Great Expectations / Forever / Each and Every Thing - Portland Center Stage

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A LETTER FROM THE ARTISTIC DIRECTOR “IT IS EASY FOR US TO FORGET, SITTING ALONE ON OUR COUCHES WITH OUR NOVELS AND TELEVISION SHOWS THAT, UNTIL FAIRLY RECENTLY, STORY WAS ALWAYS AN INTENSELY COMMUNAL ACTIVITY. FOR TENS OF THOUSANDS OF YEARS … STORY HAPPENED ONLY WHEN A TELLER CAME TOGETHER WITH LISTENERS. FOR UNCOUNTED MILLENNIA, STORY WAS EXCLUSIVELY ORAL.”

–The Storytelling Animal: How Stories Make Us Human, by Jonathan Gottschall

At Portland Center Stage we never forget how connected we are to story; our mission statement is built around it. But as I thought about the three productions kicking off 2016 in the context of the passage above, I felt even more connection to the traditions of storytelling.

Two of the pieces — Forever and Each and Every Thing — are very different works by writer/performers, and the other one is an adaptation of one of the most beloved novels ever written, Great Expectations. What they share (as with all productions at PCS): We will experience each of them communally.

Great Expectations is one of the books that

marked the golden age of the novel. Growing literacy and the technologies that made wider distribution of books and magazines possible meant that the demand for stories grew rapidly. Many of Dickens’ novels, including Great Expectations, were originally published in serial form before being released as books, making his characters and plots more a part of the shared culture than ever before possible. By bringing this tale to the stage in a captivating adaptation

by Lucinda Stroud, we’re excited to take this beloved story back to a shared experience.

With Forever and Each and Every Thing,

we are turning over the Ellyn Bye Studio for two months to a pair of superb storytellers, who each bring a distinct voice to the American experience.

Some of you may remember Dael Orlandersmith from The Gimmick, which PCS presented in a special engagement in 2001. She is a brilliant poet/performer whose work embodies the ancient tradition of storytelling in a very modern way. In Forever, she pays tribute to the artists who have inspired her as she shares the personal, harrowing and formative journey of her own girlhood. I’ve known Dael for many years, and I’m an admirer of her compelling presence and artistry. I’m thrilled to bring her back to Portland.

Dan Hoyle is also returning to PCS for Each and Every Thing, after his previous turn with us in The Real Americans in 2011. Dan is a keen observer of contemporary society, and in Each and Every Thing, he takes on the newest threat to shared experience — personal technology. If we spend time together not telling each other our stories, but focused on our devices, what happens to our common humanity? Through his insightful exploration and capacious imagination, Dan invites us to explore that question with him.

As we welcome the first months of 2016, I hope you will continue to join us as we bring you the most exciting spectrum of stories we can find, and to be inspired to share your own stories, communally, with your friends and family.

— Chris Coleman

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 | P 1

JANUARY 16 – FEBRUARY 14, 2016 ON THE U.S. BANK MAIN STAGE

ARTISTIC DIRECTOR | CHRIS COLEMAN

presents

GREAT EXPECTATIONS

By Charles Dickens Adapted by Lucinda Stroud For Book-It Repertory Theatre All rights reserved.

Directed by Jane Jones Scenic Designer Christopher Mumaw

Costume Designer Ron Erickson

Lighting Designer Peter Maradudin

Sound Designer Casi Pacilio

Composer Joshua Kohl

Fight Director John Armour

Dialect Coach Gin Hammond

Fight Captain Gavin Hoffman*

Dramaturg Amy C. Vaught

Stage Manager Janine Vanderhoff*

Production Assistant Stephen Kriz Gardner

New York City Casting Harriet Bass

Local Casting Rose Riordan and Brandon Woolley First commissioned, developed and produced in the Book-It Style® by Book-It Repertory Theatre, founded in 1990, Seattle, Washington, book-it.org.

PERFORMED WITH ONE 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.

SEASON SUPERSTARS

SUPPORTING SEASON SPONSORS

SHOW SPONSORS

Ellyn Bye 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.

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Pat & Trudy Ritz

DIRECTOR’S NOTES

AN INTERVIEW WITH JANE JONES BOOK-IT REPERTORY THEATRE CREATES ADAPTATIONS OF CLASSIC AND CONTEMPORARY LITERATURE FOR THE STAGE, USING ITS TRADEMARKED STYLE THAT PRESERVES THE TEXT AS IT IS WRITTEN. Describe the process of working with Lucinda Stroud on this adaptation of Great Expectations.

When Book-It first started looking at the probability of adapting Great Expectations, it was decided we were interested in a single-evening theatrical event less than three hours in duration. A story with such a massive plot as Great Expectations, that spans two decades and traverses many geographic locations, is always going to present immense challenges. So early on, we decided to chiefly follow Pip’s journey through the novel, concentrating on the events that specifically move and shape his future. We also decided to experiment with a smallish cast, nine actors, which is rare for Book-It. That led us to deciphering which characters we perceived were of utmost importance to Pip’s story, and which could be edited away, always a painful exercise. Lucinda and I then shared what Book-It calls the “purple passages” from the novel; those lines of dialogue or narrative that are, subjectively, the “to be or not to be’s” of the text.

This is also a difficult process because, with a writer who is as descriptive and emotionally available as Dickens, the instinct to preserve as many lines as possible is irresistible. Next came the assignment of the double casting of the actors, and then Lucinda went to work! What transpired was a series of edits and rewrites, primarily with the company and Lucinda daily in the rehearsal room, which culminated in the creation of this script. One of our greatest joys would be the inspiration of this adaptation to encourage our audience to read the entire novel.

THERE HAVE BEEN HUNDREDS OF ADAPTATIONS OF GREAT EXPECTATIONS, FROM MAJOR FILMS TO NUMEROUS TELEVISION SERIES, AND EVEN A SOUTH PARK EPISODE. What is it about this work that continues to captivate and inspire generation after generation?

This book is thought by many to be Dickens at his best. I have read that over and over while researching the novel. It’s also said to be his most autobiographical. I certainly can’t speak for the generations, but for me, I am moved by the humanity of this story. It seems every human being has dreams, goals, things that we hope we will accomplish during our lifetimes. We hope to fall in love, have a comfortable if not elevated means for taking care of ourselves and our families.

We hope we will achieve circumstances that will allow us a life of contentment; a life we will be proud of when we look back on our own time aboard planet earth. From the very start of Pip’s journey, he is dissatisfied with his given circumstances. He laments his lowly origins and proclaims: “It is a most miserable thing to feel ashamed of home.” How sad for such a youngster. Dickens’ origins were not as lowly as Pip’s, but apparently he suffered from low self esteem and shame regarding his family background. His father’s time spent in debtor’s prison, and his past, which included working in a blacking warehouse, were secrets from his own children. He also wrote that a true love was the “one happiness I have missed in life, and the one friend and companion I never made.” These conflicts are the soul of the novel and the quest for Pip’s great expectations. You know the adage about expectations, try not to have them and you will be much happier?

Well, Pip is loaded with expectations and every turn he makes tethers him closer to them, unrealistic as they are. He casts aside the young woman who truly loves him and wastes away his adoration on a woman whose “heart is made of ice.”

He really goes through quite a wretched set of events that eventually leads him to see the missteps and bad choices he has made. In the end, he is humbled to understand the true nature of gratitude, a good, honest job and the value of family.

And with the re-write of Dickens’ original ending, now commonly read as THE ending, we are led to hope he will ultimately find true love as well. He’s just a really complicated character, and I think we are always interested in holding up our own narratives in comparison to the ways other people live their lives.

It’s comforting to know you’re not the only one who has had to dash hopes and dreams for reality.

CAST LIST STEPHEN STOCKING* Pip JOHN HUTTON* Magwitch/Jaggers GAVIN HOFFMAN* Joe Gargery DANA GREEN* Mrs. Joe/Miss Havisham ISAAC LAMB* Compeyson/Orlick and others MAYA SUGARMAN Biddy/Estella DAMON KUPPER Pumblechook/Wemmick and others CHRIS MURRAY* Herbert Pocket and others SEAN MCGRATH Drummle and others *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

PORTLAND CENTER STAGE GREAT EXPECTATIONS | P 3

Double Trouble:

COMING OF AGE WITH GREAT EXPECTATIONS

by Benjamin Fainstein, PCS Literary Manager

DICKENS’ EPIC NARRATIVES ARE OFTEN POPULATED BY MULTITUDINOUS CASTS OF COLORFUL CHARACTERS, AND GREAT EXPECTATIONS IS NO EXCEPTION. Lucinda Stroud’s adaptation hones in on the journey of Pip,

Dickens’ protagonist and narrator. Pip’s story harnesses many tropes of the “coming-of-age” genre, or Bildungsroman (“novel of education/ formation”), and his growth is spurred on through his interactions with dozens of diverse individuals. So many individuals, in fact, that it would be nearly impossible to have as many actors on stage as there are characters in the novel. One of the challenges in bringing Great Expectations into the theater, therefore, is determining how to include all these characters.

Stroud and director Jane Jones have employed a quintessentially theatrical and spirited solution: an extensive use of role doubling. As you will see in this production, an ensemble of nine actors takes on multiple roles, transforming themselves from one character to the next as they chart Pip’s journey. This doubling not only capitalizes on the playful liveness unique to the theater, it also aligns itself with one of Dickens’ genius strokes: the extensive use of literary doubles. Dickens frequently juxtaposes two characters whose relationships to Pip are similar, but whose attitudes and methods are polar opposites from one another. These “doubles” expose Pip to a wide range of humanity and lead him to formulate his own definitions of right and wrong.

As a start, we have pointed out a few possible pairs of doubles with thematic significance on this page, and we encourage you to think about how the complex web of relationships resonates with you. What other doubles do you see in the story — and how do juxtapositions like these affect your interpretation of Great Expectations?

Pairing #1 PHILIP PIRRIP (A.K.A. “PIP”)

Our hero. Possessed of an open mind and an ambitious spirit, which leads him on a journey from the rural life of a poor blacksmith to the aristocratic social circles of London. His experiences give him the necessary scruples to consider situations and people from multiple perspectives.

ORLICK

Another of Joe’s blacksmithing apprentices.

Darkhearted and wrathful, he feels trapped by his circumstances. His egotistical point of view, coupled with his extreme jealousy of Pip, leads to violence.

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Pairing #2

ESTELLA

Miss Havisham’s adopted daughter. A model of coolheaded refinement and upper class privilege. A forerunner of the “femme fatale” archetype, Estella has been raised to break the hearts of men without remorse and has mastered the art of concealing her true feelings.

BIDDY

An intelligent orphan from Pip’s village. Biddy is warmhearted and generous, in contrast to Estella.

