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Rose Riordan


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Alison Bechdel drew cartoons. Almost always. But she couldn’t find an art school that would accept her, so she moved to Manhattan and began working in publishing. In 1983, she drew a single illustration: “Marianne, dissatisfied with the morning brew. Dykes to Watch Out For, Plate no. 27.” A friend spotted it and encouraged her to send it to a magazine. She did. It became popular. She drew more and eventually Dykes to Watch Out For became the cartoon serial that brought her fame. (With that title, how could it not?)

In an interview with The Guardian, playwright Duncan Macmillan said: “What I enjoy most as a theater maker and as an audience member, is getting my brain to do more than one thing at once.” This is one way Macmillan leads us into the style of storytelling he’s after in Every Brilliant Thing. The central thread (and threat) of the story centers around his mother’s long battle with depression, but that stands side by side with some of the most delightful, silly and buoyant aspects of life on earth.

But in her early 40s, Bechdel found herself stuck artistically and personally. In an effort to face long-buried feelings about her father’s death, she began the graphic memoir that became Fun Home. The book was a finalist for the National Book Critics Circle Award and TIME Magazine named it one of the “10 best books of the year.” The story is Bechdel’s excavation of her own journey, her odd family, and the collision of her story with her father’s. Enter Jeanine Tesori and Lisa Kron. Tesori is one of the most gifted composers in American theater, who had particular success with Violet and Caroline, or Change. Kron helped form a satirical theater troupe in 1989, The Five Lesbian Brothers, and had gone on to write successful memoirs of her own: Well and 2.5 Minute Ride. But adapting this story for the stage? No one knew if a musical it would make. Bechdel confessed that musical theater was a completely alien art form to her, so handing it over to Kron and Tesori felt like a relief of sorts. And the magic they have created together is truly unique: at times haunting, disturbing, wacky, and a bit miraculous. Thank you for walking along the road with us.

“It’s the least cool piece of theater ever, in some ways” he said of Every Brilliant Thing. But it’s also one of the most democratic. There is something deliciously goofy about the format in which this story unfolds, but at the same time it is unabashedly life-affirming. Enjoy the journey.

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FUN HOME Music by Jeanine Tesori

Book and Lyrics by Lisa Kron

Based on the graphic novel by Alison Bechdel Directed by Chris Coleman Music Director Rick Lewis

Scenic Designer William Bloodgood

Costume Designer Alison Heryer

Lighting Designer William C. Kirkham

Sound Designer Alex Hawthorn

Consulting Dramaturg Barbara Hort, Ph.D.

Stage Manager Mark Tynan*

Assistant Stage Manager Kristen Mun*

Dance Captain Sara Masterson*

Production Assistants Jordan Affeldt & Katie Nguyen

New York Casting Harriet Bass

Local Casting Brandon Woolley

Fun Home is presented by special arrangement with Samuel French, Inc. Originally produced on Broadway by Fox Theatricals

Barbara Whitman

Carole Shorenstein Hays Tom Casserly

Paula Marie Black

Nathan Vernon

Mint Theatricals

Latitude Link

Terry Schnuck/Jane Lane

Elizabeth Armstrong

Jam Theatricals

The Forstalls Delman Whitney

Kristin Caskey and Mike Isaacson The world premiere production of Fun Home was produced by The Public Theater, Oskar Eustis, Artistic Director, Patrick Willingham, Executive Director, in New York City on October 22, 2013. Fun Home was developed, in part, at the 2012 Sundance Institute Theatre Lab at White Oak and the 2012 Sundance Institute Theatre Lab at the Sundance Resort.

PERFORMED WITHOUT INTERMISSION. The videotaping or making of electronic or other audio and/or visual recordings of this production or distributing recordings on any medium, including the internet, is strictly prohibited, a violation of the author’s rights and actionable under United States copyright law. For more information, please visit: *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.




Don & Mary Blair Dr. Barbara Hort Drs. Ann Smith Sehdev & Paul Sehdev ®

Portland Center Stage at The Armory receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.



STAGING MEMORY IN FUN HOME By Benjamin Fainstein, Literary Manager merican musicals based on graphic novels and comic books are a rare breed. Even rarer, though, are musicals adapted from a cartoon-paneled memoir created by a butch lesbian chronicling her coming-of-age, coming out, and coming to terms with the suicide of her exacting, closeted father. In fact, that kind of musical is so rare that Fun Home, adapted from Alison Bechdel’s graphic memoir by the same name, is the only one of its kind, which begs the question: how did a book like that get to Broadway? Decades before she wrote Fun Home, Bechdel had garnered a reputation as the intellectually provocative, socially subversive cartoonist behind the long-running serial Dykes to Watch Out For. She is perhaps most widely known, however, as the namesake of “The Bechdel Test,” a handy measuring tool employed to get a baseline reading of how women are characterized in a work of fiction. The test consists of three questions: Are there at least two women in this piece? Do they ever speak directly to each other? If so, is it ever about something other than a man? If the answer to all three is yes, then the work passes the test for having at least some dimensionality in its representation of women, though passing doesn’t necessarily mean the work deserves a gold star for feminist achievement.


Further muddying those aesthetic waters was the fact that they had to contend with the inextricable presence of Alison Bechdel herself. She is not only the narrator of her book but also its most prominent character, or really set of characters, as adult Alison sifts through multiple versions of herself while remembering various eras of her life. Moreover, the book’s narrative arc is not linear. Timelines are jumbled. Bechdel unfurls her story in organized fractures, a kaleidoscope of calculated chaos that gives readers the sense of synapses firing in the act of remembering. As she accesses one memory, unexpected details of another come flooding forth. Her moments of emotional revelation constantly butt up against her more cerebral attempts to contextualize her family history within the greater sociopolitical framework of her generation. Kron was wary, however, of simply transplanting Bechdel into the role of theatrical narrator. Recalling Thornton Wilder’s observation that “on the stage it is always now,” she and Tesori created Small Alison and Medium Alison, who experience their life as it happens, free from the gravity of middle-aged Alison’s memory. “Fun Home, the graphic novel, looks back,” writes Kron, “in Fun Home, the musical, we watch characters move forward in time.” Adult Alison does not merely observe the time of her life collapsed in on itself and sliced into segments: she initiates its dissection. Rather than narrating, she is a woman “doggedly pursuing a goal. She is actively combing through her past ... and by following that path, she is changed.”

“F U N H O M E, T H E G R A P H I C N O V E L, L O O K S B A C K,” W R I T E S K R O N, “I N F U N H O M E, T H E M U S I C A L, W E W A T C H C H A R A C T E R S M O V E F O R W A R D I N T I M E.”

Given Bechdel’s career trajectory, it is clear that, as stated on her website, she “is preoccupied with the overlap of the political and the personal spheres, the relationship of the self to the world outside.” Fun Home wholly embodies this preoccupation. The book was published in 2006 to widespread acclaim. Seven years later, playwright Lisa Kron and composer Jeanine Tesori’s adaptation premiered at The Public Theater in New York; the run was extended multiple times, and in April 2015, the musical transferred to Broadway.

Artists have long walked that path and contemplated the relationship between theater and memory. Innovative director Anne Bogart claimed that “if the theatre were a verb, it would be ‘to remember.’” Tennessee Williams coined the term “memory play” for The Glass Menagerie as a way of categorizing his elusive and ethereal material. But he also issued a warning to his audience that “memory takes a lot of poetic license ... for memory is seated predominantly in the heart.”

In her foreword to the published script, Kron discusses the most challenging aspects of transforming Fun Home from memoir to musical. She and Tesori had to determine how they would structure their storytelling, given the necessary shift in perspective away from the private relationship the introspective book forges with individual readers to the collective relationship that exists between a play and its audience. Kron points out that, unlike a novel, “theater can’t show you a person’s inner life; it can only show you behavior. Activities like thinking, feeling, drawing, or remembering can only be shown on a stage if they are externalized.”

That claim rings true for Fun Home, which likewise resists easy classification. The musical has touched the hearts of thousands of people and demonstrated how human memory can function like a hall of mirrors whose distortions may open our eyes to profound selfawareness. In 2015, Fun Home’s generosity of spirit and exquisite construction resulted in Kron and Tesori becoming the first all-women writing team to receive the Tony Awards for Best Book, Best Original Score and Best Musical. Even Bechdel approvingly said of their adaptation, “they understood the emotional backbone better than I did … I just let go.”


THE CAST (in order of appearance) Alison.............................................Allison Mickelson* Small Alison........................................Aida Valentine Bruce Bechdel................................Robert Mammana* Medium Alison....................................Sara Masterson* Helen Bechdel....................................Faith Sandberg*

Christian Bechdel...............................Karsten George John Bechdel............................................Theo Curl Joan...............................................Kristen DiMercurio* Roy/Mark/Pete/Bobby Jeremy...............Joe Knispel* Small Alison Understudy+....................Alexa Shaheen

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. +Understudies never substitute unless a specific announcement is made at the time of the performance.

ORCHESTRA Conductor/Pianist.....................................Eric Little Guitar........................................................Eric Toner Bass.........................................................Will Amend Reeds .....................................Mieke Bruggeman-Smith

Cello.......................................................Dale Tolliver Drums/Percussion.................................Mitch Wilson Violin/ Viola..............................................Tylor Neist


Theo Curl, lover of musicals, amusement parks and cats, is a fifth-grader at Ridgewood Elementary School. He adores music, singing, dancing, math and writing, and has been enjoying a life in the arts since his first ballet class at the age of 3. A dedicated member of Ridgewood’s performing arts club, Theo was last seen there as Rafiki in The Lion King. One of Theo’s favorite roles so far is that of James in James and the Giant Peach at Oregon Children’s Theatre. Fun Home is Theo’s first show at The Armory, and he is incredibly grateful for the experience. Theo would like to thank Rick Lewis for his genius, time and energy. (And if he wasn’t such a tween, he’d also thank his mom for driving him places.) KRISTEN DIMERCURIO Joan

Kristen is delighted to be making her debut at The Armory. Her recent theater credits include: Murder Ballad (Studio Theatre), Grease (Totem Pole Playhouse) and As You Like It (Camden Shakespeare Festival). A firm believer in theater for social change, her activism/educational credits include: Speak About It (Portland, ME) and the Village Playback Theatre (NYC). She received her B.F.A. in Musical Theatre

from Emerson College. Offstage, Kristen is a voice actor whose non-commercial work can be heard in podcasts such as Ars PARADOXICA, Golden Age, Studio 360 and The Far Meridian amongst others. Fun Home has been Kristen’s dream show since she first saw it on Broadway, so she’s absolutely thrilled to be a part of this production. All of the love and thanks to her amazing family — especially Jean Bean. KARSTEN GEORGE Christian Bechdel

Karsten is excited to be making his debut at The Armory in Fun Home. Most recently, he performed the role of Pugsley in The Addams Family at Broadway Rose Theatre Company. Local audiences may have also seen him as Young Guido in Nine or Mergatroid the Elf in The Peppermint Bear Show at Lakewood Theatre Company, or singing in La Bohème with Portland Opera. When Karsten’s not on stage, he spends his time tormenting his older sister, playing basketball and soccer, singing with the Portland Boychoir, and making stupid stunt videos with his GoPro. Thanks to Chris and Rick for giving me the opportunity of a lifetime with this role and to the awesome cast and crew for making Fun Home such a fun and memorable show. Love to my family, who gives the Bechdel family a serious run for their money.

JOE KNISPEL Roy/Mark/Pete/ Bobby Jeremy

Joe Knispel is a NYCbased actor/singer/ writer who is thrilled to be making his debut at The Armory. Joe recently graduated with his M.F.A. in Acting from the FSU/Asolo Conservatory for Actor Training. Regional: All The Way, Ah, Wilderness!, Living on Love (u/s) and Guess Who’s Coming To Dinner (u/s) at Asolo Repertory Theater; Oklahoma!, Footloose and Shrek The Musical at Crane River Theater. Joe would like to thank his family for their never-ending support, Actors’ Equity Association, Judy Boals Inc., Florida State University, and all of his teachers who have shaped him into the artist he is today. ROBERT MAMMANA Bruce Bechdel

Broadway: Les Misérables. National Tours: The Sound of Music, Show Boat, Les Misérables. Regional: The Armory (Sky Masterson in Guys and Dolls and Father in Ragtime), South Coast Repertory, Shakespeare Theatre Company, Pasadena Playhouse, McCarter Theatre, Goodman Theatre, Alliance Theatre, Reprise Theatre Company. TV: The Office (as Sweeney Todd), CSI, The Good Wife, Elementary, CSI:NY, Dexter, THE ARMORY • FUN HOME


FUN HOME | CAST & ORCHESTRA Prison Break, Heroes, The Young and the Restless, Days of Our Lives, Star Trek: Voyager, Enterprise. Film: Just Say Love, Flightplan, Menace. Awards: LA Drama Critics Circle Award (one win and two nominations), LA Weekly Award, Helen Hayes Award nomination, three LA Ovation Award nominations, two Joseph Jefferson Award nominations. SARA MASTERSON Medium Alison

Sara is overjoyed to be debuting at The Armory with such a beautiful piece of theater. Previous credits include: The Secret Garden (Martha) at Idaho Shakespeare Festival/Great Lakes Theater, How to Succeed in Business Without Really Trying (Ensemble and Rosemary u/s) at Arts Center of Coastal Carolina, Love Story (Jenny) at Playhouse Square, A Little Night Music (Anne) at New London Barn Playhouse, A Christmas Carol (Belle/Catherine Margaret) at Cincinnati Playhouse in the Park. She is a proud graduate of the Baldwin Wallace Conservatory of Music. Gratitude to the wonderful people at Carlton, Goddard and Freer Talent. Love to her incredible family. For Mama P. ALLISON MICKELSON Alison

Allison Mickelson is honored to debut at The Armory with this important and revolutionary show. Favorite roles include Mother in Ragtime (Surflight Theater, NJ), Lola in Damn Yankees (Allenberry Playhouse, PA), Emily in Elf The Musical (National Tour), and Mame in Mame (Allenberry Playhouse and Riverside Center for the Performing Arts, VA). Allison has written and performed numerous solo cabarets in New York City and Provincetown, MA. She teaches music and yoga, conducts choirs, and works as the art and worship liaison at Middle Collegiate Church in the East Village. Deep gratitude to the womyn who wrote, scored, adapted, and live this piece. Her upcoming cabaret It Takes a Village to Raise an Allison rings true here. Special thanks to the amazing cast, crew and creative team, and all who traveled to support.




Faith Sandberg is happy to be making her debut at The Armory. OffBroadway/New York credits include originating Myra in The Fourth Messenger (New York Musical Festival) and Terri in The Good Girl (BMI/Manhattan Musical Theatre Lab). Favorite roles include Molly in Peter and the Starcatcher (Arkansas Repertory Theatre) and Sophia in Tom Jones (Florida Studio Theatre, world premiere). Regional: Cape Playhouse, Pioneer Theatre Company, Cincinnati Playhouse in the Park, Repertory Theatre of St. Louis and The Muny. TV/Film: Boardwalk Empire, Quantico, Mysteries of Laura, Blue Bloods and Price Check (Sundance, 2012). A proud member of Actors’ Equity Association, when not telling stories, Faith is an (exceptionally) amateur Instagram photographer and an (exceptionally) enthusiastic dog mom to her little Shorkie puppy, Baxter. ALEXA SHAHEEN Small Alison Understudy

Alexa is a 13-year-old eighth grader at Lakeridge Junior High. Her credits include Lady Larken in Once Upon a Mattress at French Woods Festival of the Performing Arts, a Harpy in Portland Opera’s The Magic Flute, starring as Tina Denmark in Ruthless! The Musical for Stumptown Stages, and several roles at Lakewood Theatre Company. She also performed in Portland Opera’s Tosca and two productions at London’s The Leatherhead Theatre: West Side Story and Seussical the Musical. She is thrilled to make her debut at The Armory! AIDA VALENTINE Small Alison

Aida is thrilled to be performing a role she’s been captivated by since the 2015 Tony Awards. Alison’s story is an important one to tell, and she’s so grateful to be a part of it. Aida made her debut at The Armory in Our Town. Her favorite roles include Gretl in The Sound of Music at Broadway Rose Theatre Company, and James in James and the Giant Peach and Flora in Flora

and Ulysses at Oregon Children’s Theatre. When not performing, Aida enjoys training her now giant mini-pig, Flora Belle. Special thanks to Rick for helping me find Small Alison’s voice, and to Chris, Rose and Brandon for the opportunity of a lifetime. To mom, dad, Elijah, Tre and Kailey: I love you so much. WILL AMEND Bass

Will is delighted to be back at The Armory for Fun Home. He has been a member of the pit orchestra for The Fantasticks, West Side Story, Cabaret, Ain’t Misbehavin’ and Little Shop of Horrors here at The Armory, as well as Les Misérables and Gypsy at Broadway Rose Theatre Company, Mars On Life at Artists Repertory Theatre, The Full Monty at Pixie Dust, and others. He has also toured the U.S. and Britain as a member of eight different bands from Portland and beyond. When not playing music, Will teaches upright and electric bass and cello and works as a product stylist for Straub Collaborative. He would like to thank his wife, Nicole, who is probably putting their 2-year-old to bed right about now. MIEKE BRUGGEMAN-SMITH Reeds

Mieke Bruggeman-Smith is a performer, educator and composer/arranger, as well as the education and community coordinator for Portland Jazz Composers’ Ensemble. She performs in a wide variety of groups, including the allfemale sax quartet The Quadraphonnes; the Afro-Cuban band Melao de Cuba; the 12-piece jazz chamber orchestra PJCE; Mystery Seed; Ezra Weiss Big Band; as well as playing classical alto when she can and performing in musicals. Recent productions at The Armory include: Dreamgirls, Fiddler on the Roof and Somewhere in Time. Mieke also enjoys teaching private lessons at her home studio and co-teaching at Roosevelt High School, Beaumont Middle School and with the Portland Youth Jazz Orchestra. She is heavily involved in promoting music education and loves collaborating with her music community. Music is the one outlet that (as author Tom Robbins might say) keeps the oxygen from leaking out of her life!


