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“How are you going to do that?” That was the most common question I encountered when friends or colleagues learned that I had secured the rights to adapt Peter Stark’s epic story for the stage. It’s a completely valid question. “How in the %@&# are you going to put a ship onstage, show people climbing a mountain in the snow and stage people drowning at the Columbia Bar?” It sounds impossible. Which is precisely what I found so enticing about the entire venture. When two different patrons suggested that I would enjoy reading Astoria, I decided I ought to pick it up and, out of duty, started reading it. I could not put it down. I devoured it. I was astounded. How did they survive? How did they find their way? How did they miscalculate so grandly? And most loudly: How have I never heard of this? I assumed that my Oregonian friends all knew this story. NOPE. Almost none of them were familiar with this extraordinary chapter in Northwest and American history. And one fact just blew me away: Had the Astor Expedition, as messy as it was, not occurred in 1810, America’s claim on the territory north of California and west of the Rockies would have been far more tenuous. Indeed, it would have been as easy for this part of the continent to have ended up Canadian, British or even Russian territory. HOW HAVE I NEVER HEARD OF THIS? I became obsessed. I couldn’t stop talking about the story. My friends got sick of hearing me talk about it. I tracked down the author and asked if he would consider letting me adapt it for the stage. His reply was, “I have no idea how you’re going to do that, but why not?” Awesome. Except. I had to figure out how to do it. Lots of research, organizing, breaking the story down into chunks (“deciding what you’re going to leave out will be the hardest part” was Stark’s warning; he had another 400 pages of research he could have included in his book), an outline, and then the moment of: “What are they actually going to say?” After all, it’s not a novel. There isn’t much spoken dialogue suggested in the book, so the conversations, the conversational style, even some of the characters, had to be invented.

HIS EYE IS ON THE SPARROW My first recollection of Miss Ethel Waters was hearing her sing with the Billy Graham Crusade. I was probably 11 or 12, and our church prepared for months to travel downtown to the Atlanta stadium every night for a week. My folks were singing in the ‘choir,’ and I think my sister and I learned some of the songs as well. I don’t recall much about the sermons, but I do remember the warm humanity of Waters’ songs: deep, resonant, truthful, joyful. My mom (whose vocal range was similar to Waters’) sang “I sing because I’m happy” around the house for months. Only many years later did I learn that this same woman had been one of the early pioneers in the American blues and jazz scenes, one of the most successful recording artists in the world in the 1920s and 30s, the highest-paid performer on Broadway at one point, only the second black woman nominated for an Academy Award, and the first to be featured on a television show. She was a pioneer, and pioneers are not always rewarded for their courage. What I find exciting about His Eye is on the Sparrow, is that we not only get to revisit so many of this extraordinary musician’s memorable tunes, but we also get a real window into the intense challenges she faced along her journey. Together with Hold These Truths and Hershey Felder as Irving Berlin this season, we continue our conversation about our culture’s relationship with the outsider. Enjoy.

And the style of storytelling had to be invented. And. And. And. Here we are. Let’s see what happens.








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 Scenic Designer Tony Cisek

Costume Designer Toni-Leslie James

Lighting Designer Diane Ferry Williams

Dialect Coach Coach Dialect Mary McDonald-Lewis McDonald-Lewis Mary

Music Director/ Director/ Music Vocal Arranger Arranger Vocal Rick Lewis Lewis Rick

Sound Designer Designer Sound Matthew M. M. Nielson Nielson Matthew

Composer Composer Randall Robert Robert Tico Tico Randall

Assistant Director Director Assistant Brandon Woolley Brandon Woolley

Fight Director Director Fight John Armour John Armour

Movement Director Director Movement Christopher Hirsh* Christopher Hirsh*

Fight Captain Captain Fight F. Tyler Burnet F. Tyler Burnet

Production Dramaturg Benjamin Fainstein

Consulting Dramaturg Barbara Hort, Ph.D.

Production Assistants Will Bailey and Bailey Anne Maxwell

Stage Manager Mark Tynan* Casting Brandon Woolley

PERFORMED WITH ONE INTERMISSION. The photo, video or audio recording of this performance by any means whatsoever is strictly prohibited. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.



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.



SHOW SPONSORS Broughton & Mary Bishop William & Karen Early Fred W. Fields Fund of The Oregon Community Foundation Brigid Flanigan Dr. Barbara Hort Dedre J. Marriott

The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer & Jordan D. Schnitzer

Mr. & Mrs. W.T.C. Stevens Dan Wieden & Priscilla Bernard Wieden

THE CAST Leif Norby* .............................................. John Jacob Astor/Jacques/Aymes/Robinson/Ensemble Jeremy Aggers* ...................................................... Donald Mackenzie/R. Stuart/Coles/Ensemble Ben Rosenblatt* .......................................................................Jonathan Thorn/Joseph/Ensemble Gavin Hoffman* ................................................................ Duncan McDougall/Hoback/Ensemble Christopher Hirsh* ................................................................. Alexander McKay/Colter/Ensemble Nick Ferrucci* ............................................................ Simon McTavish/Ross/John Day/Ensemble Chris Murray*............................................................................. Antoine Clappine/Fox/Ensemble Ben Newman* ................................................ Gabriel Franchère/A. Mackenzie/Reznor/Ensemble Benjamin Tissell .......................................................................... Ramsay Crooks/Small/Ensemble Michael Morrow Hammack*............... Frobisher/Thomas Jefferson/Winton/John Reed/Ensemble F. Tyler Burnet ........................................................................... David Stuart/Bradbury/Ensemble Shawn Fagan*....................................................................................Wilson Price Hunt/Ensemble Brandon Contreras* .......................................................................Pierre Dorion/Aiken/Ensemble Shaun Taylor-Corbett* .....................................Greene/Les Yeux Gris/2nd Mate/Peter/Ensemble Christopher Salazar* .............................................................. Angus/Le Gauche/Harry/Ensemble DeLanna Studi* .....................................................................Marie Dorion/Sarah Astor/Ensemble *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

ASTORIA | BIOS JEREMY AGGERS Donald Mackenzie/ R. Stuart/Coles/Ensemble

Jeremy Aggers is a voice-over artist, singer/ songwriter and actor based out of Atlanta, GA. He’s pleased to be making his first appearance at The Armory. He has released three albums under the Brash Music label and has narrated over 150 audiobooks under Jeremy Arthur and other pseudonyms. Atlanta theater credits include Edward Foote (directed by Chris Coleman), Ghost Brothers of Darkland County, The Whipping Man, The Lion, the Witch and the Wardrobe (Alliance Theatre); Significant Other, Kimberly Akimbo, The Great American Trailer Park Musical, Based on a Totally True Story (Actor’s Express); Sander’s Family Christmas (Theatre in the Square); Bach at Leipzig and Singles in Agriculture (Aurora Theatre Company). All his love to Kristin. F. TYLER BURNET David Stuart/ Bradbury/Ensemble/ Fight Captain

Tours: Sister Act (Joey, United States and Japan), West Side Story (Officer Krupke, United

States and Canada). Regional: To Kill a Mockingbird (Cunningham, Milwaukee Repertory Theater), A Christmas Carol (Christmas Future, Milwaukee Repertory Theater), As You Like It (Charles/Silvius, Riverside Theatre in the Park). Thanks to Brandon, Rose and Chris for helping me make my Portland theater debut. Thanks to Kaitlyn, Rod, Mom and Dad for everything else. BRANDON CONTRERAS Pierre Dorion/ Aiken/Ensemble

Brandon is thrilled to be making his debut at The Armory! He was last seen in Portland originating the role of Hector in the world premiere musical Cuba Libre at Artists Repertory Theatre. Most recently, he worked with Marcia Milgrom Dodge and Frank Wildhorn in the U.S. premiere of The Count of Monte Cristo at Pioneer Theatre Company. Tour, Off-Broadway and regional credits include: In the Heights (First National Tour); Our Town; Soho Cinders; Our Lady of 121st Street; Kiss Me, Kate; See What I Want to See; West Side Story; and The Public Theater’s reading of The Hamilton Mixtape, now known as Hamilton. He holds his B.F.A. in Musical Theatre from

Pace University. A huge thank you to his incredible family, this theater and creative team, Chris, Rick, Dámaso and his wonderful friends here. More info at Follow him @OhHey_Brandon. SHAWN FAGAN Wilson Price Hunt/ Ensemble

Shawn is happy to return to The Armory, having played the Stage Manager in last season’s production of Our Town. Regional theater credits include Hal/Henry in The Making of a King: Henry IV 1 & 2/Henry V (PlayMakers Repertory Company, dir. Joe Haj), Caleb in The Whipping Man (Cleveland Play House), Krogstad in Nora (Westport Country Playhouse), Hugh in The Voysey Inheritance (Denver Center Theatre Company), Hamlet Shawn Fagan in the world premiere of Wittenberg (Arden Theatre Company), Texas in Intimations for Saxophone (Arena Stage, dir. Anne Bogart), Acaste in The Misanthrope (Dallas Theater Center), Interpreter in All’s Well That Ends Well (Shakespeare Theatre Company, DC), as well as seasons at Utah Shakespeare Festival, American Players Theatre and



ASTORIA | CAST Hudson Valley Shakespeare Festival. New York credits include Pearl Theatre, Mint Theater Company, Soho Rep., HERE and 3-Legged Dog. More info at NICK FERRUCCI Simon McTavish/Ross/ John Day/Ensemble

Nick is honored to be making his debut at The Armory. He holds an M.F.A. in Acting from Northern Illinois University and a B.F.A. in Theatre from Southern Oregon University. He has also studied with Moscow Art Theatre in Russia and The Second City in Chicago. Regional: Oregon Shakespeare Festival, Third Rail Repertory Theatre, Portland Playhouse, Profile Theatre, Maples Repertory Theatre, Sierra Repertory Theatre, Commonweal Theatre Company, Heritage Theatre Festival, Jewish Theatre Collaborative and Bright Star Theatre. Film: The Falls, One Foot in the Gutter. TV: Grimm. MICHAEL MORROW HAMMACK Frobisher/Thomas Jefferson/Winton/ John Reed/Ensemble

Michael is a Portland native and beyond honored to be making his debut at The Armory. He was last seen as Mitch in Adrift in Macao with Broadway Rose Theatre Company and Fabrizio in The Light in the Piazza with Portland Playhouse. Just before returning home to Portland, Michael created the role of Telemachus in the world premiere of Crown of Shadows: The Wake of Odysseus at Round House Theatre in Washington, DC. Favorite roles include Monty in Violet, Gayman in The Lucky Chance, Tim in Suburbia, and Peter in Theatreworks USA’s national tour of The Lion, the Witch and the Wardrobe. He holds a B.F.A in Musical Theatre from Webster University’s Conservatory of Theatre Arts. He would like to thank his parents, Diane and Fred, sister Meghan, and wife Caroline, for their never ending love and support. CHRISTOPHER HIRSH Alexander McKay/ Colter/Ensemble/ Movement Director

Christopher is thrilled to return to his home state and make his debut at The Armory.



