Astoria: Part One & Two / Kodachrome - Portland Center Stage at The Armory

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REMEMBER ...

Biking for miles through the Ponderosas Splashing your sister with your canoe paddle Watching the horses graze under Mt. Bachelor And gazing at a sky full of stars

CELEBRATING 50 YEARS OF UNFORGETTABLE

800.386.1926 | sunriver-resort.com

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AT TH E P E R FO R M A N C E A CIT Y PL AYBILL AND PERFORMING ARTS MAGA ZINE

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CONTENTS

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FROM ARTISTIC DIRECTOR CHRIS COLEMAN

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ASTORIA: PART ONE & ASTORIA: PART TWO

16 CELEBRATING NEW PLAY DEVELOPMENT

Highlights of Portland Center Stage at The Armory’s new play development.

17 KODACHROME 32 ARTSLANDIA ARTS

CALENDAR

34 FROM THE EDITOR-AT-LARGE 36 A BIRD’S-EYE VIEW OF ASTORIA

Context of the world of the play and snapshot introductions to some of its key players.

42 WISDOM GUIDES IN TIMES OF CHANGE

Wisdom of the Elders Inc. educates the present about the Native American past.

50 WHO IS

MICHAEL GREER?

42 JA NUA RY | FEB RUA RY 2018

Get to know the new Executive Director for Oregon Ballet Theatre.

A RT S L A N D I A .COM

JANUARY | FEBRUARY 2018

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WELCOME TO OUR 30TH ANNIVERSARY SEASON! ASTORIA

FROM THE ARTISTIC DIRECTOR CHRIS COLEMAN

“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.

And the style of storytelling had to be invented.

And. And. And. Last year we premiered the first part of this fascinating saga. Here we are for the conclusion.

Thank you for joining us on this epic adventure.

KODACHROME My grandfather worked for my grandmother’s father on a farm in South Georgia. He walked 17 miles each day to get there. My grandmother barely gave him the time of day because he was “hired help.” It took him years to win her heart.

They were married 66 years.

One woman I know met her husband over the phone. They worked for the same company and she was negotiating deals for him in another part of the business. She liked the sound of his voice.

A physician met his wife, one of my colleagues, while she was temping at the hospital where he performed surgery. She was an actress by

day. She royally screwed up the first blood sample he asked her to deliver to the lab. But his heart was stolen.

Love finds us in unlikely places and at unlikely moments of our journey. How love finds us, where it finds us, and with whom: that is the ground Adam Szymkowicz is turning over in Kodachrome. And how we find the courage to let go of the past, when the future calls us.

I am so proud that this gorgeous piece, which we first brought to Portland with our JAW festival two years ago, makes its world premiere with us this winter.

THE ARMORY

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ARTISTIC DIRECTOR | CHRIS COLEMAN

ON THE U.S. BANK MAIN STAGE

PRESENTS

A WORLD PREMIERE

ASTORIA: PART ONE

- and -

JANUARY 13, 14, 16, 17 AND FEBRUARY 11, 15, 17, 2018

ASTORIA: PART TWO JANUARY 20 — FEBRUARY 18, 2018

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 for Astoria: Part One Toni-Leslie James

Costume Designer for Astoria: Part Two Alex Wren Meadows with Toni-Leslie James

Lighting Designer Diane Ferry Williams

Dialect Coach Mary McDonald-Lewis

Music Director/ Vocal Arranger Rick Lewis

Sound Designer Matthew M. Nielson

Composer Randall Robert Tico

Assistant Director Brandon Woolley

Fight Director John Armour

Movement Director Christopher Hirsh*

Fight Captain F. Tyler Burnet

Production Dramaturg Benjamin Fainstein

Consulting Dramaturg Barbara Hort, Ph.D.

Cultural Consultant Gadugi Consulting

Stage Manager Mark Tynan*

Assistant Stage Manager Kristen Mun*

Production Assistants Will Bailey and Katie Nguyen

Casting Brandon Woolley and Julia Flores Casting

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

PERFORMED WITH ONE INTERMISSION. The photo, video or audio recording of this performance by any means whatsoever is strictly prohibited.

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

SEASON SUPERSTARS

SHOW SPONSORS

SUPPORTING SEASON SPONSORS ®

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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.

Broughton & Mary Bishop William & Karen Early Fred W. Fields Fund of The Oregon Community Foundation Brigid Flanigan Rob Goodman Hilary Krane & Kelly Bulkeley Dedre J. Marriott

Ritz Family Foundation The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer & Jordan D. Schnitzer Mr. & Mrs. W.T.C. Stevens Travel Portland Dan Wieden & Priscilla Bernard Wieden

THE CAST

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ASTORIA: PART ONE John Jacob Astor/Jacques/Aymes/Robinson/Ensemble..........Leif Norby* Donald Mackenzie/R. Stuart/Coles/Ensemble/Musician.....Jeremy Aggers* Jonathan Thorn/Joseph/Ensemble.........................................Ben Rosenblatt* Duncan McDougall/Hoback/Ensemble..................................Gavin Hoffman* Alexander McKay/Colter/Ensemble/Musician...................Christopher Hirsh* Simon McTavish/A. Ross/John Day/Ensemble..........................Nick Ferrucci* Antoine Clappine/Fox/Ensemble...............................................Chris Murray* Gabriel Franchère/A. MacKenzie/Reznor/Ensemble................Ben Newman* Ramsay Crooks/Small/Ensemble/Musician............................Benjamin Tissell Frobisher/Thomas Jefferson/ Winton/John Reed/Ensemble.............................Michael Morrow Hammack* David Stuart/Bradbury/Ensemble..............................................F. Tyler Burnet Wilson Price Hunt/Ensemble.............................................Douglas Dickerman* Pierre Dorion/Aiken/Ensemble..................................................Jimmy Garcia* Greene/Les Yeux Gris/2nd Mate/Peter/Ensemble........Michael Evans Lopez* Angus/Le Gauche/Harry/Ensemble...........................................Anthony Lam Marie Dorion/Sarah Astor/Ensemble......................................DeLanna Studi*

ASTORIA: PART TWO John Jacob Astor/D. Thompson/R. McClellan/Ensemble........Leif Norby* Donald Mackenzie/LeClerc/Ensemble/Musician.................Jeremy Aggers* Jonathan Thorn/Joseph/John Clarke/Ensemble.....................Ben Rosenblatt* Duncan McDougall/Ensemble.................................................Gavin Hoffman* Robert Stuart/Alexander McKay/Ensemble/Musician.......Christopher Hirsh* John Day/A. Ross/Ensemble.......................................................Nick Ferrucci* Wilbury/Farnham/Ensemble.......................................................Chris Murray* Gabriel Franchère/Ensemble.......................................................Ben Newman* Ramsay Crooks/Ensemble/Musician........................................Benjamin Tissell John Reed/Ensemble...............................................Michael Morrow Hammack* David Stuart/Bradbury/Ensemble.............................................F. Tyler Burnet Wilson Price Hunt/Ensemble.............................................Douglas Dickerman* Pierre Dorion/Ensemble.............................................................Jimmy Garcia* Greene/Tatoebetse/Josechal/Ensemble.........................Michael Evans Lopez* Angus/Wasco Chief/Northrup/Ensemble..................................Anthony Lam Marie Dorion/Sarah Astor/Ensemble......................................DeLanna Studi* Concomly/J.G. McTavish/Ensemble.......................................Rafael Untalan* *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

A BIRD’S-EYE VIEW OF ASTORIA

Explore the world of the play.

ASTORIA | CAST JEREMY AGGERS Donald Mackenzie/ R. Stuart/Coles/LeClerc/ Ensemble/Musician

Jeremy Aggers is a voiceover artist, songwriter and actor based out of Atlanta, GA. He’s pleased to be returning to The Armory after making his debut in Astoria: Part One last season.

He has released three albums under the Brash Music label and has narrated over 200 audiobooks under Jeremy Arthur and other pseudonyms. His Atlanta theater credits include Edward Foote (directed by Chris Coleman), Shakespeare in Love, 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); A 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

The Armory: Astoria: Part One. 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.

A STORIA: PART ONE AND T WO • THE ARMORY

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ASTORIA | CAST DOUGLAS DICKERMAN Wilson Price Hunt/ Ensemble

Douglas is thrilled to be making his debut at The Armory. Off-Broadway: Never Swim Alone. Theater: The Jeweler’s Shop (Carnegie Hall); Husbands and Wives, Opus (Ensemble Theatre Company); The Curse of Oedipus (Antaeus Theatre Company); The Unseen (The Road Theatre); The Last Seder (Ensemble Studio Theatre, LA); Three Sisters After Chekhov (Lower Depth Theatre Ensemble); The Taming of the Shrew, The Merchant of Venice (Kingsmen Shakespeare Festival); The Action Against Sol Schumann (Hypothetical Theatre Company); Unidentified Human Remains … (The Gene Frankel Theatre). Film: Tyler Perry’s Acrimony (upcoming), Faceless, but Remembered, C’mon Man, How to Be a Serial Killer, Terminal Conversation.

Television: Law & Order, Numb3rs, Medium, Law & Order: Criminal Intent, Out of the Blue. Web Series: Los Americans.

NICK FERRUCCI Simon McTavish/A. Ross/ John Day/Ensemble

Nick is honored to be returning to The Armory for the conclusion of Astoria. He holds an M.F.A. in acting from Northern Illinois University and a B.F.A. in theater 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. Television: Grimm.

JIMMY GARCIA Pierre Dorion/Aiken/ Ensemble

After studying at Southern Oregon University and performing at the Oregon Shakespeare Festival, Jimmy is happy to be back in Portland where he began his acting career years ago on the stages of Milagro, Stark Raving Theater and Portland Center Stage at The Armory. In Southern Oregon, he performed a variety of roles working with such esteemed directors as Bill 10

Rauch, Libby Appel and Pat Patton, to name a few. Most recently, he performed in Artists Repertory Theatre’s An Octoroon and A Civil War Christmas; Profile Theatre’s Elliot: A Soldier’s Fugue and Happiest Song Plays Last; and Milagro’s world premiere of Òye Oyá.

MICHAEL MORROW HAMMACK Frobisher/Thomas Jefferson/Winton/John Reed/Ensemble

Michael is very excited to be returning to The Armory after last season’s Astoria: Part One. He was last seen as Mike in Trails with Broadway Rose Theatre Company. Other local credits include Mitch in Adrift in Macao with Broadway Rose Theatre Company and Fabrizio in The Light in the Piazza with Portland Playhouse. 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: 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 theater from Webster University’s Conservatory of Theatre Arts. He would like to thank his amazing wife, Caroline; parents, Diane and Fred; and sister, Meghan, for their unconditional love and support. Thank you for supporting live theater!

CHRISTOPHER HIRSH Alexander McKay/Colter/ Robert Stuart/Ensemble/ Musician

Christopher is thrilled to return to his home state after making his debut at The Armory last season in Astoria: Part One. Film: God of Love (Oscar, 2011), Asockalypse. TV: A Crime to Remember.

NYC: 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

THE ARMORY • A STORIA: PART ONE AND T WO

River Theater: Borachio, Much Ado About Nothing. NC Shakes: Ferdinand, The Tempest. Great River Shakespeare Festival: Lucentio, The Taming of the Shrew. Illinois Shakespeare Festival: Chorus/Williams/Constable of France, Henry V. Christopher is a producing director of MIRROR/FIRE productions.

Find out more at mirrorfire.org. #BlackLivesMatter #TransLivesMatter GAVIN HOFFMAN Duncan McDougall/ Hoback/Ensemble

Gavin is happy to be back at The Armory where he played Duncan McDougall/ Hoback/Ensemble in Astoria: Part One, 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 MonsterBuilder 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. ANTHONY LAM Angus/Le Gauche/Harry/ Wasco Chief/Northrup/ Ensemble

Anthony is excited to be making his debut at The Armory! He was last seen as Elliot in the trilogy Elliot: A Soldier’s Fugue, Water by the Spoonful and The Happiest Song Plays Last at Profile Theatre. His past theater credits include: Michael in the staged reading of Washer/Dryer with Theatre Diaspora and Atómiko in the world premiere of Into the Beautiful North at Milagro. He just finished a feature film in Eugene, OR, and has appeared on NBC’s Grimm, as well as in various commercials throughout the Northwest. He received his B.F.A. in theater arts from the University of California, Santa Barbara.

ASTORIA | CAST MICHAEL EVANS LOPEZ Greene/Les Yeux Gris/2nd Mate/Peter/Tatoebetse/ Josechal/Ensemble

Michael Evans Lopez is a graduate of the University of Washington’s Professional Actor Training Program. He is thrilled to be debuting at The Armory and delights in the opportunity to work with Chris Coleman again. Fun fact: Chris was Michael’s very first professional director!

Michael started his acting career at Actor’s Express, which was created and run by Chris in Atlanta, GA. Favorite recent theater roles include Macedonio Guerra in The Elaborate Entrance of Chad Deity at Curious Theatre Company in Denver and Jocasta and Tiresias in Oedipus the King at Classic Greek Theatre of Oregon, for which he was awarded a Drammy Award for Best Actor in a Supporting Role. Film and TV credits include the award-winning films Santiago and Dust, Reno 911! and The Tonight Show with Conan O’Brien. To learn more about Michael, and to see the spectacular, sci-fi/fantasy short Dust, visit michaelevanslopez.com.

CHRIS MURRAY Antoine Clappine/Fox/ Wilbury/Farnham/ Ensemble

Chris is happy to be back at The Armory working with Chris Coleman and this amazing cast. He will also be seen in The Armory’s spring show, Major Barbara. Previous credits at The Armory include 11 years at JAW: A Playwrights Festival, Astoria: Part One, 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 Louisville. Locally, Chris has performed at Artists Repertory Theatre, CoHo Productions, Profile Theatre, Third Rail Repertory Theatre and more. 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

Ben is a theater maker and fly fisherman based

out of Portland, OR. He is delighted to be returning to The Armory to finish this journey. International: Edinburgh Fringe Festival, 2013. New York: Classic Stage Company, Columbia Stages, Wide Eyed Productions, Theatre for a New Audience.

Regional: Portland Shakespeare Project, Creede Repertory Theatre, Shaking the Tree, Third Rail Repertory Theatre, Profile Theatre, Kansas City Repertory Theatre, Denver Center for the Performing Arts, Kansas City Actors Theatre, Riverside Shakespeare Festival. Upcoming: Between Riverside and Crazy at Artists Repertory Theatre. TV: Grimm, The Librarians. Ben has devised and directed new and classical ensemble-based stories in Portland, Israel, for the University of Northern Colorado, and in New York City. B.A., University of Northern Colorado. M.F.A., University of Missouri – Kansas City. AEA/SAGAFTRA. mbennewman.com

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. benrosenblattactor.com

LEIF NORBY John Jacob Astor/Jacques/ Aymes/Robinson/D. Thompson/R. McClellan/ Ensemble

DELANNA STUDI Marie Dorion/Sarah Astor/ Ensemble

Leif was last seen in A Christmas Memory/Winter Song, Wild and Reckless, Astoria: Part One and The Oregon Trail. Other appearances at The Armory: Professor Willard/Joe Stoddard in Our Town, De Guiche in Cyrano, Rodrigo in Othello, ensemble in Anna Karenina and Sunset Boulevard, Richard Hannay in The 39 Steps, Tateh in Ragtime and Benny in Guys and Dolls. Other credits include Cervantes in Man of La Mancha (Lakewood Theatre Company), Dr. Givings in In the Next Room (Profile Theatre), 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 Theatre), Charlie in The Scene (Portland Playhouse) and Beast in Beauty and the Beast (Pixie Dust). TV credits: 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/ John Clarke/Ensemble

Ben Rosenblatt is thrilled to be returning to The Armory! Last year Ben had the pleasure of performing in Waiting for

DeLanna Studi is honored to return to The Armory after making her debut last season in Astoria: Part One. 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 awardwinning 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 latest 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.