Eric is a musician and actor from Portland, Oregon. Credits at The Armory: The Last Five Years (pianist), Sweeney Todd (Tobias). Other credits include Urinetown (Hot Blades Harry) with Anonymous Theatre Company, You’re a Good Man Charlie Brown (music director) with Enlightened Theatrics, A Christmas Carol (music director) with Portland Playhouse, Showboat (pianist) with Portland Opera, A Year with Frog and Toad (Snail) with Oregon Children’s Theatre, Les Misérables (music director) with Spokane Civic Theatre, and Cats (music director) with Broadway Rose Theatre Company.  TYLOR NEIST Violin/Viola

Tylor earned his masters of music from Manhattan School of Music and his bachelors of music from Boston University. He studied violin with Midori; Mitchell Stern, a former first violinist for the American Quartet; and Bayla Keyes, a founding member of The Muir String Quartet. He was also fortunate to study chamber music with members of The Muir, Juilliard, Emerson and American String Quartets. Tylor has played with the Oregon Symphony, Portland Opera, Oregon Ballet Theatre, Eugene Symphony, Spokane Symphony, NW New Music, Filmusik and Opera Theater Oregon. He is a member of the piano trio ThreePlay and the artistic director of Bridgetown Orchestra. As a composer, his most recent projects include commissions for the theater scores for Lear (a violin looping score) and Kabuki Titus (a kabuki adaptation of Titus Andronicus). His Overview Effect, an immersive musical and theatrical journey through the cosmos, premiered in April of 2016. DALE TOLLIVER Cello

Dale Tolliver has been a symphonic and freelance cellist since 1969. He is a veteran of theater pit orchestras (also since 1969, but who’s counting?). He also enjoys making “purty noise” as the continuo cellist with Portland’s Bach Cantata Choir, and as a founding member of both Trio Adrato and Threeplay. His work in symphony

orchestras and freelance engagements has found him onstage in such diverse municipalities as Vienna, Austria, Knoxville, Tennessee and DeWitt, Iowa, and with such diverse performers as Nadja Salerno-Sonnenberg, Marilyn Horne, Susannah Mars, Dionne Warwick, Itzhak Perlman, Joshua Bell, André Watts, Rick Lewis, Henry Mancini, Liberace and Lambchop. ERIC TONER Guitar

Having over thirty years with his hands at the acoustic, electric and classical guitars, Eric plays a broad cross-section of musical genres. A Canadian recording artist, he toured North America for two years and recorded multiple albums. Also a singer and sound engineer, much of his time is spent recording, arranging, sound designing, mixing and producing. But his passion is live performance. These days he can be found playing musical theater in the greater Portland region. Favorite local shows include Dreamgirls, Fiddler on the Roof, Next to Normal, Hairspray, Annie, The Kiss, Matthew McConaughey vs. The Devil and Little Shop of Horrors. MITCH WILSON Drums/Percussion

Though born and raised in Portland, Mitch Wilson has had the opportunity to perform across the country and around the world. He traveled to Taiwan to perform in their tremendous New Year’s Eve celebration, Festival of Lights. In 2010, Mitch received a B.F.A. from The New School for Jazz and Contemporary Music in New York. While there, he toured with rock band The Pretty Reckless, featuring Taylor Momsen. He also gained a unique insight into the contemporary music industry by working at the prestigious Virgin Records/EMI. Past musicals include: One Night with Janis Joplin (The Armory); Grease, Annie (Northwest Children’s Theater); Footloose (Artists Repertory Theatre); and Joseph and the Amazing Technicolor Dreamcoat (Broadway Rose Theatre Company). JEANINE TESORI Music

Jeanine Tesori won the Tony Award for Best Original Score with Lisa Kron

for the musical Fun Home. She has also written Tony-nominated scores for Twelfth Night at Lincoln Center; Thoroughly Modern Millie (lyrics, Dick Scanlan); Caroline, or Change (lyrics, Tony Kushner); and Shrek The Musical (lyrics, David Lindsay-Abaire). The production of Caroline, or Change at the National Theatre in London received the Olivier Award for Best New Musical. Her 1997 Off-Broadway musical Violet (lyrics, Brian Crawley) opened on Broadway in 2014 and garnered four Tony nominations, including Best Musical Revival. Opera: A Blizzard on Marblehead Neck (libretto, Tony Kushner; The Glimmerglass Festival) and The Lion, The Unicorn, and Me (libretto, J. D. McClatchy; The Kennedy Center). Music for plays: Mother Courage (The Public Theater, dir. George C. Wolfe, with Meryl Streep and Kevin Kline), John Guare’s A Free Man of Color (Lincoln Center Theater, dir. George C. Wolfe), and Romeo and Juliet (Delacorte Gala). Film scores: Nights in Rodanthe, Every Day and You’re Not You. Tesori is a member of the Dramatists Guild and was cited by The American Society of Composers, Authors and Publishers as the first female composer to have “two new musicals running concurrently on Broadway.” She is the founding artistic director of Encores! Off-Center at New York City Center and a lecturer in music at Yale University. Most of all, she is the proud parent of Siena Rafter, a recent graduate of LaGuardia High School’s drama program. LISA KRON Book and Lyrics

Lisa Kron is a writer and performer whose work has been widely produced in New York, regionally and internationally. Her plays include Well, 2.5 Minute Ride and The Ver**zon Play. She wrote the book and lyrics for the musical Fun Home (with music by composer Jeanine Tesori), which won five 2015 Tony Awards including Best Musical. With Fun Home, Lisa and Jeanine became the first all-women team to receive a Tony Award for Best Original Score. As an actor, Lisa was most recently seen as Mrs. Mi Tzu and Mrs. Yang in the Foundry Theatre’s acclaimed production of Good Person of



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Music by Jeanine Tesori Book and Lyrics by Lisa Kron Based on the graphic novel by Alison Bechdel Directed by Chris Coleman

Adapted and Directed by Chris Coleman Based on the book ASTORIA: John Jacob Astor and Thomas Jefferson’s Lost Pacific Empire, A Story of Wealth, Ambition, and Survival by Peter Stark

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FUN HOME | CREATIVE TEAM Szechwan (Lortel Award, Outstanding Featured Actress). Honors include a Guggenheim fellowship, a Doris Duke Performing Artist Award, and a CalArts Alpert Award. She is a proud founding member of the OBIE and Bessie award-winning collaborative theater company The Five Lesbian Brothers. Lisa currently serves as secretary of the Dramatists Guild Council and on the boards of The MacDowell Colony and The Lilly Awards. ALISON BECHDEL Author of the Graphic Novel

Alison Bechdel created the countercultural comic strip Dykes to Watch Out For, which ran in lesbian and gay publications from 1983 to 2008. In 2006, Bechdel began to gain a wider readership with the publication of Fun Home: A Family Tragicomic, named Best Book of the Year by TIME Magazine. She followed this with a memoir about her mother, Are You My Mother? A Comic Drama. Bechdel has drawn comics for lots of places, including The New Yorker, Slate, McSweeney’s, The New York Times Book Review and Granta. She is currently at work on another graphic memoir called The Secret to Superhuman Strength. CHRIS COLEMAN Director

Chris joined Portland Center Stage at The Armory as artistic director in 2000. Before coming to Portland, Chris was the artistic director at Actor’s Express in Atlanta, a company he co-founded in the basement of an old church in 1988. Chris returned to Atlanta in 2015 to direct the world premiere of Edward Foote at Alliance Theatre (Suzi Bass Award for Best Direction, Best Production and Best World Premiere). Other recent directing credits include the OffBroadway debut of Threesome at 59E59 Theaters; a production that had its world premiere at The Armory. Favorite directing assignments for The Armory include Constellations, Astoria: Part One (which he also adapted), A Streetcar Named Desire, Ain’t Misbehavin’, Three Days of Rain, Threesome, Fiddler on the Roof, Clybourne Park, Shakespeare’s Amazing Cymbeline (which he also adapted), Anna Karenina, Oklahoma!, Snow Falling on Cedars, Crazy Enough, King Lear, Outrage and The Devils. Chris



has directed at theaters across the country, including Actor’s Theater of Louisville, Oregon Shakespeare Festival, ACT Theatre (Seattle), The Alliance, Dallas Theatre Center, Pittsburgh Public Theatre, New York Theatre Workshop and Center Stage (Baltimore). A native Atlantan, Chris holds a B.F.A. from Baylor University and an M.F.A. from Carnegie Mellon. He is currently the board president for the Cultural Advocacy Coalition. Chris and his husband, Rodney Hicks — who recently appeared on Broadway in the new musical Come From Away — are the proud parents of an 18-lb Jack Russell/Lab mix and a 110-lb English Blockhead Yellow Lab. For the past three years, Chris has had the honor of serving as the director for the Oregon Leadership Summit. RICK LEWIS Music Director

Portland Center Stage at The Armory: Drammy Awards for Ain’t Misbehavin’, Sweeney Todd, Ragtime, Guys and Dolls and West Side Story; Astoria: Part One, Little Shop of Horrors, Our Town, Dreamgirls, The Last Five Years, Twist Your Dickens, Fiddler on the Roof, Somewhere in Time, Black Pearl Sings!, Oklahoma!, The Huntsmen (JAW), The Imaginary Invalid, Sunset Boulevard, The 25th Annual Putnam County Spelling Bee, Grey Gardens, A Christmas Carol (composer), Cabaret, The Fantasticks and Bat Boy. 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 regional premiere of Next to Normal (Artists Repertory Theatre); assistant conductor/vocal director for the pre-Broadway 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; and developer of The Cinnamon Bear Cruise. Rick is the founder/artistic director of Bridgetown Conservatory of Musical Theatre. WILLIAM BLOODGOOD Scenic Designer

William Bloodgood returns to The Armory for his 22nd production and his ninth collaboration with Chris Coleman.

Past productions include Sweeney Todd (2012), Oklahoma! (2011), Snow Falling on Cedars (2010), Misalliance (2007), Cat on a Hot Tin Roof (2004) and, most recently, Other Desert Cities. He has designed for many regional theaters in the U.S. and abroad, including Arena Stage, Berkeley Repertory Theatre, Alley Theatre, Chicago Shakespeare Theater, Children’s Theatre Company, Denver Center for the Performing Arts, Guthrie Theater, Hong Kong Repertory Theatre, Indiana Repertory Theatre, La Jolla Playhouse, The Old Globe, Seven Ages Productions in Beijing, Syracuse Stage and Oregon Shakespeare Festival, where he was responsible for the scenic design of 140 productions. For the 2011 Prague Quadrennial of Performance Design and Space in the Czech Republic he designed the United States national exhibit. He was honored with an Oregon Governor’s Arts Award in 2000. At present, he is a senior lecturer in scene design at the University of Texas at Austin. ALISON HERYER Costume Designer

Alison Heryer is a costume designer for theater, film and print. She is thrilled to be returning to The Armory after designing costumes for Lauren Weedman Doesn’t Live Here Anymore, Wild and Reckless, His Eye is on the Sparrow, The Oregon Trail, Ain’t Misbehavin’, Our Town, Three Days of Rain and Threesome. Other design credits include productions with Steppenwolf Theatre Company, 59E59 Theaters, La MaMa, The New Victory Theater, Kansas City Repertory Theatre, Indiana Repertory Theatre, Portland Opera, Artists Repertory Theatre and The Hypocrites. Her work has been exhibited at the Nelson Atkins Museum of Art, World Stage Design and The Prague Quadrennial of Performance Design and Space. Recent awards include the ArtsKC Inspiration Grant, the Austin Critics Table Award and a 2016 Drammy. Alison is a faculty member in the School of Art + Design at Portland State University and a member of United Scenic Artists Local 829. WILLIAM C. KIRKHAM Lighting Designer

William C. Kirkham is an award-winning lighting designer for theater and live

FUN HOME | CREATIVE TEAM events. Credits at The Armory include: Constellations, The Oregon Trail and Little Shop of Horrors. He is spending the year as a visiting professor at Arizona State University in Tempe, AZ. Regional credits include: Alliance Theatre, Arena Stage, Arizona Broadway Theatre, ArtsWest Playhouse, Chicago Children’s Theatre, Chicago Shakespeare Theater, Childsplay Theatre, Cincinnati Playhouse in the Park, Contemporary American Theater Festival, The Hypocrites, Lookingglass Theatre Company, Phoenix Theatre, Sideshow Theatre Company, South Coast Repertory, Steppenwolf Theatre Company and Utah Shakespeare Festival. William attended Northern Arizona University, Northwestern University and is a proud member of USA Local 829. ALEX HAWTHORN Sound Designer

Alex is a Brooklyn-based sound designer and composer for theater, film and digital media. His theatrical work has taken him to six continents and he is currently figuring out how to get to the seventh. Off-Broadway/New York City: Playwrights Horizons: Fly By Night; The Civilians and The Public Theater: The Great Immensity; Acorn Theater: Straight; Theater Reconstruction Ensemble: Rhinebecca, NY and You On The Moors Now; The National Asian American Theatre Company: A Dream Play; Theater Mitu: Juárez: A Documentary Mythology, Death of a Salesman, Medea, DR.C (or How I Learned to Act in Eight Steps) and Hair; Target Margin Theater: Old Comedy from Aristophanes’ Frogs. Regional: Baltimore Center Stage: The White Snake; Ordway Center for the Performing Arts: A Chorus Line and The Pirates of Penzance; Kansas City Repertory Theatre: Evita, Side by Side by Sondheim; Engeman Theater: Odd Couple; National Tour: Golda’s Balcony. BARBARA HORT, PH.D. Consulting Dramaturg

Barbara Hort, Ph.D., has maintained a private practice in Portland for over 25 years, working primarily from the psychological perspective developed by the Swiss psychoanalyst Carl Jung. At the invitation of Chris Coleman, Dr. Hort has served as a dramaturg on The Armory productions of Sweeney Todd, Clybourne

Park, the 2013 JAW festival, Fiddler on the Roof, Othello, Dreamgirls, Threesome, Three Days of Rain, Ain’t Misbehavin’, A Streetcar Named Desire, Astoria: Part One, and now, Fun Home, providing material on the psychological dynamics of the play that can be used by the artists who are creating the performance. 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 phenomenal stage management apprentices, Jordan Affeldt and Katie Nguyen, who help keep the vision attainable. Prior to The Armory, Mark toured nationally and internationally with musicals including Dreamgirls, The King and I with Rudolf Nureyev, How to Succeed in Business Without Really Trying , 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 (Houston, TX), La Jolla Playhouse (La Jolla, CA) and Casa Mañana Theatre (Fort Worth, TX).

completed her bachelor’s degree at Northern Arizona University, majoring in theatre studies and psychology. Her recent work includes a stage management internship at Pacific Conservatory Theatre (PCPA), where she assistant stage managed Beauty and the Beast, Lend Me a Tenor and You Can’t Take It With You. Prior to PCPA, she completed stage management internships with The Shakespeare Theatre of New Jersey and ion theatre. She spends her free time playing and writing music in the Portland area. KATIE NGUYEN Production Assistant

Katie Nguyen is a stage manager from Fairfax, Virginia, and a recent graduate of Virginia Tech. While pursuing a degree in business management, she served as a stage manager, festival producer and production manager for Virginia Tech’s School of Performing Arts. She is humbled to be here as one of two stage management apprentices for The Armory’s 2017–2018 season. Prior to moving to Portland, she cofounded a non-profit theater collective in Washington, D.C. (Who What Where Theater) and worked as a summer camp teaching artist for Acting For Young People in Fairfax, Virginia.