Film: God of Love (Oscar winner, 2011), Asockalypse. TV: A Crime to Remember, National Subway Campaign, Stonyfield Organic Yogurt. New York City: Ensemble/ Producer, US by Asia Kate Dillon, Dixon Place; Macbeth, Macbeth, New York Distilling Company. Hartford Stage: John Hancock, POETRY (workshop). HartBeat Ensemble: RFK/Norman Mailer, Jimmy and Lorraine. Barrington Stage Company: Billing, An Enemy of the People. Long Wharf Theatre: Walter/ Frank Wild, Endurance. Connecticut Repertory Theatre: Walter Burns, His Girl Friday; Berowne, Love’s Labour’s Lost; Rosse, Macbeth. Two River Theater: Borachio, Much Ado About Nothing. North Carolina Shakespeare Festival: Ferdinand, The Tempest. Great River Shakespeare Festival: Lucentio, Taming of the Shrew. Illinois Shakespeare Festival: Chorus, et al., Henry V; Nathaniel, Love’s Labour’s Lost. Additionally, Christopher is a producing director of MIRROR/FIRE productions, find more at #BlackLivesMatter GAVIN HOFFMAN Duncan McDougall/ Hoback/Ensemble

Gavin is very happy to be back at The Armory where he played Joe in Great Expectations, Ligniere in Cyrano, Iago in Othello and Karl/Steve in Clybourne Park. Other local credits include: Ted in American Hero, Harry in The Understudy and Dieter in The Monster-Builder at Artists Repertory Theatre; Ellard in The Foreigner at Lakewood Theatre; Wolf/ Red in To Cape, The Tripping Point at Shaking the Tree; Ken in Fifth of July at Profile Theatre; Frank in Body Awareness for CoHo Productions; and Hank in A Noble Failure at Third Rail Repertory Theatre. He has worked regionally and in New York City. Gavin has guest-starred in The Big Easy (USA) and Leverage (TNT), co-starred in Grimm (NBC) and appeared in Portlandia. He is the recipient of four Drammy Awards. Gavin is a graduate of P.C.P.A. and has a B.F.A. in acting from Ithaca College. He is a proud member of Actors’ Equity and SAG-AFTRA. CHRIS MURRAY Antoine Clappine/ Fox/Ensemble

Chris is happy to be back at The Armory working with Chris Coleman and this amazing cast. Previous credits at

The Armory include ten years at the JAW Festival, The Oregon Trail, Great Expectations, Our Town, Futura and Sometimes a Great Notion. Regionally, Chris has worked on readings, workshops and premieres of new plays at several theaters, including The New Play Summit at Denver Center for the Performing Arts and the 38th Annual Humana Festival at Actors Theatre of Loiusville. Locally, Chris has performed at Artists Repertory Theatre (The Liar, Playboy of the Western World, Xmas Unplugged, (I Am Still) The Duchess of Malfi, Mr. Marmalade and Take Me Out). A Bright New Boise, The Aliens, Penelope and A Skull in Connemara (Third Rail Repertory Theatre); Bloody Bloody Andrew Jackson (Portland Playhouse); Falstaff and Romeo and Juliet (Oregon Symphony); Animals and Plants, Hamlet and The Receptionist (CoHo Productions) and several shows at Profile Theatre including The Sam Sheppard One Act Festival, Six Degrees of Separation and The Sisters Rosensweig. He has appeared on Grimm and Portlandia, and produces plays and live comedy. It is an honor and a privilege to create art in the greatest city in the world. BEN NEWMAN Gabriel Franchère/ A. Mackenzie/Reznor/ Ensemble

Portland: A Doll’s House at Shaking the Tree, Middletown at Third Rail Repertory Theatre, CoHo Summerfest, Orlando, Blood Knot, True West at Profile Theatre, JAW 2014–2016 at The Armory. New York: High Plains (A Western Myth) at Jimmy’s No. 43 and Edinburgh Fringe Festival 2013, The Town of No One at NY Fringe 2011, Henry VI, Part III with Classic Stage Company, Romeo and Juliet at Columbia Stages, One Flew Over the Cuckoo’s Nest with Wide Eyed Productions, Theatreworks USA. Regional: Kansas City Repertory Theatre, Denver Center Theatre, Kansas City Actors Theatre, Riverside Shakespeare Festival. TV: Grimm, Seasons 5 and 6 (recurring guest star). Ben is an instructor at Portland Actors Conservatory. M.F.A. Kansas City Rep/University of Missouri - Kansas City; B.A. University of Northern Colorado. AEA/SAG-AFTRA. More at mbennewman. com. Thank you for supporting live storytelling!

ASTORIA | CAST LEIF NORBY John Jacob Astor/ Jacques/Aymes/ Robinson/Ensemble

Leif was last seen in The Oregon Trail. Other appearances at The Armory include Professor Willard/Joe Stoddard in Our Town, De Guiche in Cyrano, Rodrigo in Othello, ensemble in both Anna Karenina and Sunset Boulevard, Richard Hannay in The 39 Steps, Tateh in Ragtime and Benny Southstreet in Guys and Dolls. Other recent Portland appearances include, Cervantes in Man of LaMancha (Lakewood Theatre), Dr. Givings in In the Next Room (Profile Theater), Tom in The God Game (Brandon Woolley prod.), Bastion in Mr. Kolpert and Jane/ Edgar in Mystery of Irma Vep (Third Rail Repertory Theatre), Verne/George in And So It Goes… and Frank Keller in Red Herring (Artists Repertory Theater), Charlie in The Scene (Portland Playhouse) and Beast in Beauty and the Beast (Pixie Dust). TV credits include Portlandia and Leverage. Leif is a proud member of Actors’ Equity, sends love to his wife, Susie, and thanks you for supporting live theater. BEN ROSENBLATT Jonathan Thorn/ Joseph/Ensemble

Ben Rosenblatt is thrilled to be making his debut at The Armory! This year Ben had the pleasure of performing in Waiting for Godot at the Commencez! International Beckett Festival in Paris, France. In New York, he has appeared at Primary Stages, Project:Theater and in the Drama Desk-nominated production of Death of a Salesman with New Yiddish Rep. Regional: Actors Theatre of Louisville, Berkshire Theatre Festival, Round House Theatre, Shakespeare & Company, Connecticut Repertory Theatre, Shakespeare Theatre Company (DC), Cape May Stage, The Public Theatre (ME), Ivoryton Playhouse and more. As an associate artist of American Records in New York City, Ben has toured United States’ military bases internationally with ReEntry and has been developing his solo play, Hiccups, a docu-drama about OCD. TV: Unforgettable (CBS), Crashing (HBO). Co-Host of Love Bites Radio. M.F.A. Brandeis University. B.F.A. University of Connecticut.

CHRISTOPHER SALAZAR Angus/Le Gauche/ Harry/Ensemble

Debut at The Armory. New York: Slough in Thieves (The Public Theater-World Premiere); Horatio in Hamlet (Gorilla Repertory Theater Company); Will in A Prince Among Men (reading, Primary Stages). Los Angeles/ Regional: Little Turtle in Ameryka (Critical Mass Performance Group, Ovation Nomination); Jack Worthing in The Importance of Being Earnest (A Noise Within); Edwin in Our Lady of 121st Street (Victory Theatre); Alceste in The Misanthrope (Classical Theater Lab); Mercutio in Romeo and Juliet (The Shakespeare Center of Los Angeles); Carlos in The Woodsman (Coeurage Theatre Company); Duke Vincentio/ Elbow in Measure for Measure, Benedick in Much Ado about Nothing, Silvius in As You Like It, Rivers/Tyrrel in Richard III (The Old Globe); Barnstormers Theatre, Barter Theatre, American Shakespeare Center, Wilma Theatre, Carolina Shakespeare Theater. Proud company member of Native Voices at the Autry and Couerage Theatre. Film/TV: Jane the Virgin, The Playground. Education: M.F.A., The Old Globe/USD; B.A., UNC Chapel Hill. DELANNA STUDI Marie Dorion/ Sarah Astor/Ensemble

DeLanna Studi is honored to make her debut at The Armory. She recently starred in Indiana Repertory Theatre’s Finding Home: Indiana at 200. DeLanna’s Off-Broadway debut in Informed Consent at Duke Theater on 42nd Street was a New York Times Critics’ Pick that described her performance as “moving gravity.” She was a company member of the Oregon Shakespeare Festival for two seasons. She performed in the First National Broadway Tour of the Tony and Pulitzer Prize-winning August: Osage County. Her film credits include the award-winning Hallmark/ ABC’s Dreamkeeper and Chris Eyre’s Edge of America. She recently starred in the award-winning short Blessed. Television credits include General Hospital, Showtime’s Shameless and SyFy’s Z-Nation. Her next project And So We Walked, written and performed by DeLanna, details her and her father’s

journey following their family’s footsteps along the Trail of Tears. She is the chair of the SAG-AFTRA National Native American Committee. SHAUN TAYLOR-CORBETT Greene/Les Yeux Gris/ 2nd Mate/Peter/Ensemble

Shaun is so grateful to make his debut at The Armory! Broadway: In the Heights, Sonny (Original Broadway Cast, ensemble). OffBroadway/Tours: In the Heights, Usnavi/ Sonny (37 Arts/First National Tour); Altar Boyz, Juan (New World Stages); Jersey Boys, Frankie Valli (Second National Tour); Distant Thunder, a fulllength Native American musical, Darrell (Amas Musical Theater, co-author). Los Angeles: Ubu Rois, Boggerlas (A Noise Within), Vieux Carre, Tye (Coeurage Theatre Company), Romeo and Juliet, Romeo (Will Geer’s Theatricum Botanicum), The Road Weeps, Goodbird (Los Angeles Theatre Center). Film/TV: Hi-5 (Discovery Kids), Gamer’s Guide (Disney XD), Supremacy (with Danny Glover). Training: The Public Theater, Royal Academy of Dramatic Arts. Proud company member of Native Voices at the Autry. Upcoming: company member of Oregon Shakespeare Festival’s 2017 season. BENJAMIN TISSELL Ramsay Crooks/ Small/Ensemble

Benjamin is delighted to be making his debut at The Armory to tell this remarkable story. A Portland-based actor, Benjamin was most recently seen as Harold in Fly By Night and A Very Merry PDX-Mas at Broadway Rose Theatre Company. Other favorite local credits include Peter and the Starcatcher (Portland Playhouse), It’s a Wonderful Life and The Importance of Being Earnest (Valley Repertory Theatre). Benjamin studied theater and vocal performance at George Fox University, teaches as a resident guest artist at Clackamas High School, and directs for such companies as Lakewood Theatre, Northwest Children’s Theatre and Valley Repertory Theatre. In addition, Benjamin performs regularly as a singer-songwriter around the region. His music, concert dates and upcoming theater productions can be found at





BEAVERS & THE FUR TRADE The global fur trade dates back to the ancient world. Evidence of wool felting can be found in Homer’s Iliad, and felted beaver appears in Chaucer’s Canterbury Tales. Beaver hats were highly sought after. By 1600, the European beaver verged on extinction due to aggressive hunting. Traders and trappers from France and England set their eyes on the North American species of beaver, living in abundance throughout the Great Lakes region and beyond. By the time Astor launched his venture in 1810, the market for beaver-derived goods promised enormous profit margins.