BENJAMIN TISSELL Ramsay Crooks/Small/ Ensemble/Musician

Benjamin is delighted to be returning to The Armory to tell this remarkable

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ASTORIA | CAST & CREATIVE TEAM story. A Portland-based actor, Benjamin has been seen locally in The Angry Brigade (Third Rail Repertory Theatre), Fly By Night (Broadway Rose Theatre Company), Billy Elliot, The Musical (Pixie Dust), Peter and the Starcatcher (Portland Playhouse), Godspell (Lakewood Theatre Company) and many others. Benjamin has also directed locally for Lakewood Theatre Company, Portland Playhouse, Northwest Children’s Theatre and others. In addition, Benjamin performs regularly as a singer–songwriter around the region. His music, concert dates and upcoming productions can be found at benjamintissell.com. Benjamin is represented in the Northwest by Mitchell Artist Management.

RAFAEL UNTALAN Concomly/J.G. McTavish/ Ensemble

Rafael Untalan is delighted to be making his debut at The Armory.

Currently based out of Washington, DC, Rafael is a native Portlander who spent three years as part of the acting company of the Oregon Shakespeare Festival. He has since worked at various theaters across the country, including Cleveland Play House, Cincinnati Playhouse in the Park, ACT Theatre, Seattle Children’s Theatre, TheatreWorks Silicon Valley, Imagination Stage, Theater J and, most recently, Arena Stage. His favorite roles include Sherlock Holmes in Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery; Shag in Equivocation; Rama in The Ramayana; Marcus Gee in Yellow Face (DC Metro Theater Arts 2014, Best Featured Actor in a Play); Sydney Carton in A Tale of Two Cities; Bosola in The Duchess of Malfi; Leontes in The Winter’s Tale; and Walter Franz in The Price. Rafael holds an M.F.A. from the Academy for Classical Acting at George Washington University. For Zoë, Henry and Jennifer.

CHRIS COLEMAN Adaptor/Director

Chris joined Portland Center Stage at The Armory as artistic director in 2000.

Before coming to Portland, Chris was the artistic director at Actor’s Express in Atlanta, a company he co-founded in the basement of an old church in 1988. Chris returned to Atlanta in 2015 to direct the world premiere of Edward Foote at Alliance Theatre (Suzi Bass Award for

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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 for The Armory include Fun Home, Constellations, A Streetcar Named Desire, Ain’t Misbehavin’, Three Days of Rain, Threesome, Fiddler on the Roof, Clybourne Park, Shakespeare’s Amazing Cymbeline (which he also adapted), Anna Karenina, Oklahoma!, Snow Falling on Cedars, Crazy Enough, King Lear, Outrage and The Devils. Chris has directed at theaters across the country, including Actor’s Theater of Louisville, Oregon Shakespeare Festival, ACT Theatre (Seattle), The Alliance, Dallas Theatre Center, Pittsburgh Public Theatre, New York Theatre Workshop and Center Stage (Baltimore). A native Atlantan, Chris holds a B.F.A. from Baylor University and an M.F.A. from Carnegie Mellon. He is currently the board president for the Cultural Advocacy Coalition. Chris and his husband, Rodney Hicks — who recently appeared on Broadway in the musical Come From Away — are the proud parents of an 18-lb Jack Russell/Lab mix and a 110-lb English Blockhead Yellow Lab. For the past three years, Chris has had the honor of serving as the director for the Oregon Leadership Summit.

PETER STARK Author

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, most recently in a small town in Northeast Brazil.

THE ARMORY • A STORIA: PART ONE AND T WO

TONY CISEK Scenic Designer

Tony Cisek has collaborated with The Armory on the productions of Astoria: Part One, 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 two Barrymore Award nominations in Philadelphia. tonycisek.com

TONI-LESLIE JAMES Costume Designer, Astoria: Part One

Broadway: Come From Away, 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: a 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.

ALEX WREN MEADOWS Costume Designer, Astoria: Part Two

Alex recently relocated to Portland from Chicago and is thrilled to make his Portland design debut with Astoria: Part Two at The Armory, where he is also the costume shop manager. While in Chicago, Alex designed costumes for TimeLine Theatre, Next Theatre, Organic Theatre Company, Famous Door Theatre, Shattered Globe Theatre, Classical Kids Live and received a Jeff Award nomination for The General from

ASTORIA | CREATIVE TEAM America at TimeLine Theatre. He also managed the costume shop at Loyola University and taught costume design and costume construction. Other credits include costume designs for Montana Shakespeare in the Parks and Monomoy Theatre in Massachusetts. Alex holds an M.F.A. in costume design from the University of North Carolina School of the Arts and a B.A. in theater design from UNC Asheville.

DIANE FERRY WILLIAMS Lighting Designer

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., her work has been seen at The Marriott Theatre, 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, Regional Dance America and elsewhere. Other international work includes The Harlem Gospel Singers (Paris and the European tour) and Die Shone Und Das Biest (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 for Ain’t Misbehavin’ – and seven Jeff nominations. Diane has an M.F.A in theatrical design from Northwestern University.

MARY MCDONALD-LEWIS Dialect Coach

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: Part Two is MaryMac’s 30th show with this company.

You can also hear her work at Artists Repertory Theatre, where she is the resident dialect coach, and on other stages around town. 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 holds her M.F.A. in directing from the University of Portland.

She loves what she does, and she thanks

Finnegan, Sullivan and Flynn for always wagging their tails when she comes home. marymac.com RICK LEWIS Music Director/Vocal Arranger

Rick Lewis has music directed over 25 productions for Portland Center Stage at The Armory, most recently the acclaimed production of Fun Home. He is also the creator of the hit Off-Broadway musicals The Taffetas and The Cardigans (NYC Bistro Award for Outstanding Musical Revue); music supervisor for the West Coast premiere of Next to Normal (Artists Repertory Theatre); assistant conductor/ vocal director for the pre-Broadway workshop of Cy Coleman’s The Life; music director/arranger for BelloVoci; writer/arranger for Disney Live Family Entertainment, American Hawaii Cruises and American Classic Voyages; developer of The Cinnamon Bear Cruise; and founder/artistic director of Bridgetown Conservatory of Musical Theatre. rlewismusic.com

MATTHEW M. NIELSON Sound Designer

Off-Broadway: The Public Theater/New York Shakespeare Festival, 59E59 Theaters and Lincoln Center. Regional: 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: The Hero Effect, Death in Time, Elbow Grease, Blue, Epix DriveIn, 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. curiousmusic.com.

RANDALL ROBERT TICO Composer

Astoria 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 (The 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 Baby Doll, directed

by Jenny Sullivan, and Macbeth, directed

by Jonathan Fox, at New Vic Theatre; 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.

BRANDON WOOLLEY Assistant Director

Brandon is a director and producer in Portland, Oregon, and is thrilled to be returning to the world of Astoria!

Credits include: A Christmas Memory/ Winter Song, Mary’s Wedding and Sex with Strangers (The Armory); Luna Gale (spring, 2018), 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 on multiple shows at The Armory as an assistant director (Astoria: Part One, LIZZIE, The Whipping Man, Red, One Flew Over the Cuckoo’s Nest and A Christmas Story). He has also collaborated with Michael Curry and Oregon Symphony on Persephone, which will travel to Seattle in the spring, Third Rail Repertory Theatre, Broadway Rose Theatre Company and Live On Stage. Brandon is the associate producer and JAW co-producer at Portland Center Stage at The Armory. Much love to Sean.

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

A STORIA: PART ONE AND T WO • THE ARMORY

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ASTORIA | CREATIVE TEAM 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 and JAW: A Playwrights Festival. He is currently developing plays for The Armory’s NW Stories series with writers Lauren Yee, Mary Kathryn Nagle, Dan O’Brien and James Beaton. Previous dramaturgy credits include Sarah Sander’s Golden (MIDD Summer Play Lab), Kevin Artigue’s The Forcings (JAW), Meg Miroshnik’s The Tall Girls (Carlotta Festival of New Plays), and Marcus Gardley’s The House That Will Not Stand (Yale Repertory Theatre and Berkeley Repertory Theatre). As a playwright, director and collaborative artist,

Benjamin has created 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 founding artistic director of Whistler in the Dark Theatre, managing editor of Theater magazine, and artistic coordinator for Yale Repertory Theatre, where he supported the development of over two dozen new plays.

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,

SPECIAL THANKS Hayu mási khapa ukuk tílixam uk munk-kəmtəks nsáyka tunús aska Arikara, Blackfoot, Iowa, Shoshone pi Chinuk wáwa.

Translation from Chinuk Wawa: Many thanks to those people who taught us a bit of their Arikara, Blackfoot, Iowa, Shoshone and Chinook languages.

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. Ryan Denzer-King for the Blackfoot language; Mr. Loren Yellow Bird Sr. for the Arikara language; Mr. Elwood Mose for the Shoshone language; Mr. David Robertson for the Chinuk Wawa language; and Ms. Valerie Switzler for the Wasco language.

There are only four living speakers of the Wasco tongue; we are especially honored to have Ms. Switzler contribute her knowledge to this project.

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.

WE AT THE ARMORY humbly acknowledge that the Portland metropolitan area rests on the traditional village sites of the Multnomah, Wasco, Cowlitz, Kathlamet, Clackamas, Bands of Chinook, Tualatin Kalapuya, Molalla and many other Tribes who made their homes along the Columbia (Wimahl) and Willamette (Whilamut) rivers. Today, Portland’s diverse and vibrant Native communities are 70,000 strong, descended from more than 380 tribes, both local and distant. We take this opportunity to offer respectful recognition to the Native communities in our region today, and to those who have stewarded this land throughout the generations.

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Astoria: Part One, Fun Home, and now, Astoria: Part Two, providing material on the psychological dynamics of the play that can be used by the artists who are creating the production.

MARK TYNAN Stage Manager

Imagine being in a room full of artists, watching the birth of an idea, a movement given purpose, a sentence, phrase, scene, act given life. Then imagine that room translating to the stage with lighting, sound, costumes, scenery and props, then you can imagine what Mark’s job is like. Special thanks to the phenomenal stage management apprentices, Jordan Affeldt and Katie Nguyen, and production assistant, Will Bailey, who help keep the vision attainable. Prior to The Armory, Mark toured nationally and internationally with musicals including Dreamgirls, The King and I with Rudolf Nureyev, How to Succeed …, Grand Hotel, The Phantom of the Opera, Rent and Jersey Boys.

Other Portland credits include several summers with Broadway Rose Theatre Company in Tigard. Regional credits include Alley Theatre (Houston, TX), La Jolla Playhouse (La Jolla, CA) and Casa Mañana Theatre (Fort Worth, TX).

KRISTEN MUN Assistant Stage Manager

Kristen is originally from Hawaii and holds a B.F.A. from Southern Oregon University.

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

WILL BAILEY Production Assistant

Will is excited to be returning as a production assistant at The Armory, where he last worked on Astoria: Part One and The Oregon Trail. Other recent credits include assistant stage manager for Sweeney Todd and The Italian Girl

ASTORIA | CREATIVE TEAM in Algiers with Portland Opera. Will has worked as a production assistant and props master at Artists Repertory Theatre, including production assistant credits for 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, Portland Shakespeare Project, Portland Playhouse and as a stage manager at Milagro.

KATIE NGUYEN Production Assistant

Katie Nguyen is a stage manager from Fairfax, Virginia, and a recent graduate of Virginia Tech. While pursuing a degree in business management, she served as a stage manager, festival producer and

production manager for Virginia Tech’s School of Performing Arts. She is humbled to be at The Armory as one of two stage management apprentices for the 20172018 season. Prior to moving to Portland, she co-founded a non-profit theater collective in Washington, DC (Who What Where Theater) and worked as a summer camp teaching artist for Acting For Young People in Fairfax, Virginia.

ASTORIA | SPONSOR STATEMENTS DELTA AIR LINES

DEDRE J. MARRIOTT

Delta Air Lines is proud to sponsor The Armory’s world premiere of Astoria: Part Two. With 39 peak daily departures to 10 nonstop destinations, connecting to 600+ cities, including Amsterdam, Tokyo and new service to London, Delta connects Portlanders not only to the arts in our home town but to destinations across America and the globe. Plan your next trip at delta.com.

I have been waiting anxiously for Astoria: Part Two. I was born and raised in Portland and returned forty years ago; yet only in 2016 when I first read Stark’s book was I made aware of this epic adventure. How forward thinking was Astor in his ambition? Both Astor and Coleman are pacesetters; the former in enterprise, the latter in theater.

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 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 oregoncf.org.

ROB GOODMAN It is my pleasure and honor to support this production.

As a native Oregonian, it is great to learn more about our history and how John Jacob Astor had an impact on our state. We loved Astoria: Part One and truly can’t wait to see the rest of the story.

HILARY KRANE AND KELLY BULKELEY We hope you enjoy this beautiful, trailblazing production of Astoria: Part Two, the conclusion to an incredible yet mostly unknown story of courage, ambition, betrayal, and the founding of the first U.S. settlement in the Pacific Northwest. The creative artistry of The Armory is on full display in this powerful historical drama.

THE HAROLD AND ARLENE SCHNITZER CARE FOUNDATION/ARLENE SCHNITZER AND JORDAN D. SCHNITZER The Harold and Arlene Schnitzer CARE Foundation is a proud sponsor of this production. “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 arrived in the U.S. and 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 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 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 more than 100 years.”

– Jordan D. Schnitzer

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!

A STORIA: PART ONE AND T WO • THE ARMORY

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Celebrating New PLAY DEVELOPMENT As we celebrate our 30th anniversary this season, we are particularly proud of one area that has continued to grow throughout our history: new play development. Our annual playwrights festival, JAW, has given us a national reputation as an incubator for new work. We’ve also produced a number of world premieres, including the two productions running on our stages right now. Astoria: Part Two and Kodachrome will be our 25th and 26th world premieres to date! Here’s a look at some of the highlights of our new play development.

FOSTERING THE NEXT GENERATION Our Visions and Voices program stokes the fires of the next generation of theater artists through playwriting and performance residencies offered at local high schools.

Thousands of students have penned new scripts with the support of Visions and Voices, including one who sent us a particularly heartfelt thank you letter: “I didn’t know what I was worth until [Visions and Voices] came to our school ... thank you for coming into my life at such an early age and showing me that I should go for what I want, because it’s not out of my reach.” Eight schools were served this year. A free public showcase of the student work will be presented May 21 – 22.

COMFORT AND JOY The company’s very first commissioned world premiere, 16

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Comfort and Joy, debuted in 1996. Written by Jack Heifner, it offered a touching tale of a gay couple whose holiday celebrations turned to chaos with the arrival of some unexpected guests.

TAKING THE STUDIO BY STORM In 2009, the world premiere of Storm Large’s autobiographical musical Crazy Enough became the longestrunning production in the company’s history. It ran for nearly five months in the Ellyn Bye Studio — a total of 143 performances!

BROADWAY BOUND A Night with Janis Joplin had its world premiere at The Armory in 2011. It went on to play the Cleveland Playhouse, Arena Stage, Pasadena Playhouse and Milwaukee Repertory Theater before landing on Broadway, where Mary Bridget Davies was nominated for a Tony Award for her performance.

