Twist Your Dickens / A Christmas Memory - Portland Center Stage at The Armory

A PASSION FOR SHARING ART

FOR ALL OUR FRIENDS IN PORTLAND, we want you to know about our exhibition

program. If you happen to be nearby, please stop and visit these wonderful museums! If you have friends or relatives near these museums, ask them to visit these exhibitions!

— Jordan D. Schnitzer

Second Look, Twice Museum of the African Diaspora San Francisco, CA September 21 – December 16, 2018

Amazing!: Mel Bochner Prints Philbrook Museum of Art Tulsa, OK October 14, 2018 – January 6, 2019

Witness: Themes of Social Justice in Contemporary Printmaking and Photography Hallie Ford Museum of Art Salem, OR September 15 – December 20, 2018

Enrique Chagoya: Reverse Anthropology Hallie Ford Museum of Art Salem, OR November 3, 2018 – January 27, 2019

Terrain: The Space Between Schneider Museum of Art Ashland, OR September 27, 2018 – January 5, 2019

OPENING SOON! Social Space Jordan Schnitzer Museum of Art at Washington State University Pullman, WA January 15 – March 16, 2019

Since 1997, the Jordan Schnitzer Family Foundation has organized over 160 exhibitions and has had art exhibited at over 110 museums across the country. We provide exhibitions at no cost, pay for shipping and brochures and most importantly, fund outreach programs bringing in students, seniors, and special needs individuals. We especially take pride in helping lower income families be able to visit these exhibitions at no cost.

T H E B E AU T Y O F T R A N S FO R M AT I O N emerick-architects.com

Regence is a HMP/PPO/PDP plan with a Medicare contract. Enrollment in Regence depends on contract renewal.

Regence BlueCross BlueShield of Oregon is an Independent Licensee of the Blue Cross and Blue Shield Association.

Y0062_AEPBRNDAD219_M ACCEPTED

INFO EVENING

Wednesday, January 9 | 7–8:30 p.m.

PRE-K THROUGH GRADE 12 oes.edu/admissions

Event open to all parents and to students in fifth grade and older.

6300 SW Nicol Road

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Portland, Oregon 97223

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503-768-3115

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oes.edu

2018/19 Great concerts for the holidays

DISNEY IN CONCERT: MAGICAL MUSIC FROM THE MOVIES SATURDAY, NOVEMBER 24, 7:30 PM SUNDAY, NOVEMBER 25, 2 PM Jeff Tyzik, conductor The magic of Disney comes to life in this multimedia showpiece featuring music from the scores of Frozen, Beauty and the Beast, The Little Mermaid, Mary Poppins, Aladdin, The Lion King, and more.

GOSPEL CHRISTMAS 20TH ANNIVERSARY

BIG BAND AND BEETHOVEN: NEW YEAR’S CELEBRATION

FRIDAY, DECEMBER 7, 7:30 PM SATURDAY, DECEMBER 8, 7:30 PM SUNDAY, DECEMBER 9, 4 PM

SUNDAY, DECEMBER 30, 7:30 PM MONDAY, DECEMBER 31, 7:30 PM

Charles Floyd, conductor Northwest Community Gospel Chorus Gary Hemenway, music director It’s the 20th Anniversary of Gospel Christmas, the tradition that just gets bigger and better, year after year! Join the region’s premier gospel singers and the Oregon Symphony for an evening that’s sure to have you on your feet, clapping and shouting, celebrating the true spirit of the season.

Carlos Kalmar, conductor • Jenny Schuler, soprano • Siena Miller, mezzo-soprano • Singers from PSU, Oregon Repertory Singers, and Pacific Youth Choir Ellington/Strayhorn: The Nutcracker Suite James P. Johnson: Victory Stride • Beethoven: Symphony No. 9, “Choral” What finer way to ring in the New Year than with Duke Ellington’s delightfully cheeky twist on Tchaikovsky’s classic, followed by Beethoven’s Ninth Symphony and its glorious Ode to Joy? A little bit smart, a little bit sassy, thoroughly exhilarating.

orsymphony.org 503-228-1353 your official source for symphony tickets MOVING MUSIC FORWARD

®

NOV | DEC 2018

AT TH E P E R FO R M A N C E A C I T Y P L AY B I L L A N D P E R F O R M I N G A R T S M A G A Z I N E

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48 FROM THE EDITOR-AT-LARGE: THE GIFT OF GIVING

11 FROM ARTISTIC DIRECTOR MARISSA WOLF

A gift from Marissa Wolf to you: fantastic holiday productions to make your spirits bright.

12 A CHRISTMAS MEMORY & WINTER SONG

22 THE SECOND CITY’S

A CHRISTMAS CAROL: TWIST YOUR DICKENS

Yearning for positive action?

Barry Johnson breaks down the steps for taking advantage of a unique provision in the Oregon tax code that offers the chance to make up for the state Legislature’s reluctance to fund the arts sufficiently.

52 IN THE SPOTLIGHT:

CHANGING DIRECTION WOMEN IN CHARGE Portland Center Stage at The Armory ushers in a new era with two women at the helm. Managing Director Cynthia Fuhrman and Artistic Director Marissa Wolf discuss their respective pasts, presents, and futures.

62 THEN AND NOW:

PORTLAND ART MUSEUM Three cheers for history! Enjoy a vintage photo of our hometown art repository, unearthed from the treasures at Oregon Historical Society, alongside a present-day image and a brief synopsis of the progression.

LEFT TO RIGHT: Nicholas Kessler in Twist Your Dickens. Photo by Patrick Weishampel/blankeye.tv. Marissa Wolf and Cynthia Fuhrman. Photo by Christine Dong.

Burrell Tree, Portland Art Museum, March 1973, photo file 1759.3 Negative R-163 bb017505.

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M A I SOinc.

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Awa rd-Winning Int er ior D esi g n Since 2001

1611 NW Nort h r up

Ful l-Se r v ic e Kitc h e n/ Bath De s ign Portl and

5 03.2 95 .01 5 1

Cus to m Fur nis h in gs an d Cab in e tr y

Se e a f ul l po rtf o l io at Mais o n Inc .c o m

FROM ARTISTIC DIRECTOR

MARISSA WOLF Welcome to the holiday season at Portland Center Stage at The Armory! It’s drizzly outside, but warm and bright inside our theater. We hope you’ll enjoy grabbing a hot drink and cozying up with us for these spirited, playful holiday shows.

One of the things I love about the 2018-2019 season lineup is that there’s something for everyone. With wicked humor and stirring stories, our holiday shows give us the chance to laugh, celebrate, and refl ect on our own personal memories.

As a new Portlander myself, I’m thrilled to support two holiday shows that showcase the incredible work of our local artists on and off stage. From the on-your-toes improv in Twist Your Dickens, to intricate storytelling in A Christmas Memory, beautifully rendered songs in Winter Song, and the exceptional work of our artisans and crew members backstage, these teams bring phenomenal talent to the season.

Thank you for spending your winter holidays with us! We look forward to seeing you again in the new year with a slate of boisterous, relevant new plays.

All my best, Marissa Wolf

Photo by Gary Norman.

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Merideth Kaye Clark & Leif Norby Accompanied by Mont Chris Hubbard Original Underscore Music by Mont Chris Hubbard Arrangements by Merideth Kaye Clark & Mont Chris Hubbard

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Merideth Kaye Clark and Leif Norby in Winter Song.

Photo by Patrick Weishampel/blankeye.tv.

FEATURING

Marissa Wolf

Artistic Director

Cynthia Fuhrman

November 24 – December 30, 2018

Managing Director

In the Ellyn Bye Studio

A CHRISTMAS MEMORY By

Truman Capote

— paired with —

WINTER SONG By

Merideth Kaye Clark & Brandon Woolley

Directed by

Brandon Woolley

Music Director

Scenic Designer

Costume Designer

Lighting Designer

Mont Chris Hubbard

Daniel Meeker

Paula Buchert

Sarah Hughey

Sound Designer

Stage Manager

Production Assistant

Casi Pacilio

Janine Vanderhoff

Alexis Ellis-Alvarez

Performed without intermission.

The video or audio recording of this performance by any means is strictly prohibited.

If you photograph the set before or after the performance, please credit the designers if you share the image.

The Actors and Stage Manager in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SEASON SUPERSTARS

SEASON SUPPORTING SPONSORS

SHOW SPONSORS

WHAT SHE SAID SPONSORS: A CELEBRATION OF WOMEN PLAYWRIGHTS RONNI LACROUTE BRIGID FLANIGAN DIANA GERDING MARY BOYLE

STUDIO SPONSORS DR. BARBARA HORT

MARY & DON BLAIR

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THE MUSIC IN

WINTER SONG CAN’T FIND MY WAY HOME WRITTEN BY STEVE WINWOOD Kobalt Music Publishing

FROM THE DIRECTOR: BRANDON WOOLLEY It is a gift to be able to return to A Christmas Memory and Winter Song this holiday season. We had the privilege of creating this special pairing last year and it is an honor to share it once again. So often shows come and go, but The Armory has allowed us to revisit, refresh, and revitalize this unique piece.

HOME AGAIN WRITTEN BY CAROLE KING Sony Music Publishing

SONG FOR A WINTER’S NIGHT WRITTEN BY GORDON LIGHTFOOT Warner/Chappell Music Publishing

CANTIQUE DE NOËL MUSIC BY ADOLPHE ADAM SET TO THE POEM “MINUIT, CHRÉTIENS”

BY PLACIDE CAPPEAU

Our show is about stories and memories: remembering days gone by, while also looking ahead. The nostalgia of A Christmas Memory reminds us of a simpler time, when happiness was the annual tradition of making fruitcake with an unlikely friend. And Winter Song has been lovingly created to allow you, our audience and co-storytellers, the chance to look within your own well of memories.

There’s nothing better than sharing stories and songs. Enjoy a drink and a cookie, relax into this cozy, birch tree-filled studio, and let the words of Truman Capote and the lyrics of some of the best songwriters of our time fill you up during this winter season.

TAKE 5 WRITTEN BY PAUL DESMOND Desmond Music Company

MY FAVORITE THINGS MUSIC BY RICHARD RODGERS LYRICS BY OSCAR HAMMERSTEIN II Imagem Music Publishing

IN THE BLEAK MIDWINTER MUSIC BY GUSTAV HOLST SET TO THE POEM BY CHRISTINA ROSSETTI

LITTLE TREE MUSIC BY MERIDETH KAYE CLARK SET TO THE POEM BY E.E. CUMMINGS

DECK THE HALLS LYRICS BY THOMAS OLIPHANT MUSIC FROM THE WELSH TRADITIONAL “NOS GALAN”

ANY PLACE I HANG MY HAT IS HOME MUSIC BY HAROLD ARLEN LYRICS BY JOHNNY MERCER Warner/Chappell Music Publishing

HOMEWARD BOUND WRITTEN BY PAUL SIMON Paul Simon Music Publishing

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THANKS TO OUR GENEROUS SPONSORS OF A CHRISTMAS MEMORY AND WINTER SONG NW NATURAL NW Natural grew up in the Pacific Northwest, and we feel a responsibility to support the community. Along with our employees, we have a long history of working to make the communities we serve better places to live, work, and learn. Investing in the arts and cultural institutions that serve our region is one way we do this. We are proud to support Portland Center Stage at The Armory and the production of Truman Capote’s family classic A Christmas Memory paired with Winter Song.

DELTA AIR LINES With 39 peak-day departures to 10 nonstop destinations, connecting to 600+ cities including Amsterdam, Tokyo, and new service to London, Delta connects Portlanders not only to the arts in our hometown but to destinations across America and the globe. Plan your next trip at delta.com.

DR. BARBARA HORT As we skitter around the holidays, seeking shelter from so much that is slick and superficial, we find A Christmas Memory/Winter Song to be a rare interlude of depth and delight. Leif and Merideth blend their prodigious talents and genuine warmth to create a space in which we can reconnect with the best of what the holidays mean to us. It is a pleasure and an honor to support this heartfelt offering by two gifted artists and the theater that appreciates their gracious and authentic creativity.

Brandon Woolley and Merideth Kaye Clark in rehearsal.

Photo by Kate Szrom.

STORY & SONG Merideth Kaye Clark and Brandon Woolley first collaborated on Clark’s performances of Joni Mitchell’s album BLUE, which debuted in this space in 2015. In 2017, Portland Center Stage at The Armory commissioned Merideth and Brandon to create the world premiere of Winter Song to be paired with Truman Capote’s beloved holiday gem, A Christmas Memory, which Woolley also directed.

Winter is the most emotionally complicated season. The music that it inspires is rich. There are, of course, holiday songs. But we were more interested in the music that captures other winter feelings. Traveling home or hunkering down in the cold.

The loneliness and isolation the darkness brings. The gatherings of families and communities. The first day of winter, the solstice, is the shortest and darkest of the whole year. From there, every day is longer and brighter than the one before.

