Death and the Maiden - Bag&Baggage

DIRECTOR’S NOTES By Cassie Greer I HAVE BEEN HAVING conversations about Death and the Maiden with Scott Palmer for at least five years — its almost poetic use of language, “modern classic” status, juicy dramatic roles, female protagonist, and provocative subject matter make it an obvious candidate for inclusion in any Bag&Baggage season. And while, back in the fall of 2016 when we were programming for 2017–18, we could hardly have foreseen the striking timeliness of producing a play about a woman confronting her sexual abuser, this is the season Ariel Dorfman’s stunning play finally made it into the lineup. “Oh,” Scott said to me, as we finished up a play-selection meeting two Septembers ago, “and you get to direct it.”

Cue a wave of thrill and terror running through my entire body — a wave that has recurred many times in the intervening 18 months. This play is not for the faint of heart, and not only was Scott entrusting me with its care for our company, he was entrusting me with my very own directing project for the first time in my seven year history with Bag&Baggage.

Jump ahead to this winter, and I am sitting at my computer staring at a Word document that is supposed to contain my director’s notes. Instead, the page is full of sentence fragments — generally involving the words “truth”, “justice”, “questions”, “violence”, and “women” — as well as a smattering of quotations of smart things Ariel Dorfman has said.

This play is dense. And challenging. And complicated… It’s hard to know how to talk about it.

But perhaps that’s exactly the point.

Ariel Dorfman wrote Death and the Maiden in

1990, on the heels of 17 years spent as a political exile from Chile. Returning to his country, he was flooded with a wealth of challenges and complications that were almost impossible to know how to talk about. But to Dorfman, this was precisely why it was important to begin the conversation.

“How can those who tortured and those who were tortured coexist in the same land,” he writes in the afterword to the 1991 publishing of Death and the Maiden. “How to heal a country that has been traumatized by repression if the fear to speak out is still omnipresent everywhere? And how do you reach the truth if lying has become a habit?”

These questions gnawed at the Chilean conscience and at Dorfman’s own, prompting him to hurl theatergoers into a 90-minute vortex of violation, vengeance, atonement, truth-seeking, personal pain, political rhetoric, and shifting sympathies, ultimately leaving the verdict in the audience’s hands. Part of what makes this play so exemplary is the way it aims to heal without providing any actual answers. What Dorfman acknowledges — which we as Americans in 2018 could certainly take a nod from — is the reality that being challenged to actually engage the tough questions, to have those difficult conversations, to grapple with complicated issues of humanity, goes a whole lot further in making a real difference among contentious groups of people than passively providing tidy solutions.

In the notes he includes at the beginning of the script, Dorfman tells us that “the time is the present and the place, a country that is probably Chile but could be any country that has given itself a democratic government just after a long

period of dictatorship” — instantly indicating to us that the immediacy of this play is just as important as its history. The questions Dorfman asks of himself and his audiences are not simply appropriate for 90s-era Chileans; rather, they speak straight to the essence of our humanity, challenging us to consider the nature of truth, justice, power, and forgiveness. How do we make sense of the #metoo movement and the Silence Breakers? Do we “believe all women”?

What about Black Lives Matter? How should we handle the global refugee crisis, or the ArabIsraeli conflict, the Rohingya, Ukraine, Yemen, or the Islamic State?

Ariel Dorfman would invite you to watch this play and live in those questions. And so do I. And while it’s painfully true that contentious social movements and politically-charged initiatives and human rights abuses are hard to talk about, I think it’s important that we start the conversation.

As you watch the action on stage today, you are joining a conversation that we began back in the fall of 2016 when we decided to produce Death and the Maiden. You are joining a conversation that has united a new group of artists in a new theatre venue — the acting talents of Mandy Khoshnevisan, Tony Green, and Nathan Dunkin, and the design genius of Tyler Buswell and Jeffery Smith grace The Vault for the very first time in this show. And you are joining a conversation that I have been waiting — with thrill and terror and great anticipation — to have with you, our incredible Bag&Baggage audience.

Welcome.

Cassie Greer, Assoc. Artistic Director

DRAMATURGICAL NOTES By Renée Zipp “HOW MANY TIMES?” There is a special comfort that comes from quantifying qualitative experiences, traumatic ones especially. Facts. Evidence. Acknowledgement. In the South American country of Chile, thousands of families are still waiting for answers, waiting for the healing power of the real, real truth.

In October 1970, Salvador Allende became the first democratically elected Marxist president of Chile, the first socialist leader in Latin America.