Pip overlooks Biddy’s affection in his pursuit of Estella. Over time, Biddy becomes a voice of reason whenever Pip forgets his roots or finds himself in a moral quagmire.

JOE GARGERY

Pairing #3

Pip’s brother-in-law. A blacksmith. Joe and his wife, Pip’s ill-tempered sister, raise the orphaned boy. What Joe lacks in cosmopolitan breeding, he makes up for with kindness and integrity. He is an anchor for Pip’s moral compass in a sea of deceit and intrigue. Despite his lack of formal schooling, he is influential in Pip’s education as a human being.

MISS HAVISHAM

A wealthy, reclusive spinster. Mistress of her estate at Satis House and guardian of Estella. The romantic trauma of her youth instilled in her not only a hatred of men, but also an eccentric need to distort the innocence of young love. She has a special affinity for Pip, whose sincerity challenges her manipulative nature. Her presence provides an edgy counterpoint to Joe insofar as Pip’s education. Historically speaking, her presence also suggests the lack of agency of Victorian women fallen from social graces.

Pairing #4

HERBERT POCKET

Pip’s friend and fellow student of the gentlemanly arts.

Sanguine and dependable. Herbert is one of the few people who not only witnesses Pip’s transformation but also takes part in the process. He becomes Pip’s lifelong companion, business partner, and de facto sidekick.

BENTLEY DRUMMLE

A young aristocrat. Pip’s rival for Stella’s affections.

Despite the nobility of his birth, he is duller, ruder, and more abusive than his counterparts born of lower class.

MAGWITCH

Pairing #5

A mysterious escaped prisoner. He is possessed of an emotional complexity masked by his gruff exterior.

Magwitch’s journey runs parallel to Pip’s and is marked by similar reversals of fortune. His actions challenge the prejudices of a class-based justice system and demonstrate the lengths humans are willing to go to redeem themselves.

COMPEYSON

Magwitch’s fellow prison escapee. An educated, sophisticated con artist. His brutal and deceptive nature contrasts with Magwitch’s. Like Drummle, Compeyson’s presence in the story questions the assumption that goodness and honor are a matter of class and breeding.

GREAT EXPECTATIONS | CAST DANA GREEN Mrs. Joe/Miss Havisham

Dana Green is delighted to be working again at Portland Center Stage after appearing in Othello, A Midsummer Night’s Dream and JAW 2014. Other Portland credits include work with Third Rail Repertory Theatre and Profile Theatre (Drammy Award for Dead Man’s Cell Phone). She spent four seasons with the Stratford Shakespeare Festival, where some of her favorite roles included Isabella in Measure for Measure, Carol Cutrere in Orpheus Descending and Viola in Twelfth Night.

She has performed at numerous regional theaters, including The Old Globe, South Coast Repertory, Yale Repertory Theatre, Chicago Shakespeare Theater, California Shakespeare Theater, Santa Cruz Shakespeare, Asolo Repertory Theatre, Court Theatre, Meadow Brook Theatre and Shakespeare Dallas. Television credits include Early Edition and Grimm.

GAVIN HOFFMAN Joe Gargery

Gavin is very happy to be back at Portland Center Stage where he played Ligniere in Cyrano, Iago in Othello and Karl/Steve in Clybourne Park, and appeared in the last three JAW festivals.

Portland: Harry in The Understudy and Dieter in The Monster-Builder at Artists Repertory Theatre; Ellard in The Foreigner at Lakewood Theatre (Drammy Award 2011, Supporting Actor); Wolf/ Red in To Cape, The Tripping Point at Shaking the Tree (Drammy Award 2012, Solo Performance); 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), and co-starred in Grimm (NBC). He is a member of Actors’ Equity and SAG-AFTRA. Gavin is a graduate of P.C.P.A. and has a B.F.A. in acting from Ithaca College.

JOHN HUTTON Magwitch/Jaggers

John has spent most of the last 25 years as a member of the resident acting company at Denver Center Theatre Company. Prior to his time in Denver, he was based in New York and worked there, as well as at theaters across the country. He was the dashing, but simpleminded Peter Love on Another World. Since Denver, he’s been to Prague for PBS; Oslo for a miniseries called Nobel; Northern Stage in Vermont, to play the Stage Manager in Our Town; Richmond, VA, for Lincoln; Arizona to play Lear in Southwest Shakespeare Company’s production of King Lear; and to Brooklyn to shoot Power for Starz network.

DAMON KUPPER Pumblechook/Wemmick and others

Damon was last seen at Portland Center Stage as Desiree in Cyrano. Other PCS productions include Othello, A Midsummer Night’s Dream and Pillowman. Damon is a company member of Third Rail Repertory Theatre and has performed most recently in its productions of Or, The Night Alive, Middletown and The Beauty Queen of Leenane. Locally, he has also acted with Corrib Theatre, Artists Repertory Theatre, Portland Playhouse, Profile Theatre, Oregon Children’s Theatre and the Well Arts Institute. Damon has worked as an instructor for various educational theater programs, both domestically and abroad, through Young Musicians and Artists, Stop-Gap Theatre, Vietnam American Theatre Exchange and many others.

ISAAC LAMB Compeyson/Orlick and others

Isaac is a graduate of Loyola Marymount University, a proud company member of Third Rail Repertory Theatre, and is thrilled to be returning to PCS where he was seen in A Small Fire, The 25th Annual Putnam County Spelling Bee and JAW. For several years, Isaac starred in the national tour of Defending the Caveman, Broadway’s longest running

one-person show, and worked regionally throughout the country. Select local credits include Third Rail (Belleville, The Mystery of Irma Vep, The Aliens), Artists Repertory Theatre (Playboy of the Western World, Assassins), Broadway Rose Theatre Company (Sound of Music, Ripper), Portland Playhouse (Mr. Burns: a post electric play, Famished), Portland Experimental Theatre Ensemble (The Three Sisters), CoHo Productions (International Falls), Northwest Children’s Theatre (Beauty and the Beast - Drammy Award) and many others. Isaac also directs professionally in the Portland area at Third Rail, Portland Playhouse, Broadway Rose, Oregon Children’s Theatre, CoHo and Lakewood Theatre.

SEAN MCGRATH Drummle and others

Sean is elated to be making his Portland Center Stage debut. Portland audiences may know him from the ten years he spent onstage with Live Wire Radio, Maple and Vine (CoHo Productions), Bloody Bloody Andrew Jackson (Portland Playhouse), Weekend at Bernie’s (Funhouse Lounge) and Roadhouse (Bad Reputation Productions). TV and film credits include Grimm, The Librarians, Deep Dark and a slew of local and national commercials.

He is also the proud creator of Bath Night sketch comedy. Special thanks to his acting teachers, the cast and crew for all the laughs, Ma and Pa, Ryan and Terry, true blue pals who come out to his shows, and especially Jane Jones for taking a chance.

CHRIS MURRAY Herbert Pocket and others

Chris is an actor and producer in Portland who was last seen at Portland Center Stage in Our Town.

Previous shows at PCS include futura, Sometimes a Great Notion, and 10 years at the JAW festival. Chris has appeared around town at Artists Repertory Theatre (The Liar, Playboy of the Western World, Xmas Unplugged, I am Still (The Duchess of Malfi), Mr. Marmalade, Take Me Out), Third Rail Repertory Theatre (A Bright New Boise, Penelope, The Aliens, A Skull in Connemara) and several shows at Profile Theatre, CoHo Productions, Portland PORTLAND CENTER STAGE GREAT EXPECTATIONS | P 5

GREAT EXPECTATIONS | CAST & CREATIVE TEAM Playhouse and more. Chris has been in many feature films you’ve probably never heard of, a few TV shows you probably have, and was called a pinhead by Bill O’Reilly on The O’Reilly Factor for his portrayal of Jesus in Everclear’s music video, Hater.

STEPHEN STOCKING Pip

Stephen is thrilled to be making his Portland debut at Portland Center Stage. Selected New York and regional credits include: A Midsummer Night’s Dream (Shakespeare Theatre Company); Heidi Armbruster’s Every Good Girl Deserves Fun — and Other Misremembered Things; The Casebook of Rudolf H- (New York Theatre Workshop, studio); Romeo and Juliet and Anything Goes (Williamstown Theatre Festival); Dance Dance Revolution (Les Freres Corbusier). NYU credits include: Describe the Night (world premiere by Rajiv Joseph), Desire, Three Sisters, Plenty, Landscape of the Body, The Beaux’ Strategem and Pale Fires. Stephen recently appeared in the Amazon TV pilot Z: The Beginning of Everything.

M.F.A., NYU, Graduate Acting.

MAYA SUGARMAN Biddy/Estella

Maya Sugarman is thrilled to be making her Portland Center Stage debut. A Seattle-based actor, she grew up performing at ACT Theatre, Book-It Repertory Theatre, 5th Avenue Theatre and Seattle Children’s Theatre. Favorite recent productions include Mary’s Wedding with New Century Theatre Company, Tartuffe with Seattle Shakespeare Company, As You Like It with Seattle Shakespeare Company’s Wooden O and The Memorandum with Strawberry Theatre Workshop. After earning a B.A. in Social Studies from Harvard, Maya also worked in public health in New Mexico and Boston, where she performed with Fort Point Theatre Channel and the American Repertory Theater Institute. She is very grateful to her parents for their support.

LUCINDA STROUD Adapter

Lucinda Stroud began her theatrical career in Seattle by interning with

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Book-It Repertory Theatre as dramaturg and assistant director on Emma (dir.

Marcus Goodwin) and The Cider House Rules Part I: Here in St Cloud’s (dir. Jane Jones). Her work there and background in creative writing led to her adapting Great Expectations. She has also worked as an assistant director with BASH Theatre and as a director with Freehold Theatre’s INCUBATOR Studio Series.

Most recently, she directed and coadapted A Gogolplex, based on the short stories of Nikolai Gogol, with Ghost Light Theatricals. A graduate of the University of Puget Sound, she is honored and excited to see this work brought to new life at Portland Center Stage.

JANE JONES Director

Jane is the founder of Book-It and founding co-artistic director of BookIt Repertory Theatre in Seattle with Myra Platt. In her 25 years of staging

CHARLES DICKENS

literature, she has performed, adapted and directed works by such literary giants as Charles Dickens, Eudora Welty, Edith Wharton, Raymond Carver, Jim Lynch, Amy Bloom, John Irving, John Steinbeck and Jane Austen. Her directing credits include work with Seattle Repertory Theatre, Portland Center Stage (Drammy Award, Best Production and Best Director, Twelfth Night), Mark Taper Forum (Ovation Award, Best Director with Tom Hulce, The Cider House Rules), Atlantic Theatre Company, NYC (Drama Desk nomination) and Book-It (Gregory Awards, Best Production, 2010 and 2011). Favorite Book-It productions include Adventures of Huckleberry Finn: Uncensored, The House of Mirth, The Awakening, Owen Meany’s Christmas Pageant, Truth Like the Sun, The Dog of the South, A Tale of Two Cities and Howard’s End. In 2008, she and CoArtistic Director Myra Platt were honored to be named by The Seattle Times among

Born on February 7, 1812 to a Naval Pay Office clerk, Dickens spent his early years in London, a period of his life he would later describe as idyllic.

