BJ Jones
BJ Jones
presents presents
ARTISTIC DIRECTOR
ARTISTIC DIRECTOR
the
Timothy J. Evans
EXECUTIVE DIRECTOR Timothy J. Evans
EXECUTIVE DIRECTOR
W man
hipping BY
Dominique MatthewMorisseau Lopez BY
DIRECTED BY
DIRECTED BY
Ron OJ Parson
Kimberly Senior
Scenic Scenic Design Design Costume Design Costume Design Lighting Design Lighting Design Sound Design Sound Design Production Stage Manager Production Stage Manager
Jack Jack Magaw, Magaw, USA USA Nan Cibula-Jenkins, USA Rachel Laritz, USA JR Lederle Christine A. Binder, USA Nick Keenan Christopher Kriz, USA Malcolm Ewen, AEA Laura D. Glenn, AEA
OPENING NIGHT: NOVEMBER 15, 2013
At the North Shore Center forJANUARY the Performing Arts in Skokie OPENING NIGHT: 25, 2013 At the North Shore Center for the Performing Arts in Skokie
Detroit ‘67 is presented by special arrangement with SAMUEL FRENCH, INC. The Whipping Man is presented by special arrangement with SAMUEL FRENCH, INC.
PRODUCTION SPONSORS
CAST & PRODUCTION CAST (IN ORDER OF APPEARANCE)
INDIVIDUAL PRODUCTION SPONSORS
FREDDI GREENBERG AND DANIEL PINKERT
Tyla Abercrumbie*......................................................................................................Chelle Coco Elysses*.............................................................................................................. Bunny Kamal Angelo Bolden*................................................................................................ Lank Kelvin Roston Jr.*.............................................................................................................. Sly Cassandra Bissell*.................................................................................................. Caroline
To learn about becoming an Individual Production Sponsor, please contact Andria Venezia, Associate Director of Development, at 847.324.1613 or avenezia@northlight.org.
Understudies: Justin Cornwell (Lank), Candice Jeanine (Bunny), Ebony Joy (Chelle), Brian Keys (Sly), Allie Long (Caroline)
CAROL AND STEVE MULLINS
Understudies will not substitute for listed players unless a specific announcement is made at the time of the performance.
CORPORATE AND FOUNDATION PRODUCTION SPONSORS
*Member of the Actors Equity Association, the union of professional actors and stage managers
Setting Detroit, Michigan. July 1967
THE ELIZABETH F. CHENEY FOUNDATION
Detroit ‘67 will be performed with one 15-minute intermission. MEDIA SPONSOR
ADDITIONAL PRODUCTION STAFF
NORTHLIGHT SEASON SPONSORS NORTHLIGHT THEATRE IS SUPPORTED IN PART BY:
MERLE RESKIN
Production Dramaturg..................................................................Kristin Leahey, Ph.D Assistant Dramaturg................................................................................Sean Douglass Costume Assistant...........................................................................Anna Slotterback Wigs/Makeup................................................................................ Penny Lane Studios Properties Master.....................................................................................Sarah Burnham Dance Consultant...................................................................................Alfred H. Wilson Costume Supervisor.......................................................................... Maureen Vaughey Production Assistant..................................................................................... Kelli Kovach
The video and/or audio recording of this performance by any means whatsoever is strictly prohibited.
THE OFFIELD FAMILY FOUNDATION
THE SULLIVAN FAMILY FOUNDATION
SPECIAL THANKS
OPENING NIGHT SPONSOR
ARTISTIC CIRCLE RECEPTION SPONSOR
Bloomingdale’s || Cramer Krasselt || Draft FCB || Edgerton Foundation for New American Plays Award || Evanston Community Foundation || Katten Muchin Rosenman || Kirkland & Ellis || Melvoin Award for Playwriting || MacArthur International Connections Fund || North Shore Center for the Performing Arts Foundation || The Pauls Foundation || Quince at The Homestead || The Daniel F. and Ada L. Rice Foundation || Room & Board || The Saints || The Farny R. Wurlitzer Foundation
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NORTHLIGHT THEATRE |
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PROGRAM NOTES
PROGRAM NOTES
FROM THE ARTISTIC DIRECTOR
THE GREAT REBELLION: DETROIT, JULY 23, 1967 forced to produce identification for inquiring white police. If one could not produce “proper” identification, this sometimes led to arrest. In a few notable cases, police stops led to the injury or death of those who were detained. By surveying black residents, the Detroit Free Press identified police harassment and brutality as the primary concerns of the black community leading up to the riot.
In the summer of 1966, I was with other scholarship students from all over Cleveland at the Chautauqua Institution studying with the Cleveland Play House. That summer, the Hough riots exploded and whole blocks were burned down as my colleagues and I watched on the black and white TV in our dorm. Some of my classmates were from Hough and I was so shaken, as were they, by what we were watching. We were 15 and 16 and our home town was ablaze! “Why?,” we wanted to know. Now, of course, historical perspective prevails, but in the heat and confusion of the time, we eyed each other warily, with silent guilt and confused fear. For some of us, my suburban self included, it was our first interaction with people from a different race, and during an explosive and divisive time. The next year, Detroit suffered the same disaster, and America’s national nervous breakdown was in full cry, in all senses of the word. Detroit ‘67 takes a very personal look at one family’s fallout during that horrific event. We are so proud to bring Dominique’s unique voice, directed by Ron OJ Parson, to our stage.
BJ Jones, Artistic Director
FROM THE DIRECTOR Oppression doesn’t destroy people. The acceptance of oppression destroys people. Detroit in the summer of 1967 was on fire, but the fire had been brewing long before that. The match was lit that fateful day in July of 1967, and a city – and a country – was changed forever. Whenever I direct a play, I look at it as a love story: love of family, love of culture, love of life, and of course, love of the spirit. Detroit ’67 in particular is a love story: love of a city and a way of life. Detroit is a unique place. Although I didn’t grow up there, I did spend a great part of my life in Michigan, living in Ann Arbor (graduating from The University of Michigan), Flint, Grand Rapids, Ypsilanti, and of course, Detroit. There is a love and spirit in that city like no other that I have experienced (except maybe Pittsburgh)! With Detroit ’67, Dominique has given us a story that touches all levels of that love. It is a play that touches the soul for me. Although I was young in 1967, I can remember the change that was happening across the country and the powder keg that was about to take us all to another level of rebellion. This is a touching story about some of the lives that were affected by this powder keg, and how a city in turmoil, a city ravaged by racism, police brutality, systemic oppression, and hate, erupted and cried out for change. This was a time that changed a city and its future to this day. This is a story of love.