Three years later, his government was overthrown by a military coup, General Augusto Pinochet becoming the new ruler of Chile.

On September 11th, 1973, Chilean armed forces surrounded La Moneda in Santiago. The presidential palace was bombed by air force jets before being burned by troops. And so began Pinochet’s brutal dictatorship: 17 years ravaged with repression, torture, fear, disappearance, and exile. Authorities believe the regime was re-

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sponsible for at least 3,200 killings and 38,000 cases of torture. Additionally, Chilean courts rejected over 5,000 missing persons cases; 5,000 families torn apart by Pinochet’s secret police.

A cultural advisor to the President’s chief of staff, Ariel Dorfman was supposed to be at La Moneda that tragic day. He says, “I don’t believe there was a God who spared me. But I do believe in something like destiny, or that you turn the accidents that happen to you in life into something necessary and inevitable. What I think I did is I turned myself into the storyteller.”

Dorfman has committed his life’s work to writing about the country of Chile and calling out the violations of the Pinochet dictatorship. However, in his first years of political exile, Dorfman found it terribly difficult to write, “I would look at the blank page and I wouldn’t be able to write anything...I didn’t want to describe the degradation of my country without showing some sign of hope, but I couldn’t fake the hope.”

Published in 1990, the same year Pinochet stepped down as dictator, Ariel Dorfman wrote Death and the Maiden. A play that, although not explicitly stated, undoubtedly confronts the aftermath of the dictatorship’s cruel practices, torture specifically, and the victims who are forced to coexist with those who have destroyed their lives.

In an open letter to General Augusto Pinochet, Ariel Dorfman writes, “I have asked myself what would happen to you if you were forced to hear day after day the multiple stories of your victims and to acknowledge their existence. You who believe in God, General: Consider the blessing that your wise, compassionate, and severe God has sent you in these, your final days - the possibility of your repentance. That you might pierce this terrible circle of your crimes and ask forgiveness and tell us where our dead are.”

Renée Zipp, Dramaturg

Bag&Baggage Productions presents Scott Palmer Founding Artistic Director Beth Lewis Managing Director

Death and the Maiden

by Ariel Dorfman

Cassie Greer Associate Artistic Director Arianne Jacques Patron Services Manager Alec Lugo Marketing and Development Assistant Jim Ricks-White Technical Director, Resident Lighting Designer, The Vault Theater Facilities Manager Melissa Heller Resident Costume Designer Board of Directors Carol Beauchamp Julie Case Karl Citek Elka Eastly Kathy Gaona John Jacques Beth Lewis Eric Lewis Patricia Logan Liz Manser Mori Mirashrafi Linda Morrisson Gayle Nachtigal (chair) Scott Palmer Segun De Silva Jan Simmons Donna Swanson K. Marie Tyler Aditi Vyas ®

THE CAST Paulina Salas................................................................................................ Mandana Khoshnevisan Gerardo Escobar ���������������������������������������������������������������������������������������������������������Nathan Dunkin Roberto Miranda �������������������������������������������������������������������������������������������������������� Anthony Green

CREW/PRODUCTION TEAM Director............................................................................................................................ Cassie Greer Costume Designer ������������������������������������������������������������������������������������������������������� Melissa Heller Scenic Designer �������������������������������������������������������������������������������������������������������������Tyler Buswell Lighting Designer & Technical Director ��������������������������������������������������������������������Jim Ricks-White Stage Manager................................................................................................ Ephriam Harnsberger Sound Designer..................................................................................................... Tiffany Rousseau^ Projection Designer ��������������������������������������������������������������������������������������������������Jeffery A. Smith Assistant Stage Manager ������������������������������������������������������������������������������������������ Carlee Whalen^ Props Master ������������������������������������������������������������������������������������������������������������������� Renée Zipp^ Dramaturg ������������������������������������������������������������������������������������������������������������������������ Renée Zipp^ Marketing Assistant ��������������������������������������������������������������������������������������������������Grant Thackray^ ^Bag&Baggage Emerging Artist

Death and the Maiden is presented by special arrangement with SAMUEL FRENCH, INC.

This performance lasts approximately 90 minutes with one fifteen-minute intermission.

Please remember: Turn OFF your phone, do not text during the performance, and photography or recording of this performance are strictly prohibited.

