Jane Austen’s Emma - Bag&Baggage

AT THE PERFORMANCE

The 2015-2016 Season Presented by Ronni Lacroute and WillaKenzie Estate The 2015-2016 Season Presented by Ronni Lacroute and WillaKenzie Estate

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4/18/16 12:54 PM

JANE AUSTEN’S

EMMA

Scott Palmer Artistic Director Beth Lewis Managing Director Cassie Greer Capital Campaign Manager Arianne Jacques Patron Services Manager Peter Schuyler Engagement Officer BAG&BAGGAGE BOARD OF DIRECTORS Carol Beauchamp Julie Case Karl Citek Kathy Gaona Beth Lewis Eric Lewis

Adapted by Michael Fry Directed by Patrick Walsh

CAST Sarah..........................................................................Clara-Liis Hillier* Jane................................................................................Cassie Greer* Elizabeth.................................................................. Arianne Jacques* William...........................................................................Andrew Beck* Robert.............................................................................Joey Copsey*

CREW/PRODUCTION TEAM Director............................................................................ Patrick Walsh Company Stage Manager & Props Mistress...................Emily Trimble Resident Costume Designer ���������������������������������������� Melissa Heller Resident Scenic Designer ��������������������������������������� Megan Wilkerson Resident Lighting Designer ���������������������������������������������Molly Stowe Technical Director ��������������������������������������������������������Nate Patterson Assistant Stage Manager ��������������������������������� Ephriam Harnsberger

Patricia Logan Linda Morrisson Gayle Nachtigal (Chair) Scott Palmer Jan Simmons Donna Swanson K. Marie Tyler

This performance lasts approximately 2 hours and 15-minutes with one 15-minute intermission. *Member of the Bag&Baggage Resident Acting Company, generously sponsored by David and Shirley Woodford Please turn off your cell phone and remember: photography and recording are strictly prohibited.

THE 2015–2016 SEASON GENEROUSLY SPONSORED BY

Ronni Lacroute and WillaKenzie Estate

BAG&BAGGAGE | P1

DIRECTOR’S NOTES By Patrick Walsh Jane Austen herself said on her impetus for writing Emma in 1814 that she was, “going to take a heroine whom no one but myself will much like.” Great, long-lasting art

always seems to come from a personal identification. Shakespeare penned Hamlet months after his son Hamnet died for instance. However, it was this personal identification that Austen makes that really intrigued me when I was hired to direct this production a year ago.

Why has Emma the novel remained so popular for so long? The more people that I talked to and the more articles that I read pushed me to believe that Emma might actually be Jane Austen’s most beloved heroine. She lives in an exalted place within the minds of generations of readers.

the great experimental novels of Flaubert or Joyce or Woolf.”

As a matter of fact, Virginia Woolf herself was heard to remark that had Austen lived longer and written more that, “She would have been the forerunner of Henry James and of Proust.” She’s not the lightweight, frothy, writer that most people take her for. Instead, she should be viewed as an experimental writer who was exploring new forms to engage the populace for whom she was writing.

But even if that is true, why should we put it on stage? What makes the story theatrical enough to stage in the

generations of people. Not just the people of Regency England, but everyone who has ever come into contact with the text.

It’s a special piece of writing and a truly timeless story. It exists in every person differently and I think that everyone who reads it sees a piece of who they are reflected back at them in the character of Emma Woodhouse.

The idea of Emma and her journey of growth exists on an exalted plane of memory for people. She’s grown beyond the confines of the book. What was amazing for me was to talk to people and see them physically change when they spoke of the book and its characters. This piece of art was giving these people back something that they lost. As they recovered the memories they attached to the book it was like they were becoming whole again. Emma does what all great art should do. It universalizes the emotional experience and allows us to see ourselves in the action depicted.

“Emma Woodhouse is not a likeable heroine....How has she endured in the minds, and more importantly the hearts, of readers for 200 years?”

Emma Woodhouse is not a likeable heroine. She is snobby, elitist, and classist.