COLONIAL CARTOGRAPHY Oregon didn’t look like Oregon in 1810. The territorial borders of North America changed hands throughout the 18th and 19th centuries, as the Spanish, British and French empires fought for dominance and staked claims regardless of the presence of indigenous societies. By 1800, the young United States was geographically caught in the tumultuous crossfire. After receiving threats and sanctions from the major powers, President Thomas Jefferson looked for ways to protect U.S. citizens while developing the size and strength of the nation. In 1762, France had ceded the massive Louisiana Territory to Spain; in 1800, Napoleon strong-armed the Spanish into relinquishing control of the land back to France. In 1803, Jefferson was able to leverage Napoleon’s need to fund his military ventures against his inability to control the Louisiana Territory from afar. Jefferson’s executive decision to purchase Louisiana for $15,000,000 planted the seed for American expansion and economic ascendancy. Lewis and Clark immediately set out on their trek to the Pacific, and their journey confirmed for Jefferson and Astor that a transcontinental trade route across the wild Oregon Country, to which multiple nations laid loose claims, would play a crucial role in advancing the United States as a competitive world power. Throughout the 19th century, the homelands and territories of many Native American nations and tribal communities were continually and increasingly encroached upon. European colonists and natives had formed a network of delicate relationships during the two centuries before the Astorian expedition. Some had been mutually beneficial and respectful alliances, others had ended in distrust and catastrophic violence on all sides. As white Americans moved west in increasing numbers, the diverse native populations, already decimated by foreign disease, were pushed into smaller and smaller corners of the continent.



In Astoria, the real people of many nationalities who inhabited North America in the early 1800s become characters. So does the landscape itself, pitting both geographical and geological obstacles against John Jacob Astor’s drive to usurp control of the lucrative fur trade. Astoria is an overflowing treasure chest of history; these pages offer a peek into the context of the world of the play and snapshot introductions to some of its fascinating inhabitants.

TREACHEROUS WATERS To replenish its regiments, the British Navy was granted the power to “impress” men into service. When applied to British citizens, impressment was essentially a mandatory military draft. But the English also pressed foreigners at sea, an act of political piracy that resulted in the kidnapping of thousands of men who were forced to fight on behalf of their captors. In 1807, British impressment of American citizens near Chesapeake Bay was escalating tensions to war, so President Jefferson signed the Embargo Act, prohibiting American trade with other nations in the hope of gaining respect by cutting off their access to American resources. Jefferson’s policy had the opposite effect, however: the United States’ economy tanked. England and France simply took their business elsewhere. The Embargo Act so weakened the American market that it was repealed in 1809, leaving Astor with a perfect opportunity to launch his expedition as his country clamored for new avenues of prosperity. In addition to the threat of impressment, the crew aboard Astor’s Tonquin faced a harsh life at sea, including diminishing food and water supplies, monstrous storms, cabin fever, and the mounting conflicts of leadership that dogged the party all the way to the Oregon coast.

THE VIBRANT VOYAGEUR The Quebécois voyageurs who populate Astoria were masterful paddlers of swift, birch bark canoes. The voyageurs spread from Montréal to Minnesota, and they worked tirelessly to shuttle goods from Europe to the North American hinterland and retrieve furs to send back across the Atlantic. They were stocky, jovial fellows, who sang in polyphonic harmony throughout their 12 to 18 hour workday spent paddling the river at a rate of a stroke per second. At night, they smoked pipes, drank and danced, telling jokes and arguing over who had acquired the most fashionable feathers to adorn his cap. With between eight and 14 men in canoes that varied from 20 to 40 feet in length, the voyageurs saw themselves as bands of brothers, and their lifestyle was devoted to the liberty and fraternity they relied upon to survive.

TRAPPERS & MOUNTAIN MEN The original “mountain men” of American lore date back to the years surrounding the Louisiana Purchase. The Overland Astorians encounter men like John Colter and Edward Robinson on their journey; these men had carved out a death-defying existence trapping fur in the Rockies, surviving in isolation with frequent assistance from native peoples like the Arikara and the Shoshone. Colter was the first white man to stumble across what is now Yellowstone National Park; the Kentuckian trapper Robinson, with his partners John Hoback and Jacob Reznor, had amassed a knowledge of the Bighorn Mountains that significantly aided the next generation of explorers. The mountain man’s diet consisted almost entirely of meat, mostly bison, of which he would consume around 10 pounds per day without salt or seasoning. His daily life lacked any semblance of modern comfort: he was exposed to the elements, vigilant against possible threats at every turn, and found himself in extreme isolation more frequently than not. But the mountain men chose this life. They knew there were fortunes to be made from beaver fur, and they embraced the allure of surviving by their wits amid the majestic scenery of North America.

MARIE DORION & SARAH ASTOR In short: there are few women in Astoria: Part One. Social structures in 1810 restricted women’s rights and regulated their behaviors based on gendered rules of propriety. As a working class, biracial woman, Marie Dorion was held at arm’s length by multiple communities. She lived far from her childhood home and was bound to travel wherever her violent but devoted first husband, the translator Pierre Dorion, could find work. After his death, she used her wilderness expertise to survive until she was finally able to carve out a more prosperous life for herself. Sarah Astor, by contrast, forged business partnerships with her husband at every turn. Her dowry allowed the young, poor John Jacob to get his instrument business off the ground. It was due to Sarah’s foresight that the couple purchased huge plots of Manhattan real estate. She even negotiated a separate consultant salary for herself once her husband became dependent on her business acumen. Sarah Astor and Marie Dorion, whose backgrounds and circumstances could scarcely differ more, stand as examples of women who challenged restrictive social structures and succeeded in gaining greater personal agency and social mobility.




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 Off-Broadway debut of Threesome at 59E59 Theaters; a production that had its world premiere at The Armory. Favorite directing assignments at The Armory include 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 is appearing in the new musical Come From Away, which opens on Broadway in March – 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.


Born in Wisconsin to an adventurous family and a father with a passion for the history of the fur trade, Peter Stark studied English and anthropology at Dartmouth College and received a master’s in journalism from the University of Wisconsin. Using Missoula, Montana, as a base, he took off for the remote spots of the world, writing magazine articles about travel and adventure in places like Greenland, Tibet and Africa. This fueled an interest in



wilderness and the history of exploration, resulting in a number of books, including the book on which the play Astoria is based: ASTORIA: John Jacob Astor and Thomas Jefferson’s Lost Pacific Empire, A Story of Wealth, Ambition, and Survival. He and his wife, the intrepid dancer, choreographer and writer Amy Ragsdale, and their two children have periodically lived abroad for a year, most recently in a small town in Northeast Brazil. TONY CISEK Scenic Designer

Tony Cisek has collaborated with The Armory on the productions of Ain’t Misbehavin’, Sex with Strangers, Our Town, A Small Fire, The Whipping Man, The North Pool, One Flew Over the Cuckoo’s Nest, The Christmas Story and Frost/Nixon, as well as the premieres of A Feminine Ending and Sometimes a Great Notion. Tony’s work has been seen OffBroadway and regionally at Roundabout Theatre, Guthrie Theatre, Goodman Theatre, Arena Stage, Alliance Theatre, Ford’s Theatre, South Coast Repertory, Milwaukee Repertory Theater, Cincinnati Playhouse, Actors Theatre of Louisville, Center Stage (Baltimore), Woolly Mammoth Theatre Company, Indiana Repertory Theatre, Syracuse Stage, New York Theatre Workshop, Cleveland Play House, Folger Theatre, The Kennedy Center, Round House Theatre, Signature Theatre and others. He has received four Helen Hayes Awards in Washington, five Drammy Awards in Portland, and a Barrymore Award nomination in Philadelphia.

TONI-LESLIE JAMES Costume Designer

Broadway: Come From Away (2017), Amazing Grace, Lucky Guy, The Scottsboro Boys, Finian’s Rainbow, Chita Rivera: The Dancer’s Life, Ma Rainey’s Black Bottom, King Hedley II, One Mo’ Time, The Wild Party, Marie Christine, Footloose, The Tempest, Twilight: Los Angeles, Angels in America: Millennium Approaches and Perestoika, and Jilly’s Last Jam. Awards: Tony nomination, three Drama Desk nominations, six Lucille Lortel nominations, Hewes Design Award, Irene Sharaff Young Masters Award and the 2009 Obie Award for Sustained Excellence in Costume Design.


Diane Ferry Williams is pleased to be returning to Portland. Diane has worked for many theaters around the country and abroad. Her most recent design is a national tour of How to Succeed beginning in Beijing, China. In the U.S., she has worked for many theaters around the country, including The Marriott Theatre in Chicago, The Alliance Theatre, Theatre Under the Stars, Goodspeed, Chicago Shakespeare Theatre, Goodman Theatre, Pittsburgh Public Theatre, ACT-Seattle, Alabama Shakespeare Festival, Ford’s Theatre, Hubbard Street and Regional Dance America. Other international work includes The Harlem Gospel Singers in Paris and the European tour, and Die Shone Und Das Biest in Berlin and the European tour. She has also lit several national tours and premieres. Awards include a Jeff Award, an After Dark Award, a Carbonelle Award, Drammy Awards — including the 2015 Drammy and PAMPTA awards for Ain’t Misbehavin’ — and seven Jeff nominations. Diane has an M.F.A in Theatrical Design from Northwestern University.


Mary McDonald-Lewis has been a professional artist since 1979. She resides in Portland, Oregon, and is an international dialect coach for film, television and stage. She also works as a voice actor, on-camera actor, stage actor and director. Astoria is MaryMac’s 27th show with Portland Center Stage at The Armory, and you can also hear her work at Artists Repertory Theatre, where she is a resident artist, voice and text director. She is deeply grateful to the patrons and audience members of The Armory, whose support allows the theater to provide her services to the actors. MaryMac loves what she does, and she thanks Finnegan, Sullivan and Flynn for always wagging their tails when she comes home.

RICK LEWIS Music Director/Vocal Arranger

Portland Center Stage at The Armory: Drammy Awards for Ain’t Misbehavin’, Sweeney Todd, Ragtime, Guys and Dolls and West Side Story; 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),

ASTORIA | CREATIVE TEAM 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); and assistant conductor/vocal director for the pre-Broadway workshop of Cy Coleman’s The Life. Writer/arranger for Disney Live Family Entertainment, American Hawaii Cruises and American Classic Voyages, and developed The Cinnamon Bear Cruise. Rick is the founder/artistic director of Bridgetown Conservatory of Musical Theatre. MATTHEW M. NIELSON Sound Designer

Off-Broadway credits include The Public Theater/New York Shakespeare Festival. Regional credits include Cincinnati Playhouse in the Park, Milwaukee Repertory Theater, St. Louis Repertory Theater, Delaware Theatre Company, Arena Stage, Ford’s Theatre, The Kennedy Center, The Smithsonian, Philadelphia Theatre Company, Barrington Stage Company, Contemporary American Theater Festival, Signature Theatre, Studio Theatre, Woolly Mammoth Theatre Company, Olney Theatre Center, Round House Theatre and Theater Alliance. Film and television credits include The Hero Effect, Death in Time, Elbow Grease, Blue, Epix Drive-In, From Hell to Here, The Good Ways of Things and The Long Road. Nielson is a founding member of the audio theater company The Audible Group and creator of the audio web series Troublesome Gap. He has won several Helen Hayes Awards and various film festival awards for his work in theater, film and television. He is currently running Sound Lab Studios, a recording studio and post-production house.