AT TH E P E R FO R M A N C E

Misty Tompoles Publisher + Founder Lisa Johnston-Smith & Dan Le Designers

The 2017–2018 Season Presented by Ronni Lacroute

The 2017–2018 Season Sponsored by The Hillsboro Hops

Chris Porras Media Director Lindsey Ferguson Publisher’s Representative Janelle Bonifacio & Bella Showerman Publishing Coordinators Artslandia at the Performance is published by Rampant Creative, Inc. ©2017 Rampant Creative, Inc.

This production is generously sponsored by Carol Beauchamp, Kathy Gaona, Diane Lewis, Linda Morrisson, and Jan Simmons & Claeys Catering.

All rights reserved. This magazine or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher.

Rampant Creative, Inc. /Artslandia Magazine 6637 SE Milwaukie Ave. #207 | Portland, OR 97202

ARTSLANDIA.COM

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ACTOR & CREW BIOS NATHAN DUNKIN (GERARDO ESCOBAR) Nathan Dunkin holds a Masters in Acting from London’s prestigious East 15 Acting School.

You may have seen Nathan at Bag&Baggage previously in Rope (as Granillo) and Of Mice and Men (as Slim). Recent roles include Insignificance (as The Senator) with defunkt theatre; A Maze (as Beeson) and Carnivora (as Garland) with Theatre Vertigo.

Nathan is a former Theatre Vertigo company member, is involved with TV and film whenever allowed, and works in downtown Portland as an enrollment coach for a non-profit online university.

ANTHONY GREEN (ROBERTO MIRANDA) Tony holds a BFA in Acting and a Master of Theatre Studies in Production and Design from Southern Oregon University. This is Tony’s first production with Bag&Baggage and he looks forward to more opportunities to work with this outstanding company of theatre professionals. Throughout his career he has worked also as a director, designer, casting director, and educator. Since moving to Portland in 2009, Tony has been seen in many critically acclaimed productions with numerous theatre companies in the area. Tony was most recently seen in Lakewood Theatre’s production of To Kill A Mockingbird. He has worked for seven seasons with Milagro Theatre appearing there in Lydia, Into the Beautiful North, American Night, O! Romeo!, How The Garcia Girls Lost Their Accent, BoomCrackleFly and the Drammy Award winning Oedipus El Rey. During the 2016/2017 season Tony was seen in a number of standout roles including The Crackwalker at Sowelu Theatre, Profile Theatre’s production of Elliot, A Soldier’s Fugue, Defunkt Theatre’s production of Hir, and Jewish Theatre Collaborative’s Davita’s Harp. Other Portland credits include Equus at Post5, Antony and Cleopatra with Portland Actors Ensemble and King Lear, King John and Mary Stuart at NWCTC. MANDANA KHOSHNEVISAN (PAULINA SALAS) Mandy studied literature, theatre, and history at Stanford University, where she earned a B.A. and M.A. in English. Her first appearance with Bag&Baggage was in this season’s Romeo&Juliet/Layla&Majnun (as Lady Capulet), and she is delighted to be returning. Favorite scripted roles include Into the Woods (as Baker’s Wife); My Fair Lady (as Mrs. Eynesford-Hill); and here in Portland, Tesla City Stories (multiple roles); The Rocky Horror Show (as Eddie/Dr. Scott); Reefer Madness (as Mae Coleman); and Die Hard: The Musical Parody (as Mother Gruber/Inga).

Mandy also works backstage, most recently

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having costumed The Mystery of Irma Vep. Since moving to Portland in 2013, she has taught at Northwest Children’s Theater, and improvised on the mainstage at the Brody Theater, Curious Comedy, and the Funhouse Lounge, where she is the Director of Improv.

Last year, she published her first book, Managed Mischief, about improv and creativity. At home, she maintains an excess of books, art supplies, and impractical musical instruments; she would like to thank her roommate and best friend Greg for being, in that way and countless others, a kindred spirit.

ingly swapped his shift with his friend Claudio Jimeno. Forced to leave Chile in 1973, after the coup by General Augusto Pinochet leading to the suicide of President Salvador Allende, he subsequently lived in Paris, Amsterdam, and Washington, D.C. Since 1985 he has taught at Duke University, where he is currently Walter Hines Page Research Professor of Literature and Professor of Latin American Studies. Since the restoration of democracy in Chile in 1990, he and his wife Angélica have divided their time between Santiago and the United States.