Knowing that, feeling that, brings hope.”

—Merideth Kaye Clark, Performer & Co-Creator of Winter Song

Want to take Winter Song home with you? Co-creators Merideth Kaye Clark and Brandon Woolley recently produced the Winter Song album. Learn more at meridethkayeclark.com

Merideth Kaye Clark and Mont Chris Hubbard.

Photo by Patrick Weishampel/blankeye.tv.

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MEET THE ARTISTS Truman Capote, Author of A Christmas Memory Truman (September 30, 1924-August 25, 1984) was born in New Orleans, LA. Early writings include Other Voices, Other Rooms (1948); A Tree of Night and Other Short Stories (1949); and The Grass Harp (1951), which Capote adapted into a play that debuted on Broadway in 1952.

The novella Breakfast at Tiffany’s (1958; film adaptation by George Axelrod released in 1961) introduced the charming, hedonistic Holly Golightly. Childhood reflections formed the basis of two short stories, A Christmas Memory (1956) and The Thanksgiving Visitor (1968). Capote’s groundbreaking novel In Cold Blood (1966) was a pioneering work in the true crime genre and the basis for three film adaptations, including the 2005 film Capote, starring Philip Seymour Hoffman. Other works include The Dogs Bark: Public People and Private Places (1973) and Answered Prayers, an unfinished novel, published posthumously in 1987.

Merideth Kaye Clark, Performer & Co-Creator of Winter Song Merideth has played definitive leading theatrical roles nationwide, such as Elphaba in the First National Tour of Wicked, Eva Perón in Evita (Northern Stage), Nancy in Oliver! (5th Avenue Theatre), and has originated roles in two Off-Broadway musicals. Clark is a sought after concert artist described as “plain astonishing” and “a masterful performer” with “powerhouse pipes.”

She is a multi-instrumentalist and plays anything with strings, most notably the guitar, dulcimer, and viola. Her solo album Young Stellar Object garnered critical praise from New York theater reviewers. Portland credits include: Cathy in The Last Five Years and Tzeitl in Fiddler on the Roof at Portland Center Stage at The Armory; Clara in Light in the Piazza at Portland Playhouse; and Lilli/Kathryn in Kiss Me Kate (Clackamas Repertory Theatre), as well as her acclaimed concert with Mont Chris Hubbard,

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Joni Mitchell’s BLUE. Many thank yous to everyone who helped create this show!

currently serves as head of theatrical projects for Michael Curry Design.

Much love to Sean. brandonwoolley.me

Leif Norby, Performer Leif was last seen in Astoria: Part One and Two. Other appearances at the Armory include: Wild and Reckless, The Oregon Trail, Our Town, Cyrano, Othello, Anna Karenina, Sunset Boulevard, The 39 Steps, Ragtime, and Guys and Dolls. Other recent Portland appearances include: Adroit Maneuvers (Lighthouse Productions); Man of La Mancha (Lakewood Theatre Company); In the Next Room (Profile Theatre); The God Game (Brandon Woolley prod.); Mr. Kolpert and Mystery of Irma Vep (Third Rail Repertory Theatre); And So It Goes ... and Red Herring (Artists Repertory Theater); and Beauty and the Beast (Pixie Dust). TV credits include Portlandia and Leverage. Leif is a proud member of Actors’ Equity.

He sends love to his wife, Susie, and wishes you and yours a happy holiday!

Mont Chris Hubbard, Music Director & Accompanist Mont Chris is an accomplished Portland composer, performer, and music director. He is the creator and host of Portland’s most endearinglystrange variety show, The Mont Chris Hubbard Bonus Show, and hosts an occasional late-night piano bar around town. He has released five CDs of solo piano improvisations, and his band Scotland Barr & The Slow Drags won the 2012 Portland Music Award for their final album, We Will Be Forgotten. He is a proud member of the American Federation of Musicians, the union of professional musicians, and a proud supporter of the labor movement. Despite his curmudgeonly disposition, he loves working on this show with Merideth, Leif, Brandon, Janine, and The Armory crew. montchrishubbard.com

Brandon Woolley, Director & Co-Creator Brandon is a director, producer, and collaborator in Portland, Oregon.

Directing credits include: Mary’s Wedding, Sex with Strangers, and JAW: A Playwrights Festival (The Armory); Luna Gale, International Falls, and The Few (CoHo Productions); The God Game (selfproduced); The End of Sex (Theatre Vertigo); and Dial M for Murder (Bag&Baggage Productions).

Brandon has worked on multiple shows at The Armory as an assistant director, including Astoria: Part One and Two, LIZZIE, The Whipping Man, Red, One Flew Over the Cuckoo’s Nest, and A Christmas Story. He has also collaborated with The Oregon Symphony and Michael Curry on Persephone, and with Third Rail Repertory Theatre, Broadway Rose Theatre Company, and Live On Stage.

From 2010 to 2018, Brandon worked at The Armory in various capacities, most notably as associate producer and JAW co-producer. Brandon

Daniel Meeker, Scenic Designer Previously at The Armory: lighting for Twist Your Dickens, Lauren Weedman Doesn’t Live Here Anymore, and Wild and Reckless; scenery for The People’s Republic of Portland and Red (Drammy Award); and scenery and lighting for Kodachrome, Vanya and Sonia and Masha and Spike, The Typographer’s Dream, LIZZIE (Drammy Award for Lighting), The Last Five Years, and The Mountaintop.

Local design credits include shows at Portland Playhouse, Portland Opera, Oregon Children’s Theater, Profile Theater, and Artists Repertory Theater. Outside of theater, Daniel is the lighting director for the Pickathon festival and the principal designer of The American Art Fair and The Winter Antiques Show. Daniel is a graduate of Ithaca College and The Yale School of Drama, and a member of United Scenic Artists.

Paula Buchert, Costume Designer Paula has worked as a cutter/draper in the costume shop for Portland Center Stage at The Armory for the past 16 seasons. She has also had the privilege of creating garments for singers, dancers, and actors at such

venues as Seattle Opera, American Players Theatre, Seattle Repertory Theatre, Glimmerglass Opera, Pacific Northwest Ballet, The Shakespeare Theatre, and Portland Opera. She holds a degree in fine arts with a theater emphasis from the University of Wisconsin, as well as a degree in fashion design with a lingerie emphasis from the Fashion Institute of Technology. Paula lives in North Portland with her five companion house rabbits. She would like to thank her family for their love, support, and encouragement.

Sarah Hughey, Lighting Designer Sarah is happy to return to The Armory and this favorite holiday show.

Other credits at The Armory include Major Barbara and two upcoming shows, Sense and Sensibility and Crossing Mnisose. Additional design credits include projects at Steppenwolf Theatre, Lookingglass Theatre Company, Northlight Theatre, City Theatre Company, Writers Theatre, Chicago Children’s Theatre, Victory Gardens Theater, Kansas City Repertory Theatre, The Black Rep (St. Loius), and Court Theatre.

Other upcoming projects include As You Like It at Guthrie Theater, The Legend of Rock Paper Scissors at Oregon Children’s Theatre, and The Cake at Asolo Repertory Theatre.

She has taught lighting design at Northwestern University, Columbia College Chicago, and Willamette University. She holds an M.F.A.

from Northwestern University and is a member of USA Local 829. skhugheylighting.com Casi Pacilio, Sound Designer Casi’s home base is The Armory, where credits include sound design for over 40 productions and 12 seasons of JAW: A Playwrights Festival. National shows: Holcombe Waller’s Surfacing and Wayfinders; Left Hand of Darkness, My Mind is Like an Open Meadow (Drammy Award, 2011), Something’s Got Ahold Of My Heart, and PEP TALK for Hand2Mouth Theatre. Other credits include Squonk Opera’s BigsmorgasbordWunderWerk (Broadway, PS122, national and international tours); I Am My Own Wife, I Think I Like Girls (La Jolla Playhouse); Playland, 10 Fingers, and Lips Together, Teeth Apart (City Theatre, PA); 2.5 Minute Ride and Fires in the Mirror (Profile Theatre).

Film credits include Creation of Destiny, Out of Our Time, and A Powerful Thang. Imagineer/maker of the Eat Me Machine, a dessert vending machine.

Janine Vanderhoff, Stage Manager Janine is thrilled to be back for her fourth season at The Armory. She recently stage managed The Color Purple, Lady Day at Emerson’s Bar and Grill, and Kodachrome. Other favorites include: Wild and Reckless, The Santaland Diaries, The Oregon Trail, and Great Expectations. In New York, Janine worked on The

Lion King, as well as with many OffBroadway and regional companies.

Portland credits: Sweeney Todd (Portland Opera), Play, How to End Poverty in 90 Minutes, and The Other Place (Portland Playhouse). Touring: The Graduate, Cats, The Vagina Monologues, Jekyll & Hyde, and Show Boat. Production management: The Daily Show with Jon Stewart “Democalypse 2012 Republican National Convention” (Tampa, FL); Straz Center (Tampa, FL); The Fox Theatre (Atlanta, GA). Proud NYU graduate and AEA member.

Alexis Ellis-Alvarez, Production Assistant Alexis is thrilled to be starting her first season in the stage management apprentice program at Portland Center Stage at The Armory. Outside of Portland, she has worked at Huntington Theater Company as the production assistant for Tartuffe; ArtsEmerson as the assistant stage manager for the world premiere of Mala; and Cygnet Theatre as the production assistant for Animal Crackers, and the stage manager for staged readings of Spamalot and Hair.

Alexis studied stage and production management at Emerson College, where she worked on Antigone Project as the stage manager and Guys and Dolls as the production assistant. Alexis would like to send love to her parents and sister, who have always been extremely supportive of her.

The show must go on!

EVERYONE CAN LEAVE A LEGACY. No matter the size of your estate, simple language in your will or trust will make a lasting impact.

To learn about our Legacy Circle, visit pcs.giftlegacy.com or contact Eric Steinhauser at erics@pcs.org.

Portland Center Stage at

The cast of The Color Purple. Photo by Kate Szrom.

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“This is how you bring Jane Austen to the stage ... irresistible.”

- The Washington Post

This bold theatrical experience is an Austen-tatious delight!

Portland Center Stage at

JAN. 12 – FEB. 10 503.445.3700 | pcs.org

Season Superstars

Be part of the city you love.

Live where Portland can love you right back.

At Terwilliger Plaza, choices are thoughtfully yours.

A Community for People 62+ TerwilligerPlaza.com 503.808.7870

Live Forward 18

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AMPLIFYING WOMEN’S VOICES

Portland Center Stage at

What She Said: A Celebration of Women Playwrights

And So We Walked: An Artist’s Journey Along the Trail of Tears written by and starring DeLanna Studi.

In American theaters last season, just a quarter of plays produced were written by women. We don’t believe that is good enough. This season, we are proud to say that two-thirds of our productions were written by women.

JANE AUSTEN AUTHOR (BOOK), Sense & Sensibility

MARSHA NORMAN PLAYWRIGHT, The Color Purple

MERIDETH KAYE CLARK CO-CREATOR & PERFORMER, Winter Song

DAEL ORLANDERSMITH PLAYWRIGHT & PERFORMER, Until the Flood

KATE HAMILL PLAYWRIGHT, Sense & Sensibility

CHERYL STRAYED AUTHOR (BOOK), Tiny Beautiful Things

STORM LARGE WRITER & PERFORMER, Crazy Enough

NIA VARDALOS PLAYWRIGHT, Tiny Beautiful Things

MARY KATHRYN NAGLE PLAYWRIGHT, Crossing Mnisose

ALICE WALKER AUTHOR (BOOK), The Color Purple KAREN ZACARÍAS PLAYWRIGHT, Native Gardens

Your support will help more voices tell their stories. Learn more at pcs.org/what-she-said.

Thank you to our fierce and generous sponsors: RONNI LACROUTE

BRIGID FLANIGAN

Photo by Patrick Weishampel/blankeye.tv.

DIANA GERDING

MARY BOYLE

BOLD. FRESH. FUN. An Austen-tatious delight.

Jan. 12 – Feb. 10, 2019

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A Barbra Streisand shopping extravaganza.

Jan. 19 – Mar. 3, 2019

When reputation is everything, how do you follow your heart? This exuberant, innovative staging of Jane Austen’s classic romantic comedy bursts with humor and bold theatricality.

An outrageous and entirely fictional comedy about the oddest of odd jobs — working as a shop boy in Barbra Streisand’s real life private shopping mall.

Listen harder. Love endlessly.

Raw. Urgent. Necessary.

Feb. 23 – Mar. 31, 2019

Mar. 16 – Apr. 21, 2019

A funny and deeply touching story of human resilience based on Cheryl Strayed’s (Wild) beloved anonymous online advice column, “Dear Sugar.”