She is a heroine who is in many ways self-deluded. She has the leisure and power to meddle in the lives of her neighbors. And although she can justify her actions, they certainly cannot be described as the actions of an altruist.

How has she endured in the minds, and more importantly the hearts, of readers for 200 years?

This year is the 200th anniversary of the publication of Emma and we are still talking about it. John Mullan published an article this past year in the Guardian titled, How Jane Austen’s Emma Changed the Face of Fiction.

In this article he asserts that, “[Emma] was certainly not revolutionary because of any intellectual or political content.

But it was revolutionary in its form and technique. The narrative was radically experimental because it was designed to share her delusions. The novel bent narration through the distorting lens of its protagonist’s mind. Though little noticed by most of the pioneers of fiction for the next century and more, it belongs with

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Venetian? I decided to just start asking people that very question and although I wasn’t shocked by what I found, I was intrigued.

What became apparent to me is that Emma, and each reader’s excitement for the text, is passed down in families from one generation to the next. I talked to people who still have their great-grandmother’s copy of the book and display it proudly in their homes. It is a book that seems to bond women together. Each family has shared memories of the book and what it meant to them during major epochs in their collective lives. It was beautiful to hear the stories of formed bonds and strengthened relationships that involved the characters of Emma.

I came to see the story of Emma as a literary touchstone, which bonded

I became interested in exploring the idea that great artistic experiences can give us back a piece of ourselves that we thought was vanished. Great art (be it music, sculpture, literature or performance) is not dictated by the time it was written, read, experienced, or formed. As we move through time, the power of truly astounding art can help us in immeasurable ways and allow us to revisit a time and a person we thought was lost to us.

It has been exciting to collaborate with Bag&Baggage to explore this idea and come up with a unique theatrically interesting way to tell the story of Emma Woodhouse and her interactions with the residents of Highbury. It’s a production I know Hillsboro will appreciate. Thank you for supporting live theatre and the preservation of artistically ambitious companies.

ACTOR BIOGRAPHIES CLARA-LIIS HILLIER*

(SARAH)

Clara-Liis is a graduate of Reed College. A proud Bag&Baggage Resident Actor and company member at Northwest Classical Theatre Collaborative (NWCTC), she was last seen in Davita’s Harp with Jewish Theatre Collaborative and on the B&B Stage in A KBNB Kristmas Karol (as Felicity Fay Fitzpatrick) and Our Country’s Good (as Liz Morden), The Six Gentlepersons of Verona (as Valentine), Miracle on 43rd Street (as Felicity Fay Fitzpatrick), The Tempest with Portland Shakespeare Project, King Lear (as Cordelia) and The Lion in Winter (as Alais), both with NWCTC. Favorite roles: Up The Fall (as Graeae Sister) with PHAME, Wait Until Dark (as Susan Hendrix) with NWCTC, Julius Caesar (as Casca) with Bag&Baggage; The Seagull (as Masha) NWCTC. When she’s not onstage, ClaraLiis works for Portland Center Stage as their Education Programs Coordinator and teaches Dance and Theatre for Spotlight Musical Theatre Academy, NW Children’s Theater, and Riverdale High School. She is currently choreographing Romeo & Juliet for PSP. A special thank you to Heath, Mom, and Kaia for their constant strength and love. For Ted. CASSIE GREER*

(JANE)

Cassie received her training in the MFA Acting program at Florida Atlantic University, and the BAV theatre program at Goshen College in Indiana. She has appeared with a number of companies around the country, some of her favorite shows being with New World Arts: Hello and Goodbye (as Hester) and Lysistrata (as Lysistrata); Shared Space: David’s Redhaired Death (as Jean); Festival Rep. Boca Raton: Company (as Sarah) and Twelfth Night (as Olivia); South Bend Civic: Intimate Apparel (as Mrs. VanBuren); Oregon Children’s Theatre: Gathering Blue (as Katrina) and The Lion, the Witch, and the Wardrobe (as Unicorn). Cassie is a proud Resident Acting Company member at Bag&Baggage, where she has appeared in seventeen shows since the 2011/12 season — favorites include: Our Country’s Good (as Duckling/Tench); Dial

“M” for Murder (as Margot Wendice); The Great Gatsby (as Daisy Buchanan); Julius Caesar (as Mark Antony); Of Mice and Men (as Curley’s Wife); and Crimes of the Heart (as Meg Magrath). A huge advocate of theatre training and education, Cassie is a certified teacher of Fitzmaurice Voicework®, and actively teaches acting and voice students in the greater Portland area, in addition to coordinating Bag&Baggage’s professional development program. She wouldn’t be here without Danny, and is incredibly grateful to her family and friends for their continual love, support and energy.

