Hedwig and the Angry Inch / School Girls; Or, The African Mean Girls Play

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FROM ARTISTIC DIRECTOR MARISSA WOLF

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HEDWIG AND THE ANGRY INCH

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NEVER TURNING BACK: A BRIEF HISTORY OF HEDWIG

24 BEHIND THE CURTAIN: DELPHON “DJ” CURTIS JR. 28 SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY 30 JOCELYN BIOH: AN INTERVIEW WITH THE PLAYWRIGHT

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36 INVISIBLE NO LONGER: A DISCUSSION OF BEAUTY AND BLACKNESS 42 BEHIND THE CURTAIN: ANDREA VERNAE 54 #ARTSLANDIAWASHERE

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FROM ARTISTIC DIRECTOR

MARISSA WOLF Welcome to a winter of two humor-filled and deeply compelling plays, Hedwig and the Angry Inch in the Ellyn Bye Studio and School Girls; Or, The African Mean Girls Play on the U.S. Bank Main Stage.

I am caught off guard by how these two beautiful plays make me feel both gleeful and deeply shaken, using brilliant humor to mask profound pain. Keen insight and laughter both lead audiences into the world of a rock concert at an abandoned mall in Hedwig and a Ghanaian boarding school in School Girls.

Whether we see ourselves in the central characters or whether their experiences are something we encounter for the first time, each play builds an intimacy with the audience. This capacity to discover powerful bonds between us reminds me of one of my favorite lines in Hedwig’s song “The Origin of Love”: Last time I saw you We had just split in two.

You were looking at me.

I was looking at you.

Both plays invite us to see ourselves in each other.

Chip Miller’s arresting approach to the iconic cult classic Hedwig hits close to home. Additionally, I’m thrilled to partner with Artists Repertory Theatre and my wonderful colleague Artistic Director Dámaso Rodríguez on School Girls. A big new show like this benefits from having so many talented people in the room. This partnership between our two theaters, helmed by our fantastic director, Lava Alapai, lifts us and our community together.

Enjoy the show!

All best,

Photo by Gary Norman.

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THE SLEEPING BEAUTY Christopher Stowell’s

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December 28, 2019 – February 23, 2020 In the Ellyn Bye Studio

Marissa Wolf

Artistic Director

Cynthia Fuhrman

Managing Director

HEDWIG

AND THE ANGRY INCH Text by

Music & Lyrics by

John Cameron Mitchell

Stephen Trask

Directed by

Chip Miller Music Director

Band Director/Percussion

Scenic Designer

Costume Designer

Amir Shirazi

Darian Anthony Patrick

Britton Mauk

Dominique Fawn Hill

Lighting Designer

Sound Designer

Video Designer

Avi Sheehan

Em Gustason

Jamie Leonard

Wig Designer

Stage Manager

Dialect Coach

Production Assistant

Jessica Miller

Janine Vanderhoff*

Karl Hanover

Dana Petersen

Performed with no intermission.

Produced Off-Broadway by Samjack, Ltd., Susann Brinkley, and James B. Freydberg at the Jane Street Theatre where it opened February 14, 1998, under the direction of Peter Askin.

Originally produced in New York City by David Bender in association with the Westbeth Theatre Center, Arnold Engelman, Producing Director.

Hedwig and the Angry Inch is presented by special arrangement with Dramatists Play Service, Inc., New York.

The video or audio recording of this performance by any means is strictly prohibited.

If you photograph the set before or after the performance, please credit the designers if you share the image. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SEASON SUPERSTARS

MARY & DON BLAIR

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SEASON SUPPORTING SPONSORS

SHOW SPONSORS

CHRYS MARTIN & JACK PESSIA KELLY K. DOUGLAS & ERIC H. SCHOENSTEIN RONNI LACROUTE KEVIN HOGAN & ARON LARSON

THE CAST Delphon “DJ” Curtis Jr........................Hedwig Ithica Tell*.................................................Yitzhak *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

THE ANGRY INCH Darian Anthony Patrick, Skszp (band director, percussion) Maria Del Castillo, Krzyzhtof (guitar) Jasmine Linée Wood, Schlatko (guitar) Nsayi Matingou, Jacek (bass)

SONG LIST Tear Me Down The Origin of Love Sugar Daddy The Angry Inch Wig in a Box Wicked Little Town The Long Grift Hedwig’s Lament Exquisite Corpse Wicked Little Town (Reprise) Midnight Radio

Delphon “DJ” Curtis Jr. as Hedwig.

Photo by Kate Szrom.

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After their division, the two parts of man, each desiring his other half, came together entwined in mutual embraces, longing to grow into one.

—Plato, Symposium

TEAR M E DOWN

TH E O R I G I N O F LOVE

As the end of World War II ushered in the start of the Cold War, Germany was split into two countries.

West Germany pivoted back toward democracy after Hitler’s reign, while East Germany became part of the “Eastern Bloc” controlled by the Soviet regime. In August 1961, the East German military police imposed the now-infamous Berlin Wall to separate the city’s democratic and communist sectors. The wall stood 12 feet tall and extended approximately 27 miles through the city. Topped with 302 armed guard towers and lined with barbed wire and booby traps, including more than 50,000 landmines, the formidable structure symbolized political mistrust and the suppression of free expression. In 1989, the Wall’s destruction marked the end of the Cold War and sounded a clarion call for liberty.

The same year the Wall fell, a performer named John Cameron Mitchell befriended a musician named Stephen Trask following a chance meeting on an airplane. Five years later, they presented the first versions of Mitchell’s characters Tommy Gnosis and Hedwig with Trask’s songs at dragpunk clubs in NYC. The act grew into a full-length musical that blended the raucous cabaret and sketch aesthetics with influences of rock opera and stand-up comedy. In 1998, the Off-Broadway premiere at Jane Street Theatre was a gritty, glittering success. It transformed Hedwig from underground darling to critically-acclaimed cultural phenomenon, attracting VIP fans like David Bowie and Lou Reed, whom the creators have always identified as influences.

I don’t mind if my skull ends up on a shelf as long as it’s got my name on it.

—Debbie Harry, rock ’n’ roll chameleon

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Some people think little girls should be seen and not heard, but I say: Oh, Bondage — up yours!

—Poly Styrene, punk icon

Camp sees everything in quotation marks. It’s not a lamp, but a “lamp;” not a woman, but a “woman.”

—Susan Sontag, insurgent intellectual

You must always be yourself, no matter what the price. It is the highest form of morality.

—Candy Darling, gender outlaw

S U GAR DAD DY In 2001, Mitchell secured a $6M budget and created an award-winning film adaptation that made waves around the world. A devoted international fandom of “Hed-heads” sprang up at interactive midnight screenings, vaulting the movie to full-on cult classic status in the company of legendary kindred ancestor, The Rocky Horror Picture Show. Thirteen years later, the musical opened on Broadway. A cadre of celebrities stepped into the now-iconic role, among them Neil Patrick Harris and Taye Diggs. The production ran for more than a year and garnered numerous awards, including four Tonys. It’s been roughly 25 years since those first subversive Hedwig and Tommy concerts. Considering the show’s massive impact after such a scrappy beginning, part of its legacy must be its reminder that a strict division between “high culture” and “low culture” leaves little room for ecstasy and innovation.

WI G I N A BOX John Cameron Mitchell’s performance as Hedwig is seminal. But for Mitchell himself, there is no such thing as the “definitive” Hedwig portrayal.

Mitchell has encouraged other theaters to make their productions soar in ways that engage with and recognize the body and personal background of the person playing Hedwig, even if that means making minor alterations. The role has been inhabited by performers of many races, genders, ages, sizes, national origins, and sexual orientations.

Mitchell sees space within the character for myriad interpretations. What matters far more than who is playing Hedwig is the recognition of how the role shifts in that person’s individual body, and what new resonances and cultural conversations can arise when bodies vastly different than Mitchell’s don the wig. Characters are constructs, after all, and the way they are constructed — or reconstructed — makes room for the play to respond to the world in each new historical moment in which it’s performed.

Mitchell has stated that Hedwig is intended to be received as a Queer person, but beyond that, she doesn’t claim labels for herself. “There is a metaphor with Hedwig,” says Mitchell, explaining that she should not be considered a spokesperson for any particular community. “She’s a gender of one, and that is accidentally so beautiful.”

M I DN I G HT RAD I O Pop culture is one of modern life’s most influential identity-builders. The relationship between pop iconography and youth, particularly for young people from traditionally maligned minority communities, is complex and deeply personal. But the power of pop is its perpetual focus on the new.

The impulse to invent new imagery, new sounds, and new styles is so crucial to the process of human evolution it sometimes seems genetic. Particularly for many oppressed peoples, shared iconography can create community and connection, but it can also provide a certain introspective distance that helps in understanding oneself in relation to the world at large. As Audre Lorde, the self-described “black, lesbian, mother, warrior, poet,” wrote: “If I didn’t define myself for myself, I would be crunched into other people’s fantasies for me and eaten alive.”

[Glam rock] invited you to participate. It asked you to change yourself in all these different ways, or offered up all these options.

—Todd Haynes, queer filmmaker

Those who demand you conform the most to how they live are the ones who are the most scared and intimidated by life.

—Grace Jones, interstellar queen

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MEET THE CAST & BAND Delphon “DJ” Curtis Jr., Hedwig DJ is overjoyed to make his Portland Center Stage at The Armory debut as Hedwig! He graduated from William Peace University with a B.F.A. in musical theater. DJ has performed in productions across the country, including several occasions with North Carolina Symphony through the Manning Chamber Music Series. Favorite credits include: David Lee’s adaptation of Lerner and Lowe’s Camelot with The Old Creamery Theatre and Great Plains Theatre, The Wiz with Shenandoah Summer Music Theatre, and Ruined at Burning Coal Theatre Company. Local credits: A Christmas Carol and Crowns at Portland Playhouse; Sides: The Musical at Portland Playhouse and Lakewood Theatre Company for the Fertile Ground Festival. He would like to thank his loved ones for their distant, and close, love and support. He would also like to give a special thank you to the cast and crew: Without every single one of you, this would not be possible.

Ithica Tell, Yitzhak Ithica is delighted to return to Portland Center Stage at The Armory, where she was previously seen as Doris the Church Lady in The Color Purple and The Lady in Blue in for colored girls who have considered suicide / when the rainbow is enuf. Other favorite roles include: Judas in Jesus Christ Superstar (PAMTA Award) and Othello in Othello at Post5 Theatre; Beatrice in Much Ado About Nothing at Willamette Shakespeare; Mitch Mahoney in The 25th Annual Putnam County Spelling Bee with Anonymous Theatre; and Ursula in Bon Temps Rouler at the Shakespeare Café at the Bremer Shakespeare Company

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in Bremen, Germany, to name a few.

Ithica has appeared on Grimm (NBC), The Librarians (TNT), The Benefits of Gusbandry (web series) and Life After First Failure (CW Seed). She would like to give big love and thanks to her sister Isha for “the acting bug” and to Ethan, for bringing the perfect balance to her life with his love.

Darian Anthony Patrick, Skszp (band director, percussion) Darian is a multi-instrumentalist based in Portland. Focusing on percussion, with training in classical and jazz vocal performance as well as electric and bass guitar, Darian performs a broad range of musical styles focusing on the African diasporic traditions, including blues, rock, R&B, Afro-Cuban, and Afro-Brazilian styles. He has studied percussion with masters Israel Annoh and Caton Lyles, and guitar with William Seiji Marsh. Darian performs regularly throughout the Pacific Northwest. darianpatrickmusic.com Maria Del Castillo, Krzyzhtof (guitar) Maria is a self-taught guitarist, vocalist, and songwriter from Lima, Peru.

Growing up queer and undocumented in a small, conservative city in Florida, she turned to music for sanctuary and community, eventually moving to Portland in 2007 to pursue a music career. Since then, she’s been performing locally in a variety of projects, as well as composing music for indie video games.

Jasmine Linée Wood, Schlatko (guitar) Jasmine is a self-taught artist from Portland. A guitarist, pianist, vocalist, and songwriter since childhood, she is known for her indie-rock band, Haste, and she is currently recording a new album under the moniker KIITE. Jasmine’s work explores minimalism.

Her love for noise guitar and fuzz are combined with meditation and nature field recordings in her current project, creating a distorted, ambient soundscape. She is also a photographer, fashion stylist, and model, and operates her own fashion brand, Confession Theory. She has written and performed live film scores for Church of Film, which focuses on marginal, art-house cinema, with an emphasis on radical political education and mutual-aid.

Nsayi Matingou, Jacek (bass) A Northwest local and multiinstrumentalist, Nsayi has been a part of Portland’s underground and indie music scene for over a decade. As an underground rocker, Nsayi has spent her musical career touring throughout the United States, sharing her affinity for grunge, punk, and rock ‘n’ roll in basements, bars, and concert halls.

This is her first musical production with Portland Center Stage at The Armory, and she couldn’t be more excited and honored to bring a little bit of the underground to the stage.

John Cameron Mitchell, Text John Cameron Mitchell’s Hedwig and the Angry Inch, written with Stephen Trask, made its debut on the stage of SqueezeBox, a New York City rock ‘n’ roll drag bar. The show then premiered Off-Broadway, receiving rave reviews.

John was awarded an Obie Award, a New York Magazine Award, a Drama League Award, and the Outer Critics Circle Award for Outstanding Off-Broadway Musical.