Pulitzer Prize-finalist Dael Orlandersmith created this extraordinary theatrical event, exploring the St. Louis region’s reactions to the shooting of Michael Brown in Ferguson.

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Portland Center Stage at

2018-2019 season

Protect the water.

Remember the sacrifice.

Apr. 13 – May 5, 2019 Mary Kathryn Nagle pairs Sacajawea with the present day fight to protect the Mnisose (or what Europeans named the “Missouri River”) in this Northwest Stories world premiere.

Forget nothing. Regret nothing.

May 4 – June 16, 2019 When two “women of a certain age” meet face-to-face, they must confront their past with the man they unknowingly shared. Starring Portland favorites Sharonlee McLean and Gretchen Corbett.

A boisterous backyard battle.

A one-week special engagement!

May 18 – June 16, 2019

June 25 – 30, 2019

In this hysterical comedy, cultures and gardens clash, turning well-intentioned neighbors into feuding enemies. This allout border dispute challenges notions of gardening — and life.

Storm Large’s autobiographical hit musical explains how a girl can survive by praying to the holy trinity: Sex, Drugs, and Rock ’n’ Roll. Tickets only available with the purchase of 2018-2019 season tickets.

Visit pcs.org or call 503.445.3700 for tickets!

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Chantal DeGroat*

Belle & others

Sam Dinkowitz

Ghost of Christmas Past & others

Nicholas Kessler

Ghost of Christmas Future, Bob Cratchit & others

Isaac Lamb*

Scrooge

Lauren Modica*

Mrs. Cratchit & others

Darius Pierce*

Marley & others

Rebecca Sohn*

Ghost of Christmas Present & others

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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Nicholas Kessler in Twist Your Dickens.

Photo by Patrick Weishampel/blankeye.tv.

CAST

Marissa Wolf

Cynthia Fuhrman

Artistic Director

November 27 – December 23, 2018

Managing Director

On the U.S. Bank Main Stage

THE SECOND CITY’S A CHRISTMAS CAROL:

TWIST YOUR DICKENS

By Peter

Gwinn & Bobby Mort

Directed by

Ron West

Scenic Designer

Costume Designer

Lighting Designer

Tom Buderwitz

Jeff Cone

Daniel Meeker

Sound Designer

Vocal Arranger & Music Consultant

Stage Manager

Casi Pacilio

Rick Lewis

Mark Tynan*

Production Assistants

The Second City Casting

Local Casting

Molly Shevaun Reed Sarah Stark

Beth Kligerman

Will Cotter Rose Riordan Brandon Woolley

Performed with one intermission.

A Christmas Carol: Twist Your Dickens was originally produced by The Second City and Center Theatre Group and received its world premiere at Kirk Douglas Theatre in Los Angeles, November, 2012.

The video or audio recording of this performance by any means is strictly prohibited.

If you photograph the set before or after the performance, please credit the designers if you share the image. * Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SEASON SUPERSTARS

SEASON SUPPORTING SPONSORS

SHOW SPONSOR

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BY THE NUMBERS Rock ‘n’ Roll Santa’s costume. Photo by Kate Szrom.

35 1,000

The number of costume changes that happen in the fi rst 15 minutes alone.

There are 80+ costumes in this show and 27 wigs.

Roughly the number of hand-painted bricks featured in the set.

Our local scenic artists painted eco-friendly sheets of molded Pulp Art to achieve the appearance of brick walls.

The amount of fake money we needed for Scrooge’s bankroll. The fake bills were ordered from a company authorized to print near-perfect replicas. The only difference is that “Cinema Use Only” is printed where “United States of America” is on real money.

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an actor changes costume.

1959

$100,000

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Every 2 minutes

The year The Second City fi rst opened its doors in Chicago. This improv giant created Twist Your Dickens and also trained comedic greats such as Dan Aykroyd, Gilda Radner, Stephen Colbert, Tina Fey, and many others.

1 As in #1. Twist Your Dickens was the very fi rst show created by The Second City that features full production values (most of their shows include only a few props and costumes). Portland Center Stage at The Armory was also the very fi rst company in the country to secure the rights to the show after it premiered in Los Angeles in 2012.

MEET THE CAST Chantal DeGroat, Belle & others Chantal has happily twisted her dickens for five years running! Chantal resides in Seattle and is a company member of Third Rail Repertory Theatre in Portland. Seattle credits: Well (Seattle Repertory Theatre), Stick Fly (Intiman Theatre), Richard III (Seattle Shakespeare Company with upstart crow collective), Julius Caesar (Seattle Shakespeare Company), The Grove (Seattle Repertory Theatre, Hansberry Project), Bright Half Life (Hansberry Project), and String (Village Theatre).

Portland credits: Third Rail Repertory Company, Artists Repertory Theatre, Profile Theatre, Portland Playhouse, and Badass Theatre Company. She is an educator for the August Wilson Monologue Competition with the August Wilson Red Door Project and Seattle Repertory Theatre. Chantal has dedicated her life to making work in support of the equal rights movement.

Represented by Topo Swope Talent.

Sam Dinkowitz, Ghost of Christmas Past & others Sam is giddy with holiday cheer to be reunited with the Twist gang, and thrilled to welcome the new cast members to the party. When he’s not working the cutting counter at JOANN Fabric, Sam plays with the synthwave power trio, Geometrosexual. Recent local credits include Odie in Year of the Rooster at CoHo Productions (2018 Drammy Award for Best Supporting Actor), directing The Complete Works of William Shakespeare Abridged Revised for Portland Actors Ensemble, and producing Terrorgasm, the eleventh installment of Spectravagasm Sketch Comedy. TV credits: TNT’s Leverage and The Librarians. He received his B.F.A. in performance from Southern Oregon University. Sam sends all his love to Rebs.

Nicholas Kessler, Ghost of Christmas Future, Bob Cratchit & others Nicholas is an actor, comedian, and coach here in Portland. He is the host of OPB’s The

Moth StorySLAM and GrandSLAM live, as well as a contributor to other storytelling shows throughout the city. Nicholas is an improviser and ensemble member at The Siren Theater, and with Improv Giants, Leviathan, and The Liberators.

Nicholas’ television credits include roles on Portlandia, Grimm, and The Librarians. Nicholas is an educator for Portland Center Stage at The Armory, and an executive communications coach throughout the region. He is married and is a proud father of two kids, who are just as thrilled as he is that he’s back in Twist. He’s elated to spend the holidays at The Armory.

Isaac Lamb, Scrooge Isaac is thrilled to be back onstage at The Armory. He is a graduate of Loyola Marymount University and a proud company member of Third Rail Repertory Theatre. Select local credits: The Aliens, The Mystery of Irma Vep, Belleville, The Flick (Third Rail Repertory Theatre); Every Brilliant Thing, The 25th Annual Putnam County Spelling Bee, A Small Fire, Great Expectations (The Armory); Assassins, Playboy of the Western World (Artists Repertory Theatre); The Sound of Music, The Addams Family, Ripper (Broadway Rose Theatre Company); Mr. Burns: a post electric play, Peter and the Starcatcher, Scarlet (Portland Playhouse); Three Sisters (PETE). National Tour: Defending the Caveman. Select regional: Timeless: Barbara Streisand (Staples Center), Sweet Charity (Red Mountain). Film: Lean on Pete (Film4), North Starr (Sundance). TV: American Vandal, Portlandia. Proud member AEA, SAG/ AFTRA. isaaclamb.com Lauren Modica, Mrs. Cratchit & others Lauren is elated for the fifth chance to Twist. Heaps of thanks to Rose, Brandon, Ron, and all at The Armory for the love, support, and opportunity to come home for the holidays. Regional: Anne Steele/Lady Middleton in Sense and Sensibility, Gregory in Romeo and Juliet, Glendower/Mowbray/Peto in Henry IV: Part One and Two (Oregon Shakespeare Festival), Cook/Nurse Spiller in Fingersmith (American Repertory Theatre), Our Town and JAW: A

Playwright’s Festival (The Armory), and The Skin of Our Teeth (Artists Repertory Theatre). In Portland, she has worked with Profile Theatre, Defunkt Theatre, Northwest Classical Theatre Company, Portland Actors Ensemble, Willamette Shakespeare, Action/Adventure Theatre, on Gretchen Icenogle’s Trailing Colors, and other projects. Catch Lauren in The Armory’s upcoming production of Sense and Sensibility. @laurenmodica Darius Pierce, Marley & others Darius is truly merry to be spending his eleventh consecutive holiday season at The Armory, after years of A Christmas Carol, A Christmas Story, The Santaland Diaries, and Twist Your Dickens — it has become a genuinely wonderful Hanukkah tradition! Other productions at The Armory include Stupid F**king Bird, Cyrano, The Beard of Avon, Twelfth Night, The 25th Annual Putnam County Spelling Bee, The 39 Steps, Frost/Nixon, How to Disappear Completely and Never be Found, Misalliance, and JAW. He has performed at Woolly Mammoth Theatre, Folger Theatre, Syracuse Stage, Artists Repertory Theatre, Third Rail Repertory Theatre, Broadway Rose Theatre Company, Portland Playhouse, Theatre Vertigo, and more. He is company member at Third Rail Repertory Theatre and a co-founder of the Anonymous Theatre Company.

Rebecca Sohn, Ghost of Christmas Present & others Rebecca is an alum of Chicago’s Second City e.t.c. currently living in Los Angeles.

She’s an accomplished improviser, writer, and actress of scripted works. She has performed with The Annoyance Theatre, The iO Theater, Steppenwolf Theatre Company, Remy Bumppo Theatre Company, and as Sally Bowles in Cabaret for No Stakes Theater Project, among many others. TV credits include NBC’s A.P. Bio, CBS’s Early Edition, and the role she improvised for NBC’s Shrink. Before coming to Portland to play with this wonderful cast, she performed her latest original show, My Solo Show of All Duets, to packed houses in Los Angeles. She thanks her brilliantly talented husband for his love and support. rebeccasohn.net ARTSLANDIA.COM

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MEET THE CREATIVE TEAM Peter Gwinn, Co-Writer Peter is one of the original writers for The Colbert Report, for which he won two Emmy Awards, and currently writes for Wait Wait ... Don’t Tell Me! on NPR. He has also written three musicals: The Story of a Story (The Untold Story) (Underscore Theater, Chicago); Moulin Scrooge! (The iO Theater, Chicago; WreckingBall Theater Lab, Denver) and Listen, Kid! (UCB Theatre, NYC; The iO Theater, Chicago). Peter is also an actor, improviser, and stand-up comedian.

He is a founding member of Baby Wants Candy, a comedy troupe that creates fully improvised hour-long musicals, which was a New York Times Critic’s Pick and has sold out multiple runs at Edinburgh Fringe Festival. He can also be seen in the Netflix series Easy and on Chicago Fire.

Bobby Mort, Co-Writer Bobby wrote for The Colbert Report during the 2012-2013 season, where he received an Emmy Award for his work, and he’s the co-creator (with Peter Farrelly) of the television series Loudermilk, which is now in its second season. He grew up in South Carolina before moving to Chicago, where he trained at The iO Theater and performed for a number of years with the improv group People of Earth and the sketch comedy trio Maximum Party Zone. Bobby is extremely excited to be working with Peter Gwinn, the fine folks of The Second City and Portland Center Stage at The Armory on Twist Your Dickens.

Ron West, Director Ron is happy to return to Portland and Twist Your Dickens, a show he has staged five times and appeared in three times. His adaptation of The Taming of the Shrew at Chicago Shakespeare was nominated for a Jeff Award. In the past year, Ron directed the musical deLEARious at The Open Fist Theater in Los Angeles, Christmas Day Job at The Second City Hollywood, and the world premiere staged reading of Catherine Butterfield’s Top of the World. Other recent directing credits include: Twist Your Dickens (Goodman Theatre, where he

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also appeared as Scrooge; Life Expectancy (Hollywood Fringe); and The 39 Steps (Malibu Playhouse). He bats right and throws right, and is a proud member of the Stage Directors and Choreographers Society.

Tom Buderwitz, Scenic Designer Tom previously designed I Love To Eat at The Armory. Tom designed the world premiere of Twist Your Dickens for Center Theatre Group in Los Angeles, as well as productions at Goodman Theatre and The Kennedy Center. Tom has also designed for South Coast Repertory, Geffen Playhouse, Pasadena Playhouse, Berkeley Repertory, Denver Center Theatre Company, Intiman Theatre, Chautauqua Theater Company, The Shakespeare Theatre, Artists Repertory Theatre, The Antaeus Company, and The Theatre at Boston Court, among many others. Tom has been honored with six Los Angeles Stage Alliance Ovation Awards and three Los Angeles Drama Critics Circle Awards. For television, Tom has designed specials and series for every major broadcast and cable network, and has three Emmy Award nominations and an Art Director’s Guild Award nomination. tombuderwitz.com Jeff Cone, Costume Designer Jeff Cone is a freelance costume designer based in Atlanta, Georgia.

