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A LETTER FROM THE ARTISTIC DIRECTOR STUPID FUCKING BIRD I have known Aaron Posner primarily as an adapter of other people’s writing. By the time he reached out to share that he had adapted Ken Kesey’s sprawling, impossible novel, Sometimes a Great Notion, I already knew him as the adapter of Chaim Potok’s The Chosen, the artistic director of a theater in Philadelphia, and an inventive director of classics. His work as an adapter has tended to be faithful, vigorous, affectionate and muscular. But Stupid Fucking Bird is different. You could call it an adaptation of The Seagull, Anton Chekhov’s famous and infamous early play about a young actress and playwright falling in and out of love. But it wasn’t so much an adaptation as a diving board, a launching pad, a wild frenzy. In SFB we are beginning to hear the full power, range and comic verve of Aaron’s own sensibility. Okay, yes, he uses the fundamental thread of Chekhov’s plot and characters — but he’s really exploring something very much his own: the power of story, the relationship to audience, the relevance (or irrelevance) of live theater, and the grand difficulty of finding new forms of expression that connect to the present moment.
THE PIANIST OF WILLESDEN LANE As I sat watching Mona Golabek’s The Pianist of Willesden Lane last summer, I found myself riveted by her hands. She lures us into the story of her mother’s journey with the sound of her voice: simple, unadorned, hushed. But it’s when her hands touch the keys of the piano and the exquisite compositions that her mother fell in love with long ago begin to come to life that I found myself held in a hypnotic spell. The piece is a memoir and a tribute to a woman who found her solace and salvation in the music her hands were able to bring to life during the travails of World War II. It is an honor to have Mona in Portland to share this story on our stage. — Chris Coleman
This particular production also brings three of our favorite performers back to the PCS stage: Cody Nickell, first seen in Outrage in 2003, then The Merchant of Venice, The Pillowman and How To Disappear Completely and Never Be Found; Kate Eastwood Norris of How To Disappear, The North Plan and Bo-Nita fame; and, of course, Darius Pierce (The Beard of Avon, Frost/Nixon, Twelfth Night, How To Disappear, Cyrano, The Santaland Diaries and others).
PORTLAND CENTER STAGE | P 1
FEBRUARY 27 – MARCH 27, 2016 ON THE U.S. BANK MAIN STAGE
ARTISTIC DIRECTOR | CHRIS COLEMAN
The Woolly Mammoth Theatre Company production of
STUPID FUCKING BIRD By Aaron Posner Sort of adapted from The Seagull by Anton Chekhov
Directed by Howard Shalwitz A Co-Production with Syracuse Stage
Scenic Designer Misha Kachman
Costume Designer Laree Lentz
Lighting Designer Colin K. Bills
Sound Designer James Sugg
Production Dramaturg Miriam Weisfeld
Stage Manager Mark Tynan
Production Assistant Bailey Anne Maxwell
Casting Harriet Bass
Original Music by James Sugg Stupid Fucking Bird was developed and world premiered in June, 2013, at Woolly Mammoth Theatre Company, Washington, D.C.; Howard Shalwitz, Artistic Director, and Jeffrey Hermann, Managing Director. Stupid Fucking Bird is presented by special arrangement with Dramatists Play Service, Inc., New York.
THERE IS A 15-MINUTE INTERMISSION BETWEEN ACTS I AND II. Between Acts II and III, there is a brief interlude during which you are requested to remain in the theater. The videotaping or other photo or audio recording of this production is strictly prohibited. The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
SUPPORTING SEASON SPONSORS
Andy & Nancy Bryant Portland Center Stage receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.
P 2 | PORTLAND CENTER STAGE STUPID FUCKING BIRD
FROM THE DIRECTOR Stupid Fucking Bird is not a “translation” and hardly even an “adaptation” of Anton Chekhov’s 1895 classic, The Seagull. It is a wholly original work built on the bones of the older play. The cast of characters has been compressed from 14 to seven, the four acts have been reduced to three, most of the scenes have been invented from scratch, and the dialogue is irreverently contemporary. Yet the core remains: the struggle of an aspiring playwright, son of a famous actress, to fulfill his revolutionary dreams of art and love. All the Russian social and historical context of The Seagull has been eliminated, but the story resonates because the theme is nearly universal — the clash between the dreams of our youth and the sharp realities of our adult lives. The Seagull holds a special place in theater history. Its 1898 production at the Moscow Art Theatre launched a four-play collaboration between Chekhov and director Constantin Stanislavski, whose revolutionary ideas about acting would inspire a worldwide shift toward deeper “realism” on the stage. Chekhov’s focus on the details of character development, rather The proverbial “fourth wall” of than plot, provided the perfect theatrical realism is shattered platform for Stanislavski’s emphasis on the emotional from the very first line. “inner life” and unspoken “subtext” of the characters. When the Moscow Art Theatre presented their work in New York in 1923, they inspired a whole generation of American theater makers. To this day, Stanislavski’s ideas remain at the core of the curriculum in theater departments across the United States, and Chekhov’s four major plays (The Seagull, Uncle Vanya, Three Sisters and The Cherry Orchard) remain widely produced around the world. With Stupid Fucking Bird, Aaron Posner undertakes his own revolutionary dialogue with Chekhov. He upends the famous Chekhovian subtext by allowing the characters to express their inner thoughts directly through songs, monologues and choral interludes. And he draws out the latent meta-theatricality of the original — which is, after all, a play about a playwright — by allowing the characters to talk openly about the play itself, even to solicit advice from the audience. The proverbial “fourth wall” of theatrical realism is shattered from the very first line. Misha Kachman’s scenic design adds to this dialogue with Chekhovian tradition. The first act, with its portraits of Chekhov, table with samovar and other intentional signposts, gives a wink to our most common contemporary expectations about Chekhovian design. The second act cheekily comments on so-called “kitchen sink realism.” And the third act transports us to a purely theatrical landscape that reminds us of a rehearsal hall or backstage area. As Aaron’s script becomes increasingly self-referential, so does Misha’s scenery.
CAST LIST CONRAD ARKADINA, a theater artist
EMMA ARKADINA, Conrad’s mother, a famous actress
Kate Eastwood Norris
DOYLE TRIGORIN, Emma’s boyfriend, a famous writer
EUGENE SORN, Emma’s brother, a doctor
NINA, Conrad’s girlfriend, an aspiring actress
DEV, Conrad’s best friend, a tutor
MASH, in love with Conrad, a cook
The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
This script and this production had a year-long gestation at Woolly Mammoth Theatre Company throughout the 2012–2013 season, with the playwright, director, actors and designers all working together in a robust collaboration that drew out, I hope, the best in everyone. We are proud that Stupid Fucking Bird is now being tackled by many other theater artists across the country. But it is a special honor to bring our original production to audiences at two great theaters in Syracuse and Portland. On behalf of the entire company, we’re grateful for the opportunity to share and deepen our work.
–Howard Shalwitz PORTLAND CENTER STAGE STUPID FUCKING BIRD | P 3
BY MIRIAM WEISFELD, PRODUCTION DRAMATURG With STUPID FUCKING BIRD, Aaron Posner creates his own highly personal riff on one of the most influential plays of the Western canon: Chekhov’s The Seagull. Chekhov’s protagonist, the young playwright Constantin Treplev, rebels against the artistic traditions of his mother, the famous actress Irina Arkadina, and cries out for new forms of love, life and art. For over a hundred years, The Seagull has provided a vehicle for theatrical revolution: generation after generation of directors, designers, actors, translators and adapters have seized Treplev’s story and sought new forms of their own invention with which to reinterpret it.
Chekhov preferred illustrating the quirks, futility and circularity of human behavior over traditional playwriting tools of tight plotlines and predictable dramatic conflicts. This provided an ideal vehicle for Stanislavski’s early theories, which urged actors to live as their characters lived. When playing a rural character, Stanislavski theorized, shouldn’t the actor first live a rural life and bring the memory of those sights, sounds, smells and habits into the performance of the play? Similarly, The Seagull and Chekhov’s subsequent works inspired the set designer, Victor Andreevich Simov, to depart from the traditional 19th-century box set and create a rich environment of exterior and interior details, from the lake and shrubbery outside Arkadina’s house to the furniture within. Simov’s sets established a tradition of Chekhovian design in Russian theater, characterized by birch trees, autumn leaves, tea sets, and the sounds of animals and the natural world.
Part of the significance of The Seagull is rooted in the play’s Moscow premiere. This 1898 production was not only Chekhov’s first critical success, but also his first play directed by Constantin Stanislavski and the first major success of Stanislavski’s new Moscow Art Theatre (MAT). Stupid Fucking Bird provides its designers the opportunity to At the time of The Seagull’s Moscow create their own fresh responses to premiere, Chekhov was a thirty-eight- Look closely at Misha Kachman’s set for this tradition. Look closely at Misha year-old with no theatrical successes the first act: these icons of “Chekhoviana” Kachman’s set for the first act: these — the St. Petersburg premiere of the icons of “Chekhoviana” have been have been deconstructed into tongue-inplay had been panned by critics. But deconstructed into tongue-in-cheek cheek signposts: a pile of leaves, a stray the play’s second production changed samovar, a stencil of Chekhov’s image on signposts: a pile of leaves, a stray everything and MAT has remained samovar, a stencil of Chekhov’s the back wall. In acts two and three, this closely associated with the play ever image on the back wall. In acts two style will transform abruptly into since. To this day, its full name is and three, this style will transform “Moscow Art Theatre, Named for A.P. different versions of “realism” abruptly into different versions of Chekhov,” and the curtain of its main as Con vainly searches for a “realism” as Con vainly searches new path to truth, love stage — as well as numerous other for a new path to truth, love and architectural details — feature an Art and art. art. Similarly, in each act of the play Deco-style seagull design. Laree Lentz’s costumes occupy a different place on the continuum of The legacy of The Seagull and Cheknaturalism and our contemporary hov’s subsequent MAT productions understandings of meta-theatrical has been tremendous. Stanislavski’s reality. And original songs “system” for teaching actors ushcomposed by James Sugg to match ered in a revolutionary new era of realism in Western Aaron Posner’s lyrics draw the famously subtextual inner theater, which had previously been mired in a stilted, thoughts of Chekhov’s characters explicitly to the surface. melodramatic style. Stanislavski directed The Seagull and also played Arkadina’s lover Trigorin; Vsevolod MeyerWith Stupid Fucking Bird, writer Aaron Posner and director hold, who later became a leading MAT director and was Howard Shalwitz take up Treplev’s challenge to create “new tortured and executed for resisting Stalin’s agenda, played forms” of theater. Posner, a frequent director of Shakespeare’s Treplev; Olga Knipper, who became Chekhov’s wife, plays, has said he is interested in communicating Chekhov’s played Arkadina. subtext more explicitly, allowing the actors to speak directly to the audience in Shakespearean asides. Other inspirations When the Moscow Art Theatre took their work — Aaron has cited include the pastiche-style adaptations of including several Chekhov productions — on tour in Charles Mee, which frequently mix scenes of dialogue with the United States twenty-five years later, the complex, wistful arias; and the audacious engagement between actors subtle and deeply human performances of their actors and audience in Robert O’Hara’s Bootycandy, which premiered captured the imaginations of American critics, audiences at Woolly in 2011. Despite Chekhov’s insistence that The and artists. As American actors and directors attempted Seagull is a simple portrait of rural life, his protagonist’s cry to imitate this fresh new style, they began to speak of to revolutionize art still beckons new generations of adapters a “method,” inspired by the Stanislavski “system,” that and directors to strive to do just that. formed the foundation for the teachings of Lee Strasberg, Stella Adler, Sanford Meisner and countless other 20th century New York masters.