John’s film adaptation of Hedwig and the Angry Inch received directing and acting awards at festivals such as Sundance (Audience Award, Best Director), Berlin, Deauville, Seattle International, San Francisco International, and San Francisco’s Lesbian & Gay Festival. The film was also honored by the National Board of Review, The L.A. Film Critics Association, Premiere Magazine, and the Golden Globes (nomination for Best Actor, Motion Picture – Musical or Comedy). He has received a Drama Desk Award nomination for his role of Dickon in the Broadway production of The Secret Garden. Off-Broadway, Mitchell received an Obie Award and a Drama Desk Award nomination for his role as Larry Kramer in The Destiny of Me. In Lincoln Center’s Hello Again, John received a Drama Desk nomination. He also appeared in the original Broadway production of Six Degrees of Separation and as Huck Finn in the Broadway production of Big River.

John adapted and directed Tennessee Williams’ Kingdom of Earth for New York’s Drama Dept. Theatre Company, of which he is a founding member.

Stephen Trask, Music & Lyrics Stephen Trask is the author of the music and lyrics for Hedwig and the Angry Inch, as well as the original music director.

He was also the original leader of the

notorious SqueezeBox house band, performing with Debbie Harry, Lene Lovitch, Hole, Green Day, Joey Ramone, as well as New York’s most popular drag queens. For five years, Stephen performed with his band Cheater, who originated The Angry Inch band Off-Broadway and performed on the original cast recording. From 1993–1998, Stephen danced with and accompanied The Corner Store Dance Company. He has scored numerous dance pieces and movies. During Hedwig’s reign at the Jane Street Theatre, Stephen received an Obie Award, the Outer Critics Circle Award for Outstanding OffBroadway Musical, a New York Magazine Award, Drama Desk nominations for Outstanding Music, Outstanding Lyrics, and Outstanding New Musical, a Grammy Award nomination for Best Cast Album, and two GLAMA Awards: Best Cast Album and Best Score for Film or Stage. He was the producer for the album by rock band Nancy Boy, as well as the score and soundtrack album for the film version of Hedwig and the Angry Inch. He also composed the music for New York Theatre Workshop’s Cavedweller, adapted from Dorothy Allison’s novel, and works regularly in the film world, supplying the original scores for Camp, The Station Agent, and The West Memphis Three.

Chip Miller, Director Chip is a director and producer, currently in the role of associate producer at Portland Center Stage at The Armory.

They were previously the artistic associate/resident director at Kansas City Repertory Theatre. Directing: Redwood (world premiere, Portland Center Stage at The Armory); School Girls; Or, The African Mean Girls Play, Welcome to Fear City, Sex with Strangers, A Raisin in the Sun (Kansas City Repertory Theatre); Becoming Martin by Kevin Willmott (world premiere, The Coterie Theatre); dwb: driving while black (Lawrence Arts Center); 4:48 Psychosis (The Buffalo Room). Chip has developed work with playwrights including Kevin Willmott, Kara Lee Corthron, Brittany K. Allen, Catherine Trieschmann, Darren Canady, Andrew Rosendorf, Michelle T. Johnson, and Michael Finke. They have developed work at The William Inge Theater Festival, NYU Steindhard’s New Plays for Young Audiences, Portland Center Stage at The Armory’s JAW, Orlando Shakes’ Playfest, Midwest Dramatists Center, and Kansas City Repertory Theatre’s OriginKC: New Works Festival. Education: B.F.A., NYU Tisch School of the Arts.

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MEET THE CREATIVE TEAM Amir Shirazi, Music Director Amir (they/them/theirs) is an active composer, arranger, sound designer, music director, and songwriter. Their theatrical credits include productions with Portland Actors Ensemble (for which they won the Outdoor Shakespeare Festival Award in 2012 for Best Sound Design of Twelfth Night), Post5 Theatre Company, Milagro Theatre (for which they won a Drammy Award in 2015 for Outstanding Achievement in Original Music for ¡O Romeo!), Jewish Theatre Collaborative, Corrib Theatre, and most recently, Portland Center Stage at The Armory (Macbeth). Amir serves as artistic director to Transpose PDX, which is a non-profit choral arts organization serving the transgender, non-binary, and gender non-conforming community. They graduated from Boston College with a B.A. in music, concentrating in composition and theory. amirbshirazi.com Britton Mauk, Scenic Designer Britton is a Pittsburgh-based scenic designer. This past year, he designed two world premieres: The Burdens at

City Theatre Company and Old Man and the Sea at Pittsburgh Playhouse.

Some of his other recent designs include The Absolute Brightness of Leonard Pelkey at City Theatre Company and Coram Boy at Pittsburgh Playhouse. Britton has designed for regional theaters such as Cardinal Stage (Fun Home) in Bloomington, IN, and Mixed Blood (Mermaid Hour Remixed) in Minneapolis. Closer to home, he has designed for CLO Cabaret (Xanadu), Prime Stage (I Know Why the Caged Bird Sings), and Quantum Theatre (The River). Britton is a member of the USITT Diversity and Inclusion Committee and enjoys mentoring up-and-coming theater makers as the co-coordinator for the USITT Gateway Program.

Dominique Fawn Hill, Costume Designer Dominique is elated to be joining Portland Center Stage at The Amory this season. Her regional design credits include: One Night in Miami (City Theatre Company); School Girls; Or, The African Mean Girls Play (Kansas

City Repertory Theatre); Pipeline (City Theatre Company); Julius Caesar (Asolo Repertory Theatre); Candide (Ava Company/A Noise Within). Other design credits: 125 th & FreeDOM (National Black Theatre); A Streetcar Named Desire (Boston Court Pasadena); Beauty and the Beast (Cumberland County Playhouse); Chicago (Sonoma County Repertory Theater). Associate/assistant designs: for colored girls who have considered suicide when the rainbow is enuf (The Public Theater); Natasha Pierre & THE GREAT COMET of 1812 (Broadway); Everybody (Signature Theatre). She holds an M.F.A. from The University of California, San Diego. dominiquefhill.com Avi Sheehan, Lighting Designer Avi is excited to be back at Portland Center Stage at The Armory, where they were the lighting apprentice last season. Recent lighting design credits include DNA at Oregon Children’s Theatre, Smokefall at Defunkt Theatre, Queer Opera at Portland State University, Newsies at Rocky Mountain

Ancient history

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Theatre for Kids, and Elizabeth Rex at Oak Park Festival Theatre. Originally from Baltimore and here by way of Chicago, Avi is so thankful for the welcoming home that Portland has provided, personally and artistically.

They send love and thanks for the support of their partner, Sarah, and cat, Theo.

Em Gustason, Sound Designer Years ago, Em received an anonymous package in the mail containing a marked up Hedwig and the Angry Inch script. He has been waiting to design it ever since. Other Portland credits include Mary’s Wedding at Portland Center Stage at The Armory, Marjorie Prime with Artists Repertory Theatre, James and the Giant Peach with Oregon Children’s Theatre, and How We Got On with Portland Playhouse. He holds a B.A. in technical theater and audio recording from The Evergreen State College and is a proud member of IASTE Local 28, here in Portland.

Jamie Leonard, Video Designer Jamie is a lighting and projection designer currently based out of Kansas City, Missouri. His most recent credits include Ragtime (associate lighting designer) and Oklahoma! (lighting designer) at Musical Theater Heritage, The Brothers Paranormal (assistant lighting designer) with Pan Asian Repertory Theatre, Memphis (lighting designer) with The Black Repertory Theatre of Kansas City, and Brother Toad (assistant projection designer) at the Kansas City Repertory Theatre.

She is also currently the lighting director for the True/False Film Fest in Columbia, Missouri. They are thrilled to be here and would like to thank his family/friends for all their support and guidance through the years.

Jessica Miller, Wig Designer Jessica is so excited to be back for her third season as the wig master and designer for Portland Center Stage at The Armory. She has a B.A. in costume design from the University of Oregon.

It is there where her passion for wig making and styling began. She later got her cosmetology license so that she could learn all aspects of hair. As a wig maker, her credits include last season’s The Color Purple, Crossing Mnisose, and Sense and Sensibility.

Janine Vanderhoff, Stage Manager Janine is thrilled to be back for her fifth season at Portland Center Stage at The Armory. She recently stage managed Macbeth, Tiny Beautiful Things, A Christmas Memory/Winter Song, and The Color Purple. Other favorites include: Wild and Reckless, The Oregon Trail, and Lady Day at Emerson’s Bar and Grill. In New York, Janine worked on The Lion King, as well as with many Off-Broadway and regional companies.

Portland credits: Sweeney Todd (Portland Opera), Play, How to End Poverty in 90 Minutes, and The Other Place (Portland Playhouse). Touring: The Graduate, Cats, The Vagina Monologues, Jekyll & Hyde, and Show Boat.

Production management: The Daily Show with Jon Stewart “Democalypse 2012 Republican National Convention” (Tampa, FL); Straz Center (Tampa, FL); The Fox Theatre (Atlanta, GA). Proud NYU graduate and AEA member.

Karl Hanover, Dialect Coach Karl has been involved in theater in various capacities for the last 25 years.

Previous dialect work includes Orlando, The Call, Blue Door, Antigone Project, 2.5 Minute Ride, and Twilight: Los Angeles with Profile Theatre; A Christmas Carol and The Language Archive with Portland Playhouse; Hen Night Epiphany, Belfast Girls, Lifeboat, Quietly, Hurl, How to Keep An Alien, and Eclipsed with Corrib Theatre; A Christmas Memory and, most recently, Miss Bennet: Christmas at Pemberley at Portland Center Stage at The Armory. He received his M.F.A. in acting from the National Theatre Conservatory in Denver.

Dana Petersen, Production Assistant Dana is thrilled to be a stage management apprentice at Portland Center Stage at The Armory. Earlier this season, Dana was a production assistant on In the Heights and Redwood.

Dana graduated from The Ohio State University, where she stage managed The Curious Incident of the Dog in the Night-Time, Michael Von Siebenberg Melts Through the Floorboards, Four People, Leah and the Dybbuk: A Yiddish Ghost Story, Execution of Justice, Beyond All Recognition, 7 Ways to Say I Love You, and Stupid F**king Bird. Dana was also a stage management intern on The Old Globe’s 2018 production of Much Ado About Nothing. Dana thanks Mom, Dad, Carmen, and Murphy for all of their love and support.

James X

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Feb 13–Mar 1

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Ithica Tell, Delphon “DJ” Curtis Jr., and Chip Miller. Photo by Kate Szrom.

THANKS TO OUR GENEROUS SPONSORS OF HEDWIG AND THE ANGRY INCH CTA LAB: We are once again honored and thrilled to support Portland Center Stage at The Armory in the 2019–2020 season. Hedwig and the Angry Inch promises to bring us something lively and meaningful as we slog through our wet Portland winter.

DAVIS WRIGHT TREMAINE LLP + CHRYS MARTIN & JACK PESSIA: At Davis Wright Tremaine LLP, we believe we all benefit from working and collaborating with a diverse set of colleagues, both in our firm and within the broader community. Through sponsoring the arts, including cult-classic plays such as Hedwig and the Angry Inch, we strive to bring different perspectives into our lives that invoke reflection and engagement with experiences that go beyond our own. We support and celebrate diversity and inclusion efforts that help make our communities better places of support and uplift new voices to the forefront of conversation.

TANNER CREEK TAVERN: Tanner Creek Tavern, located in the Pearl District, is the fourth member of the David Machado Restaurant Group. We are thrilled to continue our growing relationship with the esteemed Portland Center Stage at The Armory during its 2019–2020 season. Over the last decade, our company has developed close working relationships with many of the significant nonprofit performing arts organizations in Portland. Founder and Chef David Machado is personally involved as the current board president of Third Angle New Music. Tanner Creek Tavern is proud to sponsor this production of Hedwig and the Angry Inch as a gift to the city of Portland, and we are honored to support The Armory in its commitment to keeping the art of theater alive.

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KELLY K. DOUGLAS & ERIC H. SCHOENSTEIN: We love the amazing performances Portland Center Stage at The Armory produces. Without the community’s support, this level of professional theater could not be maintained. That is why we are proud to sponsor Hedwig and the Angry Inch. We look forward to this rocking production!

RONNI LACROUTE: When I first attended a production of Hedwig and the Angry Inch, I was not sure what to expect since it was billed as a risqué cult musical, but I instantly fell in love with this show, with its joyous rock music and its sympathetic central character trying to find their identity and place in the world. It is an honor to support Portland Center Stage at The Armory’s production of this wildly funny show.

KEVIN HOGAN & ARON LARSON: Hedwig and the Angry Inch immediately struck a chord with us when we first experienced it at a small community theater in Minneapolis in 2002. Since then we have accompanied Hedwig many times on her journey, searching for love, acceptance, and wholeness. In a very beautiful way, Hedwig connects us to each other and to the dichotomous parts of our own being. “Hey, there ain’t much of a difference between a bridge and a wall.

Without me right in the middle, babe, you would be nothin’ at all.” If this is your first encounter with Hedwig, we hope you fall in love with her the way we have.

The Classic Choice for Portland Home Building

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BEHIND THE CURTAIN

When did you first know you wanted to be a professional actor?

I’d have to say that deciding life after college solidified this notion that I wanted to be a professional actor.

There was a moment in high school when my theater teacher, Paul Orsett, said that if you want to be famous, then just stop now. Well, I never enjoyed acting for fame. At that point in my life, theater was where I could express myself. I did this show titled The Good Times Are Killing Me, and I portrayed the father of a character that was friends with a white girl during the days when Plessy vs. Ferguson made it impossible for them to even sit in the same room. This show was where I found storytelling, and when I knew that I wanted to do this every day for the rest of my life. There were many people who cried at this production, and those individuals lived this. It let me know that this story was about something greater than a flash of light or a splash of paint.