BREAKING BOX OFFICE RECORDS Last year, Astoria: Part One became the best-selling world premiere in the company’s history. It was also the bestselling show ever produced in the January/February time slot and the first play to reach its sales goal by opening night.

Proof that Portland audiences love world premieres just as much as we do!

THANK YOU FOR COMING OUT TO SUPPORT NEW WORK!

Photo: Storm Large in Crazy Enough. Photo by Owen Carey.

20 YEARS OF JAW JAW: A Playwrights Festival was launched in 1999 in collaboration with New York Theater Workshop. As JAW alum Sash Bischoff put it: “JAW encourages and enables the creation of the theater of tomorrow. What could possibly be more exciting?” JAW, which originally stood for Just Add Water, has nurtured 82 plays, including Adam Szymkowicz’s Kodachrome, which was workshopped in 2015. Adam called the festival an “oasis chock full of the kindest, smartest, and most talented people in the American theater,” and praised it for offering “the room and freedom to explore whatever path I thought was necessary for the process.” This summer we’ll celebrate 20 years of JAW. Free public readings will be offered July 27 – 29.

ARTISTIC DIRECTOR | CHRIS COLEMAN

FEBRUARY 3 – MARCH 18, 2018 IN THE ELLYN BYE STUDIO

PRESENTS

A WORLD PREMIERE

KODACHROME

By Adam Szymkowicz Directed by Rose Riordan Scenic and Lighting Designer Daniel Meeker

Costume Designer Alison Heryer

Sound Designer Casi Pacilio

Projection Designer Will Cotter

Composer Jana Crenshaw

Stage Manager Janine Vanderhoff

Production Assistant Jordan Affeldt

Casting Brandon Woolley and Rose Riordan

THE CAST The Photographer...............................................................................................Lena Kaminsky The Policeman/The Hardware Store Owner...........................................Ryan Vincent Anderson The Gravedigger/The Young Man..............................................................................Ryan Tresser The Librarian/The Waitress/Friend...............................................................................Tina Chilip The History Professor/The Perfume Maker/EMT 1............................................John D. Haggerty The Mystery Novelist/The Florist/EMT 2.......................................................Sharonlee McLean Marjorie/The Young Woman........................................................................................Kelly Godell The Actors and Stage Manager in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Kodachrome was workshopped at JAW: A Playwrights Festival, July 2015, produced by Portland Center Stage at The Armory, Chris Coleman, Artistic Director, Rose Riordan, JAW Festival Director.

Kodachrome was developed in the Dorothy Strelsin New American Writers Group at Primary Stages.

Kodachrome is produced by special arrangement with The Gersh Agency, 41 Madison Ave., 33rd Fl., New York, NY, 10010.

PERFORMED WITH ONE INTERMISSION. The photo, video or audio recording of this performance by any means whatsoever is strictly prohibited.

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

SEASON SUPERSTARS

SUPPORTING SEASON SPONSORS

®

SHOW SPONSORS Keith & Sharon Barnes Don & Mary Blair Kelly K. Douglas & Eric H. Schoenstein Ronni S. Lacroute Ritz Family 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.

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KODACHROME | CAST RYAN VINCENT ANDERSON The Policeman/The Hardware Store Owner

Ryan is excited to make his Portland debut at The Armory. New York City credits include Indians (Metropolitan Playhouse); We Live Here (Ensemble Studio Theatre); Bright Swords, a one-man show about Ira Aldridge (United Solo Theatre Festival); Most Likely To, a one-man show (NY New Works Theatre Festival). Regional theater credits include Our Town, The Clay Cart, Henry VIII, Death and the King’s Horseman (Oregon Shakespeare Festival); Swimmers, In the Red and Brown Water (Marin Theatre Company); Clybourne Park (PCPA); In the Heat of the Night (National Tour, L.A. Theatre Works); Intimate Apparel (TheatreSquared); Othello, Red Velvet, The Learned Ladies (Theater at Monmouth); The Old Settler (International

City Theatre); You Can’t Take It With You (Antaeus Theatre Company) and others. TV credits include Scandal (ABC) and Eagleheart (Cartoon Network/Adult Swim). Audiobook titles can be found on Amazon/Audible. M.F.A. from CalArts.

TINA CHILIP The Librarian/The Waitress/Friend

Tina Chilip is delighted to be back at The Armory, where she previously performed in Chinglish and Our Town.

She recently appeared Off-Broadway in Fiasco Theater’s Twelfth Night at Classic Stage Company. Other New York credits: Golden Child (Signature Theatre); House Rules, Flipzoids (Ma-Yi Theater Company); A Dream Play (National Asian American Theatre Company).

Regional: after all the terrible things I do (Huntington Theatre Company, IRNE

FROM THE DIRECTOR | Rose Riordan We were first introduced to Kodachrome in 2015 as part of JAW, our annual playwrights festival, when it was workshopped under the title Colchester. During the Big Weekend of public readings, it became clear that this play was special and one we wanted to premiere in an upcoming season. The new title, Kodachrome, is a nod to the central character, The Photographer, and to the process of life.

The story in this play is less about plot and more about the moments that we all live through. Each of the characters in the small, Northeastern town of Colchester are trying to connect — to love, to themselves, to someone else — or, in some cases, to disconnect. The Photographer is our narrator and witness.

She knows the characters well and makes observations through her lens, not only as a photographer, but as a friend and fellow inhabitant of this town.

I like plays that ponder existence through small ordinary moments. As I’ve been preparing to go into rehearsals, I keep thinking about this quote from the play that shall not be named: Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle!

Life’s but a walking shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Mr. Shakespeare. Such a way with words.

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nomination for Best Actress); All The Roads Home (Cincinnati Playhouse in the Park); Tokyo Fish Story (The Old Globe); Intelligent Homosexual’s Guide ... (Berkeley Repertory Theatre); M. Butterfly (Guthrie Theater); Yellowface (TheatreWorks).

TV: Deception, Castle Rock, Elementary, Madam Secretary, Royal Pains, Mysteries of Laura. Training: Brown University/Trinity Rep M.F.A. Acting Program.

KELLY GODELL Marjorie/The Young Woman

Kelly Godell is thrilled to be working at The Armory for the first time. She was most recently seen in Miss Julie at Shaking the Tree. Other favorite credits include Noises Off (Third Rail Repertory Theatre); Six Degrees of Separation (Profile Theatre); The Rocky Horror Show (Lurking Squirrel Productions) and Mr. Kolpert (Third Rail Repertory Theatre).

Television credits include Grimm and Leverage. She has a B.F.A. from the University of Oregon.

JOHN D. HAGGERTY The History Professor/The Perfume Maker/EMT 1

Previously at The Armory: Mr. Webb in Our Town, directed by Rose Riordan.

Broadway/National Tour: Les Misérables.

New York theater credits include B-Side Productions, The Directors Company, Ensemble Studio Theatre, Five Senses Theatre, Mirror Repertory Company, MultiStages, National Asian Artists Project, The Actors Company Theatre, Target Margin Theater, Theater Masters, Theatre 167, York Theatre Company. Regional: Barnstormers Playhouse, Forestburgh Playhouse, La Jolla Playhouse, Media Theatre, North Carolina Shakespeare Festival, Redhouse Arts Center, Tuacahn Center for the Arts, Wheelock Family Theatre. TV: Gotham. Web: Three Trembling Cities. johndhaggerty.com LENA KAMINSKY The Photographer

Lena Kaminsky is thrilled to return to The Armory where she was last seen in Black Pearl Sings!. Selected theater credits: My Name is Asher Lev (George Street Playhouse); Birds of East Africa and Swimming in the Shallows

KODACHROME | CAST & CREATIVE TEAM (Kitchen Theatre Company); Outside Mullingar (Saint Michael’s Playhouse); In the Next Room, or the Vibrator Play (Syracuse Stage); Frankie and Johnny in the Clair de Lune (Virginia Stage Company); Love, Janis (Kansas City Repertory Theatre); Trying (Hartford TheaterWorks); and work with Passage Theatre, Chicago Shakespeare Theater, Northern Stage, Cleveland Play House and others. TV/ Film: Law & Order, Reunion (also coproducer) and the upcoming feature film Three Seconds. Lena also sings and tours with Americana band Kate Vargas & The Reckless Daughters. Member of The Actors Center. lenakaminsky.com.

SHARONLEE MCLEAN The Mystery Novelist/ The Florist/EMT 2

Sharonlee most recently played Grandmother in Billie Elliot at the Newmark Theatre. This will be her 25th production for The Armory. She studied at the American Conservatory Theater and then ventured to Los Angeles where she lived for more than 35 years, working in film, television and theater, and was lucky enough to be nominated for a Daytime Emmy. Her life in Oregon has been productive in film, television and theater as well, including the recent lead in the short film You Could Be Anywhere and guest star roles on Grimm and Leverage.

Favorite Oregon stage appearances include Clybourne Park (Bev/Kathy), The Thugs (Mercedes), The Imaginary Invalid (Toinette), The Other Place (Julianna), The Typographer’s Dream (Margaret), Grey Gardens (Big Edie), Vanya and Sonia and Masha and Spike (Sonia). Drammy Awards: A Question Of Mercy (Artists Repertory Theatre); The Thugs and The Receptionist (The Armory); and Body Awareness (CoHo Productions).

RYAN TRESSER The Gravedigger/ The Young Man

Ryan is excited to be returning to The Armory, where he was previously seen in One Flew Over the Cuckoo’s Nest. Other regional credits include Mothers and Sons at Artists Repertory Theatre, Battles of Fire and Water at Perseverance Theatre and Measure for Pleasure at The Public Theater. Film and television credits include Grimm, The Librarians, Leverage, Guiding Light,

Desire’s Masquerade, Interconnect and Sorry, Thanks. He has a B.F.A. from NYU’s Tisch School of the Arts.

ADAM SZYMKOWICZ Playwright

Adam Szymkowicz’s plays have been produced throughout the U.S., and in Canada, England, The Netherlands, New Zealand, Australia, Germany, Greece, Slovenia and Lithuania. His published fulllength plays include Food For Fish, Hearts Like Fists, Incendiary, Clown Bar, The Why Overhead, Deflowering Waldo, Pretty Theft, Adventures of Super Margaret, 7 Ways To Say I Love You, Rare Birds, Marian, or The True Tale of Robin Hood and Nerve.

His plays are published by Dramatists Play Service, Samuel French, Playscripts, Broadway Play Publishing, Original Works Publishing, and have been featured in New York Theatre Review, The Dionysian, NYTE’s Cino Nights, Geek Theater and numerous Smith and Kraus books. Adam was a featured playwright at The Armory’s JAW: A Playwrights Festival, served twice as playwright in residence at the William Inge Center, and took part in The Dramatists Guild Fund’s Traveling Masters program. He has been commissioned by South Coast Repertory, Rising Phoenix Repertory, Texas State University, The NOLA Project, Single Carrot Theatre and Flux Theatre Ensemble. He received a Playwright’s Diploma from The Juilliard School’s Lila Acheson Wallace American Playwrights Program and an M.F.A. from Columbia University, where he was a Dean’s Fellow. He is a two-time Lecomte du Nouy Prize winner, a member of the Dramatists Guild and Writer’s Guild of America, and was a member of Primary Stages’ Dorothy Strelsin New American Writers Group, the MCC Theater Playwrights’ Coalition, and the first Ars Nova Play Group. He has interviewed 1,000 playwrights on his blog. He is currently the literary manager at The Juilliard School. adamszymkowicz.com

ROSE RIORDAN Director

Rose is in her 20th season at Portland Center Stage at The Armory, where she serves as associate artistic director and has previously directed Every Brilliant Thing, Lauren Weedman Doesn’t Live Here Anymore, Wild and Reckless, The Oregon Trail, Our Town, The People’s Republic of Portland (2013 and 2015), Vanya and Sonia and Masha and Spike, The

Typographer’s Dream, LIZZIE, A Small Fire, The Mountaintop, The Whipping Man, The North Plan, Red, One Flew Over the Cuckoo’s Nest, A Christmas Story, The 25th Annual Putnam County Spelling Bee, The Receptionist, A Christmas Carol, Frost/ Nixon, How to Disappear Completely and Never Be Found, Doubt, The Underpants, The Pillowman and The Thugs, which won four Drammy Awards, including Best Ensemble and Best Director. Rose has recently directed, for various other theaters, Adam Bock’s Phaedra, The Passion Play, Telethon and The Receptionist.

In 1999, she founded the annual JAW: A Playwrights Festival. JAW has been instrumental in developing new work for the company’s repertory, including this season’s upcoming production of Kodachrome, as well as Lauren Weedman Doesn’t Live Here Anymore, Wild and Reckless, Threesome, Bo-Nita, The People’s Republic of Portland, The Body of an American, The North Plan, Anna Karenina, Outrage, Flesh and Blood, Another Fine Mess, O Lovely Glowworm, Celebrity Row, Act a Lady, The Thugs and A Feminine Ending. Rose has also directed some of the staged readings for JAW festivals: The Thugs (2005), Telethon (2006), A Story About a Girl (2007), 99 Ways to F*** a Swan (2009), The North Plan (2010), San Diego (2012), The People’s Republic of Portland (2012), Mai Dang Lao (2013) and A Life (2014). She enjoys being part of a company committed to new work and having a beautiful building in which to work.

DANIEL MEEKER Scenic and Lighting Designer

Previously at The Armory: lighting for Twist Your Dickens, Lauren Weedman Doesn’t Live Here Anymore and Wild and Reckless; scenery for A Christmas Memory/Winter Song, The People’s Republic of Portland and Red (Drammy Award); and scenery and lighting for Vanya and Sonia and Masha and Spike, The Typographer’s Dream, LIZZIE (Drammy Award for Best Lighting), The Last Five Years and The Mountaintop. Recent projects: Così fan tutte, The Difficulty of Crossing a Field and The Little Match Girl Passion (Portland Opera); The Talented Ones (Artists Repertory Theatre); A Christmas Carol and The Language Archive (Portland Playhouse); Judy Moody and Stink: The Mad, Mad, Mad, Mad Treasure Hunt (Oregon Children’s Theatre); 26 Hours (Profile Theatre); The Curious KODACHROME • THE ARMORY

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KODACHROME | CREATIVE TEAM Incident of the Dog in the Night-Time (Pioneer Theatre Company); and lighting director for the Pickathon festival. Daniel is a graduate of Ithaca College and The Yale School of Drama, and a member of United Scenic Artists.

ALISON HERYER Costume Designer

Alison Heryer is a costume designer for theater, film and print. She is thrilled to be returning to Portland Center Stage at

The Armory, after designing costumes for Fun Home, Lauren Weedman Doesn’t Live Here Anymore, Wild and Reckless, His Eye is on the Sparrow, The Oregon Trail, Ain’t Misbehavin’, Our Town, Three Days of Rain and Threesome. Other design credits include productions with Steppenwolf Theatre Company, 59E59 Theaters, La MaMa, The New Victory Theater, Kansas City Repertory Theatre, Indiana Repertory Theatre, Portland Opera, Artists Repertory Theatre and The Hypocrites. She has

YOUR DIRECT LINE WHEN

LONDON CALLS. Nonstop from PDX to London starting May 4, 2018.

exhibited work at the Nelson Atkins Museum of Art, World Stage Design, and Prague Quadrennial of Design and Space.

Alison is on the faculty in the School of Art + Design at Portland State University and a member of United Scenic Artists Local 829. alisonheryerdesign.com CASI PACILIO Sound Designer

Casi’s home base is The Armory, where recent credits include A Christmas Memory/Winter Song, Lauren Weedman Doesn’t Live Here Anymore, Wild and Reckless, His Eye is on the Sparrow, The Oregon Trail, Little Shop of Horrors, A Streetcar Named Desire, Great Expectations; A Small Fire, Constellations and Chinglish with composer Jana Crenshaw; and 11 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 Bigsmorgasbord-WunderWerk (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.

