasmine B. GuntarDIRECTING/CASTING
Tessa BroylesPAINT
ARTIST IN RESIDENCEConstanza Romero
LIST AS OF DECEMBER 2018 Italics represent in-kind gifts. * Includes capital support
ATLAS WorkbaseBaird Private Wealth ManagementBank of America Charitable FoundationBECUThe Boeing CompanyClark Nuber
HomeStreet BankHomewood Suites by HiltonThe Morgan Fund at Seattle FoundationTreeline FoundationU.S. Bank Foundation
John GrahamFoundation
*
Seattle Repertory
Organization
The Chisholm Foundation
The Ballinger Family Foundation
HD Fowler Company
Elizabeth George Foundation
Seattle Repertory Theatre is proud to acknowledge the support of the following regional and national organizations, whose generous grants and sponsorships make possible a wide variety of artistic and audience programs that serve more than 125,000 theatregoers each year, including the Rep’s mainstage productions, new play readings and workshops, youth arts education offerings, public programs, and community engagement initiatives.
Join these philanthropic leaders in supporting great theatre in Seattle.
Thank You
INSTITUTIONAL DONORS
For more information
Melissa Husby Associate Director of Development 206.443.2202 x1014 [email protected]
$550,000
Seattle Repertory Theatre Foundation
$150,000 - $549,999
$100,000 - $149,999
Washington State Building for the Arts Program*
$50,000 - $99,999
$25,000 - $49,999
Bruce G. Cochener Foundation*
$10,000 - $24,999
AT&TDavis Wright TremaineForest FoundationHazel Miller FoundationKutscher Hereford Bertram Burkart PLLCLoeb Family Charitable FoundationsMacy’s
Moccasin Lake FoundationMuckleshoot Charitable FundPuyallup Indian Tribe Charity Trust BoardSellen Community FoundationSummit Law Group U.S. Bank Private Wealth Management
$5,000 - $9,999
$2,500 - $4,999Alaska AirlinesDeLille CellarsFales Foundation TrustHorizons FoundationLester and Phyllis Epstein FoundationMorgan Stanley Private Wealth ManagementPerkins Coie LLPSeattle FoundationWashington State Arts Commission
CONSTELLATIONS (2016) PICTURED: MAX GORDON MOORE & ALEXANDRA TAVARES PHOTO BY ALAN ALABASTRO
From the Vault
MEDIA SPONSORS
Theatre Foward’s Advancing Theatre Program
Garneau-Nicon Family Foundation
Virginia B. Toulmin
Foundation
SRO EXECUTIVE BOARD
Diane CodyPRESIDENT
Laurette Poulos SimmonsFIRST VICE PRESIDENT
Lina WillenbergSECOND VICE PRESIDENT
Judy HuckaTREASURER
Cathy KittoRECORDING SECRETARY
Carmen SpoffordCORRESPONDING SECRETARY
Robert JenkinsSRT REPRESENTATIVE
SEATTLE REPERTORY ORGANIZATION (SRO)
The Seattle Repertory Organization is a 100+ member volunteer group established in 1963 for the purpose of supporting Seattle Repertory Theatre. Through The Shop at the Rep, New York and London theatre tours, and more, the SRO donates more than $30,000 and over 12,000 volunteer hours each season.
Learn more about SRO at seattlerep.org/volunteer
Meet the artists of Last of the Boys. SRO Spotlight luncheons and interviews are an opportunity to informally visit with cast members, theatre artists, and staff who make each show possible.
seattlerep.org/SROspotlights
upcoming SRO SPOTLIGHT:
Thursday, January 3111:00 a.m. in the Rotunda
STAFF
Jeffrey Herrmann Managing DirectorBraden Abraham* Artistic Director
* Indicates an employee of 10 or more years.
** Indicates an employee of 20 or more years.
Bold = member of Seattle Rep Senior Leadership Team
Artistic
Kaytlin McIntyreCASTING DIRECTOR & ASSOCIATE PRODUCER OF THE OTHER SEASON
Hattie Claire AndresASSISTANT TO THE ARTISTIC DIRECTOR & ARTISTIC ASSOCIATE
William (L.B.) Morse*RESIDENT DESIGNER
Angie KamelPUBLIC WORKS DIRECTOR
Jéhan ÒsanyìnPUBLIC WORKS CURRICULUM MANAGER
Lia FakhouriPUBLIC WORKS ASSOCIATE
EDUCATION
Arlene Martínez-VázquezEDUCATION DIRECTOR
B. Alex ReedEDUCATION PROGRAMS MANAGER
PRODUCTION
Elisabeth Farwell-Moreland*PRODUCING DIRECTOR
Christy Bain**DIRECTOR OF ARTIST RELATIONS
Brian Fauska*TECHNICAL DIRECTOR
Sann HallPRODUCTION MANAGER