Ron OJ Parson, Director 4
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Police arrest a rioter on 12th Street.
Detroit’s 12th Street Riot, or what is known as The Great Rebellion, commenced on July 23, 1967. Five days later, when the riot concluded, 43 people were dead, over 500 injured, and 7,231 arrested. Half of those arrested had no criminal record. 64% of the arrested were accused of looting and 14% charged with curfew violations. 2,509 stores were looted or burned, 388 families were rendered homeless or displaced, and 412 burned or damaged buildings needed demolition. Losses from arson and looting ranged from $40 million to $80 million. The event took police violence to a new level in a city with a lengthy history of police brutality and for a black community who lived in a state of fear. During the 1960s, Detroit’s “Big Four” or “Tac Squad” roamed the streets, searching for bars to raid. These elite four-man police units frequently stopped youths who were driving or walking through the 12th Street neighborhood. They verbally harassed them with racial slurs and often questioned where they were going. It was common for black Detroit residents to be
Factors such as hostility between the Detroit police and the black community and the racial climate of the 1960s led to the riot. The specific incident that triggered the riot was a police raid of a blind pig, an establishment often operated out of a proprietor’s residential basement that illegally sold alcoholic beverages. To circumvent the law, blind pigs would charge customers for an attraction or an experience (e.g., to listen to music) and serve “complimentary” alcoholic beverages. The raid of the blind pig on the corner of 12th and Clairmount Streets, on the city’s near west side, did not resolve quickly and quietly, as similar raids of such businesses had before. Confrontations between police and patrons grew to conflicts between police and observers, and then police and the black population of Detroit. One of the most noted aspects of the 1967 Riot was the “unrestrained police behavior.” Of the 43 lives lost, civilians caused 6 deaths, 7 were accidental, and the police, guardsmen, or other authorities caused 29 or more deaths. Of those that were killed by the police, 62% were caused by officials shooting at looters, and the NORTHLIGHT THEATRE |
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PROGRAM NOTES
Governor Romney surveys 12th Street; the damage is still evident two months after the riots.
other 38% resulted from unnecessary gunfire on apartments, houses, cars, and crowds by police. Ultimately, to help end the disturbance, Governor George W. Romney ordered the Michigan National Guard into Detroit, and President Lyndon B. Johnson sent Army troops. In addition to the death count, the Detroit economy was profoundly affected, primarily through the loss and the destruction of small businesses. Detroit’s 12th Street, once a bustling, thriving community, became a bleak landscape of public housing, vacant lots, and windowless stores. Soon after The Great Rebellion, the New Detroit Committee was formed. This organization, comprised of the city’s ruling elite, intended to put an end to urban unrest with a vast building program designed to replace inner-city squalor with the sleek new architecture of 6
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modern office buildings, banks, condominiums and hotels. The program was meant to stimulate economic development, create jobs, and provide social stability and confidence for the troubled city. However, in 1967, organized state violence and continued civilian street violence halted much of this regrowth. As of 2013, the people of the city of Detroit continue to struggle with the crisis of power often associated with issues of race and poverty. Some argue that 1967 is the year that began Detroit’s decline, while counterarguments dispute this claim, proposing that instead it began long before the mid-twentieth century. Excerpted from Georgakas, Dan and Marvin Surkin. Detroit, I Do Mind Dying. Cambridge, MA: South End Press, 1998.
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PROGRAM NOTES THE MOTOWN SOUND hit in 1959 and by February 1961 had its first million dollar-seller: the Miracles’ “Shop Around.” From this moment on, Hitsville began to live up to its confident name and succeed beyond all expectations.
Barrett Strong provided Berry Gordy’s Motown label with its first hit “Money (That’s What I Want)” in 1960.
Of all of the sounds that emerged from Detroit during the 1960s, the “Motown Sound” was the most celebrated. Motown songs married the saintly and the secular, merging the call-and-response patterns of black gospel music with the syncopation and improvisation of the be-bop movement in jazz. From early hits such as Barrett Strong’s “Money (That’s What I Want)” to the Temptations’ “Just My Imagination,” the Motown Record Company completely transformed the American popular music scene. Never before had a black-owned company been able to create and produce the musical artistry of its own community and then successfully attract interracial audiences. While the goal was ambitious, the means were modest. Motown studios began in a small house on West Grand Boulevard in Detroit, which the staff quickly dubbed “Hitsville, USA.” The enterprising record label soon attracted the best local African American musicians and performers by scouting local talent shows and amateur singing contests in the city. The company released its first major 8
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In 1972, the Motown Record Company left Detroit to establish its headquarters in Los Angeles. The Motown story did not end in the early 1970s with the move to California, but much of the magic of the early years was never recaptured. Motown aficionados analyze why the music achieved the success that it did, especially with white audiences. They contend that the African American Civil Rights Movement assuredly contributed to the popularity of the Motown sound. Motown emerged from a city that was known, not for racial harmony and civic peace, but rather for chronic patterns of racial discrimination that often led to violence. As one of the many responses to such patterns of discrimination, the city’s black
Martha and the Vandellas had many Motown hits throughout the 1960s, including “Dancing in the Street” - one of the most played singles in history.
PROGRAM NOTES community forged a place for itself in Motown. To fully understand the music’s relationship to the Civil Rights Movement, one must begin on the streets of Detroit. Here, amateur singers, autoworkers, preachers, musicians, poets, business leaders, community activists and politicians participated in a reclamation of their beloved city through the music. Detroit’s black community choreographed a distinctly urban social movement. The movement experienced defeats but also instigated social change, altered political power, and produced
the Motown sound. Like the song “Dancing in the Street” originated by Martha and the Vandellas, it encompassed celebration, rebellion, and adversity. Excerpted from: “The Motown Sound.” Motown Museum. Web. 12 Aug. 2013. www. motownmuseum.org/motown-sound/ the-artists/. Smith, Susan E. Dancing in the Street: Motown and the Cultural Politics of Detroit. Boston: Harvard University Press, 2001.