ARIANNE JACQUES*

(ELIZABETH)

Arianne holds a Bachelor’s in Theater Arts from Oregon State University. Over the past nine seasons with Bag&Baggage Productions, favorite roles include: The Importance of Being Ernest (as Gwendolyn); Crimes of the Heart (as Babe); The Great Gatsby (as Jordan); Private Lives (as Sibyl); Love’s Labour’s Lost (as Rosaline); The Crucible (as Abigail Williams); The Six Gentlepersons of Verona (as Julia); Our Country’s Good (as Mary Brenham); The Best of Everything (as Gregg Adams); and most recently Moby Dick - Rehearsed (as Stage Manager/Elijah). Arianne has been box officer for the company since 2011, and is now the Patron Services Manager for B&B. When she is away from the theater, Arianne spends her time helping out at Basilisk (her partner’s new restaurant), reading, and watching nature documentaries. Arianne would like to thank Jason, Aurora, and her mom and pop for their endless love and support.

ANDREW BECK*

(WILLIAM)

Andrew holds a Master of Fine Arts in Acting from the University of Nebraska-Lincoln and a Bachelor of Arts from the University of Oregon. This is Andrew’s second year as a member of Bag&Baggage’s Resident Acting Company. You may have seen Mr. Beck with Bag&Baggage in A KBNB Kristmas Karol (as Donald Donaldson); The Best of Everything (as Eddie); Our Country’s Good (as Ralph Clark); Dial

“M” for Murder (as Tony Wendice); and in Love’s Labour’s Lost (as The King of Navarre). Other companies A.W. Beck has worked for include the Oregon Contemporary Theatre, The Majestic Theatre, Willamette Stage Company, Nebraska Repertory Theatre, and The Ludlow Festival (England). Other Favorite roles include: The Great Gatsby (as Jay Gatsby); The Seagull (as Trigorn); In The Next Room (as Dr. Givings); and Frankenstein’s Bride (as The Monster).

Andrew is a current member of Long Con Improv and works as a Financial Advisor in his family’s practice when he is not making loud noises in front of paying audiences. Andrew is lucky to have such a great family, friends, and wife.

JOEY COPSEY*

(ROBERT)

Joey received his primary theatrical training at Hiram College in Ohio.

Having grown up on the south Oregon Coast, Joey returned to Oregon after college and has worked on stage intermittently in the years since around the Portland area. This is his fourth show as a resident actor with Bag&Baggage, having performed in B&B’s incomparable Richard III, The Best of Everything, and Moby Dick - Rehearsed. He has recently appeared for Valley Repertory Theatre in All My Sons (as Chris Keller); as well as a reading of Spokesong (as Francis) with Corrib Theatre. Some notable productions include Antony and Cleopatra (as Marc Antony); How the Other Half Loves (as Frank Foster); and Caucasian Chalk Circle (as Azdak) at Hiram College. More recently at Portland Community College he appeared in Judevine (as David); and Woyzech (as The Captain). Joey lives in Portland and when not acting spends as much time as he can with his incredible friends and family, and his cat. He also runs a small residential contracting business, and just generally tries to be useful. * = Member of the 2015-2016 Bag&Baggage Resident Acting Company