If you had not become a professional actor, what do you imagine you would be?

MEET HEDWIG OF HEDWIG AND THE ANGRY INCH

DELPHON “DJ” CURTIS JR.

BY ARTSLANDIA

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The funny thing is, I’d probably be a doctor. I had gotten into this nursing program during my senior year in high school without even applying.

I assume that my school must have sent off my scores, and they were pleased with what they saw from me.

Some days, I wonder what would have happened if I was a doctor, or if I’d gone to nursing school. What phase of that process would I be in at present, and whether I would be happy? The short version of all of this speculation is that I still get to help people heal every day. That was what bore that passion in my heart. I continue to extend myself in a way that if I can provide a space to heal, whether it be on or offstage, it is known that there is one more person who cares about your well-being in this world.

Are there other actors in your family?

I do believe that I am the only actor in my family. Most of my family members have very practical jobs. In my extended family, there are quite a few inspiring actors who have been abundantly encouraging and fine examples of the artist that I hope to be one day.

What, for you, is the most fulfilling aspect of your life as an actor?

What’s the best advice you’ve ever been given about anything?

The most fulfilling aspect of my life as an actor would have to be the opportunity to connect with others who I may never get to see. Just a few days ago, a woman walked up to me in the grocery store and complimented me on my performance in another show and said that she needed that experience. When there are those moments that a person attends a performance and feels that the story, the company, or any detail of a show speaks to them in a way that they don’t usually get in their day-to-day life, I feel I’ve done my job well. I have always said that I do this so that people may get a moment to escape from the mundanity of their day-today lives. Sometimes, we hit sore spots for our audience, and my hope is that we provide them a moment of clarity and a comfortable place to relieve whatever pressure may be weighing on them.

Wow! What a question! The best advice I’ve ever been given about anything comes from RuPaul Charles, who said, “Unless they are paying your bills, pay them bitches no mind.” There is so much to this statement, and what really speaks to me is the message that people are learning, and sometimes they are interested in learning about you. Sometimes, people would rather make it their life’s work to get a reaction out of you, but unless they are signing your check, what they do should have no effect on your peace of mind. It’s such a simple statement, but always a great reminder. We don’t have to give up our joy because of things that are said or done around us.

What aspect do you find to be the most challenging?

I find that the most challenging part of being an actor is saying goodbye. I’ve moved several times and had some of the most incredible relationships with people that sometimes I find myself having a hard time speaking to people who feel like home. Sometimes, it feels like if I do let them in, I may not see them again. I’m trying my best to break out of my shell in that aspect these days. There’s something about letting the story go that is harder than any aspect of its inception.

How do you handle mistakes during a performance?

When mistakes happen during a performance, they seem to amplify the reality of the show. People are imperfect creatures fulfilling a perfect experience. In performances, we hope to see the story, really get to know the characters, and yearn to know what happens next. If a mistake is made, it must be a part of the show.

If you allow yourself to be immersed in the mindset of, “Oh no! I made a mistake!” then that is exactly what you’ll be sharing with the audience.

If you allow the story to continue, there are a plethora of moments that can be discovered by staying true to why you’re there.

On that note, I’d add another piece of advice that has been one of the most grounding things that I have heard. “Be patient with those who don’t move as fast as you.” I have always been a person who has aspired to do great things and wanted to take everyone with me, but we are all learning at different rates, and you must be patient enough for people to come into their own and speak your truth in the meantime.

What are your fondest theater memories?

My fondest theater memories are the ones that include building true and lasting relationships. There are so many of us in the world, and when you view connection through that scope, it seems that much more special. Sometimes, actors get to spend months with people we meet and have the storytelling performance of a lifetime, and other times, the experience lasts for one night. The opportunity to earnestly share a story and then continue to be close with those who you made a living, breathing piece of art with is truly a gift.

Not too long ago, during A Christmas Carol at Portland Playhouse, I was doing an apprenticeship with the company and had a couple of incredible friends nearby who felt like family to me. It was my birthday, and birthdays are sometimes tough as a performer on the road. Cycerli Ash took me to dinner and asked me to pick out something from a candy store at the Bridgeport Mall. I picked out a bag of cherry sours that were one of my favorites when I was little, and I felt like I was home.

The opportunity to earnestly share a story and then continue to be close with those who you made a living, breathing piece of art with is truly a gift.”

The holidays can be tough for an actor as well, but this was one of the best holiday seasons that I had experienced while performing. The spirit of that show truly lived on and off the stage.

What inspires you these days?

The truth inspires me. The people who are unafraid to be who they are, when I am constantly finding more parts of myself to feel comfortable to share, inspire me. People who have experienced suffering, in silence or shared, inspire me. Life inspires me. Love inspires me. What inspires me most, though, are those who continue and those who pause. Pausing doesn’t mean that you stop. Pausing is a moment to envelop yourself in the present.

Tell us something unexpected about yourself.

When I was 12 years old, I was fortunate enough to design a holiday card for Habitat for Humanity. I loved drawing and was very grateful to be asked. That was a pivotal moment for me. I felt like I could actually be an artist when I grew up. I greatly appreciate the many mediums that I’ve added to my repertoire. Now, I am proud to say that I am fulfilling the title of “artist” in many ways.

Artslandia’s theme for the 2019–2020 season is A Night Out. Describe for our readers your perfect night out.

For me, a perfect night out would include, first and foremost, the right company, great food, and lots of laughs. This is not to say that my perfect night out would be replicating Eat Pray Love, but enjoying the simplest of things, with the people you love most, seems to be what makes those moments perfect. As for specifics, I love to go to the theater, go roller-skating, and although it’s been a while, I love doing karaoke! .

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A financial planner and a rabbi walk into a bar.

Being wise with your finances might be important to you. Being generous might be important to you. So, please let us buy you a latte. Because helping you do both is definitely important to us.

Contact coffeestorm@ojcf.org.

The world is my reverie.

The Symphony is my source.

TIME BREAKER

GLEND A GOLD WATER “John Cage couldn’t understand why people were scared of new ideas. He was scared of the old.

Culture is just a part of me. Perpetual.

Evolving is the only way to live.”

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BLOCKS THROUGH PARISIAN STREETS

TATTOOS

SYMPHONY TICKET STUBS

The 2019/20 Classical Series ignites now.

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Artslandia: Full (7.5 x 9.87)

AND

PRESENT

Marissa Wolf Artistic Director Dámaso Rodríguez Artistic Director

January 18 – February 16, 2020 On the U.S. Bank Main Stage

Cynthia Fuhrman Managing Director J. S. May Managing Director

SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY Written by

Directed by

Jocelyn Bioh

Lava Alapai

Scenic Designer

Costume Designer

Lighting Designer

Sound Designer

Lex Marcos

Wanda Walden

Marika Kent

Phil Johnson

Dialect Coach

Stage Manager

Production Assistant

Casting

Yetunde Felix-Ukwu

Kristen Mun*

Macarena Subiabre

Vonessa Martin* & Chip Miller

Performed with no intermission.

World premiere at the MCC Theater, October 16, 2017 (Robert LuPone, Bernard Telsey, and William Cantler, Artistic Directors; Blake West, Executive Director).

Originally developed as part of The New Black Fest at The Lark, 2016.

Additional development as part of the MCC Theater PlayLabs series, 2016.

“The Greatest Love Of All”

By Linda Creed and Michael Masser Used by permission of EMI Gold Horizon Music Corporation; EMI Golden Torch Music Corporation.

All rights reserved.

School Girls; Or, The African Mean Girls Play is presented by special arrangement with Dramatists Play Service, Inc., New York.

The video or audio recording of this performance by any means is strictly prohibited.

If you photograph the set before or after the performance, please credit the designers if you share the image. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

SEASON SUPERSTARS

SEASON SUPPORTING SPONSORS

SHOW SPONSORS

MARY & DON BLAIR

JOAN CIRILLO & ROGER COOKE

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Kayla Kelly

Kisha Jarrett

Treasure Lunan

Andrea Vernae

Tamera Lyn

Tonea Lolin

THE CAST Kisha Jarrett

Headmistress Francis

Kayla Kelly

Mercy

Tonea Lolin

Gifty

Treasure Lunan

Nana

Tamera Lyn*

Ama

Andrea Vernae*

Paulina Sarpong

Morgan Walker*

Ericka Boafo

Sara Williams*

Eloise Amponsah

Sara Williams

Morgan Walker

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

FROM ARTISTS REPERTORY THEATRE ARTISTIC DIRECTOR: DÁMASO RODRÍGUEZ On behalf of all of us at Artists Rep, it’s my pleasure to join the team at Portland Center Stage at The Armory in welcoming you to our co-production of School Girls; Or, The African Mean Girls Play.

This is the fourth production of Artists Rep’s two-year journey as ART on Tour, producing in venues across Portland while we raise funds to transform our longtime home at 15th and Morrison into a space intentionally designed to serve our mission to produce intimate, provocative theater and provide a home for a diverse community of artists and audiences to take creative risks. The challenges of producing on tour included finding performance space, administrative space, and a scene shop. When we reached out to PCS leaders Marissa Wolf and Cynthia Fuhrman, they unflinchingly offered their support by making the Ellyn Bye Studio available to rent

for one of our productions, opened up a full-time box office window for ART patrons, and invited ART into a lease of their scene shop and equipment. This synergy between our two companies is a Portland theater milestone. As a next step, Marissa and I began exploring an artistic collaboration: Could we find a play that was a finalist on each of our artistic team’s season planning shortlists that would spark a 50/50 creative partnership? As you now know, Jocelyn Bioh’s hilarious School Girls, with its use of biting comedy to reveal uncomfortable truths about how standards of beauty are learned, inspired us to work together to bring this play to Portland audiences. With a cast and creative team featuring PCS and ART alums, and directed by ART Resident Artist Lava Alapai in her PCS directing debut, we’re thrilled to collaborate in this way and are already looking forward to next season.

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JOCELYN BIOH AN INTERVIEW WITH THE PLAYWRIGHT

By Claudie Jean Fisher, Associate Director of Marketing & Communications

Jocelyn Bioh’s School Girls; Or, The African Mean Girls Play had its world premiere Off-Broadway in 2017. Since then, it’s been a hit across the country, garnering rave reviews and playing to packed houses with extended runs.

Bioh also happens to be a successful actor — she appeared on Broadway in The Curious Incident of the Dog in the Night-Time and the role of Minnie in Branden Jacobs-Jenkins’ An Octoroon was written specifically for her. She took a break from her busy schedule to lend some insight into her brilliantly funny and poignantly revealing new play.

Jocelyn Bioh.

“We seldom get to see Black women on stages that allow space for joy and community.”

One inspiration behind this play was the real-life Miss Ghana Pageant of 2011, in which officials selected a bi-racial woman who was born and raised in the United States as the winner, beating out two of Ghana’s most popular models, who both had darker skin. What was it about that event that resonated so strongly with you as a springboard for this play?

Well, I always knew I wanted to write a story about colorism, but I didn’t know how to approach it without it sounding “preachy,” and I desperately wanted to avoid that. When I read about the pageant, it was like I had a lightbulb moment.

It felt like such an easy and seamless way to talk about colorism and still give me plenty of comedic room for the story.

—Lava Alapai, Director of School Girls

You drew from your mother’s experiences attending a boarding school in Ghana and your own time at a boarding school in Pennsylvania. Why was it important for you to revisit the teenage years with this play, and how did these personal connections shape the way you developed the characters?

I wanted to set the story in a boarding school because it played such a huge part in my life and in my understanding of how girls interact with each other. From an early age, we can be vicious, as we are often pitted against each other. I had a great core group of friends (who I’m still very close with to this day), but we had some sour apples back in the day, and the way it affected our dynamic was very interesting to me. It seemed those were some of my mother’s experiences as well, and she went to school at a different time and in a different country than I did. So I understood the rich universality of these experiences.

Obviously, the “Mean Girls” tropes are ones that are explored in the film as well.

Because of its popularity, I thought putting “Mean Girls” in my title would quickly contextualize the play — which it does. Because of this, people often think that I wrote School Girls based on Mean Girls, but I think it’s pretty clear that teenage bullies are universal!

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This play lays bare the damaging impacts of colorism in such a raw, personal way, and it also highlights the devastating effects of Western beauty standards around the globe. What are some of the things that have helped you overcome these oppressions in your own journey into adulthood?

Growth. As a young girl, there was so much I didn’t understand about what was being imposed on me about beauty ideals. It took a long time, and a careful observation of the messages that young women are inundated with, to understand that beauty is not a metric system — it’s subjective. And one person’s opinion should not determine that for the masses.

What else would you like to share with audiences about this powerful play?

As a writer, it has always been important to me to add to the conversation of how Africa is reflected. Oftentimes, the stories about the continent that are being served up are usually tales of extreme poverty, struggle, strife, disease, and war. This narrative is a dangerous and calculated one, and it has always been my goal to present the Africa I know and love so dearly.

School Girls was my first produced play, and I’m so thrilled at the reception — it’s showed me and audiences that, slowly, the perception of the continent is changing.

What are some of the responses you’ve received from audience members so far? Do you have a sense of what people of varying ages or backgrounds have been learning from these teenage girls?

THANKS TO OUR GENEROUS SPONSORS OF SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY

It is thrilling to see School Girls popping up all over the country and even in Africa. I love that everyone, regardless of their race, feels the universality of the story and sees facets of themselves in the characters. And specifically for white audiences, I am glad that they are becoming educated about colorism and, in some cases, have recognized their own implicit biases. You’re never too young or mature to learn something new, and this play has been educational for a lot of people, and I love that.