WILL COTTER Projection Designer

Will makes multimedia art in Portland and other places. Chicago dramaturgical credits include the world premieres of The Humans and The Project(s) at American Theater Company, where he also designed projections. In Los Angeles, Will devised and played titular roles in Paradise and Moony’s Kid Don’t Cry at The Edgemar Center for the Arts, produced by James Franco and Rabbit Bandini Productions.

Around the same time, he received his B.F.A. at CalArts. Thanks to Mom, Dad, PJ, Michael, Rose and Tony.

JANA CRENSHAW Composer

Jana Crenshaw (aka Jana Losey) is a singer-songwriter and composer originally from Lawrenceville, PA. After touring extensively as a performer, Jana moved to Portland in 2008, reinventing herself as a composer and teacher. Credits include: The Armory (Futura, A Small

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KODACHROME | CREATIVE TEAM Fire, Chinglish, Other Desert Cities, Vanya and Sonia and Masha and Spike, Constellations), Portland Playhouse (Left Hand of Darkness by Ursula K LeGuin/ Hand2Mouth), Liminal (Our Town), CoHo Productions (Note to Self), and performing in a devised piece called Please Validate Your Identity as part of Portland’s Fertile Ground Festival. Jana is currently writing a third-grade musical, working on a new solo album, writing a solo theater piece, and hopes to be composing and performing more and more! Forever thank yous to Casi Pacilio and Mic and Audrey Crenshaw. janacrenshaw.com JANINE VANDERHOFF Stage Manager

Janine is glad to be back for her third season at The Armory. Previous credits at The Armory include: A Christmas Memory/ Winter Song, Wild and Reckless, Lauren Weedman Doesn’t Live Here Anymore,

The Santaland Diaries, The Oregon Trail, Little Shop of Horrors, JAW, Great Expectations, Ain’t Misbehavin’, Our Town.

Other Portland credits include Portland Opera’s Sweeney Todd (followspot caller); DC Copeland’s Play (stage manager/ production manager); Portland Playhouse’s How to End Poverty in 90 Minutes and The Other Place (stage manager). Touring stage management credits include: The Graduate (starring Morgan Fairchild), Cats, The Vagina Monologues, Jekyll & Hyde and Show Boat. While in New York, Janine had the opportunity to work on The Lion King on Broadway, as well as with many Off-Broadway and regional companies. Production management credits include: The Daily Show with Jon Stewart for “Democalypse 2012 Republican National Convention” (Tampa, FL); Straz Center (Tampa, FL); The Fox Theatre (Atlanta, GA). Proud NYU graduate and AEA member.

JORDAN AFFELDT Production Assistant

Jordan is a stage manager from the small mountain town of Julian, CA. This is her first season at Portland Center Stage at The Armory as a stage management apprentice, where recent credits include Fun Home and A Christmas Memory/ Winter Song. Prior to coming to The Armory, she completed internships at Pacific Conservatory Theatre (assistant stage manager for Beauty and the Beast, Lend Me a Tenor, You Can’t Take it With You), Shakespeare Theatre of New Jersey (assistant stage manager for Coriolanus), and ion theatre company (production assistant for Sea of Souls).

She received her undergraduate degree from Northern Arizona University, majoring in theater studies and psychology. She spends her free time playing and writing music in the Portland area.

KODACHROME | SPONSOR STATEMENTS KEITH AND SHARON BARNES We are thrilled to support new work and be a part of this world premiere production.

DON AND MARY BLAIR Don and I are ecstatic to sponsor Kodachrome. We are fervent champions of new work and this script was developed at JAW: A Playwrights Festival in 2015. Plus, the thrill is personal — the playwright is our friend.

Congratulations Adam on your world premiere, and thank you Portland Center Stage at The Armory for producing this highly evocative work.

KELLY K. DOUGLAS AND ERIC H. SCHOENSTEIN Connections, large and small. These days, they are more important than ever. Through the lens of Adam Szymkowicz’s Kodachrome, we are reminded that almost any interaction

can be life changing, if we take the time to notice it. We are honored to help bring this JAW-developed play to its world premiere production at The Armory.

U.S. BANK “At U.S. Bank, we believe thriving communities have fundamental building blocks in common that help make anything possible, including stable employment, a home to call your own and enriching connections via arts, culture and recreation. Through Community Possible and our focus on Work, Home and Play, U.S. Bank helps create stable jobs, better homes and vibrant neighborhoods. Our commitment to Portland Center Stage at The Armory is one example of our investment in community programming that supports access to the arts, arts education and learning through play for children and adults. We hope you enjoy the show!”

– Stacey Dodson, U.S. Bank, Market President, Portland and SW Washington

KODACHROME • THE ARMORY

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LOWER SCHOOL OPEN HOUSE FRIDAY, JANUARY 19

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MIDDLE SCHOOL OPEN HOUSE WEDNESDAY, JANUARY 10 PM

Unlock the World! Research shows that bilingualism equals academic success, and the earlier, the better.

Apply today to Preschool, Prekindergarten, and Kindergarten, ages 2½-5, to enroll your child in the longestestablished and best-known language immersion school in Portland. At FAIS, we foster multi-language Artslandia: Half (7.0625 x 4.75) ability, develop global citizens, and shape active learners through the IB framework of academic excellence.

Runs: March–April Artist: Joshua Bell

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Unlock the World! Research shows that bilingualism equals academic success, and the earlier, the better.

Apply today to Preschool, Prekindergarten, and Kindergarten, ages 2½-5, to enroll your child in the longestestablished and best-known language immersion school in Portland. At FAIS, we foster multi-language ability, develop global citizens, and shape active learners through the IB framework of academic excellence.

JOSHUA BELL MAY 12, 13 & 14, 2018

Carlos Kalmar, conductor • Joshua Bell, violin * Measha Brueggergosman, soprano Hindemith: News of the Day Overture • Bernstein: Serenade * Gabriel Kahane: Commission (World premiere)

The world’s most famous violinist returns to the Oregon Symphony to perform Bernstein’s Serenade, often described as a “love pieceâ€? by the composer. Brooklynite singer-songwriter Gabriel Kahane (son of classical pianist Jerey Kahane) makes his Oregon Symphony debut with the world premiere of his composition.

Tickets start at $24

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ARTSL ANDIA AT THE PERFORM ANCE

Portland Center Stage at

LEAVE A LASTING LEGACY Portland Center Stage at The Armory is the largest theater company in Portland and among the top 20 regional theaters in the country. Established in 1988 as a branch of the Oregon Shakespeare Festival, the company became independent in 1994 and has been under the leadership of Artistic Director Chris Coleman since 2000.

An estimated 150,000 people visit The Armory annually to enjoy a mix of classical, contemporary and world premiere productions, along with a variety of high quality education and community programs. Eleven productions are offered each season, in addition to roughly

400 community events created — in partnership with 170+ local organizations and individuals — to serve the diverse populations in the city. As part of its dedication to new play development, the company has produced 24 world premieres and presents an annual new works festival, JAW: A Playwrights Festival. The Northwest Stories series was recently launched to develop and produce works about, or by artists from, the Northwest region. Home to two theaters, The Armory was the first building on the National Register of Historic Places, and the first performing arts venue, to achieve a LEED Platinum rating.

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

Discover Planned Giving

Planned giving is a way to integrate your personal, financial and estate planning goals. The right planned gift may provide you with tax and income benefits while helping our organization further its mission.

Here are some of the most common planned gifts you can make:

BEQUEST CHARITABLE GIFT ANNUITIES AND CHARITABLE REMAINDER TRUSTS LIFE ESTATE Contact us or visit our website today, so we may assist you in discovering the right plan for you.

503.445.3744 or email giving@pcs.org Copyright © 2013 Cresendo Interactive, Inc. HP-2013-281.1-sr

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THANK YOU, DONORS! We gratefully acknowledge the supporters of our 2017–2018 season. generosity Portland Center Stage gratefully acknowledges the supporters of our Their 2013–14 season. allows us to inspire our community Their generosity allows us to inspire our community by bringing stories stories to life intounexpected ways. We thank by bringing life in unexpected ways.

Wethem. thank them.

CORPORATE GIFTS SEASON SUPERSTAR ($150,000+)

PLAYMAKERS ($5,000+)

OVATION SOCIETY ($100,000+)

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

U.S. Bank

PRODUCERS ($2,000+)

LEADERSHIP CIRCLE ($25,000+)

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

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

SEASON STARS ($10,000+) Bank of America Boeing Company Davis Wright Tremaine LLP Delta Air Lines GBD Architects Hobbs, Straus, Dean & Walker Moda NW Natural Stoel Rives LLP Work for Art, including contributions from more than 75 companies and 2,000 employees

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

STARS ($250+) Cupcake Jones Graphic Arts Building ShadewoRx

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

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

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

FOUNDATION & GOVERNMENT SUPPORT (AS OF NOVEMBER 30, 2017) OVATION SOCIETY ($100K+) 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

LEADERSHIP CIRCLE ($25K+) The Hearst Foundations The Kinsman Foundation Marie Lamfrom Charitable Foundation National Endowment for the Arts The Harold & Arlene Schnitzer CARE Foundation/ Arlene Schnitzer & Jordan Schnitzer Shubert Foundation

SEASON STARS ($10K+) Anonymous Sheri & Les Biller Family Foundation Broughton & Mary Bishop Foundation The Holzman Foundation/Renée & Irwin Holzman 24

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

ARTISTIC DIRECTOR’S CIRCLE ($3K+) H.W. & D.C.H. Irwin Foundation Samuel S. Johnson Foundation Spirit Mountain Community Fund Herbert A. Templeton Foundation

SUPPORTING SEASON SPONSORS

PRODUCERS ($2K+) Autzen Foundation Leupold & Stevens Foundation D. Margaret Studley Foundation Travel Portland Union Pacific Foundation

BENEFACTORS ($1K+) Big Sky Fund of Equity 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 NOVEMBER 30, 2017) The membership levels and names listed below are determined by our individual gift membership renewal date and are recognized for twelve months. Every effort has been made to ensure that this list is accurate and complete. We apologize if your name has been omitted or improperly recorded. If so, please contact giving@pcs.org, so we can correct our records.

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+) Don & Mary Blair Mary & Tim Boyle LEADERSHIP CIRCLE ($25,000–$99,999) Keith & Sharon Barnes Mary Bishop Ginger Carroll Roger Cooke & Joan Cirillo Dream Envision Foundation Brigid Flanigan Rob Goodman Heather Killough Hilary Krane & Kelly Bulkeley Ronni S. Lacroute Pat Reser & Bill Westphal Pat & Trudy Ritz/Ritz Family Foundation Barbara & Phil Silver The Stern Family Bill & LaRue Stoller Ben & Elaine Whiteley SEASON STARS ($10,000–$24,999) Anonymous Dr. Don & Jessie Adams John & Linda Carter CLF Family Charitable Foundation Sarah Crooks Martin & Karin Daum Ray & Bobbi Davis Jess Dishman Margaret Dixon The Wayne & Sandra Ericksen Charitable Fund Mary & Ryan Finley Diana Gerding Tasca & Paul Gulick Dr. Barbara Hort & Mark Girard Marilyn & Ed Jensen James & Morley Knoll Charles & Carol Langer Skye & Jane Lininger Dedre J. Marriott Dorothy Piacentini Reynolds Potter & Sharon Mueller Dana Rasmussen Eric H. Schoenstein & Kelly K. Douglas Richard & Marcy Schwartz Drs. Ann Smith Sehdev & Paul Sehdev PLAYMAKERS ($5,000–$9,999) Anonymous (2)

Scott & Linda Andrews Peter & Susan Belluschi Family Fund of The Oregon Community Foundation Debby Benjamin, Mary Kay & Russ Dragon Phil & Julie Beyl Rick Caskey & Sue Horn-Caskey Glenn Dahl & Linda Illig David Dotlich & Doug Elwood Mark & Ann Edlen Lois Seed & Dan Gibbs Craig & Y. Lynne Johnston Gregg & Diane Kantor Ms. Kirsten Lee & Mr. Joseph Sawicki Drs. Dolores & Fernando Leon Chrys A. Martin & Jack Pessia Doris G. & Richard K. Martin Trust Peter K. McGill Mark Schlesinger & Patti Norris Elba, Ralph, Russell, Lorraine & Renee Shaw Barbara A. Sloop Jan & John Swanson John Taylor & Barbara West Susan & Jim Winkler ARTISTIC DIRECTOR’S CIRCLE ($3,000–$4,999) Carol Alexander Kathi & Ted Austin Andy & Nancy Bryant Bill Byrne & Dennis Scolard Duke & Brenda Charpentier Cogan Family Fund of the Oregon Jewish Community Foundation Joan & Jim English Robert Falconer Paul & Samantha Harmon Sharon & Henry Hewitt Kevin Hogan & Aron Larson Jina Kim & Hyung-Jin Lee Regan & Gina Leon Steven C. Neighorn Allan & Madeline Olson Jim & Linda Patterson Brenda Peterson Fred L. Ramsey Robert Reed Raj Sarda MD CollierTrust Sue & Drew Snyder

Dave Underriner & Barbara Rossi-Underriner Steven & Deborah Wynne Mort & Audrey Zalutsky PRODUCERS ($2,000–$2,999) Anonymous Ruth & Jim Alexander Michael & Margie Anton Brenda K. Ashworth & Donald F. Welch Julia & Robert S. Ball Daniel Bergsvik & Donald Hastler Jack Blumberg Kate & Bill Bowman Richard Louis Brown Marianne Buchwalter Judy Dauble Edward & Karen Demko Carol Edelman Ron & Becky Eiseman John & Jane Emrick Heather Guthrie & Gil Parker Lani Hayward Steven & Marypat Hedberg Dale Hottle Dennis C. Johnson Ruth Knepell Brian D. Kronstad Cindy & Keith Larson Edwards Lienhart Family Foundation Jim & Jennifer Mark Mary Katherine Miller John D. & Nancy J. Murakami Nathan Family Hester H. Nau Bobbie & Joe Rodriguez Teri Rowan Stephen & Trudy Sargent Roy Schreiber & Carole Heath Burt & Barbara Stein George & Molly Spencer Don & Judy Thompson Katherine & Nickolas Tri Azin van Alebeek E. Walter Van Valkenburg & Turid L. Owren Christine & David Vernier Trudy Wilson & Terry Brown Mary & Pat Wolfe David & Sherri Zava BENEFACTORS ($1,000–$1,999) Anonymous (2) Phyllis Arnoff

CORPORATE CHAMPIONS WE SUPPORT OUR CORPORATE CHAMPIONS WHO GIVE MORE THAN $10,000 ANNUALLY

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

Barbara Baker Dr. Gene Baker & Regina Brody Cheryl Balkenhol & James Alterman David Bennett Chris Bisgard, Lisa Denike Bisgard, Ella Bisgard Earl & Jan Bliven William Blosser Linda & William Brown Tim O’Leary & Michelle Cardinal Dr. Richard & Nancy Chapman Gustavo J. Cruz, Jr. Leslie Copland M. Allison Couch & Tom Soals Tracy A. Curtis & Rick Nagore Paul Dockter & Pamela Kelley-Dockter Gerard & Sandra Drummond Richard & Betty Duvall John Briggs & Jeffrey Feiffer Mike & Chris Feves Randy Foster Larry & Deborah Friedman Daniel & Leah Frye Cynthia Fuhrman Jasmine Fullman Katie & David Gold Mike Golub & Sam Shelhorse Ann Gray John & Jacque Guevara Dylan Gulick Donald F. Hammond Patsy Heinlein Tom & Betsy Henning Herman Charitable Foundation Mr. Arthur Hung & Dr. Jim Watkins Ms. Carroll Hutchinson Don & Claudia Hutchison Brad & Judy Johnson Jessie Jonas Stephen & Marjorie Kafoury Dr. Laurie Kash & Michael Carter Carla Kelley Kevin & Karen Kelly Tom & Barbara Kelly Willie Kemp Jon Kruse & Karen O’Connor Kruse Ray & Terry Lambeth Dorothy Lemelson Shari & Frank Lord

