ACT – A Contemporary Theatre presents
Kurt Beattie Carlo Scandiuzzi Artistic Director Executive Director
encoreartsprograms.com A-1
Beginning September 5, 2014 • Opening Night September 11, 2014
CAST Elijah Alexander* Bashir Erwin Galán Dar William Ontiveros* Imam Saleem Connor Toms* Nick Bright
CREATIVE TEAM Allen Nause Director Matthew Smucker Scenic Designer Rose Pederson Costume Designer Kristeen Willis Crosser Lighting Designer Brendan Patrick Hogan Sound Designer JR Welden* Stage Manager Geoffrey Alm Fight Director Marianna de Fazio Dialect Coach Agastya Kohli Language Coach Becca Rowlett Production Assistant Marcella Barbeau Assistant Lighting Designer
Running Time: This performance runs approximately two hours. There will be one 15-minute intermission.
*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Originally Produced byTHE REPERTORY THEATRE OF ST. LOUIS
Steven Woolf, Artistic DirectorMark Bernstein, Managing Director
PRODUCTION SPONSOR:
THEATRE AND SEASON SPONSORS:
A Contemporary Theatre Foundation
Katharyn Alvord Gerlich, Eulalie M. & Gian-Carlo Scandiuzzi, Nancy Alvord, Betty Bottler, Gregory & Diane Lind, Chuck Sitkin, Chap & Eve Alvord, Brian Turner & Susan Hoffman
Audience members are cordially reminded to silence all electronic devices. All forms of photography and the use of recording devices are strictly prohibited. Please do not walk on the stage before, during, or after the show. Patrons wearing Google Glass must power down the device if wearing them in the theatre.
A-2 ACT THEATRE
Allen Nause
Welcometo ACT
ACT has always been committed to new art and artists. And there is no more exciting arrival on the national theatrical scene than Ayad Akhtar, one of our most talented new playwrights. American by birth, American-Pakistani in heritage, his novels and plays articulate with remarkable clarity and power the current pressure
points in America’s shifting cultural identity, and how those vacillations have influenced the complexity of the relations America currently has with the rest of the world—particularly, in this play, with its longtime ally, Pakistan.
The “invisible hand” of Akhtar’s title refers to Adam Smith’s idea that the market is self-correcting, governed by a law as inevitable as the laws of physics, and, sooner or later, if society allows the individual to act unfettered in his own self-interest, this will eventually work out to the good of all. But if nations, like individuals, drive their behavior only through “self interest,” and encourage others to think that way, what might be the ultimate outcome?
Director Allen Nause has worked in Pakistan many times, and describes it as a society full of great and gifted people, but also a place where no one pays taxes, a middle class is virtually nonexistent, and the rest of the country is divided economically between a tiny group of very rich people, and millions who live in poverty. Compounding these stresses are religious and tribal strife and an ambiguously aligned military armed with nuclear weapons. America’s own internally fraught political conversation only makes things more difficult when it comes to deciding how the two countries should relate with one another. What moral standard should be adhered to in this case? Or even cared about? Euripides, the great ancient playwright, says that there is one Goddess who rules all the others, even Zeus: Necessity. Should that ultimately govern our relationship? Should it be a matter of simply maximizing our economic and political power and opportunities?
All this and more lives in Ayad Ahktar’s remarkable play, and I cannot be more grateful that ACT has the chance to produce it as his Seattle debut. Thank you for coming and listening.
Kurt Beattie, Artistic Director
A few years ago I read an early draft of Ayad Akhtar’s play The Invisible Hand and immediately fell in love with its surprising story, compelling characters and universal themes. I knew immediately that I had to direct it—I couldn’t get it out of my head! It had me pondering and questioning my politics, patriotism, belief system, relationships—the very core of who I am as a person, artist, friend, husband, parent, and citizen of this planet. Isn’t that what great art should do? I’m thrilled to be back at ACT to direct this extraordinary play by one of the most distinctive new voices in American theatre.
“Who controls the food supply controls the people; who controls the energy can control whole continents; who controls money can control the world.” -HENRY KISSINGER
“Nearly all men can stand adversity, but if you want to test a man’s character, give him power.” -ABRAHAM LINCOLN
“The adoption of Western economic theory and practice will not help us in achieving our goal of creating a happy and contented people. We must work our destiny in our own way and present to the world an economic system based on the true Islamic concept of equality of manhood and social justice.” -MUHAMMAD ALI JINNAH
“The ideas of economists and political philosophers, both when they are right and when they are wrong, are more powerful than is commonly understood. Indeed the world is ruled by little else. Practical men, who believe themselves to be quite exempt from any intellectual influence, are usually the slaves of some defunct economist. Madmen in authority, who hear voices in the air, are distilling their frenzy from some academic scribbler of a few years back.” -JOHN MAYNARD KEYNES
“Each must for himself alone decide what is right and what is wrong, and which course is patriotic and what isn’t. You cannot shirk this and be a man. To decide it against your convictions is to be an unqualified and inexcusable traitor, both to yourself and to your country, let men label you as they may.” -MARK TWAIN
“For the love of money is the root of all evil: which while some coveted after, they have erred from the faith, and pierced themselves through with many sorrows.” -1 TIMOTHY 6:10
“So you think that money is the root of all evil. Have you ever asked what is the root of all money?” -AYN RAND
Kurt Beattie
A Note from Director
Allen Nause
A dysfunctional family reunion you won’t soon forget.
acttheatre.org | (206) 292-7676 | 700 Union Street, Seattle
COMING SOON TO ACT THEATREOct 17–Nov 16
The Beauty of Noh: Tomoe + Yoshinaka Sep 26-28A rare opportunity to see Munenori Takeda performing a love story from Japan’s epic, The Tale of the Heike, with a full Noh troupe.
Waiting for Godot Sep 4-21Two vagabonds struggle to make sense of their predicament in an absurd world. Part of the Seattle Beckett Fest with Seattle Shakespeare Company.
Endangered Species Project Oct 6Join Seattle theatre artists as they give voice to the characters that sit silent on your bookshelves. October features Waiting in the Wings by Noël Coward.
Don Quixote & Sancho Panza: Homeless in Seattle Sep 10-28A humorous adaptation of Don Quixote set in modern-day Seattle depicting the friendship of two homeless Latinos.
Sandbox Radio LIVE! Sep 8 Go “behind the speaker” of a radio show and watch the recording happen. This fall, Sandbox Radio takes you “Back to School” with an all-new episode.
Represent! A Multicultural Playwrights Festival Oct 1-5The Hansberry Project with eSe Teatro, SIS, and Pratidhwani present a festival of new work by playwrights of color.
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AM: I read that you grew up in Milwaukee and that yours was one of the only Muslim families in your community.
AA: On the west side, in the suburbs, yeah. When we moved there, I don’t believe there was anybody else, as far as I know. We certainly didn’t meet anybody. We were the first.
AM: Did that cause you to run toward or away from your religious identity as a child?
AA: I think as a kid it probably made me run toward it, in a way, because there was a recognition that in some way I was different. The way I came to formulate and understand what that difference meant was through religion. And that the difference was not necessarily a bad thing, that in its own way it was good because my religion was good. I think something that you see in a lot of young, early pre-pubescents is a kind of flowering of the devotional, of a
A-4 ACT THEATRE
AN INTERVIEW WITH AYAD AKHTAR
A conversation between playwright Ayad Akhtar and Anita Montgomery
INVISIBLE HAND
“Every individual
necessarily labours to
render the annual revenue
of the society as great as he
can. He generally neither
intends to promote the
public interest, nor knows
how much he is promoting
it ... He intends only his
own gain, and he is in this,
as in many other cases,
led by an invisible hand to
promote an end which was
no part of his intention.