CREW

CASSIE GREER (ASSOC. ARTISTIC DIRECTOR & DIRECTOR) Cassie thrilled and honored to be tackling Ariel Dorfman’s iconic script with this fantastic cast and crew! This is her 27th Bag&Baggage project since joining the company in the 2011-12 season, having appeared on stage in Of Mice and Men (as Curley’s Wife); Julius Caesar (as Mark Antony); The Great Gatsby (as Daisy Buchanan); Brontë (as Charlotte Brontë); and the title character in Coriolanus, among others. Cassie co-directed B&B’s Parfumerie in 2016, in addition to assistant directing this past winter’s Charles Dickens Writes A Christmas Carol, The Farndale…Murder at Checkmate Manor, The Drowning Girls, and The Crucible; her other directing work has most recently been seen at Fertile Ground ‘13 and the San Francisco Fringe ‘14 (Cinnamon and Cigarettes); Spotlight Musical Theatre Academy (adaptations of A Chorus Line, The Drowsy Chaperone, Carrie, Godspell, Footloose, and The Aristocats); and B&B’s touring production of A Christmas Carol in 2013. Cassie received her training in the BA Theatre program at Goshen College and the MFA Acting program at Florida Atlantic University, and is a certified Assistant Teacher of Fitzmaurice Voicework ®. She wouldn’t be here without Danny, and is incredibly grateful to her family and friends for their continual love, support, and energy.

TYLER BUSWELL (SCENIC DESIGNER) Tyler Buswell is a set designer, actor, and drag performer based in Portland, Oregon. He was last seen at Bag&Baggage in Murder at Checkmate Manor (as Felicity Fortesque).

He has worked as a scenic painter and carpenter for Portland Center Stage, Artists Repertory Theatre, Third Rail Repertory Theatre, and Oregon Children’s Theatre. Recent design credits include Karate Kid The Musical at Mister Theater, Willy Wonka, ...Charlie Brown, and Grease at Camp Manitou, Assistance with Theatre Vertigo (BroadwayWorld Portland Nomination- Best Set Design), Bomb-itty of Errors with Post 5 Theatre (BroadwayWorld Portland Nomination- Best Set Design), The Maids at Shaking The Tree, Hawthorne with Action/ Adventure Theatre, Stupid Kids with Post 5 Theatre, Nesting at The Shoebox, and Gruesome Playground Injuries at Action/Adventure Theatre, among others.

ARIEL DORFMAN (PLAYWRIGHT) Ariel Dorfman was born in Buenos Aires on May 6, 1942, the son of Adolf Dorfman, who was born in Odessa, Ukraine and became a prominent Argentine professor of economics and the author of Historia de la Industria Argentina, and Fanny Zelicovich Dorfman, whose roots were Romanian-Moldovan Jews. Shortly after his birth, they moved to the United States and then, in 1954, moved to Chile. He attended and later worked as a professor at the University of Chile, marrying Angélica Malinarich in 1966 and becoming a Chilean citizen in 1967. From 1968 to 1969, he attended graduate school at the University of California at Berkeley and then returned to Chile. From 1970 to 1973, Dorfman served as a cultural advisor to president Salvador Allende. During this time he wrote, with Armand Mattelart, a critique of North American cultural imperialism, How to Read Donald Duck. Dorfman was supposed to do the night shift at the La Moneda presidential palace the night before the Pinochet coup, but he had unknow-

EPHRIAM HARNSBERGER (STAGE MANAGER) Ephriam completed his Bachelor of Fine Arts Degree in Omaha, Nebraska at Creighton University. This is his twelfth production with Bag&Baggage. Productions include: Charles Dickens…Carol (SM); Farndale…

Checkmate Manor (SM); Spinning Into Butter (SM); Romeo & Juliet/Layla & Majnun (SM); Brontë (SM); Parfumerie (SM); The Drowning Girls (SM); The Graduate (SM); Coriolanus (SM); Emma (ASM); The Best of Everything (ASM); The Lady Aoi (SM); Othello (SM); The South Omaha Stories (SM/AD); The Spitfire Grill (SM/AD); The Tempest (ASM); Complete Works of William Shakespeare [abridged] (ASM); Titus Andronicus (ASM); Twelfth Night

CREW BIOS (ASM); Phantom (AD); Dames at Sea (SM); Almost, Maine (SM); Julius Caesar (ASM); and Comedy of Errors (ASM). Although he is usually found backstage he has also appeared onstage in Cabaret (as Emcee); Noises Off! (as Selsdon); and Urinetown (as Bobby). Ephriam is honored to work alongside the stunning company members of Death and The Maiden.

When he is not wandering about the stage Ephriam also enjoys cooking, camping, hiking, and singing silly songs with his sisters. He would like to thank Bag&Baggage, Nik, Rosemary, and his parents.