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

Bruce & Louise Magun Jean & Steve Mann Shelly McFarland Lindsey & Marilen McGill Dan & Christina McMillan Lora & Jim Meyer Bill Moffat Bryan Nakagawa Betsy Natter Neilsen Family Fund of The Oregon Community Foundation J. Greg & Terry Ness Lucas Newman Ranata Niederloh Steven P. & Eileen O’Neill Odum Thomas Palmer & Ann Carter Duane & Corinne Paulson Joan Peacock Stanley & Susanne Penkin Amy Polo Dennis & Diane Rawlinson Kelly Ritz-Eisenstein & Scott Eisenstein John & Catherine Ridenour Bob & Marilyn Ridgley Mary & Craig Ruble Halle & Rick Sadle Carol Schnitzer Lewis Fund of The Oregon Community Foundation Michael & Karen Sherman Douglas & Teresa Smith Randy & Janet Smith Carl Snook E Kay Stepp Mr. & Mrs. W.T.C. Stevens Kim & Doug Strand Ray & Pat Straughan Carol Streeter & Harold Goldstein Mary & Jeff Strickler Donald & Roslyn Sutherland W R Swindells Calvin & Mayho Tanabe Kenneth & Marta Thrasher Ronald E. & Ivy L. Timpe Fund of The Oregon Community Foundation Glen Ulmer Eleanor & Peter van Alderwerelt Ted & Julie Vigeland Wendy Ware & Dan Gleason Joan & David Weil Dennis & Jean Wilde Jeff & Jaynie Wirkkala STARS ($500–$999) Anonymous (4)

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

Charles & Gloria Adams Richard & Kristin Allan Joan & Brian Allen Philip & Pip Allen Stacy Allison Janis Avidan Thomas & Brada Bailey Robin & Thomas Barrett Susanne Baumann & John Gragg Benjamin Buckley Young Actors Fund of The Oregon Community Foundation Dr. Janet Bennett Jamie & John Birkett Cheryl A. Bittle The Bohanan Family Lesley Bombardier Craig Boretz Norma Bradfish Larry & Marie Brigham Robert & Stasia Burt Mary Beth Butkovic Steve Cox & Vikki Mee Erik Cubbage Amy & Bruce Dobbs Beverly Downer Stephen Early & Mary Shepard James & Patricia Edwards Christina Flaxel & B. Randall Gregory Flick Ronald Fraback Gail & Kim Frederick Lisa M. Freiley Charles & Kyle Fuchs Don & Judy Fuller Richard & Kristine Gates Paul & Faye Gilbarg Michael & Nancy Graham Patricia & Tim Gray Gail & Walter Grebe Del Hall Bill & Elaine Hallmark Kregg & Andrea Hanson Richard L. Hay MJ & Lee Alan Helgerson Paul & Ruth Herrington Jay Howell Susan Immer & Larry Juday Per-Olof Jarnberg & Joan Foley Cecily Johns Raymond & Marilyn Johnson Susan E. Jossi & Bob Conners Nancy Keystone & Michael Schlitt Kohnstamm Family Foundation THE ARMORY

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DONOR LIST (CONTINUED) Susan Lair & Doug Trobough Libbi Layton & Lawrence Tamiyasu Bonnie & Mike Leiser Jon & Sheila Levine Elaine & Richard Lycan Jean & Steve Mann JS & Robin May Ann Mccabe Jim & Maureen McCartin Karen & Brent McCune Jessica McVay Rob & Kate Melton Robert & Violet Metzler Bruce W. Miller Timothy Mott Michael & Susan Mueller Deborah Neft & Salvatore D’Auria David & Anne Noall Susan & Peter Norman John & Carolyn Parchinsky Elizabeth Perris Jim & Pam Phillips Wallace & Elizabeth Preble Ralph & Jean Quinsey Judson Randall Dick & Linda Reedy Drs. Scott & Kay Reichlin Leslie Rennie-Hill & Ken Hill Dr. Mark & Angela Reploeg Dave & Lori Robertson Rebecca Ross Steven & Carol Sandor Lisa Sanman Peter C. & Jeanette M. Scott Therese Scott Bob Schuler & Debra Blanchard Virginia Shipman & Richard Kaiser Brad Simmons & Shannon Hart J & C Skuster Kyle & Sophia Spencer Rick & Denyse Stawicki Janice Stewart & Gordon Allen Dan & Linda Sullivan John & Shirley Sutton Dr. Jeffrey & Mrs. Roberta Swanson Tyler & Kara Tatman Beverly Terry Marcia K. Timm Paul Tucker & Blake Walter Andrew Tweedie Paul J. Utz & Lory Cogan Utz Lewis & Susan Van Winkle Virginia Vanderbilt & Michael Garrison Dan Volkmer & Frank Dixon Richard Wallace & Patricia White Karen J. Wheeler Dr. & Mrs. Bennett Wight Andrew Wilson Fabian & Julie Yeager PATRONS ($150–$499) Anonymous (7) Vanessa Abahashemi 26

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Keith & Christine Abernathy Jose Alcarez Kris Alman Linda C. Anderson Thomas R. Anderson & Joan Montague Mr. & Mrs. John K. Ankeney Nigel & Kerry Arkell Lee & Lynn Aronson Linda Aso Jean & Ray Auel Jean & David Avison Susan Bach & Douglas Egan Mrs. Bernice Bagnall Bill & Donna Baily Thayne & Mary Anne Balzer Don & Jo Barney Mr. & Mrs. Peter Barnhisel Diane & Arthur Barry Sidney & Barbara Bass Dawn Bauman Richard Baumann Rob & Sharon Bennett Maggie Bennington-Davis Anita & Clark Blanchard Chris Blattner & Cindy McCann Ms. Catherine Blosser & Mr.Terry Dolan Jeffrey Bluhm Jacquelyn & John Boardman Lynne & Frank Bocarde Brian & Karen Borton Robert Brands Betty G. Lavis & Charles Brasher Douglas Browning & Jo Shapland Patsy Bruggere Ms. Kathryn Bussman & Mr. Char Curry Mary Butler Tim & Susan Carey Michael Carter & Teresa Ferrer Jean Carufo & Barb Engelter Sue Caulfield & Mary Mack Brent & Barbara Chalmers Gordon B. Chamberlain Candice & Russ Chapman John & Lou Chapman Melissa A. Charbonneau Bob & Patty Chestler Valri & Vincent Chiappetta Susan F. Christensen Cynthia Church Rhonda Cohen Bruce & Janis Collins Rick & Jean Collins Sonja L. Connor Philip F. Copenhaver William & Harriet Cormack Jerry & Jean Corn Karen Costello John & Ann Cowger Marian & Neale Creamer Karen & Ward Cunningham Jill & Tony Daniels Arthur & Winnifred Danner Betty Daschel Sharon Davidson Maureen Sproviero Davis & Kerwin Davis Carolyn DeLany-Reif

Duane & Prudence Denney Linda & Jerry Dinan Ken & Laura Dobyns Michael Doherty & Daphne Cooluris Steve Dotterrer & Kevin Kraus Mark & Denise Downing Julie & Jim Early Janet & Barry Edwards John H. Eft & Darlene Russ-Eft Mary A. & Peter Eisenfeld Kris & R. Thomas Elliott Ed & Marilyn Epstein Wes Evans & Lou Scorca Sharon Ewing-Fix Sandy Feeny Gil & Ellen Feibleman Renee Ferrera & James Johnson Terry Ferrucci Sally & Jerry Fish Sherry & Paul Fishman Greg & Susan Fitz-Gerald Mary Flahive & David Finch George H. Fleerlage Steve & Susan Ford Sharon Frank Marc Franklin Terry Franks & Carolyn Duran Richard Smith & Patricia Frobes Jerome & Mary Fulton William & Beverly Galen Susan & Seth Garber Paul Gehlar Colleen Gekler Merry Gilbertson & Larry Frank Lisa Goldberg Melissa & Robert Good Barbara & Marvin Gordon-Lickey Richard & Janis Gottlieb Mr. Mark Greenfield & Jane Hartline Nancy & Ron Gronowski Frank & Margery Guthrie Irv & Gail Handelman Britney & Ryan Hardie Ulrich H. Hardt & Karen Johnson Lynne & John Hart Tom & Jan Harvey Fred & Sara Harwin Mark & Paige Hasson Marcia Hauer & Jeanne Knepper Tom & Verna Hendrickson Sudee & J. Clayton Hering Diane M. Herrmann Barbara & Mark Hochgesang Mrs. Beverly Hoeffer & Mrs. Carol Beeston Laurie Holland Barry & Fanny Horowitz Donald & Lynnette Houghton Dr. Hal Howard Dixie & Patrick Huey Nancy Hull & Chris Sproul Kathy & Tom Iberle Tom & Laura Imeson Robina & Tim Ingram-Rich Joanne Jene, M.D.

Sonny Jepson & Felice Moskowitz Jerry Brask Becky & Jarrett Jones Dolores Judkins Jack & Farol Kahle Ross Kaplan & Paula Kanarek Rebecca & Gerald Karver Franki Keefe Katherine Keene Jane Kennedy Marion & Bart Kessler Heather Kientz Jim & Lois King Nancy Kingston Frederick Kirchhoff & Ronald Simonis Lucien & Sally Klein Romy Klopper Michael Knebel & Susan Shepard BettyLou Koffel & Philip Moyer Ed & Margaret Kushner Robert & Sally Landauer Dave Lapof Robert & Nancy Laws Anita Saalfeld Bob & Sally LeFeber Roger & Joy Leo Brian & Chris Lewis Judy Lindley Bob & Debbie Lindow Peter & Janice Linsky Steve Rosenberg & Ellen Lippman Bill Bagnall & Clayton Lloyd Joyce & Stanley Loeb Ralph London Sharon W. Lukasevich Marvin & Sylvia Lurie John D. Lynch Carol & Charles Mackey Jeanne & Jim Magmer Barbara & Tim Mahoney Caroline Mann Linda & Ken Mantel Mr. Joe Marrone & Ms. Ann Balzell Kenneth & Nancy Martin Mr. & Mrs. Mason Pamela Matheson Anne Matson Kendra Matthews Oscar & Mary Mayer Annie & Dennis McCarthy Betty McDonald & William Hansen Charles & Kathleen McGee Charles McGee & Serilda Summers McGee Gretchen McLellan Steven McMaster & Kathleen Brock Bart McMullan Jr. & Patricia Dunahugh Gayle & George McMurria-Bachik Karolyn Meador Charitable Fund Julia Meck Ruth E. Medak

Mariellen Meisel & Steve Glass Peter & Joan Melrose Patty Merrimon Susan Sammons Meyer & Dennis Meyer Frances & Peter Meyers Louis R. Miles Pamela G. & Fred B. Miller Mr. Jay Miller & Ms. Elise Menashe Roger & Karen Miller Michael Mills & Amie Abbott Sherry Mills Thomas & Rosemary Mitchell David & Machteld Mok Bridget Montero Douglas & Malinda Moore Clint & Donna Moran Marjory S. Morford Mike & Jan Morgan David Morganstern Laura & Joseph Munoz Bill & Pat Nelson Leslie & Devon Nevius Jeanne Newmark Ann Nickerson Landscape Design Gloria Norton Teri Obye Ron & Janet O’Day Ric Oleksak Barry D. Olson Eileen & Alfred Ono Juris V. & Silvia Orle Beverly J. Orth Paul & Lynn Otto Lynda Paige Callie & Ana Winner Susan & Milt Parker Irene Parikhal Gail & Alan Pasternack Jennifer Peery Steve & Melissa Peterman Kevin Phaup Donna Philbrick Mr. Joe Phillippay & Kris Phillippay Sue Pickgrobe & Mike Hoffman Rick Kunz Piniewski Nancy Pitney Jennifer Politsch Michael Ponder & Bea Davis Dee Poujade David & Margo Price Christopher Prosser Jay & Barbara Ramaker Michael R. Rankin Richard A. Rawlinson Bonnie & Peter Reagan Helen Richardson & Don S. Hayner George W. & E. Joan Robinson Jeanne Robinson & Simon Dietsch Lucinda Rodgers Charles & Judith Rooks Ted & Holly Ruback Davia & Ted Rubenstein

Alise R. Rubin & Wolfgang Dempke Jim & Joanne Ruyle Bunny & Jerry Sadis Linda & Michael Salinsky Ron & Vicki Sarazin Lia Saroyan & Michael Knapp Christine & Steven Satterlee John & Stephanie Saven Dianne Sawyer & Richard Petersen Jim Scherzinger & Claire Carder Sheldon & Jean Schiager Martha M. Schostal Michael & Pam Shanahan Karen Sheridan Ron & Lynn Sherwood Carl R. Shinkle Jonathan Singer Jaymi & Francis Sladen Henrianne Slattery Constance Smith Kimberly Smith-Cupani Neil Soiffer & Carolyn J. Smith George Soule & Maurice Horn Doug Sparks & Casey Bass Mirnie Stapleton Rhonda Studnick Kaiser Ms. Valda Summers & Mr. Tom Phelan Roger & Gale Swanson John & Jan Switzer Amy & Emanuel Tanne Ellen Tappon & Ted Wilson Leif & Marjorie Terdal Jane Thanner & Tim Smith William & Lori Thayer Larie Thomas James & Linda Thomas Grant & Sandra Thurston Robert Todd David Toovy Phil & Mimi Underwood Cathy Unis David & Julie Verburg Dawn Vermeulen James N. Stamper & Jennifer P. Villano Mark & Mary Ann Vollbrecht The John & Frances Von Schlegell Family Fund James & Nancy Vondran Drs. Bastian & Barb Wagner George & Marilou Waldmann John N. & Betty K. Walker Nancy Walker & Terry Foty Sheila Walty Chris & Jana White JD & D’Alene White Maurice & Lauretta Williams Marjorie & Tom Wilson Alan Winders Greg Winterowd Don & Jan Wolf Richard & Leslie Wong Linda M. Wood Robert & Vickie Woods Paul Wrigley Jack Wussow & Kyle Adams Russ & Mary Youmans Alan & Janet Zell

IN TRIBUTE Tribute Gifts as of November 30, 2017.

BOARD OF DIRECTORS Elaine and Mel Ball in honor of our precious and talented granddaughters, Kamilla and Madelen Hrubesova Ginger Carroll in memoriam for J. Michael Carroll Leslie Copland in honor of Richelle Luther

Ted Austin, Chair Senior Vice President, U.S. Bank Private Wealth Management

John and Jan Emrick in memory of our beloved storyteller and dear friend, Brian Doyle

Betsy Henning, Vice Chair CEO and Founder, AHA! Strategic Communications

Cynthia Fuhrman in honor of Sandy Japel

Brigid Flanigan, Treasurer President, Shamrock Holdings, LLC

Jen Goldsmith and Lisa Sanman in honor of Helen Stern Dr. Hal Howard in memory of Carol Howard Jane and Paul Jacobsen honoring Betsy Henning Jina Kim in honor of Hyung-Jin Lee and Jina Kim Dedre J. Marriott in memory and honor of Truman W. Collins, Sr., and Maribeth Wilson Collins, founders of The Collins Foundation, dedicated to improving the well-being and quality of life for Oregonians in their communities since 1947.