KRISTEN MUN Assistant Stage Manager

Kristen is originally from Hawaii and holds a B.F.A. from Southern Oregon University. She is excited to return for her fifth season at The Armory. Previous credits include production assistant on Fiddler on the Roof, LIZZIE, Threesome, Three Days of Rain, Forever, Each and Every Thing, A Streetcar Named Desire, Hold These Truths, His Eye is on the Sparrow and stage manager for Constellations. Outside of Portland she has worked at Idaho Repertory Theatre, Actors Theatre of Louisville and Oregon Shakespeare Festival. Kristen is forever grateful to Adam and her family for supporting her dreams.  JORDAN AFFELDT Production Assistant

Jordan is a stage manager from the small mountain town of Julian, CA. She




We see Fun Home as a memory play about three time periods in the life of graphic novelist Alison Bechdel. As the character Alison sings at one point in the story: I want to know what’s true Dig deep into who And what and why and when Until now gives way to then Regardless of the joys and tragedies present in any of our upbringings, Fun Home tells a universal tale of the need to unflinchingly examine the past in order to understand the present and journey with hope towards an unknowable future. For 29 years, Portland Center Stage has been inspiring the community by presenting stories which highlight our shared humanity. As the theater opens its 30th season, we cannot think of a more appropriate work than the complex Fun Home to deliver on its efforts to magnify our feelings, illuminate our commonalities, challenge our prejudices and open our hearts. We applaud Chris Coleman for bringing this important musical of contemporary family life to Portland.


GBD is immensely proud to once again support our neighbors at The Armory. To have designed their home was such an



incredible privilege. We will be forever grateful for the backstage pass it afforded us to witness firsthand the magic that drives their productions and enriches our community.


Fun Home is a play full of secrets and revelations. The greatest revelation it offers viewers may lie in the fact that, like Alison, each of us is challenged to discover and declare our essential truth, and then live that truth out fully. If we do, we blossom and grow. If we don’t, we contort and wither. The characters of Fun Home offer up their lives to share this priceless and implacable fact with you. I invite you to accept that treasure and make it your own.


Our first season opener sponsorship! How could we resist? We are thrilled you can join us for this production of Fun Home. We can’t wait to share it with you.


For more than a century, The Standard has been on the scene in Portland, helping people achieve financial security and peace of mind so they can pursue their dreams with confidence. Our vision is not limited to our customers; we nurture the dreams of our nonprofit partners as well, knowing that their work helps ensure a vibrant community for us all.

Celebrating our

30th Anniversary Season An Interview with Scenic Designer William Bloodgood by Claudie Jean Fisher, Public Relations and Publications Manager

THIS SEASON WE CELEBRATE 30 YEARS OF BRINGING STORIES TO LIFE IN UNEXPECTED WAYS. Portland Center Stage was established in 1988 as a branch of the Oregon Shakespeare Festival. To this day, we are still the only LORT (League of Resident Theatres) company in the country to be founded in this manner. On November 12, 1988, we opened our very first production, George Bernard Shaw’s Heartbreak House, to a house packed with 900 of Portland’s theater makers and shakers (and a reviewer from Time Magazine!). Throughout the upcoming season, we’ll be celebrating our rich history and the incredible people who made it all possible. One of those individuals is scenic designer William Bloodgood. Bill did the scenic designs for Heartbreak House back in 1988 (as well as designing the playbill covers for our first season). We brought Bill back to design our 30th anniversary season opener — his 22nd production with this company — and asked him to share a little about his love of theater and time with Portland Center Stage:

Photo: The set of Heartbreak House designed by William Bloodgood; Photo by Rick Adams.

How did you first fall in love with theater?

I was taken to shows in New York as a child and saw, for example, the original productions of The Sound of Music and Oliver!. The stage, the lights, the actors — all intrigued me. There was something about the small, complete worlds that were evoked on the stage, and the immediacy of it all, that I found thrilling.

What is your favorite memory from our first production, Shaw’s Heartbreak House, back in 1988?

Mostly I remember the excitement of it being a completely new venture — inventing a new company from scratch in a dazzling new building, in a city that was coming into its own.

Do you have any fun examples of how things have changed in your time working with this company over the past 30 years? I think what’s most fulfilling is to have watched the company evolve from being the wing of another company into a publicly recognized producing organization with its own identity.

What is your most memorable design moment at Portland Center Stage?

Snow Falling on Cedars is a play with several interconnected story lines all revolving around a

particular community in the Pacific Northwest. At the core of the plot is a trial for the murder of a fisherman who had worked on one of the trawler boats used in salmon fishing. I felt it was important that the audience know what the boats looked like, as there were details in the murder trial testimony that involved descriptions of the design and mechanics of the boats. So I designed a full boat that was suspended upstage as a major scenic element that flew in and out. I knew it would serve the show well, but I was surprised at how very effective it was in advancing and clarifying the story line.

As an artist who works at theaters across the country, is there something you particularly enjoy about working with Portland Center Stage? I like how the company is so well-paired and wellconnected with the city and the community, especially now with its having moved into The Armory and being situated in the most interesting part of Portland.

Is there something you are particularly excited about for our production of Fun Home? It happens that I saw the original production on Broadway, which was staged in the round. I’m interested to see how the show works both mechanically and aesthetically in proscenium.



YOU ARE NOT ALONE If you or someone you know is in crisis, help is available. There are also training and volunteer opportunities for those who want to offer support. L INES FOR LIFE 24-hour Suicide Lifeline 1.800.273.8255 Text 273TALK to 839863

SMYRC Sexual and Gender Minority Youth Resource Center 503.872.9664,

YO U TH LINE Teen-to-Teen Crisis Line 1.877.968.8491 Text teen2teen to 839863

MULTNOMAH COUNTY MENTAL HEALTH CRISIS LINE 24-hour Crisis Care, Evaluation and Resources 503.988.4888

T R EVO R PROJECT 24-hour Suicide Line for LGBTQ Youth 1.866.488.7386

GE T TRAINED TO HELP Learn How to Support Those at Risk

AMERICAN FOUNDATION FOR SUICIDE PREV ENTION Research, Education, Advocacy and Support OUT OF THE DARKNES S Annual Walk to Fight Suicide In honor of our season opening productions, Portland Center Stage at The Armory is sponsoring this year’s Out of the Darkness Community Walk on Saturday, October 7, 2017.


LONDON AWAITS. New nonstop flights between Portland and London begin May 26, 2017.

Don’t miss a moment of the 30th Anniversary Season! Create Your Own packages on sale now.

PCS.ORG Alex J. Gould in Mary's Wedding. Photo by Patrick Weishampel/

Seasonal nonstop service from May 26, 2017 - October 28, 2017.






EVERY BRILLIANT THING By Duncan Macmillan with Jonny Donahoe Directed by Rose Riordan Scenic Designer Derek Easton

Lighting Designer Em Douglas

Sound Designer Casi Pacilio

Stage Manager Jamie Lynne Simons

Production Assistant Danny Rosales

Casting Rose Riordan

Featuring Isaac Lamb Every Brilliant Thing was first produced by Paines Plough and Pentabus Theatre on June 28, 2013 at Ludlow Fringe Festival. The play had its North American premiere at Barrow Street Theatre, New York, on December 6, 2014, where it was presented by Barrow Street Theatre and Jean Doumanian Productions. Every Brilliant Thing is presented by special arrangement with Dramatists Play Service, Inc., New York.

PERFORMED WITHOUT INTERMISSION. Videotaping or other photo or audio recording of this production is strictly prohibited. The Actor and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.





Dorothy Piacentini The Shubert Foundation

Portland Center Stage at The Armory receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.



Preparing for Every Brilliant Thing

Before rehearsals began for Every Brilliant Thing, we checked in with director Rose Riordan and performer Isaac Lamb about their preparation, process and still-forming thoughts on Duncan Macmillan and Jonny Donahoe’s script.



Isaac Lamb

What was your initial response to the story and structure of Every Brilliant Thing? I remember reading the first few pages of the script when Rose made me the offer and realizing that this was an opportunity to do something very special. I was moved by it in a way that at once felt deeply personal and totally universal. How are you feeling about taking on a piece that requires so much audience involvement and improvisation? To be honest, I relish it. I think it’s easy to get comfortable as a performer doing the same things again and again. That’s the antithesis of growth. I make it a personal goal to try and broaden my comfort zone as often as I can. I just did Anonymous Theatre’s Urinetown almost primarily for the scare. It’s an opportunity to reinvigorate my work and blow off the cobwebs. Plus, this amazing script’s structure provides a pretty safe harbor to improvise within.    You’ve been in solo shows before, including the national tour of Broadway’s Defending the Caveman. What are the challenges specific to performing solo and how do those factors impact your preparation? Memorization is a whole different ballgame when you’re working in isolation. That’s the most obvious difference. When you don’t have a scene partner to work with, you have that much less to rely on when you go up on your lines or get yourself lost. There’s no one to show you the way back! So your preparation starts much sooner and with greater urgency, I think.



The other challenge specific to one-person shows is that your energy and rhythm rely so much more on the audience. The difference between a lively house and a quiet one is amplified exponentially because the audience is quite literally your scene partner. Duncan Macmillan has done this brilliant thing, however, by integrating the audience into the performance of the play so they don’t really get to be passive observers. I think that’s going to make for a unique experience for them and for me. You’ve worked with Rose on past productions such as A Small Fire and The 25th Annual Putnam County Spelling Bee. How would you describe your collaborative process? We laugh a lot. At ourselves and at each other. We talk through things. Rose likes to mess up the process too, which I enjoy. During Spelling Bee, she’d make us perform the show start to finish while playing the video game “Dance Dance Revolution.” During A Small Fire, we would do scenes blindfolded and wearing noisecanceling headphones. She likes to sort of crack your head open (metaphorically speaking) and move the pieces around so that you engage with the work in new ways. I think that’s going to be invaluable for a piece like this. She tells me we’re gonna take rehearsals on the road and try it in front of different audiences so that we can see how to make it work. I’m excited about that. I imagine some days we’ll end up talking about our histories with mental health, and some days we’ll share our favorite internet videos with each other. And everything in between. But it’ll all be valuable in the final analysis. In Every Brilliant Thing, the central character makes a list of everything worth living for. How does list-making play into your life? What are three items on your own list of brilliant things? I’m terrible with lists. My wife is brilliant with them. Lists are really just one more piece of paper for me to lose track of, but for Amy they are how she organizes her path through the world. If I was making my own list of brilliant things, though, she’d star in numbers 1, 2, and 3.  1. Watching my wife dance when she choreographs in our living room.  2. Playing with our dog and two cats.  3. The sound she makes when I really make her laugh. 


Rose Riordan Every Brilliant Thing involves the audience in a unique way, unlike any show that has been produced at The Armory. As you prepare for rehearsals, what is your plan for tackling that aspect of the production? We are partnering with our education and marketing departments to rehearse with audiences. We plan on being “on the road” to community centers, organizations, any captive audience really. This will help us prepare for just about any situation. What is it about directing this piece that excites you? How does the play fit in with your personal aesthetics as director? It’s the relationship between the audience and the actor that I’m curious about and excited to explore. And of course the story is so honest and personal that I think we will develop a unique relationship with each and every audience. I expect to learn a lot. You last worked with Isaac Lamb in A Small Fire. What made you think of him for this production? Truthfully, it’s his likeability. His talent is a given. This character has to connect with the audience and can’t have any pretentions as an actor — I think Isaac will be able to navigate that easily. How does list-making play into your life? I have a running list of things I would have to describe if I was abducted by aliens and had to explain what things on earth actually are. (Of course in my daydream they speak English, so ...) It’s really hard. • Sandpaper • A fly • Nutmeg • Trump


THE DIRECTO Interviews by Claudie Jean Fisher, Public Relations and Publications Manager

Isaac Lamb is an awardwinning actor, director, and world-renowned creator of viral video content. He is thrilled to be back onstage at The Armory, one of his favorite places to work. Isaac 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); 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 (Portland Playhouse); The Three Sisters (Portland Experimental Theater Ensemble). National Tour: Defending the Caveman, Broadway’s longest running one-person show. Select regional: Timeless: Barbara Streisand (Staples Center), Sweet Charity (Red Mountain Theatre Company), One Sunday in Mississippi (The Kohl Players). Film: Lean on Pete (Film4), North Starr (Sundance, 2008). TV: Portlandia. Proud member of Actors’ Equity Association. DUNCAN MACMILLAN Writer

Plays include: People, Places and Things (2015–2017, National Theatre/Wyndham’s Theatre, West End); 1984, adapted from George Orwell (2013–2017, Headlong/ Nottingham Playhouse Theatre Company, West End, Broadway, international tours, co-adapted/co-directed with Rob Icke); Every Brilliant Thing (2013–2017, Paines Plough/Pentabus Theatre, Edinburgh Festival, UK and international tours, HBO); City of Glass, adapted from Paul Auster (2017, 59 Productions, HOME and Lyric Hammersmith); 2071, co-written with Chris Rapley (2014–2015, The Royal Court/ Hamburg Schauspielhaus); The Forbidden Zone (2014–2016, Salzburg Festival and Schaubühne Berlin); Wunschloses Unglück, adapted from Peter Handke (2014, Burgtheater Vienna); Reise durch die Nacht, adapted from Friederike Mayröcker (2012– 2014, Schauspiel Köln, Festival d’Avignon, Theatertreffen); Lungs (2011–2016, Paines Plough and Sheffield Theatres/Studio Theatre, Washington, DC); and Monster (2006, Royal Exchange Theatre). E VERY BRILLIANT THING • THE ARMORY



Jonny Donahoe is an actor, comedian and writer best known for his work with musical comedy act Jonny & the Baptists, with whom he has toured extensively in the UK and internationally, as well as performing numerous times on BBC Television, Channel 5 (UK) and BBC Radio 4. Jonny co-wrote (with Duncan Macmillan) the international hit show Every Brilliant Thing and performed it more than 350 times, on four different continents. His performance was also filmed and adapted into an HBO TV special, and he was nominated for Drama Desk, Off Broadway Alliance and Lucille Lortel Awards for Best Solo Performance for the role. Other credits include writing and performing in Thirty Christmases (Old Fire Station Theatre), The World Must Be Peopled (nabokov/Soho Theatre), and the short plays Real Fly Guy (Pleasance Theatre) and Guy Fawkes Night (Old Vic Theatre). His latest play, Working Christmas, will premiere at Old Fire Station Theatre later this year. ROSE RIORDAN Director

Rose is in her 20th season at Portland Center Stage at The Armory, where she serves as associate artistic director and has previously directed Lauren Weedman Doesn’t Live Here Anymore, Wild and Reckless, The Oregon Trail, Our Town, The People’s Republic of Portland (2013 and 2015), Vanya and Sonia and Masha and Spike, The Typographer’s Dream, LIZZIE, A Small Fire, The Mountaintop, The Whipping Man, The North Plan, Red, One Flew Over the Cuckoo’s Nest, A Christmas Story, The 25th Annual Putnam County Spelling Bee, The Receptionist, A Christmas Carol, Frost/Nixon, How to Disappear Completely and Never Be Found, Doubt, The Underpants, The Pillowman and The Thugs, which won four Drammy Awards, including Best Ensemble and Best Director. Rose has recently directed, for various other theaters, Adam Bock’s Phaedra, The Passion Play, Telethon and The Receptionist. In 1999, she founded the annual JAW: A Playwrights Festival. JAW has been instrumental in developing new work for the company’s repertory, including this season’s upcoming production of Kodachrome, as well as Lauren Weedman Doesn’t Live Here Anymore, Wild and Reckless, 22