Nor is it always the worse
for society that it was no
part of his intention. By
pursuing his own interest
he frequently promotes
that of the society more
effectually than when he
really intends to promote it.
I have never known much
good done by those who
affected to trade for the
public good.”
Economist Adam Smith in his
1776 book, An Inquiry into the Nature and Causes of
the Wealth of Nations.
Literary Manager, Director of Education
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preoccupation that seems to either pre-figure or coincide with the development—the hormonal changes—that are happening in the body. I went through a very strong interest in the Quran and in tradition, to the confusion of my parents, who were not particularly religious at all, in any way. I had to seek that information out elsewhere because they didn’t really care or know much about it.
AM: Did your parents take you to the mosque?
AA: Sometimes. I had to pester my dad. It didn’t happen very often. Sometimes my dad would go and sit with me, but he couldn’t tolerate any of the stuff that was being said. But I really think that the attention to the living word spoken in public, which, to me, is what theatre is, began there with my rapt attention to whatever was being said to this group of people. There’s a pageantry, a theatricality to it, and, interestingly enough, in Muslim tradition there’s a kind of soberness to that. I think that also informs my aesthetic. There is some very deep source of what my own sense of theatricality is about that goes back to my experiences as a young boy in the mosque.
AM: Did you find with your friends as a young person that this somehow separated you, or did you feel there was a place you could put your faith and then there was your other life? How did you incorporate the two?
AA: My experience was that it brought me closer to others. I understood what kids were doing when they were going away on retreats with the Catholic Church or Lutheran Church or when kids were talking about Sunday school. It was a shared universe. In Islam and Christianity there are a lot of figures that overlap. But there was something about the devotional mindset of religion being important. There’s a love of a kind that shows up in my book, American Dervish—that very pure love of whatever the mystery is that the divine stands in for—that was always first and foremost with me.
AM: You’ve referred to yourself as a cultural Muslim, is that what you mean?
AA: Well, no, I think what I mean when I say that is… You know, a lot of Muslims and non-Muslims wonder: “Well, so, do you pray five times a day? Do you do the fast thing? Do you do this? Do you do that?” and whatever, and at the end of the day: no. My childhood faith, my literalist belief in the childhood version of my faith died in my late adolescence. And with that died any pretension of exclusivity on the truth. It came to feel increasingly absurd to me that who you were born to and what part of the planet you were born to somehow was responsible for your so-called “salvation.” It just seemed patently absurd. I went through that traditional awakening from the slumber of childhood faith, if you will, that so many thinking individuals go through. And I was a militant agnostic for some years in college. And then, on the other side of that, my essential devotional nature re-emerged. But this time it emerged in a non-denominational form and the practice of particular rites and rituals was not meaningful to me because it was not about my experience, it was really more about the performance of those things.
AM: It sounds as though you’re still a deeply religious person.
AA: I do consider myself a very religious person, actually, but I have my own relationship to it. It’s not about the prophet, or what language you speak when you speak to the Lord. I’m not disavowing my Islamic origins and the way in which it has been an important foundation for my life. I consider myself to be part of the community. But Muslims will sometimes write to me and say: “You know, you’re a wonderful writer, why don’t you write something that makes people want to become Muslims.” And I don’t even know how to begin talking or explaining to them
encoreartsprograms.com A-5
HIGH FREQUENCY TRADINGThe use of technology
and computer algorithms
to trade securities at
the rate of seconds or
fractions of a second,
often made for fractions
of a penny, but at an
incredibly high volume.
At any one time, it is likely
that 50% of all trades are
made by high-frequency
traders in United States
equity markets.
that my fidelity is not to the Quran, my fidelity is to the truth. The practice of questioning the truth—that’s the only religion that I have at this point.
AM: The characters in your plays and in American Dervish really struggle with attempting to reconcile contemporary life with traditional Islamic culture. Do you find this a fairly common experience for Muslims in America?
AA: I think it’s a fairly common experience for Muslims around the world, actually. I think that the advent of modernity has been the big question in the Muslim world for well near a hundred years. I think every immigrant community, whether they’re defined by their faith or by their national identity, goes through this process of wrestling with what to hold on to and what to leave behind. And I think that can become all the more pungent for a community when the issues are not just about national identity but they really do touch more on a question of faith. I’m expressing them in the idiom of the community I grew up in, which is the Muslim community.
AM: What drew you to the theatre and then to writing for the theatre?
AA: Up until high school there’d always been an assumption that I would just become a doctor. Both my parents are doctors. But I had a teacher when I was fifteen who really changed my life when she exposed me to literature and made me read all kinds of stuff. She got me reading plays. I spent two years reading everything on her shelf, and I got fascinated with the theatre. Something about it felt natural. I feel like I’ve always been sensitive to certain kinds of aesthetic principles or aesthetic experiences that seem to lend themselves to theatre.
AM: And then you really dove into the theatre in college?
AA: In college I started acting. I had a friend who was a director and he made me audition for a play, and it turned out I had a knack for it. I got really interested in Jerzy Grotowski and Andre Gregory after seeing My Dinner with Andre. Then I found myself, crazily enough, working with Grotowski as his assistant for a year right out of college. Then came back to New York and started working with Andre Gregory! I was just very fortunate to meet these very, very central, pivotal people along the path. I always knew I would write a play someday, but I was gathering kindling and the igniting spark hadn’t come along yet. And then it did, and I was in my very late thirties at that point. I wrote drafts of four plays back–to–back in somewhere between eight and ten months. The Invisible Hand was the second one. Disgraced was the first. Then The Who and the What. And then a fourth play which I don’t really show anybody, or I haven’t shown anybody yet.
AM: Do you see these plays as a kind of progression?
AA: Absolutely. You can actually see American Dervish, Disgraced, The Who and the What, and The Invisible Hand all as movements, parts of the same gesture. And I have three more works that come from this vein of inspiration. So when I finally get through them it’ll be seven pieces. I think it’s gonna be three books, three plays, and a film. But that will be the body of work that sort of tries to give voice to this question of Western identity and Muslim identity for people who are living here.
AM: Who do you write for? Who’s your audience?
AA: My audience is…it’s a very simple thing. I think that as a narrative artist, the way that I articulate this simple sense of being human is…When an audience begins to sense that they’re
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A-6 ACT THEATRE
BLACK-SHOLES MODEL
A model of price variation
over time, regarded as
one of the best ways to
determine fair prices for
options. When applied to
a stock option, this model
incorporates the constant
price variation of the stock,
the time value of money, the
option’s strike price, and the
time to the option’s expiry.
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being told a story there is a kind of a waking up that happens, a very simple kind of ‘Oh, what’s gonna happen next?’ feeling. And that feeling is very similar to the feeling that I think children have when they’re hearing a story. It’s very clear when a child gets bored that he or she has lost confidence that what happens next is interesting, or is going to be delivered, or is plausible. So there’s a sacred trust built on a narrative bond between the audience and the writer and the artist. It’s something I can track in myself by seeing if I am paying attention. And, so, in a way, I’m writing with an almost child-like openness in myself to the question of: Do I care what happens next?
AM: The Invisible Hand is certainly your most overtly political play. You wrote a novel—or worked on one for about seven years—about a poet working at Goldman Sachs. You’ve had a long-time fascination with Wall Street and the effects of the market.