P 4 | PORTLAND CENTER STAGE STUPID FUCKING BIRD
STUPID FUCKING BIRD | CAST KATIE DEBUYS Nina
Katie deBuys is thrilled to make her Portland Center Stage debut with Stupid Fucking Bird. Based in Washington, D.C., her credits there include The Night Alive, Fool for Love and Seminar (Helen Hayes nomination) at Round House Theatre; Stupid Fucking Bird (world premiere and remount) and In the Next Room or the vibrator play at Woolly Mammoth Theatre Company; Henry V, The Conference of the Birds and The Gaming Table at Folger Theatre; and Measure for Measure at Shakespeare Theatre Company. She has performed with The Baltimore Symphony Orchestra in A Midsummer Night’s Dream and Tchaikovsky: Mad But for Music. Regional credits include The Giver at Indiana Repertory Theatre, Bug (B. Iden Payne Award) and Killer Joe at Capital T Theatre in Austin, Texas and Twelfth Night and Julius Caesar at the Texas Shakespeare Festival. Ms. deBuys holds a B.S. from Northwestern University and an M.F.A. in Acting from The University of Texas at Austin. KIMBERLY GILBERT Mash
Kimberly Gilbert originated this role at Woolly Mammoth Theatre Company in 2013 and is very happy to be back with her here in Portland. She has for the past 15 years rocked the stages of Washington, D.C., most recently at Woolly in the world premiere of Sheila Callaghan’s Women Laughing Alone with Salad. She has been a company member with Woolly since 2006. This year she won the Helen Hayes Outstanding Lead Actress award for her turn as the title role in David Adjmi’s Marie Antoinette. In D.C., she has also played on the stages of The Kennedy Center, Ford’s Theatre, Folger Theatre, Studio Theatre, Round House Theatre, Theater J, Forum Theatre, and Taffety Punk Theatre Company (of which she is also a company member). She is a proud graduate of D.C.’s Shakespeare Theatre Company’s Academy for Classical Acting.
IAN HOLCOMB Conrad Arkadina
Television/Web Series: CoExisting (pilot in postproduction); Land of Kings (668 Productions); The Onion News Network (IFC). Off-Broadway: It’s A Wonderful Life, Ernest in Love (Irish Repertory Theatre); Murder in the First (The Directors Company); The Broken Heart, Macbeth (Theatre for a New Audience); Transport (Irish Arts Center); Eightythree Down (Under St Marks, New York Innovative Theatre Award nomination for Best Supporting Actor). NYC Readings and Workshops: Spill (New York Theatre Workshop, written and directed by Leigh Fondakowski); Eyes Wide Open (The Actors Studio, written and directed by Michael Cristofer); Twelfth Night (Theatre for a New Audience, directed by Julie Taymor). Regional Theater: The Great Gatsby (Virginia Stage Company); A Midsummer Night’s Dream (Geva Theatre Center); Dial ‘M’ for Murder (Dorset Theatre Festival); Dying City (The Bottling Company); A Midsummer Night’s Dream (Guthrie Theater). Training: University of MN/Guthrie Theater B.F.A. Actor Training Program, The Royal National Theatre Studio, Shakespeare’s Globe Theatre. CHARLES LEGGETT Eugene Sorn
At Portland Center Stage: Liputin, The Devils; Dogberry, Much Ado about Nothing. Most recently: Ebenezer Scrooge, A Christmas Carol, ACT Theatre. Charles is a three-time nominee (Ray, Yankee Tavern, ACT, 2010; Lennie, Of Mice and Men, Seattle Repertory Theatre, 2011) and recipient (Shylock, The Merchant of Venice, Seattle Shakespeare Company, 2009) of the Theatre Puget Sound Gregory Award for Outstanding Actor, and has twice (2009 and 2015) been nominated for The Stranger’s Genius Award. In and around Seattle, Charles has also worked at Intiman Theatre, Seattle Children’s Theatre, Book-It Repertory Theatre, Village Theatre, The 5th Avenue Theatre and many smaller houses. His voice work includes over fifteen audio books and several video games. This spring Charles will play Mycroft Holmes in the Seattle Rep world premiere
production of R. Hamilton Wright’s Sherlock Holmes and the American Problem. CODY NICKELL Doyle Trigorin
Cody is thrilled to be returning to PCS, where he has been seen in Outrage (world premiere), The Merchant of Venice, The Pillowman and How To Disappear Completely and Never Be Found (U.S. premiere), as well as several JAW festivals. Cody was most recently seen for a third time in the one-man show, Jacob Marley’s Christmas Carol, at Gulfshore Playhouse, in the world premiere of Animal at Studio Theatre and in Folger Theatre’s production of Mary Stuart. He has performed at theaters all over the country, including Woolly Mammoth Theatre Company, Santa Cruz Shakespeare, Syracuse Stage, Shakespeare Theatre Company, Barrington Stage, Two River Theatre, The Wilma Theater, Arden Theatre Company, PlayMakers Repertory Company and San Jose Repertory Theater. For the three seasons prior to this one, Cody was the artistic associate at Gulfshore Playhouse where he directed and acted in over 12 productions. Recipient of the Connecticut Critics Circle Award for Best Actor, and nominated three times for The Robert Prosky Award for Outstanding Lead Actor, Cody’s work extends beyond the theater to films, television and voiceovers. Cody is a graduate of Carnegie Mellon University’s School of Drama. KATE EASTWOOD NORRIS Emma Arkadina
Kate Eastwood Norris is absolutely elated to return to PCS where she has previously performed in Bo-Nita, The North Plan and How To Disappear Completely and Never Be Found. Other regional theater credits include productions at Berkeley Repertory Theatre, Arena Stage, Studio Theatre, Folger Theatre, Syracuse Stage, Santa Cruz Shakespeare, Round House Theatre, the Humana Festival at Actors Theatre of Louisville (2011 and 2012), Florida Stage, Two River Theater, Delaware Theatre Company, PORTLAND CENTER STAGE STUPID FUCKING BIRD | P 5
STUPID FUCKING BIRD | CAST & CREATIVE TEAM Arden Theatre Company, PICT Theatre, Gulfshore Playhouse, The Wilma Theater, and special appearances with the Alaskan and Baltimore Symphonies. Kate is a company member at Woolly Mammoth Theatre Company, and has received two Helen Hayes Awards and Philadelphia’s Barrymore Award for her acting. Kate is also a teacher of Shakespeare, performance and clown for students of all ages. She recently completed a Masters in Humanities and the Creative Life with an emphasis in Depth Psychology from Pacifica Graduate Institute. DARIUS PIERCE Dev
Darius is thrilled to be part of this production and this ensemble! Past shows at PCS include Beard of Avon (Drammy Award for Outstanding Lead Actor), Twelfth Night, The 25th Annual Putnam County Spelling Bee, The 39 Steps, Frost/ Nixon, How To Disappear Completely and Never Be Found, Misalliance, Cyrano, The Santaland Diaries, A Christmas Story and A Christmas Carol. Elsewhere, some favorite shows have been The Gaming Table and Comedy of Errors (Folger Theatre); Lips Together, Teeth Apart (Profile Theatre); My Fair Lady and Les Misérables (Broadway Rose Theatre Company); The Realistic Joneses (Third Rail Repertory Theatre); The Long Christmas Ride Home (Theatre Vertigo). Darius is a company member at Third Rail Repertory Theatre and a co-founder of the Anonymous Theatre Company. Thank you all for coming to see some live theater! AARON POSNER Playwright
Aaron Posner is a Helen Hayes and Barrymore Award-winning director and playwright. He is a founder and former artistic director of Philadelphia’s Arden Theatre Company, an associate artist at both Folger Theatre and Milwaukee Repertory Theater, and has directed at major regional theaters from coast to coast, including Folger Theatre, Seattle Repertory Theatre, Portland Center Stage, Alliance Theatre, Actors Theatre of Louisville, Arizona Theatre Company, Milwaukee Repertory Theater, California Shakespeare Theater, Santa Cruz
P 6 | PORTLAND CENTER STAGE STUPID FUCKING BIRD
Shakespeare, Round House Theatre, Studio Theatre, Signature Theatre, Theater J, American Players Theatre and many more. His adaptations include Chaim Potok’s The Chosen and My Name is Asher Lev (both of which have enjoyed successful runs at more than 50 theaters across the country), Ken Kesey’s Sometimes a Great Notion, Mark Twain’s A Murder, a Mystery, and a Marriage, an adaptation of three Kurt Vonnegut short stories, entitled Who Am I This Time? (& Other Conundrums of Love) and Stupid Fucking Bird, a variation on Chekhov’s The Seagull. Aaron was raised in Eugene, Oregon, graduated from Northwestern University, is an Eisenhower Fellow and lives near Washington, D.C. HOWARD SHALWITZ Director
Howard Shalwitz is co-founder and artistic director of Woolly Mammoth Theatre Company in Washington, D.C., one of the nation’s most influential producers of innovative, provocative new plays. Howard was the recipient of the 2014 Margo Jones Award in recognition of his 35-year commitment to new American plays, as well as the 2012 Distinguished Finalist for the Zelda Fichandler Award for Outstanding Regional Director. He received the 2011 Helen Hayes Award for Outstanding Director for Clybourne Park, and was nominated for the same award in 2014 for the world premiere of Stupid Fucking Bird. In addition to nearly forty plays at Woolly Mammoth, Howard has directed for other leading American companies including New York Theatre Workshop, Playwrights Horizons, Arena Stage, A Contemporary Theatre and Milwaukee Rep. He received his B.A. in Philosophy from Wesleyan University and his M.A. in Teaching from Brown University before launching his career as an actor and director in 1976. MISHA KACHMAN Scenic Designer
Misha Kachman has worked at Arena Stage, Center Stage, Signature Theatre, Cincinnati Playhouse in the Park, Round House Theatre, Woolly Mammoth Theatre Company, The Kennedy Center, The Wilma Theater, Maryland Opera Studio, Theater J, Opera Lafayette, Skylight Music Theatre, Syracuse Stage,
Shanghai Dramatic Arts Center and Milwaukee Shakespeare, among many other companies in the United States and abroad. Misha is a recipient of the 2013 Helen Hayes Award for his design of The Elaborate Entrance of Chad Deity at Woolly Mammoth. He is a Woolly company member and a graduate of the St. Petersburg Theatre Arts Academy. Mr. Kachman serves as the associate professor of scene and costume design and head of M.F.A. in Design at University of Maryland. LAREE LENTZ Costume Designer