RESIDENT DRAMATURG KRISTIN LEAHEY INTERVIEWS DETROIT ’67 PLAYWRIGHT DOMINIQUE MORISSEAU KL: What’s the genesis of this piece? What inspired you to write this play? DM: Aside from me and my entire family being from Detroit, I really wanted to dive into Detroit’s history and look at the important moments that changed the landscape of our city. And 1967 was definitely one of the more definitive moments. Growing up in Detroit, there is no real intellectual study of our history. There’s not a lot of talk about the “riots”—though many people would tell me not to call them “riots,” they’d tell me to call them “The Great Rebellion...”—so many people don’t grow up learning about The Rebellion. It’s not taught in schools. It’s not being kept alive through conversation. So I went out to learn about it on my own. And when I found out that they were sparked by these after-hours parties, I got very excited about the idea of putting an after-hours basement party on-stage. Because I knew they were a big deal in the ‘60s and I had never seen that world before. Additionally, I think what made me really want to start working on this project was
a desire to contribute a different narrative about Detroit than what is out there right now. I don’t think the media always depicts our city with fairness. The Detroit I grew up in and understand was built on the backs of these small communities made up of real people. And I wanted to tell a story from that perspective. I wanted to bring the soul of that into the national conversation about Detroit. KL: It seems like music is a really big part of your life, not to mention the play. Can you talk a bit about the music in the piece? DM: Music helps to give me a sense of the world within a play. Whenever I write, I use music as the backdrop. Even if I don’t write the songs I’ve been listening to into the play, it still is a huge influence for me. It informs the world, gives me a local color, a language for the period, the attitude and the spirit of what I’m writing. Motown is definitely a no-brainer when it comes to Detroit in the ‘60s. KL: Are there particular songs that were/are a part of your life or your parents’ lives that made it into this play? NORTHLIGHT THEATRE |
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PROGRAM NOTES Still to come this season at
See all
JAN 17 - FEB 24, 2014
3 PLAYS for $99!* The romantic misadventures of an 18th century rascal with a fondness for the fairer sex!
RY y JON JO WN adapted b O
MAR 7 - APR 13, 2014
directed by
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Two lonely animal lovers in Dublin re-discover the possibilities of human companionship.
KL: Do you still have any family that lives in Detroit? by CH R
directe
ISTIAN O
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featuring John Mahoney
MAY 2 - JUN 8, 2014
DM: There of course were groups that my parents loved. But my instinct was to look for groups or singers that I wasn’t already hip to. What people listened to on a record in 1967 is not necessarily the song that was the most popular. So filling a play with music brings in another character and lets characters relate to one another through the music. I wanted these characters to listen to music that had a particular message or point of view that spoke to where they were or what they were going through, not just what was the most popular. “My Baby Loves Me” transports me to another world whenever I listen to it. It reminds me of my mother. I don’t know if she used to play it for me all the time or not. But my aunt heard me mention that song and how it inspired me, and she said she used to play it for me when I was growing up and dancing with her. Somewhere subconsciously, that song lives in my mind and in my heart. It’s like this song is family.
The Pulitzer Prize-winning memory play of a boyhood summer in a bygone era.
by NEIL SIMON directed by DEVON de MAYO
See More, Save More - Order Your FLEX PASS Today! northlight.org/subscribe or 847.673.6300 *$99 is the cost of a 3-Play Weeknight Flex Pass (valid evenings Sunday through Friday). An Anytime Pass is available for $129.
DM: Oh, all of my family lives in Detroit. All of them. There’s very little empathy for the people who live in Detroit, and there’s such a bleak hopelessness that’s been assigned to their situation. That’s what bothers me most. And the people who say those things really don’t understand our city. And I think when we hear certain things about ourselves over and over we start to believe in them - even the best of us. That’s the power of writing. The media really has the power to manipulate peoples’ beliefs. So I too want to manipulate peoples’ beliefs and get people to start believing in our city again. It’s the city’s music in this story that unifies people of different backgrounds, politics, and worldviews. And I think that when we are presented with stories that can teach us about that kind of heart, we can shrug off the city’s labels and begin to really believe in the people that live there. To read the full interview, please visit nothlight.org.
ALDEN’S THERAPY helped me feel 18 again.
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To make your reservation, call 847-679-6100, or visit us on the web at: AldenNorthShore.com
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NORTHLIGHT THEATRE |
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PROGRAM NOTES
ARE YOU LOOKING FOR A UNIQUE WAY TO SUPPORT NORTHLIGHT THEATRE? Due to the national and international scope of our work, we frequently fly artists, actors and playwrights to Chicago to be a part of our amazing creative teams for Northlight’s productions. Bringing world-renowned artists to Northlight is crucial to our mission to champion new work, and to provide a nurturing and creative home for our artists, and we could use your help! Northlight Theatre is in need of unused airline travel vouchers to help defray the travel costs for Northlight artists and artistic staff. If you are interested in becoming a donor to our High Flyers program, please contact Andria Venezia at 847.324.1613, or by email at avenezia@northlight.org. Thank you!
ENGAGEMENT EVENTS FREE community events, designed to enhance your theatre-going experience:
LIBRARY EVENTS Couturier during Change
Salon Series at Northlight Theatre Wednesday 11/20 at 6:15pm
(preceding 7:30pm performance attendance at performance is not required)
Costume designer of Detroit '67, Nan Cibula-Jenkins, and curator of the Chicago History Museum's “Inspiring Beauty: 50 Years of Ebony Fashion,” Joy Bivins, discuss the fashions of the late 1960s and their wearers’ relationship to unrest, progress, and change in our country.