His childhood came to an abrupt end when his family found themselves in debtor’s prison in 1824. At the age of 12, Dickens was sent to work twelve-hour days at a shoe polish factory to earn extra money for his family. The harsh working conditions made a lasting impression on the young Dickens, undoubtedly shaping his convictions on social reform, status and the corruption of innocence — prevalent themes in his writing.

In 1829, Dickens first tried his hand at writing as a freelance reporter at Doctors’ Commons Courts, eventually finding steady work at a newspaper.

Dickens’ first published collection, Sketches by Boz, was a set of periodical sketches, the success of which led to the serialization of his first novel, The Pickwick Papers. Released in monthly, two-chapter installments, The Pickwick Papers was unprecedentedly popular, a publishing phenomenon, launching Dickens’ literary career. Most of Dickens’ works, including Oliver Twist, David Copperfield, Hard Times, Little Dorrit, A Tale of Two Cities and Great Expectations, were published serially, explaining Dickens’ tendency towards cliff-hanger chapter endings. Sudden plot twists and suspenseful foreshadowing ensured his audience would continue to subscribe. Great Expectations, Dickens’ thirteenth novel, was published weekly in the magazine All the Year Round from 1860–1861.

At the age of 24, he married Catherine Hogarth and together they had ten children, but separated in 1858 due to, as Dickens himself described, being “temperamentally unsuited” for one another. Over the course of his life, Dickens boasted a highly prolific career, writing more than 25 books, managing a theatrical company, traveling internationally, and attending scores of public readings, a demanding schedule that eventually took a toll on his physical well-being. As his health deteriorated, and against his doctor’s advice, Dickens maintained his productive fervor until he died from a stroke on June 9, 1870.

GREAT EXPECTATIONS | CREATIVE TEAM seven Unsung Heroes and Uncommon Genius for their 20-year contribution to life in the Puget Sound region. She is a recipient of the 2009 Women’s University Club Brava Award, a 2010 Women of Influence Award from Puget Sound Business Journal, and the Paul G. Allen Family Foundation’s 20th Anniversary Founders Award. Jane was a finalist for Stage Directors and Choreographers’ 2012 Zelda Fichandler Award. She is delighted to return to PCS, where she last directed Cyrano in the spring of 2015.

CHRISTOPHER MUMAW Scenic Designer

Christopher is a freelance theater artist based in Seattle, Washington. He received his Masters of Fine Arts from the University of Washington and his Bachelor of Fine Arts from Wright State University in his home town of Dayton, Ohio. Scenic design credits include: Grease: The Musical (The 5th Avenue Theatre), a new opera workshop of Heart Mountain (Vespertine Opera Theater at Inscape), The Magic Flute (Pacific Music Works), The Dog of the South (Book-It Repertory Theatre), SPRAWL with Pete Rush (Washington Ensemble Theatre), Judy’s Scary Little Christmas (ArtsWest), Gregory Award-winning production of The Amazing Adventures of Kavalier & Clay (Book-It), The Rape of Lucretia (Vespertine Opera Theater at St. Mark’s Cathedral), Little Women (ArtsWest) and The Last Five Years (Cornish College of the Arts). Christopher is thrilled and honored to be working with such a talented and genuine group of artists here in Portland. ChristopherMumaw.com RON ERICKSON Costume Designer

Ron Erickson had the privilege of designing the costumes for Book-It Repertory Theatre’s original production of Great Expectations, and he is thrilled to have the opportunity to design this production for Portland Center Stage.

Other Book-It costume designs include Jane Eyre, Frankenstein, A Tale of Two Cities, Lady Chatterly’s Lover and Hard Times, to name just a few. Ron Erickson has also designed costumes and scenery for many other northwest theaters, including Pacific Northwest Ballet, Intiman Theatre, Tacoma Opera, Spectrum Dance Theater, Seattle Shakespeare Company and Strawberry

Theatre Workshop. Ron is a founding faculty member of the performance production department at Cornish College of the Arts in Seattle. After more than thirty years he recently retired from his position as professor of costume design and costume design area head.

Ron is currently head of wardrobe at Seattle Opera.

PETER MARADUDIN Lighting Designer

Peter Maradudin is pleased to return to Portland Center Stage, where previous work includes Threesome, Othello, Ragtime, Crazy Enough, West Side Story, Anna in the Tropics, Hamlet, King Lear and Terra Nova, among many others. He is also the lighting designer for the lobby spaces of the Gerding Theater at the Armory. On Broadway, he designed the lighting for Ma Rainey’s Black Bottom and the Pulitzer Prize-winning The Kentucky Cycle, and Off-Broadway for Threesome, Hurrah at Last and Ballad of Yachiyo. Peter has designed more than 300 productions for such companies as the Guthrie Theater, American Conservatory Theater, Berkeley Repertory Theatre, Mark Taper Forum, La Jolla Playhouse, Seattle Repertory Theatre, The Old Globe, South Coast Repertory and Steppenwolf. He is the Studio Director of the architectural lighting group StudioK1, and is the author, under his pen name Peter Alexei, of the novels The Masked Avenger and The Queen of Spades.

CASI PACILIO Sound Designer

Casi’s home base is Portland Center Stage in Portland, Oregon, where her recent credits include Ain’t Misbehavin’, Three Days of Rain, Cyrano, The People’s Republic of Portland, Threesome, Dreamgirls (PAMTA Award), The Last Five Years, Othello, Twist Your Dickens, The Mountaintop; Chinglish, A Small Fire, Vanya and Sonia, Other Desert Cities with composer Jana Crenshaw; and nine seasons of JAW. National shows: Holcombe Waller’s Surfacing and Wayfinders; Left Hand of Darkness, My Mind is Like an Open Meadow (Drammy Award, 2011), Something’s Got Ahold Of My Heart and PEP TALK for Hand2Mouth Theatre. Other credits include

Squonk Opera’s BigsmorgasbordWunderWerk (Broadway, PS122, national and international touring); 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.

JOSHUA KOHL Composer

Joshua Kohl is thrilled to work with Jane Jones and the fantastic PCS crew! Joshua’s main artistic output is as music director, composer and co-artistic director of Degenerate Art Ensemble (DAE). Joshua has led the musical evolution of the group through manifestations including punk, bigband, orchestra, alt-rock combos and chamber music — each birthed to conjure the spirits needed for the work at hand. Joshua’s work “Warrior” was performed by the Kronos Quartet in 2012 and 2015. DAE’s work “Red Shoes” was awarded the Music Theatre Now Award in 2012 from the International Theatre Institute. Joshua recently collaborated with his father, author Herbert Kohl, for a Frye Art Museum commissioned work that has become a part of the museum’s permanent collection. Also an avid conductor of the works of his peers, he conducted the music of composer Jherek Bischoff with the Wordless Music Orchestra in New York at Lincoln Center with vocalist David Byrne in 2012. In 2015, he was the music director for 95 Rituals by the Bay Area dance company inkBoat, to celebrate the 95th birthday of choreographer Anna Halprin.

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, Oregon, where he choreographs for many local theater companies and teaches throughout the region at colleges, high schools and middle schools. John’s work has been seen regularly on stage at Portland Opera, Portland Center Stage, 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.

PORTLAND CENTER STAGE GREAT EXPECTATIONS | P 7

GREAT EXPECTATIONS | CREATIVE TEAM GIN HAMMOND Dialect Coach

Gin is honored to be making her coaching debut at PCS. She is a certified vocal coach and co-founder of the Seattle Voice Institute. Her voice can be heard on commercials, audiobooks and a variety of video games, including Undead Labs: State of Decay and DotA 2. A graduate of the A.R.T. Institute at Harvard University/Moscow Art Theater, Hammond has performed nationally at theaters such as Guthrie Theater, Arena Stage, Long Wharf Theatre, Seattle’s ACT, The Pasadena Playhouse and Studio Theatre in Washington D.C., where she won a Helen Hayes Award for Outstanding Lead Actress.

Internationally, she has performed in Russia, Germany, Ireland, Scotland and England.

AMY C. VAUGHT Dramaturg

Amy is honored to join the amazing cast and crew at PCS for Great Expectations.

Amy has served as a director, stage manager, dramaturg and actor in her native Portland. She is a proud graduate of Warner Pacific College where she studied theater, history and English.

Amy is a member of the 2015–2016 Stage Directors and Choreographers Foundation Observership class. Her favorite credits include Romeo and Juliet, Doubt, Antigone, The Merchant of Venice and Twilight: Los Angeles, 1992. Amy’s passion is using theater to advocate for underprivileged and vulnerable populations. Amy is eternally grateful to her friends, family and mentors for their love and support.

JANINE VANDERHOFF Stage Manager

Janine had the great pleasure of stage managing the PCS season opener, Our Town. Previous Portland credits include Ain’t Misbehavin’ also at PCS (assistant stage manager); the world premiere of DC Copeland’s Play (stage manager/ production manager); and How to End Poverty in 90 Minutes and The Other Place at Portland Playhouse (stage manager). Janine’s touring experience is primarily with Broadway musicals such as Cats, Jekyll & Hyde and Show Boat. However, she has also toured plays such as The Graduate, starring Morgan Fairchild, and The Vagina Monologues.

While in NY, Janine had the opportunity P 8 | PORTLAND CENTER STAGE GREAT EXPECTATIONS

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); and The Fox Theatre (Atlanta, GA).

Proud NYU graduate and proud AEA member.

STEPHEN KRIZ GARDNER Production Assistant

Stephen is happy to be spending his fourth season with Portland Center Stage. Previously with PCS, Stephen was the production assistant for Ain’t Misbehavin’, Twist Your Dickens (2013, 2014 and 2015), Vanya and Sonia and Masha and Spike, Othello, Chinglish, The Mountaintop and Somewhere in Time.

His favorite Portland credits include stage managing The Rocky Horror Picture Show and Spring Awakening with Live On Stage, and columbinus and Pinkalicious with Oregon Children’s Theatre. His credits outside of Portland include stage managing Black Comedy for No Rules Theatre Company in Washington DC, and assisting on Camp Wanatachi at La MaMa Experimental Theatre in New York.