Regional: Ford’s Theatre: The Guard; The Kennedy Center Theater for Young Audiences: The Gift of Nothing; Folger Theatre: Romeo and Juliet; Signature Theatre: Tender Napalm; Woolly Mammoth Theatre Company: Stupid Fucking Bird; Studio Theatre: Murder Ballad, An Iliad, Songs of the Dragons Flying to Heaven (2nd Stage); 1st Stage Theatre: Never the Sinner; Spooky Action Theater: Optimism! Or Voltaire’s Candide; Synetic Theater: Home of the Soldier; UNC Charlotte: The Purple Flower; Central Piedmont Community College: Legally Blonde, The Will Roger’s Follies, Hairspray. International: The National Academy of Chinese Theatre Arts, Beijing: A Midsummer Night’s Dream. Training: M.F.A. in Costume Design, The University of Maryland. COLIN K. BILLS Lighting Designer
Colin K. Bills is pleased to be returning to Portland Center Stage, where he lit The North Plan. He is a company member at Woolly Mammoth Theatre Company, where he has designed more than 40 productions, including the original production of Stupid Fucking Bird, Clybourne Park and The Convert. As a conspirator with the devising company dog & pony dc, he has collaborated in the writing, direction and design of A Killing Game and Beertown. His designs have been seen at Arena Stage, Berkshire Theater Festival, Center Stage, Contemporary American Theatre Festival, Dallas Theater Center, Everyman Theatre, Ford’s Theatre, Forum Theatre, Imagination Stage, Intiman Theatre, The Kennedy Center, Marin Theatre Company, MetroStage, Olney Theatre
STUPID FUCKING BIRD | CREATIVE TEAM Center, Opera Lafayette, Opéra Royal Versailles, Round House Theatre, The Smithsonian, Signature Theatre, Studio Theatre, Synetic Theatre, Theater J, The Washington Revels, The Wilma Theater and Williamstown Theatre Festival. Colin has won three Helen Hayes Awards and is a recipient of a Princess Grace Fellowship in Theater. He is a graduate of Dartmouth College. JAMES SUGG Original Music and Sound Designer
James Sugg is a member of Pig Iron Theatre Company with whom he has created 18 original pieces. He has also worked with Actors Theater of Louisville, Milwaukee Repertory Theatre, Arena Stage, Seattle Repertory Theatre, The Wilma Theater, Woolly Mammoth Theater Company, Arden Theatre Company, Folger Theater, Headlong Dance Theater, Rainpan 43, Stein | Holum Projects and Lucidity Suitcase Intercontinental. He is the composer of the musicals A Murder, a Mystery and a Marriage (book and lyrics by Aaron Posner), James Joyce is Dead and So Is Paris (Pig Iron), The Sea (a one man electric chamber opera) and Cherry Bomb (book and lyrics by Jen Childs). His work has been recognized with two Obies, four Barrymores for Outstanding Sound Design, an F. Otto Haas Award for Emerging Theater Artist and a Pew Fellowship. MIRIAM WEISFELD Production Dramaturg
Miriam Weisfeld is currently senior vice president for production and development at the Araca Group in New York City. Previously, she was associate artistic director at Woolly Mammoth Theatre Company, where she dramaturged several world premieres including Aaron Posner’s Stupid Fucking Bird; Anne Washburn’s Mr. Burns, a post-electric play; Danai Gurira’s Eclipsed; and Robert O’Hara’s Bootycandy. Other credits include work with New York Theatre Workshop, American Repertory Theatre, Two River Theater, Steppenwolf Theatre, Actors Theatre of Louisville and the Banff Playwrights Colony. She has lectured on theater at Harvard University, MIT, George Washington University, The Kennedy Center and Moscow Art Theatre School. She holds an M.F.A.
from the American Repertory Theatre/ Moscow Art Theatre Institute at Harvard University. She is a contributing author to the Routledge Companion to Dramaturgy. 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 PCS production assistants, Marialena DiFabbio, Stephen Kriz Gardner, Bailey Anne Maxwell and Kristen Mun, who help keep the vision attainable. Prior to PCS, 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). BAILEY ANNE MAXWELL Production Assistant
Bailey Anne Maxwell is thrilled to be joining Portland Center Stage for another season, after acting as production assistant for Other Desert Cities, Twist Your Dickens and Dreamgirls last year. Bailey most recently worked as a production assistant with Artists Repertory Theatre on The Motherf**ker with the Hat, Foxfinder, Ten Chimneys, The Lost Boy and Seven Guitars. Bailey has recently enjoyed being the stage manager on Up The Fall with PHAME and The Wizard of Oz with Broadway Rose Theatre Company. She has also worked with Profile Theatre as a stage management apprentice on Buried Child, Eyes for Consuela and In the Next Room. Bailey is a Linfield College graduate and a proud member of the EMC program.
WOOLLY MAMMOTH THEATRE COMPANY
Woolly Mammoth Theatre Company (Howard Shalwitz, Founding Artistic Director and Meghan Pressman, Managing Director) was founded in Washington, D.C., in 1980. Over the past 36 seasons, Woolly has developed a national reputation for producing challenging and provocative new plays that push the boundaries of content, language and style. Woolly’s mission is “to ignite an explosive engagement between theater artists and the community by developing, producing and promoting new plays that explore the edges of theatrical style and human experience, and by implementing new ways to use the artistry of theater to serve the people of Greater Washington, D.C.” Many Woolly world and regional premieres have moved on to productions at theaters across America and around the world, including Bruce Norris’ Pulitzer Prize and Tony Award-winning Clybourne Park (2010); Robert O’Hara’s Bootycandy (2011); Anne Washburn’s Mr. Burns: A Post-Electric Play (2012); and Danai Gurira’s Eclipsed (2009), which is playing on Broadway this Spring. SYRACUSE STAGE
Syracuse Stage is Central New York’s premier professional theater. Founded in 1974, Stage has produced more than 300 plays in 42 seasons, including world, American and East Coast premieres. Each season upwards of 70,000 patrons enjoy an adventurous mix of new plays and bold interpretations of classics and musicals featuring the finest theater artists. In addition, Stage maintains a vital educational outreach program that annually serves over 15,000 students throughout Central New York. America’s leading actors, directors and designers work and/or have worked at Stage including: Lillias White, Chuck Cooper, Elizabeth Franz, Jean Stapleton, Sam Waterston, John Cullum, James Whitmore, Ben Gazzara and Ping Chong. The visiting artists are supported by a staff of artisans, technicians, educators and administrators who are responsible for all facets of the theater from building sets, props and costumes to marketing, development and box office.
PORTLAND CENTER STAGE STUPID FUCKING BIRD | P 7
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Meet PCS: Costume Department
We are pleased to be able to support Portland Center Stage and help bring Stupid Fucking Bird to Portland.
You know the stars on stage. We want to introduce you to the artisans who are our backstage stars. Eva Steingrueber-Fagan
Cutter/Draper 4th Season
Costume Crafts Artisan 19th Season
Larissa Cranmer First Hand 12th Season
Paula Buchert Cutter/Draper 15th Season
Danna Rosedahl Mike Floyd www.pcs.org/donate
Costume Shop Manager 2nd Season
Wig Supervisor 17th Season
Bonnie Henderson-Winnie Wardrobe Mistress 20th Season
Photo by Kate Szrom
P 8 | PORTLAND CENTER STAGE STUPID FUCKING BIRD
ARTISTIC DIRECTOR | CHRIS COLEMAN
APRIL 2 – MAY 1, 2016 ON THE U.S. BANK MAIN STAGE
HERSHEY FELDER PRESENTS The Samantha F. Voxakis and Karen Racanelli Production of
Mona Golabek in
THE PIANIST OF WILLESDEN LANE Based on the book The Children of Willesden Lane by Mona Golabek and Lee Cohen
Adapted and Directed by Hershey Felder Scenic Designers Hershey Felder and Trevor Hay
Costume Designer Jaclyn Maduff
Lighting Designer Christopher Rynne
Assistant Lighting Designer Jason Bieber
Sound Designer and Tour Production Manager Erik Carstensen
Projection Designers Andrew Wilder and Greg Sowizdrzal
Video Director Ross Glanc
Production Dramaturg Cynthia Caywood, Ph. D.
Associate Director Trevor Hay
Stage Manager Kelsey Daye Lutz* TIME & PLACE WORLD WAR II: VIENNA, AUSTRIA, 1938 – LONDON, ENGLAND, 1945 The running time of The Pianist of Willesden Lane is approximately 90 minutes with no intermission. The videotaping or other photo or audio recording of this production is strictly prohibited. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
SUPPORTING SEASON SPONSORS
SHOW SPONSORS Steve & Marypat Hedberg Dr. Barbara Hort Arlene Schnitzer Helen & Jerry Stern
Portland Center Stage receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.
Carol Edelman Elba, Ralph, Lorraine, Renee & Russell Shaw Jim & Susan Winkler
PORTLAND CENTER STAGE THE PIANIST OF WILLESDEN LANE | P 9
PERFORMER’S NOTE My mother, Lisa Jura, was my best friend. She taught my sister, Renee, and me to play the piano. We loved our piano lessons with her. They were more than piano lessons — they were lessons in life. They were filled with stories of a hostel in London and the people she knew there. Her stories were our folklore, bursting with bits and pieces of wonderful characters who bonded over her music. Sitting at the piano as a child, I would close my eyes and listen to her lilting voice and imagine her world. She always believed “each piece of music tells a story.” Her legacy has inspired my music and my life. I pass along her story in the hope that it may enrich the passion and music that lie in each of us.
ACKNOWLEDGEMENTS First and foremost, my heartfelt gratitude to the extraordinary British people who opened their hearts and souls and saved the lives of so many young refugees, including the “kinder” of 243 Willesden Lane. To those who have given so much love and support: Richard Burkhart, Christine Burrill, Dr. Kiumars Bakshandeh, Lee Cohen, Josh Aronson, Chuck Hurewitz, Michael Berenbaum, Steve Robinson, Pebbles Wadsworth, Ambassador Fay Hartog-Levin, Helen Zell, Victoria Mann Simms and Ron Simms, Jason Brett, Dr. Lauren Streicher, Dr. Jane Foley, Susan and Moses Libitzky, Sandy and Larry Post, Barbara Grill; Brian Drolet, Sarah Papier, Eve Rodsky, Nancy Fisher, Samara Hutman, Larry Kirshbaum, Hon. Dr. Waltraud Dennhardt-Herzog, the Hollanders, Julie Anderson, Marc Whitmore, Fred Cook, Robert Shapiro, Fred Specktor and Stephen Smith.