AA: Absolutely. As somebody who wishes to sort of understand the world better, I think that, in our day and age, not to understand how deeply finance has informed and defined our relationships is to miss an important part of what it means to be alive right now, in this civilization. I have various zones of obsession and interest: finance has been one of them. And all of these are just modalities of trying to understand what it means to be human at this particular moment in our evolution or being as a civilization,
as a species. So, to me the play is set in the financial world that deals with the second generation immigrant community—Pakistani, Muslim immigrant community—and somebody who grows up to make a tremendous amount of money in the world of finance and lives out that sort of American paradigm of self-made. But it turns out that this very new American phenomenon of widespread cheating to get ahead is part and parcel of what is actually behind this guy’s lies. That’s an important issue. Power and money are an important American obsession. You go back to de Tocqueville and see that that’s at the heart of whatever our national identity really is. And, so being interested in that is just, I think, de rigueur for somebody who’s interested in understanding America.
AM: I think that a lot of people do not understand the market in this country.
AA: It’s true, and I think that I’m an artist who definitely takes very seriously that dictum in Horace’s “Ars Poetica,” that the purpose of art is to delight as well as to instruct. You see this now with cable TV, where you have these long-form series that are often set in these interesting worlds and part of the pleasure of the series is seeing and understanding and learning about a whole swathe of American activity. It isn’t about anything didactic. It’s about opening horizons of consciousness for the audience, which is what art is ultimately supposed to do. And I think it scares a lot of writers to do that, because there’s a prevailing prejudice against being perceived as somehow didactic. You know? But audiences love to learn new things. And if you can do it in a delightful way, it leads to some very, very, profoundly satisfying theatrical experiences.
Read more of the interview online at acttheatre.org/TheInvisibleHand.
BEARS, BULLS, & PIGSBear Market: a market
condition in which the
prices of securities are
falling, and widespread
pessimism causes the
negative sentiment to be
self-sustaining.
Bull Market: a financial
market in which prices
are rising or are expected
to rise. Most often used
in reference to the stock
market, but can be used for
anything that is traded.
“Bears” & “Bulls” are
investors whose strategies
are based on these
respective viewpoints of
pessimism and optimism
about the market.
Chickens & Pigs: “Chickens”
are afraid to lose anything,
and avoid all risk in the
market; “Pigs” are high-risk
investors who are looking
for the most money in the
shortest period of time, often
without doing their research.
“Bears make money, bulls
make money, pigs get
slaughtered.”
“Power and money are an important American obsession.”
encoreartsprograms.com A-7
Who's Who in The Invisible Hand
A-8 ACT THEATRE
Elijah Alexander (Bashir) recently played Macbeth in Macbeth at A Noise Within in LA, where he also played the title role in Don Juan.
He has also appeared in Broadway’s Metamorphoses and in the Brooklyn Academy of Music’s Throne of Blood. Regionally, he has been involved with productions for Denver Center, Berkeley Rep, Yale Rep, Old Globe, Pasadena Playhouse, Great Barrington Stage, Southcoast Rep, Geva, Syracuse Stage, and the Santa Fe Shakespeare Festival. Elijah has also been a company member at The Oregon Shakespeare Festival (three seasons), The Utah Shakespeare Festival (four seasons), and The California Shakespeare Festival. In film and television, he has appeared in Mr. and Mrs. Smith, Amazing Love, Touch, Awake, Emily’s Reasons Why Not, JAG, Summerland, So Notorious, and Guiding Light. Elijah is a graduate of the Yale School of Drama and is a Fox Fellowship recipient.
Erwin Galán (Dar) was most recently seen as Mourad in Impenetrable at West of Lenin and as Musa in Bengal Tiger at the Baghdad Zoo
at Washington Ensemble Theatre. Previously, he was Oedipus in Oedipus el Rey and Mr. Five in The Adding Machine, both part of The Central Heating Lab. The latter three all won Seattle Times Footlight Awards. He has also been in a dozen films, including the SIFF features Man-Chu (Late Autumn) and Shadowed. He’d like to thank his adopted parents for their ongoing guidance and support, and you for being part of the vibrancy here at ACT.
William Ontiveros (Imam Saleem) was born and raised in the San Francisco Bay Area and has been acting for over four decades. He studied
acting at Cañada College with Kurtwood Smith. William has served as Artistic
Director of The Pioneer Square Theater and Seattle’s Group Theatre. His credits include Geraldo in Death and the Maiden at Portland Rep, Grumio in The Taming of the Shrew at The Old Globe Theatre, Dr. Cauis in The Merry Wives of Windsor at Seattle Rep, Tito in Lend Me a Tenor at Tacoma Actors Guild, and Mickey in The Normal Heart at Pioneer Square Theater. His film and television credits include Harry and the Hendersons, McGyver, 21 Jump Street, Twice in a Lifetime, and Knots Landing. William is a proud member of I.A.T.S.E. Local 134 in San Jose, California.
Connor Toms (Nick Bright) was last seen at ACT Theatre in Sarah Ruhl’s In the Next Room, or the vibrator play. He has also worked at The
Seattle Rep, Intiman, Arizona Theater Company, Seattle Shakespeare Company, Book-It Repertory, Seattle Children’s Theater, New Century Theater Company, Shakespeare Santa Cruz, and many more. He recently turned his wife, Hana Lass, into a Trekkie, and has absolutely no regrets.
Ayad Akhtar (Playwright) Akhtar’s plays include Disgraced (LCT3/Lincoln Center Theater, 2013 Pulitzer Prize for
Drama and 2013 Obie Award for Extraordinary Achievement), The Who & The What (LCT3/Lincoln Center Theater and La Jolla Playhouse), and The Invisible Hand (The Repertory Theater of St. Louis). Also a novelist, Akhtar is the author of American Dervish, published in 2012 by Little, Brown and Company, published in 20 languages worldwide. He co-wrote and starred in The War Within (Magnolia Pictures), which was released internationally and nominated for an Independent Spirit Award for Best Screenplay. As an actor, Akhtar also starred as Neel Kashkari in HBO’s adaptation of Andrew Ross Sorkin’s book Too Big to Fail. He studied at Brown University and Columbia University’s School of the Arts.
Allen Nause (Director) is a Resident Artist at Artists Repertory Theatre where he previously served as Artistic Director for
25 years. Besides directing over 75 productions for Artists Rep, Allen directed at many professional theaters throughout the Northwest. Allen has also acted nationally and internationally. Regionally, he has acted at the Oregon Shakespeare Festival, Portland Center Stage, Artists Repertory Theatre, Seattle Repertory Theatre, ACT, Intiman Theatre, and many others. In 2000, Allen traveled to Vietnam and co-directed a bilingual, bicultural production of A Midsummer Night’s Dream and a Vietnamese production of A Glass Menagerie as part of the Vietnam/America Theater Exchange. In May 2007, Allen directed All My Sons with the Palestinian National Theater in Jerusalem as a Cultural Envoy with the US Dept. of State. In 2010, Allen directed The Odd Couple in Islamabad, Pakistan, also as a Cultural Envoy. Allen has also appeared in feature films and on national television. In 2003 Allen was the recipient of the Oregon Governor’s Arts Award.