BAG&BAGGAGE JANE AUSTEN’S EMMA | P3

CREW BIOGRAPHIES MICHAEL FRY

MELISSA HELLER

ADAPTOR/PLAYWRIGHT

RESIDENT COSTUME DESIGNER

Michael Fry has worked as a director and a writer at many theatres throughout the UK and overseas. His adaptations of Tess of the d’Urbervilles, Emma, The Trumpet Major and The Great Gatsby have been performed in theatres throughout England and America. Other plays include: Patti, Patti, Patti, Garrick Women, translations of Maeterlinck’s The Blue Bird, Becque’s La Parisienne, Molière’s La Fourberies de Scapin and Tartuffe and opera libretti for Les Parents Terribles, War and Peace and Dinner. Michael is currently Deputy Director of London’s East 15 Acting School; previously he was Co-Artistic Director of NOT The National Theatre for whom he directed Simon Gray’s Japes and April de Angelis’s Wild East. His plays are published by Methuen, Samuel French and Oberon Books, who will also be publishing his study of adaptation, Playing the Novel. Further information: Micheline Steinberg Associates, info@steinplays.com

A six year Portland resident, Melissa is a native Oregonian, originally from Bend.

She received a BS in Apparel Design while attending Oregon State University where her interest in costumes for theatre began. She began her work with the Oregon State University Theatres in 2006 as Assistant Costume Designer.

After graduating in 2008, Melissa moved to Portland to pursue her career in the apparel industry. Melissa quickly decided that consumer apparel design was not the path she wanted to pursue, so she began work with Oregon Ballet Theatre in 2010 where she helped to create costumes for all of their productions for the 2010/2011 season. Melissa splits most of her time between heading the costume shop and designing costumes at Pacific University, designing for local area theatre companies, and a few custom projects in between. Her partnerships include Mt. Hood Community College, Broadway Rose Theatre Company, St. Mary’s Academy, Oregon Children’s Theatre, Pacific University, in addition to being the Resident Costume Designer for Bag&Baggage Productions since 2010.

She continues as Resident Costume designer for their upcoming season.

CASSIE GREER

CAPITAL CAMPAIGN MANAGER

Since 2005, Cassie has worked with theaters, arts organizations, and training programs across the country, connecting with communities, facilitating events, educating actors, and helping to build frameworks that allow these organizations thrive. As a performer herself, Cassie received her training in the MFA Acting program at Florida Atlantic University, and the BA Theatre program at Goshen College in Indiana.

Behind the scenes, she has worked as a Production Manager, Event Manager, and Production Stage Manager at the Goshen College Music Center; as Event Coordinator for New World Arts (Goshen, Ind.); as Publicity Coordinator for the Florida Atlantic University Department of Theatre and Dance; and as the Ten4One/ PASSPORT Coordinator, “Think It” Project Manager, and Pre-Professional Internship Coordinator here at Bag&Baggage. Her current work with the company unites her passion for challenging, engaging live performance experiences with her passion for promoting the presence of arts organizations within communities, helping to ensure their success.

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ARIANNE JACQUES

PATRON SERVICES MANAGER

Arianne holds a BA in Theatre Arts from Oregon State University. She began working as an actor with Bag&Baggage in their 2007/08 season, but has also become a staff member as well.

After originating the role of Box Office Manager in 2009, she then became Operations Officer in 2013 and is, as of this season, Patron Services Manager for the company. Arianne looks forward to continuing to grow with Bag&Baggage as the company evolves and expands.

EPHRIAM HARNSBERGER

ASSISTANT STAGE MANAGER

Ephriam recently graduated with a Bachelor of Fine Arts degree from Creighton University. Over the last years, he has been involved in several productions around Portland and the Midwest. Productions include: The Lady Aoi (SM); ZooZoo (Deck); The Sun Serpent (Lights); The Best of Everything (ASM); Othello (SM); The South Omaha Stories (SM/AD); The Spitfire Grill (SM/AD); The Tempest (ASM); Compleat Works of William Shakespeare

[abridged] (ASM); Titus Andronicus (ASM); Twelfth Night (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 return for a second time to Bag&Baggage surrounded by the incredible company members of Emma.