Patricia and Peter Medeiros in memory of Joyce Helgerson Richard H. Meeker in honor of Ellen Rosenblum Bridget Montero in honor of Carina Montero Terry and Greg Ness in memory of Ben Whiteley Performance Promotions in honor of David Niederloh All of us at Portland Center Stage at The Armory will miss our friend Sam Blackman.

Portland Center Stage at The Armory in honor of Maribeth Collins and family, for their long-term dedication and commitment to our community and the arts.

All of us at Portland Center Stage at The Armory will miss Ben Whiteley.

We send our love and support to Elaine.

Joan Peacock in loving memory of Ben Buckley Julie and Ted Vigeland: Portland Center Stage at The Armory has lost a strong supporter and friend with the passing of Prue Miller Julie and Ted Vigeland in memory of the wonderful years of support by Pete and Mary Mark to Portland Center Stage at The Armory Julie and Ted Vigeland in memory of Ben Whiteley. Ben Whiteley was a supporter, in every sense of the word, of Portland Center Stage at The Armory from its inception. Ben will be missed in so many ways. For us especially, opening nights will not be the same without Ben. David and Joan Weil in memory of Bob Lustberg, who was a generous and longtime contributor to Portland Center Stage at The Armory.

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

If you would like to make a Tribute Gift, please contact 503.445.3744 or giving@pcs.org.

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

THE ARMORY

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Portland Center Stage at

LEAD CORPORATE CHAMPION

TEEN THEATER ACADEMY

Umpqua Bank ACTORS TAKE CHANCES.

Sometimes they work.

Sometimes they don’t.

But none of these actors would be on stage today without taking chances. It’s part of growth, and we’re all made to grow. That’s why we’re such a proud supporter of Portland Center Stage at The Armory.

Let this performance inspire you to take the chances that power your own growth.

Summer 2018 Photo by Kate Szrom.

Session I: Playwriting June 18 – June 22, 2018

Session II: Monologues, Scene Work, Masterclasses June 25 – June 29, 2018

REGISTER TODAY! pcs.org/academy 503.445.3795 This summer, learn the ins and outs of making theater from industry professionals at Portland’s fl agship theater. Craft a play on page, prep for an audition like a pro, or hone your musical theater skills in a stimulating, supportive environment that will get you ready to seize the spotlight.

Session III: Musical Theater

Available for students entering grades 9 through 12.

Sessions held Mon. through Fri., 9 a.m. to 4 p.m.

August 6 – August 17, 2018

128 NW Eleventh Avenue Portland, Oregon 97209

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

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

THE ARMORY

STAFF

FOR THIS PRODUCTION

Artistic Director: Chris Coleman

Managing Director: Cynthia Fuhrman

ARTISTIC Associate Artistic Director: Rose Riordan Associate Producer: Brandon Woolley Literary Manager: Benjamin Fainstein Company Manager: Will Cotter

FACILITY & EVENT RENTALS Events & Rentals Manager: Elizabeth Hjort Rentals Assistant: Katie Martens

EDUCATION & COMMUNITY PROGRAMS Education & Community Programs Director: Kelsey Tyler Education & Community Programs Associate: Clara-Liis Hillier Education & Community Programs Coordinator: Eric Werner Resident Teaching Artist: Matthew B. Zrebski ADMINISTRATION & FINANCE General Manager: Creon Thorne Finance Director: Lisa Comer Director of HR, Equity & Inclusion: Caitlin Upshaw Accounting Manager: Aurora Sanquilly Accountant: Alan King Executive Assistant & HR Coordinator: Nia Fillo IT Administrator: Chris Beatty IT Associate: Dylan Howe Database Administrator: Bob Thomas DEVELOPMENT Development Director: Lisa Sanman Associate Development Director: Jennifer Goldsmith Grants Manager: Marlene A. Montooth Development Events Manager: Kate Bowman Development Associate: Jack Ridenour MARKETING & COMMUNICATIONS Director of Marketing & Communications: Cynthia Fuhrman Associate Director of Marketing: Mandy Morgan Public Relations & Publications Manager: Claudie Jean Fisher Marketing & Communications Associate: Alice Hodge Group Sales Coordinator: Liz Brown Graphic Designer: Mikey Mann Multimedia Designer: Kate Szrom Webmaster: Christian Bisgard Production Photographer: Patrick Weishampel PATRON SERVICES Patron Services Manager: Luke Robertson Patron Services Assistant Managers: Klint Keys, Sierra Walker Senior Patron Services Associate: Emily S. Ryan Patron Services Associates: Madelyn Clement, David Harper, Kirstie Opel Sales Associates: Colm Kirk, Charley Praither, Mark Woodlief OPERATIONS Interim Operations Manager: Katie Cronin Operations Lead: Destry Cloud Operations Assistants: Amanda Maxwell, Eric Murray Custodians: Gregery Lee, Tim Taylor

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

ASTORIA CARPENTER Tyler Buswell

WARDROBE AND WIGS Jamie Hammon

SCENIC PAINTERS Elecia Beebe Jackson Hunt Gordon Victoroff

SOUND BOARD OPERATOR Ryan Chapman

WIG DESIGNER Marcia Willard ASSISTANT TO THE COSTUME DESIGNER Sydney Dufka STITCHERS Foggy Bell Julia Braun Morgan Reaves COSTUME CRAFTS Sarah Frechette Jason Thibodeaux Abigail Vaughan WARDROBE Julio Maxwell Gina Piva Kathleen Reid

MUSICIANS Emiliano Campobello: Native American flute

Loren Grean: Celtic harp Jesse Hanson: violin, viola, cello

Kristi Holstein: violin, viola Jonathan McEuen: guitar Ed Rockett: Native American flute

Cameron Stone: cello Cara Tower: Irish bouzouki ELECTRICIANS Liz Carlson Gabe Costales Zahra Garrett Ian Hale Duncan Lynch Ben Rosenthal Evan Smiley Lisa Yimm

KODACHROME SOUND AND VIDEO BOARD OPERATOR Mitchel Bohanan SELECT PHOTOS Meg Nanna

ELECTRICIANS Lainnie Alexander Don Crossley Cat Miller Megan Moll Ruth Nardecchia Connor Ward Lisa Yimm

Cover art designed by Mikey Mann.

Portland Center Stage at The Armory operates under an agreement among the League of Resident Theatres (LORT), Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States, and the Society of Stage Directors and Choreographers.

Portland Center Stage at The Armory is a member of LORT, Theatre Communications Group, Portland Business Alliance and Travel Portland.

Portland Center Stage at The Armory is a participant in the Audience (R)Evolution Program, funded by the Doris Duke Charitable Foundation and administered by Theatre Communications Group, the national organization for the professional not-for-profit American theater.

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

THE ARMORY

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4

30

THE ARMORY

Here’s to a

Bright & Shiny New Year....

Custom Bubble Rings and Two Tone Pendant

503.636.4025 | VANDENBURGHJEWELERS.COM | 27 A AVENUE, LAKE OSWEGO TUESDAY–FRIDAY 10:00–5:30, SATURDAY 10:00–4:00

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JANUARY | FEBRUARY 2018

31

WHAT TO SEE IN ARTSLANDIA ARTS CALENDAR

BRAHMS V. RADIOHEAD

OREGON SYMPHONY Radiohead’s landmark OK Computer goes even deeper when eight tracks—including Paranoid Android, Karma Police, No Surprises, and Let Down—are seamlessly interwoven with Brahms’ lush Symphony No. 1. Vocalists and arranger/ conductor Steve Hackman join the Oregon Symphony in this not-to-be-missed exploration of what happens when two masterpieces from two different centuries are fused. Note that Radiohead does not perform.

JANUARY 4; ARLENE SCHNITZER CONCERT HALL

DINOSAURS!

OREGON SYMPHONY Does anything stir the imaginations of young minds like dinosaurs? Tyrannosaurus, Stegosaurus, and plenty of other “sauruses” join the Velociraptor when the music from Jurassic Park perches the audience on the edge of their seats. This Kids Series Concert features the Pacific Youth Choir and Dance West. Conducted by Norman Huynh.

JANUARY 7; ARLENE SCHNITZER CONCERT HALL

ASTORIA: PART ONE

PORTLAND CENTER STAGE AT THE ARMORY Adapted by Chris Coleman from the bestselling book by Peter Stark, this harrowing dual journey—one over land, one by sea—will be told with an exceptional cast of 16 actors. At a time when the edge of American settlement barely reached beyond the Appalachian Mountains, two visionaries—President Thomas Jefferson and millionaire John Jacob Astor—foresaw that one day the Pacific would dominate world trade as much as the Atlantic did in their day. Just two years after the Lewis and Clark Expedition concluded in 1806, Jefferson and Astor turned their sights westward once again. Thus began one of history’s dramatic but largely forgotten turning points in the conquest of the North American continent. These reprise performances of Astoria: Part One will be offered as a special engagement in January, and each of the February performances of Part One will be paired with a performance of Astoria: Part Two, providing the opportunity to experience the entire adventure in one day.

Recommended for ages 14 and up.

JANUARY 13–FEBRUARY 17; PORTLAND CENTER STAGE AT THE ARMORY, U.S. BANK MAIN STAGE

MUSIC

ARTSL ANDIA AT THE PERFORM ANCE

THEATER

STRAVINSKY’S RITE OF SPRING

OREGON SYMPHONY Stravinsky’s 1913 ballet score, still as fresh, wild, and primal today as it was 100 years ago when it caused a riot at its Paris premiere, is now considered one of the most influential works of the last century, performed with a spectacular video presentation. Conducted by Carlos Kalmar.

JANUARY 13–15; ARLENE SCHNITZER CONCERT HALL

ASTORIA: PART TWO

PORTLAND CENTER STAGE AT THE ARMORY A world premiere! Continuing the ambitious adventure of Part One, which told the stories of the Astor expeditions by land and sea to establish trade routes to the Pacific Northwest, Part Two is about the extraordinary endeavors that lead to the establishment of Astoria, the first permanent United States settlement on the West Coast. Each of the February performances of Part One will be paired with a performance of Astoria: Part Two, providing the opportunity to experience the entire adventure in one day.

Recommended for ages 14 and up.

JANUARY 20–FEBRUARY 18; PORTLAND CENTER STAGE AT THE ARMORY, U.S. BANK MAIN STAGE

PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL IN CONCERT

OREGON SYMPHONY Come along for a swashbuckling adventure with Captain Jack Sparrow, his motley crew, and the entire Oregon Symphony orchestra!

Starring Johnny Depp, Orlando Bloom, and Keira Knightley, the action-packed Curse of the Black Pearl sets mystery, intrigue, swords, and treasure to a live performance of Klaus Badelt’s thrilling musical score based on themes of Hans Zimmer. Conducted by Norman Huynh.

JANUARY 20 & 21; ARLENE SCHNITZER CONCERT HALL

VSO CHAMBER CONCERT SERIES: BACK TO THE MOVIES!

VANCOUVER SYMPHONY ORCHESTRA The VSO Goes Back To The Movies! with live musical accompaniment. Now in its seventh season, the series was co-created by Dr. Michael C. Liu, the VSO pianist and board member, and Dr. Igor Shakhman, VSO Executive Director and Principal Clarinet, to present great musicians playing in a very intimate setting. The content of each concert is unique, and most of the participating musicians are members of The Vancouver Symphony.

JANUARY 21; KIGGINS THEATRE, 1011 MAIN ST., VANCOUVER

32

DANCE

CULTURE

ONE NIGHT ONLY

FAMILY SHOW

BRAHMS’ FIRST SYMPHONY

OREGON SYMPHONY “The piece that took on history and won,” according to The Guardian, Brahms’ first symphony took almost 20 years to write. Well worth the wait, it brilliantly demonstrates Brahms’ amazing melodic and orchestral prowess. Conducted by David Danzmayr.

JANUARY 27–29; ARLENE SCHNITZER CONCERT HALL

JOURNEYS

VANCOUVER SYMPHONY ORCHESTRA Maestro Salvador Brotons returns to the Skyview stage to lead The VSO in a concert featuring two beloved symphonies, each representing a “spiritual and emotional” journey for the composer. The concert begins with Joseph Haydn’s famous Symphony No. 45 in F-sharp minor, commonly known as his “Farewell” symphony. Following the intermission, the journey continues to America at the turn of the 20th century, with Antonín Dvo ák’s iconic Symphony No. 9 (“From the New World”).

JANUARY 27–28; SKYVIEW CONCERT HALL, 1300 NW 139TH ST., VANCOUVER

KODACHROME

PORTLAND CENTER STAGE AT THE ARMORY A world premiere from the 2015 JAW Festival!

Welcome to Colchester, a small town where everybody knows each other and the pace of life allows the pursuit of love to take up as much space as it needs. Your tour guide is Suzanne, the town photographer, who lets us peek into her neighbors’ lives to catch glimpses of romance in all its stages of development. A play about love, nostalgia, the seasons, and how we learn to say goodbye.

FEBRUARY 3–MARCH 18; PORTLAND CENTER STAGE AT THE AMORY, ELLYN BYE STUDIO

TCHAIKOVSKY’S PATHETIQUE

OREGON SYMPHONY “The best thing I ever composed or shall compose,” declared Tchaikovsky of his final symphony. Its nickname translates most accurately as “passionate,” and passion is what you’ll feel throughout this gorgeously melodic, emotional piece. Conducted by Carlos Kalmar.

FEBRUARY 10–12; ARLENE SCHNITZER CONCERT HALL

HEDDA

JANUARY & FEBRUARY 2018 THE MUSIC OF JOHN WILLIAMS

NW DANCE PROJECT Sarah Slipper’s distinctly dark, theatrical, and vivid choreography takes on Henrik Ibsen’s incomparable 19th century play, Hedda Gabler, a classic of realism and world drama, with an original score by Owen Belton and a striking set by Luis Crespo.

For the first time since his U.S. choreographic debut with NW Dance Project in 2007, world-renowned choreographer Cayetano Soto, Ballet BC Resident Choreographer, makes his way back to unveil a gripping new dance work.

MARCH 15–17; NEWMARK THEATRE

OREGON SYMPHONY Just two weeks before the 2018 Oscars, celebrate the movie composer with the greatest number of statues to his name and some of the greatest music of our time. Hear favorites like Star Wars, Harry Potter, Indiana Jones, Schindler’s List, and many more in this full-scale symphonic tribute. Note that John Williams does not perform. Conducted by Jeff Tyzik.

FEBRUARY 17 & 18; ARLENE SCHNITZER CONCERT HALL

THE THREE B’S: BRAHMS, BROTONS & BEETHOVEN

VANCOUVER SYMPHONY ORCHESTRA The VSO brings their own version of the Three Bs of classical music—traditionally Brahms, Bach, and Beethoven—with Salvador Brotons stepping in for Bach. Brahms was the great master of symphonic and sonata styles in the the Romantic period. Beethoven was a crucial figure in the transition between the Classical and Romantic eras. Brotons, now in his 27th season as Music Director and Conductor of The Vancouver Symphony Orchestra, is a prolific and award-winning composer in his own right, perfectly poised to bring two of the genre’s masters to life.