LINDA ILLIG & GLENN DAHL: Having enjoyed the Mean Girls movie, we were intrigued to see this play included in the season. We look forward to seeing Jocelyn Bioh’s depictions of the issues and interactions experienced by high school girls in Ghana and all over the world. We’re so happy to support Portland Center Stage at The Armory as sponsors of this production.

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MEET THE CAST & CREATIVE TEAM Kisha Jarrett, Headmistress Francis Kisha is the audience development and marketing director at Artists Repertory Theatre as well as a writer, actor, musician, director, and storyteller. Born and raised in Virginia, she has lived all over the country (as well as in Barcelona and London) but now calls Portland home. She has performed for both stage and screen, been a musician at South by Southwest Music Festival, and designed costumes for stage and screen. While she was living in New York, she owned a bakery called Painted Lady Cakes.

As a storyteller, she has performed for The Moth (2017 and 2018 GrandSLAM winner), Back Fence PDX, 7 Deadly Sins, Wildfang, and more. Currently, she is working on her second feature-length screenplay and writing her first novel.

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Kayla Kelly, Mercy Kayla is so excited and grateful to be making her debut at Portland Center Stage at The Armory. Kayla is from Houston, Texas, and holds a Bachelor of Arts from Stephen F. Austin State University. After graduating from college, she joined Portland Playhouse as a Season 10 apprentice. Previous credits include Miss Bennet: Christmas at Pemberley (Company of Fools), Peter/Wendy (Bag&Baggage), The Killing Fields (Orphic), Romeo and Juliet (Portland Actors Ensemble), Mme. Dudley in the original cast of Scarlet and A Christmas Carol (Portland Playhouse).

Kayla enjoys dabbling in stand-up comedy, writing, and finding creation in everyday life. Thank you to my mom and dad, anyone who has ever believed in me, and everyone who has made this production possible. Representation truly matters!

Tonea Lolin, Gifty Tonea is thrilled to be making her Portland Center Stage at The Armory debut. Originally from San Diego, California, she fell in love with performing at age 12. She graduated with a B.F.A. in acting and a B.A. in linguistics from University of California Santa Barbara. Favorite credits include: The Lady of Intoxicating Romance in Made to Dance in Burning Buildings (Shaking the Tree Theatre), ensemble in Éxodo (Milagro Theatre), Sneezy in Snow White (Broadway Rose Theatre Company), and Venus in Venus (UCSB).

She thanks her family and friends for their love and support in her artistic journey. This story and its message is

so important for black women of all hues. Thanks to the cast and crew for this wonderful experience! Keep up with her next adventures on Instagram @thetoneajuanita.

Treasure Lunan, Nana Treasure is absolutely thrilled to be returning to Portland Center stage at The Armory for Schoolgirls; Or, The African Mean Girls Play. Recent credits include The Most Massive Woman Wins (Deep End Theater), Miss Bennet: Christmas at Pemberley (The Armory), and The Lunchroom for Hear Our Voices: A Staged Reading presented by Advance Gender Equity in the Arts. They are further delighted to be returning to The Armory later this season for The Curious Incident of the Dog in the NightTime. Treasure is grateful to be a part of bringing this extremely important and extremely hilarious work to The Armory along with the rest of the amazing and talented cast and crew.

Tamera Lyn, Ama Tamera is grateful to have this phenomenal experience, which marks her Portland Center Stage at The Armory debut! She was born and raised in Atlanta, Georgia, studied theater performance at Florida Agricultural and Mechanical University, and moved to Portland to develop her craft with Portland Playhouse as an apprentice.

She performed in Skeleton Crew, the world premiere of Wolf Play (Artists Repertory Theatre), In The Wake (Profile Theatre), and Bakkhai (Shaking The Tree Theatre). Tamera has also done filmmaking work in Portland with NW Documentary and Open Signal Labs.

She produces her visual work with Sunflower Creations, a production vessel she created as an undergrad.

Tamera has created Wilted Flowers, Close Your Eyes, Road 35 and others.

Watch her bloom at tameralyn.com. peace + blessings Andrea Vernae, Paulina Sarpong Andrea is excited to return to be a part of Portland Center Stage at The Armory, following her recent debut in Redwood.

Her favorite credits include: The Wolves at Portland Playhouse; JUMP, a coproduction with Confrontation Theatre and Milagro Theatre; Pen/Man/Ship at Portland Playhouse; and Everybody at Artists Repertory Theatre, where she is also a resident artist. This performance is dedicated to her family and to every

brown skin girl who ever thought of herself as less than because of her complexion. This performance is for you; you are beautiful.

Sara Williams, Eloise Amponsah Sara is a proud graduate of The School at Steppenwolf ensemble training program and has completed extensive First Folio training with Chicago Shakespeare Theater. Select Chicago credits include: Best of Enemies (Artists’ Ensemble Theater), Hamlet and Coriolanus (The Shakespeare Project of Chicago). Select Pittsburgh credits include: Girls Only — The Secret Comedy of Women (Pittsburgh CLO), Belfast Girls (Ghostlight Theatre Troupe), 1984 (Bricolage Production Company), Afternoon of the Elves (Playhouse Jr.), The Alchemists’ Lab (Pittsburgh Playhouse), Phaedra (Point Park University), and The Legend of Georgia McBride (Barebones Productions). Sara has also developed a number of new works with the City Theatre Company of Pittsburgh, including Amerikin by Chisa Hutchinson and Wade by Isaac Gomez. Commercially, she has worked on campaigns for the NFL, Fisher Price, Spirit Airlines, and RCN Cable. Shoutout to Stewart Talent.

PHOTO BY OWEN CAREY

Morgan Walker, Ericka Boafo Morgan is a New York-based actor making her debut at Portland Center Stage at The Armory. Regional credits: School Girls; Or, The African Mean Girls Play (Kansas City Repertory Theatre); Beehive: The ’60s Musical, Cinderella, The Game’s Afoot, The Sound of Music (Okoboji Summer Theatre); Show Boat, Cats, A Spectacular Christmas Show, Into the Woods (Musical Theater Heritage); Footloose (Starlight Theatre); Once On This Island (Spinning Tree Theatre). Education: B.F.A. in musical theater, Stephens College. Instagram: @reklawnagrom. AEA member.

March 20 – April 11, 2020

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Jocelyn Bioh, Playwright Jocelyn Bioh is an award-winning Ghanaian-American writer and performer from New York City. Her plays include School Girls; Or, The African Mean Girls Play (The Kilroys’ List, 2016; Center Theatre Group; MCC Theater; Lucille Lortel Award; OCC John Gardner Award; Hull-Warriner Award; Drama Desk nomination; Drama League nomination; Off-Broadway Alliance nomination), Nollywood Dreams (Cherry Lane Theatre Mentor Project, 2017; The Kilroys’ List, 2015), and African Americans (produced at Howard University, 2015; Southern

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MEET THE CREATIVE TEAM Rep Theatre Ruby Prize Award finalist, 2011; O’Neill Theater Center semifinalist, 2012). Jocelyn conceived and wrote the libretto for The Ladykiller’s Love Story (music and lyrics by CeeLo Green) and Goddess (book writer). She has also been a staff writer for the Netflix TV shows Russian Doll and Spike Lee’s She’s Gotta Have It. Jocelyn received her M.F.A. in theater/playwriting from Columbia University. She is under commission with Manhattan Theatre Club, Williamstown Theatre Festival, Second Stage Theater, and Atlantic Theater Company, and is a resident playwright at LCT3. As an actress, Jocelyn’s credits include: In the Blood (Signature Theatre; Drama Desk nomination, Best Featured Actress), Everybody (Signature Theatre; Lucille Lortel Award nomination, Best Supporting Actress, 2017), Men on Boats (Clubbed Thumb at Playwrights Horizons), The Curious Incident of the Dog in the Night-Time (Broadway; Tony Award-winner for Best Play, 2015), An Octoroon (Soho Rep; Obie Award-winner for Best Play, 2014), Booty Candy (Wilma Theater), Seed (The Classical Theatre of Harlem; AUDELCO Award nominee),

Lex Marcos, Scenic Designer Lex is based in Seattle and originally from Manila, in the Philippines. He studied painting and art history at the University of the Philippines, Diliman.

He designed sets in Manila for nine years. In 2017, he got his M.F.A. in scenic design at the University of Washington School of Drama. He has designed shows for ArtsWest, Intiman Theatre, Sound Theatre Company, and Washington Ensemble Theatre, and will design an upcoming show for ACT. He is the resident scenic designer for Tacoma Arts Live. His works “Ang Post Office ng Hari” and “Umaaraw Umuulan Kinakasal Ang Tikbalang” were selected for a Philippines exhibit in the Prague Quadrennial of Performance Design and Space in 2011 and 2015. He was nominated for the 2019 Gregory Award for Outstanding Scenic Design for his work in Parliament Square produced by Pony World Theatre.

and Marcus; or the Secret of Sweet (City Theatre Company). She also originated the role of Topsy in the world premiere of Neighbors (The Public Theater; AUDELCO Award nominee). Film/TV acting credits include: Ben is Back (Black Bear Pictures), Russian Doll (Netflix) Blue Bloods (CBS), The Detour (TBS), The Characters (Netflix), Louie (FX), and One Life to Live (ABC).

Lava Alapai, Director Lava is so happy to be directing her first show at Portland Center Stage at The Armory! She has been creating theater in Portland for over a decade.

Some of her recent directing credits include Is God Is for Washington Ensemble Theatre; The Revolutionists and An Octoroon (co-direction) for Artists Repertory Theatre (Resident Artist); Columbinus, Charlotte’s Web, and Locomotion for Oregon Children’s Theatre. She is a proud member of the Stage Directors and Choreographers Society (SDC). She would like to thank the amazing team and beautiful cast for giving her the opportunity to spend this time with them, and her wife, Alex, for supporting her always.

Wanda Walden, Costume Designer Wanda has costumed plays for more than 30 years. Wanda is the recipient of the 2018–2019 Drammy Award for Outstanding Season. Some of her

Airs Wednesdays on KATU’s AM Northwest from 9–10 AM & Afternoon Live from 2–3 PM

OPENING THIS WEEK

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credits include The Brothers Paranormal (Media Rites); The Wolves, Crowns, How I Learned What I Learned (Portland Playhouse); It’s a Wonderful Life, Skeleton Crew, An Octoroon, We are Proud to Present … (Artist Repertory Theatre, she also created a visual presentation of these productions that was exhibited in the lobby); Mother Courage, Ruined, Fires in the Mirror, The Secretaries (Profile Theatre). Wanda is the resident costumer for PassinArt, where her credits include Black Nativity, No Play, and Two Trains Running.

Wanda has been commissioned twice by the Susan G. Komen Foundation of Oregon and SW Washington to design the Worship in Pink artwork to support breast cancer awareness.

Marika Kent, Lighting Designer Marika designs for new and classic plays, musical theater, opera, dance, experimental theater, puppetry, and site-specific performance. Recent and upcoming projects: Reconstruction (The TEAM, dir. Rachel Chavkin); Jazz Singer (Abrons Arts Center); 25th Annual Putnam Country Spelling Bee (ACT of Connecticut); No Child, Memphis, Peter and the Starcatcher (Cape Fear Regional Theater); Ajijaak on Turtle Island (IBEX Puppetry, The New Victory); Roan @ The Gates (Luna Stage); Chimpanzee (HERE Arts); Perp, Abigail’s Party (The Barrow Group); Generation NYZ, Alaxsxa/Alaska, Beyond Sacred (Ping Chong + Company); Cheryomushki, Albert Herring, The Snow Maiden (Manhattan School of Music, Opera); She, No Words, Rhapsody in K (Ariel Rivka Dance). Proud member of Wingspace Theatrical Design.

Phil Johnson, Sound Designer Phil is a visual and theatrical artist based in Portland and the host of the podcast Radical Listening (Coho Productions).

His recent productions include Redwood, Miss Bennet: Christmas at Pemberley (Portland Center Stage at The Armory); Cop Out, Hands Up (August Wilson Red Door Project); A Doll’s House, Part 2, Everybody, The Humans, An Octoroon (Artists Repertory Theatre); Twilight, Elliot: A Soldier’s Fugue, The Antigone Project (Profile Theatre); Worse Than Tigers (A Contemporary Theater/Red Stage); Watsonville, Lydia, Contigo Pan y Cebolla (Milagro Theatre). Phil has a B.F.A. and M.A. from Ohio University.

If you enjoyed the show, please comment @philjohnsonlive or visit philjohnsondesignstheworld.com for more content and show playlists.

Yetunde Felix-Ukwu, Dialect Coach Yetunde is a theater and film actor, university instructor, dialect coach, and arts administrator. She is currently serving on the artistic staff at Kansas City Repertory Theatre. Recent theater credits include: A Christmas Carol, School Girls; Or, The African Mean Girls Play, Letters from Freedom Summer (KC Rep); The Wolves, Men on Boats, Babel (Unicorn Theatre); Secret Soldiers: Heroines In Disguise (The Coterie).

Recent film credits include: Pheasants, Safe States. Recent dialect coach credits include: School Girls; Or, The African Mean Girls Play (KC Rep); Sarafina! (The Black Repertory Theatre of Kansas City). She is an M.F.A. graduate of the University of Missouri-Kansas City. As a member of the African Diaspora, she is extremely excited to be partnering with Portland Center Stage at The Armory on this poignant and deeply personal artistic work. Instagram: yetunde2.0.

Kristen Mun, Stage Manager Kristen was born and raised on the island of Oahu and holds a B.F.A. from Southern Oregon University. She is excited to return for her seventh season at Portland Center Stage at The Armory.