The Director and members of the cast present scene selections and discuss themes of the play. Tuesday 11/19 at 12:00pm Evanston Public Library (1703 Orrington Ave) Tuesday 11/19 at 3:00pm
Wilmette Public Library (1242 Wilmette Ave) Tuesday 12/3 at 3:00pm
Skokie Public Library (5215 Oakton St) Tuesday 12/3 at 6:30pm
Highland Park Public Library (494 Laurel Ave)
All events are subject to change. More information at northlight.org/events. 12
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PROFILES TYLA ABERCRUMBIE (Chelle) is excited to be making her Northlight debut and to be working with her friend and mentor Ron OJ Parson, with whom she recently worked as Assistant Director for A Raisin in the Sun (TimeLine). An actor and writer, look for her around Chicago performing the third installment of her stand up series, Naked & Raw. Regional theatre credits: Asolo Repertory, TimeLine, Goodman, Court, Portland Stage Company, Pittsburgh Public, Actors’ Theatre of Louisville, AWCCT, St. Louis Black Repertory, Victory Gardens, Chicago Shakespeare, Studio Arena, Onyx, and Coronet. Film & television credits: Crisis, The Poker House, Mob Doctor, Chicago Code, Detroit 187, The Beast, ER, and AMC’s new hit series Low Winter Sun. Tyla is a graduate of Columbia College with a BA in theatre. CASSANDRA BISSELL (Caroline) is delighted to be performing at Northlight for the first time! Chicago credits: The Tempest, Richard II, King John and Short Shakespeare! productions of Romeo & Juliet and Macbeth (Chicago Shakespeare); Arcadia, Hamlet (Court); Memory House (Victory Gardens); Mary’s Wedding (Rivendell – Jeff nomination, Best Actress); In the Blood, Measure for Measure (Next). Regional credits: Much Ado About Nothing (Great Lakes/Idaho Shakespeare Festival); My Name is Asher Lev, In the Next Room (Milwaukee Repertory); Memory House, In the Next Room (Actors’ Theatre of Louisville); Pride & Prejudice, Noises Off (Cleveland Play House); Crumbs from the Table of
Joy (Renaissance Theaterworks); and six seasons at Peninsula Players in Door County, WI. Cassandra is a proud member of Actors’ Equity and holds a degree in Gender Studies from the University of Chicago. KAMAL ANGELO BOLDEN (Lank) is beyond thrilled to make his Northlight debut. His recent theatre credits include The Misanthrope and Jitney (Court – Jeff Nomination, Best Ensemble), Short Shakespeare: Romeo and Juliet (Chicago Shakespeare), Bud, Not Buddy (Chicago Children’s), The Opponent (A Red Orchid Theatre – Jeff Nomination/Black Theatre Alliance Award Nomination – Principal Actor), Immediate Family (Goodman/About Face), The Elaborate Entrance of Chad Deity and We Are Proud to Present… (Victory Garden), and The Island (Remy Bumppo – BTAA Winner, Outstanding Leading Actor). Film & television credits: Low Winter Sun, Betrayal, Chicago Fire, Boss, Lights Out, and The Row. An ensemble member of A Red Orchid Theatre, he is represented by Paonessa Talent. COCO ELYSSES (Bunny) is an actress, musician, playwright, screenwriter, and poet. She completed her MFA in Creative Writing and was published before graduation. Her voice can be heard in the permanent museum installation Skywatchers of Africa. Her voice is also in the Saint’s Row video game Ever Quest II, and Watchdogs. Coco’s one-woman show You Can’t Hide debuted at MPAACT’s solo jam series. She has appeared in The Old Settler, Shakin NORTHLIGHT THEATRE |
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PROFILES the Mess Outta Misery, and Hydraulics Phat Like Mean. Coco was also a featured musician in the book Black Women and Music: More than The Blues and the film Jazz: A Documentary. She has performed with the Great Black Music Ensemble in Pisa, Italy. Coco’s poetry is in 99 New Poems: A Contemporary Anthology, and in America is ... Personal Essays for Social Justice. She is a member of SAG, AFTRA, AEA, AFM, and the AACM. KELVIN ROSTON JR. (Sly) is very excited to be making his Northlight debut. Credits include: Dreamgirls as James “Thunder” Early (Theatre Orb [Tokyo, Japan], Festival Hall [Osaka, Japan], Maine State Music Theatre [Brunswick, ME], Fulton [Lancaster, PA], Marriott Lincolnshire), Crowns (Goodman), The Jackie Wilson Story as Jackie Wilson (Black Ensemble – Jeff Award nominee, BTAA winner, Black Excellence Award winner), Ma Rainey’s Black Bottom and Porgy and Bess (Court), The Old Settler (Writers), Pill Hill (eta Creative Arts Foundation – BTAA winner). Regional credits include: Ruined, Death and the King’s Horseman, Dreamgirls (St. Louis Black Repertory), The Last Days of Judas Iscariot (HotCity), Beowulf (Metro), Mama (Unity), and Porgy and Bess (Union Avenue Opera). Kelvin is a proud member of Actors’ Equity Association. “We are the portals through which our story continues.” RON OJ PARSON (Director) is a native of Buffalo, New York and a graduate of the University of Michigan’s professional theatre program. He is the co-founder and former Artistic Director of the Onyx Theatre Ensemble of Chicago, and a co-founder and co-director of Ripe 14