Matthew Smucker (Scenic Designer) is pleased to return to ACT, where previous designs include Sugar Daddies; Rapture Blister Burn; Grey Gardens; Ramayana; First Date; In the Next Room, or the vibrator play; Vanities; The Prisoner of Second Avenue; Yankee Tavern; The Trip to Bountiful; Rock ’n’ Roll; Below the Belt; Dr. Jekyll and Mr. Hyde; Eurydice; The Clean House; The Women; and The Pillowman. Smucker’s work has appeared at The 5th Avenue Theatre (Elf; Oklahoma!; Candide), Seattle Repertory Theatre (Who’s Afraid of Virginia Woolf; Or; Circle Mirror Transformation; Speech & Debate; Three Tall Women), Intiman, SCT, Village Theatre, Arizona Theatre Company, Portland Center Stage, San Jose Rep, Kansas City Rep, Houston’s Theatre Under the Stars, and Minneapolis Children’s Theatre Company. Smucker received the 2011 Gregory Award for Outstanding Scenic Design, a 2012 Seattle Magazine Spotlight Award, and
encoreartsprograms.com A-9
appeared on The Stranger’s 2011 Genius Awards short list. Smucker teaches at Cornish College of the Arts and received his M.F.A. from the UW School of Drama.
Rose Pederson (Costume Designer) has designed costumes for more than one hundred professional productions at theaters from Broadway to Seattle. She designed over 25 productions for ACT including The Price; Middletown; Mrs. California; Language of Flowers; Glengarry Glen Ross; Merrily We Roll Along; Sunsets and Glories; Lloyd’s Prayer; The Downside; Polish Joke; Absurd Person Singular; The Nina Variations; The Notebook of Trigorin; Temporary Help; My Children, My Africa; and Hapgood. On Broadway, she designed the costumes for Largely, New York. She has designed many productions for the Seattle Repertory Theater, including An American Daughter; The Heidi Chronicles; and The Sisters Rosenzweig. She has also designed for Seattle Children’s Theater, New City Theater, The Empty Space, Tacoma Actors Guild, Portland Center Stage, Arizona Theater Company, Cleveland Playhouse, Idaho Shakespeare Festival, The Kennedy Center, and Berkley Repertory Theater where her work was nominated for a Bay Area Drama Critics Award.
Kristeen Willis Crosser (Lighting Designer) This is Kristeen’s first design for ACT and her Seattle premiere and she is thrilled to be here. She is usually found in the Portland, Oregon area where she designs scenery and lighting for several area theatres including Artists Repertory Theatre, Third Rail Repertory Theatre, Northwest Children’s Theatre, Profile Theatre, Teatro Milagro, and Oregon Children’s Theatre. She is a Resident Artist at Artists Rep and will be designing their production of this play later this season. She has received several Portland-area theatre awards, otherwise known as “Drammys,” including the 2014 Outstanding Lighting Design Drammy for Third Rail’s A Bright New Boise and the 2014 Outstanding Scenic Design Drammy for Third Rail’s Gidion’s Knot. As always, she is grateful to her husband, Mike, for all of his love and support.
Brendan Patrick Hogan (Sound Designer) As the Resident Sound Designer at ACT, Hogan has designed over 30 productions since 2009. In addition to productions at ACT, his designs and compositions have been heard locally at theaters such as Seattle Repertory Theatre, Washington Ensemble Theatre, and Seattle Shakespeare Company, and nationally at Arizona Theatre Company, Center Theater Group (CA), and George Street Playhouse (NJ). Compositions and design for film and video include local productions such as Waxie Moon in Fallen Jewel and global organizations including Amnesty International (Reggie Clemmons: Justice Derailed).
JR Welden (Stage Manager) has stage managed Uncle Ho to Uncle Sam, Mary Stuart, One Slight Hitch, Eurydice, The Underpants, and A Christmas Carol at ACT. He stage managed 10 seasons at Intiman working on productions including The Grapes of Wrath, Nickel and Dimed, and The Mandrake Root with Lynn Redgrave. At Seattle Rep, his credits include Blue Door, The Chosen, and Pygmalion.
Kurt Beattie (Artistic Director) has been creating theater for Puget Sound audiences for over 40 years as an actor, playwright,
and director. His productions at ACT include Grey Gardens; Ramayana (with Sheila Daniels); The Pitmen Painters; Double Indemnity; In the Next Room, or the vibrator play; The Lieutenant of Inishmore; Rock ‘n’ Roll; Becky’s New Car; Intimate Exchanges; First Class; The Pillowman; Mitzi’s Abortion; The Underpants; Bach at Leipzig; Vincent in Brixton; Black Coffee; Alki; Moon for the Misbegotten; Fuddy Meers; Fully Committed; Via Dolorosa; and the holiday classic, A Christmas Carol. Elsewhere, he has directed at Seattle Repertory Theatre, The Empty Space, Intiman Theatre, Seattle Children’s Theatre, University of Washington, San Jose Repertory Theatre, Milwaukee Repertory Theatre, The Alley Theatre in Houston, and Ojai Playwrights
Festival. As an actor, he has appeared in leading and major roles at ACT (most recently as Ebenezer Scrooge in A Christmas Carol), Seattle Repertory Theatre, Intiman Theatre, The Empty Space, Seattle Shakespeare Company, as well as many regional theatres throughout the country. Beattie is a recipient of the Theatre Puget Sound Gregory A. Falls Sustained Achievement Award, and the Outstanding Achievement in the Arts Award from ArtsFund.
Carlo Scandiuzzi (Executive Director) is a founder of Agate Films and Clear Pictures, producing such films as Prototype, Dark
Drive, Outpatient, and The Flats, and Indieflix, a distribution company. In 1979, Scandiuzzi started Modern Productions, bringing to Seattle such legendary bands as The Police, Devo, Nina Hagen, Iggy Pop, The Ramones, John Cale, Robert Fripp, James Brown, Muddy Waters, and many more. He performed in several plays at The Empty Space including Aunt Dan and Lemon, The Return of Pinocchio, and Dracula. In the early ‘80s, he collaborated with many Seattle performance artists such as Norman Durkee, Alan Lande, and Jesse Bernstein. He also acted in various films including Bugsy, The Public Eye, Another You, Casanova’s Kiss, and Killing Zoe. He graduated from the Ecole Superieure D’Art Dramatique of Geneva. Carlo currently serves as a member of the Seattle Arts Commission.
ACT operates under agreements with the following:
Special Fund DonorsACT Endowment Donors ACT’s endowment is administered by A Contemporary Theatre Foundation.
Buster & Nancy Alvord • Joan & Larry Barokas • Michael Corliss-Investco • Katharyn Alvord Gerlich • Becky & Jack Benaroya • Charles Blumenfeld & Karla Axell • The Ewert Family • Bruce & Dawn Goto • William Randolph Hearst Endowed Fund for Education & Outreach Programs • Kreielsheimer Remainder Fund • Doug & Nancy Norberg • Sally Pence • Katherine & Douglass Raff • Brooks & Suzanne Ragen • Herman & Faye Sarkowsky • David E. & Catherine E. Skinner • Kayla Skinner • Estate of Stuart Smailes • John & Rose Southall • David & Joyce Veterane • The Peg & Rick Young Foundation • Anonymous
The ACT Legacy Society The ACT Legacy Society honors those who remember ACT in their wills or other estate plans. Legacy Society members ensure ACT’s ongoing tradition of presenting the best of contemporary theatre for future generations. Investments of all sizes can make significant future gifts by using tax-advantaged estate and financial planning techniques. Notify ACT of your arrangements by calling Rebecca Lane at (206) 292-7660 ext. 1321.