Threesome, Bo-Nita, The People’s Republic of Portland, The Body of an American, The North Plan, Anna Karenina, Outrage, Flesh and Blood, Another Fine Mess, O Lovely Glowworm, Celebrity Row, Act a Lady, The Thugs and A Feminine Ending. Rose has also directed some of the staged readings for JAW festivals: The Thugs (2005), Telethon (2006), A Story About a Girl (2007), 99 Ways to F*** a Swan (2009), The North Plan (2010), San Diego (2012), The People’s Republic of Portland (2012), Mai Dang Lao (2013) and A Life (2014). She enjoys being part of a company committed to new work and having a beautiful building in which to work. DEREK EASTON Scenic Designer

Derek is excited to be working as a scenic designer at The Armory for the first time, starting small and looking forward to the next opportunity. Derek has also been The Armory’s technical director for the last two years. His past credits include scenic, lighting and video design for over 50 shows at Theatre Cedar Rapids in Iowa, as well as being the company’s technical director for seven years. Prior to that, Derek worked for Actors Theatre of Louisville’s lighting department and did lighting design work with Aspen Music Festival and School’s opera program, Theatreworks, in Colorado Springs and StageOne Family Theatre in Louisville. If interested in seeing more of his work, visit EM DOUGLAS Lighting Designer

Em is delighted to be making their design debut at The Armory. Previous lighting design credits include various productions at University of Portland and Michael O’Neill’s Journey of a Clown. They have traveled with performances of Merideth Kaye Clark’s BLUE as the stage manager and lighting technician. This is their third season as master electrician here in the Ellyn Bye Studio, and their first season as associate lighting supervisor. They would like to thank Rose and Liam for this opportunity and Em, Jessica, Bailey and Miles for their constant love and support. CASI PACILIO Sound Designer

Casi’s home base is The Armory, where recent credits include Lauren Weedman Doesn’t Live Here Anymore, Wild and Reckless, His Eye is on the Sparrow, The Oregon Trail, Little Shop of Horrors, A Streetcar Named Desire, Great

Expectations, Ain’t Misbehavin’; Constellations, A Small Fire and Chinglish with composer Jana Crenshaw; and eleven seasons of JAW. 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). 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. JAMIE LYNNE SIMONS Stage Manager

Jamie is delighted to return to The Armory after being part of the 2016 JAW festival. She has a memory bank filled with an endless amount of brilliant things just from the nearly half a decade of working on cruise ships where she traveled as far west as Tasmania and east to St. Petersburg, Russia. The human experience is beautiful and strange. Many thanks to those who support others who are struggling. Other local credits: Artists Repertory Theatre, Third Rail Repertory Theatre, Portland Playhouse, Chamber Music Northwest and OHSU, where she aids in the education of medical students. She has a B.F.A. in Applied Theater Arts from The University of the Arts, Philadelphia, and serves as co-vice chair of the local liaison committee for Actors’ Equity Association. DANNY ROSALES Production Assistant

Danny is excited to be making his debut at The Armory straight out of college. Born and raised in Oregon, he is a recent graduate of Portland State University with a degree in theater arts. During his time at PSU, he stage managed many shows. His favorites include The Importance of Being Earnest, Eurydice and Sons of the Prophet. When he’s not busy working on shows, you can usually find him either playing the piano or eating ice cream. Silliness aside, Danny is grateful to be working on this fantastic show with such amazing people. Lastly, he would like to thank his friends and family for all their love and support.



Website: Ticket Office Group Sales Admin. Offices Contributions Volunteer Info Lost and Found Emergency # Audition Hotline Education Building Rentals 445.3700 445.3794 445.3720 445.3744 445.3825 445.3700 445.3727 445.3849 445.3795 445.3824


Phone: Noon–6:00 p.m., Daily Walk-Up Window: Open Until Showtime Single tickets and season tickets may be purchased in person, online at PCS.ORG, or by phone at 503.445.3700.

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PLEASE ARRIVE EARLY. Late seating may be offered but is at the discretion of the house manager; late seating is not guaranteed. Those arriving late to a performance or exiting the theater during the performance may be asked to view the show on the lobby monitor until intermission. Refunds and/or exchanges are not available for late arrivals.

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NO LATE SEATING AVAILABLE IN THE STUDIO. Because of the intimate nature of the Ellyn Bye Studio, it is not possible to accommodate late seating. NO CAMERAS OR RECORDING EQUIPMENT. No recording devices of any kind are allowed in the theaters. NO FIREARMS. Firearms are not allowed in The Armory. PLEASE SILENCE ALL CELL PHONES. You may check your cell phones with the concierge and they will notify you in case of an emergency.

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 and has been under the leadership of Artistic Director Chris Coleman since 2000. An estimated 150,000 people visit The Armory annually to enjoy a mix of classical, 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 23 world premieres and presents an annual new works festival, JAW: A Playwrights Festival. The Northwest Stories series was recently launched to develop and produce works about, or by artists from, the Northwest region. Home to two theaters, The Armory was the first building on the National Register of Historic Places, and the first performing arts venue, to achieve a LEED Platinum rating.

We welcome ALL races, religions, countries of origin, sexual orientations, genders and abilities. YOU ARE SAFE HERE.

CHECK BACKPACKS and LARGE PARCELS. For safety purposes, please check large backpacks and parcels at the coat check. THE ARMORY IS FULLY ACCESSIBLE. Anyone with a special seating need (such as moderate sight or hearing impairment) is encouraged to inform the Box Office in advance to accommodate the request. ASSISTED LISTENING DEVICES ARE AVAILABLE. Listening devices are available at the concierge desk free of charge. CHILDREN UNDER THE AGE OF SIX ARE NOT ADMITTED. While we encourage you to bring interested children to the theater, as a courtesy to other patrons and actors, we do not admit anyone under the age of six years to our performances. FOOD IS NOT ALLOWED INSIDE THE THEATER. Beverages are allowed, but must be in a compostable cup with a lid. All food must be consumed in the lobby. PLEASE DO NOT WEAR STRONG PERFUMES/ COLOGNES. Strong perfumes or colognes can be distracting for other patrons and for people with allergies. Please use moderation when applying strong fragrances before the performance. THE ARMORY



We gratefully acknowledge the supporters of our 2017–2018 season.ofTheir generosity allows us to inspire our community Portland Center Stage gratefully acknowledges the supporters our 2013–14 season. Their generosity allows us to inspire our community byby bringing stories to to lifelife in in unexpected ways. WeWe thank them. bringing stories unexpected ways. thank them.


OVATION SOCIETY ($100,000+) U.S. Bank

LEADERSHIP CIRCLE ($25,000+) Express Employment Professionals The Standard Curtis T. Thompson, M.D. and Associates, LLC Wells Fargo

SEASON STARS ($10,000+)

Bank of America Boeing Company Davis Wright Tremaine Delta Air Lines GBD Architects Hobbs, Straus, Dean & Walker Moda NW Natural Stoel Rives LLP Work for Art, including contributions from more than 75 companies and 2,000 employees

PLAYMAKERS ($5,000+) Glumac KPFF Mentor Graphics Perkins Coie Troutman Sanders LLP Wieden + Kennedy

PRODUCERS ($2,000+)

D’Amore Law Group Klarquist PCC Structurals, Inc. Portland Timbers Vernier Software & Technology

BENEFACTORS ($1,000+) Downtown Development Group Pacific Office Automation

STARS ($250+)

Cupcake Jones Graphic Arts Building ShadewoRx


All Wright Music Argyle Winery Art of Catering Artemis Foods Astoria Bistro

Keith & Sharon Barnes Ben & Jerry’s Boeing Company Cannery Pier Hotel & Spa Chris Carriker Chehalem Wines Columbia River Maritime Mueseum Conundrum Trail Mix Cupcake Jones Daimler Aishwarya Deenadayalu Delta Airlines Devil’s Food Catering De Ponte Cellars DeSoto Rooftop Terrace Diana Gerding Eastside Distilling Everything’s Jake Free Geek Food in Bloom Footwear Specialties International Gearhart Golf Links Geranium Lake Flowers Rosemond Graham Rodney Hicks Hunt & Gather Catering Irving St. Kitchen Isabel Pearl


(AS OF AUGUST 16, 2017)


Collins Foundation The Fred W. Fields Fund of The Oregon Community Foundation Meyer Memorial Trust James F. & Marion L. Miller Foundation The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County, and the Arts Education and Access Fund The Wallace Foundation


The Hearst Foundations The Kinsman Foundation Marie Lamfrom Charitable Foundation National Endowment for the Arts Oregon Cultural Trust The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer & Jordan Schnitzer Shubert Foundation


Anonymous Sheri & Les Biller Family Foundation



The Holzman Foundation/Renée and Irwin Holzman Jackson Foundation Maybelle Clark Macdonald Fund Oregon Arts Commission, a state agency PGE Foundation The Rose E. Tucker Charitable Trust


Rebekah Johnson Photography Craig & Lynne Johnston Drs Skye & Jane Lininger Richard Linn Rebecca MacGregor Maurice Marlene Montooth Meyer Creative New Deal Distillery NIKE, Inc. Oregon Shakespeare Festival Pearl Catering Pearl Gallery & Framing Park Kitchen Pat & Trudy Ritz Performance Promotions Portland Timbers FC Precision Graphics Royalton NYC Sellwood Consulting LLC Kyle Spencer Street 14 Cafe Umpqua Bank



H.W. & D.C.H. Irwin Foundation Samuel S. Johnson Foundation Spirit Mountain Community Fund Herbert A. Templeton Foundation Travel Portland


Autzen Foundation D. Margaret Studley Foundation Union Pacific Foundation


Big Sky Fund of Equity Foundation Leupold & Stevens Foundation

STARS ($250+)

Swigert-Warren Foundation


Portland Center Stage at The Armory receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.



The membership levels and names listed below are determined by our individual gift membership renewal date and are recognized for twelve months. Every effort has been made to ensure that this list is accurate and complete. We apologize if your name has been omitted or improperly recorded. If so, please contact Michael Magnes,, so we can correct our records.

Umpqua Bank

Those donors whose names are in bold are a part of our Sustaining Supporters group. We want to honor those donors who have given every year for the last five years. Your consistent support means a great deal to us and keeps our theater thriving. Thank you for your loyalty and generosity.

OVATION SOCIETY ($100,000+) Mary & Tim Boyle

LEADERSHIP CIRCLE ($25,000–$99,999)

Keith & Sharon Barnes Broughton & Mary Bishop Family Advised Fund, a charitable fund of the Community Foundation of Southwest Washington Don & Mary Blair Andy & Nancy Bryant Ginger Carroll Roger Cooke & Joan Cirillo Martin & Karin Daum Dream Envision Foundation Brigid Flanigan Rob Goodman Dr. Barbara Hort & Mark Girard Heather Killough Ronni S. Lacroute Pat & Al Reser Pat & Trudy Ritz/Ritz Family Foundation Barbara & Phil Silver The Stern Family Bill & Larue Stoller Elaine Whiteley Dan Wieden & Priscilla Bernard Wieden

SEASON STARS ($10,000–$24,999)

Anonymous Dr. Don & Jessie Adams John & Linda Carter CLF Family Charitable Foundation Sarah Crooks Ray & Bobbi Davis Jess Dishman Kelly K. Douglas & Eric H. Schoenstein Mark & Ann Edlen The Wayne & Sandra Ericksen Charitable Fund Mary & Ryan Finley Diana Gerding Tasca & Paul Gulick Steven & Marypat Hedberg The Holzman Foundation/ Renee & Irwin Holzman Craig & Y. Lynne Johnston Judy Carlson Kelley James & Morley Knoll Charles & Carol Langer Dedre J. Marriott Michael E. Menashe J. Greg & Terry Ness Dorothy Piacentini Reynolds Potter & Sharon Mueller

Richard & Marcy Schwartz Drs. Ann Smith Sehdev & Paul Sehdev Douglas & Teresa Smith

PLAYMAKERS ($5,000–$9,999)

Anonymous (2) Peter & Susan Belluschi Family Fund of The Oregon Community Foundation Phil & Julie Beyl Rick Caskey & Sue HornCaskey Glenn Dahl & Linda Illig David Dotlich & Doug Elwood Greg Hazelton & Dori Flame Tom & Betsy Henning Marilyn & Ed Jensen Gregg & Diane Kantor Ms. Kirsten Lee & Mr. Joseph Sawicki Drs. Dolores & Fernando Leon Chrys A. Martin & Jack Pessia Doris G. & Richard K. Martin Trust Peter K. McGill Lois Seed & Dan Gibbs Mark Schlesinger & Patti Norris Barbara A. Sloop Jan & John Swanson John Taylor & Barbara West Christine & David Vernier


Kathi & Ted Austin Bill Byrne & Dennis Scolard Cogan Family Fund of the Oregon Jewish Community Foundation Steve Cox & Vikki Mee Robert Falconer Randy Foster Mike Golub & Sam Shelhorse Kevin Hogan & Aron Larson Jina Kim & Hyung-Jin Lee Regan & Gina Leon Allan & Madeline Olson Jim & Linda Patterson Brenda Peterson Fred L. Ramsey Dennis & Diane Rawlinson Robert Reed Raj Sarda MD CollierTrust Randy & Janet Smith Sue & Drew Snyder Dave & Barbara Underriner Steven & Deborah Wynne Mort & Audrey Zalutsky

PRODUCERS ($2,000–$2,999) Anonymous

Ruth & Jim Alexander Azin V. Alebeek Michael Anton Brenda K. Ashworth & Donald F. Welch Julia & Robert S. Ball Daniel Bergsvik & Donald Hastler Jack Blumberg & Tom Anderson Richard Louis Brown Marianne Buchwalter Lee Anne & George Carter Judy Dauble Edward & Karen Demko Margaret Dixon Carol Edelman Ron & Becky Eiseman John & Jane Emrick Heather Guthrie & Gil Parker Paul & Samantha Harmon Dale Hottle Dennis C. Johnson Thom King Ruth Knepell Brian D. Kronstad Cindy & Keith Larson Edwards Lienhart Family Foundation Jim & Jennifer Mark Shelly McFarland Mary Katherine Miller John D. & Nancy J. Murakami Nathan Family Hester H. Nau Joan Peacock Bobbie & Joe Rodriguez Teri Rowan Stephen & Trudy Sargent Roy Schreiber & Carole Heath George & Molly Spencer Trina & Michael Sheridan Geoff & Susie Strommer Burt & Barbara Stein Don & Judy Thompson Katherine & Nickolas Tri E. Walter Van Valkenburg & Turid L. Owren Ted & Julie Vigeland Trudy Wilson & Terry Brown Mary Wolfe Mary & Pat Wolfe David & Sherri Zava

BENEFACTORS ($1,000–$1,999)

Anonymous (2) Phyllis Arnoff Cheryl Balkenhol & James Alterman Barbara Baker Dr. Gene Baker & Regina Brody


Bank of America Boeing Company Curtis T. Thompson, M.D. and Associates, LLC Davis Wright Tremaine

Dave Bennett Christian, Lisa & Ella Bisgard Sam & Adriane Blackman Earl & Jan Bliven William Blosser Kate & Bill Bowman Linda & William Brown Tim O’Leary & Michelle Cardinal Dr. Richard & Nancy Chapman Brenda & Duke Charpentier Leslie Copland Betsy Cramer & Greg Kubecek Gustavo J. Cruz, Jr. Leslie & James Culbertson Tracy A. Curtis & Rick Nagore Gail & Mike Davis Kirk & Marsha Davis Dan Drinkward Gerard & Sandra Drummond Karen & John Durkheimer Family Fund of The Oregon Community Foundation Richard & Betty Duvall John Briggs & Jeffrey Feiffer Mike & Chris Feves Larry & Deborah Friedman Daniel & Leah Frye Jasmine Fullman Cynthia Fuhrman Katie & David Gold Mark & Christi Goodman Ann Gray John & Jacque Guevara Dylan Gulick Donald F. Hammond Lani Hayward Patsy Heinlein Herman Charitable Foundation Sharon & Henry Hewitt Mr. Arthur Hung & Dr. Jim Watkins Don & Claudia Hutchison Jessie Jonas Stephen & Marjorie Kafoury Dr. Laurie Kash & Michael Carter Tom & Barbara Kelly Kevin & Karen Kelly Carla Kelley Paul Dockter & Pamela KelleyDockter Selby & Doug Key Willie Kemp Hilary Krane & Kelly Bulkeley Jon & Karen Kruse Ray & Terry Lambeth Dorothy Lemelson Shari & Frank Lord Bruce & Louise Magun Jean & Steve Mann Stephen Mason & Christine Fisher

Express Employment Professionals GBD Architects Hobbs, Straus, Dean & Walker Moda NW Natural