Previous credits at The Armory include stage manager for Native Gardens, Until The Flood, Sense and Sensibility, Constellations, and Major Barbara; assistant stage manager for In the Heights, The Color Purple, Fun Home, and Astoria: Part Two; and production assistant from 2013 to 2017. Kristen is a proud member of Actors’ Equity and is a freelance violence designer and teacher of stage combat. She sends her love to Adam and her family for always having her back.

Macarena Subiabre, Production Assistant Macarena is excited to join Portland Center Stage at The Armory this season, where she was recently a production assistant for Miss Bennet: Christmas at Pemberley and In the Heights. She graduated in 2018 with a B.F.A. in stage management from the University of Utah, where she stage managed productions such as Arcadia, Cats, Into the Woods, Good Kids, and the U.S. premiere of The Beautiful Game. Other credits include: A Comedy of Tenors (Pioneer Theatre Company); How I Learned to Drive (Salt Lake Fringe Festival); and You’re a Good Man, Charlie Brown (Salt Lake Shakespeare). She was also lucky to complete an internship with Cirque du Soleil where she worked on Zumanity and the Cirque Cabaret, 2018.

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INVISIBLE NO LONGER:

A DISCUSSION OF BEAUT

Y AND BLACKNESS

Jocelyn Bioh’s play tracks a few weeks in the life of a clique of popular Ghanaian high school girls who focus their energies on competing in a beauty pageant. The play harnesses storytelling conventions of teen comedies like Mean Girls but also subverts them by exploring how our perception of familiar archetypes — the Queen Bee, the New Girl, etc. — can shift when placed in a different cultural context. Bioh’s savvy portrait of youth’s ambition invites a discussion of colorism. By exposing the levels of discrimination the girls face based on where their skin tones fall on the color spectrum, she gives what initially seems like a bubble-gum frolic an incisive political edge.

We asked members of the cast and the director if they would share some thoughts and experiences with colorism in their own lives; a selection of their responses appears below. Note that these views are unique to each of the individuals who offered them. As actor Kayla Kelly put it, these are brief statements about their personal experiences and “by all means should not be a representation of every woman/girl/[non-binary person]’s black experience, but [offered] to shine a light on the many experiences that we go through.”

Curated by Benjamin Fainstein, Literary Manager

WHAT IS COLORISM? TAMERA LYN: Colorism is defined as “a form of prejudice or discrimination usually from members of the same race in which people are treated differently based on the social implications from cultural meanings attached to skin color.”

ANDREA VERNAE: Colorism to me is defined as determining someone’s worth and attractiveness based on someone’s skin tone.

LAVA ALAPAI: A perception that the closer to white we can get the better we are.

KAYLA KELLY: I would define it as the divide within. Colorism creates divides in communities and the ways people see beauty in others.

Andrea

KISHA JARRETT: I feel anyone that is anything other than white has had to deal with the impact of how much melanin they have in their skin.

Tamara

TONEA LOLIN: In American society, the closest to European features you are, the more “beautiful” you are and the more you are (or seem to be) respected. … This idea is perpetuated to me by other black women who say, “I hope my child doesn’t come out dark like you” or statements from black men such as, “You’re pretty for a darker black girl!”

TREASURE LUNAN: It is the idea that black can only be beautiful when diluted by whiteness … While colorism is traditionally a term used to identify white-passing or white-proximity privilege within communities of color ... colorism exists because racism exists, and they exist on the same continuum.

GROWING PAINS KISHA: When I was a kid, I remember being so frustrated that I could never find the crayon that was my skin tone — Burnt Sienna is not the one. I’ve always been told that I was too white to be black and too black to be white.

TONEA: I remember being called an ugly monkey by so many young boys in elementary and middle school. One black boy in sixth grade specifically told me that I was kind of pretty for a darker girl, but he wanted the light-skinned black girl in our class to be his girlfriend, that light-skinned was better. u Treas

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re

ANDREA: When I was in middle school, I remember telling people that my mother was “red” (a term in the South used to describe [black] people with lighter skin).

And she isn’t. But I figured that if I told them my mother was lighter-skinned that they would consider me attractive by association.

Tonea

TONEA: I have been that young black girl straightening my hair to submission and using my codeswitching skills to have more “proper speech” in certain crowds. I have never lightened or bleached my skin, but I have been that young black girl wishing so hard for her skin to be lighter and avoiding the sun at all costs.

KAYLA: Being referred to as the “dark-skin friend” of my friend group. I’ve never been ashamed of my skin. But I always wondered why, when describing me, was that the first attribute that others thought of me?

LAVA: It wasn’t really an issue growing up in Hawaii. Once I came to the mainland, I quickly figured out that being a lighter-skinned person of color, I was looked at very differently. I was exotic. I was called “approachable.” Hollywood was worse. My agent told me to stay out of the sun so I could be more cast-able.

I left Hollywood.

MOVING FORWARD TAMERA: I had the tendency to make an effort to be the exact opposite of whatever “negative” pre-judgment the world has placed on black women.

Shrinking myself to fit in a mold and not stand out too much. As I’ve gotten older, that idea of shrinking has been abandoned, and I stand proud in who I am as a black woman, leaving no space to fit in a mold.

KISHA: I struggled with coming to terms with my own power as an intelligent, funny, loud, and charismatic black woman. I have dimmed my own light to make others feel better. I’ve been told that I’m “scary” because I’m quick-witted. I don’t know if it’s getting older or being tired, but I just don’t have it in me to bend to others’ opinions of who I should be.

Lava

TONEA: As a teenager, I moved through the world uncomfortable in my skin, wishing I was someone else so people could just see Tonea the human, not Tonea the ugly black girl (as I thought of myself). I am much better [now] at seeing my blackness as a positive part of me and not the only thing that defines me. I define myself as a black woman, but also as the person I am: how I treat others and how I treat myself.

KAYLA: My skin doesn’t define me, but I define my skin.

Kayla

ANDREA: I learned to move through the world knowing that I have to be the best and the brightest in the room because I will often be in rooms where I’m not expected to be that. But there are times when that’s exhausting … and I’ve learned to remind myself that I deserve to be in whatever space I am in.

TONEA: Anytime I am making art with other folks of color I especially feel comfortable and joyful to be in the skin I’m in. In those moments, I feel represented, proud, and like I am exuding Black Girl Magic!

TREASURE: I experience many moments of authentic and ecstatic joy within my fat black body … Last summer I [performed] with Body Home Fat Dance troupe, where there was a ton of focus put into what a fat body could do versus what it could not. It was extremely comforting and liberating … to participate in a playful exploration of the boundlessness of my body.

Kisha

ANDREA: Last summer, when I was in Maui on the beach feeling the Hawaiian sun on my skin while my skin was popping in a yellow bikini is a moment that brings me immense joy.

TAMERA: I absolutely ADORE being a black woman. I wouldn’t trade being in this skin for anything in the world!

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ARTISTS REPERTORY THEATRE CO-PRODUCER OF SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY

Artists Repertory Theatre’s mission is to produce intimate, provocative theater and provide a home for a diverse community of artists and audiences to take creative risks. Artists Rep gratefully acknowledges that its home rests on the traditional lands of the Multnomah, Wasco, Cowlitz, Kathlamet, Clackamas, Bands of Chinook, Tualatin Kalapuya, Molalla, and the many other Tribes who made their homes along the Columbia River. Artists Rep is Portland’s premier mid-size regional theater company. Founded in 1982, Artists Rep is the longest-running professional theater company in Portland. Its cohorts of resident artists are multidisciplinary theater makers who are deeply committed to Artists Rep’s success, share its organizational values, and participate in decision-making processes that impact the theater’s mission and future. Visit artistsrep.org.

TABLE | ROOM | STAGE Table | Room | Stage (T|R|S) is Artists Repertory Theatre’s new play program. Its mission is to develop and produce new work that vividly expresses the theater’s aesthetic values.

T|R|S focuses on work by writers of color, women, LGBTQIA+ and gender nonconforming writers, and offer an environment where these playwrights can create provocative, intimate new theater pieces that challenge, illuminate, and inspire. T|R|S has produced the following commissions: The Talented Ones by Yussef El Guindi (world premiere, April 2017), The Thanksgiving Play by Larissa FastHorse (Sicangu Lakota) (world premiere, April 2018), the NNPN rolling world premiere of Wolf Play by Hansol Jung (March 2019), and Looking for Tiger Lily by Anthony Hudson (world premiere, May 2020).

DÁMASO RODRÍGUEZ ARTISTIC DIRECTOR Dámaso is in his seventh season as artistic director of Artists Repertory Theatre, which became a member of the League of Resident Theatres (LORT) under his leadership. He is a co-founder of L.A.’s Furious Theatre, where he served as co-artistic director from 2001–2012. From 2007–2010, he served as associate artistic director of Pasadena Playhouse. Directing credits include 20 productions at Artists Rep, along with work at Oregon Shakespeare Festival, South Coast Repertory, Actors Theatre of Louisville, American Conservatory Theater, Intiman Theatre, A Noise Within, and The Playwrights’ Center. Recent Artists Rep projects: the rolling world premiere of Wolf Play by Hansol Jung and The Great Divide by E.M. Lewis, in development with Oregon Shakespeare Festival. Dámaso is a recipient of the L.A. Drama Critics Circle Award and the NAACP Theatre Award. He is a member of the Stage Directors and Choreographers Society.

J.S. (JOHN STUART) MAY MANAGING DIRECTOR J.S. is in his second season as managing director of Artists Repertory Theatre. He is a seasoned fundraising and communications professional and has worked with a wide range of local, regional, national and international nonprofit organizations. He and his teams have raised more than $500 million. Prior to Artists Rep, he was the chief fundraising and marketing and communications officer, and strategist for the Portland Art Museum — Oregon’s premier visual arts institution — for 11 years. For seven years, J.S. led the fundraising practice for Metropolitan Group, a Portland-based social marketing firm that works to create a more just and sustainable world. He also supported the growth of the region’s leading pediatric teaching and research hospital for six years, as executive director for the Doernbecher Children’s Hospital Foundation at OHSU. Before Doernbecher, J.S. spent six years supporting the expansion of the region’s most trusted media source as the director of corporate support for Oregon Public Broadcasting. J.S. currently serves as president of Cycle Oregon’s board of directors and is a board member for the Cultural Advocacy Coalition. J.S. is an avid yogi, cyclist, and reader.

EDUCATION Our Education department is dedicated to developing theater artists, students, business and arts professionals, and life-long learners at every ability, interest, and level of expertise.

ARTSHUB The ArtsHub is Artists Repertory Theatre’s resource-sharing and community-building initiative, supporting Portland theater makers, arts and education nonprofits, and community groups. The mission of the ArtsHub is to create a cultural center by supporting Portland’s rich artistic ecosystem. While the program’s origin six years ago was in response to an opportunity to share underutilized performance space, Artists Rep’s most vital and lasting impact of the ArtsHub is the bustling community that has been formed, and the myriad ways it has led to the empowerment of local artists and the accelerated growth of participating organizations. Our new facility is being designed so that the ArtsHub can include even more organizations than it currently serves.

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DÁMASO RODRÍGUEZ ARTISTIC DIRECTOR

J.S. (JOHN STUART) MAY MANAGING DIRECTOR

ARTISTS REPERTORY THEATRE CO-PRODUCER OF SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY

DONORS It goes without saying, but we’ll say it: We can’t make theater without the support of our incredible donors.

The applause for the show is not only for the actors, designers, and technicians, but for you, our collaborators.

Thank you! This list celebrates Artists Rep donors who gave $250 or more to Artists Rep’s Annual Fund between September 1, 2018 and November 14, 2019. Join us in supporting the creation of outstanding theater by calling Nel Taylor at 503-241-9807 x168 or making a gift online at artistsrep.org.