It’s our 10th Anniversary! Please join us in raising
$1 million for nearly 100 vital arts & culture groups, including Portland Center Stage. Give at your workplace, or online at
Thank you to my beloved family for your daily strength and inspiration: Jackie (for her unparalleled dedication), London, Jesse, Manny, Gary and to my beloved sister’s children — Michele, Sarah, Jonathan and Rachel — who continue the musical legacy and carry the torch passed down by their grandmother, Lisa Jura. Thank you to Ron Losby, Lotof Shahtout and Steinway & Sons. I am honored to be a Steinway Artist. Thanks to Chris Coleman, Cynthia Fuhrman, Creon Thorne and everyone at Portland Center Stage. I am grateful to everyone who has entered my life in connection with The Pianist of Willesden Lane: my acting coach Howard Fine, Geffen Playhouse, Samantha Voxakis and the entire team of Hershey Felder Presents. And finally, infinite gratitude to the incomparable Hershey Felder who believed in the story “of the little girl who was sent away and told to hold on to her music.” Mr. Felder would like to thank … Karen Racanelli, Robert Birmingham, Joel Zwick, Susan and Moses Libitzky, Stephen and Jacqueline Swire, Mike and Jean Strunsky, Irv and Dena Schechter, Gail and Mead Killion, Richard and Robin Colburn, Lee and Claire Kaufman; Steinway & Sons, Lotof Shahtout and Michelle’s Pianos; Chris Coleman, Rose Riordan, Cynthia Fuhrman, Creon Thorne, Don Kenneth Mason, Claudie Jean Fisher, the box office and front-of-house staff, and everyone at Portland Center Stage; Mona Golabek and Jaclyn Maduff, Susan Myerberg, Keith Sherman, the production team at Hershey Felder Presents; Beth Schenker, Steve Robinson and the WFMT Radio Network; Meghan Maiya, Jordan and Emma Hay; Kim and Leo.
A program of the Regional Arts & Culture Council
P 10 | PORTLAND CENTER STAGE THE PIANIST OF WILLESDEN LANE
10 years in the Gerding Theater at the Armory! Join us for a year-long celebration during the 2016/17 Season www.pcs.org/tenyears
HOW HATE BREEDS HEROISM
The events leading up to the Kindertransport By Amy Levinson, Artistic Associate/Literary Director for Geffen Playhouse, where The Pianist of Willesden Lane had its world premiere in 2012.
Lisa Jura’s story as told by her daughter, Mona Golabek, is one story of thousands, many of which have never been heard. Although each story is entirely unique, as is each person who lived through these horrors, there is a commonality in having survived what led to the evacuation of 10,000 children to England, now known as the Kindertransport. The events leading up to the Kindertransport began with Nazi Propaganda Minister Joseph Goebbels, who instigated widespread pogroms (violent mob attacks against Jews) in Germany and other Germanoccupied areas in November of 1938. And although we could track violent anti-Semitism further back, for the purposes of contextualizing the Kindertransport, we begin with Joseph Goebbels and his propaganda machine. When Herschel Grynszpan, a young Jewish Pole, received news that his parents, residents of Germany since 1911, had been expelled from Germany along with thousands of other Poles, he was despondent. When the Jews tried to return to Poland, they found they were not welcome there either, and were interned in a refugee camp to await a place to go. Outraged by the treatment of his parents, Grynszpan sought revenge on the diplomatic official who had been assigned to help him and his family, and on November 7, 1938 he shot Ernst Vom Rath, who died two days later.
party sought to exile their Jewish populations, this singular event opened the eyes of many, most notably the British, who up until that point had resisted emigration en masse from Germany. The British government had recently denied the entrance of 10,000 children into Palestine, which was under British rule at that time, but in light of these blatant atrocities, Britain’s leadership felt a duty to change their position, and thus the Kindertransport began.
The British government agreed to permit an unspecified number of children (citizens under the age of 17) to come to the When the news of this British Isles for the period in reached Nazi Propaganda which the crisis in Germany Minister Goebbels, he and the occupied countries positioned the event as a continued. Parents or conspiracy of the Jews, guardians were not permitted when all evidence pointed to accompany their children, December, 1938 The British Cabinet allows 10,000 unacto the fact that it was simply and they were required to one young man in desperate post a £50 bond for each companied Jewish children into Britain in an action called the straits to save his parents. child. It was understood Kindertransport. The Propaganda Minister that these children were on assured the German people temporary travel visas and that if they were to take would be returned to their mob action against the Jews, steps would not be taken to stop families when it was thought safe to do so. The bond was to or punish their actions. The statement from Munich, where be used for their travel expenses home. the Nazi leadership convened read: “Demonstrations should not be prepared or organized by the Party, but insofar as they The effort to organize these transports was painstaking work, erupt spontaneously, they are not to be hampered.” and numerous organizations and individual British citizens answered the call. The first train left Germany on December Two days later, the Nazi Party and their supporters 1, 1938. It arrived in Harwich from the Hook of Holland, systematically attacked Jewish populations throughout carrying 200 children, all of them orphans, who had left Germany and the occupied territories. In the span of a few Germany with just 24 hours notice, each with two bags hours, thousands of synagogues, Jewish-owned businesses of clothing. and Jewish homes were severely damaged or completely destroyed. The event came to be known as Kristallnacht, The Kindertransport was a remarkable humanitarian translated to “the night of broken glass.” While the signs endeavor as approximately 10,000 children were rescued had been evident to the outside world all along that the Nazi between December 1938 and September 1939. As violence
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continued to escalate, it became more and more difficult to remove the children. In September of 1939, the Germans ceased the issue of travel visas for Germany and the annexed countries, ending the opportunity for Britain to offer a safe haven to more children. The events are described in great detail on kindertransport.org:
Children of the Kindertransport were dispersed to many parts of the British Isles. About half lived with foster families, the others in hostels, group homes and farms in England, Scotland, Wales and Northern Ireland. Those older than 14, unless they were fortunate enough to be sponsored by individuals and sent to boarding schools or taken into foster care, were frequently absorbed into the countryâ&#x20AC;&#x2122;s labor force after a few weeks of training, mainly in agriculture or domestic service. Many families, Jewish and non-Jewish, opened their homes to take in these children. Many of the children were well-treated, developing close bonds with their British hosts; however, others were mistreated or abused. A number of the older children joined the British or Australian armed forces as soon as they reached 18 years of age and joined the fight against the Nazis. Most of the children never saw their parents again.
June 9, 1938 Nazis destroy the Munich Synagogue by burning it to the ground.
July 6-14, 1938 An international
conference is called by U.S. President Franklin Roosevelt to deal with the Jewish refugee problem. The 32 nations attending decide that they will not permit large numbers of Jews to enter their countries.
It should be noted that many individuals and organizations are recognized for their assistance in implementing the Kindertransport. The story of Mona Golabekâ&#x20AC;&#x2122;s mother, Lisa Jura, helps us to understand how many acts of valor are required to save only one life, and here tens of thousands were saved. In 1989, a group of Kinder, as they are now known, convened to create the Kindertransport Association (KTA) in order to reunite the people who had shared this experience, to revisit an often horrific past that was frequently unspoken by those who had survived it, and to create a written history so their families and the world outside might understand what it meant to be part of this rescue effort. Mona Golabek is a living beneficiary of what the Kindertransport did for generations of Jews. Her grandmother, who wanted so much to preserve the gift of music in the Jura family, has certainly lived on in Monaâ&#x20AC;&#x2122;s extraordinary talent.
November, 1938 Damage to a shop during Kristallnacht.
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CAST & CREATIVE TEAM MONA GOLABEK Lisa Jura
American concert pianist Mona Golabek has appeared at the Hollywood Bowl, The Kennedy Center and Royal Festival Hall. She is a Grammy nominee who has been the subject of several documentaries, including Concerto for Mona with conductor Zubin Mehta. Her recordings include Carnival of the Animals and Ravel’s Mother Goose Suite featuring Meryl Streep, both recorded with Mona’s sister, Renee Golabek-Kaye. Both daughters were taught by their mother, Lisa Jura, who is the subject of Mona’s acclaimed book, The Children of Willesden Lane. Mona’s father, Michele Golabek, received the Croix de Guerre for his role in the French Resistance. Mona founded Hold On To Your Music, a foundation devoted to spreading the message of the power of music. With the help of the Milken Family Foundation, Facing History and Ourselves, and the Annenberg Foundation, she created educational resources which, with her book, have been adopted into school curricula across America. Additional educational partnerships have been formed with the Los Angeles Museum of the Holocaust, Mashplant and the USC Shoah Foundation — all helping to bring forth the story of Lisa Jura. HERSHEY FELDER Director/Adapter
Mr. Felder created and performed George Gershwin Alone, which played on Broadway at the Helen Hayes Theatre, in the West End at the Duchess Theatre, and in theaters around the country. His Composers Sonata — George Gershwin Alone; Monsieur Chopin; Beethoven, As I Knew Him; Maestro Bernstein; Hershey Felder as Franz Liszt in Musik, Hershey Felder as Irving Berlin — has been presented at dozens of theaters across the U.S. and around the world. Compositions and recordings include Aliyah, Concerto for Piano and Orchestra; Fairytale, a musical; Les Anges de Paris, Suite for Violin and Piano; Song Settings; Saltimbanques for Piano and Orchestra; Etudes Thematiques for Piano; Love Songs of the Yiddish Theatre; Back from Broadway; George Gershwin Alone; Monsieur Chopin; Beethoven As I Knew Him and An American Story for Actor and Orchestra. As director, he premiered
Mona Golabek in The Pianist of Willesden Lane at the Geffen Playhouse in 2012. He created Eighty-Eight Entertainment in 2001; its newest division, Hershey Felder Presents, continues in the creation of new works of musical theater. Current projects include the musical play Hershey Felder as Irving Berlin as well as the upcoming Hershey Felder Tchaikovsky and several musical theater projects in development. Mr. Felder has been a scholar-in-residence at Harvard University’s Department of Music and is married to Kim Campbell, the first female Prime Minister of Canada.
JASON BIEBER Assistant Lighting Designer
TREVOR HAY Associate Director/Scenic Co-Designer
ERIK CARSTENSEN Sound Designer/Tour Production Manager
Directed the world premieres of Hershey Felder as Irving Berlin, An American Story for Actor and Orchestra, Abe Lincoln’s Piano and Hershey Felder as Franz Liszt in Musik. Former member of the historic Old Globe in San Diego where, at the age of nine, his first position was selling Old Globe memorabilia. Over the next 32 years, Mr. Hay went on to various aspects of production on more than 80 presentations, including the Broadway productions of Jack O’Brien’s Damn Yankees, How the Grinch Stole Christmas and Twyla Tharpe’s The Times They Are A-Changin’. Included in his 23 seasons at The Old Globe were eleven seasons of the Summer Shakespeare Festival Repertory, as well as work on Tracy Letts’ August: Osage County, directed by Sam Gold, and Hershey Felder’s George Gershwin Alone, Monsieur Chopin and Maestro Bernstein. CHRISTOPHER RYNNE Lighting Designer
This marks Chris’ fifth collaboration with Hershey Felder. Other productions with Mr. Felder include An American Story for Actor and Symphony, Maestro Bernstein, Hershey Felder as Franz Liszt in Musik (lighting design and scenic co-design), and Hershey Felder as Irving Berlin. Additional theater and opera lighting credits include designs for Geffen Playhouse, Pasadena Playhouse, South Coast Repertory, The Old Globe, San Diego Opera, San Diego Repertory Theatre, Cygnet Theatre, San Diego Musical Theatre, North Coast Repertory Theatre, Berkeley Repertory Theatre, Houston Grand Opera, Madison Opera and Michigan Opera Theatre. Chris also designs lighting for museum exhibitions, special events and lighting systems for new venues.