Nancy Alvord • Laurie Besteman • Jean Burch Falls • Linda & Brad Fowler •Suzanne Howard • H. David Kaplan • Mike McCaw • Catherine & Barry McConnell •Dr. Arnie & Judy Ness • Lisbeth Pisk • Brooks & Suzanne Ragen •Teresa Revelle • Chuck Sitkin • GregRobin Smith • John & Rose Southall • Judith Warshal & Wade Sowers • Dorothy E. Wendler • Janet Westin
PATRON INFORMATION
Emergency Evacuation Procedures In the event of an emergency, please wait for an announcement for further instructions. Ushers will be available for assistance.
Emergency Number The theatre’s emergency number in the Union lobby is (206) 292-7667. Leave your exact seat location with your emergency contact in case they need to reach you.
Smoking Policy Smoking is NOT allowed in any part of the theatre or within 25 feet of the entrance.
Firearms Policy No firearms of any kind are allowed in any part of the theatre.
Food Food is not allowed in the theatre. Tuxedos & Tennis Shoes is the preferred caterer of ACT Theatre.
Accessibility Wheelchair seating is available. The theatre is equipped with the Sennheiser Listening System for the hard of hearing; headsets are available from the house manager for use, free of charge, with a valid ID and subject to availability. ACT Theatre offers American Sign Language interpreted and audio-described performances. For more information, email [email protected].
Lost & Found Call (206) 292-7676 between 12:00pm and 6:00pm, Tues-Sun.
Address & Website ACT Theatre is located at 700 Union Street, Seattle WA 98101. Ticket Office Phone: (206) 292-7676. Administrative Office Phone: (206) 292-7660. Fax: (206) 292-7670. Website: www.acttheatre.org.
Theater Rental For information regarding booking, contact [email protected].
Group Sales Groups of 10 or more can save. Call (206) 292-7676 or email [email protected].
Fragrance Please be considerate and keep personal fragrance to a minimum.
Special Thanks ACT gratefully acknowledges the following professionals and organizations who have helped make this season a success:
Keith Johnsen, Daqopa Brands LLC • Seattle Children’s Theatre • AJ Epstein • Seattle Repertory Theatre • UW Drama • Mike Dodge • Avast! Recording Co. • Serenza Salon & Spa • Intiman Theatre • Carlson Audio • Quinn Armstrong
We’re Growing our Board The ACT Board of Trustees is a dynamo group of volunteers committed to making sure
ACT is strong, healthy, and on track to achieve our mission.
From young professionals
to established community
leaders, the ACT Board is a diverse
group sharing a common goal:
Support ACT Theatre!
If you are passionate about ACT
and interested in getting more
involved, this just might be a
great way to start!
Email Richard Hesik for more information: [email protected]
Phot
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LaR
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A-10 ACT THEATRE
ACT gratefully recognizes the following corporations, foundations, and government agencies for their generous support of our 2014
programs. Without such tremendous community support, ACT would not be able to offer outstanding contemporary theatre, in-school
educational programming, or community based outreach.
ACT Corporate, Foundation & Government Sponsors
ACT gratefully acknowledges the following for their contributions to this production and season:
THEATRE SPONSORS$100,000+ArtsFund
SEASON SPONSORS $50,000-$99,9994Culture*
The Boeing Company
The Shubert Foundation, Inc.
SHOW SPONSORS$25,000-$49,999John Graham Foundation
Joshua Green Foundation*
Nesholm Family Foundation
The Paul G. Allen Family Foundation
Tateuchi Foundation
Tuxedos and Tennis Shoes†
EVENING SPONSORS$10,000-$24,999Elizabeth George Foundation
Microsoft Corporation
The Peg & Rick Young Foundation
TEW Foundation
Theatre Development Fund†
True Fabrications
STAGE SPONSORS$5,000-$9,999Fran’s Chocolates†
Gordon Biersch Brewing Co.
Homewood Suites†
Nordstrom
RealNetworks Foundation
The Seattle Foundation
SUSTAINING SPONSORS$1,000-$4,9992bar Spirits†
Alaska Airlines†
Carlson Audio Systems†
Charles Schwab
E & J Gallo Winery†
Encore Publishing†
Fales Foundation Trust
Foster Pepper & Shefelman
Glass Distillery†
HSBC
Loulay Kitchen & Bar†
Pike Brewing Company†
Traver Gallery†
Washington Holdings
Wyman Youth Trust
MEDIA SPONSORSCity Arts Magazine†
Jewish Transcript Media†
KCTS 9†
KEXP†
KUOW†
KING FM†
Northwest Asian Weekly†
Seattle Magazine†
* Denotes ACT for the Future Campaign Donor
† Support provided through in-kind contributions.
THE JOHN GRAHAM FOUNDATION
encoreartsprograms.com A-11
October 11, 2014
ACTSeasonsTHE 2014 ACT GALA
Tickets on SaleCall or Order Online
acttheatre.org/actforallseasons (206) 292–7660 x1330
Individual tickets, young professional, and row prices available
A CELEBRATION BENEFITING ACT THEATRE’S ARTISTIC AND EDUCATIONAL PROGRAMS
At ACT Theatre
FOR ALL
THE EXTRAVAGANZA INCLUDESFood • Cocktails • Music • Dancing
Games of Chance • Silent Auction • Live Auction Epic Fun
A-12 ACT THEATRE
ACT Theatre’s mission is to raise consciousness through theatre—a mission made possible by generous contributions from people in our
community. We would like to recognize and thank the many kind individuals who have partnered with A Contemporary Theatre this year.
You inspire us all. Thank you.
ACT Partners
ASSOCIATE$5,000-$9,999Sheena Aebig & Eric Taylor
Allan & Anne Affleck
Melinda & Walter Andrews
Joan & Larry Barokas
Benjamin & Marianne Bourland
Sonya & Tom Campion
Bob & Kristi Diercks*
Natalie Gendler
James & Barbara Heavey
Stephanie M. Hilbert*
John & Ellen Hill
Dr. Larry Hohm & Karen Shaw
Linda & Ted Johnson
Jane W. & James A. Lyons
McKibben Merner Family
Foundation
Nadine & John Murray
Dr. Greg Perkins
Marie Peters
Eric and Margaret Rothchild
Charitable Fund
Ingrid Sarapuu & Michael Anderson
Herman & Faye Sarkowsky
Lisa Simonson*
Spark Charitable Foundation
Garth & Drella Stein
David & Shirley Urdal
Vijay & Sita Vashee
David & Joyce Veterane
Jean Viereck
Kären White*
FRIEND$2,500-$4,999Richard & Constance Albrecht
Kenneth & Marleen Alhadeff
Akhtar & Alka Badshah
Peter & Jane Barrett
Kurt Beattie & Marianne Owen
Don Beaty & Carrie Sjaarda
Peter & Fran Bigelow
Bruce Butterfield & Irene Stewart
Estate of George Carlson
Dennis & Deborah DeYoung
Betsy & Charles Fitzgerald
Thomas P. & Christine M. Griesa
Lee Dicks Guice
Katherine Ann Janeway & H.S.