This is Randall’s sixth collaboration with Chris Coleman following Othello, Anna Karenina, Shakespeare’s Amazing Cymbeline, The Imaginary Invalid and Snow Falling on Cedars. He was also the composer and sound designer for Apollo at The Armory, directed by Nancy Keystone. He received a Garland Award

and an Ovation Award nomination for Apollo at the Kirk Douglas Theatre. Other productions with Keystone include Ameryka (2016 Ovation nomination) Suzan-Lori Parks’ The America Play (Theatre @ Boston Court), Antigone (The Armory, Drammy Award), The Ahkmatova Project, Dr. Faustus, The Rover and Measure for Measure. Other recent credits include the music score and sound design for Macbeth at The New Vic directed by Jonathan Fox; and Hamlet, The Winter’s Tale, the vocal score for David Hare’s version of Mother Courage, and music and sound design for The Glass Menagerie, all directed by Jessica Kubzansky. For the last three years, he has been the resident composer/sound designer for the Launch Pad program at UCSB, with director Risa Brainin. BRANDON WOOLLEY Assistant Director

Brandon is a director and producer in Portland, Oregon. He is thrilled to be collaborating on this world premiere adaptation with such an incredible team. Directing credits include: Sex with Strangers and the upcoming Mary’s Wedding (The Armory); International Falls and The Few (CoHo Productions); The God Game (self-produced); The End of Sex (Theatre Vertigo); Dial M for Murder (Bag&Baggage Productions). Brandon has worked with Rose Riordan on multiple shows at The Armory as an assistant director (Lizzie, The Whipping Man, Red, One Flew Over the Cuckoo’s Nest and A Christmas Story). He has also collaborated with Third Rail Repertory Theatre, Broadway Rose Theatre Company, and Live On Stage. Brandon is the producing associate and JAW coproducer at The Armory. Much love to Sean, Mom and Brittney.

JOHN ARMOUR Fight Director

John is an actor and fight director who has been choreographing violence for more than 25 years. He is based in Portland, where he choreographs for many local theater companies and teaches throughout the region at colleges, high schools and middle schools. John’s work has been seen regularly on stage at The Armory, Portland Opera, Artists Repertory Theatre, Oregon Children’s Theatre, Miracle Theatre and many others. John’s work has twice been recognized within the Portland theater community for Best Fight Design.

BENJAMIN FAINSTEIN Production Dramaturg

Benjamin Fainstein is the literary manager at The Armory. Previous dramaturgy credits include Sarah Sander’s Golden (MIDDSummer Play Lab), Kevin Artigue’s The Forcings (JAW: A Playwrights Festival), Meg Miroshnik’s The Tall Girls (Carlotta Festival of New Plays), Marcus Gardley’s The House That Will Not Stand (Berkeley Repertory Theatre, Yale Repertory Theatre), and Christopher Bayes and Steven Epp’s adaptation of Moliére’s A Doctor in Spite of Himself (Yale Repertory Theatre). Benjamin has created and premiered numerous original works, including Carnival/Invisible, The Body Politic, Cat Club, Iphigenia Among the Stars, Prototype 373-G and Paradise Sets In. He is a former artistic director of Whistler in the Dark Theatre, associate artistic director of Yale Cabaret, and managing editor of Theater magazine. He is an alumnus of Middlebury College and Yale School of Drama.

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, and now, Astoria: Part One, 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 production assistants, Stephen Kriz Gardner, Will Bailey, Kristina Mast, Bailey Anne Maxwell and Kristen Mun, who help keep the vision attainable. Prior to The Armory, Mark toured nationally and internationally THE ARMORY


ASTORIA | CREATIVE TEAM with musicals including Dreamgirls, The King and I with Rudolf Nureyev, How to Succeed ‌, Grand Hotel, The Phantom of the Opera, Rent and Jersey Boys. Other Portland credits include several summers with Broadway Rose Theatre Company in Tigard. Regional credits include Alley Theatre (Houston, TX), La Jolla Playhouse (La Jolla, CA) and Casa Maùana Theatre (Fort Worth, TX). WILL BAILEY Production Assistant

Will is excited to be returning as a production assistant and dresser at The Armory. Most recently at The Armory, he worked on The Oregon Trail. Other recent credits include production assistant on Sweeney Todd and assistant stage manager on The Italian Girl in Algiers with Portland Opera. Will has worked as a production assistant and props master at Artists Repertory Theatre, where production assistant credits include: Ithaka, Mistakes Were Made, X-MAS Unplugged, The Monster Builder, The Motherf **ker with the Hat, Intimate Apparel, Exiles, Blithe Spirit and The Invisible Hand. Will has also worked as a production assistant for Profile Theatre,

See the play then visit Astoria!

Portland Shakespeare Project and Portland Playhouse, and a stage manager for Milagro Theatre. BAILEY ANNE MAXWELL Production Assistant

Bailey Anne Maxwell is thrilled to be returning to The Armory, after acting as production assistant for Little Shop of Horrors, Stupid F**king Bird, Sex with Strangers, Other Desert Cities, Twist Your Dickens (2014 and 2015) and Dreamgirls. Bailey also worked as a deck crew member on Great Expectations last season. In the past, Bailey has worked as a production assistant with Artists Repertory Theatre on The Motherf **ker with the Hat, Foxfinder, Ten Chimneys, The Lost Boy and Seven Guitars. Bailey has recently enjoyed being the stage manager for Up the Fall with PHAME Academy and The Wizard of Oz with Broadway Rose Theatre Company. She has also worked with Profile Theatre as a stage management apprentice on Buried Child, Eyes for Consuela and In the Next Room. Bailey is a proud Linfield College graduate and a member of the EMC program.

#visitastoria Portland Center Stage at

We have your trip planned here:

Pearl District | Old Town | Park Square | SE Division Postal Building | Director Park | Hassalo on 8th



This project was made possible in part by a grant from Travel Oregon.

ASTORIA | SPONSOR STATEMENTS BROUGHTON AND MARY BISHOP Here is a wonderful opportunity to celebrate the indomitable spirit of the people of the Northwest. Enjoy! FRED W. FIELDS FUND OF THE OREGON COMMUNITY FOUNDATION In recognition of the need for arts and culture creatives to test new ideas and stretch their creative capacity, The Oregon Community Foundation developed the Creative Heights program. This four-year initiative is investing in new and exciting projects like Portland Center Stage at The Armory’s original adaptation of Peter Stark’s Astoria. Find out more about what OCF is doing in your community at DR. BARBARA HORT It is a special honor to sponsor Astoria, a Northwest story that has been brought to theatrical life primarily through the dedication and artistry of Chris Coleman. I hope you will be moved and amazed, as I have been, by the ability of this creative team to take you on a breathtaking (and sometimes hair-raising) exploration of our magnificent land! DEDRE J. MARRIOTT I proudly sponsor Chris Coleman’s 2017 world premiere production of Astoria: Part One. John Jacob Astor’s epic endeavor began in New York in 1810, sending explorers from the United States, Canada, Quebec, Hawaii, Scotland, England and Ireland to the uncharted Pacific Northwest, both overland

and on the open sea around South America, and on to Astoria. He envisioned Astoria becoming the hub of an expansive trade route that would circumnavigate the globe. Both Astor and Chris Coleman are pacesetters, the former in enterprise and the latter in theater. NW NATURAL NW Natural is proud to sponsor Astoria: Part One, the grand story of America’s first colony on the continent’s West Coast. The City of Astoria has special significance for NW Natural. In 1859, two Astoria merchants formed Portland Gas Light Company to bring gas lights to Portland streets. That venture went on — through two name revisions — to become Northwest Natural Gas Company in 1958. We’ve been part of this community for over 150 years, and we’re honored to help tell the stories behind this great place. THE HAROLD AND ARLENE SCHNITZER CARE FOUNDATION/ ARLENE SCHNITZER AND JORDAN D. SCHNITZER The Harold & Arlene Schnitzer CARE Foundation is a proud sponsor of Portland Center Stage at The Armory’s production of Astoria. “The city of Astoria has played an important part in both our state’s and our family’s history. In 1905, 19-year-old Sam Schnitzer, who had recently arrived in the U.S., lived in Astoria for a year to get his start in business. Several decades later, my mother’s father, Simon Director, opened a small independent department store in downtown

SPECIAL THANKS For the generous contribution of the languages of the native peoples of the North American continent, we would like to thank: Mr. Lance Foster for the Iowa language; Mr. Loren Yellow Bird Sr. for the Arikara language; and Mr. Elwood Mose for the Shoshone language. For the Hawaiian language, we would like to thank Ms. Allie Jeremiah; et un grand merci to Mr. Brooke Budy for his help with our French language.

Astoria. My mother, Arlene, worked at the store during her summers as a teenager. In 1988, I became president of the Friends of Astoria Column, a nonprofit organization established to restore and maintain the 125-foot-tall Astoria Column, which I believe is the heart and soul of Astoria! Our family has had a strong connection with Astoria for over 100 years!” –Jordan D. Schnitzer THE STANDARD Astoria is the tale of two visionaries — President Thomas Jefferson and iconic business leader John Jacob Astor — and how their efforts helped redefine the Northwest. Nearly a century later, in 1906, another visionary — Leo Samuel — also made a lasting impact on the region, founding the company that would become The Standard. We are proud to have such deep roots in Oregon. We hope you enjoy and are inspired by this unique show. MR. AND MRS. W.T.C. STEVENS The incredible history of John Jacob Astor’s wild vision to corner the fur market in North America was born of wishful thinking, determination and ambition. To put this into words certainly was a daunting task for both Peter Stark and Chris Coleman. It is an epic vision of man’s survival under the harshest of conditions that has seldom been told, and certainly not with such dedication, insight, scholarship and devotion as we see here. Thanks to both authors, and to the cast and creative team, for this amazing tale!


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HIS EYE IS ON THE SPARROW Written by Larry Parr Directed by Timothy Douglas

Music Director/Piano Player Darius Smith

Scenic Designer Scott Bradley

Lighting Designer Peter Maradudin Stage Manager Kelsey Daye Lutz

Costume Designer Alison Heryer Sound Designer Casi Pacilio

Production Assistant Kristen Mun

Casting Harriet Bass

Maiesha McQueen............................Ethel Waters

PERFORMED WITH ONE INTERMISSION. The videotaping or other photo or audio recording of this production is strictly prohibited. The Actor and Stage Manager in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.



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.




Fly Away Home Ethel Waters & “His Eye is on the Sparrow” By Benjamin Fainstein, Literary Manager


n a poignant scene from the 1952 film adaptation of Carson McCullers’ novel The Member of the Wedding, Ethel Waters, in the role of Berenice Sadie Brown, cradles two dejected children while singing “His Eye is on the Sparrow” without accompaniment. She quivers with complication. From her throat comes the silvery and exact vocal tone that entranced listeners throughout her nearly 60-year career, but her musical phrasing hints at a private pain soon confirmed in her wistful gaze. The camera zooms in, the children disappear from view, and Waters’ face fills the screen. “Why should my heart be lonely, and long for heaven and home,” Berenice sings, “when Jesus is my portion?” Her eyes grow dewy, but Waters teeters on the edge of sentimentality without falling over. She hints at, but does not explicitly disclose, Berenice’s complexity of emotion. The camera pulls back when Waters reaches the lyrics “I sing because I’m happy, I sing because I’m free.” The cinematic framing of the scene strongly suggests that the white children pressed to Berenice’s bosom have not picked up on their black housekeeper’s depth of feeling, and Berenice moves on from her bittersweet reverie. “His Eye is on the Sparrow” meant a great deal to Waters offscreen as well, and she masterfully captured the existential tug-of-war embedded in the song. The lyrics bespeak a character trying to reconcile a profound sadness with the recognition that her faith inherently protects her from that very same anguish. The song was brought to light by two white musicians in 1905, composer Charles Hutchinson Gabriel and Civilla Durfee Martin, who penned the lyrics after Martin was moved by the resilient faith of a bedridden friend. The words took inspiration from the Book of

Matthew, when Jesus advises that since God cares for each little sparrow and “ye are of more worth than many sparrows,” there is every reason to take heart and trust in the Lord. The tune soon became a staple of African American gospel music, and while the legendary Mahalia Jackson’s recording was the one inducted into the Grammy Hall of Fame in 2010, it was Ethel Waters who was most closely associated with the hymn until the late 1950s. Waters, who lived from 1896–1977, titled her first autobiography after the song in 1951. In the early decades of the 20th century, she had risen to fame as a singer of jazz, blues and ragtime standards. She became a celebrity of the Harlem Renaissance, then began appearing in films and on Broadway. In 1949, Waters became the second African American to be nominated for an Academy Award. In 1957, after a period of personal and professional turbulence, she sang at her first Billy Graham Crusade at Madison Square Garden. Graham’s popularity had been growing at an exponential rate, and his evangelist revival meetings attracted millions of followers. Graham had opposed racial segregation amongst his crowds, saying in Mississippi in 1952 that Christianity was neither white nor black, and that Christ belonged to all people. After Waters’ first appearance for Graham’s church, she remained an important member of his circle and sang at his Crusades until 1976. Gospel music was indelibly marked by “His Eye is on the Sparrow,” which has been recorded by scores of artists, including Whitney Houston, Lauryn Hill, Rosetta Tharpe and Gladys Knight. The song acknowledges that agony is a part of human life, yet it still insists on hope and faith. Looking back on Ethel Waters’ life, it seems clear she did the same.