FEBRUARY 24 & 25; SKYVIEW CONCERT HALL, 1300 NW 139TH ST., VANCOUVER

SIBELIUS’ FIFTH SYMPHONY

OREGON SYMPHONY Widely considered Sibelius’ finest symphony, this stunning music showcases the composer’s affinity for nature, particularly the famous horn theme inspired by a flock of flying swans.

Conducted by Norman Huynh.

FEBRUARY 24–26; ARLENE SCHNITZER CONCERT HALL

ALICE (IN WONDERLAND)

Photo by Michael Slobodian.

OREGON BALLET THEATRE Follow an exuberant young girl as she plunges down a rabbit hole into an extraordinary, imaginative world. OBT is thrilled to bring you the West Coast premiere of a new full-length ballet suitable for families: Alice (in wonderland). Created in 2012 by Septime Webre with an original score by American composer and violinist Mathew Pierce, the mad adventure is filled to the brim with the delightful characters found in Lewis Carol’s classics Alice’s Adventures in Wonderland and Through the Looking-Glass, uniquely brought to life with surreal sets, zany costumes, puppetry, and powerfully expressive dance. Don’t be late!

FEBRUARY 24–MARCH 4; KELLER AUDITORIUM

JANUARY | FEBRUARY 2018

33

®

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

JANUARY | FEBRUARY 2018

FROM THE EDITOR-AT-LARGE

PUBLISHER + FOUNDER Misty Tompoles EDITOR-AT-LARGE Barry Johnson COPY EDITOR Kristen Seidman DESIGNERS Lisa Johnston-Smith Dan Le Jackie Tran MEDIA DIRECTOR Chris Porras SALES DIRECTOR Lindsey Ferguson PUBLISHING COORDINATOR Bella Showerman CONTRIBUTING WRITERS

Benjamin Fainstein Hannah Krafcik PHOTOGRAPHER Christine Dong PODCAST HOST Susannah Mars

Artslandia at the Performance is published by Rampant Creative, Inc. ©2018 Rampant Creative, Inc. All rights reserved. This magazine or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher.

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

ARTSLANDIA.COM 34

I

n Peter Paul Rubens’ lively painting of the myth of Apollo and Daphne, Apollo has nearly caught the mythically beautiful daughter of the river god.

Both arms stretch for Daphne’s fleeing figure, and his right hand must already sense the aura of the flesh it is about to touch. She bends back to see how close he is, and we glimpse her left profile. All of the energy of the painting is in that central, close encounter of desire, Apollo’s desire, and Daphne’s desperate flight.

Then the viewer’s eye travels to the upper right corner of the painting. The fingers of Daphne’s hands have begun to turn into laurel branches.

After Daphne calls out to the river god for help, Ovid continues the story in his Metamorphoses: ...vix prece finita torpor gravis occupat artus, mollia cinguntur tenui praecordia libro, in frondem crines, in ramos bracchia crescunt, pes modo tam velox pigris radicibus haeret, ora cacumen habet: remanet nitor unus in illa.

To paraphrase: Daphne’s limbs become numb and turn to branches; her hair begins to leaf; bark replaces her skin; those flying feet become roots. But somehow, her presence still shines through.

Apollo is thwarted but at a desperate cost.

Daphne, who has pledged to live a chaste life like the goddess Diana, keeps her promise.

But she can’t run the fields and bathe in the rivers of her father.

The myth of Daphne and Apollo has been on my mind lately. It’s far from the only example of the Olympian gods’ assault on women, by force or trickery. But somehow, as the stories about sexual harassment and assault against women by modern day/ would-be Apollos spread to the arts, I’ve focused on it more.

“Understand that fairness is not a consideration when casting ballets,” she writes. “Careers are made according to the immediate desires of the Ballet Master or choreographer.”

And yes, the stories are spreading. As I type this, Peter Martins, the longtime Artistic Director of the New York City Ballet, is in the spotlight. (So is the Metropolitan Opera’s James Levine, who is accused of sexual abuse by four men.) According to a New York Times report, the company received an anonymous letter accusing Martins of unspecified instances of sexual harassment—both at the company and the company’s school, which Martins runs. The Times did a little sleuthing of its own and found a source who said that Martins had admitted to having romantic relationships with dancers in the company, though that has been against company policy only since 2010.

A key paragraph from the Times story: “In recent interviews, two former City Ballet dancers and three former students at the school described a culture in which Mr. Martins was known for sleeping with dancers, some of whom received better roles because of their personal relationships with him.”

And the Times found a story that former NYCB dancer Wilhelmina Frankfurt had written for Psychology Tomorrow, which claimed that Martins was a Casanova like Balanchine had been, but “a basher,” not a charmer. In the same story, she describes

being groped by Balanchine as he lay in a hospital bed. He would die the next spring.

That account is hard to read. Balanchine has bottles of liquor in the cabinet next to his hospital bed (smuggled in by model Christie Brinkley, no less). He and Frankfurt start drinking, and he starts fiddling with her blouse. He’s also given her the small role she’s asked for, and he was dying. “‘Just let me investigate,’ he says, starting to unbutton it. I’m half disgusted, half admiring his tenacity. Here he is at the end, still compelled to trace the gentle curves he has devoted his life to glorifying.”

I imagine Frankfurt’s skin turning to bark beneath his fingers, just like Daphne’s as Apollo paws at her, and even as Daphne becomes a tree, he feels for her beating heart beneath the bark, at least in Ovid’s telling of the story.

Why does Frankfurt allow it to go on—and how does it end?

“There is nothing to be gained,” Frankfurt writes, “No lead role to win. No insider’s circle to reign pre-eminent in for a minute.

Give in. Like I had to my mother’s boyfriend when I was 13. His hands are there…but fathers don’t do this. And because I love this father so much and because I hate him for not loving me enough to not do this, I push him away and step off the bed.”

PHOTO BY OWEN CAREY

MEN ON BOATS

by Jaclyn Backhaus March 2 - March 24, 2018

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

Third Rail at Imago Theatre 17 SE 8th Ave, Portland

It’s harrowing...even though Frankfurt had some control in the situation. The price is the metamorphosis from a free, independent human being into a laurel tree, if just for a moment. The desperate flight. The internal debate and then explanation and then recrimination. Meanwhile, Apollo runs free, even if, as in Balanchine’s case, that charming canter soon ends in death.

One last thing from Frankfurt’s account: She explains the power that artistic directors, movie directors, bosses of all types have over the women who find themselves in their employ.

“Understand that fairness is not a consideration when casting ballets,” she writes. “Careers are made according to the immediate desires of the Ballet Master or choreographer.”

In other words, there are many women who can do the same job and few jobs to be had.

And so many of those jobs are controlled by men. Until that starts to change—and it must—Rubens’ depiction of Apollo and Daphne will continue to be today’s news. .

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A BIRD’S-EYE VIEW OF ASTORIA

By Benjamin Fainstein Production Dramaturg

Left to Right: Ben Rosenblatt, Leif Norby, Ben Newman, and F. Tyler Burnet. Photo by Kate Szrom.

I

n Astoria, the real people of many nationalities who populated 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; this article offers a peek into the context of the world of the play and snapshot introductions to some of its fascinating inhabitants.

COLONIAL CARTOGRAPHY

In 1762, France had ceded the massive Louisiana Territory to Spain; in 1800, Napoleon had 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 govern the Louisiana Territory from afar. Jefferson’s executive decision to purchase Louisiana for $15,000,000 planted the seed for U.S. 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.

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 despite the established presence of Indigenous

Throughout the 19th century, the homelands and territories of many Native American nations and tribal communities were increasingly encroached upon. Between 1776 and 1887, 1.5 billion acres were seized from the continent’s Indigenous peoples. Natives

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 so highly sought after that, by the year 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, which lived 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.

36

societies. The region was even home to a small but well-heeled Russian contingent, made up of wealthy nobles and their bands of fur trappers. By 1800, the young United States was geographically caught in the tumultuous crossfire of the major European powers.

After the U.S. began receiving threats and economic sanctions from abroad, President Thomas Jefferson looked for ways to protect American citizens while developing the size and strength of the nation.

ARTSL ANDIA AT THE PERFORM ANCE

and colonists had formed a network of delicate relationships during the two centuries before the Astorian expedition. Some had been mutually beneficial alliances; others had ended in distrust and catastrophic violence. Euro-Americans, among them Astor’s Overland Party, trekked through the domains of many of these communities on their way, including those of the Arapaho, Arikara, Bannock, Blackfeet, Cayuse, Crow, Dakota Sioux, Hidatsa, Iowa, Lakota, Mandan, Nez Perce, Otoe, Shoshone, Umatilla, and Ute nations.

As American citizens moved west in increasing numbers, the diverse Native populations, already decimated by foreign disease, were pushed into smaller and smaller corners of the continent.

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 to prohibit American

Continued on page 39

KEY DATES

RELATED TO THE ASTOR EXPEDITION Compiled by Benjamin Fainstein, Production Dramaturg

1784

John Jacob Astor immigrates to New York from Germany.

1792

American Captain Robert Gray’s merchant ship, the Columbia Rediviva, successfully lands near modern-day Astoria, Oregon.

1803

The United States purchases the Louisiana Territory from France.

1809–1810

After receiving Jefferson’s blessing, Astor founds the Pacific Fur Company and launches expeditions by land and sea to establish a trade emporium at the mouth of the Columbia River.

1812

The United States enters war with Great Britain; members of the Overland Party reach Fort Astoria.

1815

1804–1806

Meriwether Lewis and William Clark, at President Thomas Jefferson’s behest, lead the Corps of Discovery to the Pacific Ocean.

1811

Astor’s ship, the Tonquin, navigates the Columbia River Bar; Fort Astoria is erected.

1812–1813

In an attempt to return east, Astorian fur trader Robert Stuart’s party finds a “shortcut” through the Rocky Mountains that would later become a crucial stretch of the Oregon Trail.

The Treaty of Ghent officially ends the War of 1812; during this “Era of Good Feelings,” the British and Americans agree to share claim to the Oregon Country.

1836

1843

The Oregon Trail offers Americans the promise of a fresh start, upward socioeconomic mobility, and plenty of land and personal liberties. By the 1860s, well over half a million people had made the crossing from the Midwest and eastern United States. Their sheer numbers overshadow British presence in the region and effectively negate the Crown’s claim to the Oregon Country.

John Jacob Astor commissions the publication of Washington Irving’s Astoria. The book—an account of the venture cobbled together from reports provided by the expedition’s journalists and surviving members, with more than a little creative license—becomes a best-selling seminal text exalting the spirit of American expansion westward.

1848

John Jacob Astor dies; the Oregon Territory is officially claimed by the United States; the first treaties are established with the Indigenous peoples of Western Oregon.

1859

Oregon becomes the 33rd state admitted to the Union.

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Continued from page 36 trade with other nations in the hope of gaining respect by cutting off foreign access to American resources. Jefferson’s policy had the opposite effect, however: The United States’ economy tanked as England and France took their business elsewhere.

The Embargo Act, which did little to mitigate British impressment, so weakened the American market that it was repealed in 1809, leaving Astor with a perfect opportunity to launch his expedition while the country clamored for new avenues to prosperity. Beyond the threat of piracy, 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 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, danced, told bawdy jokes, and argued 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

Astoria: Part One, 2017: The Overland Party (Left to Right: Ben Newman, Leif Norby, Gavin Hoffman, Shawn Fagan, and Jeremy Aggers). Photo by Jennie Baker.

saw themselves as bands of brothers, robust in spirit, and their lifestyle was devoted to the 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 encountered 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 communities like the Arikara and Shoshone. Colter was the first known 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.

Continued on page 41

Left: An illustration of the trading post in Astoria as it was in 1813. Top Right: Voyageurs. Library and Archives Canada, Acc. No. 1989-401-1. Bottom Right: The Tonquin on the Columbia River, 1811.

JANUARY | FEBRUARY 2018

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ARTSL ANDIA AT THE PERFORM ANCE

Continued from page 39 MARIE DORION & SARAH ASTOR Social structures in 1810 restricted women’s rights and regulated their behaviors based on gendered norms 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.

OREGON DIDN’T LOOK LIKE OREGON IN 1810.

THE TERRITORIAL BORDERS OF NORTH AMERICA CHANGED HANDS THROUGHOUT THE 18 TH AND 19 TH CENTURIES, AS THE SPANISH, BRITISH, AND FRENCH EMPIRES FOUGHT FOR DOMINANCE AND STAKED CLAIMS DESPITE THE ESTABLISHED PRESENCE OF INDIGENOUS SOCIETIES.

Sarah Astor, by contrast, forged business partnerships with her husband at every turn.

It was her dowry that allowed the young, poor John Jacob to get his instrument business off the ground, and 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, out of necessity or through personal ingenuity, challenged restrictive social structures to gain agency and some control over their circumstances.

CHINOOK COUNTRY Soon after crossing the Columbia Bar, Astor’s crew encountered Native American inhabitants, many of whom were eager to establish civil relations and trading partnerships. Contact between the Indigenous population in the region and Euro-American explorers had been established decades earlier. Captain Robert Gray’s successful docking at the river’s mouth in 1792—the docking which led him to name the river after his ship, the Columbia Rediviva—occurred close to a village called “Chinoak.” Gray, like Lewis and Clark and other white adventurers before them, mistakenly applied the name Chinook to all of the Native peoples living in the surrounding area. However, as the early 20th century Chinook leader Emma Luscier noted: “‘Chinook’ used to be just one place.” The region was home to dozens of autonomous yet interconnected societies, including those of the Chehalis, Chinook, Clackamas, Clatsop, Coos, Cowlitz, Kalapuya, Kathlamet, Klamath, Molalla, Multnomah, Shahala, Skilloot, Quinault, Tillamook, Walla Walla, and Wasco.

A pidgin version of the Chinook villagers’ language came to be known as Chinuk Wawa and allowed for intertribal communications.

The language was particularly important

Astoria: Part One, 2017: The Sea Party (Left to Right: Chris Murray, Gavin Hoffman, Christopher Salazar, Ben Rosenblatt, Nick Ferrucci, and Christopher Hirsh). Photo by Jennie Baker.

for maintaining the flourishing system of trade into which Astor’s party stumbled and subsequently relied upon to survive.

The people nearest to the eventual location of Fort Astoria, who became the Astorians’ primary contacts, were the residents of Chinoak.

Contrary to the Euro-American assumption that every tribe featured a “chief,” Chinook social structure did not necessarily dictate a sole leader; the community was grouped into a series of houses, each of which had a male head. Within each house, which ranged in length from 25 to 360 feet, at least two to five multigenerational families dwelled together, along with any slaves the families owned.

Each house established its own internal hierarchy and distribution of labor, and the leaders of the most prosperous houses shared authority over the community. It is largely due to the guidance of Concomly, one of the leading Chinook headsmen in 1810, that the Astorian venture successfully navigated its early days amid mixed reception from local Native communities.

Following the War of 1812, leaders like Concomly and Coboway, of the Clatsop people, were excised from the trading deals white men were making with each other in the region. A few decades after the founding of Fort Astoria, they had lost control of their territory and economy. While the Chinookan peoples continued to live in pockets of their ancestral lands during American expansion, their populations dwindled throughout the 19th century. Today, many groups from the region belong to confederated tribal organizations and have been individually recognized by the U.S. government. However, the Chinook Nation, specifically, has yet to receive federal recognition. .

JANUARY | FEBRUARY 2018

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Wisdom of the Elders co-founder, Rose High Bear, poses on the porch of her Salem home.

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ARTSL ANDIA AT THE PERFORM ANCE

Wisdom Guides in Times of Change

By Hannah Krafcik. Photos by Christine Dong.

Wisdom of the Elders educates the present about the Native American past.

“

We remember. We listen.