Wright III
Lisa & Norman Judah
H. David Kaplan
Karen Koon & Brad Edwards
Greg Kucera & Larry Yocom
Marcella McCaffray
Bill & Mary Ann Mundy
Sally Nelson
The Nordhoff Family
Brooks & Suzanne Ragen
Ann Ramsay-Jenkins
Donald & Jo Anne Rosen
Evelyne Rozner & Matt Griffin
Debra Sinick & David Ballenger
John & Rose Southall
Ron & Carol Sperling
Cathy & Ron Thompson
Mark & Arlene Tibergien
Annette Toutonghi & Bruce Oberg
Dirk & Mary Lou Van Woerden
Judith Warshal & Wade Sowers
Anonymous
SUSTAINING PARTNER$1,000-$2,499John Akin & Mary Stevens
Rhett Alden & Marcia Engel
Kermit & Danna Anderson
Jason Astorquia
Kendall & Sonia Baker
Marge & Dave Baylor
Eric Bennett
Sarika & Samir Bodas
June & Alan Brockmeier
Dr. William Calvin & Dr. Katherine
Graubard
Corinne A. Campbell
Midge & Steve Carstensen
Dennis & Aline Caulley
Donald Cavanaugh
Manisha Chainani
D.T. & Karen Challinor
Clement Family Foundation
Steven & Judith Clifford
Patricia & Theodore Collins
Steve Coulter
Craig Davis & Ellen Le Vita
Kathy & Don DeCaprio
Ben & Kathy Derby
James & Amanda Devine
Eva & Gary Dines
Michael Dupille
Lonnie Edelheit
Lori Eickelberg
A.J. Epstein
Charles & Margaret Fitzgerald
Anne Foster
Richard & Mary Beth Gemperle
Boyd & Ann Givan
Kelly & Jeffrey Greene
Charles & Lenore Hale
Lawrence & Hylton Hard
Peter Hartley & Sheila Noonan
Phyllis Hatfield
Ellen Hazzard
Rodney & Jill Hearne
Marjorie Kennedy Hemphill
Ross Henry
Vaughn Himes & Martie Ann Bohn
Nancy & Martha Hines
Dale & Donna Holpainen
Gary & Parul Houlahan
Susan & Philip Hubbard
Dan & Connie Hungate
Joseph & Linda Iacolucci
Victor Janusz
Steve Jensen
Judith Jesiolowski & David
Thompson
Clare Kapitan & Keith Schreiber
Lura & David Kerschner
Dr. Edward & Mimi Kirsch
Joanne M. Kuhns
George & Linda Lamb
Steve Langs
Eileen Lennon
Steven & Anne Lipner
Jim Lobsenz & Elizabeth Choy
D.W. & Shirley Logan
THEATRE SPONSOR $100,000+Nancy Alvord
Katharyn Alvord Gerlich
Eulalie M. & Gian-Carlo Scandiuzzi*
SEASON SPONSOR $50,000-$99,999
Betty Bottler
Gregory & Diane Lind*
Chuck Sitkin*
Brian Turner & Susan Hoffman*
Anonymous
EVENING SPONSOR $10,000-$24,999
Laurie Besteman & Jack Lauderbaugh*Colin & Jennifer Chapman*
Allan & Nora DavisLinda & Brad Fowler*
Heather & Grady HughesBill Kuhn & Patricia Daniels*
Yoshi & Naomi MinegishiLinda & George Ojemann
Victor PappasKatherine & Douglass Raff*
Teresa & Geoff Revelle*Barry & Colleen Scovel*
Margaret Stanley* Robert & Shirley Stewart*
Jean WalkinshawMarcia & Klaus Zech
SHOW SPONSOR $25,000-$49,999Chap & Eve Alvord
Linda Brown & Larry True
Trevor Cobb & Cecilia Cayetano*
James Degel & Jeanne Berwick, Berwick Degel Family Foundation
Jean Burch Falls
Richard Hesik & Dr. Barbara Johns*
May McCarthy & Don Smith*
Dr. Arnie & Judy Ness*
encoreartsprograms.com A-13
Laura Lundgren
James Madison
Meg & Jake Mahoney
Alice Mailloux
Bill & Holly Marklyn
Tony Martello
Eric Mattson & Carla Fowler
Peter & Kelly Maunsell
Ann McCurdy & Frank Lawler
Samuel B. McKinney
Joy McNichols
Frances Mead
Gail & John Mensher
Eugene & Donna Mikov
Kelly Miller & Ruthann Stolk
Mark & Susan Minerich
Dayle Moss & David Brown
John Muhic
James Nichols
Chris & BJ Ohlweiler
Sue Oliver
Kristin Olson
Hal Opperman & JoLynn Edwards
Don Oxford
Cynthia & Bruce Parks
Valerie D. Payne
Bill & Beth Pitt
Kate Purwin & Sergei Tschernisch
Alan & Andrea Rabinowitz
Richard Rafoth
Ken Ragsdale
Sharon & Paul Ramey
David and Valerie Robinson Fund
William & Rae Saltzstein
Barbara Sando
Terry Scheihing & Ben Kramer
M. Darrel & Barbara Sharrard
John Shaw
Judith Simmons
Jeff Slesinger & Cynthia Wold
Marianna Veress Smirnes
Sheila Smith & Don Ferguson
Kathleen Sneden-Cook & Jack
Cook
Elaine Spencer & Dennis Forsyth
Kim Stindt & Mark Heilala
Jeffrey A. Sutherland
Christine Swanson
Tamzen Talman
Timothy Tomlinson
Tom & Connie Walsh
Nancy Weintraub
Steve & Diana White
Mary & Donald Wieckowicz
Kathy & Chic Wilson
Cathy Woo
Kyoko Matsumoto Wright
Ann P. Wyckoff
Anonymous (6)
SUPPORTING PARTNER$500-$999Reham Abdelshahid
Monica Alcabin
Connie Anderson & Tom Clement
Richard Andler & Carole Rush
Bruce P. Babbitt
Diane & Jean-Loup Baer
Richard & Lenore Bensinger
Cleve & Judith Borth
Stanley & Barbara Bosse
Matthew Brantley
Margaret Bullitt
Martin Christoffel & Shirley Schultz
Clark Family Charitable Fund
Jack Clay
Ellen & Phil Collins
Jan & Bill Corriston
Chris Curry
Angela Davila
Patricia & Cor DeHart
John Delo
Carole Ellison
Steven Engle
Joanne R. Euster
Amy Faherty & Jeff Kephart
Jeannie Falls
Nancy Federici
Kevin & Tricia Fetter
Mrigankka Fotedar
Rick Freedman
Eleanor & Jeff Freeman
Lucy Gaskill-Gaddis & Terry Gaddis
Sergey Genkin
Genevra Gerhart
Hellmut & Marcy Golde
Claire & Paul Grace
Robert Greco
Rhonda & Jim Greer
Michael Greer, MD & Steve Bryant
Alexander Grigorovitch & Vera
Kirichuk
Meg & David Haggerty
Wier Harman & Barbara Sauermann
Diana & Peter Hartwell
Jim & Linda Hoff
Cynthia Huffman and Ray Heacox
Alice Ikeda & Philip Guess
Dean M. Ishiki
Ann Janes-Waller & Fletch Waller
David B. Johnson
Joan Julnes
Steven & Patricia Kessler
Deborah Killinger
Agastya & Marianna Kohli
Max Langley
Rhoda & Thomas Lawrence
Candy Lee & Rocke Koreis
Robert Lehman & Christopher
Mathews
Gary Lindsey
Loeb Family Foundation
Theodore & Mary Ann Mandelkorn
David Marty
Barbara Martyn
Maxine Mattson
David Meckstroth
Erika Michael
Lauren Mikov
Michael & Sarajane Milder
Michael Moody & Martha
Clatterbaugh
Adam & Shellie Moomey
Wesley Moore & Sandra Walker
Sallie & Lee Morris
Zack Mosner & Patty Friedman
Jim Mullin
Cynthia & Morris Muscatel