1912, Civilla D. Martin, Charles H. Gabriel


1926, E. Leslie, J. V. Monaco FRANKIE AND JOHNNY





Jack Wilson


1925, Ben Bernie, Maceo Pinkard, Kenneth Casey THIS JOINT IS JUMPIN’

1938, J. C. Johnson, Andy Razaf, Thomas Waller, Chappell & Co., Inc. LITTLE BLACK BOY

1934, J. C. Johnson, George Whiting, Record Music Publishing Company OLD MAN HARLEM

1933, Rudy Vallee, Hoagy Carmichael, Southern Music Company


1925, Sam Lewis, Joe Young, Harry Akst TAKING A CHANCE ON LOVE

1940, John La Touche, Vernon Duke, EMI AM I BLUE?

1929, Grant Clarke, Harry Akst, Warner/Chappell Music STORMY WEATHER

1933, Ted Koehler, Harold Arlen, S. A. Music Co. HEATWAVE

1933, Irving Berlin, Irving Berlin Music Co. CABIN IN THE SKY

1940, John La Touche, Vernon Duke, EMI BLACK AND BLUE

1929, Fats Waller, Harry Brooks, Warner/Chapell Music HIS EYE IS ON THE SPARROW





Maiesha McQueen is honored and thrilled to be returning to The Armory in His Eye is on the Sparrow. She was last seen on The Armory main stage in the 2015 production of Ain’t Misbehavin’. Regional credits include: ‘Da Kink in My Hair (Horizon Theatre, Atlanta); Sirens of Song (Milwaukee Repertory Theater); Chasin’ Dem Blues (True Colors Theatre, Atlanta); Black Nativity (Dominion Productions, Atlanta); In the Red and Brown Water (PG Entertainment, GA); Little Shop of Horrors, Show Boat, Man of La Mancha, Guys and Dolls (Forestburgh Playhouse, NY). Film credits include: DayBlack (ArtistDirector Media), Down to Earth (Paramount Pictures). Maiesha has traveled the globe as a leading ensemble member and musical composer for the touring company Progress Theatre, whose work has been presented at spaces such as The Public Theater, 14th Street Playhouse, The Kennedy Center, The Apollo Theatre and World Music Festival in Amsterdam. She holds a B.F.A. in Musical Theatre from New York University’s Tisch School of the Arts, a master’s in education from Fordham University, and has spent over a decade teaching in both public and private sectors. Maiesha would like to thank her family and “tribe” for their unconditional love and support! LARRY PARR Playwright

Larry Parr has had hundreds of regional productions and is a Dramatist Guild member. Awards and honors include: Hi-Hat Hattie – Kansas City’s Drama Desk Award for Best Musical, Florida Individual Artist Recipient, American Cinema Foundation’s First Prize for Screenwriting; My Castle’s Rockin’ – Southern Appalachian Repertory Theatre’s ScriptFest, the first play by a white playwright produced in the history of the National Black Theatre Festival; Invasion of Privacy – 1999 Gold Coast Players Best Play Award, The National Arts Club’s Playwrights First Award in Manhattan, Ashland New Play Festival, Theatre Conspiracy’s New Play Competition, Florida Individual Artist Recipient, Dezart Performs Audience Favorite+; Sundew – Southern



Appalachian Repertory Theater’s Annual Play Competition; His Eye is on the Sparrow – Florida Individual Artist Fellowship Recipient, The Sarasota County Arts Council’s John Ringling Fellowship Grant, Daytony Award for Best Overall Production; Shunned – Southern Appalachian Repertory Theater’s ScriptFest Winner, Utah Shakespeare Festival, New American Playwrights Project, Julie Harris Playwright Award Finalist; winner of Florida Studio Theatre’s Short Play Competition nine years in a row; winner of Stages 1993; winner of the 1994 Porter Fleming Playwriting Competition; and a recipient of the Barbara Anton Playwriting Award from Florida Studio Theatre, 2000 and 2010. TIMOTHY DOUGLAS Director

Timothy Douglas returns after directing the productions of Anna in the Tropics and A Feminine Ending. He is a New York based theater director who currently serves as an associate artist at Cincinnati Playhouse in the Park, where he has staged seven productions, including the world premiere of Keith Josef Adkins’ Safe House. Recent credits include Seven Guitars for Yale Repertory Theatre; Disgraced and King Hedley II for Arena Stage; Father Comes Home from the Wars, parts 1, 2 and 3, for Round House Theatre; Richard II for Shakespeare & Company; BRONTE: A Portrait of Charlotte presented Off-Broadway; and the development of Ione Lloyd’s Eve’s Song for Sundance Theatre Institute/ MENA Lab in Morocco. Timothy has directed nationally and internationally and counts among his many productions the world premieres of August Wilson’s Radio Golf for Yale Repertory Theatre; Rajiv Joseph’s The Lake Effect for Silk Road Rising (2013 Jeff Award for Best New Work); Dontrell, Who Kissed the Sea (six Helen Hayes Award nominations) for Theater Alliance; the Off-Broadway premiere of a new translation/adaptation of Ibsen’s Rosmersholm; as well as his critically acclaimed Caribbeaninspired Much Ado About Nothing for Folger Shakespeare Theatre. He was the associate artistic director at Actors Theatre of Louisville, 2001–2004, where he directed 16 productions including three Humana Festival premieres. The list of theaters Timothy has made productions for include American

Conservatory Theater, Berkeley Repertory Theatre, Berkshire Theatre Festival, Cleveland Playhouse, Downstage (New Zealand), Guthrie Theater, Juilliard, Milwaukee Repertory Theater, Pioneer Theatre Company, Pittsburgh Public Theater, Pittsburgh Irish & Classical Theatre (associate artist, 20012005), PlayMakers Repertory Company, South Coast Repertory, Steppenwolf Theatre, Utah Shakespeare Festival, Woolly Mammoth Theatre Company, and many others. Timothy earned his M.F.A. from Yale School of Drama. DARIUS SMITH Music Director/Piano Player

Off-Broadway: Futurity, Three Little Birds. DC area: Signature Theater: Jelly’s Last Jam, La Cage aux Folles, Soon, Dreamgirls (associate music director); Olney Theatre Center: The Producers, Disney’s The Little Mermaid, Once on this Island; Studio Theatre: Choir Boy, Carrie: The Musical; MetroStage: Glimpses of the Moon; Adventure Theater-MTC: Petit Rouge, Go, Dog, Go; Charlie and the Purple Crayon, Big; and many others in the DC area. Original works: Marcus Nate is Alive and Great and Living in Detroit (workshop), The Snowy Day (Best TYA Production Helen Hayes nomination); U.G.L.Y. (Signature Theater SigWorks MT Lab, Kennedy Center Page-to-Stage); Songs in the Key of Chocolate (Signature Theatre Summer Cabaret Series). Cabarets: with Helen Hayes Award winners, Nova Y. Payton and Natascia Diaz. Awards: 2016 San Francisco Theatre Critics Award Outstanding Music Direction (Choir Boy), 2015 Signature Theatre Young Artist Citation, 2015 Bernard/Ebb Songwriting Competition Finalist. Upcoming: Raisin, The Wiz.

SCOTT BRADLEY Scenic Designer

Scott Bradley previously designed Fences at The Armory. Broadway: premieres of August Wilson’s Seven Guitars (Tony nomination and Drama Desk Award for Best Set Design) and Joe Turner’s Come and Gone (Drama Desk Award for Best Set Design). Recent openings: Gloria, NYU Tisch School of the Arts; Love’s Labour’s Lost, Boston Commonwealth Shakespeare Company; A View from the Bridge, Seattle Repertory Theatre; The Crucible, Cleveland Play House; Brownsville Song, Long Wharf

HIS EYE IS ON THE SPARROW | CREATIVE TEAM Theater; Much Ado About Nothing, Oregon Shakespeare Festival; Chapatti, Cincinnati Playhouse in the Park. Other notable productions: world premiere of Samuel D. Hunter’s A Great Wilderness (Seattle Repertory Theatre); Eurydice by Sarah Ruhl and The Notebooks of Leonardo de Vinci by Mary Zimmerman (Second Stage Theatre, Lucille Lortel nominations for both productions). Television: set designer for Late Night with David Letterman. Film: production designer for Ang Lee’s Pushing Hands. Graduate of Yale School of Drama. 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 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. She has exhibited work at the Nelson Atkins Museum of Art, Austin Museum of Modern Art, and Prague Quadrennial of Design and Space. Recent awards include the ArtsKC Inspiration Grant, the Austin Critics Table Award and a 2016 Drammy. Alison is an assistant professor of art practice in the School of Art + Design at Portland State University and a member of United Scenic Artists Local 829.

PETER MARADUDIN Lighting Designer

Peter Maradudin is pleased to return to The Armory, where previous work includes Great Expectations, Threesome, Othello, Ragtime, Crazy Enough, West Side Story, Anna in the Tropics, Hamlet, King Lear and Terra Nova, among many others. He is also the lighting designer for the lobby spaces of The Armory. On Broadway, he designed the lighting for Ma Rainey’s Black Bottom and the Pulitzer Prize-winning The Kentucky Cycle. Off-Broadway he designed Threesome, Hurrah at Last and Ballad of Yachiyo. Peter has designed more than 300 productions for such companies as the Guthrie Theater, American

Conservatory Theater, Berkeley Repertory Theatre, Mark Taper Forum, La Jolla Playhouse, Seattle Repertory Theatre, Old Globe Theatre and South Coast Repertory. He is the studio director of the architectural lighting group StudioK1, and is the author, under his pen name Peter Alexei, of the novels The Masked Avenger and The Queen of Spades. CASI PACILIO Sound Designer

Casi’s home base is The Armory, where recent credits include The Oregon Trail, Little Shop of Horrors, A Streetcar Named Desire, Great Expectations, Ain’t Misbehavin’, Three Days of Rain, Cyrano; Other Desert Cities, Vanya and Sonia and Masha and Spike, A Small Fire and Chinglish with composer Jana Crenshaw; and ten 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.