BETH LEWIS

MANAGING DIRECTOR

Beth has over ten years of experience in theater 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 a board member 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 Shakespeare-dedicated theatre company, as well as the Bard in the Quad Outdoor Shakespeare summer event at Oregon

CREW BIOGRAPHIES 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 Brian.

PETER SCHUYLER

ENGAGEMENT OFFICER

For more than 20 years Peter has acted, produced, and directed professionally all over the country; from Arizona, to New York City, and now in the Portland/ Metro Area. He graduated from Northern Arizona University with a Bachelor’s in Theatre Performance. The day after, he joined AZTheatreWorks—Flagstaff’s only professional theatre—as the Assistant to the Artistic Director until the company closed its doors. After moving to NYC in 2001 he became a fixture in that city’s independent theater scene, working in spaces such as LaMama E.T.C., HERE Arts Center, The Kraine, and The Brick.

While in NYC, Peter served as a producing board member of NativeAliens Theatre Collective, as Director of Development for Dysfunctional Theatre Company, and as a staff writer for NYtheatre.com/Indie Theater Now. During that time, he was employed full time as the Customer Service and Operations Manager for Dramatists Play Service, one of the premier publishers of theatrical literature in the USA. He moved to PDX in 2011, and his first stage credit in Oregon was in Bag&Baggage’s production of Crimes of The Heart.

MOLLY STOWE

RESIDENT LIGHTING DESIGNER

Molly holds a Bachelor of Fine Arts degree from Purchase College in New York. Over the past ten years she has worked all over the country from The Santa Fe Opera to New York’s Lincoln Center Festival (where she was fortunate enough to work closely with the Royal Shakespeare Company), Ireland’s Druid Theatre Company, and on the U. S. premier of Peter Brook’s A Magic Flute.

Molly’s most recent design credits include Twelfth Night; Cendrillon; The Nutcracker; White Christmas; and Fool for Love.

She has been in the Portland area now for just over two years and has had the pleasure of working with Bag&Baggage on Rough Crossing; Twelfth Night of the Living Dead; The Crucible; Dial M for Murder; Miracle on 43rd Street; The Six Gentlepersons of Verona; Our Country’s Good; The Best of Everything;

Rope; A KBNB Kristmas Karol and most recently Moby Dick, Rehearsed EMILY TRIMBLE,

COMPANY STAGE MANAGER & PROPS MISTRESS

Emily holds a BA in Arts & Performance from The University of Texas at Dallas.

Originally from Houston, she moved to Dallas for college as an Electrical Engineering major. Finding that to not be nearly as interesting as anticipated, she changed her major to theatre and quickly fell in love. While living in Dallas she worked as Run Crew, Assistant Stage Manager, and Stage Manager at many companies including: WaterTower Theatre, Dallas Children’s Theatre, Undermain Theatre, and Nouveau 47. She moved to Portland in early 2012 and got her first professional gig here as Light Board Op for B&B’s production of Dangerous Liaisons. The next season she worked as ASM on The Velveteen Rabbit and Rough Crossing. Bag&Baggage’s 13–14 season brought her her first Stage Manager and Props Mistress jobs with the company, and she has been Stage Managing and gathering props on shows ever since. In July 2015 she became Company Stage Manager and Resident Props Mistress for Bag&Baggage. Also in Portland, Emily has worked with Broadway Rose on The Jungle Book (SM) and My Fair Lady (ASM); and at Oregon Children’s Theatre on The Giver (ASM). She’d like to thank her mom for everything she does and helping her pursue her passion PATRICK WALSH

GUEST DIRECTOR

Patrick is a Co-Producing Artistic Director of Post5 Theatre in Portland, OR. Selected credits include: You Say Tomato…

(National Tour); Taming of the Shrew (Portland Actors Ensemble); Hamlet Two (Rivers Correctional Institution); Red (Theater Workshop of Nantucket) ;Henry V (Temecula Shakespeare Festival); Look Homeward (Compass Rose Theatre); Angel; The Complete Works of William Shakespeare (Abridged) (Manitou Stages); Macbeth;The Empty Ocean, The Adventures of the Dish and the Spoon (Hangar Theatre);The Brothers Size (Chautauqua Theatre Company); Push Comes To Shove (Victory Gardens); Lucy Dreaming (Rubicon Theatre Project); Fifth of July, One Flew Over the Cuckoo’s Nest (Theatre Building Chicago); Two Spoons, Haram Iran (Bailiwick Repertory Theatre); Chicken Bone Beach (Mad Hatter Theatre