MELISSA HELLER (COSTUME DESIGNER) An eight-year Portland resident, Melissa splits her time between heading the costume shop and designing costumes at Pacific University, and designing for local area theater companies. Melissa holds a B.S. in Apparel Design from Oregon State University, which is where her interest in costumes for theater began. She worked in the costume shop at OSU until she graduated in 2008 and moved to Portland to pursue her career in the apparel industry. Melissa reignited her passion for costume design in 2010 when she began working with Oregon Ballet Theatre. Since then she has designed for numerous production companies including Mt. Hood Community College; Broadway Rose Theatre Company; St. Mary’s Academy; Oregon Children’s Theatre; Portland Actors Ensemble; and as the Resident Costume Designer for Bag&Baggage Productions and Pacific University. Her recent works include Romeo & Juliet and The Good Woman of Setzuan with Pacific University; Richard III, Julius Caesar, Kabuki Titus, Lear, The Graduate, and Coriolanus with Bag&Baggage Productions; Charlotte’s Web with Oregon Children’s Theatre; and Love’s Labour’s Lost with Portland Actors Ensemble. Melissa thanks Bag&Baggage Productions for this engaging partnership.

BETH LEWIS (MANAGING DIRECTOR) Beth has over ten years of experience in theatre administration and management. She most

recently served as Managing Director of Curious Comedy Theater, Portland’s only nonprofit comedy theater. She moved back home to the Portland area in 2013, after being in Los Angeles for five years working at The Pasadena Playhouse, where she ended her tenure there as their Annual Giving Manager. Before that, she lived in New York City, where she served as the Director of Development for The Looking Glass Theatre, and the Associate of Special Events for Sonnet Repertory Theatre. In addition to her work at Bag&Baggage, she is currently the President of the Portland Area Theatre Alliance. She also holds a BA in Theatre from Connecticut College and is a Core Company Member of the Original Practice Shakespeare Festival.

SCOTT PALMER (ARTISTIC DIRECTOR ) Scott received his Bachelor’s Degree from the University of Oregon, his Master’s Degree from Oregon State University, and completed his PhD Coursework in Theatre, Film, and Television studies at the University of Glasgow in Scotland. Over the past 20 years, Scott has developed an international reputation for his approach to classical dramatic literature, and more specifically his work with major literary adaptations of Shakespeare and his contemporaries. Scott has adapted and directed critically acclaimed shows for Glasgow Repertory Company, Toi Whakkari (the National Drama School of New Zealand), Salem Repertory Theatre, Oregon State University, and Bag&Baggage Productions. Scott was the Founding Artistic Director of Glasgow Repertory Company, Scotland’s only Shakespearededicated theatre company, as well as the Bard in the Quad Outdoor Shakespeare summer event at Oregon State University.

Scott is a Hillsboro native and has served on the Hillsboro Arts and Culture Council and the Westside Cultural Alliance, and previously worked as the Trust Manager of the Oregon Cultural Trust. Thanks and love to his husband Brian.

JEFFERY A. SMITH (PROJECTION DESIGNER) Jeffery is happy to be working with this production at Bag&Baggage. He comes from 20 years with the Walt Disney company. He worked as a technician and a designer at DisneyLand. He has also worked as an independent designer for many productions.

This past spring he did the lighting design for the Lone Star Ballet’s production of Swan Lake.

Jeffery is the lead technician for productions around the world that use Syncrolites, having just returned from doing the Syncrolites for the New Years’ celebration in Dubai. Jeffery has also designed the projection system that is being used in tonight’s production, it is now a permanent addition to the technical equipment here at the Vault Theater.

JIM RICKS-WHITE (LIGHTING DESIGNER & TECHNICAL DIRECTOR) With over 30 years in theatre, Jim is pleased to be part of the staff here at Bag&Baggage, adding Vault Facilities Manager to his duties as Technical Director and Lighting Designer.

Jim has worked professionally as a Production Stage Manager and Stage Manager (Civic Light Opera Seattle, Spokane Interplayers, Stumptown Stages); Technical Director, Lighting and Set Designer (Innovation Theatreworks, Tower Theatre, Portland Actors Ensemble); Properties Artisan and all-around Theatre Tech (the list goes on and on...) — in venues as small as 99-seat black box theatres, and as large as the Olympic Stadium for the 2012 London Olympics and Paralympics.

Basically, he has yet to meet a theatre tech job he didn’t like — or at least enjoy! Jim also teaches technical theatre at PCC Sylvania and has held numerous administrative positions in theatre during his career. In his free time, Jim loves to travel, explore great food and enjoys working off steam swinging a German longsword or Military saber at his local HEMA gyms, Indes Western Martial Arts and NW Armizare. Jim looks forward to being able to help nail down some good storytelling and bring the 2017-2018 B&B season to light!