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Mango Productions. Ron currently resides in Chicago and is a Resident Artist at the Court Theatre. Since moving to Chicago from New York in 1994, he has worked as both actor and director. Chicago theatres Ron has worked with include The Chicago Theatre Company, Victory Gardens, Goodman, Steppenwolf, Chicago Dramatists, Northlight, Court, Black Ensemble, ETA Creative Arts Foundation, Writers, Congo Square, and Urban Theatre Company. Regional theatres include Virginia Stage, Portland Stage, Studio Arena, Studio, Roundabout, Wilshire, Mechanic, Center Stage, Actors Theatre of Louisville, Milwaukee Rep, St. Louis Black Rep, South Coast Rep, Pasadena Playhouse, Ensemble Theatre of Cincinnati, Alliance, Signature, and Stratford Shakespeare Festival in Canada. An accomplished actor, TV and film credits include ER, Early Edition, Turks, American Playhouse, Vamping, Ali, Barbershop 2, Primal Fear, Drop Squad, and most recently, Starz Network’s Boss. Ron is a proud member of AFTRA, SAG, AEA, and SDC. DOMINIQUE MORISSEAU (Playwright), writer and actress, is an alumna of the Public Theater Emerging Writer’s Group, the Women’s Project Playwrights Lab, and Lark Playwrights Workshop. Among her playwriting credits are: Detroit ’67 (Public Theatre; Classical Theatre of Harlem/National Black Theatre), Sunset Baby (Labyrinth – NYC; Gate – London), and Follow Me to Nellie’s (O’Neill; Premiere Stages). Her produced one-acts include: Third Grade (Fire This Time Festival), Black at Michigan (Cherry Lane Studio/DUTF), Socks, Roses Are Played Out, and Love and Nappiness (Center Stage, ATH), love. lies.liberation (New Group), Bumrush (Hip Hop Theater Festival), and The Masterpiece (Harlem9/HSA). Dominique’s work has also been
PROFILES published in the NY Times bestseller Chicken Soup for the African American Soul and in the Harlembased literary journal Signifyin’ Harlem. She is a Jane Chambers Playwriting Award honoree, a twotime NAACP Image Award recipient, a runner-up for the Princess Grace Award, a recipient of the Elizabeth George commission from South Coast Rep, a commendation honoree for the Primus Prize by the AmericanTheatre Critics Association, winner of the Barrie and Bernice Stavis Playwriting Award and the Weissberger Award for Playwriting, the U of M – Detroit Center Emerging Leader Award, and a PoNY (Playwrights of New York) Fellow. JACK MAGAW (Scenic Design) most recently designed scenery for 4000 Miles at Northlight. Other Chicago area and regional theatre design credits include Joan of Arc (Chicago Opera Theatre), Clybourne Park and Beneatha’s Place (Center Stage), A Raisin in the Sun (Milwaukee Rep), Little Gem (City Theatre), Disgraced (American Theatre Company), The Foreigner (Kansas City Rep), Sunday in the Park with George and The Game’s Afoot (Peninsula Players), The Letters (Writers), and Jitney (Court). Eight Jefferson Award nominations include designs for The Caretaker (Writers), The Whipping Man (Northlight), and Disgraced (American Theatre Company). Upcoming projects: Romeo and Juliet (Kansas City Rep), The Who and the What (La Jolla Playhouse), and Hedda Gabler (Writers). Jack is married to director Kimberly Senior and teaches design at The Theatre School at DePaul University. www.jackmagaw.com NAN CIBULA-JENKINS (Costume Design) is delighted to be at Northlight Theatre. She has designed costumes for over a hundred productions (theatre, feature film,
opera, dance, and television) both in the U.S. and abroad. She has designed for Broadway and is very active at numerous regional theatres across the nation such as Oregon Shakespeare Festival, Seattle Rep, Goodman, The Public, Shakespeare in Central Park, Alliance in Atlanta, Hartford Stage, Alley in Houston, American Rep at Harvard University, Court at the University of Chicago, and the Kennedy Center and Arena Stage in Washington, D.C. She is the recipient of the nationally acclaimed Michael Merritt Award for Design and Collaboration. Ms. CibulaJenkins is a Professor of Costume Design at The Theatre School. JR LEDERLE (Lighting Design) Northlight credits include The Odd Couple, Ten Chimneys, Season’s Greetings, A Life, Grey Gardens, The Retreat From Moscow, Lady, Stella & Lou, The Outgoing Tide, and Better Late (the last three also at the Galway Arts Festival, Ireland). Other work has been seen at Lookingglass, Victory Gardens, About Face, Remy Bumppo, Writers’, Steppenwolf, and Walkabout. JR designed lighting for seven years of the Steppenwolf Traffic Series, and five Steppenwolf performances in Chicago’s Millennium Park. He has served as head of the Lighting Department at Steppenwolf since 1995. NICK KEENAN (Sound Design) is thrilled to be working with Northlight for the first time. Nick has designed over 125 shows in the Chicago area, including shows at Court (Sizwe Banzi is Dead, The Illusion, The Piano Lesson), Next (Everything is Illuminated, End Days), Millennium Park (Guerra: A Clown Play), the Neo-Futurists (The Sovereign Statement), Rivendell (These Shining Lives), A Red Orchid (The Iliad, Not a Game for Boys), and New Leaf (Arcadia, The Man Who Was Thursday, Touch, The Dining Room). He recently served NORTHLIGHT THEATRE |
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PROFILES as associate sound designer for Smokefall at Goodman. Nick teaches sound design at DePaul University and serves as a digital and web experience designer for a number of Chicago theatres, including the Neo-Futurists and the Paramount in Aurora. KRISTIN LEAHEY, Ph.D (Dramaturg) is the Resident Dramaturg at Northlight Theatre and formerly the Literary Manager at Woolly Mammoth Theatre Company in Washington, DC. She has worked with Goodman Theatre, The Kennedy Center, Indiana Repertory Theatre, Cleveland Play House, Victory Gardens Theater, The Notre Dame Shakespeare Festival, Collaboraction, Teatro Luna, Teatro Vista, Steep Theatre Company, Eclipse Theatre Company, Redmoon Theater, Next Theatre Company, and A Red Orchid Theatre. Leahey received her M.A.