DONATIONS AND PLEDGES TO THE RISE CAPITAL CAMPAIGN Julie & Robert S. Ball Bob & Janet Conklin The Robert & Mercedes Eichholz Foundation Darci & Charlie Swindells David & Christine Vernier

GAME CHANGERS $100,000+ Ronni Lacroute James F. & Marion L. Miller Foundation The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County & the Arts Education & Access Fund Wood Partners

VISIONARIES $50,000–$99,999 Oregon Community Foundation Creative Heights Lamar Airport Advertising The Shubert Foundation

PRODUCERS $25,000–$49,999 The Estate of Don & Pat Burnet The Collins Foundation The Oregonian The Oregon Cultural Trust

PATRONS $10,000–$24,999 Anonymous (2) Karl & Linda Boekelheide Colliers International Bob & Janet Conklin Marcia Darm MD & Bruce Berning Michael Davidson Wolfgang Dempke, in memory of Alise Rubin

Robert & Mercedes Eichholz Foundation Express Employment Professionals Tom Gifford & Patti Fisher Grapeseed Media Howard S. Wright Constructors The Jackson Foundation Joan Jones The Kinsman Foundation Lamar Billboard Advertising Carter & Jenny MacNichol J.S. & Robin May Rafati’s Catering Charlotte Rubin, in memory of Judy Wandres Joanne & James Ruyle Harold & Arlene Schnitzer CARE Foundation, Arlene Schnitzer & Jordan Schnitzer Marcy & Richard Schwartz Bill & LaRue Stoller John & Jan Swanson Darci & Charlie Swindells David & Christine Vernier The Estate of David E. Wedge Charles Weinstein

Romy Klopper Deborah Kullby Hugh & Mair Lewis Charitable Fund of the Southwest Washington Community Foundation Leonard & Susan Magazine, REAL ESTATS Mark Spencer Hotel Don & Connie Morgan National New Play Network Oregon Arts Commission, a state agency Olliemay Phillips Lorraine Prince Reser Family Foundation Dámaso Rodriguez & Sara Hennessy Jewely Sandoz Rosalie & Ed Tank Rose E. Tucker Charitable Trust US Bank Robert Weinstein M. Howard Weinstein OCF Joseph E. Weston Public Foundation Karen Whitaker

STAGEMAKERS $5,000–$9,999

DIRECTOR’S CIRCLE $2,500–$4,999

Anonymous (2) Julie & Robert S. Ball Mike Barr Bloomfield Family Fund Ellen Cantwell Jeffrey G. Condit Carol Daniels Dark Horse Wine Norma Dody Dramatists Guild Foundation E. & J. Gallo Winery Fidelity Charitable Gift Fund Larry & Marilyn Flick Dan Gibbs & Lois Seed Eva Glass Polly Grose Diane Herrmann, in memory of Judi Wandres Hotel deLuxe The Jupiter Hotel Arthur & Virginia Kayser Kristen & Michael Kern Carol Kimball

Anonymous Molly Butler & Robin Manning Classic Pianos Norma Dulin & James Barta Candace Haines Pam Henderson & Allen Wasserman Mark Horn & Mark Wilkinson Intel Corporation Matching Gifts The Juan Young Trust Anneliese Knapp Lagunitas Brewing Company Shawn Lee & Vonessa Martin Drs. Dolores & Fernando Leon Jim & Eva MacLowry Michael & Dr. Whitney Nagy Allen & Frances Nause Nossa Familia Coffee NW Natural Gas Bob & Linda Palandech Kay Parr Phoenix Media Alan Purdy Thomas Robinson & Pamela Kislak

Steve & Trudy Sargent Pancho Savery Norm & Barbara Sepenuk James G. & Michele L. Stemler Robert Taylor & Maude May Maureen Wright & Lane Brown

BACKSTAGE PASS $1,000–$2,499 Anonymous (3) Ruth & Jim Alexander F. Gordon Allen & Janice M. Stewart Phyllis Arnoff Cheryl Balkenhol Denise Carty & Roger Brown Family Fund of The Oregon Community Foundation Richard & Nancy Chapman Cleveland H. Dodge Foundation Philip Collier Smith Anne Conway & Louis Baslaw Barbara & Tom Cooney Allison Couch & Tom Soals Marvin & Abby Dawson Edward & Karen Demko Susan Dietz Margaret Dixon Richard & Betty Duvall Leslye Epstein & Herman Taylor Marc Franklin & Mary Lou Moriarty Carol Fredlund & John Betonte Dr. William & Beverly Galen Curtis Hanson Higgins Restaurant & Bar Cody Hoesly & Kirsten Collins Barbara Holisky & Gary McDonald Mark Horn & Mark Wilkinson Judy & John Hubbard Jessie Jonas Jody Klevit Mike & Sandra Kremers Kristen & Tim Lachenmeier Kirsten & Christopher Leonard Roberta Mann Laurie & Gilbert Meigs Deanna & Wilfried Mueller-Crispin Joan Peacock, in loving memory of Ben Buckley Debra & Paul Pellati Patricia Perkins David Pollock Wayne Potter & Pam Brown

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ARTISTS REPERTORY THEATRE CO-PRODUCER OF SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY

DONORS John Ragno Wendy & Richard Rahm Fund of The Oregon Community Foundation Julia Rea & Jim Diamond Bonnie & Peter Reagan Robert Reed Richard & Mary Rosenberg Fund of The Oregon Community Foundation Miriam Rosenthal Dr. & Mrs. William Sack David Saft & Laura Lehrhoff Dianne Sawyer & Richard Petersen Drea Schmidt & Emilee Preble Marian & Elihu Schott Family Fund of The Oregon Community Foundation Roy Schreiber & Carole Heath Schwab Charitable Ursula Scriven Jinny Shipman & Dick Kaiser Elizabeth Siegel Marilyn & Gene Stubbs John & Sandra Swinmurn Tonkon Torp LLP Marcia Truman Geoff Verderosa Charlene Zidell

SUPERSTARS $500–$999 Anonymous (2) Bob Amundson & Sully Taylor Susan Bach & Douglas Egan Ann Balzell & Joe Marrone, in memory of Deforest Arn Piper Patsy Crayton Berner Richard & Leslie Bertellotti Lesley Bombardier BosMen Charitable Fund Fred & Betty Brace Nita Brueggeman & Kevin Hoover Rick Cady Charles & Barbara Carpenter Nathan Cogan Family Fund of the Oregon Jewish Community Foundation Culture Restaurant Jim & Vicki Currie Fidelity Charitable Gift Fund Donna Flanders & Carl Collins, in honor of Cody Hoesly Kyle & Charles Fuchs Paul Gehlar Don & Marlys Girard Susan & Dean Gisvold Lynn Marchand Goldstein

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Al & Penny Greenwood Dick Hamlet & Corinne McWilliams Paul Harmon Mike & Judy Holman Janice & Benjamin Isenberg Philanthropic Fund of Oregon Jewish Community Foundation Constance Jackson & Xavier Le Héricy Ms. Cecily A. Johns Judith & Gregory Kafoury Beth & Chris Karlin Carol & Jeff Kilmer PJ Kleffner Bill & Shelley Larkins Matthew & Lora Lillard Robert A. Lowe & Michelle Berlin-Lowe David Lutz Linda & Ken Mantel Susannah Mars & Gary Johnson Dan McKenzie Dolores & Michael Moore Susan D. Morgan VMD Katherine Moss Neilsen Family Fund of The Oregon Community Foundation David & Anne Noall Linda Nelson & Ted Olson Alfred & Eileen Ono OnPoint Community Credit Union Debra & Paul Pellati Carla Piluso Dee Poujade Julie Poust Karen Rathje Scott & Kay Reichlin Michael Sands & Jane Robinson Carol Schnitzer Lewis Fund of The Oregon Community Foundation Kristin & Paul Schultz Erika Schuster & Clay Biberdorf Wayne D. Schweinfest Nick & Sandra Snell Fund of The Oregon Community Foundation Faye & Lucille Stewart Foundation Greg & Martha Struxness Donald & Roslyn Sutherland Sarah & Robert Taylor Paul Thompson & Portia Sipes US Bancorp Matching Gift Program Nate Watson Travels LeAnn Wells

Carole Whiteside Pam Whyte & Ron Saylor Andrew Wilson & Dr. Ronnie-Gail Emden Carl Wilson & Evan Boone Cynthia Yee

INSIDERS $250–$499 Anonymous Kay & Roy Abramowitz Chuck & Meg Allen Linda Alper Kristin Angell Elizabeth & Stephen Arch Susan & Grover Bagby,Shilpi Banjeree Ann Brayfield & Joe Emerson Jim Brunke Sonia Buist, M.D. Lauretta Burman Cambia Health Foundation Don Caniparoli & Sarah Rosenburg Jean Carufo & Barbara Engelter Rick & Jean Collins Debbie Cross & Paul Wrigley Robert Daasch & Linda Schaefer Nancy & Jon Decherd Barbara & George Dechet Troy & Bev Dickson Stephen Early & Mary Shepard Elizabeth & John Ehrsam Jim & Joan English Marilyn Kay Epstein Melissa & Bob Good Roswell & Marilynn Gordon Marvin & Barbara Gordon-Lickey Paul & Teri Graham Paul Harmon Matt & Tiffany Hague Dawn Hayami Cynthia Herrup & Judith Bennett Stephen & Sharon Hillis Kirk Hirschfeld Steven Hodgson Lynette & Don Houghton Steve & Kris Hudson Joni & Bill Isaacson Janice & Benjamin Isenberg Philanthropic Fund of the Oregon Jewish Community Foundation Anna Jimenez & Zednek Zumr Elaine & Ed Kemp Karen Kemper Sally & Lucien Klein Tim & Janene Larson

Elyse & Ron Laster Roger Leo Noah & Dena Lieberman Chuck & Sandy Lissman Steve Lovett & Connie Sullivan Robert A. Lowe & Michelle Berlin-Lowe Earlean Marsh Stacey Martinson & Brad Sealy Dr. Robert & Kimberly Matheson Ms. Nancy Matthews, in memory of Judi Wandres Scott & Jane Miller Judy Parker & Albert Passadore Duane & Corinne Paulson Ron Pausig Sue Pickgrobe & Mike Hoffman Jay & Barbara Ramaker Mr. Andrew Recinos Ed Reeves & Bill Fish Helen Richardson & Don Hayner Kelly Rodgers Charles & Judith Rooks Rebecca Ross Rick & Halle Sadle John Saurenman Luan Schooler & Timothy Wilson Mary Ann Seth-Wish & John Wish James & Laura Smith Neil Soiffer & Carolyn Smith Marc Stein H. Joe Story Pat & Larry Strausbaugh Rick Talley & Dr. Mary Ann Barr Talley Jory Thomas Paul Vandeventer Janet F. Warrington Alan & Janet Zell Kurt & Heather Zimmer

SEASON SPONSORS

ARTISTS REPERTORY THEATRE CO-PRODUCER OF SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY

STAFF DÁMASO RODRÍGUEZ

J.S. (JOHN STUART) MAY

Artistic Director

Managing Director

ARTISTIC

MARKETING & BOX OFFICE

Shawn Lee, Producing Director Kristeen Willis, Associate Producer Luan Schooler, Director of New Play Development & Dramaturgy Pancho Savery, Dramaturgy Scholar Vonessa Martin, Casting Director Andrea Stolowitz, Lacroute Playwright-in-Residence Jonathan Cole, Resident Fight Choreographer

Kisha Jarrett, Audience Development & Marketing Director

Leslie Crandell Dawes, Audience Development & Marketing Manager

Kathleen Kelly, Media Specialist Christina DeYoung, Patron Services Manager Jon Younkin, Data Analyst & Ticketing Sales Manager Zak Westfall, Box Office Associate

Linda Alper, Adriana Baer, Ayanna Berkshire, Bobby Brewer-Wallin, Jonathan Cole, Chris Harder, Sarah Gahagan, Sara Hennessy, Michelle Jazuk, JoAnn Johnson, Kevin Jones, Val Landrum, E.M. Lewis, Sarah Lucht, Susannah Mars, Michael Mendelson, Allen Nause, Amy Newman, Vana O’Brien, Rodolfo Ortega, Sharath Patel, Gregory Pulver, John San Nicolas, Josie Seid, Vin Shambry, Andrea Stolowitz, Andrea Vernae, Joshua J. Weinstein, Megan Wilkerson, Carol Ann Wohlmut, Barbie Wu, Resident Artists

EDUCATION & ARTSHUB/ AUDIENCE SERVICES

ADMINISTRATIVE

Maya Bourgeois, Grants & Events Manager Nel Taylor, Annual Fund Manager

Vonessa Martin, General Manager Karl Hanover, Company Manager

Karen Rathje,

Education & Audience Services Director Sarah Lucht , Education Associate John San Nicolas , Education Associate Susannah Mars , Music Events Specialist

Deborah Gangwer, Valerie Liptak, Shelley Matthews, Tara McMahon, Andrea Vernae, Kayla Kelly, Nel Taylor, House Managers

Paul Jacobs, Geraldine Sandberg, Jennifer Zubernick, Kayla Kelly, Concessions

DEVELOPMENT

& Assistant to the General Manager

Allison Delaney, Associate Managing Director

PRODUCTION Kristeen Willis, Production Manager Nathan Crone, Technical Director Eddie Rivera, Scene Shop Foreman Charlie Capps, Master Carpenter Sarah Kindler, Scenic Charge Gavin Burgess, Master Electrician Carol Ann Wohlmut, Resident Stage Manager Karen Hill, Properties Manager Alana Wight-Yedinak, Costume Shop Manager/Wardrobe Head

David Petersen, Sound Technician Sean Roberts, Facility & Operations Specialist

BOARD OF DIRECTORS Jeffrey Condit, Chair Pancho Savery, Vice-Chair Cyrus Vafi, Treasurer Patricia Garner, Secretary Mike Barr, Past Chair Julia Ball Michael Davidson Norma Dulin Tom Gifford Erik Opsahl Justin Peters Andrea Schmidt Marcia Darm, MD, Trustee Emeritus

THANK YOU

Groundbreaking for Patricia Reser Center for the Arts November 13, 2019

“It has been truly inspiring to see the community join in support of the Patricia Reser Center for the Arts and raise these funds in such a short amount of time. There is still work to be done to close the gap before opening our doors in 2021.

The time is now!”

– Pat Reser, Lead Donor and Campaign Chair

centerfortheartscampaign.org/join-the-movement

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BEHIND THE CURTAIN Andrea Vernae plays around in the game lounge at Radisson RED in Downtown Portland.

This vibrant hotel is an ideal city base that features smart design touches in every room and an upbeat social scene. OUIBar + KTCHN, the on-site restaurant, offers bold street fare from far corners of the world alongside Oregon-brewed beers and wines. Bring your dog or cat, rent a bike, and find the quirky, creative hotspots nearby or head further afield to enjoy Oregon’s natural beauty.

Radisson RED is a proud supporter of the arts in Portland.

Photo by Christine Dong.

RADISSONHOTELS.COM

MEET PAULINA SARPONG OF SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY

ANDREA VERNAE

BY ARTSLANDIA

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I’m inspired by freedom.

Anytime I can witness artists or anyone being completely free in their life or work, it fills me to the brim with inspiration.”

How do you rehearse?

What does a typical session entail?

Process is everything to me! I learned that in college. During the rehearsal process, I spend a lot of time listening to my director, castmates, crew, and dramaturg during table work because it’s so nice to hear how other people are envisioning and feeling the play.