We learn—from those who have walked before us, from those who can teach us now.”

—Arlie Neskahi, Diné Nation

A

rlie Neskahi’s voice is carried with clarity across space and time in a digital recording, an archive of Wisdom of the Elders Radio: Series One. Listening to his message reminds us that remembering is the opposite of amnesia. It is an action, happening even at the deepest levels of human consciousness and across the natural world.

Wisdom of the Elders, Inc. (Wisdom) is a Portland-based nonprofit with a mission to record, preserve, and share Native American oral history, cultural arts, language concepts, and ecological knowledge of indigenous elders, storytellers, and tribal leaders. The goal is to restore a traditional intergenerational model of oral learning that Native people have relied on for thousands of years.

In this work, to remember is paramount.

Rose High Bear, co-founder of Wisdom, is eager to share. High Bear is Deg Hit’an Diné from Alaska. “The Deg Hit’an Diné people are one of 12 bands of Athabascan up in Alaska,” she explained, “Our language is still spoken to this day but by a declining number of elders.”

It is a time of significant transition, both in the history of the organization and in High Bear’s life. After 24 years as Executive Director, including 16 of which that she also served as Executive Producer—High Bear will be shifting into a newly configured role within the organization.

“In my native language, there’s no word for retirement. Therefore, I plan never to retire,” High Bear said resolutely of her transition. “I think it sounds kind of boring, myself.”

the elders back in his reservation—Cheyenne River Indian Reservation in La Plant, South Dakota...were going home to the spirit world and taking their wisdom and knowledge with them,” said High Bear. Knowing that younger generations were without this guidance, “He felt it would be important to record as many elders as possible and just save their messages.”

Nearly 25 years later, Wisdom has recorded about 450 elders, creating both audio and video content and broadcasting it through such programs as Wisdom of the Elders Radio and the Native Wisdom Documentary Film Series. Much of Wisdom’s recordings are still available on the organization’s website where they continue to have a broad reach. High Bear shared that approximately 2000 online visitors per month watch or listen to Wisdom’s programs, including students from Portland State University, Oregon State University, the University of Oregon, and the University of Washington.

At the time of our interview, Wisdom was also ramping up for a round of Native Wisdom Documentary Film screenings and Community Consultations in Portland, Salem, and at sites near the tribes of Oregon that collaborated on the documentaries.

High Bear’s future includes work as a senior consultant and furthering one of Wisdom’s initiatives in her current home county of Marion. But for the time being, she’ll stay on as Executive Producer, guiding film and radio production. “We live in a world where there’s an enormous amount of need for us to do our part to help...and so, I’m just changing it up just a little,” she said.

“We don’t like to play a film, and then everybody goes ‘That was great, thank you.’ We want the public to ask questions about the issues we raise,” said High Bear. “We want them to ask questions about our cultural arts.

We want them to express that they were not aware of the greatness of our cultural heritage because a lot of people have a narrow conception of Native Americans. And we are very colorful, dynamic, and highly intelligent people,” she continued, noting the diversity of the Native population in Oregon alone.

While High Bear has been at the helm of Wisdom for the majority of its existence (since its incorporation in 1993), her late husband Martin High Bear, Lakota medicine man, conceived of the organization and founded it with her help. “Martin had noticed that

Continued on page 45 JANUARY | FEBRUARY 2018

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ARTSL ANDIA AT THE PERFORM ANCE

Continued from page 43

In addition to this ongoing work to record and preserve Native voices and knowledge, Wisdom has expanded its programming.

“Perhaps, even more importantly, we have started developing a curriculum that’s tailored culturally to Native people.” These efforts, ongoing since 2005, are vital because, according to High Bear, “The learning style of Native people is much different from the rest of the world. Traditionally, we always learned at the feet of our grandparents and out in the world of nature. And to learn in a school, in a classroom, and out of books was not the traditional way.”

Rose High Bear holds sweetgrass, which is used in prayer, smudging, or purifying ceremonies and considered a sacred plant.

A mini mask made by well-known Pacific Northwest Native American artist Lillian Pitt.

High Bear emphasized that Native children were historically “fluent speakers of their languages, which were rich in history, science, and culture. This fluency gave them a strong foundation to grow.” However, she continued, “With the advent of boarding schools, our children were removed from their homes and villages and lost that precious connection to their families and elders.

They were punished severely in boarding school if they spoke their language, which is why so many of our languages are endangered and in the process of being restored while fluent speakers are still with us.” These memories are active, transcending the archives of history.

This dark legacy of Native education continues. Native American children and young adults are not set up for success in today’s public school settings. High Bear’s insight into the educational barriers for Native Americans is detailed in the 2011 report: The Native American Community in Multnomah County: An Unsettling Profile. According to the information collected via collaboration among the Native American community (which includes Wisdom), the Coalition for Communities of Color, and Portland State University, 53.4 percent of Native American students in Multnomah County did not graduate from high school.

In the wake of this discovery, Wisdom has taken steps to present educational programs that support knowledge sharing across generations, collaborating with tribes, arts and cultural organizations, and educational institutions. Additionally, long-overdue changes are now afoot in the public education system. Oregon Senate Bill 13, which passed in 2017, directs the state’s Department of Education to develop curriculum relating to the Native American experience in Oregon and professional development

relating to this curriculum for teachers and administrators. Wisdom anticipates that this will pave the way for the curriculum to appear in classrooms statewide.

Gerry RainingBird of the Nehiyaw Tribe (Cree), the organization’s incoming Executive Director, shared his vision for the organization’s future. “I just hope that I can come close to what Rose has meant to this organization, and I am hoping to do my best

to continue the good work,” he said. RainingBird also expressed excitement about the organization’s nuanced approach to intergenerational knowledge sharing, which he described as “delicately balanced between what is seen and unseen, and what has been learned academically and what has been learned traditionally.” For RainingBird, who

Continued on page 46 JANUARY | FEBRUARY 2018

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When we’re talking about the prophecy, the fact that the world is turning to Native Americans in the future to learn how to take care of the earth,” said High Bear, “we need to let the world know that there’s a lot for them to learn about us, and we do want to share.

Continued from page 45 is also a powwow dancer, it’s vital to encourage Native youth to “speak up, stand up, and share with the world the importance of being Native.”

One such initiative, designed to build cultural identity and resilience, is “Discovering Yidong Xinag (The Old Wisdom).” This program brings young people out into natural areas to learn about restoring threatened and endangered species, conservation efforts, traditional first foods, and more. The hope is that this work encourages young people to stay in school and envision career paths that honor their elder’s harmony with and protection of the natural world. Also, Wisdom makes a point to integrate cultural arts into their educational programs, using an approach called STEAM—science, technology, engineering, arts, and math. “We include traditional stories and music in the classroom and during out-of-school activities in local natural areas and public events,” shared High Bear. “It’s more engaging to Native people with arts included.”

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ARTSL ANDIA AT THE PERFORM ANCE

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For Wisdom, aspirations toward race reconciliation connect to a broad and longstanding vision for the health of the earth and humankind. “Our elders and our ancestors have a prophecy that stated that the day would come that the world will turn to Native Americans for their wisdom and knowledge on how to take care of the earth and also one another—and (how to) to relate with one another...To me, that’s something that we try to fulfill at Wisdom of the Elders.”

For a quarter of a century, Wisdom has responded to the severe systemic erasure, oppression, and mainstream cultural amnesia around Native experience by tirelessly amplifying the resilience of Native American peoples—and the keys to survival they may provide. The message is clear: Human survival is dependent on the health of the environment, and humanity’s fate is tied to the memory it maintains.

“When we’re talking about the prophecy, the fact that the world is turning to Native Americans in the future to learn how to take care of the earth,” said High Bear, “we need to let the world know that there’s a lot for them to learn about us, and we do want to share.” .

Wisdom’s Native American-produced TV series, Discovering Our Story, airs live at 1 p.m. the first Sunday of every month on Comcast Channel 11 in Portland. It is rebroadcast on the Tuesday following the live studio broadcast, at 10 p.m. on Comcast Channel 22, and again on the Friday following the live studio broadcast, at 9 a.m. on Comcast Channel 23.

The episode is then available on Wisdom’s website: wisdomoftheelders.org/dostv/.

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Wisdom’s collaboration with an array of partners on various programs is an integral expression of cultural values. “Our ancestors always emphasize respect and honor,” shared High Bear, gesturing to Wisdom’s desire for race reconciliation—part of the organizational vision. “We put a lot of emphasis on positive collaborative relationships with all of these partners. One thing about Wisdom and the vision of race reconciliation is that we try to never have a negative perspective. We try to never have a negative attitude toward our partners because we’re very grateful for them,” she said, noting the interchange of these partnerships.

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Artslandia recently caught up with MICHAEL GREER, the new Executive Director for Oregon Ballet Theatre, to discuss his fascinating path from ballet dancer to Mandarinspeaking international businessman, to his most recent stint as Executive Director for the Portland Ballet in Portland, Maine, where he led a major turnaround for the company.

What led you to become a dancer? What did you love about it?

I was born slightly pigeon-toed, and the doctor recommended to my parents that I do ballet in order to help with turnout.

After a period of not dancing and doing other sports, a young woman that I was fond of convinced me to try again. I believe it was that year that I also got to spend my summer in NYC at the Joff rey Ballet school. Being a young man, on my own in NYC for eight weeks was enough to seal the deal for me. Looking back, and in all seriousness, I think it was the combination of discipline and expression that I enjoyed. That, combined with the opportunity to travel and meet new people, was a lot of what made dance so appealing to me.

You were the first Black dancer for Ballet West. What was that like for you? What are your thoughts on diversity in ballet today?

That’s funny because I don’t think I realized that until after several years with the company. I joined Ballet West in my teens, and the simple thrill of working as a professional was pretty much all I had time to think about. Looking back, I see that there may have been some significance to being the fi rst, but I was fortunate to grow up watching and idolizing several dancers of color that I didn’t think too much of it. Not just in ballet, but the entire world is more diverse than ever before, and I think that is a good thing.

What prompted you to retire from performing and transition to the study of economics?

I remember seeing the difficulty that some—not all, but some—dancers had transitioning after a successful career.

Ballet gives individuals an incredibly strong set of tools. Discipline, commitment, problem-solving; these are all areas that a dancer excels in just by working every day. But I remember doing a rough calculation of where I would be in life if I retired at a given age, and it just made sense to retire younger. I had a really great career for me. I was never a soloist or principal in rank, but I got to dance a lot of really great work with some wonderful people.

Economics seemed like it offered a broad set of new skills that I could take into the business world. It is, essentially, the study of choices, and that has always appealed to me.

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Continued from page 51 What led you to pass on an opportunity to continue your study of economics at Stanford in favor of experience in international business?

I think, deep down, I wanted an adventure. Either path would have been an adventure, but I am quite pleased with the one I chose.

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When and how did you learn to speak Mandarin?

I remember my fi rst or second night on my own in China and being very hungry.

I wandered into a place looking for food that turned out to be a foot massage parlor. In my embarrassment, I decided it was probably time for me to get serious.

I had several courses and tutors over the years, but I mostly learned on my own and by practicing on the street. It is a difficult language, but being immersed and forced to use it daily goes a long way.

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ARTSL ANDIA AT THE PERFORM ANCE

During the time you were away from the ballet world, was dance at all a part of your life?

Not really. I remember taking an elective in ballet at university, but that was about it. I spent the majority of my time away from the ballet world overseas in Asia.

There were not as many opportunities for me to be a part of that world. I enjoy the idea that a large group of people I have met, gotten to know, and have significant relationships with, have no concept of me as a dancer. The ballet world can be allconsuming, and it is nice for me to have an identity outside of that.

What was the impetus for leaving China and returning to the U.S. and the dance world?

My children. My wife and I felt that we should choose a single country to raise our children. After some debate and a few trips, we settled on the U.S. As for returning to the dance world, that was actually recommended to me by a very dear old friend that has been in the industry for decades. The more I thought about it, the more it appealed to me. I also feel that it is a gift to be able to grow up in a theater environment. If I can be giving that gift to my children the same way it was given to me, that’s a reason in and of itself.

Did you plan your career path from dance to business to the business of dance? Or did you just follow opportunities as they arose?

I think calling my career path a “plan” of any sort is generous. I always knew I wanted to be a dancer. That was quite intentional. A lot of what followed stemmed from

BALLET REACHES PEOPLE ON MANY DIFFERENT LEVELS. Trying to understand why everyone I interact with

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cares about the art is a key an Executive Director.

MAR 31–MAY 13 WINNINGSTAD THEATRE wanting to grow my skill set and following opportunities that would let that happen.

Returning to the business of dance was also quite intentional. So I guess that says something for my love of the art.

Recommended for all ages

What has it been like for you to be involved in ballet as a dancer and then an Executive Director?

I remember thinking one day, earlier on in my career as an Executive Director, that I needed to call my past ED from my dancing days and tell him how much I appreciate what he did. This is a multifaceted role with a high degree of complexity. I don’t think I knew enough about the role when I was a dancer. I also really enjoy interacting with all the dancers. I admire their commitment from a place of experience. I know how hard it is to do what they do every day. I also respect how hard it is to provide all the other key functions of a professional ballet company and school.

Having seen this world from both sides, I can really appreciate everyone’s dedication and passion for what we produce.

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Presented in association with Rockefeller Productions

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What does an Executive Director do for a ballet company?

An Executive Director works hand-inhand with the Artistic Director in order to provide leadership, guidance, and vision. I also feel that a Director or leader’s primary responsibility in any industry is to ensure that everyone around them has the tools they need to be successful.

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MARCH 3–25 WINNINGSTAD THEATRE

www.octc.org Recommended for ages 8 & up

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DANCE IS TOUGH. But the rewards are like few others.

What did you learn as a dancer that helps you in your role as an ED? What lessons from international business translate to your role as ED? I think that dancing provides young people with a tangible example of the rewards of discipline. Dance is tough. But the rewards are like few others. When you realize that hard work really does translate to success, it makes the thought of achieving any goal much more attainable.

Working abroad in the for-profit sector taught me a good deal of empathy. Working closely with cultures and languages very foreign to me, it forced me to think often about the lenses through which we see each other and how to “put yourself in someone else’s shoes.”

What advice would you give to a young dancer as they embark on their stage career? What advice would you give to a dancer facing retirement?

The paths are so individual that advice is hard, but overall I’d say to both dancers, appreciate what you have right now because it is something very special that you will never have again. And don’t worry if

When you realize that hard work really does translate to success, it makes the thought of achieving any goal much more attainable.

your path is not 100 percent clear because, it may come as a surprise, but the best days of your life are probably yet to come.

What were the keys to your success in leading the turnaround at the Portland Ballet (in Maine)?

Without a doubt, it was my team. From my board to my AD, staff, dancers, parents, volunteers, etc., I was surrounded by talent and passion. I don’t think that anyone in my position would have accomplished anything without those people.

What do you hope to accomplish as the ED at OBT? What will it take for you to consider your fi rst year a success?

My first task as an incoming Executive Director is to listen and learn from the entire community. I had a great mentor

that often told us, “If you shut up, people will tell you exactly what you need to hear.”

My first year will be a success if I begin to understand what it is that the community wants out of this organization. OBT has been around since 1989, and there are a lot of great minds that I want to hear from.

In your opinion, what do the two Portlands (Maine and Oregon) have in common? What’s different?

Ha. Both have a strong arts environment that punches well above its weight, great people, and an amazing craft brewery scene. There are also a lot of similarities in the natural beauty of the cities and states. I am glad that Portland won the coin toss.

As for what is different? Snow. Lots and lots of snow. .

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