Tyler KriegARTIST RELATIONS ASSOCIATE
WileyASSOCIATE TECHNICAL DIRECTOR
Stina LottiPRODUCTION STAGE MANAGER
Robert J. Aguilar*LIGHTING DESIGN ASSOCIATE
Sean Gillies AltunaPRODUCTION PURCHASER
CARPENTERS
Jon Zucker**SCENE SHOP FOREMAN
Denny Hartung**MASTER SHOP CARPENTER
Patrick Robinson*Randall ReeceMichael McKenna Joel HerreraSCENIC CARPENTERS
COSTUME SHOPDenise Damico*COSTUME DEPARTMENT DIRECTOR
Emily BlancheASSISTANT COSTUME DEPARTMENT MANAGER
Danielle NievesCOSTUME DESIGN ASSOCIATE
Naomi WeberTAILORS/DRAPERS
Lisa Lockard**Laura Mé Smith**FIRST HANDS
Sarah Gladden**COSTUME STOCK MANAGER
Joyce Degenfelder**WIG MASTER
Brent RobertsDYER/PROPS ARTISAN
Imelda Daranciang*BAGLEY WRIGHT WARDROBE SUPERVISOR
Cindy Sabye*LEO K. WARDROBE SUPERVISOR
Maggie Carrido AdamsMAKEUP & WIGS
PROPERTIES
Jolene Obertin**PROPERTIES DIRECTOR
Karla DavenportPROPERTIES ASSISTANT
James Severson*Nicolette Vannais*Angela ZyllaPROPERTIES ARTISANS
SCENIC ARTS
Maureen Wilhelm*CHARGE SCENIC ARTIST
Ruth GilmoreLEAD SCENIC ARTIST
Beth PetersonSCENIC ARTIST
STAGE CREWSBAGLEY WRIGHT THEATRE
Noel ClaytonMASTER STAGE CARPENTER
Andrew Willhelm*MASTER ELECTRICIAN
Jeremiah Foglesong*MASTER PROPERTIES
Nathan Kahler*HEAD SOUND ENGINEER
Tony SmithHEAD FLYMAN
Dave ScamporlinaSWING TECHNICIAN
Lynne EllisSWING ELECTRICIAN
LEO KREIELSHEIMER THEATRE
Joel WilmotMASTER STAGE CARPENTER
Desirae BrownleeMASTER ELECTRICIAN
Mark KridaHEAD SOUND ENGINEER
STAGE MANAGEMENTDani Bae Jessica C. Bomball Rachael Dorman Michael John Egan Stina Lotti Adrienne Mendoza Michael B. Paul Shellie Stone
EXECUTIVE
Alyssa BostwickEXECUTIVE ASSISTANT & BOARD LIAISON
ADMINistration & HUMAN RESOURCES
Stuart JenningsINTERIM DIRECTOR OF HUMAN RESOURCES
FINANCE & OPERATIONS
Rachel M. Robert**DIRECTOR OF FINANCE & OPERATIONS
Gi Hara**CONTROLLER
Wollansa ChekolAP COORDINATOR
Supriya HariharanACCOUNTANT
John R. McNamara**OPERATIONS DIRECTOR
Debra Forman*RECEPTIONIST
INFORMATION TECHNOLOGY
Colin Warriner*INFORMATION TECHNOLOGY DIRECTOR
Ingrid RichterINFORMATION TECHNOLOGY COORDINATOR
MARKETING & COMMUNICATIONS
Andrew L. HainesDIRECTOR OF MARKETING & COMMUNICATIONS
Steve BrownMARKETING DIRECTOR
Rowena YowCOMMUNICATIONS DIRECTOR
Michelle S. LeyvaPUBLICIST
Noelle McCabeMARKETING & COMMUNICATIONS PROJECT MANAGER
Shannon LoysLEAD GRAPHIC DESIGNER
Angela NickersonMULTIMEDIA MANAGER
Richie CarpenterWEB PRODUCTION SPECIALIST
Allison DunmoreDIGITAL & SOCIAL MEDIA MANAGER
Veliere CrumpGROUP SALES MANAGER
PATRON EXPERIENCE
Evan CartwrightBUSINESS OPERATIONS DIRECTOR
Joanna BarnebeyDATA OPERATIONS MANAGER
Linnea IngallsGIFT PROCESSING SPECIALIST
PATRON SERVICES
Claire KoleskePATRON SERVICES MANAGER
Sutton ViePATRON SERVICES ASSISTANT MANAGER
Marcus WilliamsPATRON SERVICES LEAD
Dylan Gervais Alyssa Hall Emily HallCeline Myer Nan TilghmanPATRON SERVICES SPECIALISTS
FRONT OF HOUSE
Lance ParkAUDIENCE SERVICES DIRECTOR
Kiefer HarringtonLEAD LOBBY MANAGER & VOLUNTEER COORDINATOR
Zach Gray Taylor Kesterson Carlos SalazarHOUSE MANAGERS
Sheryl KoolASL INTERPRETING COORDINATOR
DEVELOPMENT
Jamie HerlichDIRECTOR OF DEVELOPMENT
Melissa HusbyASSOC. DIRECTOR OF DEVELOPMENT
Sasha HabashANNUAL GIVING DIRECTOR
Kate NevilleINSTITUTIONAL PARTNERSHIPS DIRECTOR
Sarah BednarCORPORATE PARTNERSHIPS DIRECTOR
Darragh KennanDONOR RELATIONS OFFICER
Janet ShaughnessyDONOR RELATIONS OFFICER
Anna StricklandDONOR STEWARDSHIP ASSOCIATE
Lori GicklhornGRANTS ASSOCIATE
Chris QuiliciDONOR SERVICES SPECIALIST
Sarah WrightINDIVIDUAL GIVING ASSISTANT
PROFESSIONAL ARTS TRAINING PROGRAM
Ben Swenson-KlattDEVELOPMENT
Jennifer BurkleyPROPS
Sara AlbertsonEDUCATION
Sulaiman As-SalaamLIGHTING
Natalie H. BergShay TrustySTAGE MANAGEMENT
Jasmine B. GuntarDIRECTING/CASTING
Tessa BroylesPAINT
ARTIST IN RESIDENCEConstanza Romero
encoremediagroup.com/programs 23
EAP full-page template.indd 1 9/26/18 2:18 PM
Tonight, enjoy art on the stage. Tomorrow come find art for your floor!