PROFILES
from Northwestern and her Ph.D. from The University of Texas at Austin. Her publications include articles in Theatre Topics, Theatre History, and Theatre Studies, and she has taught at The University of Texas at Austin and at DePaul University. She is an Artistic Associate at Steep Theatre Company and the 2013-14 Weber State Artist in Residence. MALCOLM EWEN (Production Stage Manager) spent last year stage managing the Tony Award-winning revival of Who’s Afraid of Virginia Woolf? on Broadway. He has been one of the resident stage managers at Steppenwolf since 1987. Over the years he has stage managed well over thirty productions for the company as well traveling with Steppenwolf projects to Great Britain, South Africa, and Australia. Also on Broadway, he was the PSM of Grapes of Wrath (1990 Tony Best
Dick and Jane
Made a
Smart Decision
Play), The Song of Jacob Zulu, The Rise and Fall of Little Voice, and The Capeman. Regionally he has worked at Arena Stage, Berkeley Rep, La Jolla Playhouse, Long Wharf, and Goodman. A graduate of Amherst College, he returns every summer to Vermont to direct at the Weston Playhouse. BJ JONES (Artistic Director) is in his 16th season as Artistic Director of Northlight, where he commissioned and directed the world premieres of Stella & Lou, The Outgoing Tide (Jeff Nomination – Best Director), Better Late, and Rounding Third. Notably he has directed productions of Grey Gardens, The Price (Jeff Nomination- Best Director), A Skull in Connemara, The Cripple of Inishmaan, and The Lieutenant of Inishmore. As a producer he has guided the world premieres of The Last Five Years, The Gamester, and Studs Terkel’s ‘The Good War’. From Second City to Shakespeare, BJ has directed Pitmen Painters (Jeff Nomination – Best Director, TimeLine), A Number (Next), 100 Saints You Should Know (Steppenwolf), and The Dresser (Body Politic). Regional: Glengarry Glen Ross (Suzie Bass Nominee Best Director, Atlanta’s Alliance Theatre), Enchanted April (Asolo Theatre), and productions at Cherry Lane Theatre NY, Galway Arts Festival, Baltimore Center Stage, and Utah Shakespeare Festival. As a performer, Mr. Jones is a two-time Joseph Jefferson Award winner
and has appeared at Northlight, Goodman, Steppenwolf, Court, and other theatres throughout Chicago. Film/TV credits include The Fugitive, Body Double, Law and Order: Criminal Intent, Early Edition, Cupid, and Turks, among others. TIMOTHY J. EVANS (Executive Director) Prior to his arrival at Northlight Theatre in 2007, Tim spent over 20 years at Steppenwolf Theatre Company in management and producing positions. He created, curated and produced Steppenwolf’s acclaimed TRAFFIC Series including a partnership with Chicago Public Radio for subsequent broadcasts. Tim founded Steppenwolf Films, of which he is still a partner with Gary Sinise, Terry Kinney, and Jeff Perry, to develop film and television projects. He produced the feature films Diminished Capacity with Matthew Broderick (premiered 2008 Sundance Film Festival) and The Last Rites of Joe May with Dennis Farina (premiered 2011 Tribeca Film Festival). Recently, Tim cofounded the Three Oaks Theater Festival in Three Oaks, Michigan, which had its inaugural season this past summer. He currently serves on the board of the League of Chicago Theatres and on the theater selection panel for the Princess Grace Foundation Awards. Previously, Tim served on the board of the Independent Film Project (IFP) and was a charter member of the Governor’s Task Force for Media Development.
DISCOVER WHY. Call 855-868-7137 or visit www.LakeForestPlace.org A Not-for-Profit, Faith-Based Community 16
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ABOUT NORTHLIGHT
NORTHLIGHT STAFF Artistic Director BJ Jones
Michael Ingersoll, photo by AGI Photography
David Finch, David M. Lutken, Helen Jean Russell and Darcie Deaville, Woody Sez
Rhea Perlman and Francis Guinan, Stella & Lou, photo by Michael Brosilow
AnnuAl RepoRt HigHligHts 2012//2013: significAnt AccomplisHments Entertaining our Audiences • Exceeded the budgeted income goals for both single tickets and subscriptions. • The number of single tickets sold increased 67% from the previous season.
Fearless In Our Commitment to Champion New Work • Remained committed to our goal of including audiences in the evolutionary process of theatrical production through two readings in our Interplay Reading Series.
Launching New Initiatives to Support Our Mission • Instituted an exciting new era of benefit concerts as a unique alternative to the traditional gala model. • In October 2012, Northlight hosted Michael and Angela Ingersoll for a night of classic pop favorites, and in April 2013, Maude Maggart performed her unique take on the American Songbook.
Relentless In Our Pursuit of Excellence Through Education and Outreach • Embarked on a strategic initiative to increase audience engagement and hosted more than 50 production-related events in local libraries, museums, and institutions.
Exploring the Depth of Our Humanity • Hosted more than 20 audience engagement events surrounding Matthew Lopez’s The Whipping Man. The production’s subject matter intrigued our audiences, allowing Northlight to launch exciting collaborations with cultural, religious, and academic institutions.
Reflecting Our Community to the World • Third appearance at the Galway Arts Festival in Galway, Ireland in July 2013 to present world premiere commission Stella & Lou by Bruce Graham. The invitation reinforces a powerful artistic alliance forged in 2008, allowing Northlight to share new American plays with a sophisticated international audience. 18
| NORTHLIGHT THEATRE Full Annual Report available at northlight.org
Executive Director Timothy J. Evans
ARTISTIC Artistic Administrator/ Casting Director/ Internship Coordinator Lynn Baber Resident Dramaturg Kristin Leahey, Ph.D. Artistic Associate Kimberly Senior Interns Madie Oldfield Cole Von Glahn EDUCATION Director of Education Amanda Dunne Acevedo Education Associate/ Performing Arts Camp Director Sindy Castro Teaching Artists Lisa Adams Jessica Alldredge Julia Beck Anslee Burns Marie Cisco Joanne Dubach Matt Farabee Sarah Rose Graber Michael Leon Ashley Roberson Sam Roberson Mara Stern
ADMINISTRATION General Manager Janet Mullet
PRODUCTION Production Manager Christopher J. Fitzgerald
Director of Development Emily Hansen
Company Manager/ Assistant Production Manager Victoria Martini-Rosowicz
Associate Director of Development Andria Venezia Development Manager Carrie Cole Director of Marketing & Communications Mara Mihlfried Marketing Manager Milan Pejnovich Director of Finance Lisa Stern Group Sales Coordinator/ Administrative Assistant Michelle Blendermann
Technical Director Malcolm S. Brown Master Electrician/ Light Board Operator Jason Shivers Sound Engineer/ Sound Board Operator Jennifer Udoni-Sharp Wardrobe Mistress Shannon Higgins Floor Manager Kevin Lynch Scenic Change Joanna Iwanicka
Public Relations Cathy Taylor PR, INC.
Scenic Artist Taylor Entwistle
Usher Coordinator Vicki Weisberg, The Saints
Carpenters Jeremiah Barr Ray Fitzgerald Bekki Lambrecht Kevin Lynch Art Parker Rob Weddell
Insurance Robert Nichols
The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists, Local USA-829 of the IATSE.