Katherine McCoy of West Portland Physical Therapy Clinic Lindsey & Marilen McGill Dan & Christina McMillan Jack & Carolyn McMurchie Lora & Jim Meyer Bill Moffat Bryan Nakagawa Betsy Natter David & Ranata Niederloh Neilsen Family Fund of The Oregon Community Foundation Lucas Newman Paul & Lisa Nourigat Steven P. & Eileen O’Neill Odum Thomas Palmer & Ann Carter Irene Parikhal Duane & Corinne Paulson Stanley & Susanne Penkin Amy Polo Dr. & Mrs. Charles Poindexter John & Catherine Ridenour Bob & Marilyn Ridgley Kelly Ritz-Eisenstein & Scott Eisenstein Dianne Rodway Mary & Craig Ruble Halle & Rick Sadle Carol Schnitzer Lewis Fund of The Oregon Community Foundation Michael & Karen Sherman Michael Simon Carl Snook Kim & Doug Strand Ray & Pat Straughan Carol Streeter & Harold Goldstein Mary & Jeff Strickler Donald & Roslyn Sutherland W R Swindells Calvin & Mayho Tanabe Kenneth & Marta Thrasher Ronald E. & Ivy L. Timpe Fund of The Oregon Community Foundation Glen Ulmer Eleanor & Peter van Alderwerelt Wendy Ware & Dan Gleason Dennis & Jean Wilde Jeff & Jaynie Wirkkala

STARS ($500–$999)

Anonymous (3) Charles & Gloria Adams Margaret & Stuart Albright Richard & Kristin Allan Joan & Brian Allen Stacy Allison Janis Avidan Thomas & Brada Bailey Robin & Thomas Barrett

Stoel Rives LLP U.S. Bank The Standard Wells Fargo Work for Art

Susanne Baumann & John Gragg Benjamin Buckley Young Actors Fund of The Oregon Community Foundation David Bennett Dr. Janet Bennett Cheryl A. Bittle Bob Schuler & Debra Blanchard Jill Blanchard Lesley Bombardier Craig Boretz Norma Bradfish Larry Brigham Robert & Stasia Burt Mary Beth Butkovic Clifford & Doris Carlsen Family Fund of The Oregon Community Foundation Erik Cubbage Amy & Bruce Dobbs Beverly Downer Stephen Early & Mary Shepard James & Patricia Edwards Christina Flaxel & B. Randall Gregory Flick Ronald Fraback Gail & Kim Frederick Lisa M. Freiley Charles & Kyle Fuchs Don & Judy Fuller Richard & Kristine Gates Paul & Faye Gilbarg Michael & Nancy Graham Gail & Walter Grebe Rick & Susan Gustafson Del Hall Bill & Elaine Hallmark Kregg & Andrea Hanson MJ & Lee Alan Helgerson Paul & Ruth Herrington Jay Howell Ms. Carroll Hutchinson Susan Immer & Larry Juday Christina Isacson Per-Olof Jarnberg & Joan Foley Cecily Johns Susan E. Jossi & Bob Conners Nancy Keystone & Michael Schlitt Mr. Rudy Kohnle & Ms. Krista Larson Kohnstamm Family Foundation Bruce & Cathy Kuehnl Susan Lair & Doug Trobough Bonnie & Mike Leiser Jon & Sheila Levine Elaine & Richard Lycan JS & Robin May Ann Mccabe THE ARMORY


DONOR LIST (CONTINUED) Jim & Maureen McCartin Karen & Brent McCune Jessica McVay Rob & Kate Melton Robert & Violet Metzler Bruce W. Miller Timothy Mott Michael & Susan Mueller Deborah Neft & Salvatore D’Auria Ward & Pamela Nelson David & Anne Noall Susan & Peter Norman John & Carolyn Parchinsky Elizabeth Perris & Beverly Schnabel Jim & Pam Phillips Wallace & Elizabeth Preble Judson Randall Dick & Linda Reedy Drs. Scott & Kay Reichlin Leslie Rennie-Hill & Ken Hill Dr. Mark & Angela Reploeg Tony & Sherryl Reser Dave & Lori Robertson Rebecca Ross Steven & Carol Sandor Aurora WindDancer Peter C. & Jeanette M. Scott Therese Scott Peter Shinbach Virginia Shipman & Richard Kaiser Brad Simmons & Shannon Hart J & C Skuster Kyle & Sophia Spencer Rick & Denyse Stawicki Janice Stewart & Gordon Allen John & Shirley Sutton Dan & Linda Sullivan Dr. Jeffrey & Mrs. Roberta Swanson Beverly Terry Marcia K. Timm Libbi Layton & Lawrence Tamiyasu Kara & Tyler Tatman Paul Tucker & Blake Walter Andrew Tweedie Paul J. Utz & Lory Cogan Utz Lewis & Susan Van Winkle Virginia Vanderbilt & Michael Garrison Dan Volkmer & Frank Dixon Richard Wallace & Patricia White Ms. Shu-Ju Wang & Mr. Mike Coleman Joan & David Weil Dr. & Mrs. Bennett Wight Andrew Wilson Fabian & Julie Yeager

PATRONS ($150–$499)

Anonymous (9) Vanessa Abahashemi Keith & Christine Abernathy Jose Alcarez Philip & Pip Allen Linda C. Anderson Thomas R. Anderson & Joan Montague Mr. & Mrs. John K. Ankeney Nigel & Kerry Arkell



Lee & Lynn Aronson Linda Aso Jean & David Avison Susan Bach & Douglas Egan Mrs. Bernice Bagnall Thayne & Mary Anne Balzer Bill & Donna Baily Gary & Christine Barbour Don & Jo Barney Mr. & Mrs. Peter Barnhisel Diane & Arthur Barry Sidney & Barbara Bass Dawn Bauman Richard Baumann Donald C. & Doris Beard Rob & Sharon Bennett Maggie Bennington-Davis Anita & Clark Blanchard Chris Blattner & Cindy McCann Ms. Catherine Blosser & Mr.Terry Dolan Jeffrey Bluhm Robert E Blum & Carol M. Black Jacquelyn & John Boardman Lynne & Frank Bocarde Brian & Karen Borton Jerry Brask Betty G. Lavis & Charles Brasher Kay Bristow Douglas Browning & Jo Shapland Patsy Bruggere Ms. Kathryn Bussman & Mr. Char Curry Mary Butler Tim & Susan Carey Clay & Carolyn Carter Michael Carter & Teresa Ferrer Jean Carufo & Barb Engelter Sue Caulfield & Mary Mack Brent & Barbara Chalmers Gordon B. Chamberlain Candice & Russ Chapman John & Lou Chapman Tim Chapman Bob & Patty Chestler Susan F. Christensen Rhonda Cohen Bruce & Janis Collins Rick & Jean Collins Lisa & Skip Comer Sonja L. Connor William & Harriet Cormack Jerry & Jean Corn Karen Costello John & Ann Cowger Allen & Sue Craig Marian & Neale Creamer Karen & Ward Cunningham Jill & Tony Daniels Arthur & Winnifred Danner Betty Daschel Sharon Davidson Maureen Sproviero Davis & Kerwin Davis Carolyn DeLany-Reif Duane & Prudence Denney Bill & Brenda Derville Linda & Jerry Dinan Ken & Laura Dobyns Michael Doherty & Daphne Cooluris Steve Dotterrer & Kevin Kraus Mark & Denise Downing Sharon Durant

Julie & Jim Early Janet & Barry Edwards John H. Eft & Darlene Russ-Eft Mary A. & Peter Eisenfeld Kris & R. Thomas Elliott Ed & Marilyn Epstein Jean Erickson Wes Evans & Lou Scorca Sharon Ewing-Fix Sandy Feeny Gil & Ellen Feibleman Renee Ferrera & James Johnson Terry Ferrucci Colleen Finn Sally & Jerry Fish Sherry & Paul Fishman Greg & Susan Fitz-Gerald Mary Flahive & David Finch George H. Fleerlage Steve & Susan Ford Sharon Frank Marc Franklin Terry Franks & Carolyn Duran Jerome & Mary Fulton William & Beverly Galen Susan & Seth Garber Colleen Gekler Merry Gilbertson & Larry Frank Lisa Goldberg Lynn Goldstein Melissa & Robert Good Barbara & Marvin Gordon-Lickey Richard & Janis Gottlieb Patricia & Tim Gray Mr. Mark Greenfield & Jane Hartline Nancy & Ron Gronowski Frank & Margery Guthrie Irv & Gail Handelman Britney & Ryan Hardie Ulrich H. Hardt & Karen Johnson Lynne & John Hart Tom & Jan Harvey Fred & Sara Harwin Mark & Paige Hasson Marcia Hauer & Jeanne Knepper Tom & Verna Hendrickson Sudee & J. Clayton Hering Diane M. Herrmann Gary & Jane Hibler Barbara & Mark Hochgesang Mrs. Beverly Hoeffer & Mrs. Carol Beeston Laurie Holland Barry & Fanny Horowitz Donald & Lynnette Houghton Dr. Hal Howard Patricia G. Howell Dixie & Patrick Huey Nancy Hull & Chris Sproul Kathy & Tom Iberle Tom & Laura Imeson Robina & Tim Ingram-Rich Joanne Jene, M.D. Sonny Jepson & Felice Moskowitz Becky & Jarrett Jones Jack & Farol Kahle Ross Kaplan & Paula Kanarek Rebecca & Gerald Karver Ron & Ruth Katon Franki Keefe Katherine Keene

Jane Kennedy Marion & Bart Kessler Heather Kientz Jim & Lois King Nancy Kingston Frederick Kirchhoff & Ronald Simonis Lucien & Sally Klein Romy Klopper Michael Knebel & Susan Shepard Paul & Sue Knoll Ed & Margaret Kushner Robert & Sally Landauer David Lapof Robert & Nancy Laws Anita Saalfeld Bob & Sally LeFeber Roger & Joy Leo Brian & Chris Lewis Judy & Lloyd Lindley Bob & Debbie Lindow Peter & Janice Linsky Steve Rosenberg & Ellen Lippman Bill Bagnall & Clayton Lloyd Joyce & Stanley Loeb Ralph London Sharon W. & E. Theodore Lukasevich Marvin & Sylvia Lurie John D. Lynch Carol & Charles Mackey Jeanne & Jim Magmer Tim & Barbara Mahoney Caroline Mann Linda & Ken Mantel Mr. Joe Marrone & Ms. Ann Balzell Joe Marrone & Ann Balzell Kenneth & Nancy Martin Mr. & Mrs. Mason Pamela Matheson Anne Matson Kendra Matthews Oscar & Mary Mayer Annie & Dennis McCarthy Betty McDonald & William Hansen Charles McGee & Serilda Summers-McGee Charles & Kathleen McGee Gretchen McLellan Steven McMaster & Kathleen Brock Bart McMullan Jr. & Patricia Dunahugh Gayle & George McMurriaBachik Julia Meck Ruth E. Medak Mariellen Meisel & Steve Glass Peter & Joan Melrose Patty Merrimon Susan Sammons Meyer & Dennis Meyer Frances & Peter Meyers Louis R. Miles Pamela G. & Fred B. Miller Mr. Jay Miller & Ms. Elise Menashe Roger & Karen Miller Michael Mills & Amie Abbott Sherry Mills Tom & Lia Mills

Thomas & Rosemary Mitchell David & Machteld Mok Grant Molsberry & William Apt Brandon Monroe Bridget Montero Douglas & Malinda Moore Jane Moore Clint & Donna Moran Marjory S. Morford Mike & Jan Morgan David Morganstern Laura & Joseph Munoz Fran Nay Bill & Pat Nelson Jeanne Newmark Ann Nickerson Landscape Design Gloria Norton Ron & Janet O’Day Teri Obye Barry D. Olson Eileen & Alfred Ono Juris V. & Silvia Orle Beverly J. Orth Paul & Lynn Otto Lynda Paige Jennifer Peery Jeanne Provost & R. Brian Hough Susan & Milt Parker Gail & Alan Pasternack Janet Peek Steve & Melissa Peterman Francis Peters John M. & Suzy J. Petersen Kevin Phaup Donna Philbrick Mr. Joe Phillippay & Kris Phillippay Sue Pickgrobe & Mike Hoffman Rick Kunz Piniewski Nancy Pitney Jennifer Politsch Michael Ponder & Bea Davis David & Margo Price Christopher Prosser Jay & Barbara Ramaker Michael R. Rankin Richard A. Rawlinson Bonnie &Peter Reagan Helen Richardson & Don S. Hayner George W. & E. Joan Robinson Lucinda Rodgers Charles & Judith Rooks Ted & Holly Ruback Davia & Ted Rubenstein Alise R. Rubin & Wolfgang Dempke Jim & Joanne Ruyle Bunny & Jerry Sadis Linda & Michael Salinsky Lisa Sanman Ron & Vicki Sarazin Lia Saroyan & Michael Knapp Christine & Steven Satterlee John & Stephanie Saven Dianne Sawyer & Richard Petersen Jim Scherzinger & Claire Carder Sheldon & Jean Schiager Martha M. Schostal Michael & Pam Shanahan Karen Sheridan

Ron & Lynn Sherwood Carl R. Shinkle Jonathan Singer Jaymi & Francis Sladen Henrianne Slattery Rodger Sleven & Marcella Flores Richard Smith & Patricia Frobes Charles E. Smith Constance Smith Kimberly Smith-Cupani Neil Soiffer & Carolyn J. Smith George Soule & Maurice Horn Doug Sparks & Casey Bass Mirnie & Mike Stapleton Zach & Vassie Stoumbos Rhonda Studnick Kaiser Ms. Valda Summers & Mr. Tom Phelan Roger & Gale Swanson John & Jan Switzer Amy & Emanuel Tanne Ellen Tappon & Ted Wilson Leif & Marjorie Terdal Jane Thanner & Tim Smith Larie Thomas James & Linda Thomas Grant & Sandra Thurston Robert Todd David Toovy Sandra Teel Trainer Phil & Mimi Underwood Cathy Unis David & Julie Verburg Dawn Vermeulen James N. Stamper & Jennifer P. Villano Mark & Mary Ann Vollbrecht James & Nancy Vondran Drs. Bastian & Barb Wagner George & Marilou Waldmann John N. & Betty K. Walker Nancy Walker & Terry Foty Sheila Walty Michael Weiner & Kathy Davis-Weiner Chris & Jana White JD & D’Alene White Maurice & Lauretta Williams Marjorie & Tom Wilson Callie & Ana Winner Alan Winders Greg Winterowd Don & Jan Wolf Richard & Leslie Wong Linda M. Wood Robert & Vickie Woods Paul Wrigley Jack Wussow & Kyle Adams Russ & Mary Youmans Alan & Janet Zell


IN TRIBUTE Elaine and Mel Ball in honor of our precious and talented granddaughters, Kamilla and Madelen Hrubesova Ginger Carroll in memoriam for J. Michael Carroll Leslie Copland in honor of Richelle Luther John and Jan Emrick in memory of our beloved storyteller and dear friend, Brian Doyle Dr. Hal Howard in memory of Carol Howard Jane and Paul Jacobsen in honor of Betsy Henning Jina Kim in honor of Hyung-Jin Lee and Jina Kim

Ted Austin, Chair Senior Vice President, U.S. Bank Private Wealth Management Betsy Henning, Vice Chair CEO and Founder, AHA! Strategic Communications Brigid Flanigan, Treasurer President, Shamrock Holdings, LLC Steven E. Wynne, Secretary Executive Vice President, Moda Health Mary Boyle, Immediate Past Chair Civic Volunteer Chris Coleman, President Artistic Director, Portland Center Stage at The Armory

TRIBUTE GIFTS Why not try something different? Instead of searching for that perfect gift or struggling over how to acknowledge a special achievement, you can recognize someone with a 100% tax deductible Tribute Gift. We’ll make it even easier for you by specially notifying the appropriate person that a Tribute Gift was made in honor or memoriam and list your gift in the playbill.