BOOK-IT REPERTORY THEATRE

Book-It Repertory Theatre began in 1990 as an artists’ collective who believed everyone has the right to read. Twentysix years later, Book-It is a vibrant literature-based theater company that transforms great works of classic and contemporary literature into fully staged works for audiences young and old — more than 100 world-premiere adaptations and counting — works like Pride and Prejudice, The Amazing Adventures of Kavalier & Clay, Snow Falling on Cedars, The Cider House Rules and this adaptation of Great Expectations among them. The Book-It Style® weaves dialogue with narrative in a faithful translation of the author’s words to an exhilarating theatrical performance.

Book-It’s combined programs ignite the imaginations of more than 80,000 people yearly through the power of live theater. Among the company’s honors: 2010 Mayor’s Arts Award, Paul G. Allen Family Foundation Founder’s Award, 2012 Governor’s Arts Award, and two consecutive Gregory Awards for Outstanding Production. book-it.org

SPONSOR STATEMENTS DELTA AIR LINES Delta Air Lines is proud to sponsor Portland Center Stage’s production of Great Expectations. With daily non-stop service to Seattle, Los Angeles, New York, Minneapolis, Atlanta, Detroit, Salt Lake City, Tokyo and Amsterdam, and convenient connections beyond, 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.

STOEL RIVES Portland Center Stage presents an adventurous adaptation of the classic Charles Dickens novel Great Expectations.

An orphaned boy named Pip meets three people that will forever change his life, and will eventually lead to clandestine and unforeseen encounters. A long-time supporter of PCS, Stoel Rives is delighted to sponsor this classic yet innovative production, adapted by the talented Lucinda Stroud.

VIRIDIAN RECLAIMED WOOD The vintage wood used for this production was rescued from backyard fence boards

by Viridian Reclaimed Wood. Its years of exposure to the elements create a natural patina that speaks to the passage of time and extreme nature of this story’s surroundings. Portland-based Viridian upcycles reclaimed wood materials into paneling, flooring and furniture of unparalleled character. Once the show closes, Viridian will reclaim and re-mill the wood into high quality wall paneling. To learn more about Viridian’s unique wood products please visit them at viridianwood.com.

ARTISTIC DIRECTOR | CHRIS COLEMAN

JANUARY 30 – MARCH 20, 2016 IN THE ELLYN BYE STUDIO

presents

FOREVER

Written and Performed by Dael Orlandersmith Directed by Neel Keller Scenic Designer

Costume Designer

Lighting Designer

Takeshi Kata

Kaye Voyce

Mary Louise Geiger

Sound Designer

Dramaturg

Stage Manager

Adam Phalen

Joy Meads

Kelsey Daye Lutz

Production Assistant Kristen Mun Forever was originally commissioned and produced by Center Theatre Group/Kirk Douglas Theatre, Los Angeles, CA, in 2014, Michael Ritchie, Artistic Director.

Subsequently produced in a New York premiere and developed in part by New York Theatre Workshop, Jim Nicola, Artistic Director, Jeremy Blocker, Managing Director, in 2015, with the support of Dartmouth College.

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

PERFORMED WITHOUT INTERMISSION. The videotaping or other photo or audio recording of this production is strictly prohibited.

The Actor and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SEASON SUPERSTARS

SUPPORTING SEASON SPONSORS

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.

SHOW SPONSORS

Ellyn Bye Diana Gerding PORTLAND CENTER STAGE FOREVER | P 9

THE DREADED “FIRST PERSON” Prior to the premiere of Forever at Center Theatre Group in 2014, playwright/performer Dael Orlandersmith took a break from rehearsals to talk with Joy Meads, Forever dramaturg and Center Theatre Group’s literary manager. The excerpts below are from that conversation.

JOY MEADS: Dael, you have been working on this play

for a little more than a year and a half. Tell us about the very beginning; where did the idea come from?

DAEL ORLANDERSMITH: The idea came from a great

documentary called Forever by Heddy Honigmann. It’s about Père Lachaise, a very famous cemetery where Jim Morrison is buried, among others. There was a character in the film that I wanted to play, so I approached Neel Keller, who is now the director of my play, and he said, “That’s an interesting idea — but who introduced you to art? Why don’t you write about who introduced you to art?” That was my mother, and Paris was a place where my mother always wanted to go.

JM: In the play you talk about artists who feel like family.

What does it mean for an artist to feel like family?

DO: I think that a lot of us who lean towards the arts wonder

if other people feel the same way — did someone paint this, did someone write this, how did it manifest itself? When someone paints it, writes it or sings it, you realize that you are not alone.

It becomes universal. So it’s like, “Oh my God, this is great, how can I use those tools of paint, that tool of language, that tool of bodily instrument to put that across?” That’s the thing that is so important; it transcends language. I do not speak French, but whenever I hear Edith Piaf sing, I understand everything she’s saying.

JM: Who are some artists that you felt connected to, that were important to you?

DO: James Baldwin, Richard Wright, the first Patti Smith album [Horses].

The bar I used to go to, Grassroots Tavern, which is still there, was a mixture of hustlers, because there was the St. Mark’s Baths up the block, and you had Ukrainians, Poles who grew up in the ‘hood, the art students from Cooper Union, as well as people from La MaMa. It was this interesting mix of people that was going on at the time; it was so eclectic, but it was very tough. People tend to romanticize their youth; there was some great music that was coming up, but also it was a very rough scene, in certain ways.

JM: Speaking of people romanticizing their youth, when

Neel first brought up the idea of you writing a play about your mother, your own story, your reaction was something like, “You mean write in the dreaded first person?” What did the “dreaded first person” bring up for you?

DO: It meant delving into the shit, you know. But also, again,

it was very important that I see myself — and this woman [my mother] — as a character. Most people when they write about themselves, they deify themselves, and they deify the people they come from. Like if somebody says, “My parents were great, they never fought,” I think: “Are you mad, of course they fought!” So I wanted to look at the fact that this flawed individual who raised me was a person who was filled with angst, filled with pain — filled with wonder. And I had to look at myself as someone filled with wonder, but also as someone who is capable of great cruelty, and who has inflicted pain upon people as well.

“THOSE PEOPLE ARE HERE, BUT NO LONGER HERE / BUT THEY ARE HERE.” — Dael Orlandersmith, Forever

JM: Tell me more about what that album meant to you.

DO: She transcended gender; it was a total fusion of rock ‘n’

JM: Do you think you could have written this play at the

JM: You are from Harlem and the South Bronx, but you

DO: No.

roll and poetry. It went straight to the subconscious.

started spending a lot of time in the East Village as a teen, and you live there now. Tell me a little about the East Village. What was it like when you first started hanging out there; what made you want to be there?

DO: It was rough, but also it was colorful. St. Mark’s Place

in the ‘70s and ‘80s was one of the roughest places ever, but having said that, some of the great music was coming out of that scene. You had people who were very colorful — and also self-destructive. It was a mixture of both, especially in the ‘70s when bands like Blondie were coming out, or early Talking Heads, Television, those bands; it was a very strange mix.

P 10 | PORTLAND CENTER STAGE FOREVER

beginning of your career?

JM: What do you want to make sure people know about what this play is, and what it isn’t?

DO: That it is not verbatim; it is a memoir play versus an

autobiographical play. Certainly there are facts that are involved, but it is my impressions and thoughts. But that is what memoir means; it’s this hybrid of fact, and also your impression of what happened.

After the show, we invite you to post a message in the lobby in honor of someone who has passed on that helped shape your life.

FOREVER | CAST & CREATIVE TEAM DAEL ORLANDERSMITH Writer and Performer

Dael Orlandersmith is a playwright, poet, actor, teacher and Pulitzer Prize nominee. She debuted Forever at the Kirk Douglas Theatre in Los Angeles (Center Theatre Group commission), followed by a run at Long Wharf Theatre in New Haven and an Off-Broadway premiere at New York Theatre Workshop. Orlandersmith’s plays include Black n Blue Boys/ Broken Men (co-produced by Berkeley Repertory Theatre and Goodman Theatre); Horsedreams (developed at New Dramatists and New York Stage and Film Company; Off-Broadway premiere at Rattlestick Playwrights Theater); Bones (commissioned and produced

by Mark Taper Forum); Suicide Girlz (commissioned by Atlantic Theater Company); Stoop Stories (developed at The Public Theater’s Under the Radar Festival and Apollo Theater’s Salon Series; premiered at the Studio Theatre in Washington, D.C.); The Blue Album (a collaboration with David Cale; premiered at Long Wharf Theatre); Yellowman (commissioned and co-produced by The Wilma Theater and Long Wharf Theatre; premiered at McCarter Theatre; Off-Broadway premiere at Manhattan Theatre Club); The Gimmick (commissioned by McCarter Theatre and premiered on its Second Stage on Stage; Off-Broadway premiere directed

by Portland Center Stage’s Artistic Director Chris Coleman for New York Theatre Workshop); Beauty’s Daughter (Off-Broadway premiere at American Place Theatre); and Monster (originally at New York Theatre Workshop).

Yellowman and a collection of her earlier works have been published by Vintage Books and Dramatists Play Service.

Orlandersmith was nominated for the 2015 Off-Broadway Alliance Award for Best Solo Performance in Forever.

With Yellowman, she received a Pulitzer Prize nomination, Drama Desk Award nominations for Outstanding Play and Outstanding Actress in a Play, and a Susan Smith Blackburn Award. For Beauty’s Daughter, she received an Obie Award and was a Susan Smith Blackburn Award finalist. She is the recipient of a New York Foundation for the Arts Grant, the Helen Merrill Award for Emerging Playwrights, a Guggenheim, a PEN/Laura Pels Foundation Award, a Lucille Lortel

Foundation Playwrights Fellowship and a Whiting Award. She has toured extensively with the Nuyorican Poets Café (Real Live Poetry) throughout the United States, Europe and Australia. As a teacher, she has worked at Princeton University (artist in residence, 2009), Yale University and Sarah Lawrence College, among others. Her current projects include a one-woman play about a Danish girl’s life-changing encounter with Billie Holiday, a young adult script about surviving adolescence and, for the Repertory Theatre of St. Louis, a play about the recent events in Ferguson, Missouri.

NEEL KELLER Director

Neel is happy to be back at Portland Center Stage, where he previously directed The Cripple of Inishmaan, The Santaland Diaries and A Christmas Memory. In the fall of 2014, he directed the world premiere production of Forever, which comes to PCS after successful runs in Los Angeles, New Haven and New York. Other recent directing credits include the world premieres of Jennifer Haley’s The Nether and Kimber Lee’s different words for the same thing. Later this year, he will be directing Sheila Callaghan’s Women Laughing Alone with Salad and the premieres of Julia Cho’s Office Hour and Lucy Alibar’s Throw Me On the Burnpile and Light Me Up. Neel lives in Los Angeles where he is an associate artistic director of Center Theatre Group.