Before moving to Atlanta, Jeff spent 16 seasons as Portland Center Stage at The Armory’s resident costume designer and costume shop manager.

In that time, he designed costumes for over 75 productions. Of those shows, over 50 were in the company’s first eight seasons at The Armory. Favorite productions include West Side Story, Cabaret, The 39 Steps, One Flew Over the Cuckoo’s Nest, Sometimes a Great Notion, Snow Falling on Cedars, The Imaginary Invalid, and Black Pearl Sings!. Jeff received Drammy Awards for his costume designs for Dirty Blonde, Act a Lady, and Shakespeare’s Amazing Cymbeline. Recent design credits include season nine of FX’s Archer and Oklahoma! at Denver Center for the Performing Arts.

Daniel Meeker, Lighting Designer Previously at The Armory: lighting for Lauren Weedman Doesn’t Live Here Anymore, and Wild and Reckless; scenery for A Christmas Memory/ Winter Song, The People’s Republic of Portland and Red (Drammy Award); and scenery and lighting for Kodachrome, Vanya and Sonia and Masha and Spike, The Typographer’s Dream, LIZZIE (Drammy Award for lighting), The Last Five Years, and The Mountaintop. Local design credits include shows for Portland Playhouse, Portland Opera, Oregon Children’s Theater, Profile Theater, and Artists Repertory Theater. Outside of theater, Daniel is the lighting director for the Pickathon festival and the principal designer of The American Art Fair and The Winter Antiques Show. Daniel is a graduate of Ithaca College and The Yale School of Drama, and a member of United Scenic Artists.

Casi Pacilio, Sound Designer Casi’s home base is The Armory, where credits include sound design for over 40 productions and 12 seasons of JAW: A Playwrights Festival. National shows: Holcombe Waller’s Surfacing and Wayfinders; Left Hand of Darkness, My Mind is Like an Open Meadow (Drammy Award, 2011), Something’s Got Ahold Of My Heart, and PEP TALK for Hand2Mouth Theatre. Other credits include Squonk Opera’s BigsmorgasbordWunderWerk (Broadway, PS122, national and international tours); I Am My Own Wife, I Think I Like Girls (La Jolla Playhouse); Playland, 10 Fingers, and Lips Together, Teeth Apart (City Theatre, PA); 2.5 Minute Ride and Fires in the Mirror (Profile Theatre).

Film credits include Creation of Destiny, Out of Our Time, and A Powerful Thang. Imagineer/maker of the Eat Me Machine, a dessert vending machine.

Rick Lewis, Vocal Arranger & Music Consultant Rick has music directed more than 25 productions for Portland Center Stage at The Armory, most recently the acclaimed productions of Astoria: Part One and Two and Fun Home.

He is also the creator of the hit Off-

Broadway musicals The Taffetas and The Cardigans (NYC Bistro Award for Outstanding Musical Revue); music supervisor for the West Coast premiere of Next to Normal (Artists Repertory Theatre); assistant conductor/vocal director for the preBroadway workshop of Cy Coleman’s The Life; music director/arranger for BelloVoci; writer/arranger for Disney Live Family Entertainment, American Hawaii Cruises, and American Classic Voyages; developer of The Cinnamon Bear Cruise; and founder/artistic director of Bridgetown Conservatory of Musical Theatre. rlewismusic.com Mark Tynan, Stage Manager Imagine being in a room full of artists, watching the birth of an idea, a movement given purpose, a sentence, phrase, scene, act given life. Then imagine that room translating to the stage with lighting, sound, costumes, scenery, and props; then you can imagine what Mark’s job is like. Special thanks to the stage management apprentices, Alexis Ellis-Alvarez, Molly Reed, and Sarah Stark. Prior to The Armory, Mark toured nationally and internationally with musicals including Dreamgirls, The King and I with Rudolf Nureyev, How to Succeed …, Grand Hotel, The Phantom of the Opera, Rent, and Jersey Boys. Other Portland credits include several summers with Broadway Rose Theatre Company in Tigard. Regional credits include Alley

Theatre, La Jolla Playhouse, and Casa Mañana Theatre.

Molly Shevaun Reed, Production Assistant Molly is thrilled to be joining Portland Center Stage at The Armory this season in the stage management apprentice program. Recent credits at The Armory include The Color Purple, A Life, and JAW: A Playwrights Festival. Originally from Denton, Texas, Molly has worked in stage management, props design, and developing new work as a director in Dallas and Portland. Local credits include Spectravagasm X (stage manager), the one-woman original play Endless Oceans (director/ designer/producer), and The Few at CoHo Productions (assistant director/production assistant). Dallas credits include Dry Land at Upstart Theater (stage manager); and Nomad Americana (formerly titled Rooting) at Nouveau 47 Theatre and WaterTower Theatre’s Out of the Loop Fringe Festival (director/designer). Love and thanks to Cam, Fam, Lyss, and Bear.

Sarah Stark, Production Assistant Sarah is a recent Portland transplant from Chicago, where she graduated from the University of Chicago with a degree in theater and performance studies. She started her season at The Armory as a production assistant on Adam Bock’s A Life, and will work on several more productions as part of

the stage management apprentice program. Chicago stage management and assistant stage management credits include: Little Shop of Horrors (American Blues Theater); Civility! (The Syndicate); Ellen Bond, Union Spy (The House Theatre of Chicago); Love’s Labour’s Lost, She Kills Monsters, Belleville, Urinetown: The Musical (The University of Chicago). Sarah spent last summer as an assistant stage manager at The Glimmerglass Festival and is thrilled to be continuing her work and education at The Armory this season!

Second City Theatricals Second City Theatricals is the live entertainment arm of the legendary comedy institution that produces an eclectic array of entertainment in venues worldwide. Recent productions include the Jeff Awardwinning Second City Guide to the Opera with Lyric Opera Chicago and the Helen Hayes Award-nominated production America All Better!! at Woolly Mammoth Theatre in Washington, DC. Other productions include a collaboration with Hubbard Street Dance Chicago, which premiered at the Harris Theater in 2014 and was remounted in Chicago in 2016, and Death of a Streetcar Named Virginia Woolf: A Parody that premiered in 2016. Second City Theatricals also maintains three fulltime ensembles aboard Norwegian Cruise Line.

THANKS TO OUR GENEROUS SPONSOR OF TWIST YOUR DICKENS TANNER CREEK TAVERN The Pearl District’s newest member of the David Machado Restaurant group is very excited about our growing relationship with The Armory as our partnership enters its second season. Over the last decade, our company has fashioned a close working relationship with many of the signifi cant non-profit performing arts organizations in Portland.

Founder and chef David Machado is personally involved as the current board president of Third Angle New Music.

Tanner Creek’s sponsorship of Twist Your Dickens is a wonderful gift to Portland this holiday season as it strengthens its commitment and support for The Armory.

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In perfect harmony Maloy's offers a fabulous selection of antique and estate jewelry and fine custom jewelry, as well as repair and restoration services.

We also buy.

Scene from “The Enchanted Toyshop” at the Portland Ballet.

Funded by the Oregon Cultural Trust.

TOGETHER, WE FUND 1,500+ CULTURAL NONPROFITS IN OREGON. THAT MEANS MORE BALLET. Oregonians have a unique opportunity to fund cultural activities in the state and double their impact for free with the cultural tax credit. Make sure you are claiming yours. Doing so takes three simple steps that do so much for Oregon. Talk to your CPA, or learn more at (503) 986-0088 or CulturalTrust.org.

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FROM OUR BAR TO YOURS:

A HARDCORE

HOLIDAY COCKTAIL From the folks who brought you last year's most popular holiday cocktail, "Nutcracker Deep Cuts," comes the much anticipated sequel: “Hardcore Tchaikovsky.” With herbal notes of tarragon and angelica, this wintery drink is not overly sweet, it’s SUH-WEET!

HARDCORE TCHAIKOVSKY Created by Cafe & Bar Manager Melissa Larrabee 1 oz Wild Roots Dark Sweet Cherry Vodka 1/2 oz Townshend's Bluebird Alpine Liqueur 1/2 oz tarragon simple (recipe below) 1/2 oz lemon juice Soda water Fill a rocks glass with ice and layer ingredients in the order listed to create an ombre effect. Finish with a splash of soda water to taste and stir gently.

TARRAGON SIMPLE It really is simple, we promise!

Heat 1 cup sugar and 1 cup water until sugar is dissolved, but do not bring to a boil. Once sugar has dissolved, lower heat and add 1/4 cup fresh tarragon. After a few minutes, taste syrup to sample the tarragon flavor. Once tarragon has infused to your liking, remove from heat and set to cool. Strain leaves and store syrup in the refrigerator for two to three weeks.

JOIN US FOR HAPPY HOURS! 5:30 – 6:30 p.m. before each evening performance $7 select cocktails, $1 off beer and wine, happy hour food specials Bonus! Pre-order from the happy hour food menu for easy pick up at intermission.

The Armory Bar proudly features spirits from Oregon distilleries in every specialty cocktail. Please give a round of applause to our local distillery partners:

by Bendistillery

The Hardcore Tchaikovsky.

Photo by Kate Szrom.

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Photo by Kate Szrom.

ART IS FOR EVERYONE

We believe in making art fun and accessible.

From live music at our First Thursday celebrations, to panel discussions, and happy hours featuring local organizations and artists, our community events are free and open to the public.

Join us for an upcoming event! pcs.org/events

Plays create a space for possibility.

To see ourselves on stage. To crack open our hearts with compassion. To shape a vision for the future. This is the beautiful and urgent work of live performance.

Your support makes that possible.

Support our future at pcs.org/donate or contact Jack Ridenour at 503.445.3744/jackr@pcs.org.

Portland Center Stage at

Felicia Boswell in The Color Purple. Photo by Patrick Weishampel/blankeye.tv

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MEET OUR ARTISTIC & MANAGING DIRECTORS

PORTLAND CENTER STAGE AT THE ARMORY

MARISSA WOLF ARTISTIC DIRECTOR

Portland Center Stage at The Armory is the largest theater company in Portland and among the top 20 regional theaters in the country. Established in 1988 as a branch of the Oregon Shakespeare Festival, the company became independent in 1994. An estimated 160,000 people visit The Armory annually to enjoy a mix of classic, contemporary, and world premiere productions, along with a variety of high quality education and community programs.

Eleven productions are offered each season, in addition to roughly 400 community events created — in partnership with 170+ local organizations and individuals — to serve the diverse populations in the city.

As part of its dedication to new play development, the company has produced 26 world premieres and presents an annual new works festival, JAW: A Playwrights Festival.

Home to two theaters, The Armory was the first building on the National Register of Historic Places, and the first performing arts venue in the country, to achieve a LEED Platinum rating.

Currently in her first season as artistic director of Portland Center Stage at The Armory, Marissa previously served as associate artistic director/ new works director at Kansas City Repertory Theatre and artistic director of Crowded Fire Theater in San Francisco. Select directing credits include Fire in Dreamland by Rinne Groff (The Public Theater; world premiere at KCRep); Man in Love by Christina Anderson and The Curious Incident of the Dog in the Night-Time by Simon Stephens (KCRep); 77% by Rinne Groff (San Francisco Playhouse); Precious Little by Madeleine George (Shotgun Players); The Lily’s Revenge (Act II) by Taylor Mac (Magic Theatre); and The Late Wedding by Christopher Chen (Crowded Fire Theater). Best director nominations from Broadway World San Francisco and the Bay Area Critics Circle. Marissa held the Bret C. Harte Directing fellowship at Berkeley Repertory Theatre, and has a degree in drama from Vassar College, with additional training from the Royal Academy of Dramatic Art in London.

CYNTHIA FUHRMAN MANAGING DIRECTOR Cynthia has worked in professional theater since 1982 (with two detours, which she highly recommends). She was manager of public relations at Oregon Shakespeare Festival in Ashland and, as director of marketing and communications, was among the staff who traveled north to open OSF’s Portland branch and eventually transitioned it to become the independent Portland Center Stage. She also spent five seasons as director of marketing and communications at Seattle Repertory Theatre. Theater detours include her roles as COO for eyescream interactive, the Northwest’s largest internet marketing agency at the time, and communications director for Portland’s Office of Sustainable Development, a crash course in promoting all things green. In 2008, she returned to Portland Center Stage at The Armory as director of marketing and communications, and was named managing director in 2017. Cynthia holds her B.A. and M.A. degrees in humanities, and attended the University of Oregon, the American University of London, and Southern Oregon University.

MARISSA WOLF ARTISTIC DIRECTOR

We welcome all races, all countries of origin, all sexual orientations, all gender identities, and people of any religion or none at all.