Sharon Barnes, Community Volunteer Phil Beyl, President, GBD Architects Sarah J. Crooks, Partner, Perkins Coie LLP Gustavo J. Cruz, Jr., Senior Counsel, Farleigh Wada Witt Kelly K. Douglas, Manager, State Investments LLC Lana Finley, Community Activist Diana Gerding, Community Volunteer Mike Golub, President of Business, Portland Timbers Tasca Gulick, Community Activist Lani Hayward, Executive VP, Creative Strategies, Umpqua Holdings Corp Linda Illig, Retired, Community Volunteer Yuki “Lynne” Johnston, Advocate for the Arts Kevin Kelly, Retired Jim Knoll, President, Knoll Mediation Karen O’Connor Kruse, Partner, Stoel Rives LLP Dedre Marriott, Community Volunteer Charles McGee, President and CEO, Black Parent Initiative Sanjay Mirchandani, President & CEO, Puppet Dana Rasmussen, Retired Dennis Rawlinson, Firm Chair and Partner, Miller Nash Graham & Dunn, LLP Joe Sawicki, Vice President and General Manager, Mentor Graphics, Design-To-Silicon Division Marcy Schwartz, Senior Vice President, CH2M HILL Ann E. Smith Sehdev, Physician, Cascade Pathology Doug Smith, Retired, Senior Vice President, AMEC Tyler Tatman, Finance Controller, Intel Corporation Dave Underriner, Regional Chief Executive, Oregon, Providence Health & Services J. Greg Ness, Director Emeritus, Chairman, President and CEO, Standard Insurance, StanCorp Financial Group Pat Ritz, Director Emeritus, Chairman and CEO, Footwear Specialties International Julie Vigeland, Director Emeritus, Civic Volunteer

If you would like to make a Tribute Gift, please contact 503.445.3744 or

In Memoriam Bob Gerding

Patricia and Peter Medeiros in memory of Joyce Helgerson Richard H. Meeker in honor of Ellen Rosenblum Bridget Montero in honor of Carina Montero Terry and Greg Ness in memory of Ben Whiteley Portland Center Stage at The Armory staff members would like to honor and send our love and support to longtime family members, Pete and Sue Belluschi All of us at The Armory will miss Ben Whiteley; we send our love and support to Elaine Joan Peacock in loving memory of Ben Buckley Julie and Ted Vigeland: The Armory has lost a strong supporter and friend with the passing of Prue Miller Julie and Ted Vigeland in memory of the wonderful years of support by Pete and Mary Mark to Portland Center Stage at The Armory Julie and Ted Vigeland in memory of Ben Whiteley, a supporter, in every sense of the word, of Portland Center Stage at The Armory from its inception. Ben will be missed in so many ways. For us especially, opening nights will not be the same without Ben there.




Umpqua Bank


Sometimes they work. Sometimes they don’t. But none of these actors would be on stage today without taking chances. It’s part of growth, and we’re all made to grow. That’s why we’re such a proud supporter of Portland Center Stage at The Armory. Let this performance inspire you to take the chances that power your own growth.

Enjoy 20% off your pre-theater or

post-theater dinner when presenting your same day theater ticket at


NW 13th at Everett St.

Reservations and the purchase of an entree required for each ticket holder. Each

customer receiving this special promotion must have a valid theater ticket for a same day show on the day of redemption. Must present tickets at the time of purchase. Not valid with any other discounts or promotions, on gift certificate purchases or on wine, beer, or alcoholic beverages.

p o r t l a n d ’ s h o t e l t o th e ar t s


409 SW 11TH AVE PORTLAND | 503.224.3293 | MARKSPENCER.COM 28



Artistic Director | Chris Coleman

ARTISTIC Associate Artistic Director: Rose Riordan Producing Associate: Brandon Woolley Literary Manager: Benjamin Fainstein Company Manager: Will Cotter EDUCATION & COMMUNITY PROGRAMS Education & Community Programs Director: Kelsey Tyler Education & Community Programs Associate: Clara-Liis Hillier Education & Community Programs Coordinator: Eric Werner Resident Teaching Artist: Matthew B. Zrebski ADMINISTRATION & FINANCE Chief Operating Officer: Cynthia Fuhrman General Manager: Creon Thorne Finance Director: Lisa Comer HR Manager: Caitlin Upshaw Accounting Manager: Aurora Sanquilly Accountant: Alan King Executive Assistant & HR Coordinator: Nia Fillo IT Administrator: Chris Beatty Database Administrator: Bob Thomas DEVELOPMENT Development Director: Lisa Sanman Associate Development Director: Jennifer Goldsmith Grants Manager: Marlene A. Montooth Special Events Manager: Kate Bowman Development Associate: Michael Magnes MARKETING & COMMUNICATIONS Director of Marketing & Communications: Cynthia Fuhrman Associate Director of Marketing: Mandy Morgan Public Relations & Publications Manager: Claudie Jean Fisher Marketing & Communications Associate: Alice Hodge Group Sales Coordinator: Liz Brown Graphic Designer: Mikey Mann Multimedia Designer: Kate Szrom Webmaster: Christian Bisgard Production Photographer: Patrick Weishampel PATRON SERVICES Patron Services Manager: Luke Robertson Patron Services Assistant Managers: Klint Keys, Sierra Walker Senior Patron Services Associate: Emily S. Ryan Patron Services Associates: Madelyn Clement, David Harper, Kirstie Opel Sales Associates: Michael Erickson, Jack Ridenour, Mark Woodlief OPERATIONS Operations Manager: Sean Andries Operations Lead: Katie Cronin Operations Assistant: Destry Cloud Custodians: Gregery Lee, Tim Taylor FACILITY & EVENT RENTALS Events & Rentals Manager: Elizabeth Hjort Rentals Assistant: Katie Martens

PRODUCTION Production Manager: Liam Kaas-Lentz Production Coordinator: Lydia Comer Stage Managers, AEA: Kelsey Daye Lutz, Kristen Mun, Mark Tynan, Janine Vanderhoff Stage Management Apprentices: Jordan Affeldt, Katie Nguyen Technical Director: Derek Easton Scene Shop Manager: Seth Chandler Master Carpenter: Nick Foltz Staff Carpenters/Welders: Christian Cheker, Nathan Crosby, Michael Hall, Phil A. Shaw Properties Master: Michael Jones Lead Props Artisan: Rachel Peterson Schmerge Props Artisan: James Tait Scenic Charge Artist: Kate Webb Lead Scenic Painter: Shawn Mallory Scenic Painter: Kiona McAlister Costume Shop Manager: Alex Wren Meadows Cutters/Drapers: Paula Buchert, Eva Steingrueber-Fagan Associate Draper: Larissa Cranmer Costume Crafts Artisan: Barbara Casement Wig Supervisor: Jessica Carr Wardrobe Supervisor: Bonnie Henderson-Winnie Associate Lighting Supervisor & Main Stage Master Electrician: Alexz Eccles Associate Lighting Supervisor & Studio Master Electrician: Em Douglas Assistant Master Electrician: Alex Agnes Resident Sound Designer & Sound/Video Supervisor: Casi Pacilio Sound Engineer & Programmer, U.S. Bank Main Stage: Ryan Chapman Sound Engineer & Programmer, Ellyn Bye Studio: Mitchell Bohanan Deck Manager: Tim McGarry FRONT OF HOUSE Lead Concierge: Miles B. Lewis Concierges: Nsilo Berry, Wynee Hu Volunteer Coordinator: RaChelle Schmidt Lead House Manager: Michael Rocha House Managers: Jenna Barganski, Nhu Nguyen, RaChelle Schmidt Café Manager: Gregory Couper Catering Manager: Logan Starnes Kitchen Supervisor: Erik Sanchez Bar Supervisor: Melissa Larrabee Café Lead: Erin Rubin Food & Beverage Service Staff: Jenna Anderson, Beau Hommel, Lynna Vu


ELECTRICS CREW Liz Carlson Rob Forrester Ian Hale Brett Israel Duncan Lynch Ben Rosenthal Evan Smiley Claire Zaro LEAD A1 MIXER Chad Lee Thymes A1 MIXER Ryan Chapman A2/STAGE SOUND Mitchell Bohanan YOUNG ACTOR MONITORS Nicole Seeley Caitlin Sinclair

SPECIAL THANKS Kate Carroll de Gutes

EVERY BRILLIANT THING COSTUME COORDINATOR Larissa Cranmer ELECTRICS CREW Brett Israel Mike Cino Duncan Lynch Gabe Costales Elisabeth Maiano Rob Forrester Ben Rosenthal Ian Hale SOUND BOARD OPERATOR Mitchel Bohanan Jackson Jordan Fun Home and Every Brilliant Thing cover art by Mikey Mann

Portland Center Stage at The Armory operates under an agreement among the League of Resident Theatres (LORT), Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States, and the Society of Stage Directors and Choreographers. Portland Center Stage at The Armory is a member of LORT, Theatre Communications Group, Portland Business Alliance and Travel Portland. Portland Center Stage at The Armory is a participant in the Audience (R)Evolution Program, funded by the Doris Duke Charitable Foundation and administered by Theatre Communications Group, the national organization for the professional not-for-profit American theater.


Office Assistants Chair: Connie Guist Entertainers Chair: Jo McGeorge Supporting Cast Chair: Karen Watson

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




PORTLAND CENTER STAGE AT THE ARMORY Based on Alison Bechdel’s witty and wistful illustrated autobiography of the same name, the Tony Award-winning musical Fun Home ushers us inside Alison’s head—at three different ages— as she struggles to process the chain of childhood events that made her the adult she is today. Growing up in a funeral home as the closeted lesbian daughter of a father with secrets of his own was complicated. But by looking back on her family life and remembering all the loving, silly, and even shameful moments, she learns to see her parents—and herself—for who they really are. SEPTEMBER 16–OCTOBER 22, 2017; PORTLAND CENTER STAGE AT THE ARMORY, U.S. BANK MAIN STAGE


PORTLAND CENTER STAGE AT THE ARMORY A kid makes a list for his mom. A list of everything worth living for in the world. He needs her to read the list so she doesn’t try to leave the world again. As the kid grows up and experiences more life, more love, and more loss, his list of every brilliant thing gets longer and more vital with each addition. Duncan Macmillan’s play shines hilarious and compassionate light in dark corners of the human condition, and the way in which the creators have constructed the performance is refreshingly theatrical. A reminder that hope is never truly lost, and a testament to the healing power of storytelling. SEPTEMBER 23–NOVEMBER 5, 2017; PORTLAND CENTER STAGE AT THE ARMORY, ELLYN BYE STUDIO


ARTISTS REPERTORY THEATRE An Octoroon is a raucously irreverent riff off a 19th century hit melodrama set on a Louisiana plantation. Branden Jacobs-Jenkins offers a brazen and metatheatrical experience that twists a world of larger-than-life stereotypes into blistering social commentary. It’s a hilarious and gasp-inducing satire from one of America’s most thrilling writers. A winner of the 2014 OBIE Award for Best New Play from a MacArthur Fellowship-winning playwright. SEPTEMBER 3–OCTOBER 1, 2017; ALDER STAGE


ARTISTS REPERTORY THEATRE Ripped from today’s headlines and breaking the theatrical mold, artist Lin Bo’s work, Qín (Caught), presents a sly philosophical puzzle that investigates the murky intersections of fact and fiction in the crafting of art and news. The show features Lin, a dissident visual, performance and conceptual artist, whose piece Shìwei (Rally) led to his arrest and two-year detention by the Chinese government in 2012. After his release, Lin






moved to San Francisco and launched a traveling exhibition of his work to Vancouver B.C., Tacoma, Portland, Las Vegas, and Minneapolis. In each city, Lin is partnering with theater companies rather than traditional gallery spaces; in Portland, Artists Rep is hosting the exhibit. OCTOBER 1–29; MORRISON STAGE


OREGON SYMPHONY Ludwig van Beethoven’s only violin concerto is truly iconoclastic, and it shattered conventional notions of what an early Romantic concerto could be. Instead of using the concerto as a vehicle to show off the soloist’s technique, Beethoven recreated the genre, giving the soloist plenty of opportunities to display their talents with music full of depth and innovation. SEPTEMBER 23–25,2017; ARLENE SCHNITZER CONCERT HALL


OREGON BALLET THEATRE The program begins with a world premiere set to George Gershwin’s brilliant Rhapsody in Blue. Nicolo Fonte and Thomas Lauderdale reconstruct Gershwin’s pulsating score to produce an arrangement that enthralls. Discover nuances punctuated visually by the lush, vibrant choreography that Fonte is known for the world over. In a coup for OBT, Lauderdale and Hunter Noack bring the score to life at every performance. Next on the bill is the highly anticipated reprise of 2014’s audience favorite, Never Stop Falling (in Love). The 40-minute work, set to your favorite songs performed live onstage by China Forbes and Pink Martini, carves a theatrical arc in which we experience seduction, playful flirtation, egodriven displays of virility, mystery, and heartache. Pink Martini’s trademark combination of joyful celebration and great beats permeates the entire auditorium in an explosive finale…which underlines the basic message of the work: Never Stop Falling (In Love)! OCTOBER 7–14,2017; KELLER AUDITORIUM


OREGON SYMPHONY A spectacular Oregon Symphony tribute to powerhouse Led Zeppelin, with the help of a blazing hot rock band and vocalist Randy Jackson! Rock out to classic hits like Heartbreaker, Whole Lotta Love, and Stairway to Heaven. Conducted by Brent Havens. SEPTEMBER 30, 2017; ARLENE SCHNITZER CONCERT HALL


OREGON SYMPHONY Singer-songwriter Amos Lee joins the Oregon Symphony for songs from his latest album, Spirit. Marrying modern rhythms with classic instrumentation, the self-produced album was inspired by Lee’s recent collaborations with orchestras,




and may just be his biggest creative leap yet. Norman Huynh will conduct. OCTOBER 3, 2017; ARLENE SCHNITZER CONCERT HALL


OREGON SYMPHONY Legendary entertainer Paul Anka performs his timeless favorites—the love anthems for an entire generation—that will have today’s audience swooning. Diana, You Are My Destiny, Put Your Head on My Shoulder, and so many more. The Oregon Symphony does not perform. OCTOBER 4, 2017; ARLENE SCHNITZER CONCERT HALL


OREGON SYMPHONY Cars fly, trees fight back, and monsters are on the loose in Harry’s second year at Hogwarts™ School of Witchcraft and Wizardry! This concert features the film Harry Potter and the Chamber of Secrets™ in high-definition on a giant screen, while the Oregon Symphony orchestra performs John Williams’ unforgettable score. Relive every magical moment as the music brings life to a story that has bewitched the world. OCTOBER 7–8, 2017; ARLENE SCHNITZER CONCERT HALL


OREGON SYMPHONY Shostakovich’s most popular symphony, created when he and his country were under extreme duress, is one of the most soulful and gripping symphonies of all time. Add Saint-Saëns’ cello concerto performed by one of the finest young cellists today, and you’ve got an evening that will be long remembered. OCTOBER 14–16, 2017; ARLENE SCHNITZER CONCERT HALL


PORTLAND OPEN STUDIOS The 2017–18 season marks Portland Open Studios’ 19th year of connecting people with artists and their processes. Their signature event, the Portland Open Studios Tour, is Portland’s premier, largest, and only juried self-guided studio tour and gives art enthusiasts access to a wide variety of artists’ works and the studios in which they bring their visions to life. A blind jury of three arts professionals selects participants from a wide pool of applicants based on three submissions per artist, ensuring that the event is new every year and includes both seasoned local artists and hobbyists with little experience showing their work. OCTOBER 14–15 & 21–22, 2017; VARIOUS LOCATIONS (VISIT PORTLANDOPENSTUDIOS.COM FOR MORE INFO)


OREGON SYMPHONY A live concert journey into the soul of American music with William Bell, Charlie Musselwhite, Bobby Rush, Frayser Boy, Al Kapone, the Hi Rhythm Section, and the Stax Alumni Band. OCTOBER 18, 2017; ARLENE SCHNITZER CONCERT HALL


PORTLAND CENTER STAGE AT THE ARMORY A complete send-up of the holiday classic, this adult comedy is adorned with the improvisational genius of the legendary comedy troupe The Second City. Twist includes zany holiday sketches and uproarious improv based on audience participation—it’s never the same show twice! Twist has become a Portland holiday favorite and returns for 2017 after hit runs at The Kennedy Center in Washington D.C. and Goodman Theatre in Chicago. By Peter Gwinn and Bobby Mort. Directed by Rob West. DECEMBER 5–31, 2017; PORTLAND CENTER STAGE AT THE ARMORY, U.S. BANK MAIN STAGE


NW DANCE PROJECT NW Dance Project season begins on the edge, premiering new works from 2016 Pretty Creatives International Choreographic Competition Winner, Luca Signoretti, and award-winning Canadian choreographer, Wen Wei Wang. The evening also marks the return of Jirí Pokorný’s At Some Hour You Return (2014), a work they have proudly toured and performed around the world, most recently at the incredible Jacob’s Pillow Dance Festival. OCTOBER 19–21, 2017; LINCOLN PERFORMANCE HALL, PSU


OREGON SYMPHONY A Halloween Pops spectacular with the Magic Circle Theatre Company and a costumed Oregon Symphony! Every Halloween the “phantoms of the orchestra” return to haunt the concert hall. Jeff Tyzik and his terrified assistant must use the power of the baton to control this ghoulish orchestra. Fun for the whole family! OCTOBER 21–22, 2017; ARLENE SCHNITZER CONCERT HALL


Craig Cackowski as Scrooge. Photo by Patrick Weishampel.