After I listen, I ask questions. Once we get the play on its feet, I try to do as many “wrong” things as possible to try different approaches before we get to the finished product.

Do you get nervous before a performance? Do you have any pre-show rituals?

I only get nervous before a show when there will be people I know in the audience. If you love me, don’t ever tell me you’re coming to one of my shows! And I do have a pre-show ritual. Enunciation and articulation are so important; it’s a disservice to the audience if they can’t understand what I’m saying on the stage, so I warm up vocally for about half an hour with tongue twisters and lines from the show. I always finish my warmup by rapping the first verse of Can’t Tell Me Nothing by Kanye West. Then I warm up my body, speak affirmations, and say prayers out loud in the space about what I expect from the performance. I thank God for the opportunity to share my talent and the story I’m telling with my cast and crew. I ask that at least one person is touched by the story and hope we all kill it!

How do you handle mistakes during a performance?

Mistakes will happen in live theater, and I live for those moments. That’s why I love theater! The mistakes cause me to think quickly on my feet, which I find exciting. Either I improv or adapt to whatever has gone off-script.

If you had not become a professional actor, what do you imagine you would be?

I would definitely be a teacher. I came from a long line of teachers in my family. My mother teaches kindergarten; my dad is a high school dean; my grandmother is a retired fifth grade and night-school teacher; and my cousin teaches pre-K, just to name a few. Teaching is in my blood.

Are there other actors in your family?

Yes! Not professionally but each in their unique way. The way my family members tell stories is so interesting.

They may not realize it, but they change their voices and postures to embody the character and bring you back to the moment in the story. My grandmother Loretta, especially, is incredibly animated. She even writes the plays for her church!

What are your fondest theater memories?

I think about the first time I caught the theater bug in high school. Those are the best memories — when I felt so free in theater, not thinking about technique but just hopping onstage and diving into an improv scene with my assigned group — taking huge, incredible risks! I miss those days. I was maybe 15 years old when I saw my first play called In the Continuum by Danai Guirira. It was the first time I felt so seen. I remember being in awe of these two amazing black women onstage, telling this story that had me completely hooked. I fell in love. Then I went to my first theater competition in high school that I chose to attend instead of grad weekend, which is huge for a senior. It was one of the hardest decisions I’d ever had to make, but I chose the theater competition. I was surrounded by all these theater kids from across the state of Florida singing and dancing — they could freaking act! I had never felt so motivated and inspired up to that point in my life. I remember calling my dad and saying, “THIS is what I want to go to college for!” and he just said, “OK.” What inspires you now?

I’m inspired by freedom. Anytime I can witness artists or anyone being completely free in their life or work, it fills me to the brim with inspiration.

Freedom, to me, means to be free of self-judgment, fear, self-doubt, and other people’s opinions of you.

Witnessing that in art gives me goosebumps and makes me strive to achieve that kind of freedom in my life and the art I strive to create.

Who have been some of the most influential people in your life?

Wow. I have so many influential people in my life. To name just a few: my parents, all of my college professors at Florida Agricultural and Mechanical University, my friends (you know who you are!), and most recently, the choreographer of Redwood, Darrell Grand Moultrie.

What’s the biggest challenge you’ve had to overcome so far, and how did it change you?

The biggest challenge that I’ve had to overcome was my unwillingness to be vulnerable and my lack of selfesteem. Having to rewire being so guarded out of fear of people wanting to hurt me and having to change how I think about myself was challenging.

Learning the power of letting people in to see my scars and believing that I’m not weak for letting people see those sides of me has made me a better artist and a better person.

I’ve learned to trust myself and my capabilities and to seek reassurance from myself that I am enough.

Tell us something unexpected about yourself.

I’m a huge advocate when it comes to mental health and seeking therapy if people have the privilege to do so because accessibility, in reality, is a privilege. My brother is schizophrenic, which taught my family and me so much about ourselves and life in general. I learned that we have no control of what things will happen to us — anyone can have a psychotic break. If you’re reading this and struggling with something, please don’t internalize it. If you don’t have access to a therapist, please talk to someone — a friend, a teacher, a parent, a sibling, whoever. Don’t suffer alone in silence.

You are loved, and someone cares.

Artslandia’s theme for the 2019–2020 season is A Night Out. Describe for our readers your perfect night out.

My perfect night out includes great food, wine, and dancing to a live band surrounded by my friends. The band would be playing everything from R&B, hip-hop, jazz, soul, funk — everything.

Or playing games at an arcade, going go-karting, and maybe ending the night with a group of my friends talking loudly around a fire pit and just having fun at one of our favorite bars. .

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PORTLAND CENTER STAGE AT THE ARMORY MARISSA WOLF ARTISTIC DIRECTOR Currently in her second season as artistic director of Portland Center Stage at The Armory, Marissa previously served as associate artistic director/ new works director at Kansas City Repertory Theatre and artistic director of Crowded Fire Theater in San Francisco. Select directing credits include Fire in Dreamland by Rinne Groff (The Public Theater; world premiere at KCRep); Man in Love by Christina Anderson and The Curious Incident of the Dog in the Night-Time by Simon Stephens (KCRep); 77% by Rinne Groff (San Francisco Playhouse); Precious Little by Madeleine George (Shotgun Players); The Lily’s Revenge (Act II) by Taylor Mac (Magic Theatre); and The Late Wedding by Christopher Chen (Crowded Fire Theater). She’s been nominated for Best Director by Broadway World San Francisco and the Bay Area Critics Circle. Marissa held the Bret C. Harte Directing Fellowship at Berkeley Repertory Theatre and has a degree in drama from Vassar College, with additional training from the Royal Academy of Dramatic Art in London.

CYNTHIA FUHRMAN MANAGING DIRECTOR Cynthia has worked in professional theater since 1982 (with two detours, which she highly recommends). She was manager of public relations at Oregon Shakespeare Festival in Ashland and, as director of marketing and communications, was among the staff who traveled north to open OSF’s Portland branch and eventually transitioned it to become the independent Portland Center Stage. She also spent five seasons as director of marketing and communications at Seattle Repertory Theatre. Theater detours include her roles as COO for eyescream interactive, the Northwest’s largest internet marketing agency at the time, and communications director for Portland’s Office of Sustainable Development, a crash course in promoting all things green. In 2008, she returned to Portland Center Stage at The Armory as director of marketing and communications and was named managing director in 2017. Cynthia holds B.A. and M.A. degrees in humanities and attended the University of Oregon, the American University of London, and Southern Oregon University.

Photo by Gary Norman.

MARISSA WOLF ARTISTIC DIRECTOR

Portland Center Stage at The Armory is the largest theater company in Portland and among the top 20 regional theaters in the country. Established in 1988 as a branch of the Oregon Shakespeare Festival, the company became independent in 1994. An estimated 160,000 people visit The Armory annually to enjoy a mix of classic, contemporary, and world premiere productions, along with a variety of high quality education and community programs. Ten productions are offered this season, in addition to hundreds of community events created to serve the diverse populations in the city. As part of its dedication to new play development, the company has produced 28 world premieres and presents an annual new works festival, JAW: A Playwrights Festival. Home to two theaters, The Armory was the first building on the National Register of Historic Places, and the first performing arts venue in the country, to achieve a LEED Platinum rating.

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

We at The Armory acknowledge that the Portland metropolitan area rests on the traditional village sites and summer encampments of the numerous Tribes who made their homes along the Columbia (Wimahl) and Willamette (Whilamut) rivers.

Today, Portland’s diverse and vibrant Native communities are 70,000 strong, descended from more than 380 Tribes, both local and distant. We take this opportunity to offer respectful recognition to the many people of the river, and their summer guests — and to the Native communities in our region today, the Oregon Tribes, and those who have stewarded this land throughout the generations.

Portland Center Stage at The Armory is committed to identifying and interrupting instances of racism and all forms of oppression, through the principles of inclusion, diversity, equity, and accessibility (IDEA).

JOIN US: PC S .ORG/IDE A CYNTHIA FUHRMAN MANAGING DIRECTOR

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THANK YOU PORTLAND CENTER STAGE AT THE ARMORY is honored to collaborate with corporate and community partners who demonstrate a commitment to civic leadership, and advocate for our value as a vital community and cultural resource. We would like to recognize the generosity and support of the businesses, foundations, organizations, and individuals that help make the 2019–2020 season possible.

As of December 2, 2019

$25,000+ GBD Architects Meyer Memorial Trust James F. & Marion L. Miller Foundation Oregon Cultural Trust The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County, the Arts Education & Access Fund & more than 1,000 donors to RACC’s Arts Impact Fund The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer & Jordan Schnitzer The Shubert Foundation Silver Family Foundation The Standard Stoel Rives LLP Curtis T. Thompson, M.D. & Associates, LLC U.S. Bank The Wallace Foundation

$10,000–$24,999 Advance Gender Equity in the Arts AHA! ARCIFORM Sheri & Les Biller Family Foundation Broughton & Mary Bishop Foundation Goulder Family Foundation The Kinsman Foundation Hoffman Construction Company Jackson Foundation KeyBank M Financial Group Maybelle Clark Macdonald Fund National Endowment for the Arts NW Natural Oregon Arts Commission, a state agency PGE Foundation

SEASON SUPERSTARS

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James & Shirley Rippey Family Foundation The Rose E. Tucker Charitable Trust Wells Fargo Wieden+Kennedy

$5,000–$9,999 Davis Wright Tremaine LLP The Holzman Foundation/ Renee & Irwin Holzman Herbert A. Templeton Foundation Tonkon Torp LLP Juan Young Trust

$2,500–$4,999 The Autzen Foundation The Boeing Company D. A. Davidson & Co. H.W. Irwin & D.C.H. Irwin Foundation Leupold & Stevens Foundation Reser Family Foundation Starseed Foundation

$1,000–$2,499 Classic Sash & Door Dunn Carney Allen Higgens & Tongue LLP Global Incentive Group Klarquist Pacific Office Automation PCC Structurals, Inc. Riverview Trust Company SP Plus Corporation Squarespace

Corporate Matches Adidas Best Buy The Boeing Company Cambia Health Foundation Hewlett-Packard Company Iberdrola Renewables IBM Corporation Intel Corporation

Kaiser KeyBank Macy’s Meyer Memorial Trust Nike NW Natural Pacific Power Foundation Portland General Electric Tektronix Foundation The Standard US Bank

In-Kind Adelsheim Vineyard ARCIFORM Argyle Winery Art of Catering Artemis Foods Keith & Sharon Barnes Ben & Jerry’s Ice Cream Bluehour Bill Byrne & Dennis Scollard ChefStable Catering Delta Air Lines Devil’s Food Catering Eastside Distilling Diana Gerding Tanner Creek Tavern Tasca & Paul Gulick Higgins Restaurant Microsoft Corporation New Deal Distillery Owen Roe Pacific Office Automation Pearl Catering Precision Graphics Rombauer Vineyards Kyle & Sophia Spencer Rosemarie & Wes Thompson Umpqua Bank Vibrant Table West Coast Event Productions

SEASON SUPPORTING SPONSORS

DONORS $25,000+

$5,000–$9,999

$1,000–$2,499

Scott & Linda Andrews Keith & Sharon Barnes Don & Mary Blair Mary & Tim Boyle Roger Cooke & Joan Cirillo Glenn Dahl & Linda Illig Jess Dishman Dream Envision Foundation Brigid Flanigan Diana Gerding Judi Goldsmith Rob Goodman Tasca & Paul Gulick Hilary Krane & Kelly Bulkeley Ronni S. Lacroute Pat & Trudy Ritz/ Ritz Family Foundation Silver Family Foundation The Stern Family Rosemarie & Wes Thompson

Anonymous (3) Peter & Susan Belluschi Family Fund of The Oregon Community Foundation Sarah J. Crooks Cynthia M. Fuhrman* Robert & Nancy Hatch Steven & Marypat Hedberg Judy Carlson Kelley Jina Kim & Hyung-Jin Lee Drs. Dolores & Fernando Leon Chrys A. Martin & Jack Pessia Peter K. McGill Nancie S. McGraw Patti Norris & Mark Schlesinger

Anonymous (3) Jose Alcarez Ruth & Jim Alexander Joan & Brian Allen Eleanor & Peter van Alderwerelt Phyllis Arnoff* Dr. Gene Baker & Regina Brody Cheryl Balkenhol & James Alterman Missy & Peter Bechen David & Ginny Bennett Saskia de Boer Norma Bradfish John Briggs & Jeffrey Feiffer Linda & William Brown Cormac M. Burke M. Allison Couch & Tom Soals* Dave & Debbie Craig Gustavo J. Cruz, Jr. Bill Dickey Gerard & Sandra Drummond Richard & Betty Duvall Carol Edelman Janet & Barry Edwards Mike & Chris Feves Larry & Deborah Friedman Daniel & Leah Frye Katie & David Gold Ed Grosswiler & Sammye Sanborn John & Jacque Guevara Andrew Gustely Heather Guthrie & Gil Parker Bill & Elaine Hallmark Donald Hammond & Georgena Eggleston Paul & Samantha Harmon Marcia Hauer & Jeanne Knepper Donald Helfgott Bryce Helgerson & John Lowe MJ & Lee Alan Helgerson* Herman Charitable Foundation Paul & Ruth Herrington* Patricia G. Howell Dr. Arthur Hung & Dr. Jim Watkins Carroll Hutchinson Susan Immer & Larry Juday* Bill & Dawn Irwin Brad & Judy Johnson Kathy & Steve Johnson Jessie Jonas Timothy A. Kalberg Steven & Nancy Kassel Jody Klevit Ruth Knepell Susan Lair & Doug Trobough Ray & Terry Lambeth Libbi Layton & Lawrence Tamiyasu Dorothy Lemelson Edwards Lienhart Family Foundation Jerry & Marjorie Long