We at The Armory humbly acknowledge that the Portland metropolitan area rests on the traditional village sites of the Multnomah, Wasco, Cowlitz, Kathlamet, Clackamas, Bands of Chinook, Tualatin Kalapuya, Molalla, and many other Tribes who made their homes along the Columbia (Wimahl) and Willamette (Whilamut) rivers.

Today, Portland’s diverse and vibrant Native communities are 70,000 strong, descended from more than 380 Tribes, both local and distant. We take this opportunity to offer respectful recognition to the Native communities in our region today, and to those who have stewarded this land throughout the generations.

Photo by Gary Norman.

Portland Center Stage at The Armory operates under an agreement between the League of Resident Theatres (LORT), Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United State, and the Society of Stage Directors and Choreographers. Portland Center Stage at The Armory is part of LORT, Theatre Communications Group, Portland Business Alliance, and Travel Portland.

The Scenic, Costume, Lighting and Sound Designers in LORT are represented by United Scenic Artists Local USA-829, IATSE

CYNTHIA FUHRMAN MANAGING DIRECTOR ARTSLANDIA.COM

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THANK YOU PORTLAND CENTER STAGE AT THE ARMORY is honored to collaborate with corporate and community partners who demonstrate a commitment to civic leadership, and advocate for our value as a vital community and cultural resource.

We would like to recognize the generosity and support of the businesses, foundations, organizations, and individuals that help make the 2018-2019 season possible.

Generous donations as of November 12, 2018

National Endowment for the Arts NW Natural PGE Foundation Stoel Rives LLP The Rose E. Tucker Charitable Trust Wells Fargo

$25,000+ Collins Foundation Curtis T. Thompson, M.D. & Associates, LLC GBD Architects Gerding Edlen Meyer Memorial Trust James F. & Marion L. Miller Foundation Oregon Arts Commission, a state agency Oregon Cultural Trust The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County, and the Arts Education and Access Fund The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer & Jordan Schnitzer Shubert Foundation The Standard US Bank The Vista The Wallace Foundation

$10,000–$24,999 AHA! Sheri & Les Biller Family Foundation Broughton & Mary Bishop Foundation Henry Lea Hillman, Jr. Foundation Jackson Foundation KeyBank The Kinsman Foundation Maybelle Clark Macdonald Fund Moda

SEASON SUPERSTARS

$2,500–$9,999 Autzen Foundation Davis Wright Tremaine LLP The Holzman Foundation /Renée & Irwin Holzman H.W. Irwin & D.C.H. Irwin Foundation Leupold & Stevens Foundation Reser Family Foundation Siletz Tribal Charitable Contribution Fund Juan Young Trust

$1,000–$2,499 Bank of America Classic Sash & Door D A Davidson & Co. D’Amore Law Group Farleigh, Wada & Witt Global Incentive Group Klarquist Michael Allen’s Clothier Native Arts & Cultures Foundation PCC Structurals, Inc. D. Margaret Studley Foundation

$500–$999 Benjamin Buckley Young Actors Fund of The Oregon Community Foundation Hygeia Healing Swigert-Warren Foundation

Corporate Matches Best Buy Boeing Company Cambia Health Foundation Hewlett-Packard Company Iberdrola Renewables IBM Corporation Intel Corporation Kaiser KeyBank Macy’s Meyer Memorial Trust NW Natural Pacifi c Power Foundation Portland General Electric Tektronix Foundation The Standard US Bank

In-Kind Al’s Garden Home Argyle Winery Art of Catering Artemis Foods Bluehour ChefsTable Catering Columbia Sportswear Delta Air Lines Devil’s Food Catering Diana Gerding Hunt & Gather Catering Little Bird Bistro McCleskey Cellars McDonalds Jacobs, PC Mike Golub Pearl Catering Performance Promotions Tanner Creek Tavern Umpqua Bank Vibrant Table

SEASON SUPPORTING SPONSORS

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DONORS $25,000+ Anonymous Keith & Sharon Barnes Don & Mary Blair Mary & Tim Boyle Andy & Nancy Bryant Ginger Carroll Glenn Dahl & Linda Illig Jess Dishman Dream Envision Foundation Brigid Flanigan Diana Gerding Rob Goodman Heather Killough James & Morley Knoll Hilary Krane & Kelly Bulkeley Ronni S. Lacroute Ralph & Jean Quinsey Pat & Trudy Ritz/Ritz Family Foundation The Stern Family Dan Wieden & Priscilla Bernard Wieden

$10,000-$24,999 Anonymous Scott & Linda Andrews Roger Cooke & Joan Cirillo Martin & Karin Daum Ray & Bobbi Davis Margaret Dixon Kelly K. Douglas & Eric H. Schoenstein William & Karen Early Finley Family Foundation Tasca & Paul Gulick Kevin Hogan & Aron Larson Dr. Barbara Hort & Mark Girard Marilyn & Ed Jensen Yuki & Craig Johnston Chuck & Carol Langer Dedre J. Marriott J. Greg & Terry Ness The Franklin & Dorothy Piacentini Charitable Trust Reynolds Potter & Sharon Mueller* Dana Rasmussen Drs. Ann Smith Sehdev & Paul Sehdev* Marilyn Slotfeldt Douglas & Teresa Smith Tyler & Kara Tatman Rosemarie & Wes Thompson Christine & David Vernier Elaine Whiteley

$2,500-$9,999 Anonymous Brenda K. Ashworth & Donald F. Welch Ted & Kathi Austin Julia & Robert S. Ball

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Peter & Susan Belluschi Family Fund of The Oregon Community Foundation Debby Benjamin, Mary Kay & Russ Dragon Daniel Bergsvik & Donald Hastler Phil & Julie Beyl Bill Byrne & Dennis Scollard John & Linda Carter Greg & Gina Chandler Duke & Brenda Charpentier CollierTrust M. Allison Couch & Tom Soals* Sarah J. Crooks Joan & Jim English* Randy Foster Lois Seed & Dan Gibbs Mike Golub & Sam Shelhorse Allyson Harris Roy Schreiber & Carole Heath Steven & Marypat Hedberg Tom & Betsy Henning Gregg & Diane Kantor Kevin & Karen Kelly Jina Kim & Hyung-Jin Lee Joseph Sawicki & Kirsten Lee Drs. Dolores & Fernando Leon David & Julie Machado Chrys A. Martin & Jack Pessia Shelly McFarland Peter K. McGill David & Valerie O’Brien Madeline & Allan Olson Jim & Linda Patterson Brenda J. Peterson Fred L. Ramsey Robert Reed Halle & Rick Sadle Kelly Saito & Jennifer Kalberer Stephen & Trudy Sargent* Patti Norris & Mark Schlesinger Richard & Marcy Schwartz Elba, Ralph, Russell, Lorraine & Renee Shaw Randy & Janet Smith Sue & Drew Snyder Kyle & Sophia Spencer E. Kay Stepp John Taylor & Barbara West Jack & Ginny Wilborn Trudy Wilson & Terry Brown Susan & Jim Winkler Steven & Deborah Wynne Mort & Audrey Zalutsky David & Sherri Zava Steven & Kris Zika

$1,000-$2,499 Anonymous (4) Ruth & Jim Alexander Phyllis Arnoff* Barbara J. Baker*

Generous donations as of November 12, 2018

Cheryl Balkenhol & James Alterman David Bennett Chris Bisgard, Lisa Denike, & Ella Bisgard Lawrence S. & Susan W. Black Fund of The Oregon Community Foundation The Bohanan Family Kate & Bill Bowman* Norma Bradfish Ann Brayfield & Joe Emerson* Linda & William Brown John Bush & Greg Zarelli Rick Caskey & Sue Horn-Caskey Kevin & Beth Cavenaugh Dr. Richard & Nancy Chapman Steve Cox & Vikki Mee Betsy Cramer & Greg Kubicek* Gustavo J. Cruz, Jr. Judy Dauble Edward & Karen Demko Gerard & Sandra Drummond Richard & Betty Duvall Carol Edelman John & Jane Emrick Jean Erickson Robert Falconer John Briggs & Jeffrey Feiffer Mike & Chris Feves Larry & Deborah Friedman Daniel & Leah Frye Cynthia M. Fuhrman* Tom Gifford Dana Green & Scott Cromer John & Jacque Guevara Bill & Elaine Hallmark Donald F. Hammond Paul & Samantha Harmon Lani Hayward Donald Helfgott MJ & Lee Alan Helgerson Herman Charitable Foundation Paul & Ruth Herrington* Sharon & Henry Hewitt Barbara & Mark Hochgesang Donna Hodgson Dale Hottle Brad & Judy Johnson Dennis C. Johnson Kathy & Steve Johnson Jessie Jonas Tim Kalberg Steven & Nancy Kassel Jody Klevit Ruth Knepell Susan Lair & Doug Trobough Ray & Terry Lambeth Brad & Cindy Larsen* Libbi Layton & Lawrence Tamiyasu Edwards Lienhart

Family Foundation Shari & Frank Lord Jean & Steve Mann Jim & Jennifer Mark Charles & Kathy McGee Lindsey & Marilen McGill Nancie S. McGraw Carolyn McMurchie Laurie & Gilbert Meigs Bill Moffat Michael & Susan Mueller Betsy Natter Hester H. Nau Neilsen Family Fund of The Oregon Community Foundation Fall Newsom David & Ranata Niederloh Bob & Beth Nist Susan & Peter Norman Steven P. & Eileen O’Neill Odum Thomas Palmer & Ann Carter Duane & Corinne Paulson Joan Peacock David Pollock Pat Reser & Bill Westphal Bob & Marilyn Ridgley Kelly Ritz-Eisenstein & Scott Eisenstein Bobbie & Joe Rodriguez Teri Rowan Mary & Craig Ruble Lisa Sanman* Raj Sarda, MD* Carol Schnitzer Lewis Fund of The Oregon Community Foundation Marian & Elihu Schott Family Fund of The Oregon Community Foundation Bob Schuler & Debra Blanchard Michael & Karen Sherman Peter Shinbach Geoff & Susie Strommer Jonathan Singer Carl Snook George & Molly Spencer Rick & Denyse Stawicki Eric Steinhauser & Gregg Macy Mr. & Mrs. W.T.C. Stevens Ray & Pat Straughan Mary & Jeff Strickler Donald & Roslyn Sutherland Dr. Jeffrey & Mrs. Roberta Swanson W. R. Swindells Calvin & Mayho Tanabe Don & Judy Thompson* Ronald E. & Ivy L. Timpe Fund of The Oregon Community Foundation

Generous donations as of November 12, 2018

Susan & Robert Torch Katherine & Nickolas Tri Andrew Tweedie Dave Underriner & Barbara Rossi-Underriner Eleanor & Peter van Alderwerelt Wally Van Valkenburg & Turid Owren Ted & Julie Vigeland Joan & David Weil Jill Whittaker Dennis & Jean Wilde Lisa & Lou Williams Jay Wilt Charlene Zidell

$500-$999 Anonymous (2) Charles & Gloria Adams Margaret & Stuart Albright Richard & Kristin Allan Joan & Brian Allen Phil Allen & Peny Van Abkoude* Susan Bach & Douglas Egan Katie Ball Warren & Nick Warren Thomas & Brada Bailey Robin & Thomas Barrett Susanne Baumann & John Gragg Dr. Janet Bennett Jamie & John Birkett Lesley Bombardier Michael Bonner & Jeff Pera* Betty Brace Stephen & Marge Brenneke Larry & Marie Brigham Benjamin Buckley Young Actors Fund of The Oregon Community Foundation Cormac M. Burke Mary Beth & Michael Butkovic Cynthia Church Kristine & Derrick Coder Lisa & Skip Comer Billie & John Courtney Dave & Debbie Craig Erik Cubbage Bryan Concannon & Debi Dereiko Eric Dishman Stephen Early & Mary Shepard Patricia Edwards Ron & Becky Eiseman Gregory Flick Joy & Allen Fowler Ronald Fraback Charles & Kyle Fuchs Jerome & Mary Fulton Paul Gehlar Melissa & Robert Good Kris & Michael Gorriaran