He has also directed at Long Wharf Theatre, New York Theater Workshop, La Jolla Playhouse, Remains Theatre and Williamstown Theatre Festival. Neel first saw Dael Orlandersmith perform her dazzling poetry almost 30 years ago. Not long thereafter, they worked together on a production of Romeo and Juliet staged in a prickly New England meadow. He is surprised and happy that she still speaks to him.

TAKESHI KATA Scenic Designer

New York: Forever (New York Theatre Workshop), 3 Kinds of Exile, Through a Glass Darkly, Storefront Church, The Intelligent Design of Jenny Chow (Atlantic Theater Company), Adding Machine (Minetta Lane), Orson’s Shadow (Barrow Street Theatre), Playwrights Horizons, Vineyard, Rattlestick Playwrights Theater. Regional: Alley Theatre,

American Players Theatre, Ford’s Theatre, Geffen Playhouse, Goodman Theatre, Hartford Stage, Kirk Douglas Theatre, Long Wharf Theatre, Mark Taper Forum, The Old Globe, Resident Ensemble Players, Steppenwolf Theatre Company, Williamstown Theatre Festival and Yale Repertory Theatre. Obie Award.

Drama Desk, Ovation and Barrymore Award nominations. Kata is an assistant professor at University of Southern California, School of Dramatic Arts.

KAYE VOYCE Costume Designer

Kaye Voyce is a designer for theater, opera, dance and performance, based in New York City. She previously worked with Ms. Orlandersmith on her play Horsedreams. Other recent credits include The Real Thing and The Realistic Joneses on Broadway; The Mystery of Love and Sex at Lincoln Center Theater; Il Turco in Italia at the Festival d’Aixen-Provence, Teatro Regio di Torino and Opera de Dijon; writer/director Richard Maxwell’s The Evening Part 1 at Walker Arts Center, On the Boards and the Warhol Museum; The Evening Part 2 at the Museum of Contemporary Art Buenos Aires; and Toss and Rogues, the choreographer Trisha Brown’s final works.

MARY LOUISE GEIGER Lighting Designer

PCS: The Cripple of Inishmaan, Red, From the Mississippi Delta, Absurd Person Singular, For Colored Girls … New York Theater Workshop: Oedipus at Palm Springs, Architecture of Loss. Broadway: The Constant Wife (American Airlines Theatre). New York: Bauer (59E59 Theaters); My Mother has 4 Noses (The Duke); Killing of Sister George, Natural Affection, Beyond Therapy (TACT, Beckett Theatre); This Bitter Earth, Les Carillons (NYCB Theatre at Westbury); Good Television, The New York Idea (Atlantic Theatre Company); Kindness, The Blue Door, The Busy World is Hushed (Playwrights Horizons); The Morini Strad, Olive and the Bitter Herbs (Primary Stages); Mabou Mines’ Dollhouse, Red Beads (Mabou Mines); Violet Fire (BAM Next Wave Festival, National Theatre, Belgrade). Regional: Center Theatre Group (Forever, The Goat, Nickel and Dimed, Tongue of a Bird), Oregon Shakespeare Festival, ACT Theatre, The 5th Avenue Theatre. Awards: Helen Hayes, IRNE, NYSCA. Training: Yale PORTLAND CENTER STAGE FOREVER | P1 1

FOREVER | CREATIVE TEAM School of Drama. Faculty: NYU Tisch School of the Arts.

ADAM PHALEN Sound Designer

Select shows include: Other Desert Cities and Marjorie Prime (Mark Taper Forum); The New Electric Ballroom and The Word Begins (Rogue Machine Theatre); 9 Circles (LADCC nominee, Best Sound Design, Bootleg Theater); Against Oblivion (South Coast Repertory); St. Jude, Facing Our Truth, Titus Redux, The Paris Letter, Flight (NAACP Award, Best Sound Design), ¡Gaytino!, Taking Flight, Of Equal Measure, Taking Over, Eclipsed and Bones (Kirk Douglas Theatre).

Phalen is the resident sound designer for the Ojai Playwrights Conference and head audio at Center Theatre Group’s Kirk Douglas Theatre.

JOY MEADS Dramaturg

Joy Meads is literary manager/artistic engagement strategist at Center Theatre Group. At CTG, dramaturgy credits include Appropriate by Branden JacobsJenkins, Marjorie Prime by Jordan Harrison (2015 Pulitzer Prize finalist), A Parallelogram by Bruce Norris, The Royale

by Marco Ramirez, and Radiate by Daniel Alexander Jones. Previously, Joy was literary manager at Steppenwolf Theatre Company and associate artistic director at California Shakespeare Theater. Joy has also developed plays with New York Theatre Workshop, Berkeley Repertory Theatre, Denver Center Theatre Company, O’Neill Theater Center, Ojai Playwrights Conference, Portland Center Stage, South Coast Rep and Campo Santo, among others. Joy is a proud member and co-founder of The Kilroys. thekilroys.org

KELSEY DAYE LUTZ Stage Manager

PCS credits include: stage manager for 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.

KRISTEN MUN Production Assistant

Kristen Mun is originally from Hawaii and graduated from Southern Oregon University with a B.F.A. in Stage Management. This is her third season at Portland Center Stage, where previous credits include: production assistant on The Santaland Diaries, Three Days of Rain, Threesome, Lizzie, and 2nd production assistant on Fiddler on the Roof. Outside of Portland, she has worked at the Oregon Shakespeare Festival, Idaho Repertory Theatre and Actors Theatre of Louisville. In Portland, she has worked as a production assistant and stage manager with other theater companies, such as Artists Repertory Theatre (And So It Goes …, Red Herring), Oregon Children’s Theatre (A Year With Frog and Toad, Charlotte’s Web, Ivy and Bean, Junie B. Jones) and Broadway Rose Theatre Company (Oklahoma!). Outside of stage managing, Kristen is also a fight choreographer and stage combat teacher.

SPONSOR STATEMENTS THE BOEING COMPANY

The communities where our employees live and work have enabled The Boeing Company to become a global leader in aerospace. Giving back to these communities is important to our employees and a core value of our company. Boeing invests in the performing and visual arts because they fuel a community’s economic engine, help produce a creative and disciplined workforce, and nurture the imagination and self-reflection required to solve complex personal and community issues. Art seeks to discover and present a new way of seeing the world, whether the world of ideas or the physical world.

The Boeing Company is proud to support this production of Forever by Portland Center Stage.

DIANA GERDING

It is an honor and a privilege to help sponsor the work of an extraordinary and thoughtful artist, Dael Orlandersmith. We are fortunate to be able to have her back once again in Portland, with this performance of her play, Forever.

RONNI LACROUTE

Concerts • Theatre • Industrial • Special Events • Television + Film

Indigo inspired illumination for live events® (503) 295-0900 | www.IndigoDesignLLC.com P 12 | PORTLAND CENTER STAGE FOREVER

It is an honor to sponsor a powerful piece of very personal, intimate theater focusing on family. A solo show about an artist’s own life is a very daring public exploration of self which can be a deeply moving experience for the audience. We learn more about ourselves by hearing such stories about the people and events that shaped another person.

FEBRUARY 6 – MARCH 27, 2016 IN THE ELLYN BYE STUDIO

ARTISTIC DIRECTOR | CHRIS COLEMAN

presents

EACH AND EVERY THING Written and Performed by Dan Hoyle Directed by Charlie Varon Scenic Designer

Lighting Designers

Takeshi Kata

Mary Louise Geiger & Cecilia Durbin

Sound Designer

Original Music

David Hines

Mars Today

Script Development

Stage Manager

Maureen Towey

Kelsey Daye Lutz Production Assistant Kristen Mun

Each and Every Thing originally premiered at The Marsh, San Francisco, a breeding ground for new performance, Stephanie Weisman, Artistic Director.

Each and Every Thing is produced by special arrangement with: The Gersh Agency, 41 Madison Ave. 33rd Fl. NY, NY 10010.

PERFORMED WITHOUT INTERMISSION. The videotaping or other photo or audio recording of this production is strictly prohibited.

The Actor and Stage Manager employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SEASON SUPERSTARS

SUPPORTING SEASON SPONSORS

SHOW SPONSORS

Diana Gerding Doug & Teresa Smith 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.

PORTLAND CENTER STAGE EACH AND EVERY THING | P1 3

EXPERIENCING THE WORLD THROUGH THE DIGITAL PRISM Each and Every Thing began with a commission from the Pew Theater Initiative to develop a piece about the changing media landscape. How did the show grow from that original idea?

I was interested in how the decline of newspapers, and the shared experience they are/were, was changing the way we receive news and our democratic discourse. Then I realized that the transition to experiencing the world through the digital prism is happening in all realms. So whether it’s how we take and share photos, and thus our most intimate memories, or how smartphones enable us to live private lives within public space, there’s a much larger shift happening than I was initially investigating. And of course, because my work is based on connecting with people and strangers on a very intimate level, it made it a more personal show.

You often include a note in the playbills to explain that the words audiences will hear are a blend of several people’s and your own, in service of the larger truth of your experience. Is it ever a struggle to find the balance between representing others’ voices and communicating that larger truth?

I feel that you have to honor your experiences; that’s the trust I’ve built up with my audience. If you create a character that favors an argument that is your own, and not representative of what you experienced, to me that’s dishonest.

But if you are making tweaks to more fully express what you experienced/ discovered/uncovered, than you are being a trusty guide for an audience, and a good storyteller and entertainer, which is very important. And all the major emotional moments happened as you see in this show. I was blessed with several people that made for, in my view, really compelling characters without much tweaking. And yes, Pratim is Pratim, and he is one of my best friends.

P 14 | PORTLAND CENTER STAGE EACH AND EVERY THING

You have been working with Charlie Varon on your solo shows for over a decade. What was your collaborative process like for Each and Every Thing?

Early on, I spend a lot of time alone in my studio in front of a mirror, listening to audio recordings of people I met, creating characters first through voice, then physicality. Eventually, I show it to Charlie, and he’s really good at helping locate the veins of gold. Some characters come quickly, others take a lot of time to refine. Some hit the cutting room floor and Charlie quietly sweeps them up without me feeling too bad about it.

Ha! And as we develop the individual scenes and characters we understand what is the totality of my experience and investigation, what it all has to say. Then there’s lots of workshopping in front of audiences to make it a tight ship for sailing on the high seas.

After a successful run in San Francisco, you took Each and Every Thing to New York. Was the audience response different on either side of the country?

What is your favorite feedback about the show so far?