ABOUT BAG&BAGGAGE Bag&Baggage is committed to unique interpretations and novel stagings of plays by the world’s best-known authors. We seek to rethink and reinvigorate the most celebrated titles, to challenge the public to experience them in new ways, and to connect our work to the lives and experiences of our audiences. Founded by a Hillsboro native, Bag&Baggage believes that cultural experiences like live theatre play an absolutely crucial role in the health of our community.

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2018 BURNS NIGHT SUPPER DONORS Thanks to all of our donors who generously supported our operating fund at our 2018 Burns Supper. $1000 & ABOVE Eila Chisolm Karl Citek & Patricia Logan $500 & ABOVE Andrew Hoffman & Linda Morrisson Ashley McMullen $250 & ABOVE Rae Knowles

$100 & ABOVE Carol A. Beauchamp Sara Behrman & F.X. Rosica Janet & Michael English Sheila French Andrew Glew & Rhonda Patten Tiffany Rousseau Kimberly Stevens Tom Wharton Lisa Williams $25 & ABOVE Ellen Hinds

2017 GALA DONORS Our unique PASSPORT free ticket program enables Bag&Baggage to provide free tickets to any student from any high school in Washington, Columbia, Tillamook, and Yamhill Counties…on demand. As long as there is a seat available, B&B pledges to never turn away a student who wants to see our shows. Very special thanks to our donors who have generously supported this important program through our 2017 Gala and Auction. $2500 & ABOVE Karl Citek & Patricia Logan Andrew Hoffman & Linda Morrisson $1000 & ABOVE Sara Behrman & F. X. Rosica Kymberli Colbourne and Jim Ricks-White Carole Cotten-Figueiredo & John Figueiredo Ken & Anne Jackson R. Scott Smith $500 & ABOVE Dan Bergsvik & Don Hastler Kay & Brian Blachly Kenny Chinn Luke Dixon Jeff Kishlock & Anne Brennan Eric & Diane Lewis Carol Loughner Lynee Pestka Jan Simmons Don & Linda Sinclair Peter & Sherry Sunderland $250 & ABOVE Carla Caesar Steve & Marilyn Gray Ralph & Marilynn Helzerman Sherry Lamoreaux & Paul Duchene Fred & Gayle Nachtigal Linda & Brad Needham Helen Noonan-Harnsberger Sandy Palmer K. Marie Tyler Ginny & Mark Watson Mary Weber $100 & ABOVE Andrew Beck

Morgan Cox Diane Ditmer Steve & Maggie Dixon Alison Ebbott & Bill Hasan Chuck & Leah Hagele John & Sherry Hayes Pete & Sue Harris Kevin Hoover & Nita Brueggeman Annemarie & John Jacques Alan Jones/North Country Productions Darell & JoAnn Lumaco Leonard A. & Susan Magazine Carolina Malmedal Elizabeth Manser Barbara Mason Len Miller Erik Opsahl Mike Plunkett Eric Quon Silverna & Raymond Scott Kimberly Skach Karen Stratton Bruce Ulrich Carla Velders Patricia Vice Jack Whitehead Dave & Shirley Woodford $25 & ABOVE Phil Cayton Tom Chau & Jessica Chou Katie Davis Cassie Greer & Danny Palmer Arianne Jacques & Jason Myers Beth & Evan Lewis Susan Norwood Kari Parkinson Antoinette Plunkett John Shorb Kail & Amanda Walker

love. thrill. magic. change. wonder.

real. provocative. theatre.

18/19 SEASON

ANNOUNCEMENT

APRIL 21

BAGNBAGGAGE.ORG SPONSORS

BAG&BAGGAGE | 7

T UA L I T Y H E A LT H C A R E

Your health care should be local.

Just like your produce, where you get your care matters — for your health and for Hillsboro. For 100 years we’ve been finding new ways to keep our community healthy. Now, our partnership with OHSU is bringing the expertise of Oregon’s only academic medical center right here. Together, our deep commitment to Oregonians is making a difference in the care we offer: •

Total joint care and five OHSU orthopedic surgeons on staff.

•

Baby-Friendly® birth facility and OHSU specialists for high-risk pregnancies.

•

Award-winning stroke care and OHSU neurosurgery on site.

V I S I T U S AT: W W W.T UA L I T Y.O R G

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