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Jason is currently the assistant lighting designer for San Diego Opera. His other design credits include The Old Globe’s The Mystery of Irma Vep and Since Africa; Mo’olelo’s Cowboy Versus Samurai (2007 Patté Award), Permanent Collection, Night Sky (2008 Patté Award), Good Boys, Yellowface, Stick Fly, Kita Y Fernanda, Extraordinary Chambers and The Amish Project; Moxie Theatre’s Topdog/ Underdog, Dead Man’s Cell Phone, Eurydice, Bluebonnet Court and Bleeding Kansas.
Sound Designer on Hershey Felder as Irving Berlin, An American Story, The Pianist of Willesden Lane (2012 Ovation Award Nomination), Franz Liszt in Musik, Abe Lincoln’s Piano and Louis and Keely ‘Live’ at the Sahara. Master sound technician at The Old Globe in San Diego, 1997-2012. Production engineer on over 60 productions, including Allegiance, Robin and the Seven Hoods, A Catered Affair, Hershey Felder’s George Gershwin Alone, Dirty Rotten Scoundrels, Chita Rivera — A Dancers Life, Dr. Seuss’ How the Grinch Stole Christmas!, The Full Monty, Dirty Blonde and Floyd Collins. Erik is a member of IATSE Local 122.
THANK YOU TO Michelle’s Piano Company of Portland for their courtesy in providing the concert grand piano.
CREATIVE TEAM ANDREW WILDER Projection Design
Andrew’s experience in lighting design, web design and photography has led him to the world of projection design. He is thrilled to be a part of the EightyEight Entertainment team, having designed projections for Beethoven, As I Knew Him, Maestro Bernstein, Abe Lincoln’s Piano, Franz Liszt in Musik and Hershey Felder as Irving Berlin. Andrew also designs websites and consults on internet strategy at BlogTutor.com, writes about being a “healthy foodie” at EatingRules.com, and is the founder of HealthyAds.com. He is also the founder of International Kale Day, which is celebrated every year on October 10th. JACLYN MADUFF Executive Director/Costume Designer
Jaclyn has been the director of Hold On To Your Music, Inc. since its formation in 2003. Hold On To Your Music is a nonprofit foundation dedicated to providing educators and students with the book The Children of Willesden Lane. For more information, visit holdontoyourmusic.org. KAREN RACANELLI Executive Producer
Karen comes to Hershey Felder Presents from Berkeley Repertory Theatre, where she worked as General Manager since 1993, overseeing daily operations, and where she had the pleasure of producing several shows performed and/or directed by Hershey Felder. She has represented the League of Resident Theatres during negotiations with both AEA and SSDC, served on LORT’s Executive Committee
and served as a panelist at several LORT meetings. Prior to her tenure at Berkeley Rep, Karen worked as an independent producer at several Bay Area theater companies and has served on the boards of Climate Theater, Overtone Theatre Company, Park Day School and the Julia Morgan Center. Karen is married to arts attorney MJ Bogatin. SAMANTHA F. VOXAKIS Producer/Company Manager
DR. BARBARA HORT
Prior to joining Eighty Eight Entertainment in early 2004, Samantha spent 12 memorable years in the front office of the Baltimore Orioles. Since then, Sam has been responsible for the day-to-day operations of Eighty-Eight LLC and Hershey Felder Presents. She proudly works behind-the-scenes and has not been bored in 12 years. With special thanks to her very supportive family and to Ms. Golabek and Mr. Felder. KELSEY DAYE LUTZ Stage Manager
PCS credits include: stage manager for Each and Every Thing, Forever, The Santaland Diaries, The Lion, The People’s Republic of Portland (second engagement), Vanya and Sonia and Masha and Spike, The Typographer’s Dream, The Last Five Years and A Small Fire; production assistant for Clybourne Park, Venus in Fur, A Midsummer Night’s Dream, The North Plan and Anna Karenina. Kelsey Daye is a graduate of University of North Carolina at Greensboro. She would like to thank her pups for all their unconditional love, and Shamus for being wonderful.
All of us must endure some terrible affliction in our lives. Some of us even have the misfortune to suffer an emotional holocaust. A story like Lisa Jura’s, as embodied by her daughter Mona Golabek, can lend us a new ear with which to hear our suffering — our terror, our loss, our loneliness and our despair. Lisa’s story can also help us hear, even in our darkest places, the melody of hope, inspiration, and healing. When the lights go out, when the bombs are descending, when the end of our world seems near, it is a pair of passionate hands upon a piano, moved by a heart that has known more of life than it ever wanted to know, that can carry us into a brighter realm beyond the darkness. This is the kind of healing that theater can offer us, and this is why I am proud to sponsor Portland Center Stage’s production of The Pianist of Willesden Lane.
HELEN & JERRY STERN We are delighted to be able to help Portland Center Stage bring this production and important story of The Pianist of Willesden Lane to the Portland community.
Portland Center Stage 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. PCS is a member of LORT, Theatre Communications Group, Portland Business Alliance and Travel Portland. Portland Center Stage 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
PORTLAND CENTER STAGE THE PIANIST OF WILLESDEN LANE | P1 5
PORTLAND’S DRAMATICALLY UNIQUE VENUE - in the heart of the Pearl.
The Gerding Theater at the Armory 128 NW 11th Ave. Rentals@pcs.org 503.445.3824
Gerding Theater at the Armory 128 NW Eleventh Avenue Portland, Oregon 97209
Chris Coleman Artistic Director
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ACTORS TAKE CHANCES.
TEEN THEATER INTENSIVES SUMMER 2016
Photography by Patrick Weishampel
Each summer, PCS invites Portland teens to take a look at the theatrical process from inside the city’s flagship regional theater. Taught by industry professionals, our intensives provide a stimulating, supportive environment for emerging actors, artisans, and technicians to explore their creative talents, build confidence, and have fun! REGISTER: 503.445.3795 or firstname.lastname@example.org MORE INFO: pcs.org/education
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P16 | PORTLAND CENTER STAGE Untitled-1 1
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Sometimes they work. Sometimes they don’t. But none of these actors would be on stage tonight without taking chances. It’s part of growth, and we’re all made to grow. That’s why we’re such a proud supporter of Portland Center Stage. Let this performance inspire you to take the chances that power your own growth.
PORTLAND CENTER STAGE
Portland Center Stage exists to inspire its community by bringing stories to life in unexpected ways. Established in 1988 as a branch of the Oregon Shakespeare Festival, PCS became an independent theater in 1994 and has been under the leadership of Artistic Director Chris Coleman since May, 2000. PCS is Portland, Oregon’s leading professional theater company and one of the top 20 largest regional theater companies in the United States. PCS attracts more than 150,000 theatregoers annually with its blend of classical, contemporary and world premiere productions, along with its annual summer festival, JAW: A Playwrights Festival. PCS also offers a variety of education and community programs tailored for patrons of all ages. Its home, the Gerding Theater at the Armory, was the first building on the National Register of Historic Places — and the first performing arts venue — to achieve a LEED (Leadership in Energy and Environmental Design) Platinum certification. CHRIS COLEMAN Artistic Director
Chris joined Portland Center Stage as artistic director in May, 2000. Most recently, he directed the Off-Broadway debut of Threesome at 59E59 Theaters (a production that had its world premiere at PCS and was also presented at ACT-
Seattle). Before coming to Portland, Chris was artistic director at Actor’s Express in Atlanta, a company he co-founded in the basement of an old church in 1988. Chris recently returned to Atlanta to direct the world premiere of Edward Foote at Alliance Theatre. He also directed Phylicia Rashad and Kenny Leon in Same Time Next Year at True Colors Theatre Company in Atlanta, in 2014. Favorite PCS directing assignments include Ain’t Misbehavin’, Three Days of Rain, Threesome, Dreamgirls, Othello, Fiddler on the Roof, Clybourne Park, Sweeney Todd, Shakespeare’s Amazing Cymbeline (which he also adapted), Anna Karenina, Oklahoma!, Snow Falling on Cedars, Ragtime, Crazy Enough, Beard of Avon, Cabaret, King Lear, Cat on a Hot Tin Roof, Man and Superman, Outrage, Flesh and Blood and The Devils. Chris has directed at theaters across the country, including Actor’s Theater of Louisville, Oregon Shakespeare Festival, ACT-Seattle, The Alliance, Dallas Theatre Center, Pittsburgh Public Theatre, New York Theatre Workshop and Center Stage in 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, are the proud parents of an 18-lb Jack Russell/Lab mix, and a 110-lb English Blockhead Yellow Lab.
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Phone: Noon – 6:00 p.m., Daily Walk-Up Window: Open Until Showtime Single tickets and season tickets may be purchased in person, online at PCS.ORG, or by phone at 503.445.3700. PLEASE ARRIVE EARLY. Late seating may be
offered but is at the discretion of the House Manager; late seating is not guaranteed. Those arriving late to a performance or exiting the theater during the performance may be asked to view the show on the lobby monitor until intermission. Refunds and/or exchanges are not available for late arrivals. NO LATE SEATING AVAILABLE IN THE STUDIO.
Because of the intimate nature of the Ellyn Bye Studio, it is not possible to accommodate late seating. NO CAMERAS OR RECORDING EQUIPMENT.
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check your cell phones with the concierge and they will notify you in case of an emergency. CHECK BACKPACKS and LARGE PARCELS. For safety purposes, please check large backpacks and parcels at the coat check. THE GERDING THEATER IS FULLY ACCESSIBLE.
Anyone with a special seating need (such as moderate sight or hearing impairment) is encouraged to inform the Box Office in advance to accommodate the request. ASSISTED LISTENING DEVICES ARE AVAILABLE.
Listening devices are available at the concierge desk free of charge. CHILDREN, UNDER THE AGE OF SIX, NOT ADMITTED. While we encourage you to bring
interested children to the theater, as a courtesy to other patrons and actors, we do not admit anyone under the age of six years to PCS performances. FOOD IS NOT ALLOWED INSIDE THE THEATER. Beverages are allowed, but must be
in a compostable cup with a lid. All food must be consumed in the lobby. PLEASE DO NOT WEAR STRONG PERFUMES/ COLOGNES. Strong perfumes or colognes can
be distracting for other patrons and for people with allergies. Please use moderation when applying strong fragrances before the performance.
PORTLAND CENTER STAGE | P 1 7
THANK YOU, DONORS!