Sarah Navarre
Paul & Linda Niebanck
Cecilia Paul & Harry Reinert
Lisa & Cheri Perazzoli
Chuck Perry
Carol Pierce
Donald Pogoloff
Megan & Greg Pursell
Marjorie Raleigh & Jerry Kimball
Jeff & Pat Randall
Pamela Reed & Sandy Smolan
Craig & Melissa Reese
Cindy & Lance Richmond
Jeff Robbins & Marci Wing
Judy & Kermit Rosen
Marc Rosenshein & Judy Soferman
Marybeth & Jerry Satterlee
John Scearce & Nancy Buckland
Darshana Shanbhag
Michael C. Shannon
Barbara & Richard Shikiar
Peggy O’Neill Skinner & John
Skinner
Don & Kathy Smith-DiJulio
Jeanne Soule
Helen Speegle
Jen Steele & Jon Hoekstra
Isabel & Herb Stusser
Sally Sullivan
Norm & Lynn Swick
Arthur & Louise Torgerson
Ellen Wallach & Tom Darden
Eric Weber
Robin Weiss
Dr. Sheree Wen
Janet Westin & Mike McCaw
Gregory Wetzel
Marjory Willkens
Dianne & Douglas Wills
Susan Wolcott & George Taniwaki
Maria & Michael Wolfe
Judith Wood
Josette Yolo
Joyce & Christian Zobel
Igor Zverev & Yana Solovyeva
Anonymous (4)
CONTRIBUTING PARTNER$250-$499Renate & Croil Anderson
Jane & Brian Andrew
Basil & Gretchen Anex
Loren & June Arnett
Ronald & Marcia Baltrusis
John & Eva Banbury
Bob & Melisse Barrett
Carolyn Bechtel
Julie Beckman & Paul Lippert
Ruth & Greg Berkman
Dennis Birch & Evette Ludman
Siggi Bjarnason
Gail & Randy Bohannon
John Boling
Pirkko Borland
Jerome & Barbara Bosley
James Brashears
Karen Brattesani & Douglas Potter
Mark Brewster
Brad & Amy Brotherton
Dorothy A. Brown
Dr. James & Donna Brudvik
Val Brustad
Carol & Jonathan Buchter
Carl Bunje & Patricia Costello
Joel Buxbaum
Judith Callahan & John Van
Bronkhorst
John & Arlene Carpenter
Kathryn & Bill Carruthers
Christopher Chan
Nicole Boyer Cochran
Patrick & Jerri Cohen
Marc Coltrera & Anne Buchinski
Kevin & Lisa Conner
Judith & Thomas Connor
John & Catherine Crowley
Barbara & Ted Daniels
Emily Davis
Paul & Sandy Dehmer
Dottie Delaney
Ron & Jan Delismon
Mike Dey
Paula Diehr & Frank Hughes
Darrel & Nancy Dochow
Kristine Donovick & Jim Daly
Ellen Downey
Michael Dryfoos & Ilga Jansons
Kathryn Dugaw
Vasiliki Dwyer
Glenn & Bertha Eades
Suzanne Edison
Shmuel El-Ad
Constance Euerle
Thea & Alexander Fefer
Alicia Feichtmeir & David Krieger
Eric & Polly Feigl
Karen & Bill Feldt
Carol Finn
K. Denice Fischer-Fortier & James
A-14 ACT THEATRE
M. Fortier
Rynold & Judge Fleck
Ricky Flickenger
Rob Folendorf
Mary Fosse
Andy Foster
Jane & Richard Gallagher
Jean Garber & Clyde Moore
Jean Gardner
Bruce & Peggy Gladner
Carol & Tal Godding
Catherine Gorman
Dick & Jan Gram
Drs. Verena & Basil Grieco
Susan Griffith & Drew Fillipo
Joe & Nancy Guppy
Paul & Sheila Gutowski
Kevin & Molly Haggerty
Marja Hall
Libby Hanna & Don Fleming
Sharron & David Hartman
Hashisaki/Tubridy Family
Richard & Susan Hecht
Lisa Helker
Arlene & Doug Hendrix
Amy Henry
Pat Highet
Weldon Ihrig & Susan Knox
Joel Ivey & Sheryl Murdock
Wendy Jackson
Cathy Jeney
Mark Jenkins
Andy & Nancy Jensen
Paula Jenson
William & Sandy Justen
Nancy Karasan
Paul Kassen
Kay Keovongphet
Gary & Melissa Klein
Ursula Kuepfer & Jon Paddock
Jim & Jean Kunz
Jill Kurfirst
Edie Lackland
Bob & Janet Lackman
Sharon Lamm
Becky Lathrop & Rob Witmer
Kathleen F. Leahy & H. Dale
Hinkson
Midge & Richard Levy
Arni Litt
David Longmuir
Mark P. Lutz
Jeffrey & Barbara Mandula
Lora & Parker Mason
Tim Mauk & Noble Golden
Arthur Mazzola
Carol McDonald
Mary Metastasio
Col. Norman D. Miller
Annette & Gordon Mumford
Robert Mustard
John Naye
Dan & Denise Niles
Craig & Deanna Norsen
Colette J. Ogle
Clarke O’Reilly
Tina Orr-Cahall
Mari Osuna & Adam de Boor
Angela Owens
Angela Palmer
John Peeples
Susan Perkins
Barbara Phillips
Greg & Sherre Piantanida
Judy Pigott
Judy G. Poll
Joan Potter
Sheila Preston Comerford
Darryn Quincey & Kristi Falkner
Carol Radovich
Charles & Doris Ray
Peg Rieder
Bruce F. Robertson
Drs. Tom & Christine Robertson
Richard & Nancy Rust
Stuart & Amy Scarff
Duane & Pat Schoeppach
Garreth Schuh
Sandra & Kenneth Schwartz
Karen & Patrick Scott
Ted & Patricia Scoville
Mike Scully
David & Elizabeth Seidel
Deborah Senn
Lynne & Bill Shepherd
Gursharan Sidhu
John Siegler & Alexandra Read, MD
Gail & Robert Stagman
Alec & Jane Stevens
Lisa & John Stewart
Margaret Stoner & Robert Jacobsen
Derek Storm & Cynthia Gossett
Stephen Strong & Lorri Falterman
Bill & Pat Taylor
Steven Thomas
Michael Thompson
Dennis M. Tiffany
Joan Toggenburger
Sarah & Russell Tousley
Andrew Valaas
Constance Vorman & Pres
Sloterbeck
Mary & Findlay Wallace
Vreni Von Arx Watt
Bruce Weech
Randall Weers
Jim & Sharron Welch
Leora Wheeler
Peggy & Dennis Willingham
Mr. & Mrs. Clyde Wilson
Marianne & Arnold Wolff
Nancy Worsham
Conrad & Glenna Wouters
Dadog Wriggley
Kairu Yao
Jan Zager
Anonymous (7)
*Denotes ACT for the Future Campaign Donor
Gifts in TributeIn honor of Joan Barokas: Judy &
Kermit Rosen
In honor of Kurt Beattie & Marianne
Owen: Dawn Maloney
In memory of Lana Denison: Dr.
Arnie & Judy Ness
In appreciation of Nicole Boyer-
Cochran: Mark Jenkins
In memory of Clayton Corzatte:
Anonymous
In honor of Petra Franklin & Carlo
Scandiuzzi: Linda & Brad Fowler
In honor of Richard Hesik & Barbara
Johns: Bob & Phyllis Hesik
In memory of Melissa Hines:
Martha & Nancy Hines
In honor of Carolyn Keim & Connie
Rinchiuso: Angela Owens
In honor of Teresa Revelle: Dr. Arnie
& Judy Ness
In memory of Patty Rose’s
mother, Marian: PCLELC Cameo
Subcommittee
Matching GiftsACT would like to thank the
following corporations for their
contributions through Gift
Matching Programs. We greatly
appreciate the support of these
institutions and their employees.