The Armory credits include: stage manager for Hershey Felder as Irving Berlin, Hold These Truths, The Pianist of Willesden Lane, Each and Every Thing, Forever, The Santaland Diaries, The Lion, The People’s Republic of Portland (second engagement), Vanya and Sonia and Masha and Spike, The Typographer’s Dream, The Last Five Years and A Small Fire; and production assistant for Clybourne Park, Venus in Fur, A Midsummer Night’s Dream, The North Plan and Anna Karenina. Kelsey Daye is a graduate of University of North Carolina at Greensboro. She would like to thank her pups for all their unconditional love, and Shamus for being wonderful.

KRISTEN MUN Production Assistant

Kristen Mun is originally from Hawaii and graduated from Southern Oregon University with a B.F.A. in Stage Management. This is her fourth season at The Armory, where previous credits include: production assistant on The Santaland Diaries (2015 and 2016), Hold These Truths, A Streetcar Named Desire, Each and Every Thing, Forever, Three Days of Rain, Threesome, LIZZIE and Fiddler on the Roof. Outside of Portland, she has worked at the Oregon Shakespeare Festival, Idaho Repertory Theatre and Actors Theater of Louisville. In Portland, she has worked as a production assistant and stage manager with theater companies including Artists Repertory Theatre (And So It Goes… and Red Herring), Oregon Children’s Theatre (A Year with Frog and Toad, Charlotte’s Web, Ivy and Bean and Junie B. Jones) and Broadway Rose Theatre Company (Oklahoma!). Outside of stage managing, Kristen is a fight choreographer and stage combat teacher. She is forever grateful to Adam and her family for their love and support.

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.

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






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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. 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. 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. PLEASE SILENCE ALL CELL PHONES. You may check your cell phones with the concierge and they will notify you in case of an emergency. CHECK BACKPACKS and LARGE PARCELS. For safety purposes, please check large backpacks and parcels at the coat check.

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 160,000 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 21 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.

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.


Umpqua Bank



OUR MISSION. Proud Sponsor of Portland Center Stage.

Sometimes they work. Sometimes they don’t. But none of these actors would be on stage tonight 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.

p o r t l a n d ’ s h o t e l t o th e ar t s IN THE HEART OF PORTLAND’S WEST END DISTRICT

4 0 9 S W 1 1 T H AV E P O R T L A N D | 5 0 3 . 2 2 4 . 3 2 9 3 | M A R K S P E N C E R . C O M THE ARMORY



We gratefully acknowledge the supporters of our 2016–2017 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.



U.S. Bank


The Standard Curtis T. Thompson, M.D. and Associates, LLC Wells Fargo

SEASON STARS ($10,000+)

AHA! Boeing Company Davis Wright Tremaine Delta Air Lines GBD Architects Hoffman Construction KeyBank Moda NW Natural Stoel Rives LLP Work for Art, including contributions from more than 75 companies and 2,000 employees

PLAYMAKERS ($5,000+)

Bank of America Glumac KPFF Mentor Graphics Perkins Coie Troutman Sanders LLP Wieden + Kennedy

PRODUCERS ($2,000+)

D’Amore Law Group Hygeia Healing PCC Structurals, Inc. Portland Timbers Pricewaterhousecoopers LLP Vernier Software & Technology Zimmer Gunsul Frasca


Downtown Development Group Pacific Office Automation

STARS ($250+)

Cupcake Jones Graphic Arts Building Heathman Hotel ShadewoRx


Alliance Française de Portland Altabira City Tavern Al’s Garden Center Argyle Winery Art of Catering

Artemis Foods Keith & Sharon Barnes Bellino Tratoria Siciliana Ben & Jerry’s Boeing Company Byways Cafe Caffe Umbria Cheese Bar Chehalem Wines Chop Conundrum Trail Mix Daimler Aishwarya Deenadayalu Delta Airlines Devil’s Food Catering De Ponte Cellars Eat Your Heart Out Eastside Distilling Everything’s Jake Free Geek Food in Bloom Footwear Specialties International Geranium Lake Flowers Rosemond Graham Hotel G Hunt & Gather Catering Donna Huntsman Craig & Lynne Johnston Kelley Young Harrington Interiors Regan & Gina Leon Drs Skye & Jane Lininger Richard Linn

Rebecca MacGregor Mario’s Mingo Restaurant Morel Ink Monique’S Boutique Marlene Montooth Nel Centro New Deal Distillery NIKE, Inc. Nuvrei Fine Cakes & Pastries NW Film Center NW Natural Oblation Papers & Press Pacific Pie Company Paragon Restaurant & Bar Partners Of Maison Venasque Pearl Catering Pearl Gallery & Framing Portland Opera Precision Graphics Restaurant St. Jack Pat & Trudy Ritz Ralph & Elba Shaw St. Honore Boulangerie Simpatica Catering Thea’s Vintage Living Umpqua Bank Uptowne Paper Weinmann Painting West Coast Event Productions Zupan’s Market


(AS OF DECEMBER 6, 2016)


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 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 (2) The Holzman Foundation/Renée & Irwin Holzman



Jackson Foundation Maybelle Clark Macdonald Fund Oregon Arts Commission, a state agency PGE Foundation The Rose E. Tucker Charitable Trust Travel Oregon


H.W. & D.C.H. Irwin Foundation Samuel S. Johnson Foundation Herbert A. Templeton Foundation




AOH Foundation Autzen Foundation D. Margaret Studley Foundation Travel Portland


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.

INDIVIDUAL GIFTS (AS OF DECEMBER 6, 2016) The membership levels and names listed below are determined by your individual gift membership renewal date and are recognized for twelve months. We make every attempt to acknowledge your name accurately. If you find a mistake, want to make a change or think your name should be listed and want to inquire further, please don’t hesitate to call 503.445.3744 to let us know. We are more than happy to make changes for the next playbill. 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+)

Heather Killough Joanne M. Lilley Fund of The Oregon Community Foundation

The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer & Jordan Schnitzer Richard & Marcy Schwartz Drs. Ann Smith Sehdev & Paul Sehdev Douglas & Teresa Smith Christine & David Vernier Ben & Elaine Whiteley Steven & Deborah Wynne

LEADERSHIP CIRCLE ($25,000–$99,999)

PLAYMAKERS ($5,000–$9,999)

Keith & Sharon Barnes Don & Mary Blair

Broughton & Mary Bishop Family Advised Fund, a charitable fund of the Community Foundation of Southwest Washington Andy & Nancy Bryant Dream Envision Foundation Ginger Carroll Roger Cooke & Joan Cirillo Brigid Flanigan Ronni Lacroute/WillaKenzie Estate Dedre J. Marriott Pat & Trudy Ritz/Ritz Family Foundation Helen & Jerry Stern Mr. & Mrs. W.T.C. Stevens David E. Wedge Trust Dan Wieden & Priscilla Bernard Wieden

SEASON STARS ($10,000–$24,999)

Anonymous Dr. Don & Jessie Adams John & Linda Carter Sarah Crooks Martin & Karin Daum Ray & Bobbi Davis William & Karen Early Mark & Ann Edlen The Wayne & Sandra Ericksen Charitable Fund CLF Family Charitable Foundation Diana Gerding J. Greg & Terry Ness Tasca & Paul Gulick Steven & Marypat Hedberg The Holzman Foundation/ Renee & Irwin Holzman Dr. Barbara Hort & Mark Girard Marilyn & Ed Jensen Craig & Y. Lynne Johnston Kevin & Karen Kelly James & Morley Knoll Hilary Krane & Kelly Bulkeley Charles & Carol Langer Chrys A. Martin & Jack Pessia Michael E. Menashe Reynolds Potter & Sharon Mueller

Anonymous Anonymous Scott & Linda Andrews Gerry & Marilyn Cameron Glenn Dahl & Linda Illig Jess Dishman David Dotlich & Doug Elwood Carole Edelman Robert Finger Lois Seed & Dan Gibbs Rob Goodman Greg Hazelton & Dori Flame Roy Schreiber & Carole Heath Tom & Betsy Henning Judy Carlson Kelley Ms. Kirsten Lee & Mr. Joseph Sawicki Drs. Dolores & Fernando Leon Drs. Skye & Jane Lininger Jim & Jennifer Mark Peter K. McGill Franklin & Dorothy Piacentini Charitable Trust Preble Family Charitable Trust of the Bank of America Charitable Gift Stephen Reynolds & Paula Rosput Reynolds Leonard & Lois Schnitzer Family Fund of the Oregon Jewish Community Foundation Elba, Ralph, Russell, Lorraine & Renee Shaw Roy Schreiber & Carole Heath Barbara A. Sloop Marilyn Slotfeldt John & Jan Swanson John Taylor & Barbara West Susan & Jim Winkler Gregg & Diane Kantor


Carole Alexander Kathi & Ted Austin Peter & Susan Belluschi Family Fund of The Oregon Community Foundation Richard Louis Brown

Bill Byrne & Dennis Scolard Steve Cox & Vikki Mee Kelly K. Douglas & Eric H. Schoenstein Joan & Jim English Randy Foster Paul & Samantha Harmon Jon & Sheila Levine Laurie & Gilbert Meigs Steven C. Neighborn James H. O’Lennick Jim & Linda Patterson Brenda J. Peterson Fred L. Ramsey Robert Reed Bob & Marilyn Ridgley Dave & Lori Robertson Mark Schlesinger & Patti Norris CollierTrust Sue & Drew Snyder Don Waggoner & Eunice Noell-Waggoner Mary & Pat Wolfe

PRODUCERS ($2,000–$2,999)

Anonymous Ruth & Jim Alexander Julia & Robert S. Ball Phil & Julie Beyl Jack Blumberg & Tom Anderson Ann Brayfield & Joe Emerson Lee Anne & George Carter Leslie Copland Judy Dauble Edward & Karen Demko Margaret Dixon Robert Falconer Sharon & Henry Hewitt Dale Hottle Dennis C. Johnson Raymond & Marilyn Johnson Stephen & Marjorie Kafoury Tim Kalberg Jina Kim & Hyung-Jin Lee Thom King Ruth Knepell Bernard & Carol Kronberger Cindy & Keith Larson Regan & Gina Leon Edwards Lienhart Family Foundation Grateful Patron John D. & Nancy J. Murakami Nathan Family Joan Peacock Dorothy Piacentini Dennis & Diane Rawlinson Pat & Al Reser Bobbie & Joe Rodriguez Teri Rowan Raj Sarda MD Stephen & Trudy Sargent Trina & Michael Sheridan CollierTrust Burt & Barbara Stein


Umpqua Bank

AHA! Boeing Company Curtis T. Thompson, M.D. and Associates, LLC Davis Wright Tremaine W R Swindells Minh Tran & Gary Nelson E. Walter Van Valkenburg & Turid L. Owren Ted & Julie Vigeland Trudy Wilson & Terry Brown Winnowski Family Foundation

BENEFACTORS ($1,000–$1,999)

Anonymous Rukaiyah Adams Richard & Kristin Allan Mr. Stan Amy & Ms. Christy Eugenis Phyllis Arnoff Brenda K. Ashworth & Donald F. Welch Dr. Gene Baker & Regina Brody Chery Balkenhol & James Alterman Robin & Thomas Barrett Christian, Lisa & Ella Bisgard Lawrence S. & Susan W. Black Fund of The Oregon Community Foundation Sam & Adriane Blackman Kate & Bill Bowman Marianne Buchwalter John Bush & Greg Zarelli Tim O’Leary & Michelle Cardinal Rick Caskey & Sue HornCaskey Dr. Richard & Nancy Chapman Mary Chomenko Hinckley & Gregory K. Hinckley Drs. Marguerite Cohen & Joe Roberts M. Allison Couch & Tom Soals Betsy Cramer & Greg Kubeck Leslie & James Culbertson Gail & Mike Davis Kirk & Marsha Davis Dan Drinkward Gerard & Sandra Drummond Karen & John Durkheimer Family Fund of The Oregon Community Foundation John & Jane Emrick John Briggs & Jeffrey Feiffer Mike & Chris Feves Larry & Deborah Friedman Daniel & Leah Frye Cynthia M. Fuhrman Cathie Glennon Mike Golub & Sam Shelhorse Mark & Christi Goodman John & Jacque Guevara Dylan Gulick Del Hall Donald F. Hammond Susan M. Robert S. Hatfield Marcia Hauer & Jeanne Knepper