Patricia & Tim Gray Gail & Walter Grebe Andrew Gustely Koleen & Jeff Hall* Kregg & Andrea Hanson Marcia Hauer & Jeanne Knepper Richard L. Hay Patsy Heinlein Frances & Hunter Hicks* Leslie S. Homer Charitable Fund Terri & Robert Hopkins Carroll Hutchinson Susan Immer & Larry Juday* Sonny Jepson & Felice Moskowitz Raymond & Marilyn Johnson Douglas & P.J. Jones BettyLou Koffel & Philip Moyer Rudy Kohnle & Krista Larson Jon Kruse & Karen O’Connor Kruse Ed & Margaret Kushner Bonnie & Mike Leiser Sharon W. Lukasevich Elaine & Richard Lycan Carol & Charles Mackey Stephen & Christine Mason Robert Matheson & Kimberly Porter J.S. & Robin May Alice & Harold McCartor Karen & Brent McCune* Jessica McVay Robert & Violet Metzler Bradford & Linda Needham* Deborah Neft & Salvatore D’Auria David & Anne Noall Gloria Norton Brian & Emily Owendoff Vicki & Greg Page John & Carolyn Parchinsky Stanley & Susanne Penkin Elizabeth Perris Steve & Melissa Peterman Sue & Joe Petrina Ellie Picologlou Amy Polo Wallace & Elizabeth Preble Michael R. Rankin Dick & Linda Reedy Drs. Scott & Kay Reichlin Leslie Rennie-Hill & Ken Hill Dr. Mark & Angela Reploeg Becky Ross Colin Rowan & Shannon Hartwell Ted & Holly Ruback Steven & Carol Sandor Dianne Sawyer & Richard Petersen

Carl R. Shinkle Virginia Shipman & Richard Kaiser J & C Skuster Walter & Carol Smith Charles E. Smith Burt & Barbara Stein Kathleen Stephenson-Kuhn Janice Stewart & Gordon Allen Zach & Vassie Stoumbos John & Shirley Sutton Roger & Gale Swanson Beverly Terry William & Lori Thayer Paul J. Utz & Lory Cogan Utz Lori Van Gordon Lewis & Susan Van Winkle Virginia Vanderbilt & Michael Garrison Dan Volkmer & Frank Dixon Richard Wallace & Patricia White Wendy Ware & Dan Gleason JD & D’Alene White Dr. & Mrs. Bennett Wight Alan Winders Jeff & Jaynie Wirkkala Ruth Fischer-Wright & Craig Wright Fabian & Julie Yeager

$250-$499 Anonymous* Anonymous (6) Joey Alcarez Thomas R. Anderson & Joan Montague Ana Andueza Linda & Jerry Aso* Jean & Ray Auel Jean & David Avison Thayne & Mary Anne Balzer Diane & Arthur Barry Sidney & Barbara Bass Kathleen Bauska Cheryl A. Bittle Chris Blattner & Cindy McCann Robert Blum & Carol Black Brian & Karen Borton Brian & Bridget Brooks Douglas Browning & Jo Shapland Mary Butler Julie Ann Carson & Guy Whitehead Clay & Carolyn Carter John & Lou Chapman Melissa A. Charbonneau Susan F. Christensen Bruce & Janis Collins Sonja L. Connor Karen Costello John & Diane Cronin

Karen & Ward Cunningham Arthur & Winnifred Danner Betty Daschel Michele & Dave Daterman Craig & Julie Dewey* Bill Dickey Linda & Jerry Dinan Steve Dotterrer & Kevin Kraus Beverly Downer Julie & Jim Early Janet & Barry Edwards Mary A. & Peter Eisenfeld Kris & R. Thomas Elliott Ed & Marilyn Epstein Sandy Feeny* Brian Ferriso & Amy Pellegrin Greg & Susan Fitz-Gerald Jerry Fong Sharon Frank Marc Franklin Lisa Goldberg & Yeng Chen John Goodwin Barbara & Marvin Gordon-Lickey Polly Grose Dylan Gulick Sudee & J. Clayton Hering Diane M. Herrmann Donald & Lynnette Houghton Joanne Jene, M.D. Becky & Jarrett Jones Joan Jones Susan Jossi & Bob Connors Ross Kaplan & Paula Kanarek Rebecca & Gerald Karver Katherine Keene Catherine Keith & Jennifer Person Tom Kelly & Barbara Woodford Jane Kennedy Jeffrey & Carol Kilmer Frederick Kirchhoff & Ronald Simonis Kohnstamm Family Foundation Keith & Merle Koplan Robert & Sally Landauer Lisa Lieberman & Craig Ackerson Peter & Janice Linsky Lisa & John Lynch Linda & Ken Mantel Kathy Maritz Mr. & Mrs. Michael Marlitt Steven McMaster & Kathleen Brock Gayle & George McMurria-Bachik Karolyn Meador Charitable Fund Julia Meck Ruth E. Medak

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Generous donations as of November 12, 2018

Susan Sammons Meyer & Dennis Meyer Bruce & Cathy Miller Alison Mitchell David & Machteld Mok Doug & Malinda Moore Clint & Donna Moran Bill & Pat Nelson Ann Nickerson Landscape Design Paul & Lisa Nourigat Bonnie & Robert Olds Ric Oleksak* Linda O’Neill Eileen & Alfred Ono Susan & Milt Parker Gail & Alan Pasternack Karen Piper Nancy Pitney Dee Poujade David & Margo Price Jay & Barbara Ramaker Bonnie & Peter Reagan Michael Robertson & Gwyn McAlpine* Jeanne Robinson & Simon Dietsch Charles & Judith Rooks Alise R. Rubin & Wolfgang Dempke John & Stephanie Saven Karen Sheridan Rodger Sleven & Marcella Flores Richard Smith & Patricia Frobes Kimberly Smith-Cupani George Soule & Maurice Horn Karen Springer Peter Stark & Amy Ragsdale Judy & Greg Tatman Ann & Dave Taylor Grant & Sandra Thurston Lou Ann Tiedemann Mary & Tom Troxel Cathy Unis Dawn Vermeulen The John & Frances Von Schlegell Family Fund Shu-Ju Wang & Mike Coleman Richard & Leslie Wong J. Marcus Wood & Sue Hennessey Paul Wrigley & Deborah Cross Jack Wussow & Kyle Adams* Russ & Mary Youmans

$150-$249 Anonymous (4) Keith & Christine Abernathy Robert & Bonnie Adams Lynn Allen Kris Alman Linda C. Anderson Patricia Anderson Mr. & Mrs. John K. Ankeney

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Nigel & Kerry Arkell Roy & Jane Arnold Lee & Lynn Aronson Mr. & Mrs. Peter Barnhisel Molly & Tom Bartlett George W. Bateman Dawn Bauman John Bauman Richard Baumann Donald C. & Doris Beard Alta Benhard Donald Berg & Carol Cooke Elizabeth Berol-Rinder Anita & Clark Blanchard Robert Brands Dennis Brophy & Cathy Gwinn Patsy Bruggere Scott Cameron & Margaret M. Maguire Don Caniparoli & Sarah Rosenberg Tim & Susan Carey Michael Carter & Teresa Ferrer Jean Carufo & Barb Engelter Gordon B. Chamberlain Bob & Patty Chestler Rick & Jean Collins Philip F. Copenhaver William & Harriet Cormack Jean & Jerry Corn John & Ann Cowger Kathryn Crandall Marian & Neale Creamer Create Change LLC Sharon Davidson Maureen Sproviero Davis & Kerwin Davis Carroll & Gerry DeKock Carolyn DeLany-Reif Ken & Laura Dobyns Gilbert & Ellen Feibleman Renee Ferrera & James Johnson Terry Ferrucci Patrick & Eileen Fiegenbaum Colleen Finn Sally & Jerry Fish Peter & Nancy Fisher Sherry & Paul Fishman Mary Flahive & David Finch Steve & Susan Ford Terry Franks & Carolyn Duran Bruce & Kate Frederick Brian Friesz Susan & Seth Garber Colleen Gekler Tom & Karon Gilles* Richard & Janis Gottlieb Becky Graham Nancy & Ron Gronowski Lorraine Guthrie & Erik Kiaer Valerie Halpin Irv & Gail Handelman Ulrich H. Hardt & Karen Johnson

Tom & Jan Harvey Fred & Sara Harwin Mark & Paige Hasson Judy & Dave Heller Jean Himmelstein Derek Holmgren & Michael Traylor Barry & Fanny Horowitz Dr. Hal Howard Robert & Jill Hrdlicka Kathy & Tom Iberle Robina Ingram-Rich & Tim Rich Lore Joplin Jack & Farol Kahle Franki Keefe Judy Carlson Kelley Heather Kientz Nancy Kingston Lucien & Sally Klein Michael Knebel & Susan Shepard Tricia Knoll & Darrell Salk Dave Lapof Shelley Laurance & Bob Sternberg Roger J. Leo Brian & Chris Lewis* Bob & Debbie Lindow Craig & Anne Lindsay Bill Bagnall & Clayton Lloyd Ralph London David & Marnie Lonsdale Christine L. Mackert, MD Jeanne & Jim Magmer Caroline Mann* Susan Manuel Joe Marrone & Ann Belzell Kenneth & Nancy Martin Mr. & Mrs. Mason Pamela Matheson Oscar & Mary Mayer John A. McCarthy Maryl M. McCullough Betty McDonald & William Hansen Gretchen & Larry McLellan Bart McMullan Jr. & Patricia Dunahugh Mariellen Meisel & Steve Glass Peter & Joan Melrose Louis R. Miles Roger & Karen Miller Kate & Jack Mills Tom & Lia Mills Thomas & Rosemary Mitchell William Apt & Grant Molsberry Robb & Peggy Moretti Mike & Jan Morgan Dave & Megan Muessle Laura & Joseph Munoz John & Debbi Nagelmann Fran Nay Jeanne Newmark Frank & Bonnie Nusser

Ron & Janet O’Day Lynda Paige Jan & Rich Parker Robert Pater Janet Peek Kevin Phaup Donna Philbrick Joe & Kris Phillippay Suzanne Pickgrobe & Mike Hoffman Jennifer Politsch Pat & Ana Quinn Richard A. Rawlinson Leslie Root & John McGrory Steve Rosenberg & Ellen Lippman Kelly & Tomilynn Ross Davia & Ted Rubenstein Daniel Russo & Joanne Albertsen Jim & Joanne Ruyle Bunny & Jerry Sadis Carol Salisbury Christine & Steven Satterlee Richard & Dianne Saulsbury Ted Scheinman Jim Scherzinger & Claire Carder Sheldon & Jean Schiager Ned Schmidtke Connie Schwendemann & Richard Peterson Michael & Pam Shanahan Courtland Smith Doug Sparks & Casey Bass James N. Stamper & Jennifer P. Villano Rhonda Studnick Kaiser John & Jan Switzer Amy & Emanuel Tanne Ellen Tappon & Ted Wilson Leif & Marjorie Terdal Jane Thanner & Tim Smith John & Terri Vann David & Julie Verburg Caroline & Reed Vilhauer Mark & Maryann Vollbrecht James & Nancy Vondran Nancy Walker & Terry Foty Sandy & Elaine Weinstein Marjorie & Tom Wilson Greg Winterowd Diana Wolf Linda M. Wood Jennifer & Scot Zickel *Sustaining Donors have opted to give through monthly contributions

For more information about supporting live theater, please contact Jack Ridenour at 503.445.3744 or jackr@pcs.org.

BOARD OF DIRECTORS Ted Austin Chair, Senior Vice President, U.S. Bank Private Wealth Management Betsy Henning Vice Chair, CEO & Founder,

DONOR TRIBUTES Tribute gifts as of November 12, 2018

In memory of Dave Bany Randy Foster

AHA! Strategic Communications Sarah J. Crooks Vice Chair, Partner, Perkins Coie, LLP

In memory of Alan Beard

Brigid Flanigan Treasurer, President, Shamrock Holdings, LLC

Julie & Ted Vigeland

Steve E. Wynne Secretary, Executive Vice President, Moda Health Mary Boyle Immediate Past Chair, Civic Volunteer Sharon Barnes Community Activist Phil Beyl President, GBD Architects

In loving memory of Ben Buckley Joan Peacock

Saskia M. de Boer Partner, Stoel Rives, LLP Greg Chandler Vice President, IT, The Standard

In honor of David Coleman

Gustavo J. Cruz Jr. Senior Counsel, Farleigh Wada Witt

Jean Himmelstein

Kelly K. Douglas Manager, State Investments, LLC Lana Finley Community Activist Diana Gerding Community Volunteer Mike Golub President Of Business, Portland Timbers

In memory of Carol Howard Hal Howard

Tasca Gulick Community Activist Lani Hayward Community Activist

In memory of Kory Mahaffy

Renée Holzman Community Volunteer

Julie & Ted Vigeland

Linda Illig Retired, Community Volunteer Y. Lynne Johnston Advocate for the Arts Jim L. Knoll President, James L Knoll, PC

In loving memory of Sarah E. Mitchell

Dedre Marriott Retired, Former CEO & Professor

The Armory

Joseph F. Mitchoff CEO, Viridian Reclaimed Wood Karen L. O’Connor Partner, Stoel Rives, LLP Turid Owren Partner, Tonkon Torp, LLP

In memory of Luwayne Engwall ‘Buzzy’ Sammons

Dana Rasmussen Retired, Attorney

The Armory

Joseph Sawicki Vice President & General Manager, Design-To-Silicon Division, Mentor Graphics Dr. Ann E. Smith Sehdev Physician, Cascade Pathology