I was worried at first when I brought the show back to New York; is this too much of a West Coast show? Because New Yorkers pride themselves on their street-life interactions, and aren’t quite as teched-out as the Bay Area. But the first night I did it at Joe’s Pub at The Public in New York, there was a standing ovation, and people came up to me afterward and were like, “I NEEDED that. This has been on my mind, but I didn’t know how to say it.” And I think precisely because New York has such a collision of co-existence, people feel what is being lost even more acutely.

Many people have said they have made little changes in their lives, like asking a stranger for directions or a restaurant recommendation instead of always consulting the phone, or leaving the house for walks sometimes without their phone.

Dan Hoyle last performed at Portland Center Stage in 2011 with his solo show The Real Americans. In advance of his arrival in Portland for this production, he responded to some interview questions from Portland Center Stage’s Public Relations and Publications Manager Claudie Fisher.

For this visit to Portland, you are joined by your wife, Lyra, and your new baby boy, Winston. Have you already begun to notice the impact that fatherhood has had on framing your view of the world?

Never before have I been pooped on and felt like it was a gift. Ha! Yes, it reframes everything. In a good way. And people are already clamoring for a fatherhood show, and I’m taking notes.

What other projects do you have in the works at the moment?

I’ve written a new multi-actor piece called The Block, about my neighborhood in the South Bronx, which is getting a production with The Working Theater in New York in June. Another piece, called Make Nice, a Northern California marijuana thriller, is in development with San Francisco Playhouse. And I’m continuing to tour my solo pieces — The Real Americans is getting a production at Playmakers Rep in North Carolina in April, the first time that show plays the South. And I’m thinking of doing a 10-year anniversary revival of Tings Dey Happen in 2017.

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EACH AND EVERY THING | CAST & CREATIVE TEAM DAN HOYLE Writer and Performer

Dan Hoyle is an actor, playwright, and writer based in New York City.

His brand of journalistic theater has been hailed as “riveting, funny and poignant” (The New York Times) and “hilarious, moving and very necessary” (Salon). His solo shows, including the most recent, Each and Every Thing, and previously The Real Americans, Tings Dey Happen, Florida 2004: The Big Bummer and Circumnavigator — all created and premiered at The Marsh in his native San Francisco — have had more than 800 performances around the country and overseas, including Joe’s Pub at The Public Theater, Culture Project, Berkeley Repertory Theatre, Cleveland Playhouse, Portland Center Stage, Painted Bride in Philadelphia, The Park in Calcutta, India, a U.S. State Department-sponsored fivecity tour of Nigeria and many universities including Columbia, Stanford, USC and NYU. As an actor, Hoyle recently appeared Off-Broadway in The Working Theater’s 30th Anniversary Season, and in Samantha Chanse’s Fruiting Bodies at The Sheen Center (The Claque). He has been featured in several web comedy series, playing everything from a struggling tech entrepreneur to a guy named Skeezy Steve. He has received numerous awards, including the Will Glickman, Prize of Hope, Bay Area Theatre Critics Circle, TBA, Lucille Lortel (nomination); grants from the Edgerton Foundation, the Pew Theatre Initiative, the Fleishhacker Foundation, the Zellerbach Foundation; and commissions from Working Theater, Aurora Theatre, First Person Arts and San Francisco Playhouse. He holds a double degree in Performance Studies and History from Northwestern University, and lives in New York with his wife, Lyra, and baby boy, Winston.

CHARLIE VARON Director

Charlie Varon is an artist in residence at The Marsh in San Francisco, where he has been writing, performing, directing and teaching since 1991. Charlie has worked with Dan Hoyle since 2004, collaborating on his hit solo shows Circumnavigator, Tings Dey Happen, The Real Americans and Each and Every Thing. Charlie’s own solo shows — all created in collaboration with David Ford

— have won awards, enjoyed extended runs at The Marsh and traveled around the United States. These include Rush Limbaugh in Night School, The People’s Violin, Rabbi Sam and Feisty Old Jew. Charlie is currently collaborating with the renowned cellist/composer Joan Jeanrenaud (of Kronos Quartet fame) on Second Time Around: A Duet for Cello and Storyteller, which will open at The Marsh in March, 2016. charlievaron.com TAKESHI KATA Scenic Designer

New York: Forever (New York Theatre Workshop), 3 Kinds of Exile, Through a Glass Darkly, Storefront Church, The Intelligent Design of Jenny Chow (Atlantic Theater Company), Adding Machine (Minetta Lane), Orson’s Shadow (Barrow Street Theatre), Playwrights Horizons, Vineyard, Rattlestick Playwrights Theater.

Regional: Alley Theatre, American Players Theatre, Ford’s Theatre, Geffen Playhouse, Goodman Theatre, Hartford Stage, Kirk Douglas Theatre, Long Wharf Theatre, Mark Taper Forum, The Old Globe, Resident Ensemble Players, Steppenwolf Theatre Company, Williamstown Theatre Festival and Yale Repertory Theatre. Obie Award.

Drama Desk, Ovation and Barrymore Award nominations. Kata is an assistant professor at University of Southern California, School of Dramatic Arts.

MARY LOUISE GEIGER Lighting Co-Designer

PCS: The Cripple of Inishmaan, Red, From the Mississippi Delta, Absurd Person Singular, For Colored Girls … New York Theater Workshop: Oedipus at Palm Springs, Architecture of Loss. Broadway: The Constant Wife (American Airlines Theatre). New York: Bauer (59E59 Theaters); My Mother has 4 Noses (The Duke); Killing of Sister George, Natural Affection, Beyond Therapy (TACT, Beckett Theatre); This Bitter Earth, Les Carillons (NYCB Theatre at Westbury); Good Television, The New York Idea (Atlantic Theatre Company); Kindness, The Blue Door, The Busy World is Hushed (Playwrights Horizons); The Morini Strad, Olive and the Bitter Herbs (Primary Stages); Mabou Mines’ Dollhouse, Red Beads (Mabou Mines); Violet Fire (BAM Next Wave Festival, National Theatre, Belgrade). Regional: Center Theatre Group (Forever, The Goat, Nickel and Dimed, Tongue of a Bird), Oregon

Shakespeare Festival, ACT Theatre, The 5th Avenue Theatre. Awards: Helen Hayes, IRNE, NYSCA. Training: Yale School of Drama. Faculty: NYU Tisch School of the Arts.

CECILIA DURBIN Lighting Co-Designer

Recent designs include Love Alone (Playmakers Repertory Company), The Life Model (On the Boards), In the Blood (Theatre Horizon, Barrymore nomination), Lust (HERE Arts Center), Every Good Girl Deserves Fun ... (Clutch Productions), An Experiment with an Air Pump and Machinal (Duke University), I am Gordafarid (Rising Circle Theater Collective), Measure for Measure (Epic Theatre Ensemble), The Seagull (Barnard College), Sideways Stories from Wayside School and The Seagull (Bloomsburg Theatre Ensemble) and The Theater at Monmouth’s 2014 Repertory Season. She received her M.F.A. from NYU, and is a member of United Scenic Artists Local 829. durbinlighting.com DAVID HINES Sound Designer

David Hines is a San Francisco based sound and lighting designer with copious experience in solo theater, including with Dan’s shows going back many years, such as Lucille Lortel nominated Tings Dey Happen and The Real Americans.

Other writer/performers for whom he’s designed are Hoyle director/ developer Charlie Varon, Rebecca Fisher, comedian Will Franken, playwright John O’Keefe and Brian Copeland. Theater organizations he’s worked with include Berkeley Repertory Theatre; Lorraine Hansberry Theatre, San Francisco; American Conservatory Theater, San Francisco; The Hudson, Hollywood; Fringe Festival producer EXIT Theatre, San Francisco; Theatre Off Jackson, Seattle; Daryl Roth Theatre, New York City; TheatreWorks, Memphis; and The Empty Space, Seattle. He’s also been a production stage manager, touring in a few dozen cities, and a tour consultant.

Recent work has been with Red Lips + W in San Francisco, featuring Australian poet Lachlan the Bray.

MARS TODAY Original Music

A producer, songwriter and performer, Mars Today (Mark Weiner) can often be found behind the scenes, working PORTLAND CENTER STAGE EACH AND EVERY THING | P1 5

CREATIVE TEAM to support a diverse range of artists.

In the studio, he has produced official remixes for Zion I, Collie Buddz, and more. He regularly collaborates with Panamanian duo Los Rakas, recently taking on the role of music director for their live band. In 2013, he produced “Vibe Called Quest,” the debut album for San Francisco emcee sayknowledge that ended up being the number one album on the national CMJ Hip-Hop Charts for almost two months when it was released. He created original music for Dan Hoyle’s The Real Americans and Each and Every Thing, as well as having had songs featured on several hit TV shows (Robot Chicken, Dexter, Black Ink).

Most recently, he created music for an educational animated series (StoryBots) that has already accumulated over 30 million views on YouTube.

MAUREEN TOWEY Script Development

Maureen Towey is a director who works in music, theater, film and installation.

She works as a creative director for award-winning musicians such as Arcade Fire, Ray Lamontagne and Tune-Yards. As an ensemble member with Sojourn Theatre, she leads radical community-based arts events. She has been recognized as a Fulbright Scholar (South Africa), a Princess Grace Fellow, A Theater Communications Group Leadership U Grantee (Berkeley Repertory Theatre), and as a PBS/AOL Maker.

KELSEY DAYE LUTZ Stage Manager

PCS credits include: stage manager for 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.

KRISTEN MUN Production Assistant

Kristen Mun is originally from Hawaii and graduated from Southern Oregon University with a B.F.A. in Stage P 16 | PORTLAND CENTER STAGE EACH AND EVERY THING

Management. This is her third season at Portland Center Stage, where previous credits include: production assistant on The Santaland Diaries, Three Days of Rain, Threesome, Lizzie, and 2nd production assistant on Fiddler on the Roof. Outside of Portland, she has worked at the Oregon Shakespeare Festival, Idaho Repertory Theatre and Actors Theater of Louisville. In Portland, she has worked as a production assistant and stage manager with other theater companies, such as Artists Repertory Theatre (And So It Goes …, Red Herring), Oregon Children’s Theatre (A Year With Frog and Toad, Charlotte’s Web, Ivy and Bean, Junie B. Jones) and Broadway Rose Theatre Company (Oklahoma!). Outside of stage managing, Kristen is also a fight choreographer and stage combat teacher.