GBD Architects Hoffman Construction Key Bank Moda NW Natural Oregonian Media Group Richard L. Hay Lani Hayward Arnold & Virginia Israelit Brad & Judy Johnson Kathy & Steve Johnson Dr. Laurie Kash & Michael Carter Selby & Doug Key Ray & Terry Lambeth Brad & Cindy Larsen Dorothy Lemelson Shari & Frank Lord Carol & Charles Mackey Jean & Steve Mann Robert Matheson & Kimberly Porter Katherine McCoy of West Portland Physical Therapy Clinic Shelly McFarland Lindsey & Marilen McGill Jack & Carolyn McMurchie Rob & Kate Melton Lora & Jim Meyer Bryan Nakagawa Hester H. Nau Bradford & Linda Needham Deborah Neft & Salvatore D’Auria Neilsen Family Fund of The Oregon Community Foundation Paul & Lisa Nourgat Allan & Madeline Olson Duane & Corinne Paulson Stanley & Susanne Penkin Ellie Picologlou Dr. & Mrs. Charles Poindexter David Pollock Judson Randall Dianne Rodway Halle & Rick Sadle Carol Schnitzer Lewis Fund of The Oregon Community Foundation Marian & Elihu Schott Family Fund of The Oregon Community Foundation Michael & Karen Sherman Peter Shinbach John & Joan Shipley Geoff & Susie Strommer Michael Simon Veterinary Surgical Center of Portland Randall & Janet Smith Carl Snook George & Molly Spencer Ray & Pat Straughan Mary & Jeff Strickler Donald & Roslyn Sutherland Dr. Calvin & Mayho Tanabe Don & Judy Thompson Ronald E. & Ivy L. Timpe Fund of The Oregon Community Foundation Katherine & Nickolas Tri

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

Carol & David Turner Dennis & Jean Wilde Jay Wilt David & Sherri Zava

STARS ($500–$999)

Anonymous (2) Anonymous Charles & Gloria Adams Margaret & Stuart Albright Stacy Allison Thomas & Brada Bailey Susanne Baumann & John Gragg Brian Benavidez David & Bonnie Bennett Dr. Janet Bennett Randy & Rebecca Bissinger Bob Schuler & Debra Blanchard Jill Blanchard Lesley Bombardier Craig Boretz Norma Bradfish Stephen & Marge Brenneke Clifford & Doris Carlsen Family Fund of the Oregon Community Foundation Brenda & Duke Charpentier Bruce & Janis Collins Sonja L. Connor Dave & Debbie Craig Erik Cubbage Tracy A. Curtis & Rick Nagore Gloria Zeal Davis Craig Dewey & Julie Coop Richard & Betty Duvall Stephen Early & Mary Shepard Gregory Flick Ronald Fraback Carol Fredlund & John Betonte Charles & Kyle Fuchs Don & Judy Fuller Richard & Kristine Gates Paul & Faye Gilbarg Melissa & Robert Good Michael & Nancy Graham Gail & Walter Grebe Rick & Susan Gustafson Bill & Elaine Hallmark Lourri Hammack Kregg & Andrea Hanson Richard L. Hay Patsy Heinlein MJ & Lee Alan Helgerson Herman Charitable Foundation Paul & Ruth Herrington Laurie Holland Dixie Huey Susan Immer & Larry Juday Christina Isacson Cecily Johns Jessie Jonas Douglas & PJ Jones Kevin & Suzanne Kahn Gerri Karetsky & Larry Naughton


DONOR LIST (CONTINUED) Carla Kelley Nancy Keystone & Michael Schlitt Kevin & Lee Kidd Lucien & Sally Klein BettyLou Koffel & Philip Moyer Mr. Rudy Kohnle & Ms. Krista Larson Jon & Karen Kruse Bruce & Cathy Kuehnl Susan Lair & Doug Trobough Libbi Layton & Lawrence Tamiyasu Bonnie & Mike Leiser Richard M. Linn Elaine & Richard Lycan Stephen Mason & Christine Fisher JS & Robin May Karen & Brent McCune Jessica McVay Richard Meeker & Ellen Rosenblum Merry & John Melonas Robert & Violet Metzler Michael & Susan Mueller Ward & Pamela Nelson Don & Doris Nielsen David & Anne Noall Juris V. & Silvia Orle Vicki & Greg Page John & Carolyn Parchinsky Carol Pelmas Elizabeth Perris & Beverly Schnabel Jim & Pam Phillips Wallace & Elizabeth Preble Dick & Linda Reedy Drs. Scott & Kay Reichlin Leslie Rennie-Hill & Ken Hill Tony & Sherryl Reser Kelly Ritz-Eisenstein & Scott Eisenstein Mary & Craig Ruble Mardi Saathoff Steven & Carol Sandor Dianne Sawyer & Richard Petersen Peter Shinbach Virginia Shipman & Richard Kaiser Brad Simmons & Shannon Hart J & C Skuster Walter & Carol Smith Kimberly Smith-Cupani Rick & Denyse Stawicki Elaine R. & Rudolph B. Stevens Janice Stewart & Gordon Allen Dan & Linda Sullivan Dr. Jeffrey & Mrs. Roberta Swanson Meri & Stephen Taylor Bruce & Rebecca Teborek Beverly Terry Don & Judy Thompson Marcia K. Timm Eleanor & Peter Van Alderwerelt Lewis & Susan Van Winkle Virginia V&erbilt & Michael Garrison Dan Volkmer & Frank Dixon Richard Wallace & Patricia White Wendy Ware & Dan Gleason Joan & David Weil Aurora WindDancer 24


Dr. & Mrs. Bennett Wight Brian R. Wilson Fabian & Julie Yeager

PATRONS ($150–$499)

Anonymous (10) Anonymous (3) Vanessa Abahashemi & Soren Jorgensen Jose Alcarez Joan & Brian Allen Philip & Pip Allen Linda C. Anderson Thomas R. Anderson & Joan Montague Mr. & Mrs. John K. Ankeney Nigel & Kerry Arkell Kregg Arnston & Ted E. Fettig Lee & Lynn Aronson Elizabeth Ash & David Morganstern Linda Aso Jean & Ray Auel Jean & David Avison Susan Bach & Douglas Egan Grover & Susan Bagby Mrs. Bernice Bagnall Bill Bagnall & Clayton Lloyd Gary & Christine Barbour Mr. & Mrs. Peter Barnhisel Diane & Arthur Barry Sidney & Barbara Bass George W. Bateman Richard Baumann Kathleen Bauska Donald C. & Doris Beard Rob & Sharon Bennett Jamie & John Birkett Cheryl A. Bittle Anita & Clark Blanchard Ms. Catherine Blosser & Mr.Terry Dolan Robert E Blum & Carol M. Black Brian & Karen Borton Kay Bristow Patsy Bruggere Mr. Lamar Bryant & Ty Stober Mary Butler Tim & Susan Carey Andrea Carlson Carolyn & Walter Carr Brett & Barbara Carson Michael Carter & Teresa Ferrer Jean Carufo & Barb Engelter Tyler Case Susan Cassady & Neal Thompson Brent & Barbara Chalmers Gordon B. Chamberlain Tim Chapman Melissa A. Charbonneau Bob & Patty Chestler Valri & Vincent Chiappetta Susan F. Christensen Carolyn & Carl Christoferson Cynthia Church Susan Clarke Miguel Cobian John & Kathryn Cochran Elaine & Arnold Cogan Rhonda Cohen Rick & Jean Collins Lisa & Skip Comer Sherie P. & John M. Corley William & Harriet Cormack Jerry & Jean Corn Karen Costello John & Ann Cowger Allen & Sue Craig

John Crawford & Kathryn Crawford Marian & Neale Creamer Karen & Ward Cunningham Jill & Tony Daniels Arthur & Winnifred Danner Marcia Darm & Bruce Berning Betty Daschel Maureen Sproviero Davis & Kerwin Davis Aishwarya Deenadayalu Carolyn DeLany-Reif Duane & Prudence Denney Bill & Brenda Derville Linda & Jerry Dinan Ken & Laura Dobyns Arthur H. Dodd John & Danuta Donovan Pat Dooney Edith & Michael Dorsen Steve Dotterrer & Kevin Kraus CDR Robert duBiel & Nancy Dougherty Beverly Downer Julie & Jim Early Janet & Barry Edwards Steven Ehlbeck & Vassiliki Tsikitis Mary A. & Peter Eisenfeld Kris & R. Thomas Elliott Ronnie-Gail Emden & Andrew Wilson Ed & Marilyn Epstein Sharon Ewing-Fix Renee Ferrera & James Johnson Patrick & Eileen Fiegenbaum David Filer & Marlene Anderson Colleen Finn Sally & Jerry Fish Peter & Nancy Fisher Sherry & Paul Fishman Greg Fitz-Gerald Mary Flahive & David Finch George H. Fleerlage Per-Olof Jarnberg & Joan Foley Steve & Susan Ford Bernard A. & Loretta E. Fox Larry & Judy Fox Terry Franks & Carolyn Duran Bruce & Kate Frederick Gail & Kim Frederick Richard Smith & Patricia Frobes Jerome & Mary Fulton William & Beverly Galen Susan & Seth Garber Colleen Gekler Merry Gilbertson Lisa Goldberg Lynn Goldstein Barbara Gordon-Lickey Rosemond Graham Patricia & Tim Gray Mark & Michelle Greenwood Nancy & Ron Gronowski Elisabeth Hall Ulrich H. Hardt & Karen Johnson Gary Hargett Tom & Jan Harvey Fred & Sara Harwin Mark & Paige Hasson Jane L. Hatch Regina Hauser & Chris Carson Tracey Heinrich Tom & Verna Hendrickson Mr. & Mrs. Clayton Hering Gary & Jane Hibler

Frances & Hunter Hicks Margaret & Timothy Hill Suzanne Hiscox Barbara & Mark Hochgesang Mrs. Beverly Hoeffer & Mrs. Carol Beeston Karen & Chuck Hoff Andrew Hoffmann Kevin Hogan & Aaron Larson Barry & Fanny Horowitz Jeanne Provost & R. Brian Hough Donald & Lynnette Houghton Dr. Hal Howard Jay Howell Robert & Jill Hrdlicka Nancy Hull & Chris Sproul Kathy & Tom Iberle Robina & Tim Ingram-Rich Willard & Shirley James Joanne Jene, M.D. Becky & Jarrett Jones Joan Jones K&J Jack & Farol Kahle Cindy Kaplan Ross Kaplan & Paula Kanarek Chad & Mary Karr Rebecca Karver Ron & Ruth Katon Franki Keefe Katherine Keene Jane Kennedy Heather Kientz Julie King/John Pump Jim & Lois King Nancy Kingston Frederick Kirchhoff & Ronald Simonis Lucien & Sally Klein Romy Klopper Michael Knebel & Susan Shepard Tricia Knoll & Darrell Salk Kohnstamm Family Foundation Drs. Bill & Ricky Korach Ed & Margaret Kushner Robert & Sally Landauer David Lapof Robert & Nancy Laws Bob & Sally LeFeber Roger & Joy Leo Brian & Chris Lewis Peter & Janice Linsky Steve Rosenberg & Ellen Lippman Joyce & Stanley Loeb Ralph London R. Lubomirski John. D. Lynch Rebecca MacGregor Jerry & Judy Magee Jeanne & Jim Magmer Tim & Barbara Mahoney Jane Maland Caroline Mann Linda & Ken Mantel Joe Marrone/ Ann Balzel Kenneth & Nancy Martin Don & Susan Masson Pamela Matheson Susan & Bill McConnell Maryl M McCullough Susan McFadden Charles & Kathleen McGee Lisa McKinney Alan & Daina McLean Gretchen McLellan Steven McMaster & Kathleen Brock