NORTHLIGHT SUPPORTERS LEADERSHIP Board of Trustees Dan Peterson, President Rahul Roy, Vice President Bob Silverman, Secretary Eileen Frank, Treasurer Michael R. Callahan* Timothy J. Evans Howard A. Feinstein Freddi Greenberg Michael Guerra BJ Jones Susan Karol* Evelyn Salk* Robert S. Silver Jill Soderberg Thomas D. Stringer Timothy P. Sullivan* Greg Taubeneck
Matthew Udoni Michael Pauken, ex officio Norman Rosen, ex officio Advisory Board Joan Barr Smith*, Chair Steven J. Bernstein Karl Berolzheimer Gerhard Bette H. Woods Bowman Margo Brown Joe Cappo Jack Crocker Stephen Engelman Paul Finnegan* Craig Golden Eleanor Hall Lynn Hiestand
Paul Lehman* Harry J. Lennix James Lytle Max McGee Steve Mullins* Mike Nussbaum Sheldon Patinkin Merril Prager Sandra Rosenbloom Esther Saks* David Seidman* Trimmy Stamell* Susan Van Dusen Bernice Weissbourd George Wendt *Past President/Chairperson
DONORS Northlight Theatre is deeply grateful to the following contributors for their generous support. This list reflects gifts received August 1, 2012 through October 15, 2013. If you would like your name to appear differently or prefer to remain anonymous, please contact Andria Venezia at 847.324.1613 or avenezia@northlight.org. CORPORATIONS, FOUNDATIONS & GOVERNMENT AGENCIES Principal Sponsors $50,000 and Above The John D. & Catherine T. MacArthur Foundation The Offield Family Foundation The Shubert Foundation, Inc. The Sullivan Family Foundation Premiere Sponsors $20,000 - $49,999 BMO Harris Bank ComEd Edgerton Foundation New American Plays Award Executive Sponsors $10,000-$19,999 Illinois Arts Council Kirkland & Ellis Foundation The John D. & Catherine T. MacArthur International Connections Fund North Shore Center for the Performing Arts Foundation The Pauls Foundation The Daniel F. & Ada L. Rice Foundation Presenting Sponsors $5,000-$9,999 The Elizabeth F. Cheney Foundation 20 | NORTHLIGHT THEATRE
Clune Construction Draftfcb Chicago Ernst & Young Evanston Community Foundation Homestead/Quince Mid-Atlantic Foundation USArtists International Modestus Bauer Foundation NorthShore University HealthSystem Sanborn Family Foundation Tom Stringer Design Partners The Farny R. Wurlitzer Foundation Lead Sponsors $2,500-$4,999 Arts Midwest Touring Fund Bloomingdale’s Fund of the Macy’s Foundation Cramer-Krasselt First Bank & Trust of Evanston McKinsey & Company Chicago The Pritzker Pucker Family Foundation Room and Board The Saints Sponsors $1,000 - $2,499 The Allyn Foundation Florida Association of Medical Staff Services The Irving Harris Foundation Plante Moran
Polk Bros Foundation Sage Products Skokie Fine Arts Commission Target Under $1,000 Clarity Group, Inc Francis Beidler III and Prudence R. Beidler Foundation GoodSearch Illinois Risk Management Services Illinois Tool Works Foundation Massachusetts Association of Medical Staff Services Missouri Center for Patient Safety Mole-Richardson Co. Morrisey Associates, Inc. NAMSS New York State Association of Medical Staff Services North Shore Community Bank & Trust Professional Facilities Management, Inc. Matching Gift Companies Bank of America Computing Technology Industry Association, Inc. Illinois Tool Works Markel Corporation Océ North America, Inc. PepsiCo Foundation Polk Bros Foundation SkinnyPop Popcorn, LLC
NORTHLIGHT SUPPORTERS NORTHLIGHT ARTISTIC CIRCLE Executive Producers $25,000 and above Anonymous Lois G. Melvoin Melanie & Dan Peterson Evelyn Salk The Sullivan Family Foundation Producers $10,000 - $24,999 Mr. & Mrs. Nick Alexos Paul Lehman & Ronna Stamm Carole & Joseph Levy Carol & Steve Mullins M.J. O’Brien Family Foundation Merle Reskin Thomas D. Stringer & Scott E. Waller Greg & Anne Taubeneck Family Fund Matt & Christine Udoni Playwrights $5,000 - $9,999 Michael & Joan Callahan The Friedland Family in honor of Waldo & Lucille Friedland Freddi Greenberg & Daniel Pinkert BJ Jones & Candy Corr Rahul & Anuradhika Roy Robert S. & Sandra G. Silver Jill & Leif Soderberg Directors $2,500 - $4,999 Gerhard & Kathy Bette Joyce Chelberg Julie & Josh Chernoff Bernard Dowling Kathy & Stuart Edwards Timothy & Jane Evans Howard Feinstein & Brenda Hansen Susan Karol & Glenn Warning Sam & Marianne Oliva Ms. Gigi Pritzker Pucker Bob & Lisa Silverman Avy & Marcie Stein Designers $1,000 - $2,499 Anonymous (2) Larry & Mary Boeder Joseph Danno Paul & Mary Finnegan Eileen & Peter Frank Eleanor Northrop Hall Emily & Kevin Hansen Vivian S. Kaplan Klaff Family Foundation John Mahoney Charlie & Nancy McPike Jordan and Jean Nerenberg Jennifer Newton Norma Olsen David & Christine Seidman Francis Sheahen Neal & Trimmy Stamell