THE MARSH

Founded in 1989 by its current Artistic Director, Stephanie Weisman, The Marsh has lived up to its moniker as a breeding ground for new performance, and has grown into one of the Bay Area’s most visible and highly respected performance venues. The Marsh presents 600 performances each year in its theaters in San Francisco and Berkeley. Work developed at The Marsh has received local, national and international critical acclaim, and has moved on to venues across the country and abroad, garnering three Will Gickman Awards for Best New Play, The National Harmony Award for Musical Theater, Bay Area Critics Circle Awards, and the American Theater Critics Association Osborn Award. The Marsh offers a year-round roster of classes, an artist-in-residence program, and its newest program, The Marsh Performance Initiative, develops full-length performances and teaches the business of theater. The Marsh also has a vibrant multi-arts children’s program, Marsh Youth Theater, which is open to all children regardless of financial resources.

The Marsh’s vision is to give artists the venue and tools to develop their “voice.”

At The Marsh, the First Amendment is a living practice supporting freedom of speech by finding a way to say yes to the stories of our times. The Marsh also seeks a diversity of voices and stories as part of its commitment to “citizen performers” — people who have not had a luxury of life in the arts but have an important, often little-heard piece of our collective story to tell. themarsh.org

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.

INFO | PCS Website:

SPONSOR STATEMENTS

LEAD CORPORATE CHAMPION

Umpqua Bank

DIANA GERDING

I am honored to be part of the sponsorship of thoughtful playwright Dan Hoyle’s work.

Each and Every Thing, his newest solo work, promises to be both provocative and unusual, questioning how we live our lives.

ACTORS TAKE CHANCES.

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.

DOUG & TERESA SMITH

Why do we support Portland Center Stage? Because it presents both the well-known and the less-well-known in imaginative and unexpected ways that keep us talking all the way home. Please enjoy the show!

www.pcs.org

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

boxoffice@pcs.org groups@pcs.org karenj@pcs.org robynh@pcs.org boxoffice@pcs.org casting@pcs.org education@pcs.org rentals@pcs.org

128 NW ELEVENTH AVE. BOX OFFICE HOURS

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 WWW.PCS.ORG, or by phone at 503.445.3700.

PLEASE ARRIVE EARLY. Late seating may be

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

NO LATE SEATING AVAILABLE IN THE STUDIO.

Because of the intimate nature of the Ellyn Bye Studio, it is not possible to accommodate late seating.

NO CAMERAS OR RECORDING EQUIPMENT.

No recording devices of any kind are allowed in the theaters.

Gerding Theater at the Armory 128 NW Eleventh Avenue Portland, Oregon 97209

503.445.3795 pcs.org/education

PLEASE SILENCE ALL CELL PHONES. You may

Chris Coleman Artistic Director

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.

TEEN THEATER INTENSIVES

ASSISTED LISTENING DEVICES ARE AVAILABLE.

SUMMER 2016

Listening devices are available at the concierge desk free of charge.

Photography by Patrick Weishampel

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.

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 education@pcs.org MORE INFO: pcs.org/education

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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.

REGISTER BY APRIL 1ST TO SAVE 10%

Acting & Audition

Production & Technical

Musical Theater

June 20-30, Monday–Friday

June 20-24, 2016, Monday–Friday

Aug. 1-12, 2016, Monday–Friday

Full Day, 9 am–4 pm

Full Day, 9 am–4 pm

Full Day, 9 am–4 pm

Incoming Freshmen–Seniors

Incoming Freshmen–Seniors

CHILDREN, UNDER THE AGE OF SIX, NOT ADMITTED. While we encourage you to bring

Incoming Freshmen–Seniors

29/12/15 3:47 PM

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.

DONORS

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.

CORPORATE GIFTS SEASON SUPERSTAR ($150,000+)

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

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

SEASON STARS ($10,000+)

AHA! Berry Wealth Strategies Davis Wright Tremaine KeyBank M Financial Group NW Natural The Standard Stoel Rives LLP Work for Art, including contributions from more than 75 companies and 2,000 employees

PLAYMAKERS ($5,000+) Arciform Boeing Company GBD Architects Hoffman Construction Perkins Coie Troutman Sanders LLP Washington Trust Bank Wieden + Kennedy

PRODUCERS ($2,000+)

Bank of America D’Amore Law Group Klarquist Sparkman LLP Merrill Lynch PCC Structurals, Inc. Pricewaterhousecoopers LLP Providence Health Plan Vernier Software & Technology

BENEFACTORS ($1,000+) Break-Away Tours Pacific Office Automation Zimmer Gunsul Frasca

STARS ($250+)

Cupcake Jones Graphic Arts Building Heathman Hotel

IN-KIND

Acme Scenic and Display Aesop Alaska Airlines The Alison Inn Arciform

Argyle Winery Art of Catering Artemis Foods Asia America Azul Bailey’s Vanilla Cinnamon Barbara Baker Ben & Jerry’s in the Pearl Bill Dickey Bluehour Blush Beauty Bar Bonnet Café Umbria Car 2 Go Cargo, Inc Casa del Matador.

Cassidy’s Restaurant Chehalem Wines Chez Joly Classic Pianos Culinary Artistry & Lincoln Restaurant Cupcake Jones Cynthia Duran Daily Café Davis Wright Tremaine Dazzle Deschutes Brewery Pub Deponte Cellars Devil’s Food Catering Diago/Ketel One Diane Benjamin Document Technologies Inc Sallie & Dan Dutton EcoVibe Apparel Elephant’s Deli

Elizabeth St Inn Ether Shoes Food in Bloom Fancy Leathers Charlie Frasier & Rick Taylor Free Geek Geranium Lake Flowers Ginger Carroll Grayling Jewelry Tasca & Paul Gulick Heathman Hotel Hip Hound Holland America Hotel DeLuxe Indigo Ipnosi Clothing Irving Street Kitchen Jamie Bosworth Photography Jan Baross Jefe restaurant Jenna St. Martin Photography Jimmy Mak’s Joni Photo Ka’anapali Golf Courses Karen Story Keith and Sharon Barnes Lela’s Bistro Drs Skye & Jane Lininger Little Bird Bistro Local Ocean Restaurant Luck Me Boutique Lucky Limosine & Towncar Services Manor Fine Wares Mario’s Dedre Marriott

Mark Spencer Hotel Marlene Montooth McCann Engineering LLC Sue McGrath & Rob Rieke McMenamins Pubs and Breweries Aaron Meyer Mingo Restaurant Greg Mockford Morel Ink Multnomah Whiskey Library New Renaissance Bookstore Nikasi Brewing NW Natural Nossa Familia Oregon Coast Aquarium Oregon Shakespeare Festival Oven and Shaker Paragon Restaurant & Bar Parish Pearl Gallery & Framing Stan & Suzanne Penkin Pepino’s Performance Promotions Pinch. A Design Office Pinkham Millinery Portland Furniture Portland Paramount Hotel Portland Piano Company Portland Rose Festival Portland Spirit Portland Timbers Portland Trail Blazers Portland Wine Storage Precision Graphics Rex Post Rhino Digital Printing

Pat Ritz Rocco Winery Sammy’s Flowers Santa Fe Taqueria Sara Sherwood Richard & Marcy Schwartz Ralph & Ellie Shaw Signa & Richard Gibson SmithCFI Simpatica Catering Studio Luxe The Standard Third Angle New Music Ensemble Three Monkeys U.S. Bank UU Yogurt Umpqua Bank Vibrant Table Catering & Events Vavace Cofffee House Viridian Reclaimed Wood Vivian Coffee Wells Fargo West Coast Event Productions West of the Moon Widmer Brothers Brewing Company Willamette Valley Vineyards Willamette wine Storage Zeppo Zipcar 92.3 KGON 97.1 Charlie FM 105.1 The Buzz

FOUNDATION & GOVERNMENT SUPPORT (AS OF DECEMBER 8, 2015)

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

LEADERSHIP CIRCLE ($25K+)

The Kinsman Foundation The National Endowment for the Arts Oregon Arts Commission Oregon Cultural Trust Shubert Foundation The Rose E. Tucker Charitable Trust

P18 | PORTLAND CENTER STAGE

SEASON STARS ($10K+)

Anonymous Jackson Foundation Krishnamurthy Charitable Fund

ARTISTIC DIRECTOR’S CIRCLE ($3K+)

H.W. & D.C.H. Irwin Foundation Mentor Graphics Foundation Juan Young Trust

STARS ($250+)

SEASON SUPERSTARS

Leupold & Stevens Foundation Swigert-Warren Foundation

SUPPORTING SEASON SPONSORS

PRODUCERS ($2K+)

AOH Foundation Autzen Foundation D. Margaret Studley Foundation

BENEFACTORS ($1K+)

Big Sky Fund of Equity 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 DECEMBER 14, 2015) 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 PRODUCTIONS ($100,000+)

Keith & Sharon Barnes Don & Mary Blair

Heather Killough Richard L. Lawson

LEADERSHIP CIRCLE ($25,000–$99,999)

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 Stephen Domreis 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 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

Carole Alexander Peter & Susan Belluschi Family Fund of The Oregon Community Foundation Bill Byrne & Dennis Scolard J. Michael & Ginger Carroll Glenn Dahl & Linda Illig Joan & Jim English 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 Barbara A. Sloop W R Swindells

Julia & Robert S. Ball Mr. & Mrs. John C. Beckman Jack Blumberg & Tom Anderson Ann Brayfield & Joe Emerson Richard Louis Brown Marianne Buchwalter Carol Edelman Robert Falconer CLF Family Charitable Foundation Randy Foster Sue & Mike Hollern Brad & Judy Johnson Dennis C. Johnson Raymond & Marilyn Johnson Stephen & Marjorie Kafoury Tim Kalberg Bernie & Carole Kronberger Edwards Lienhart Family Foundation Richard M. Linn George Middleton John D. & Nancy J. Murakami J. Greg & Terry Ness Allan & Madeline Olson Stanley & Susanne Penkin David Pollock Judson Randall Pat & Al Reser Bobbie & Joe Rodriguez Teri Rowan Raj Sarda MD Mark Schlesinger & Patti Norris Marian & Elihu Schott Family Fund of The Oregon Community Foundation Trina & Michael Sheridan Michael & Karen Sherman 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 Don & Eunice Waggoner Trudy Wilson & Terry Brown Winnowski Family Foundation Mary & Pat Wolfe Steven & Deborah Wynne

PRODUCERS ($2,000–$2,999)

BENEFACTORS ($1,000–$1,999)

PLAYMAKERS ($5,000–$9,999)

Dr. Don & Jessie Adams Scott & Linda Andrews Gerry & Marilyn Cameron Martin & Karen 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)