Bart McMullan Jr. & Patricia Dunahugh Gayle & George McMurriaBachik Trisha Mead Karolyn Meador Julia Meck Ruth E. Medak Mariellen Meisel & Steve Glass Peter & Joan Melrose Susan Sammons Meyer & Dennis Meyer Stacy Michaelson Louis R. Miles Mr. Jay Miller & Ms. Elise Menashe Roger & Karen Miller Kate & Jack Mills Sherry Mills Tom & Lia Mills David & Machteld Mok Grant Molsberry & William Apt Brandon Monroe Douglas & Malinda Moore Jane Moore & David Pokorny Clint & Donna Moran Mike & Jan Morgan Sonny Jepson & Felice Moskowitz Laura & Joseph Munoz Fran Nay Bill & Pat Nelson Jeanne Newmark Ann Nickerson Landscape Design Susan & Peter Norman Kay Novak Mary Lou Obloy Ron & Janet O’Day Ric Oleksak Barry D. Olson Eileen & Alfred Ono Jamie Ordower Beverly J. Orth Lottie Goodwin Lynda Paige Jennifer Peery JoAnn Pari-Mueller & Dan Mueller Gail & Alan Pasternack Janet Peek Steve & Melissa Peterman Francis Peters John M. & Suzy J. Petersen Kevin Phaup Donna Philbrick Sue Pickgrobe & Mike Hoffman Nancy Pitney Shirley Pollock Michael Ponder & Bea Davis David & Margo Price Edgar & Prudence Ragsdale Jay & Barbara Ramaker Michael R. Rankin Bonnie & Peter Reagan Mark Reploeg Helen Richardson & Don S. Hayner David Robertson & Chuck Brimmer Gertrude Robinson Lucinda Rodgers Charles & Judith Rooks Kelly & Tomilynn Ross Ted & Holly Ruback Davia & Ted Rubenstein Jim & Joanne Ruyle Bunny & Jerry Sadis

Linda Salinsky Deborah Santomero & Lisa Hoffman Christine & Steven Satterlee John & Stephanie Saven Jim Scherzinger & Claire Carder Sheldon & Jean Schiager Martha M. Schostal Peter C. & Jeanette M. Scott Michael & Pam Shanahan Dr. Jeffrey D Sher Carl R. Shinkle Rodger & Marcella Sleven Christine & Todd Smith Charles E. Smith Neil Soiffer & Carolyn J. Smith George Soule & Maurice Horn Doug Sparks & Casey Bass Harley & Robyn Spring Sarah Sterling Zach & Vassie Stoumbos Milan & Jean Stoyanov Rhonda Studnick Kaiser Tony & Vanessa Sturgeon Margie Sutherland, MD Mr. & Mrs. John Sutton Roger & Gale Swanson John & Jan Switzer Amy & Emanuel Tanne Kara & Tyler Tatman Ann & Dave Taylor Jerome & Kathleen Taylor Jane Thanner & Tim Smith William & Lori Thayer James & Linda Thomas Grant & Sandra Thurston Sandra Teel Trainer Mr. Michael Traylor & Derek Holmgren Peter & Cathy Tronquet Mark & Christy Uhrich Phil & Mimi Underwood Dawn Vermeulen James N. Stamper & Jennifer P. Villano Mark & Mary Ann Vollbrecht Karen & Charles Waibel John N. & Betty K. Walker Nancy Walker & Terry Foty Sheila Walty Ms. Shu-Ju Wang & Mr. Mike Coleman Michael Weiner & Kathy Davis-Weiner Brandon & Betty Jean Wentworth Karen Whitaker Chris & Jana White James M. White Diana & Jim White JD & D’Alene White Maurice & Lauretta Williams Marjorie & Tom Wilson Alan Winders Callie & Ana Winner Greg Winterowd Loring & Margaret Winthrop Jeff & Jaynie Wirkkala Don & Jan Wolf Richard & Leslie Wong J. Marcus Wood & Sue Hennessey Linda M. Wood Robert & Vickie Woods Paul Wrigley Jack Wussow & Kyle Adams Russ & Mary Youmans Alan & Janet Zell Kurtis & Michaell Zenner


IN TRIBUTE Ginger A. Carroll in memory of J. Michael Carroll Chris Coleman in memory of Jerry Stern, a blessing to have known him Chris Coleman in memory of Brot Bishop Scott & Jeanette Depoy in memory of Annette Coleman Bill Dickey in memory of Richard Lawson Tom & Betsy Henning in memory of Annette Coleman Dr. Hal Howard in memory of Carol Howard Christina Isacson in honor of Ann Smith Sehdev Cindy Kaplan in honor of Lisa Sanman Nancy Keystone in memory of Annette Coleman Joan Peacock in memory of Ben Buckley Portland Center Stage at The Armory in memory of Bing Sheldon Portland Center Stage at The Armory in memory of Don Waggoner Portland Center Stage at The Armory in memory of David E. Wedge Rhian Rotz in honor of Leslie Copland Sarah Sterling in memory of Julie Sterling Minh Tran & Gary Nelson in memory of Richard Lawson Ted & Julie Vigeland in memory of Annette Coleman Ted & Julie Vigeland in fond memory of Richard Lawson, who loved and strongly supported Portland Center Stage at The Armory. He was loved by us and so many others. Ted & Julie Vigeland in grateful memory of Jerry Stern and his fondness for and tremendous support of Portland Center Stage at The Armory. Julie & Ted Vigeland in memory and honor of Brot Bishop, who was one of the intrepid founders of Portland Center Stage at The Armory. His steadfast guidance and support over the years helped to propel the theater to where it is today, as one of the nation’s most prominent regional theaters. (as of December 6, 2016) 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.

Ted Austin, Chair Senior Vice President, The Private Client Reserve of U.S. Bank 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 Sharon Barnes, Community Volunteer Phil Beyl, President, GBD Architects Sarah Crooks, Partner, Perkins Coie, LLP Evelyn Crowell, Retired, Portland State University Gustavo J. Cruz, Jr., Senior Counsel, Farleigh Wada Witt Martin Daum, President and CEO, Daimler Trucks North America Lana Finley, Community Activist Diana Gerding, Community Volunteer Mike Golub, President of Business, Portland Timbers Lani Hayward, Executive VP, Creative Strategies, Umpqua Holdings Corp Greg Hazelton, Senior Vice President – Finance, Hawaiian Electric Industries Tasca Gulick, Community Activist 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 Peter Potwin, Retired, CFO, Benson Industries, Inc. 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 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 In Memoriam Bob Gerding

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




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 Assistant: Eric Werner Resident Teaching Artist: Matthew B. Zrebski ADMINISTRATION & FINANCE Chief Operating Officer: Cynthia Fuhrman General Manager: Creon Thorne Finance Director: Lisa Comer Accounting Manager: Aurora Sanquilly Accountant: Alan King HR Manager: Caitlin Upshaw Executive & HR Assistant: Nia I. Adams IT Administrator: Christian Kisanga IT Associate: Chris Beatty Database/Tessitura Consultant: 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, Megan Harned, David Harper Sales Associates: Michael Erickson, Jack Ridenour, Mark Woodlief OPERATIONS Operations Manager: Sean Andries Operations Lead: Lauren Knapp Operations Assistants: Mitchell Bohanan, Katie Cronin Events & Rentals Manager: Annessa Hartman 26


Rentals Coordinator: Elizabeth Hjort Custodians: Gregery Lee, Tim Taylor PRODUCTION Production Manager: Liam Kaas-Lentz Production Coordinator: Lydia Comer Stage Managers, AEA: Kelsey Daye Lutz, Mark Tynan, Janine Vanderhoff Production Assistants: Will Bailey, Bailey Anne Maxwell, Kristen Mun 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 Junior Draper: Larissa Cranmer Costume Crafts Artisan: Barbara Casement Wardrobe Mistress: Bonnie Henderson-Winnie Master Electrician, U.S. Bank Main Stage: Alexz Eccles Master Electrician, Ellyn Bye Studio: Em Douglas Deck Manager: Tim McGarry Resident Sound Designer & Sound/Video Supervisor: Casi Pacilio Sound Engineer & Lead Programmer: Scott Thorson Sound Engineer & Programmer: Adam Bintz FRONT OF HOUSE Lead Concierge: Miles Bennette-Eaton Concierges: Meghan Howard-Hakala, Wynee Hu, Eric Murray Volunteer Coordinator: RaChelle Schmidt Lead House Manager: Michael Rocha House Managers: Jenna Barganski, Nhu Nguyen, Emerson Scott, RaChelle Schmidt Food and Beverage Manager: Noelle dePinna Kitchen Supervisor: Erik Sanchez Catering Supervisor: Logan Starnes Café Supervisor: Franz Rutherford Kitchen Assistant/Cook: Sam DiChiara Food & Beverage Service Staff: Gregory Couper, Conor Eifler, Chris Klarer, Melissa Larrabee, Tre Madden, Erin Rubin, Andrea Van Der Rest


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


Tyler Buswell


Sydney Dufka

Emiliano Campobello: Native American flute Cherie Chako: jaw harp Jeff Elliott: trumpet, baritone horn Jesse Hanson: violin, viola, cello Jonathan McEuen: guitar Cameron Stone: cello Cara Tower: Irish bouzouki



Abby A. Vaughn

Alexz Eccles




Elecia Beebe Jackson Hunt Nora Victoroff


Emily Tappan



Foggy Bell Virgina Kilkelly Fushia Linn Gina Piva Morgan Reaves WIG MASTER

Marcia Willard WARDROBE

Will Bailey Gina Piva Kat Reid


Scott Thorson

Alex Agnes Don Crossley Rob Forester Zahra Garrett Ian Hale Duncan Lynch Amy Morel DECK CREW

Zahra Garrett


Thomas Brazzle Anthony J. Goes Nia M. Lancelin-Brantly Columbia River Maritime Museum Oregon Historical Society


Elecia Beebe


Kat Reid


Adam Bintz



Alex Agnes Hannah Fattor Rob Forester Em Gustason Duane Hall Matt Jones Amy Morel

Em Douglas

Astoria cover art by Mikey Mann. His Eye is on the Sparrow cover art by Julia McNamara

Whether you’re a musician or a marketer, an actor or an accountant, getting better at what you love helps you—and those around you—thrive. So bravo! Encore! We’re proud to support your potential with the financial tools and guidance to help you grow. 1-866-4UMPQUA (1-866-486-7782) Member FDIC Equal Housing Lender SBA Preferred Lender


Astoria Part One / His Eye Is on the Sparrow