PORTLAND SYMPHONIC GIRLCHOIR Enjoy this family-friendly pre-Halloween spectacle where the room fills with energy and melodic voices. This collaboration is the perfect setting to usher in the fall festivities. Featuring Portland Columbia Symphony Orchestra and special guests Debut Choir and Encore Singers. OCTOBER 22, 2017; PARKROSE HIGH SCHOOL


OREGON SYMPHONY Mozart’s momentous final symphony, nicknamed “Jupiter” for a grandeur and exuberance unlike any symphony previously written, is paired with Barber’s stunning piano concerto performed by the incomparable Garrick Ohlsson. A world premiere from British composer Mark-Anthony Turnage rounds out the program. OCTOBER 28–30, 2017; ARLENE SCHNITZER CONCERT HALL










The prolific actor and singer gives a wide-ranging interview in advance of her highly anticipated performance at Portland Opera’s Baroque Ball Gala.



Portland Opera brings superstar talent to Portland



Talks all things PAM as the Museum turns 125


Argyle gives PNCA students a chance to shine

57 RENEWED RECOGNITION The Governor’s Arts Awards are back


O C TO B ER | SEP T E MB ER 2017

61 WHO IS DMAE ROBERTS? The big voice of KBOO





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On behalf of the entire Artslandia team, I wish to extend our sincerest congratulations to Portland Center Stage at the Armory on their 30th anniversary!


With impressive finesse and style, Portland Center Stage has elevated the prestige of the arts in Portland to national prominence. Over the past three decades the company has become both an icon and an anchor of our city. Their restoration of a beloved building transformed it into a place for our community to gather in laughter, tears, meditation, rage, and love. I am eternally grateful for their visionary leaders and staff, whose generosity in collaboration has been immeasurable to my own endeavors. Artistic Director Chris Coleman’s influence has furthered the progress and thinking of our arts community, making an actual difference in the cultural landscape. And, there is no one more respected in the arts community than Chief Operating Officer Cynthia Fuhrman. She is a light toward which we all gravitate. Be proud, friends. You have done amazing things. .

30 th


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Forgive me, but I have occasionally thought, laughing mood, are we? And we don’t seem in the past, that the programming part ready for verities, either, I’m afraid. Sleep aids and antidepressants, maybe, but not of the artistic director’s job was easy as the wisdom of Marcus Aurelius. pie. Child’s play, really. You spend a couple of days on Twitter or Facebook, take the temperature of the culture, riffle through “Waste no more time arguing about what a good [person] should be. Be one.” the cultural material at your disposal, and choose something that offers consolation, But, Marcus, shouldn’t a good person argue diversion, or explanation to your audience— with the ethically depraved in an attempt to depending on what temperature (and other lead them to a more balanced state? Isn’t symptoms) the culture was manifesting. that why Twitter was invented? Now, we And if you couldn’t find anything that fit can argue with 50 people at the same time, the budget or seemed truly germane, you if not 500, 5000, 50,000… I worry about could commission something affordable the verities sometimes. and appropriate. It wouldn’t really matter if you offered classical verities when some good, old-fashioned, slapstick comedy might do better, as long as you could make the case for those verities in the curtain speech and the advertisements. In practice, I fear I’d veer reflexively toward comedy. In bad times, everyone needs a laugh, and in good times, they are relaxed enough to pass beyond the twitter or the snort and reach the belly laugh. A laughing audience is always good for business and maybe not so prone the next day to enter the public arena with a snarl at the ready—or maybe something worse. These days, I’m not envying the artistic director. Not a bit. Not when we in the audience are constantly checking our devices for the latest twist in the Russia scandal. Or the flood in Houston (or Niger or Mumbai). Or the giant icebergs breaking off of Antarctica. Or the latest neo-Nazi outrage against anyone who isn’t a neo-Nazi. Or rumors of war with North Korea, Iran, or… NATO? Really? It’s been that way all summer. And before that. We’re not in a


Beneath the rancid headlines streaming from a toxic environment, a set of moral and social problems lurk. They elude our politics, which these days make them worse, it seems, but they don’t elude our arts. Not even questions about what makes a person good. Our books, plays, art exhibitions, concerts, dances, films—they often address the question of goodness. What does a good man do? Maybe live a life a lot like the one architect John Yeon lived, which the Portland Art Museum’s show this summer brought back to life. Theater is perfect for posing and engaging those moral dilemmas (unlike Hollywood, which defaults to “revenge” as the answer for everything). I’m looking over the next couple of months of theater opening in the city, and though I doubt they will “solve” our national problems, I’m confident they will sharpen our moral wits. Theater does that in the process of absorbing our attention. Maybe you aren’t laughing or nodding sagely at the end, but you are better able to find the stuff that matters in the contentious times that engulf us and discard the chaff and empty rhetoric.



Maybe a quick rundown of a few of the meaty fall’s shows that you’ll be able to share with family members with whom you don’t dare talk politics? An Octoroon, Artists Repertory Theatre: Branden Jacobs-Jenkins’ dark comedy (or is it a comic tragedy?) skewers and mourns the American experience with slavery and race. Through October 1, 2017. Fun Home, Portland Center Stage at the Armory: Based on a graphic autobiography by Alison Bechdel, this play explores the coming of age of young woman, who gradually comes to understand her sexual preferences and some other family dynamics. September 16–October 22, 2017. The Events, Third Rail Repertory Theatre: David Greig’s play is perfect for this column—how the survivor of a mass shooting deals with the hate while receiving consolation a comArtslandia: half-page (7.0625from x 4.75) munity choir. October 27–November 18, 2017.

Runs: Sep-Oct

Theater does that in the process of absorbing our attention. Maybe you aren’t laughing or nodding sagely at the end, but you are better able to find the stuff that matters in the contentious times that engulf us. Water by the Spoonful and The Happiest Song Plays Last, Profile Theatre: Playwright Quiara Alegría Hudes has a written a series of plays inspired by the experience of her cousin, an Iraq War veteran, and how those experiences play out inside a family and in the community. November 1–19, 2017. Mojada: a Medea in Los Angeles, Portland Center Stage at the Armory: Luis Alfaro sets the tragedy of Euripides inside the Mexican immigrant community of Los Angeles and packs it with raw feeling and social commentary. November 4–26, 2017.

That’s just to get you started. To paraphrase philosopher and social critic John Dewey, the culture establishes the conditions for a free and democratic politics—or it doesn’t. As Dewey wrote, “political institutions are an effect, not a cause.” I think more and more artistic directors are taking responsibility for their contributions to the culture, for helping to amplify the ideas and feelings that are creative, regenerative for a democratic society. And yes, that’s hard work. Cheers to those who undertake it! .




h t e w o n e h C rK istin

quote…unquote. Interview by Barry Johnson

CLASSICALLY TRAINED as a coloratura soprano, Kristin Chenoweth holds a masters degree in opera performance from Oklahoma City University. Her career spans film, television, voiceover, and stage. In 2015, Chenoweth received a coveted star on the Hollywood Walk of Fame. In 2009, she received an Emmy Award for Best Supporting Actress in a Comedy Series for her role in Pushing Daises. In 1999, she won a Tony Award for You’re A Good Man, Charlie Brown, and she was also nominated for her original role of Glinda the Good Witch in Wicked in 2004. She earned a Drama Desk Award, Outer Critics Circle Award, and Audience Choice Award for her lead role in the Roundabout Theatre Company’s On the Twentieth Century, and has performed to sold-out audiences across the world, including performances at Carnegie Hall and Royal Albert Hall.

Photo: IMG.

Chenoweth has been nominated for two Emmy Awards and a People’s Choice Award for her role on Glee. Other notable television roles include appearances in The West Wing, Disney’s Descendants, and The Muppets. She also starred in NBC’s Hairspray Live! as Velma Von Tussle in December 2016. Last year, Chenoweth released The Art of Elegance, her first album of Great American Songbook classics, via Concord Records. The album debuted at No. 1 on Billboard’s Jazz and Traditional Jazz charts. Chenoweth has various projects coming up, such as the animated films My Little Pony: The Movie and The Star. She can also be seen in the Starz original series American Gods, where she has reunited with Executive Producer Bryan Fuller in the role of Easter.



B: On top of your work in film, TV, theater, and recording in the studio, you also make time to be a true champion for the arts through the Broken Arrow Performing Arts Center Foundation and other community initiatives, including the Opera Gala this September. Why do you think the arts matter in our communities, and why do you think we should support opera?

BARRY: This year’s been so exciting for your fans with Hairspray Live!; the release and national tour of your latest album, The Art of Elegance; filming American Gods and The Star. You work with HSN, along with numerous other projects. It feels like you are doing everything. What keeps you inspired, and how do you find the energy to shine in each of these projects? KRISTIN: I guess the main key, for me, is to really watch my health. I try to get as much sleep as possible, which isn’t always amenable with my schedule. But I try to get naps, even on planes. I think hydrating is incredibly important. And using time, when I have it to myself, to listen to music or read—things that calm me so that I can keep my mind and spirit open and ready to go in any art form.

K: My teacher and mentor at Oklahoma City University, Ms. Birdwell, is truly the one I should credit for opening my voice and my mind to other styles, especially operatically. Vocally, it was there. I had always sang in church and country music growing up in Oklahoma. It was at OCU that I discovered, “Oh! This high F is there.” And she explained to me that I was a coloratura. It just went from there. I began to open my mind and learned all kinds of different repertoire.

K: Well, opera is an art form that needs to keep not just repeating itself, but also be new. That’s the way we look at musical theater. If you’re going to do a revival of Promises, Promises or Hello, Dolly! or How to Succeed in Business Without Really Trying, you want to make sure you put your stamp on it. I feel the same way about opera. That’s why I love hearing opera directors rethinking a new way to do The Magic Flute, for example. Young singers: this is where you cut your teeth; this is how you learn technique. This is just the basics. Any opera in your rep should be on the ready all the time. It’s a great technical tool as you continue on with your career. Now, we are lucky that we have composers who are writing for young singers and also companies who are commissioning new works. So anytime that you can already have something that’s been written and learned, do it. Because there will be

B: Your Art of Elegance album is truly beautiful. Tell us about the initial creative vision that led to that album. K: My producer, Steve Tyrell, asked me what kind of album I wanted to make. I wasn’t sure, so we spent a few days making lists, and the lists kept coming down to standard classic music. And that kind of helped me make my decision. Then, of course, cutting down the songs to what you hear now was really hard. I almost wanna do a part two, because there are so many songs to sing. B: We are so excited about your performance for Portland Opera’s Gala. What moved you to pursue an advanced degree in opera, and how does that background inform your other work? What speaks to you about the art form? Do you have a favorite opera?



One of my first roles was Adele in Die Fledermaus [as a] freshman at OCU, and from that point on, I just played a lot of very fun roles as a young singer, young soprano. I know many people don’t consider this a…quote-unquote opera, but I do believe that Leonard Bernstein’s Candide falls into the same category. Cunégonde (with the New York City Philharmonic for PBS) remains my favorite of any role I’ve played. And for sure, I’m going to say that the lead in Tales of Hoffmann is a dream role that I always wanted to play. Another is Marie in Donizetti’s Daughter of the Regiment. I really wish I could’ve gone back in time and played that. I have many favorite operas, but La Traviata is always good for me.

new stuff to come and add to your rep, and you’ll want to make room for all of it. B: Is there anything that you’d like to share with Portland audiences and your many fans here? K: Just that I can’t wait to come back and enjoy the city. People have always been kind there to me when I come on tour. And that— whether you’re an opera-lover or musical theater-lover or R&B-lover, soul, country— good music is good music, and it should all be celebrated, especially at a time when arts programs are being pulled from schools. This is the time when we play our instruments, when we sing and celebrate music. .

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The Director and Chief Curator of the Portland Art Museum shares his deep thoughts on the Museum’s trajectory.


THE PORTLAND ART MUSEUM, the oldest art museum on the West Coast and one of the oldest in the country, is celebrating its 125th anniversary this year. Seven wealthy, local businessmen and politicians created the Portland Art Association in 1892 to bring art to the masses. Portlanders will find some of the founder’s names familiar, as they figure in other Portland landmarks: Corbett, Failing, Ladd, and Ayer. It took three years to materialize, but in 1895, the group opened a museum in the old library building at Southwest Seventh (now Broadway) and Oak. Technically, the Museum could celebrate another 125th anniversary in 2020, but that might get confusing.

seum and the School’s first Principal) brought to the Museum pieces from the revolutionary Armory Show in New York that ushered in the dawn of modern art in America.

The Museum’s history is fascinating, filled with forward-thinking decisions by strong leaders, mostly women in the early days. A prime example was the opening of the Museum’s visionary Art School in 1909. In 1913, Artist Anna Belle Crocker (who was both the Director of the Mu-

Ferriso, who is in his 12th year as Director of the Museum, has just finished up his term as President of the Association of Art Museum Directors. That has connected him to the concerns of museums, large and small, across the country. And they are all trying to figure out whether and


But Brian Ferriso, the Director and Chief Curator of the museum today, isn’t interested in talking about the history, except as a way to think about the present and the future. That’s understandable: Sure, the past is full of good ideas, but it also comes equipped with a long menu of mistakes and missed opportunities. An anniversary isn’t the time to get too analytical. “I think for the staff and for myself,” says Ferriso, “this is a moment to touch on that history and then really think deeply about the future.”

how to adjust to the changes in the culture. Given the intensity of the culture war that has revisited us,“changes” here sounds like a euphemism, no? Ferriso, however, doesn’t hesitate to jump in the middle of that combat by asking: Who is the Portland Art Museum for? The heirs of the seven wealthy white men who started the Portland Art Association? Or should it reflect, somehow, the city and state as a whole and its position in the American West and the Pacific Rim? “We’re really expanding our reach into the community,” Ferriso said. “How do we reach those audiences that do not come across the river or beyond the freeway? It’s not a very simple equation. It involves what you show, who you hire, who is on your board, who is funding you, your outreach strategies, and your connections to key stakeholders and communities. I’ve learned that change happens one by one by one, and slowly it adds up to something that is real and sustainable.” The Museum’s exhibition schedule is the clearest indication of the shift. Constructing Identity, an important selection of work by African-American artists in the Petrucci Family Foundation collection, has been a central part of the Museum’s 2017 calendar, and an exhibition of work by African-American Portland artist Arvie Smith extended into the beginning of the year. Last year’s schedule included work by pop artist Corita Kent and a show built around Five Buddhas, a painting stolen from a Korean Zen temple, brought to Portland, and finally repatriated after its history was discovered. Collections of Salish tribe weaving, Japanese children’s kimono, and contemporary Native American fashion further rounded out the broad array of offerings. But it’s not just the exhibitions. “I’ve come to the conclusion that the Museum is about programming,” Ferriso said. “We really invest in programmatic elements—exhibitions, public programs, educational moments—and weaving them together in a very dynamic way.” For Constructing Identity, he said, “a show of a lot of lesser-known artists and a few high-profile names,” the Museum organized more than 50 programs, “which changed the dynamic of that entire moment. I think that’s the future.”

before. And it’s because—as Mickalene has said—there’s a person I can identify with and an artist I can identify with on the wall. And in many ways, it launched her career. Today, Mickalene is highly celebrated.” She moved to New York, enrolled at the Pratt Institute, and is now best known for her paintings, photographs, film, and video art exploring identity, sexuality, Blackness, pop culture, and her relation to the dominant culture. Not everyone who sees an exhibition becomes a famous artist, of course, but as Ferriso said, it’s one by one by one: the effects of art become apparent over time, in different ways. In 1995, around the same time that Thomas saw her first Weems photographs, the Museum hosted the Imperial Tombs of China exhibition, the first major exhibition during the late John Buchanan’s tenure as Director of the Art Museum. Thanks to a significant marketing effort mounted by Buchanan and his wife Lucy, the show attracted more than 400,000 visitors and helped the city understand its place on the Pacific Rim. And Ferriso thinks it did more than that. “People who were civic leaders who might not love art but love their city—they are business, cultural, educational leaders— started to realize that the Museum was an important ingredient for our city. So someone like Pete Mark [Melvin “Pete” Mark, the real estate executive and philanthropist who died in June] becomes attached to the Museum because he could see the power of the cultural anchor in Downtown. You’d talk to Pete, and he would say, ‘It’s not about the art, it’s about a great city.’”