Portland Center Stage gratefully acknowledges the supporters of our 2015–2016 season. Their generosity allows us to inspire Portland Center Stage gratefully acknowledges the supporters of our 2013–14 season. Their generosity allows us to inspire our community byour bringing storiesby tobringing life in unexpected thank them. community stories to ways. life in We unexpected ways. We thank them.
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FOUNDATION & GOVERNMENT SUPPORT
(AS OF JANUARY 25, 2016)
OVATION SOCIETY ($100K+)
Collins 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
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Leupold & Stevens Foundation Swigert-Warren Foundation
Portland Center Stage 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 JANUARY 25, 2016) The membership levels and names listed below are determined by your individual gift membership renewal date and are recognized for twelve months. We make every attempt to acknowledge your name accurately. If you find a mistake, want to make a change or think your name should be listed and want to inquire further, please don’t hesitate to call 503.445.3744 to let us know. We are more than happy to make changes for the next playbill. Those donors whose names are in bold are a part of our Sustaining Supporters group. We want to honor those donors who have given every year for the last five years. Your consistent support to Portland Center Stage means a great deal to us and keeps our theater thriving. Thank you for your loyalty and generosity. OVATION PRODUCERS ($100,000+) Keith & Sharon Barnes Don & Mary Blair
Heather Killough Richard L. Lawson
LEADERSHIP CIRCLE ($25,000–$100,000)
Anonymous Patricia Huckins Beckman Trust Broughton & Mary Bishop Family Advised Fund, a charitable fund of the Community Foundation of Southwest Washington Andy & Nancy Bryant Dream Envision Foundation Brigid Flanigan Craig & Y. Lynne Johnston Ronni Lacroute/WillaKenzie Estate Pat & Trudy Ritz/Ritz Family Foundation Barbara & Phil Silver Helen & Jerry Stern Christine & David Vernier Dan Wieden & Priscilla Bernard Wieden
SEASON STARS ($10,000–$24,999)
Anonymous Dr. Don & Jessie Adams Ginger Carroll John & Linda Carter Roger Cooke & Joan Cirillo Ray & Bobbi Davis William & Karen Early Mark & Ann Edlen The Wayne & Sandra Ericksen Charitable Fund CLF Family Charitable Foundation Diana Gerding Tasca & Paul Gulick Steven & Marypat Hedberg Dr. Barbara Hort Marilyn & Ed Jensen James & Morley Knoll Hilary Krane & Kelly Bulkeley Charles & Carol Langer Dedre J. Marriott Reynolds Potter & Sharon Mueller Arlene Schnitzer Jordan Schnitzer Richard & Marcy Schwartz Drs. Ann Smith Sehdev & Paul Sehdev Douglas & Teresa Smith Mr. & Mrs. W.T.C. Stevens
Ben & Elaine Whiteley Steven & Deborah Wynne
Scott & Linda Andrews Gerry & Marilyn Cameron Martin & Karin Daum Bill Dickey Jess Dishman David Dotlich Robert Finger Lois Seed & Dan Gibbs Rob Goodman Roy Schreiber & Carole Heath Ms. Kirsten Lee & Mr. Joseph Sawicki Drs. Dolores & Fernando Leon Skye & Jane Lininger Chrys A. Martin & Jack Pessia Peter K. McGill Leonard & Lois Schnitzer Family Fund of the Oregon Jewish Community Foundation John & Jan Swanson John Taylor & Barbara West
ARTISTIC DIRECTOR’S CIRCLE ($3,000–$4,999)
Carole Alexander Peter & Susan Belluschi Family Fund of The Oregon Community Foundation Richard Louis Brown Bill Byrne & Dennis Scolard Glenn Dahl & Linda Illig Joan & Jim English Gregg & Diane Kantor Steve Cox & Vikki Mee Laurie & Gilbert Meigs Patrick W. Murphy Steven C. Neighorn James H. O’Lennick Jim & Linda Patterson Franklin & Dorothy Piacentini Charitable Trust Fred L. Ramsey Robert Reed Dave & Lori Robertson Stephen & Trudy Sargent W R Swindells Don Waggoner & Eunice Noell-Waggoner
Anonymous Kathi & Ted Austin Julia & Robert S. Ball Mr. & Mrs. John C. Beckman Jack Blumberg & Tom Anderson
Ann Brayfield & Joe Emerson Marianne Buchwalter Drs. Marguerite Cohen & Joe Roberts Carol Edelman Robert Falconer Randy Foster Paul & Samantha Harmon Sue & Mike Hollern Dennis C. Johnson Raymond & Marilyn Johnson Stephen & Marjorie Kafoury Tim Kalberg Bernie & Carole Kronberger Edwards Lienhart Family Foundation Richard M. Linn Grateful Patron George Middleton John D. & Nancy J. Murakami Nathan Family Hester H. Nau J. Greg & Terry Ness Allan & Madeline Olson Joan Peacock Stanley & Susanne Penkin Brenda Peterson David Pollock Judson Randall Pat & Al Reser Bobbie & Joe Rodriguez Teri Rowan Raj Sarda MD Mark Schlesinger & Patti Norris Trina & Michael Sheridan Michael & Karen Sherman Barbara A. Sloop Marilyn Slotfeldt Sue & Drew Snyder Burt & Barbara Stein Ronald E. & Ivy L. Timpe Fund of The Oregon Community Foundation Minh Tran & Gary Nelson E. Walter Van Valkenburg & Turid L. Owren Ted & Julie Vigeland Winnowski Family Foundation Mary & Pat Wolfe
Anonymous Rukaiyah Adams Ruth & Jim Alexander Mr. Stan Amy & Ms. Christy Eugenis Aletha & N. Christian Anderson III Phyllis Arnoff Cheryl Balkenhol & James Alterman Phil & Julie Beyl Christian, Lisa & Ella Bisgard
CORPORATE CHAMPIONS WE SUPPORT OUR CORPORATE CHAMPIONS WHO GIVE MORE THAN $10,000 ANNUALLY
Oregonian Media Group Stoel Rives LLP AHA! U.S. Bank Berry Wealth Strategies Curtis T. Thompson, M.D. and Associates, LLC The Standard Wells Fargo Davis Wright Tremaine Work for Art M Financial Group NW Natural
Lawrence S. & Susan W. Black Fund of The Oregon Community Foundation Sam & Adriane Blackman Craig Boretz Dr. Gene Baker & Regina Brody Linda & William Brown Walter & Mary Bush Tim O’Leary & Michelle Cardinal Tim & Susan Carey Lee Anne & George Carter Rick Caskey & Sue Horn-Caskey Dr. Richard & Nancy Chapman Mary Chomenko Hinckley & Gregory K. Hinckley Leslie Copland M. Allison Couch & Tom Soals Leslie & James Culbertson Edward & Karen Demko Mickey Devore Craig Dewey & Julie Coop Gerard & Sandra Drummond John & Jane Emrick John Briggs & Jeffrey Feiffer Mike & Chris Feves Larry & Deborah Friedman Daniel & Leah Frye John & Jacque Guevara Heather Guthrie & Gil Parker Donald F. Hammond Sis Hayes Lani Hayward Tom & Betsy Henning Sharon & Henry Hewitt Dale Hottle Neil & Karen Hutchinson Don & Claudia Hutchison Douglas & PJ Jones Dr. Laurie Kash & Michael Carter Carla Kelley Selby & Doug Key Ruth Knepell Brad & Cindy Larsen Cindy & Keith Larson Dorothy Lemelson Jon & Sheila Levine Joanne M. Lilley Fund of The Oregon Community Foundation Shari & Frank Lord Sharon W. Lukasevich Jean & Steve Mann Robert Matheson & Kimberly Porter Shelly McFarland Lindsey & Marilen McGill Jack & Carolyn McMurchie Rob & Kate Melton Lora & Jim Meyer Bradford & Linda Needham Deborah Neft & Salvatore D’Auria
Paul & Lisa Nourigat Duane & Corinne Paulson Ellie Picologlou Dr. & Mrs. Charles Poindexter Walter C. Hill & Family Foundation Michael Remsing Stephen Reynolds & Paula Rosput Reynolds Bob & Marilyn Ridgley Mary & Craig Ruble Mardi Saathoff Darryl Saunders & Randy Mannen Lynne & Ron Saxton Carol Schnitzer Lewis Fund of The Oregon Community Foundation John & Joan Shipley Geoff & Susie Strommer CollierTrust George & Molly Spencer Ray & Pat Straughan Mary & Jeff Strickler Donald & Roslyn Sutherland Katherine & Nickolas Tri Carol & David Turner Vikki Wetle Trudy Wilson & Terry Brown Jay Wilt David & Sherri Zava
Anonymous (4) Charles & Gloria Adams Margaret & Stuart Albright Richard & Kristin Allan Thomas & Brada Bailey Robin & Thomas Barrett Susanne Baumann & John Gragg David & Bonnie Bennett Dr. Janet Bennett Bob Schuler & Debra Blanchard Jill Blanchard Diane Boly Lesley Bombardier Stephen & Marge Brenneke Brooke Psychologists, LLC Carl Snook Herbert & Pamela Crane Erik Cubbage Tracy A. Curtis & Rick Nagore Kirk & Marsha Davis Richard & Anne De Wolf Amy & Bruce Dobbs Paul Dockter Richard & Betty Duvall Stephen Early & Mary Shepard Ed & Marilyn Epstein Gregory Flick Ronald Fraback Carol Fredlund & John Betonte Charles & Kyle Fuchs
Don & Judy Fuller Richard & Kristine Gates Paul & Faye Gilbarg Cathie Glennon Melissa & Robert Good Michael & Nancy Graham Gail & Walter Grebe Rick & Susan Gustafson Del Hall Bill & Elaine Hallmark Brett & Jessica Hamilton Lourri Hammack Kregg & Andrea Hanson Marcia Hauer & Jeanne Knepper Richard L. Hay Patsy Heinlein MJ & Lee Alan Helgerson Herman Charitable Foundation Paul & Ruth Herrington Mr. Arthur Hung & Dr. Jim Watkins Arnold & Virginia Israelit Cecily Johns Jessie Jonas Jean & Rich Josephson Susan E. Jossi & Bob Conners Kevin & Suzanne Kahn Gerri Karetsky & Larry Naughton David Kasten Robert Kennedy Nancy Keystone & Michael Schlitt Chelsea King Jim & Lois King Peter H. Koehler Sr BettyLou Koffel & Phillip Moyer Mr. Rudy Kohnle & Ms. Krista Larson Clifford & Doris Carlsen Family Fund of the Oregon Community Foundation Bruce & Cathy Kuehnl Susan Lair & Doug Trobough Ray & Terry Lambeth Bonnie & Mike Leiser Barbara Lenfesty & Richard Mullins Carol & Charles Mackey Julia Markley & Lance Johnson Stan & Rebecca Martinson Stephen Mason & Christine Fisher JS & Robin May Karen & Brent McCune Jessica McVay Michael & Susan Mueller Ward & Pamela Nelson Don & Doris Nielsen John & Carolyn Parchinsky Carol Pelmas
PORTLAND CENTER STAGE | P 1 9
DONOR LIST (CONTINUED)