Productions); Closer (Props Theatre); Into the Woods, A Midsummer Night’s Dream (Trail’s End Theater). As Assistant Director: Guthrie Theatre; Goodman Theatre; Dallas Theatre Center; Steppenwolf Theatre Company; Chautauqua Theater Company, and Next Theatre. Patrick is a proud member of the 2009 Lincoln Center Directors Lab; the Recipient of an SDC Foundation Observership, as well as a Chautauqua Theatre Company Directing Fellowship, and a Drama League Directing Fellowship. www.patrickwalsh.org.

MEGAN WILKERSON

RESIDENT SCENIC DESIGNER

Megan holds an Masters of Fine Arts in Design for the Theatre from the University of Texas at Austin and is a member of United Scenic Artists Local 829. Besides being the Resident Scenic Designer for Bag&Baggage Megan is also a Resident Artist at Artists Repertory Theatre in Portland and an Ensemble Member at Rivendell Theatre in Chicago. Megan was a Recipient of Chicago’s After Dark Award in Scenic Design for her “thoroughly creepy” set for Marisa Wegrzyn’s Psalms of a Questionable Nature with Rivendell and was nominated for a Drammy award for her design for The Childrens Hour at deFunkt theatre in Portland. Her Design work has also been recognized by The Chicago Tribune, The Austin Critics Circle, The Milwaukee Journal Sentinel, the South Eastern Theatre Conference, and The United States Institute for Theatre Technology. Regionally she’s worked with The Oregon Shakespeare Festival, The Milwaukee Repertory Theatre, Artists Repertory Theatre, The New Conservatory in San Francisco, Renaissance Theaterworks, Milwaukee Chamber Theatre, Broadway Rose, Teatro Milagro, deFunkt Theatre, Next Act Theatre, The Skylight Opera, First Stage Children’s Theatre, The Michigan Opera Theatre, Pittsburgh Public Theatre, and the Portland Opera. She has taught Theatre, Design, and Art courses at Lewis & Clark College, The University of Portland, Michigan State University, The University of Wisconsin Milwaukee, St. Norbert College, Randolph-Macon Women’s college, Carroll University, Central Michigan University, the Milwaukee High School for the Arts, and The University of Minnesota in Minneapolis/St. Paul.

BAG&BAGGAGE JANE AUSTEN’S EMMA | P5

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Carol A. Beauchamp* Dan Bergsvik & Don Hastler Peter & Sue Harris John Hayes Ralph & Marilynn Helzerman Kevin Hoover Moon Lee-Comstock & Chuck Comstock Eric & Diane Lewis Rebecca & Scott Wagar Dave & Shirley Woodford Delbert & Janet Yocam

$100 AND ABOVE

Martin Conley Lisa DuPre’ Katherine Fleming Keith & Dorthy Imper Leonard A. & Susan Magazine David & Lisa Ogden Kelly Recktenwald Roger Palmer & Donna Rondema R. Scott Smith K. Marie Tyler Patricia Vice Jack Whitehead Lesley Wise $25 AND ABOVE

Jennifer Bruning Cassie Greer & Danny Palmer Selma Nail Lori Sinclair Paula Stewart Nancy Stubbs Amanda & Kail Walker

* all or a portion of this gift is directed to PASSPORT ° all or a portion of this gift is directed to the Silverna Scott Internship Fund

BAG&BAGGAGE | P7

THANK YOU, SPONSORS!

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.

Partners acting fishy?

MCGAUGHEY â•Ť ERICKSON

Shareholder Partner LLC Member Disputes 1500 SW 1st Ave Ste. 800, Portland

P8 | BAG&BAGGAGE

503-223-7555

www.law7555.com