Adobe Systems Inc, Matching Gift
Program
Alaskan Copper & Brass Company
Amgen Foundation
Applied Precision
Bank of America Foundation
Bentall Capital
Bill & Melinda Gates Foundation
The Boeing Company
Carillon Point Account
Casey Family Programs
CBIC Insurance
Chevron
The Chubb Corporation
CIGNA Matching Gift Program
Citibank, N.A./Citicorp
Eli Lilly & Co. Foundation
Expedia, Inc.
Harbor Properties, Inc
IBM International Foundation
Key Foundation
Merck
Microsoft Corporation Matching
The Prudential Foundation
Matching Gifts
Puget Sound Energy
RealNetworks Foundation
Russell Investments
SAFECO Matching Funds
Satori Software
Starbucks Matching Gifts Program
Sterling Realty Organization
Sun Microsystems Foundation
United Way of King County
The UPS Foundation
US Bancorp Foundation
Verizon Foundation
Washington Chain and Supply, Inc
Washington Mutual Foundation
Matching Gifts Program
Zymogenetics Inc.
ACT works to maintain our list of donors as accurately as possible.
We apologize for any misspellings or omissions. Should you find any, please
contact our office so that we may correct any mistakes in future publications.
Email [email protected] or call (206) 292-7660 x1330.
encoreartsprograms.com A-15
ACT A Theatre of New IdeasACT BoardOf TrusteesCharles SitkinChairman
Colin ChapmanPresident
Richard HesikVice President
Lisa SimonsonTreasurer
Bill KuhnSecretary
Joan BarokasEric BennettLaurie Besteman Jacob BurnsTrevor CobbBob DiercksCharles FitzgeraldRoss HenryStephanie HilbertGrady Hughes Abha KhannaDiane LindKyoko Matsumoto WrightMay McCarthyLauren MikovNaomi MinegishiJohn MuhicJudy NessGeorge OjemannDr. Greg PerkinsTeresa RevelleIngrid SarapuuBarry ScovelKaren ShawJohn SieglerGoldie Gendler Silverman Margaret StanleyRob StewartLarry TrueBrian Turner
Advisory CouncilAubrey DavisDaniel D. EdererJean Burch FallsJeannie M. FallsJohn H. FarisBrad FowlerCarolyn H. GrinsteinSara Comings HoppinC. David HughbanksJonathan D. KleinKeith Larson*Jane W. LyonsLouise J. McKinney*Gloria A. MosesNadine H. MurrayDouglas E. NorbergKristin G. OlsonDonald B. PatersonEric PettigrewPamela PowersKatherine L. RaffBrooks G. RagenCatherine RoachJo Anne RosenSam Rubinstein*Faye SarkowskyDavid E. SkinnerWalter Walkinshaw*Dr. Robert Willkens*George V. WilloughbyDavid E. Wyman, Jr.Jane H. Yerkes
A Contemporary Theatre FoundationKermit AndersonPresident
Lucinda RichmondVice President
Katherine RaffSecretary
Catherine RoachTreasurer
Colin ChapmanBrad FowlerJohn SieglerLisa SimonsonCharles SitkinBrian Turner
ACT StaffEXECUTIVEKurt Beattie†
Artistic Director
Carlo ScandiuzziExecutive Director
Becky WitmerGeneral Manager
Robert HankinsExecutive and Artistic Manager
ARTISTICJohn LangsAssociate Artistic Director
Margaret Layne†
Casting Director & Artistic Associate
Anita Montgomery†
Literary Manager and Director of Education
Kenna KettrickEducation Associate
Robert KeeneLiterary Intern
Emily PenickArtistic Intern
ADMINISTRATIONAdam Moomey†
Operations Manager
Susanna PughVenue Manager
Robert McDonaldFacilities Maintenance
AC/R ServicesEngineer
Lawrence CuringtonIT Support Manager
Rica WolkenTessitura Manager
Tuxedos and Tennis Shoes CateringBar and Concessions
FINANCESheila SmithDirector of Finance
Tobi Beauchamp-LoyaPayroll & Human Resources
Manager
Ash HymanSenior Accountant
DEVELOPMENTMaria Kolby-WolfeDirector of Development
Rebecca LaneMajor Gifts and Campaign
Manager
Angela PalmerDonor Relations Manager
Kyle ThompsonDevelopment Coordinator: Board
& Office Operations
Julia NardinDevelopment Coordinator:
Stewardship & Special Events
Charly McCrearyDevelopment Intern
MARKETING AND COMMUNICATIONSAubrey ScheffelAssociate Director of Marketing
Karoline NaussMarketing Coordinator
Marissa SteinGraphics & Email Coordinator
Malie FujiiMarketing Intern
Mark SianoPublic Relations Manager
Sebastien ScandiuzziVideo Manager
Apex MediaAdvertising
Chris BennionProduction Photographic Services
Christa FlemingGraphic Designn
SALES AND AUDIENCE SERVICESJessica HowardDirector of Sales & Service
Ashley SchalowTicket Systems Associate
Lynch ResourcesTelemarketing
Montreux RotholtzTicket Office &
Customer Service Manager
A. Aiden KaramanyanFront Office Representative
Megan TuschhoffTicket Office Lead
Jaron BoggsKelton EngleTicket Office Representatives
Jim MoranAudience Services Manager
Jeremy RupprechtHouse Manager
Libby BarnardKatie BicknellDennis HardinRyan HigginsMonika HolmBecky PlantRobin ObournKristi QuirozLuke SaylerAdam VanheeAudience Services
Christine JewAudience Services Affiliate
PRODUCTIONJoan Toggenburger†
Producing Director
Alyssa ByerCentral Heating Lab Production
Manager
Emily CedergreenProduction Office Manager
Skylar HansenProduction Runner
STAGE MANAGEMENTJeffrey K. Hanson†
Production Stage Manager
JR WeldenErin B. ZatlokaStage Managers
Ruth EitemillerProduction Assistant
COSTUME DEPARTMENTSCarolyn Keim†
Costume Director
Connie Rinchiuso†
Costume Shop Foreman
Candace FrankCostume Coordinator
Kim Dancy†
Cutter
Sally Mellis†
Wardrobe Master
Fawn BartlettAssistant to the Costume Director
Joyce Degenfelder†
Wig Master
SCENIC DEPARTMENTSSteve Coulter†
Technical Director
Derek BaylorAssistant Technical Director
Austin Smart†
Master Scenic Carpenter
Sean WilkinsLead Scenic Carpenter
Michael SterkowiczNick MurelScenic Carpenters
Mona Lang†
Scenic Charge Artist
Lisa Bellero†
Assistant Charge Artist
Marne Cohen-Vance†
Properties Master
Ken Ewert†
Master Properties Artisan
Thomas VerdosLead Properties Artisan
STAGE OPERATIONSNick Farwell†
Stage Operations Supervisor
James Nichols†
Master Stage Carpenter
Pam MulkernMaster Electrician
Max LangleyMaster Sound Engineer
Brendan Patrick HoganResident Sound Designer
Michael CornforthCentral Heating Lab Technician
FOR THIS PRODUCTIONRon DarlingProps Artisan
* Deceased
† Denotes staff member has worked
at ACT for 10 years or more
A-16 ACT THEATRE