Elizabeth Perris & Beverly Schnabel Jim & Pam Phillips Wallace & Elizabeth Preble Carolyn & Henry Raz Dick & Linda Reedy Helen Richardson & Don S. Hayner Kelly Ritz-Eisenstein & Scott Eisenstein Halle & Rick Sadle Steven & Carol Sandor Lisa Sanman & Ebbe Roe Smith Dianne Sawyer & Richard Petersen Peter Shinbach Brad Simmons & Shannon Hart J & C Skuster Walter & Carol Smith Sonny & Diane Sonnenstein Rick & Denyse Stawicki Elaine R. & Rudolph B. Stevens Janice Stewart & Gordon Allen Dan & Linda Sullivan Dr. Jeffrey & Mrs. Roberta Swanson Robert Swanson Libbi Layton & Lawrence Tamiyasu Kara & Tyler Tatman Bruce & Rebecca Teborek Beverly Terry Don & Judy Thompson Marcia K. Timm Eleanor & Peter van Alderwerelt Lewis & Susan Van Winkle Virginia Vanderbilt & Michael Garrison Karen & Charles Waibel Richard Wallace & Patricia White Wendy Ware & Dan Gleason Marion Weatherford Joan & David Weil Dr. & Mrs. Bennett Wight Dennis & Jean Wilde Denice & Dave Williams Brian R. Wilson Fabian & Julie Yeager
Anonymous (16) Jose Alcarez Joan & Brian Allen Philip & Pip Allen Kris Alman Linda C. Anderson Thomas R. Anderson & Joan Montague Mr. & Mrs. John K. Ankeney Nigel & Kerry Arkell Lee & Lynn Aronson Elizabeth Ash & David Morganstern Jean & Ray Auel Jean & David Avison Susan Bach & Douglas Egan Grover & Susan Bagby Mrs. Bernice Bagnall Thayne & Mary Anne Balzer Gary & Christine Barbour Mr. & Mrs. Peter Barnhisel Jan Baross Diane & Arthur Barry Sidney & Barbara Bass George W. Bateman
Rob & Sharon Bennett Pam Berg Jamie & John Birkett Cheryl A. Bittle Anita & Clark Blanchard Ms. Catherine Blosser & Mr.Terry Dolan Lynne & Frank Bocarde Suzanne Bonamici Brian & Karen Borton Norma Bradfish Kay Bristow Mary Butler Ms. Stacey Caldwell-Roberts & Mr. Robert Roberts Matt & Celice Carlough Andrea Carlson Carolyn & Walter Carr Brett & Barbara Carson Clay & Carolyn Carter Michael Carter & Teresa Ferrer Brent & Barbara Chalmers Gordon B. Chamberlain Candice & Russ Chapman John & Lou Chapman Brenda & Duke Charpentier Bob & Patty Chestler Valri & Vincent Chiappetta Susan F. Christensen James & Cynthia Church Susan Clarke Miguel Cobian John & Kathryn Cochran Rhonda Cohen Dr. & Mrs. Frank P. Colistro Bruce & Janis Collins Rick & Jean Collins Alan & Leslie Comnes Sonja L. Connor Elizabeth Cordrey Jerry & Jean Corn Karen Costello Jennifer & Diego Covarrubias John & Ann Cowger Allen & Sue Craig John Crawford & Kathryn Crawford Marian & Neale Creamer Karen & Ward Cunningham Micheal & Carmen Cutting Marcia Darm & Bruce Berning Judy Dauble Jim & Ilene Davidson David & Alice Davies Gloria Zeal Davis Larry Davis & Maureen Ryan Maureen Sproviero Davis & Kerwin Davis Robert & Ruth Deal Carolyn DeLany-Reif Bill & Brenda Derville Linda & Jerry Dinan Ken & Laura Dobyns Arthur H. Dodd John & Danuta Donovan Steve Dotterrer & Kevin Kraus CDR Robert duBiel & Nancy Dougherty Beverly Downer Julie & Jim Early Steven Ehlbeck & Vassiliki Tsikitis Mary A. & Peter Eisenfeld Kris & R. Thomas Elliott Ronnie-Gail Emden & Andrew Wilson Sharon Ewing-Fix
P20 | PORTLAND CENTER STAGE
Renee Ferrera & James Johnson Patrick Fiegenbaum David Filer & Marlene Anderson Colleen Finn Sally & Jerry Fish Chuck & Pat Fisher Nancy Fisher Sherry & Paul Fishman Mary Flahive & David Finch George H. Fleerlage John & Paula Fogarty Steve & Susan Ford Bernard A. & Loretta E. Fox Larry & Judy Fox Sharon Frank Terry Franks & Carolyn Duran Bruce & Kate Frederick Gail & Kim Frederick Richard Smith & Patricia Frobes Jerome & Mary Fulton William & Beverly Galen Susan & Seth Garber Colleen Gekler Merry Gilbertson Sarah Giles Scott Goins Lisa Goldberg Barbara Gordon-Lickey Patricia & Tim Gray Mark & Michelle Greenwood Nancy & Ron Gronowski Frank & Margery Guthrie Elisabeth Hall John G. Hall Ulrich H. Hardt & Karen Johnson Gary Hargett Pat & Kelley Harrington Tom & Jan Harvey Fred & Sara Harwin Mark & Paige Hasson Susan M. & Robert S. Hatfield Regina Hauser & Chris Carson Tracey Heinrich Judy & Dave Heller Paul Hempel & Bruce Newman Mr. & Mrs. Clayton Hering Diane M. Herrmann Frances & Hunter Hicks Margaret & Timothy Hill Suzanne Hiscox Barbara & Mark Hochgesang Mrs. Beverly Hoeffer & Mrs. Carol Beeston Karen & Chuck Hoff Janet Hoffman & John Harland Laurie Holland Barry & Fanny Horowitz Anne & Thomas Horton Michele Houck Jeanne Provost & R. Brian Hough Donald & Lynnette Houghton Dr. Hal Howard Nancy Hull & Chris Sproul Lynn & Diana Husband Kathy & Tom Iberle Robi Ingram-Rich Robina & Tim Ingram-Rich Willard & Shirley James Joanne Jene, M.D.
Betsy & Jerry Jeronen Dennis & Karen Johnson Becky & Jarrett Jones Joan Jones Vanessa Abahashemi & Soren Jorgensen Jack & Farol Kahle Ross Kaplan & Paula Kanarek Chad & Mary Karr Ron & Ruth Katon Katherine Keene Tom & Barbara Kelly Jane Kennedy Bill & Kathleen Keryan Marion & Bart Kessler Janice & Mark Kettler Heather Kientz Jeffrey & Carol Kilmer Nancy Kingston Frederick Kirchhoff & Ronald Simonis Lucien & Sally Klein Romy Klopper Michael Knebel & Susan Shepard Kohnstamm Family Foundation Drs. Bill & Ricky Korach David & Lorraine Kratovil Ed & Margaret Kushner Kevin & Ida Lafky Brian & Annika Lamka Diane Lancon Robert & Sally Landauer Margaret & Greg Lapic Dave Lapof Sarah & Jim Laughlin Robert & Nancy Laws Bob & Sally LeFeber Roger & Joy Leo Ti Cycles Bicycles Brian & Chris Lewis Bob & Debbie Lindow Peter & Janice Linsky Bill Bagnall & Clayton Lloyd Joyce & Stanley Loeb Ralph London Mary E. Long R. Lubomirski Elaine & Richard Lycan Rebecca MacGregor Jeanne & Jim Magmer Tauna Magness Tim & Barbara Mahoney Don Main & John Ahlen Jane Maland Caroline Mann Linda & Ken Mantel Kenneth & Nancy Martin Pamela Matheson Oscar & Mary Mayer Susan & Bill McConnell Maryl M McCullough Betty McDonald & William Hansen Susan McFadden Charles & Kathleen McGee Alan & Daina McLean Gretchen McLellan Steven McMaster & Kathleen Brock Karolyn Meador Julia Meck Ruth E. Medak Richard Meeker & Ellen Rosenblum Mariellen Meisel & Steve Glass Peter & Joan Melrose
Patty Merrimon Louis R. Miles Lani Miller & George Gust Roger & Karen Miller Sherry Mills Stephanie & Spencer Moersfelder David & Machteld Mok Grant Molsberry & William Apt Douglas & Malinda Moore Jane Moore & David Pokorny William & Jane Moore Clint & Donna Moran Mike & Jan Morgan Laura & Joseph Munoz Bill & Pat Nelson Jeanne Newmark Ann Nickerson Landscape Design Jim & Michelle Niegowski Linda Noah Aso David & Anne Noall Kay Novak Ron & Janet O’Day Bonnie & Robert Olds Ric Oleksak Eileen & Alfred Ono Jamie Ordower Beverly J. Orth Lynda Paige Callie & Ana Winner JoAnn Pari-Mueller & Dan Mueller Robyn Parnell & Mark Waggoner Gail & Alan Pasternack Jennifer Peery Steve & Melissa Peterman Francis Peters John M. & Suzy J. Petersen Cheryl Meyers Kevin Phaup Sue Pickgrobe & Mike Hoffman Nancy Pitney Art Dodd & Diane Plumridge Caroline & Claude Poliakoff Michael Ponder & Bea Davis David & Margo Price Kathy Querin Edgar & Prudence Ragsdale Jay & Barbara Ramaker Michael R. Rankin Bonnie & Peter Reagan Leslie Rennie-Hill & Ken Hill Mark Reploeg Leslie Richards David Robertson & Chuck Brimmer Michael Robertson & Gwyn McAlpine Curtis Robinhold Gertrude Robinson Greg Roderick Elmer & Karen Rogers Charles & Judith Rooks Sarah Rosenberg & Don Caniparoli Kelly & Tomilynn Ross Ted & Holly Ruback Davia & Ted Rubenstein Jim & Joanne Ruyle Bunny & Jerry Sadis Linda Salinsky Deborah Santomero & Lisa Hoffman Christine & Steven Satterlee John & Stephanie Saven
Jim Scherzinger & Claire Carder Sheldon & Jean Schiager Jennifer Schuberth Peter C. & Jeanette M. Scott Sheila & Gary Seitz Michael & Pam Shanahan Mary Shaw Dr. Jeffrey D Sher Ron & Lynn Sherwood Carl R. Shinkle Virginia Shipman & Richard Kaiser Rodger & Marcella Sleven Constance Smith Kimberly Smith-Cupani Janelle Snyder & Valerie Wallander Neil Soiffer & Carolyn J. Smith George Soule & Maurice Horn Doug Sparks & Casey Bass Sheryl Stauffer Jim & Debbie Steele Zach & Vassie Stoumbos Milan & Jean Stoyanov Rhonda Studnick Kaiser Margie Sutherland, MD Mr. & Mrs. John Sutton Jeanette & Matthew Swafford Roger & Gale Swanson John & Jan Switzer Elizabeth Tabaka Amy & Emanuel Tanne Ellen Tappon & Ted Wilson Leif & Marjorie Terdal William & Lori Thayer James & Linda Thomas George & Nancy Thorn Grant & Sandra Thurston Sandra Teel Trainer Tom & Priscilla Turner Mark & Christy Uhrich Phil & Mimi Underwood Ann & Thomas Usher David & Julie Verburg Dawn Vermeulen Ginni Vick Ted & Julie Vigeland James N. Stamper & Jennifer P. Villano Dan Volkmer & Frank Dixon Mark & Mary Ann Vollbrecht John N. & Betty K. Walker Nancy Walker & Terry Foty Sheila Walty Anne & Eddie Ward Karen Whitaker Chris & Jana White James M. White JD & D’Alene White Scott Whiteford Maurice & Lauretta Williams Marjorie & Tom Wilson Alan Winders Greg Winterowd Loring & Margaret Winthrop Don & Jan Wolf Richard & Leslie Wong J. Marcus Wood & Sue Hennessey Robert & Vickie Woods Martha Woodworth Ruth Fischer-Wright & Craig Wright Paul Wrigley Jack Wussow & Kyle Adams Russ & Mary Youmans Alan & Janet Zell
Join us July 28-30, 2016 For two weeks every summer, Portland Center Stage bursts at the seams with new play energy. JAW (short for Just Add Water) fills the Armory with playwrights, actors, directors, dramaturgs, stage managers, production assistants, and sometimes even dogs and babies. Rehearsals fill up every nook and cranny of the building while the copy machine whirs day and night with new pages and fresh scripts churning back into the rehearsal rooms. The two-week blur of activity ends with staged readings that are free and open to the public, July 28-30, with a smorgasbord of performances throughout the Armory from local theater and arts ensembles.