Lynn & Douglas Steffen Bernice Weissbourd Gloria Yuen INDIVIDUAL ANNUAL FUND DONORS Partners $500 - $999 Anonymous (2) Ellen & Richard Anderson A.R.T. League, Inc. Mr. & Mrs. Ronald R. Baade J. Robert Barr Diane & Karl Berolzheimer Frank & Barbara Brady in honor of BJ Jones Douglas R. Brown Margo & Paul Brown Vicki and Tim Burke Mary Anne & Joe Cappo Colleen & Joe Chappelle Peter M. Christie & Joan Corwin Thomas & Patricia Gahlon Mary Ann & David Grumman Betsy Gutstein Molly & Scott Hansen Lynn Hiestand Mel & Annie Kahn Dr. Herb & Ms. Adrienne Kamin Dr. & Mrs. M. Barry Kirschenbaum Ms. Ethel Liten in honor of Evelyn Salk Ted & Almeda Maynard Sheila & Harvey Medvin Robert & Linda Meyers Neal Moglin & Mark Tendam Lloyd & Donna Morgan Audrey Morris Ellen K. Munro in honor of John Mahoney Adele & Seymour Neems Hon. Sheila O’Brien & Hon. Wayne Andersen in honor of Jim & Debby Shellard Tom & Karen O’Keefe Merril Prager & John Levine Marilyn Melvoin Richman Bruce Sagan & Bette Cerf Hill Susan & Tim Salisbury Stan & Kay Schlozman in honor of Paul Lehman & Ronna Stamm Dr. G. Stephen & Ellen Scholly Kurt Schwarz Nancy & Tom Silberman Anita & Praba Sinha John W. Taylor Advocates $250 - $499 Anonymous (3) Karim Ahamed Moreen Alexander Peggy Bagley & Rabbi Douglas Goldhamer Sandra Barnett-White & Jim White Steve Bernstein & Jeanne Cleveland Debbie Bisno
Ted & Barbara Buenger Richard Campbell Bradley & Jennifer Cohen Marvin R. Cohen & Jane Richman in honor of Paul Lehman Michael & Brenda Corr David & Kathy Cudnowski Peter & Barbara DeBerge Mr. & Mrs. Eldred DuSold Roz & Seth Eisner Bruce Ettelson P.C. & Missy Bundy Raymond Fessler Kenneth E. Frazee William & Lynda Frillman Barbara Gaines Denise Gamble Susan Mabrey Gaud Diane Gottlieb in honor of Evelyn Salk’s 90th Birthday Nan & Wally Greenough Tim & Trude Harrington in honor of Michael Callahan Becky Harris Judy & Jay Heyman Allen & Nancy Hirschfield Thomas & Gail Hodges Donna & Steven Horwitz Anne & Mike Houghton Mr. & Mrs. Carter Howard Colleen Hughes & Donald Rothschild Dr. Claudia Katz Dennis & Barb Kessler Dalia Kleinmuntz Sandy & Saul Klibanow Martin J. & Susan B. Kozak Fund Morton & Claudia Lane Marianne & Michael Lembeck John & Mary Lesch Tom & Joan Lindsey Charles MacKelvie Linnea & John Mead Karen Melbinger Alice Merrick Donald & Mary Ellen Newsom Sanford & Jody Perl Richard Porter Sue Redington Jeffrey Richards Sandi Riggs Ed & Susan Ritts Roberta & Howard Rosell Norman & Sally Rosen Mr. & Mrs. Stanley Rosenbloom Ira Rosenthal Jonathan & Piper Rothschild Keith & Ann Sarpolis in memory of Richard Sarpolis Michael Schafer Tim & Brenda Sheridan Margaret & Alan Silberman Mrs. Eleanor Springer in memory of Jack Springer J. R. Stewart George & Susan Van Dusen Stephen & Alice Vile William & Barbara Welke Avers & Gloria Wexler NORTHLIGHT THEATRE |
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NORTHLIGHT SUPPORTERS Robert White Lawrence & Nancy Wojcik Sylvia Wolfson & Seymour Nordenberg Supporters $150 - $249 Anonymous (11) Mr. & Mrs. Kirk Allen Russell Barefield Wayne & Joan Barr Smith Robert & Joan Beaubaire in honor of Robert & Sandra Silver’s 50th Wedding Anniversary Lois M. Berman John Blanchard Wally Bobkiewicz Ruth & Ronald Buchanan Rev. Daniel Buck Allen & Barbara Bullard Pat Butkus Joseph & Mary Calandra Rachel Cantor Mary Anne and Joe Cappo Morgan Chism-Diebold Lynn & Robert Clark Dennis & Franny Clarkson Mary Alice & Peter J. Costello Maria Depa Mary Louise Devens David Dziedzic Noah & Gillian Eisner Malcolm D. Ewen Mark Fennell Mr. & Mrs. Robert Flynn Sidney & Jackie Freedman Sono Fujii & Claudio Katz Anneliese & Howard Glick Ethel & Bill Gofen Nancy & James Golding Mr. & Mrs. Thomas Goldstick Rita Golub Sally & Ralph Goren John & Angela Graham John & Suzanne Hales George & Marianne Hartnett Robert & Elizabeth Hayward
Tom & Jan Hazlett Karen & Charles Hughes Packy Hyland Judith Ivey in memory of Martin Pakledinaz Gitta K. Jacobs Chris & Pamela Kallos Jean Klingenstein Rachel Kraft in honor of Tim Evans Karen Kuehner Robert & Sherry Labate Nancy Lasser Jules H. & Marilyn R. Last Fund Elaine & Steve Lev Sherry & Mel Lopata Edward & Helen Magid Margaret F. May Mara & Bob Mihlfried Ed Mills Dennis & Linda Myers P.C. Roberta Nichols Norton & Mary Ann O’Meara Michael & Diane Paley Sheldon Patinkin Genevieve F. Phelps Chuck & Judy Piper William & Gale Rattner Erica Regunberg & Rob Dann Mr. & Mrs. George C. Rimnac Consider Ross James & Cynthia Rowe Jane G. Rozoff Sue & Mike Rubnitz Al & Carol Schectman Margot Sersen Art & Jan Sherman Bruce & Sarane Siewerth Pamela & Charles Smith Lisa & Paul Stern Harriet C. Stone in memory of Norman A. Stone Abby Strauss Arthur Styzen Thomas & Beverly Tabern Gail & Bernie Talbert Mr. & Mrs. John W. Taylor III Mrs. Vernon B. Thomas
Betsy E. Tolstedt Carol & Larry Townsend James & Mary Ellen Van Ness Andria Venezia J & JR Weertman Sheldon Wigod in memory of Bette Davis Michael Wright IN-KIND Christine & Dave Alexander Emily Berezowsky The Blendermann Family Bloomingdale’s Old Orchard BMO Harris Bank Carrie & Andrew Cole Draftfcb Chicago Gand Music and Sound Glunz Beers, Inc. Hertz Corporation Illinois Holocaust Museum & Education Center Katten Muchin Rosenman National Award Service, Inc. Jennifer Newton Pioneer Press Room & Board Sage Products Skinny Pop Weber-Stephen Products Wheel and Sprocket Williams Next Door COMMUNITY PARTNERS Catered by Design Charcoal Oven Restaurant Chipotle Mexican Grill The DoubleTree Hotel Father & Son Italian Kitchen The Homestead Koi Fine Asian Cuisine & Lounge Quince at The Homestead Real Russian Vodka Rodeway Inn Schaefer’s Fine Wines & Spirits Sweety Pies Bakery Whole Foods Market Downtown Evanston
To Make Your Gift Today Contact Andria Venezia at 847.324.1613 or avenezia@northlight.org, or donate online at northlight.org.
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