In honor of Janna Starr

Doug Smith Retired, Sr. Vice President, AMEC Foster

Lynda Bersani

Tyler Tatman Finance Controller, Intel Corporation Rosemarie Thompson Managing Partner, Roselake Property & Designs, LLC Michelle Weisenbach Oregon & SE Washington Market President & Commercial Bank Leader, Key Bank

In honor of Michelle Weisenbach & Mike Penfield Kathi & Ted Austin, Paul & Lisa Nourigat, Katie Carle

J. Greg Ness Armory Theater Fund Chair Director Emeritus, Chairman, CEO & President, Standard Insurance Stancorp Financial Group H. Pat Ritz Director Emeritus, Chairman & CEO, Footwear Specialties International Julie Vigeland Director Emeritus, Civic Volunteer In Memoriam: Bob Gerding

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PCS.ORG

503.222.5538 | obt.org/family

STAFF ARTISTIC

MARISSA WOLF

CYNTHIA FUHRMAN

Artistic Director

Managing Director

Klint Keys,

Rose Riordan, Associate Artistic Director Benjamin Fainstein, Literary Manager Will Cotter, Associate Producer Meagan Mulgrew, Company Manager

Patron Services Group Sales Manager

Emily S. Ryan, Patron Services Assistant Manager

Madelyn Clement, David Harper, Senior Patron Services Representatives

ADMINISTRATION & FINANCE Creon Thorne, General Manager Lisa Comer, Finance Director Caitlin Upshaw, Director of HR, Equity & Inclusion

Lydia Comer, HR Coordinator Ticia Evans, Accounting Manager Alan King, Accountant Chris Beatty, IT Administrator Dylan Howe, IT Associate Kate Webb, Executive Assistant

EDUCATION & COMMUNITY PROGRAMS Kelsey Tyler, Education & Community Programs Director

Jonas Angelet, Community Programs Manager

Clara-Liis Hillier, Education & Community Programs Associate

Matthew B. Zrebski,

Meg Morrigan, Charley Praither, Patron Services Representatives

Megan Harned, Tonea Lolin, Hope McCaffrey, Patron Services Sales Associates

PRODUCTION Liam Kaas-Lentz, Production Manager Katie Nguyen, Production Coordinator Kristen Mun, Mark Tynan, Janine Vanderhoff, Stage Managers, AEA Alexis Ellis-Alvarez, Molly Shevaun Reed, Sarah Stark, Stage Management Apprentices

Derek Easton, Technical Director Seth Chandler, Scene Shop Manager Nick Foltz, Master Carpenter Christian Cheker, Nathan Crosby, Michael Hall, Phil A. Shaw, Carpenters Kate Webb, Scenic Charge Artist Shawn Mallory, Kiona McAlister Scenic Painters

Resident Teaching Artist

DEVELOPMENT Lisa Sanman, Development Director Jennifer Goldsmith, Associate Development Director

Eric Steinhauser,

Michael Jones, Properties Supervisor Lauren Chilton, Lead Properties Artisan Emma Van Halsema, Properties Artisan Alex Wren Meadows, Costume Shop Manager

Sydney Dufka, Assistant to the Costume Shop Manager

Individual & Planned Giving Manager

Marlene A. Montooth, Grants Manager Celia Ferrer, Development Events Manager Jack E. Ridenour, Development Associate

Paula Buchert, Eva SteingrueberFagan, Cutters/Drapers Larissa Cranmer, Associate Draper Barbara Casement, Costume Crafts Artisan Bonnie Henderson-Winnie, Wardrobe Supervisor

MARKETING & COMMUNICATIONS Sharon Martell, Director of Marketing & Communications

Claudie Jean Fisher,

Associate Director

of Marketing & Communications

Alice Hodge, Marketing & Publications Specialist

Kate Kerns, Communications Associate Mikey Mann, Graphic Designer Kate Szrom, Multimedia Designer Christian Bisgard, Webmaster Patrick Weishampel, Production Photographer

PATRON SERVICES Luke Robertson, Audience Services & Ticketing Manager

Sierra Walker, Patron Services Box Office Manager

EVENTS & RENTALS Elizabeth Hjort, Events & Rentals Manager Jenn Thompson, Events & Rentals Assistant

Jessica Miller, Wig Supervisor Em Douglas, Lighting Supervisor Alexz Eccles, Master Electrician & Programmer, U.S. Bank Main Stage

Alex Agnes, Master Electrician

FRONT OF HOUSE Nsilo Berry, Wynee Hu, Amanda Nelsen, Hannah Rice, Concierges RaChelle Schmidt, Volunteer Coordinator Michael Rocha, Lead House Manager Jenna Barganski, Nhu Nguyen, Hannah Rice, House Managers

FOOD & BEVERAGE Melissa Larrabee, Café & Bar Manager Erin Rubin, Kitchen & Catering Manager Marguerite McLean, Bar Lead Ryan Smith, Café Lead Natalie Myers-Guzman, Kitchen & Catering Lead

Leesidhe Blackburn, Kitchen Assistant Victoria Alvarez-Chacon, Ben Bartu, Danie Binks, Justin Charles, Natalie Fund, Katrina Hall, Drew Patton, Will Ramis, Andrew Rubin, Logan Starnes, Antonio Swift, Food & Beverage Staff

FOR THIS PRODUCTION A Christmas Memory paired with Winter Song Karl Hanover, Dialect Coach Emily Schider, Live Sound Mixer Don Crossley, Kelly Cullom, Cody Decker, Molly Gardner, Eric Lyness, Mary Michels, Myke Rodriguez, Ben Rosenthal, Christopher Stull, Connor Ward, Lauren Williams, Electricians Special thanks to Pendleton Woolen Mills

Twist Your Dickens Eva Steingrueber-Fagan, Costume Coordinator

Emily Schider, Sound & Video Apprentice Tim McGarry, Deck Manager

Will Bailey, Jamie Hammon, Julio Maxwell, Dressers Jackson Jordan, Sound Board Operator Kate Belden, Liz Carlson, Mike Cino, Don Crossley, Amanda Kishlock, Mary Michels, Ken Potts, Kai Rain, Myke Rodriguez, Patton Small, Christopher Stull, Mark Twohy, Connor Ward, Claire Zaro, Electricians

OPERATIONS

VOLUNTEER COMMITTEE

& Programmer, Ellyn Bye Studio

Avi Sheehan, Lighting Apprentice Casi Pacilio, Resident Sound Designer & Sound/Video Supervisor

Evan Duckworth, Associate Sound & Video Supervisor

Katie Cronin, Operations Manager Destry Cloud, Eric Murray, Amanda Nelsen, Operations Assistant Gregery Lee, Facilities Lead Tim Taylor, Facilities Assistant

Connie Guist, Office Assistants Chair Karen Watson, Supporting Cast Chair

SUPERSTAR STAFF EMERITUS Sarah E. Mitchell, Rest in Power, Smitch

ARTSLANDIA.COM

41

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March 22–30 / Newmark Theatre

“As One is everything that we hope for in contemporary opera: topical, poignant, daring, and beautifully written.”

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May 11 / Keller Auditorium

Rossini

THE BARBER OF SEVILLE June 7–15 / Keller Auditorium

Mozart

LA FINTA GIARDINIERA July 12–27 / Newmark Theatre

Philip Glass

IN THE PENAL COLONY July 26–Aug 10 / The Hampton Opera Center

—New York Classical Review

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This opera from 1775 showcases everything we love about Mozart.

Don’t miss this new production, conducted by Maestro George Manahan.

Based on a short story

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FROM THE

EDITOR-AT-LARGE The Gift of Giving When I visited the Oregon Shakespeare Festival in July this year, the temperatures were on the hot side, but unlike a few previous years, the air was clean and, at night, quite pleasant and fresh. Given the vast conflagrations in California earlier in the summer, I thought the Festival might just miss the smoky days that had plagued its productions sporadically earlier in the decade. I knocked on wood, but I failed to throw salt over my shoulder.

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The subsequent outburst of forest fires in northern California (creeping into Oregon) and Washington started filling up the Rogue Valley with smoke later that month—the source of the smoke alternating with wind direction—and continued into September. If you’ve been to Ashland for the Festival, you know the largest theater on the campus, the Allen Elizabethan Theatre, is open to the skies and the smoke. As a result, the Festival had to cancel or move (to a much smaller indoor theater) 26 productions from that 1,190-seat theater—more than they have had to cancel or move in the past five years combined.

The company figures that the cost of all that smoke is in the neighborhood of $2 million. I would add the phrase, “at least.”

No one can determine precisely how many visitors decided to skip a spur-of-

the-moment trip to Ashland because of all that smoke. That’s too bad, financially for the Festival, and also because a lot of people missed some excellent productions. From my point of view, this season at the Oregon Shakespeare Festival was the best as a whole that I’ve ever seen, and I go back to the early 1980s (with a few missing years, here and there).

Now, I’m about to suggest that if you’ve enjoyed the Festival before, hope to enjoy it in the future, or just acknowledge that its existence is good for the state and the country, you might contribute some money to help the company get past this particular disaster. You can donate online at osfashland.org/rising, but I’m going to impose on your goodwill a bit more.

The Oregon Shakespeare Festival, with a total budget of around $40 million, has by far the largest budget of any arts organization in the state. A $2 million revenue hit would crash almost any of them—of course, only a tiny percentage of arts organizations in the state have budgets in excess of $2 million. Most of those are especially fragile, even in an economy as strong as Oregon’s is right now, because they lack endowments or sufficient cash reserves that could buffer them from sudden financial upsets. (The confluence of a major national recession

and a big snowstorm in Portland during Nutcracker season almost pushed Oregon Ballet Theatre over the edge in 2009, for example.)

So, right, here’s the ask: If you have the funds and disposition to give, please donate to your favorite arts and cultural organizations this holiday season, including the Oregon Shakespeare Festival. They depend on it, and small gifts are welcome. The entire ethos and economy of Oregon arts groups involves doing a lot with a little—and doing tons with more.

But don’t stop there!

Although the state government of Oregon has always (and I mean always) had a middling record for supporting the arts—when it hasn’t been downright abysmal—there is a unique provision in our tax code that gives us a chance to make up for the state Legislature’s reluctance to fund the arts sufficiently.

It essentially allows us to double up the gift we made (figuratively) in the previous paragraph, without donating a penny more.

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The entire ethos and economy of Oregon arts groups involves doing a lot with a little—and doing tons with more.

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Only one art town comes with views like this.

Although it’s been around for a while now, many of us don’t take advantage of it. Many do: Oregonians invested more than $4.9 million in the Oregon Cultural Trust in 2017, after all. For good reason: It distributes money to every corner of the state, and funds tribal and historical organizations as well. So, if you’re taking advantage already, this is just a refresher. >>>>

c ontinued on p age 5 0

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MODERN AMERICAN REALISM Highlights from the Smithsonian’s Sara Roby Foundation Collection October 20, 2018 – April 28, 2019

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Modern American Realism: Highlights from the Sara Roby Foundation Collection is organized by the Smithsonian American Art Museum.

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PCS.ORG

Let’s boil that down: We gift our favorite arts group(s); we give to the Cultural Trust; we take a tax credit for the gift to the Trust (and to the arts groups); we enjoy great art the rest of the year. >>>> The process isn’t hard, but it does involve a few steps. And the subject of incomes taxes instantly triggers my flight reflex. Get me out of here! But relax. We can do this!

1. It starts with a gift to one or more of the 1,500 or so arts and cultural groups in the state. You can find the list of qualifying groups on the Trust’s website (culturaltrust.org), though nearly any group you can think of qualifies.

2. Match the gift with a donation to the Cultural Trust. You can do it online.

You can print the confirmation screen for your records to claim your tax credit. Or you can donate by telephone at (503) 986-0088.

3. Claim your entire contribution to the Trust as a tax credit on your Oregon income tax—up to $500 for an individual, $1,000 for couples filing jointly, and $2,500 for corporations.

4. Much of that money will be distributed to Oregon cultural groups directly, and some will go to the Trust’s permanent fund.

Let’s boil that down: We gift our favorite arts group(s); we give to the Cultural Trust; we take a tax credit for the gift to the Trust (and to the arts groups); we enjoy great art the rest of the year. That means we give the Shakespeare Festival the breathing room to figure out the smoke problem for the future, and we add to the resilience of other cultural groups around the state. That’s my idea of Happy Holidays! .

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The Lark Ascending Some of the most touching and soulful compositions have been inspired by the Earth’s beauty.

Join violinist Adam LaMotte and the intimate, conductorless chamber orchestra for an evening of musical celebration.

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MARCH 8, 7:30PM

LINCOLN RECITAL HALL

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In The Spotlight:

CHANGING DIRECTION women in charge

By Marty Hughley.

Photos by Christine Dong.