Don & Mary Blair
p o r t l a n d â&#x20AC;&#x2122; s h o t e l t o th e ar t s IN THE HEART OF PORTLANDâ&#x20AC;&#x2122;S WEST END DISTRICT
4 0 9 S W 1 1 T H AV E P O R T L A N D | 5 0 3 . 2 2 4 . 3 2 9 3 | M A R K S P E N C E R . C O M PORTLAND CENTER STAGE | P 2 1
BOARD OF DIRECTORS
IN TRIBUTE Amanda Ashley in honor of Cynthia Fuhrman
Beth Love-White in honor of David White
Jan and Bill Beebe in memory of Chris Wetteland
JS and Robin May in honor of Chris Coleman
Randall J. Brown in honor of Karen Alexander-Brown
Richard Meeker in honor of Ellen Rosenblum
Andrea Carlson in honor of Mitchell Erickson
Kathryn O’Brien in honor of Jim Knoll
Ginger A. Carroll in memory of J. Michael Carroll Chris Coleman in memory of Jerry Stern, a blessing to have known him Judy Dauble in memory of Chris Wetteland John and Danuta Donovan in memory of Robert Gerding Scott and Jeannette Depoy in memory of Annette Coleman Elisabeth Baerg Hall, Catherine Hall Wedge and Micah Hall in memory of Shirley Sachs Hort Tom and Betsy Henning in memory of Annette Coleman Dr. Hal Howard in memory of Carol Howard Douglas and Selby Key in honor of Charlie Frasier Nancy Keystone in memory of Annette Coleman Jim Rosenbaum and Sandra Lewis in honor of Tim and Mary Boyle
Joan Peacock in loving memory of Ben Buckley David Pollock in honor of Rosemary Trierweiler Doug and Kathy Querin in memory of Chris Wetteland Lisa Sanman and Ebbe Roe Smith in memory of Shirley Sachs Hort Carl Snook in honor of Andy Linehan Helen and Jerry Stern in memory of Annette Coleman Melody Sweet in honor of Mary Siebenmann Becky Todd in honor of Ginny Kaiser-Shipman Ted and Julie Vigeland in memory of Patricia Beckman, a great lady, a wonderful friend, and a passionate supporter of PCS from the beginning Ted and Julie Vigeland in memory of Annette Coleman Ted and Julie Vigeland in grateful memory of Jerry Stern and his fondness for and tremendous support of PCS
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 to Portland Center Stage. 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 Karen Johnson at: 503.445.3744 or email@example.com.
Mary Boyle, Chair Civic Volunteer Mardilyn Saathoff, Vice Chair Senior Vice President and General Counsel, NW Natural Ted Austin, Second Vice Chair Senior Vice President, The Private Client Reserve of U.S. Bank Brigid Flanigan, Treasurer President, Shamrock Holdings, LLC Steven E. Wynne, Secretary Executive Vice President, Moda Health Steve Hedberg, Immediate Past Chair COO, Perkins Coie Chris Coleman, President Artistic Director, Portland Center Stage Sharon Barnes, Community Volunteer Sarah Crooks, Partner, Perkins Coie, LLP Evelyn Crowell, Retired, Portland State University Tracy Curtis, Regional President of Oregon and Southwest Washington, Wells Fargo & Company Gail Hayes Davis, Civic Volunteer Randy Foster, Partner, Stoel Rives LLP Diana Gerding, Community Volunteer Lani Hayward, Executive VP, Creative Strategies, Umpqua Holdings Corp Betsy Henning, CEO and Founder, AHA! Strategic Communications 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 Bob Packard, Managing Partner, Zimmer Gunsul Frasca Architects Peter V. Potwin, Retired, CFO, Benson Industries, Inc. Bruce Ramseyer, Senior Vice President, Private Banking, Washington Trust Bank Pat Ritz, Chairman and CEO, Footwear Specialties International Dave Robertson, Vice President, Public Policy, PGE Joe Sawicki, Vice President and General Manager, Mentor Graphics, Design-To-Silicon Division Marcy Schwartz, Senior Vice President, CH2M HILL Michael Sheridan, VP, Financial Advisor, The Newhouse Sheridan Group, Merrill Lynch Ann E. Smith Sehdev, Physician, Cascade Pathology Doug Smith, Retired, Senior Vice President, AMEC John Taylor, Co-founder, Arcadia Investment Corporation Brian Wilson, Principal, Mainland Northwest, LLC J. Greg Ness, Director Emeritus, Chairman, President and CEO, Standard Insurance, StanCorp Financial Group Julie Vigeland, Director Emeritus, Civic Volunteer
In Memoriam Bob Gerding
P22 | PORTLAND CENTER STAGE
STAFF | PCS Artistic Director | Chris Coleman ARTISTIC
Associate Artistic Director: Rose Riordan Producing Associate: Brandon Woolley Literary Manager: Benjamin Fainstein Company Manager: Don Kenneth Mason Literary Associate: Mary Blair
Education & Community Programs Director: Kelsey Tyler Community Programs Coordinator: RJ Hodde Education Programs Coordinator: Clara Liis-Hillier Resident Teaching Artist: Matthew B. Zrebski
ADMINISTRATION & FINANCE
Chief Operating Officer: Cynthia Fuhrman General Manager: Creon Thorne HR Manager: Caitlin Upshaw Finance Director: Lisa Comer Accounting Manager: Aurora Sanquilly Accountant: Alan King Executive & HR Assistant: Nia I. Adams IT Administrator: Christian Kisanga IT Assistant: James Dixon Database/Tessitura Consultant: Bob Thomas
Development Director: Lisa Sanman Associate Development Director: Jennifer Goldsmith Grants Manager: Marlene A. Montooth Development Associate: Karen Johnson Producer, Development Events: Kate Bowman Professional Development Volunteer: Carolyn DeLany-Reif
MARKETING & COMMUNICATIONS
Director of Marketing & Communications: Cynthia Fuhrman Public Relations & Publications Manager: Claudie Jean Fisher Group Sales & Promotions Manager: Mandy Morgan Marketing & Communications Associate: Alice Hodge Graphic Designer: Mikey Mann Multimedia Designer: Kate Szrom Webmaster: Christian Bisgard Production Photographer: Patrick Weishampel
Patron Services Manager: Luke Robertson Patron Services Assistant Managers: Hannah Katibah, Klint Keys Senior Patron Services Associate: Emily S. Ryan Patron Services Associates: Megan Harned, David Harper, Sierra Walker Sales Associates: Madelyn Clement, Michael Erickson, Jack E. Ridenour Season Ticket Sales Agents: Dayne Ledet, Barbara Morley, Mark Woodlief
Operations Manager: Sean Andries Operations Lead: Lauren Knapp Operations Assistants: Mitchell Bohanan, Katie Cronin Events & Rentals Manager: Jessica Metteer Rentals Assistant: Elizabeth Hjort Lead Custodian: Joel Hartman Evening Custodian: Liliana Thirdgill
Production Manager: Liam Kaas-Lentz Production Coordinator: Lydia Comer Stage Managers, AEA: Kelsey Daye Lutz, Mark Tynan, Janine Vanderhoff Production Assistants: Stephen Kriz Gardner, Bailey Anne Maxwell, Kristen Mun Technical Director: Derek Easton Scene Shop Manager: Seth Chandler Master Carpentar: Nick Foltz Staff Carpenters/Welders: Nate Crosby, Noah Phillips, Phil A. Shaw Properties Master: Michael Jones Lead Props Artisan: Rachel Peterson Schmerge Scenic Charge Artist: Kate Webb Costume Shop Manager: Mike Floyd Cutters/Drapers: Paula Buchert, Eva Steingrueber-Fagan First Hand: Larissa Cranmer Costume Crafts Artisan: Barbara Casement Wardrobe Mistress: Bonnie Henderson-Winnie Wig Supervisor: Danna Rosedahl Lighting Supervisor: Ben Courtney Master Electrician, U.S. Bank Main Stage: Alexz Eccles Master Electrician, Ellyn Bye Studio: Em Douglas Deck Manager: Tim McGarry Resident Sound Designer & Sound/Video Supervisor: Casi Pacilio Sound Engineer & Lead Programmer: Scott Thorson Sound Engineer & Programmer: Em Gustason
FRONT OF HOUSE
Concierges: Miles Bennette-Eaton, Meghan Howard-Hakala, Wynee Hu, Amanda Maxwell Volunteer Coordinator: Robyn Hodges Lead House Manager: Michael Rocha House Managers: Jenna Barganski, Nhu Nguyen, Emerson Scott, RaChelle Schmidt Food and Beverage Managers: Jamie Bilderback, Noelle dePinna Kitchen Supervisor: Erik Sanchez CafĂŠ Supervisor: Ellie Percival Kitchen Assistants/Cooks: Laura Fudacz, Sam DiChiara Food & Beverage Service Staff: Cait Allen, Stacy Hagen, Chris Klarer, Lucia Oneil, Franz Rutherford, Chelsea Turner
FOR THIS PRODUCTION STUPID FUCKING BIRD SOUND BOARD OPERATOR
Scott Thorson DECK CREW
Zahra Garrett THE PIANIST OF WILLESDEN LANE SOUND BOARD OPERATOR
Stupid Fucking Bird cover art by Julia McNamara. Photo of Mona Golabek performing in The Pianist of Willesden Lane by mellopix.com. Kindertransport photos courtesy of the German Federal Archive (Deutsches Bundesarchiv).
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