Episodes from the Museum’s history help explain the importance of showing art outside the traditional Western canon. In the 1990s, legendary museum photography curator Terry Toedtemeier purchased a significant early series of photographs by Carrie Mae Weems, the Kitchen Table Series, a set of images constructed by Weems that depicted ordinary life in an African-American household and the way that ordinary life has of becoming dramatic, comic, or telling. In 1994, Toedtemeier showed them at the Museum in a small retrospective of Weems’ work, There, Mickalene Thomas encountered the photographs. Thomas had moved to Portland in the mid-1980s from New Jersey, working as a barista and going to school. Ferriso picks up the story: “Mickalene wanders into the Art Museum and stumbles across Carrie Mae Weems’ Kitchen Table Series and says this is something I’ve never seen

The Museum has also begun to acknowledge other elements of a great city with recent and upcoming exhibitions that are more about other institutions and cultural achievements than about fine art. The recently concluded Quest for Beauty: The Architecture, Landscapes, and Collections of John Yeon showed Portlanders the wide-ranging the gifts of architect John Yeon, for example. And looking ahead, the Museum and its film division, the Northwest Film Center, will celebrate LAIKA, the local animation studio responsible for the achingly beautiful Kubo and the Two Strings, most recently. In Animating Life: The Art, Science, and Wonder of LAIKA, visitors will encounter photography, video clips, and physical artwork from the studio’s movies, which have done pioneering work in the meticulous stop-action animation process. The future of the Museum involves connecting more directly and deeply to the city’s various cultural communities. But it also will involve connecting the pieces of the Museum’s campus. “One of the things I’ve heard over and over during my time here is complaints from people who get lost and can’t find restrooms or the elevators,” Ferriso says. “It’s an issue.” The Rothko Pavilion is intended to solve that problem. “We haven’t completed the project yet—we’re at about $30 million towards a $50 million capital goal. We have some things to work on, but we’ll get there. I want to make sure it’s done a way that people will really celebrate and remember as a big moment in our history.”



pavilion will likely close down night pedestrian passage from Southwest 10th Avenue to the South Park Blocks through the existing plaza, but it should help the hundreds of thousands of visitors negotiate the labyrinthine halls of the Museum. And it marks a partnership with the family of abstract expressionist pioneer Mark Rothko, who took art classes at the Portland Art Museum as a teenager before heading to New York where he gained fame and fortune. The family has agreed to share major paintings from the family collection with the Art Museum during the next 20 years.

PEOPLE WHO WERE CIVIC LEADERS WHO MIGHT NOT LOVE ART BUT LOVE THEIR CITY— THEY ARE BUSINESS, CULTURAL, EDUCATIONAL LEADERS— STARTED TO REALIZE THAT THE MUSEUM WAS AN IMPORTANT INGREDIENT FOR OUR CITY. The pavilion will connect three different parts of the Museum: the original building, the Ayer Wing, designed by Pietro Belluschi and completed in 1932; the Hoff man Wing, completed in 1970 to house the Museum Art School, among other things; and to their north, separated by a large plaza and sculpture garden, the Mark Building, a Masonic temple purchased in 1992 and opened in 1994. That space will hold the Rothko Pavilion, which will become the main entrance to the Museum and connect the various wings to each other in a much more direct way. The three-story, glass-walled



The pavilion will include almost 10,000 new square feet of gallery space, a new education and design lab, and new library space. A third-floor sculpture garden and rooftop deck are also part of the plan. Ferriso said that critics of the pavilion’s design (by Vinci Hamp Architects) compare it to an Apple Store, but that

doesn’t faze him. After all, he once worked at the Newark Museum in New Jersey, which founder John Cotton Dana famously compared to a department store: something to use, “not precious little boxes to hold objects,” in Ferriso’s words. “You go to an Apple Store, and it’s become a community center, a place for engagement,” Ferriso observed. “It’s become a magnet, a place for conversation. Are there things we can learn from that? Absolutely. And so, Dana’s thinking of how other industries or areas can help [museums] understand a pathway forward is thoughtful. Starbucks has influenced how museums function as well.” Ferriso continued: “I think my team is always about one foot in the past, one foot forward. I never want to abandon the past. I want to use the past for a meaningful future and not just create a repository...a box to preserve the past. It has to be put to use in a respectful way.” Ultimately, the future of the museum in American cities is subordinate to the future of the culture as a whole, a culture increasingly overwhelmed by digital technology. Ferriso is optimistic about how that will turn out, both for the culture and the Museum. ‘The town square, the Italian piazza— these are places that have taken on even more meaning in our lives as the digital age has shaped our interactions,” he pointed out. “What are those places and spaces that can facilitate human interaction in the best ways—community, pride, dialogue. I think the Museum is a place to reassert that, which is so precious to so many in our society, and it’s a matter of making sure we can still unlock it or introduce it.” For the Portland Art Museum, survival is dependent on playing a role for as many people as possible. “I like the word ‘democratic,’” he said. “Because we’re not a wealthy institution, we have to be democratic.” He later added: “To me, that is a core value...a museum that is democratic, is responsive.” Ferriso said when he came to Portland, he didn’t think he’d be here this long but can now see himself retiring here. “It’s a special place,” he said. “I think the most successful museums are where the leadership digs in. They have a long trajectory in their thinking about the place. And there are incredible amounts of patience and thoughtfulness. I think we’re on that track. I’m on my 12th year, and I’m thinking about the Museum as...I’m just getting started. And that’s pretty exciting.” .

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Sparkling ART OF




Top Left, Bottom Left, and Top Right: Photos courtesy of Argyle Winery. Rest: Photos by Argyle Winery/Greg Kozawa.

YOU HAVE PROBABLY had the experience of standing dumbfounded in front of vast shelves of wine, overwhelmed by the multitudinous options. But have you ever considered the creative processes that guided those bottles to those shelves, wrapped in the carefully chosen, colorful designs before you? Argyle Winery’s Art of Sparkling program combines the creative genius of students at the Pacific Northwest College of Art with the intricacy of the wine company’s production process. Argyle gains beautiful, unique labels to adorn their product, and in return, student artists receive financial aid to continue their artistic endeavors and develop their abilities. From a pool of dozens of applicants, a few selected individuals participate in an in-depth, behind-the-scenes exploration of the science and history behind Argyle Winery. Students tour the grounds in Dundee, Oregon, which comprise Knudsen Vineyards, Lone Star Vineyard, Spirit Hill Vineyard, and Argyle’s Tasting House. Inspired by the winery’s landscape, history, and values, the students have several weeks and creative freedom to produce an illustration that is both aesthetically remarkable and imbued with cultural significance. Argyle then features the chosen works on labels for a custom series of Vintage Brut.

The $5,000 grant is one of 40 scholarships and prizes available to students enrolled in PNCA’s Bachelor of Fine Arts program. However, some participants consider the opportunity alone priceless; Lindsay Walker, one of the Fall 2016 winners, shared that, in addition to adding to one’s portfolio, the project legitimizes students’ artistic endeavors and demonstrates that their art has tangible value in the market.

This year’s Argyle scholarship winners are Damien Dawahare (left), a printmaker and design student pursuing a degree in communication design; Madison Camcam (middle) a painter pursuing a Bachelor of Fine Art; and Catherine Ross (right), a performance artist, painter and printmaker also pursuing a Bachelor of Fine Art.

Art of Sparkling was a work-in-progress for five years before launching in fall of 2016. Argyle Winery has vehemently worked to support the arts in local communities, embarking on collaborations with organizations such as Portland Center Stage, Portland Jazz Festival, and Portland Opera. In 2017, Argyle celebrated its 30th year in farming vineyards, winemaking, and establishing relationships all along the Willamette Valley. The limited edition, custom-packaged Art of Sparkling set includes three bottles of Argyle Vintage Brut, each on bearing an illustration by one of the three selected artists and accompanied by artists’ profiles. They are available at Argyle’s Tasting House and online. . SEPTEMBER | OCTOBER 2017


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Esther Stutzman.

Arvie Smith.


Governor Kate Brown ushers in a new age of appreciation for the arts with the return of the Governor’s Arts Awards after a 10-year hiatus.

Good news from the state capitol in Salem: After a decade-long disappearing act that began when the state and national economies cratered, the Governor’s Arts Awards have returned. Gov. Kate Brown’s office has announced that the revived awards, which also coincide with the 50th anniversary of the Oregon Arts Commission, will go to two individual artists and three organizations. Longtime Portland painter ARVIE SMITH and Yoncalla storyteller ESTHER STUTZMAN are being honored with lifetime achievement awards. Pendleton’s innovative CROW’S SHADOW INSTITUTE OF THE ARTS, PORTLAND OPERA, and the JAMES F. AND MARION L. MILLER FOUNDATION are also being honored.

Bright, physical, confrontational, and seductive, Smith’s rich and often satirically infused paintings are steeped in the history of race and African-American culture. A professor emeritus of painting at Pacific Northwest College of Art, he lived as a child in the South with his grandparents and great-grandmother, who was born a slave, before moving as a teenager to South Central Los Angeles and Watts. A provocative and highly successful showing of his large paintings, including the 1992 lynching scene Strange Fruit that seemed to anticipate the current rise of white supremacy and the Ku Klux Klan, ran for several months in 2016–17 at the Portland Art Museum as part of its APEX series of contemporary work.

James Lavadour’s This Good Land (Suite of two four-color lithographs, each: 30x39.5 inches, total: 60x39.5 inches, edition of 20; Crow’s Shadow Institute of the Arts).

Wendy Red Star’s Yakima or Yakama—Not for Me To Say.



Arvie Smith’s Strange Fruit (1992, oil on canvas, 92x70 inches, collection of the artist).

Stutzman, of Kalapuya and Coos heritage and an enrolled member of the Confederated Tribes of Siletz Indians, has been retelling the stories she learned from her grandmothers to school groups and elsewhere for more than 50 years. She is the primary storyteller for Mother Earth’s Children, an American Indian theater group that has performed for school groups and organizations throughout Oregon for the past 42 years.


The Miller Foundation, founded in 2002, has been a prime mover in nurturing arts and education programs throughout Oregon, providing financial and structural assistance to nonprofit and school organizations. Portland Opera, which was founded in 1964, presents both grand-scale and more intimate productions. It also has an active education and community outreach wing, including its touring POGO (Portland Opera to Go) program that performs for more than 12,000 children each year.

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And Crow’s Shadow, which was co-founded by artist James Lavadour 25 years ago on the Umatilla Reservation outside of Pendleton, has developed a national reputation for its printmaking workshops and residencies, while also providing economic and artistic

NOT ONLY DO THE ARTS ENRICH OUR QUALITY OF LIFE AND LOCAL ECONOMIES, ARTS EDUCATION IS KEY TO FOSTERING A SPIRIT OF CREATIVITY AND INNOVATION IN OUR YOUTH. development for Native American artists. Many prominent artists from the Pacific Northwest and elsewhere have produced have produced series of prints during Crow’s Shadow residencies. The Hallie Ford Museum of Art in Salem is hosting a major retrospective exhibit, Crow’s Shadow Institute of the Arts at 25, Sept. 16–Dec. 22, 2017. The Governor’s Arts Awards program was established in 1977, under Gov. Robert Straub. Before this year’s winners, the most recent honors were presented in 2007 by then-Gov. Ted Kulongoski. It’s now time, Gov. Brown suggested, to bring them back. “Not only do the arts enrich our quality of life and local economies,” she said in a prepared statement, “arts education is key to fostering a spirit of creativity and innovation in our youth.” The awards will be presented Oct. 6 during a ceremony in Portland preceding the 2017 Oregon Arts Summit. .

Arvie Smith’s Hands Up, Don’t Shoot (2015, oil on canvas, 48x48 inches, collection of Nancy Ogilvie) was part of his APEX retrospective exhibition at the Portland Art Museum in 2016-17.






Info Session & Tour Dates 2017-18 Middle School Tuesdays, 10:30 to 12:00

High School Thursdays, 10:30 to 12:00

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DMAE ROBERTS? Interview by Susannah Mars

Photos by Meg Nanna.

If you’re sitting here a year from now celebrating what a great year it’s been for you, what happened? So many things. I’m an idea person who has created both national and local cultural productions. But next year, I hope our ensemble of Theatre Diaspora, a project of my nonprofit MediaRites, can continue to broaden Portland theater’s racial landscape through our free acting workshops for people of color and with our first full production. But I also have a personal dream of completing a novel that’s about two-thirds of the way done. When have you been most satisfied in your life? Why? I don’t know that I’m ever satisfied. I’m always pushing myself and looking for the next challenge. I will say, though, I’m the most peaceful when I go to Hawaii because I fit in there as a biracial or “hapa” person. No one there questions my Asian-ness, and in fact, I feel my ethnicity is embraced and accepted. But as I get older, I find more joy

in simple things like good health, being with my husband at home, and simply having a lot of quiet time to reflect and to write. Who were your role models growing up? People laugh when I tell them Mr. Spock was a role model early in my life. But at that time there were no mixed-race or biracial characters in fi lm or television. So I felt an affi nity to his half human/ half Vulcan character. But I also looked up to George Takei on Star Trek and was thrilled when he graciously hosted my Crossing East series. When I was in college, the writings of Ursula K. Le Guin and Harlan Ellison have shaped my thoughts about life and writing. Later on, I fell in love with Octavia Butler’s work. Rather than role models, I’ve had really good mentors in my life; the first one was a crusty, beloved elder journalist Leo C. Lee of Western Public Radio, who chose me to be in a prestigious radio production workshop when I was still in college. He

pretty much launched my national career, and I was fi ling pieces for NPR before I graduated. This type of mentorship is something I’ve been paying forward with hundreds of young people I’ve mentored in radio and in theater. What accomplishment or project has been the most significant in your career? I’ve worked since I was 14 years old. The work ethic ran strong in my family. But I’ve been blessed to find a way to support what I love doing and call it my work. Since graduating college, I’ve created several projects at a time. But my greatest accomplishment was the Crossing East radio series of eight one-hour documentaries chronicling Asian American/Pacific Islander history from pre-America to right after 9/11. It was the first Asian American history series on public radio, and I raised about $380,000 for this three-year project. I won a second Peabody, and it also proved to my male colleagues and major networks that the first SEPTEMBER | OCTOBER 2017



one I won early in my career wasn’t a fluke. For the series 10th anniversary, I recently completed an archive of 150 hours of audio interviews recorded for that project which you can find on

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What have you done that scared you? Quite a lot. I always challenge myself professionally but also personally to venture into unfamiliar and more often uncomfortable territory. As a biracial person growing up primarily in Oregon, by way of Taiwan and Japan, I got used to being the “only one” in the room who was like me. In any professional setting, I’m a fish out of water on many levels, not just racially and culturally but also in the work I do, which involves many artistic disciplines. When I was in college, I took a “gap year” to backpack and traveled back to Taiwan by myself to rediscover my roots. I had no contacts except some family friends of my mom’s, but I found my own friends quickly and settled there, learning Chinese and teaching English. That experience taught me I could survive anywhere by connecting with a community right away, and it gave me the confidence to rely on my own skills and instincts when I venture into the unknown. What makes you happiest? I can’t tell you the joy I feel when I can help create a project that respects and honors people of color, whether it’s a radio documentary with a cultural community or a theater production that empowers artists of color to be free to speak their truth and to create stories that might otherwise not be told. I also love leading conversations about race, especially mixed-race, like I do with Oregon Humanities. But I also have joy when I’m writing, whether it’s a novel or a play, when the spirit takes over and it feels like you’re transported to something greater than yourself. Right now, I’m in the midst of working as an actor with Artists Repertory Theatre in an innovative production of installation art and live theater called Caught, with text by Christopher Chen. When I was working actively as an actor in the ‘90s and early 2000s, the only time I wasn’t the only Asian actor in the rehearsal room was when I created my own plays. I’m honored to have that experience now of not being “the only Asian” with this forward-looking theater company in Portland at this exciting time of change when equity, inclusion, and diversity are a priority in funding initiatives and with our arts organizations like Artists Rep. .

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