Artistic Director MARISSA WOLF

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I

n 1988, when the Oregon Shakespeare Festival agreed to open a northern branch in Portland, one of the staff members sent to launch the project was a young PR and marketing whiz named Cynthia Fuhrman. In 2017, after holding various positions within that company—which spun-off in 1994 as Portland Center Stage—and at other organizations, Fuhrman became Managing Director of PCS. In the late summer of 2018, a young director and play-development specialist named Marissa Wolf left Kansas City Rep to replace Chris Coleman as Portland Center Stage’s Artistic Director.

NOV 25 - DEC 30

Together, Fuhrman and Wolf will lead what has become one of the most prominent regional theaters in the country into its fourth decade. Shortly after Wolf ’s arrival, they each sat down with Artslandia to talk about how they arrived at this point and where they’re ready to take things. The following is excerpted from those conversations.

DEC 6 - DEC 30

ft. Chris Harder & Susannah Mars

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WHAT DREW YOU TO THEATER AND TO THE KIND OF WORK YOU DO? CYNTHIA FUHRMAN: When I was in high school, I had a teacher who took us to OSF on a field trip; that was the first professional theater I’d ever seen. Then, I went to college in London and saw tons of theater there. The summer I finished my master’s degree, at Southern Oregon State College, I was living in Ashland, didn’t have a job, and had no clue what I wanted to do. The way I occupied myself that summer was going to different park talks at the Festival where they’d have staff members outside the Lizzy (the Elizabethan) talk about what they do. There was a guy talking about writing press releases, working with the press when they visited, occasionally teaching a class about Shakespeare. I thought, “I could do all those things.” Even though I’d been a theater fan, it never occurred to me there were jobs in theater other than being an actor or making costumes.

He mentioned that he was moving at the end of the summer, and I thought, “Oh! Job opening!” >>>>

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Managing Director CYNTHIA FUHRMAN

“ I started diving in with him more on bigger-picture strategy, planning and ideas, and I realized that’s a great way to support artists.” —CF c o n tinued fr om page 53 >>>> MARISSA WOLF: It goes back to when I was 3 years old, and I saw Goldilocks and the Three Bears performed for a children’s theater in Connecticut. My parents tell me that I was completely riveted; I barely blinked. And that, after the play, I cried because it was over. Then, in what I think was my early director coming out, I made my mom act it out with me over and over. She tells me that I kept saying, “That’s not the right line!”

All of my earliest memories are of me knowing I would be in theater. Like a lot of directors and producers, I started 54

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as an actor, because that’s what you see and what you think theater is at first.

I just consumed as much theater as I could—read, watched, did a lot of plays in my public schools. It wasn’t until college that I realized I was a director. That was a powerful time, learning to look at, shape, and question a whole world onstage, instead of just one character.

Even as a young person, the questions of why this is relevant, why must this be told onstage now, felt immediate to me.

I felt frustrated as an actor, feeling like I wasn’t positioned in the room to ask that question.

I am so much a new-play director. I love to bring a playwright’s work to life, to honor what’s on the page and make it live and breathe in the room. I find that collaboration exhilarating, as the playwright and director work together to make the play sing.

HAS THEATER BEEN A CONDUCIVE ENVIRONMENT FOR YOU AS A WOMAN? I started working in theater 36 years ago. Looking back at the first eight or nine years, I think it was not friendly to women. Even though my

There’s magic in the air...

first boss in Ashland was a woman, the powers she reported to were all men. It was the ‘80s, and I think there still was a lot of sexism: Men rule; women are pretty. I don’t think I was ever disrespected for what I could do in my job, but it was very much a male-run organization.

That was partly the times. I left to go to StageWest, in Massachusetts, and the Artistic Director there was Gregory Boyd, one of the most prominent Artistic Directors ousted in the past year—he was running the Alley Theater in Houston—because of #MeToo. In 1988, while I was working at StageWest, a group of staff, both men and women, met with the board to complain about his leadership. We didn’t have the language then.

People didn’t say things like “toxic environment,” “sexual harassment.” But it was not a pleasant place to work; people felt uncomfortable, threatened. And in those days, nobody knew how to respond. It was just, “Well, we’ll talk to him.” Then six months later, he gets one of the top jobs in the country, and he’s there for 32 years.

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So that’s the kind of environment I started in, but I think that’s changed radically over time—although there are still things to change.

Ancient history

Of the LORT (League of Resident Theaters) companies—and we’re one of those—two years ago, 14 percent were led by women Artistic Directors. As of now, that’s 38 percent, and it’s changing almost daily. There’s a generation that’s starting to retire, so there are lots of openings. So it’s interesting to me to think about how the field is going to change now that we’re seeing not only more women in leadership but also the generational change that we’re finally making room for. What kind of energy are they going to fuel each other with?

I will say that when I was starting out, trying to figure out how to build a career, with the goal of being an Artistic Director at a LORT theater, I looked around the country and felt a bit demoralized by the lack of female leadership. And that number (of Artistic Directors) shrinks way down when you talk about women with children. I knew I wanted a kid, and I have one now. >>>>

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Portland Center Stage at The Armory is the largest theater company in Portland and among the top 20 regional theaters in the country.

c o n t i n u e d f ro m p a g e 55

>>>> I spent a lot of time thinking about it, asking questions, and seeking mentorship and models. Now, I’m proud to be part of this cohort of new female leadership across the country. We’ve all been talking to each other for 10 years. It’s a really powerful, thrilling moment to look at each other—across the nation—and say, “Now, let’s do this together.”

WHEN DID YOU START TO SEE RUNNING A COMPANY AS BOTH A GOAL AND A POSSIBILITY? I remember Liz Huddle, who ran PCS its first four years, was the first person who told me, “You should run a theater.” When we split off from OSF, we were on skeleton staff. My last year in that stint there, my title was Director of Marketing & Communications/Dramaturge & Literary Manager. I think Liz saw someone who was an administrator and had a business mind but also had a strong connection to the work that goes onstage.

My reaction at the time was, “I don’t want to run a theater!” Because the management side, I felt, was so removed from the art—dealing with money, donors, contracts. What I loved about doing the marketing and public relations was that I felt those were the administrators who were closest to the art, dealing with the artists to try to interpret for the public what they were trying to do. Later, when I was at Seattle Rep, my mentor there, Ben Moore, approached the Managing Director job as more of a producer, and I began to see that you could do that job without losing the connection. But it was only about four years ago that I began to think, “Maybe…”

“I’ll give Chris credit. After Greg Phillips left in about 2009, we didn’t have a Managing Director, and Chris was the sole head of the organization. He had to rely on us as a team, and I started diving in with him more on bigger-picture strategy, planning and ideas, and I realized that’s a great way to support artists as well.

AN ARTISTIC DIRECTOR HAS TO WEAR A LOT OF HATS––DIRECTOR, MANAGER, FUNDRAISER, PLAY WHISPERER, INSPIRATIONAL LEADER... WHICH OF THOSE ROLES FEEL NATURAL TO YOU, AND WHICH ARE MORE OF A STRETCH?

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“ It’s a really powerful, thrilling moment to look at each other—across the nation—and say, ‘Now, let’s do this together.’” —MW The body of work I’ve done in my career has been deeply linked to being inside institutions, companies. I find that directing and producing are tightly wedded. As a leader in a company, you get to put your money where your mouth is to say “This matters.”

I cut my teeth at Berkeley Rep as a directing fellow, and not only was I assistant directing every project but was also assistant to the Artistic Director, who

WHAT WOULD YOU DESCRIBE AS THE CURRENT IDENTITY OF PCS, AND HOW DO YOU SEE THAT CHANGING?

was my mentor, Tony Taccone. Seeing that balance from within felt really exciting—seeing what a theater company can be doing in its community and what conversations it can be lifting nationally.

As for what I have to put more thought into, I think right now it’s how do I open up an expansiveness to meet the size and scope of this company and take care of the company on every level—staff, art onstage, board, donors, community.”

From the moment I came out to start interviewing here, it was obvious to me that PCS is already living its mission to inspire communities—with the excellent art onstage, innovation of programming, audience engagement, education and community programs, the way the building feels completely alive and abuzz during JAW (Just Add Water).

And I think the building is a celebration of what the theater is in the community.

I love that it’s in the heart of the city, that you don’t have to have a car to get here.

It’s a fully living creature here. Where it’ll go…? I’m excited to build on what is here and create the next chapter with Cynthia, to continue to work toward PCS as a place where all Portlanders feel they belong. .

TRAVEL & THEATER are the only things you buy that make you richer.

Stay With Us!

503.553.7000 545 SW Taylor St Portland, OR 97204 duniwayhotel.com

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#ARTSLANDIAWASHERE INSTAGRAM

JOHN

by Annie Baker

@artslandia

November 30-December 22, 2018

Purchase your tickets today at www.thirdrailrep.org or call 503-235-1101.

To spread the good word about @LiteraryArts’ Portland Book Festival, we partnered with historic @John_Helmer_Haberdasher on a storefront installation promoting this incredible event. #pdxbookfestival

INSTAGRAM

Photo by Owen Carey

Third Rail at CoHo Theatre 2257 NW Raleigh St, Portland

@artslandia

INSTAGRAM

Swing by @mercantileportland this week to see a special La Traviata costume window display curated by @PortlandOpera’s Costume Director, Christine A. Richardson. #costumedesigner #pdxarts

@artandaboutpdx

Co-Artistic Director Jamey Hampton warming up his leg and his computer before the BloodyVox show tonight. @bodyvox @artslandia #artandaboutpdx #BloodyVox #pdxdance

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AN EXCERPT FROM:

An Interview with Maureen Porter on Live Theater MAUREEN PORTER Susannah: If you could pick any generation to grow up in, which would you choose?

Maureen: With everything that’s happening in the world right now, it could be easy to want to go someplace else and live someplace else, but I suspect that there is

no time that doesn’t have its issues. I feel like right now is the time—for all the things that we’re up against, this is an amazing time to be alive. And it is a time where I identify with the work that needs to be done and the work that is being done. We actually have a pretty amazing life!

This podcast transcript has been edited for print.

@artslandia

@artslandia

Artslandia Magazine

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The prolific and impressive acting career of Maureen Porter spans 30 years!

Currently, she’s a core company member and Managing Artistic Director for Third Rail Repertory Theatre in Portland.

SUBSCRIBE TO THE PODCAST ON ITUNES OR GOOGLE PLAY. Have an Adventure in Artslandia? Email smars@artslandia.com!

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Serious training for young actors. stagedpdx.org 971.803.7713 Auditions/Interview required

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Christmas Carol

A

Charles Dickens'

Directed by Brian Weaver Adaptation and Original Music by Rick Lombardo and Anna Lackaff

O INTR IAL C E P S $50 O N LY

The hopeful, musical, and fun family classic returns to Portland Playhouse!

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Call to book today (971) 255-1918

portlandplayhouse.org | 503.488.5822 Photos by Brud Giles. Drew Harper, Margot Weaver, Julian Remulla

6520 SW Rosewood St. Lake Oswego FredAstaire.com/Portland Portland@FredAstaire.com

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THEN & NOW Portland Art Museum 1973

Burrell Tree, Portland Art Museum, March 1973.

Photo File 1759.3 Negative R-163 bb017505.

2018

Photo by Kristen Seidman.

A GROUP OF SEVEN CULTURAL AND BUSINESS LUMINARIES CONVENED IN 1892 with the goal of creating an art museum for the people of Portland. The first exhibition of the Portland Art Museum, a $10,000 collection of Greco-Roman sculptures in 1895, drew crowds to the original location within the public library at SW 7th and SW Stark. Having outgrown the space by 1905, the Museum moved to its own building at SW 5th and SW Taylor, which it christened with an exhibition of paintings from the Lewis & Clark Exposition held in Portland the same year. In 1932, the Museum moved to its current building designed by famed Portland architect Pietro Belluschi and doubled its gallery space with the completion of the Hirsch Wing in 1939. The Hoffman Memorial Wing, completed in 1970, included a sculpture mall, a new vault for the collections, an auditorium, and space for the Museum Art School, which evolved into Pacific Northwest College of Art. The acquisition and renovation of the neighboring Masonic Temple gave us the Mark Building, which was purchased in 1994 and re-opened postrenovation in 2005 after earlier updates to the Main Building and Hoffman Wing. Currently in process is the Connections Campaign to support an expansion and renovation project to achieve a number of objectives, including full accessibility for those with disabilities. .

Historic photographs for this series are provided by the Oregon Historical Society, a museum, research library, archive, and scholarly asset located in the heart of Portland’s Cultural District.

View more photos of historic Portland on the new OHS Digital Collections website at digitalcollections.ohs.org/ portland-cityscapes.

Have an anecdote or old school photograph of you posing in front of the Portland Art Museum? Post it! Don’t forget to tag #Artslandia and #ThenAndNow

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