Anonymous Ruth & Jim Alexander Kathi & Ted Austin

Anonymous (2) Rukaiyah Adams

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

Umpqua Bank

AHA! Berry Wealth Strategies Curtis T. Thompson, M.D. and Associates, LLC Davis Wright Tremaine Express Employment Professionals M Financial Group Mr. Stan Amy & Ms. Christy Eugenis Aletha & N. Christian Anderson III Phyllis Arnoff Cheryl Balkenhol & James Alterman Christian, Lisa & Ella Bisgard 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 HornCaskey Dr. Richard & Nancy Chapman Mary Chomenko Hinckley & Gregory K. Hinckley Drs. Marguerite Cohen & Joe Roberts Leslie Copland M. Allison Couch & Tom Soals Leslie & James Culbertson Judy Dauble Edward & Karen Demko Mickey Devore Craig Dewey & Julie Coop Gerard & Sandra Drummond James & Patricia Edwards John & Jane Emrick John Briggs & Jeffrey Feiffer Mike & Chris Feves Marc Franklin Deborah Friedman Larry & Deborah Friedman Daniel & Leah Frye John & Jacque Guevara Heather Guthrie & Gil Parker Del Hall Donald F. Hammond Sis Hayes Lani Hayward Tom & Betsy Henning Sharon & Henry Hewitt Dale Hottle Neil & Karen Hutchinson Don & Claudia Hutchison Douglas & PJ Jones Gregg & Diane Kantor Dr. Laurie Kash & Michael Carter Carla Kelley Selby & Doug Key

NW Natural Oregonian Media Group Stoel Rives LLP U.S. Bank The Standard Wells Fargo Work for Art

Heather Killough 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 Nathan Family Hester H. Nau Bradford & Linda Needham Deborah Neft & Salvatore D’Auria Paul & Lisa Nourigat Duane & Corinne Paulson Joan Peacock 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 Joan & David Weil Vikki Wetle Jay Wilt David & Sherri Zava

STARS ($500–$999)

Anonymous (2) Charles & Gloria Adams Margaret & Stuart Albright Thomas & Brada Bailey Robin & Thomas Barrett Susanne Baumann & John Gragg David & Bonnie Bennett Dr. Janet Bennett Phil & Julie Beyl

Bob Schuler & Debra Blanchard Jill Blanchard Diane Boly Lesley Bombardier Stephen & Marge Brenneke Brooke Psychologists, LLC Brenda Charpentier 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 Charlie Frasier & Rick Taylor 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 Bill & Elaine Hallmark Brett & Jessica Hamilton Kregg & Andrea Hanson Paul & Samantha Harmon Richard L. Hay Patsy Heinlein MJ & Lee Alan Helgerson Tom & Betsy Henning Herman Charitable Foundation Paul & Ruth Herrington Mr. Arthur Hung & Dr. Jim Watkins Arnold & Virginia Israelit Jeff Jetton Jessie Jonas Jean & Rich Josephson Susan E. Jossi & Bob Conners Kevin & Suzanne Kahn Gerri Karetsky & Larry Naughton David Kasten Robert Kennedy Chelsea King Jim & Lois King Peter H. Koehler Sr BettyLou Koffel & Phillip Moyer Mr. Rudy Kohnle & Ms. Krista Larson

PORTLAND CENTER STAGE | P 1 9

DONOR LIST (CONTINUED) Clifford & Doris Carlsen Family Fund of the Oregon Community Foundatio Bruce & Cathy Kuehnl Susan Lair & Doug Trobough Ray & Terry Lambeth Brad & Cindy Larsen Barbara Lenfesty & Richard Mullins Joyce & Stanley Loeb 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 Juris V. & Silvia Orle John & Carolyn Parchinsky Carol Pelmas Elizabeth Perris & Beverly Schnabel Jim & Pam Phillips Sue Pickgrobe & Mike Hoffman Wallace & Elizabeth Preble Carolyn & Henry Raz Dick & Linda Reedy Drs. Scott & Kay Reichlin Helen Richardson & Don S. Hayner Kelly Ritz-Eisenstein & Scott Eisenstein Halle & Rick Sadle Steven & Carol Sandor Peter Shinbach Brad Simmons & Shannon Hart J & C Skuster Walter & Carol Smith Carl Snook 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 Carol & David Turner 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 Dr. & Mrs. Bennett Wight Dennis & Jean Wilde Denice & Dave Williams Brian R. Wilson P20 | PORTLAND CENTER STAGE

Fabian & Julie Yeager

PATRONS ($150-$499)

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 Ms. Catherine Blosser & Mr.Terry Dolan Jeffrey Bluhm Jacquelyn Boardman Lynne & Frank Bocarde Suzanne Bonamici Brian & Karen Borton Norma Bradfish Kay Bristow Peggy Bromley Mary Butler Ms. Stacey Caldwell-Roberts & Mr. Robert Roberts Matt & Celice Carlough 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 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

Arthur & Winnifred Danner Marcia Darm & Bruce Berning Betty Daschel Jim & Ilene Davidson David & Alice Davies Gloria Zeal Davis Larry Davis & Maureen Ryan Maureen Sproviero Davis & Kerwin Davis Robert & Ruth Deal Carolyn DeLany-Reif Robert & Jane D’Entremont 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 Mary A. & Peter Eisenfeld Kris & R. Thomas Elliott Ronnie-Gail Emden & Andrew Wilson Sharon Ewing-Fix 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 Sarah Giles Scott Goins 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 Tracey Heinrich Paul Hempel & Bruce Newman Mr. & Mrs. Clayton Hering Diane M. Herrmann Frances & Hunter Hicks

Suzanne Hiscox Barbara & Mark Hochgesang 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 Robina & Tim Ingram-Rich Willard & Shirley James Katharine Jansen Joanne Jene, M.D. Betsy & Jerry Jeronen Cecily Johns Dennis & Karen Johnson Tony & Sarah 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 Ed & Margaret Kushner Kevin & Ida Lafky Brian & Annika Lamka Diane Lancon 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 Ralph London Mary E. Long R. Lubomirski Elaine & Richard Lycan Jeanne & Jim Magmer Tauna Magness 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 Charles & Kathleen McGee Alan & Daina McLean Gretchen McLellan Steven McMaster & Kathleen Brock Julia Meck Richard Meeker 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 Sonny Jepson & Felice Moskowitz Laura & Joseph Munoz Bill & Pat Nelson Jeanne Newmark Ann Nickerson Landscape Design Jim & Michelle Niegowski Linda Aso David & Anne Noall Kay Novak Ron & Janet O’Day Bonnie & Robert Olds Ric Oleksak Eileen & Alfred Ono Beverly J. Orth Lynda Paige Callie & Ana Winner JoAnn Pari-Mueller & Dan Mueller Robyn Parnell & Mark Waggoner Janet Peek Jennifer Peery Steve & Melissa Peterman Francis Peters John M. & Suzy J. Petersen Cheryl Meyers Kevin Phaup Nancy Pitney Art Dodd & Diane Plumridge David & Margo Price Kathy Querin Edgar & Prudence Ragsdale Jay & Barbara Ramaker Michael R. Rankin Bonnie & Peter Reagan Ed Reeves & Bill Fish Leslie Rennie-Hill & Ken Hill Mark Reploeg Leslie Richards David Robertson & Chuck Brimmer Michael Robertson & Gwyn McAlpine Curtis Robinhold Greg Roderick Elmer & Karen Rogers Charles & Judith Rooks Kelly & Tomilynn Ross

Ted & Holly Ruback Davia & Ted Rubenstein John & Stephanie Saven Dianne Sawyer & Richard Petersen 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 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 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 James N. Stamper & Jennifer P. Villano Dan Volkmer & Frank Dixon Mark & Mary Ann Vollbrecht John N. & Betty K. Walker Nancy Walker & Terry Foty Anne & Eddie Ward Karen Whitaker Chris & Jana 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 Paul Wrigley Jack Wussow & Kyle Adams Russ & Mary Youmans Alan & Janet Zell

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

4 0 9 S W 1 1 T H AV E P O R T L A N D | 5 0 3 . 2 2 4 . 3 2 9 3 | M A R K S P E N C E R . C O M 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 Kingston in memory of Annette Coleman Jim Rosenbaum and Sandra Lewis in honor of Tim and Mary Boyle

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 karenj@pcs.org.

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 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

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

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

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 Season Ticket Sales Agents: Dayne Ledet, Barbara Morley, Cate Ridenour, Mark Woodlief

OPERATIONS

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

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 Supervisor: Mike Floyd Cutters/Drapers: Paula Buchert, Eva Steingrueber-Fagan First Hand: Larissa Cranmer Costume Crafts Artisan: Barbara Casement Wardrobe Supervisor: Bonnie Henderson-Winnie Wig Mistress: 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 Melberg Kitchen Supervisor: Erik Sanchez Kitchen Assistants/Cooks: Laura Fudacz, Sam DiChiara Food & Beverage Service Staff: Cait Allen, K’Sondra Frederickson, Stacy Hagen, Christopher Klarer, Lucia Oneil, Ellie Percival, Justin Rutherford, Chelsea Turner

FOR THIS PRODUCTION GREAT EXPECTATIONS

FOREVER

ASSISTANT TO THE DIRECTOR

ASSOCIATE LIGHTING DESIGNER

SCENIC ARTISTS

SCENIC ARTISTS

Amy C. Vaught

Elicia Beebe Jackson Hunt Shawn Mallory Kiona McAlister Sarah O’Shaughnessy

PROPS ARTISANS

Teresa Pilar Huarte Sarah Tiffany-Appleton

ELECTRICIANS Kate Belden Elizabeth Carlson Don Crossley Hannah Fattor Rob Forrester Morgan Isaac Ronan Kilkelly Duncan Lynch

STITCHERS

Foggy Bell Sanne Jenkins Virginia Kilkelly Morgan Reaves

SOUND PROGRAMMER AND ENGINEER Scott Thorson

Cecilia Durbin

Shawn Mallory Kiona McAlister

PROPS ARTISANS

Teresa Pilar Huarte Sarah Tiffany-Appleton

ELECTRICIANS Kate Belden Elizabeth Carlson Don Crossley Hannah Fattor Rob Forrester Morgan Isaac Ronan Kilkelly Duncan Lynch

EACH AND EVERY THING SCENIC ARTISTS Shawn Mallory Kiona McAlister

PROPS ARTISANS

Teresa Pilar Huarte Sarah Tiffany-Appleton

ELECTRICIANS Kate Belden Elizabeth Carlson Don Crossley Hannah Fattor Rob Forrester Morgan Isaac Ronan Kilkelly Duncan Lynch

Great Expectations cover art by Mikey Mann.

Forever cover art by Mikey Mann; photo of Dael Orlandersmith by Craig Schwartz.

Each and Every Thing cover art by Michael Buchino.

VOLUNTEER COMMITTEE

Office Assistants Chair: Connie Guist Entertainers Chairs: Jo McGeorge, Olivia Jacobus Supporting Cast Chair: Karen Watson

PORTLAND CENTER STAGE | P 2 3

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