$10,000–$24,999 Anonymous (2) Brenda K. Ashworth & Donald F. Welch Phil & Julie Beyl Broughton & Mary Bishop Family Advised Fund, a charitable fund of the Community Foundation of Southwest Washington Bill Byrne & Dennis Scollard John & Linda Carter Rick Caskey & Sue Horn-Caskey Greg & Gina Chandler Ray & Bobbi Davis Kelly K. Douglas & Eric H. Schoenstein William & Karen Early Finley Family Foundation Tom & Betsy Henning Kevin Hogan & Aron Larson Dr. Barbara Hort & Mark Girard Marilyn & Ed Jensen Yuki & Craig Johnston Gregg & Diane Kantor Heather Killough James & Morley Knoll Cindy & Keith Larson Dedre J. Marriott J. Greg & Terry Ness The Franklin & Dorothy Piacentini Charitable Trust Reynolds Potter & Sharon Mueller* Ralph & Jean Quinsey Dana Rasmussen Richard & Marcy Schwartz Marilyn Slotfeldt Douglas & Teresa Smith Carol Streeter & Harold Goldstein Christine & David Vernier Benjamin R. & Elaine M. Whiteley Family Fund of The Oregon Community Foundation Dan Wieden & Priscilla Bernard Wieden

Allison Page & Jon Frommelt Joseph Sawicki & Kirsten Lee Roy Schreiber & Carole Heath Lois Seed & Dan Gibbs Jan & John Swanson Tyler & Kara Tatman John Taylor & Barbara West Wally Van Valkenburg & Turid Owren

$2,500–$4,999 Ted & Kathi Austin Julia & Robert S. Ball Daniel Bergsvik & Donald Hastler Ann Brayfield & Joe Emerson* Duke & Brenda Charpentier CollierTrust Judy Dauble Edward & Karen Demko Joan & Jim English* Randy Foster Julia & John Hall Ken Hitz Barbara & Mark Hochgesang Tony & Carla Hopson Dale Hottle Dennis C. Johnson Jean & Steve Mann Shelly McFarland Lindsey & Marilen McGill Laurie & Gilbert Meigs Madeline & Allan Olson Jim & Linda Patterson Fred L. Ramsey Bobbie & Joe Rodriguez Stephen & Trudy Sargent* Marian & Elihu Schott Family Fund of The Oregon Community Foundation Randy & Janet Smith Sue & Drew Snyder Ray & Pat Straughan John & Sandra Swinmurn Dennis & Jean Wilde Trudy Wilson & Terry Brown Steven & Deborah Wynne Mort & Audrey Zalutsky David & Sherri Zava

David & Julie Machado Jim & Jennifer Mark Katherine McCoy of West Portland Physical Therapy Clinic Kathy & Charles McGee JoAnne McMahan Carolyn McMurchie Ruth E. Medak Lora & Jim Meyer Joe Mitchoff & Curtis Thompson Julie Mitchoff Mike and Amy Mitchoff Michael & Susan Mueller Virginia S. Mullen Hester H. Nau David & Ranata Niederloh Bob & Beth Nist Paul & Lisa Nourigat Tim O’Leary & Michelle Cardinal Duane & Corinne Paulson Joan Peacock Stanley & Susanne Penkin Amy & Oscar Polo Brad & Trisha Rabe Michael R. Rankin Robert Reed Pat Reser & Bill Westphal Bob & Marilyn Ridgley John B. Rissi Kelly Ritz-Eisenstein & Scott Eisenstein Teri Rowan James M. Russell Halle & Rick Sadle Raj Sarda, MD* Carol Schnitzer Lewis Fund of The Oregon Community Foundation Michael & Karen Sherman Peter Shinbach George & Molly Spencer Rick & Denyse Stawicki E. Kay Stepp Brandon Stokes & Kristi Lang-Brown Mary & Jeff Strickler Geoff & Susie Strommer Donald & Roslyn Sutherland Heather & Bill Swindells Calvin & Mayho Tanabe Beverly Terry Don & Judy Thompson* Lewis & Susan Van Winkle Ted & Julie Vigeland Joan & David Weil Michelle Weisenbach & Michael Penfield Ben Whiteley Jay Wilt Andrew Wilson

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2020 SEASON OF BOUNDLESS VISION JAN. 23 - FEB. 23

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It’s a musical! It’s a Comedy! It’s...

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JUL. 2- 26

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A NEW MUSICAL

The Musical

503.620.5262 • www.broadwayrose.org Bonnie Conger

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DONORS $500–$999 Anonymous (2) Charles & Gloria Adams Richard & Kristin Allan Phil Allen & Peny Van Abkoude* Stacy Allison Gavin Amato Susan Bach & Douglas Egan Thomas & Brada Bailey Gary & Christine Barbour Robin & Thomas Barrett The Baxter Family Dr. Janet Bennett Cheryl Bittle Tara Bergeron Lawrence S. & Susan W. Black Fund of The Oregon Community Foundation Chris Blattner & Cindy McCann Lesley Bombardier Michael Bonner & Jeff Pera* Kate & Bill Bowman Betty Brace Stephen & Marge Brenneke John Bush & Greg Zarelli Melissa A. Charbonneau Bryan Concannon & Debi Dereiko Sonja L. Connor Steve Cox & Vikki Mee Erik Cubbage Eric Dishman Amy & Bruce Dobbs Steve Dotterrer & Kevin Kraus Beverly Downer Stephen Early & Mary Shepard Ken & Ann Edwards Ron & Becky Eiseman Abby Farber Gregory Flick Jerry Fong Bruce & Kate Frederick Charles & Kyle Fuchs Jerome & Mary Fulton William & Beverly Galen Paul Gehlar Melissa & Robert Good Susanne Baumann & John Gragg Ann Gray Emily Groth Rick & Susan Gustafson Richard L. Hay Lani Hayward Pierce Henley Frances & Hunter Hicks Suzanne & Michael Hiscox Laurie Holland The Holzman Foundation/Renee & Irwin Holzman Leslie S. Homer Charitable Fund Terri & Robert Hopkins Arnold & Virginia Israelit Per-Olof Jarnberg & Joan Foley Sonny Jepson & Felice Moskowitz Cecily Johns Jeffrey & Carol Kilmer BettyLou Koffel & Philip Moyer Rudy Kohnle & Krista Larson

Ed & Margaret Kushner Sally & Robert Landauer Paul and Sue Laughlin Bonnie & Mike Leiser Sharon W. Lukasevich David Lutz Elaine & Richard Lycan Carol & Charles Mackey Stephen & Christine Mason Robert Matheson & Kimberly Porter Fran Matson J.S. & Robin May Karen & Brent McCune* Jessica McVay Robert & Violet Metzler Heather Moore Bradford & Linda Needham* Deborah Neft & Salvatore D’Auria David & Anne Noall Lisa & Larry Norman Steven P. & Eileen O’Neill Odum Brian & Emily Owendoff John & Carolyn Parchinsky Elizabeth Perris Steve & Melissa Peterman Ellie Picologlou Jennifer Politsch Wallace & Elizabeth Preble David & Margo Price Jay & Barbara Ramaker Dick & Linda Reedy Drs. Scott & Kay Reichlin Leslie Rennie-Hill & Ken Hill* Dr. Mark & Angela Reploeg Stephanie & Paul Rollins Steven & Carol Sandor Dianne Sawyer & Richard Petersen Michael Schill Bob Schuler & Debra Blanchard Carl R. Shinkle Virginia Shipman & Richard Kaiser Amelia Simpson Rodger Sleven & Marcella Flores Walter & Carol Smith Kimberly Smith-Cupani Burt & Barbara Stein Janice Stewart & Gordon Allen Margie Sunderland, MD Mr. & Mrs. Stephen L. Taylor Ronald E. & Ivy L. Timpe Fund of The Oregon Community Foundation Jennifer Tucker & Bruce Haack Andrew Tweedie & Brice Terrible* Paul J. Utz & Lory Cogan Utz Lori Van Gordon Virginia Vanderbilt & Michael Garrison Karen & Charles Waibel Richard Wallace & Patricia White Shu-Ju Wang & Mike Coleman Wendy Ware & Dan Gleason Bert A. Waugh Johnna Wells

Vikki Wetle JD & D’Alene White Lindsey & Colin Williams Lisa & Lou Williams DJ Wilson & Bill Hoadley Alan Winders & Michael Mase Susan & Jim Winkler Jeff & Jaynie Wirkkala Ruth Fischer-Wright & Craig Wright Fabian & Julie Yeager

$250–$499 Anonymous (2) Anonymous* Thomas R. Anderson & Joan Montague Ann Nickerson Landscape Design William Apt & Grant Molsberry Lee & Lynn Aronson Jean & Ray Auel Jean & David Avison Thayne & Mary Anne Balzer Alan Blank Mr. & Mrs. Peter Barnhisel Gustav A. Baum Donald Berg & Carol Cooke John & Cristi Bishop William Blosser Brian & Karen Borton Douglas Browning & Jo Shapland Mary Butler Don Caniparoli & Sarah Rosenberg Tim & Susan Carey Jennifer Carson Michael Carter & Teresa Ferrer John & Lou Chapman Valri & Vincent Chiappetta Cynthia Church John & Kathryn Cochram Rhonda & Kenny Cohen Bruce & Janis Collins* Rick & Jean Collins Jeffrey Condit John Cornyn Paul & Kathleen Cosgrove Create Change, LLC Karen & Ward Cunningham Betty Daschel Maureen Sproviero Davis & Kerwin Davis Craig & Julie Dewey* Linda & Jerry Dinan Michael Doherty & Daphne Cooluris Jessica Douglas Robert Dyson Julie & Jim Early Mary A. & Peter Eisenfeld Kris & R. Thomas Elliott Blake Ellis & Scott Ewers Ed & Marilyn Epstein Sandy Feeny* Gilbert & Ellen Feibleman Terry Ferrucci Colleen Finn Sherry & Paul Fishman

Greg & Susan Fitz-Gerald Ronald Fraback Sharon Frank Terry Franks & Carolyn Duran Richard & Janis Gottlieb Becky Graham Gail & Walter Grebe Polly Grose Lorraine Guthrie & Erik Kiaer Valerie Halpin Patsy Heinlein Beverly Hoeffer & Carol Beeston Barry & Fanny Horowitz Donald & Lynnette Houghton Dr. Hal Howard Robert & Jill Hrdlicka Kathy & Tom Iberle Peter & Anne Jarvis Becky & Jarrett Jones Susan Jossi & Bob Connors Ross Kaplan & Paula Kanarek Frederick Kirchhoff & Ron Simonis Lucien & Sally Klein Kohnstamm Family Foundation Keith & Merle Koplan Dave Lapof Bob & Sally LeFeber Bob & Debbie Lindow Peter & Janice Linsky Robert Lowe & Michelle Berlin-Lowe Marvin & Sylvia Lurie Rod & Priscilla MacMillan Linda & Ken Mantel Joe Marrone & Ann Belzell Pamela Matheson Oscar & Mary Mayer Betty McDonald & William Hansen Steven McMaster & Kathleen Brock Bart McMullan Jr. & Patricia Dunahugh Gayle & George McMurria-Bachik Karolyn Meador Charitable Fund Susan Sammons Meyer & Dennis Meyer David & Machteld Mok Doug & Malinda Moore Jane Moore Clint & Donna Moran Jeanne Newmark Gloria Norton Mary Lou Obloy Bonnie & Robert Olds Ric Oleksak* Eileen & Alfred Ono Beverly J. Orth Paul & Lynn Otto Susan & Milt Parker Brian Henry Pater Sue Pickgrobe & Mike Hoffman Karen Piper Dee Poujade Andrew & Veronica Proctor Bonnie & Peter Reagan David Rice

Helen Richardson & Don S. Hayner Shelli Romero Charles & Judith Rooks Ted & Holly Ruback Alise R. Rubin & Wolfgang Dempke Mary & Craig Ruble Deborah Santomero & Lisa Hoffman John & Stephanie Saven Samantha Schoenfeld & Douglas Stuart Connie Schwendemann & Pete Peterson Dr. Therese M. Scott, D.D. & Earl Heberlein J & C Skuster Neil Soiffer & Carolyn J. Smith Kevin Soto & Michele Cobain-Soto Eve Stern & Les Gutfreund Zach & Vassie Stoumbos Chaline & Caitlin Strickland Stumped Town Dementia Roger & Gale Swanson John & Jan Switzer Ellen Tappon & Ted Wilson Jane Thanner & Tim Smith William & Lori Thayer Larie Thomas Grant & Sandy Thurston Lou Ann Tiedemann Peter & Cathy Tronquet Cathy Unis Dawn Vermeulen Nancy Walker & Terry Foty Michael Weiner & Kathy Davis-Weiner Catrin & Mark Williams Maurice & Lauretta Williams Loring & Margaret Winthrop Richard & Leslie Wong Robert & Vickie Woods Paul Wrigley & Deborah Cross Jack Wussow & Kyle Adams* Alan & Janet Zell Steven & Kris Zika *Sustaining Donors have opted to give through monthly contributions

For more information about supporting Portland Center Stage at The Armory, please contact Jack Ridenour at 503-445-3744 or jackr@pcs.org.

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DONOR TRIBUTES Tribute gifts for 2019–2020 Season as of December 2, 2019 In memory of Alan Beard GBD Architects In loving memory of Ben Buckley Joan Peacock In memory of Carol Howard Hal Howard In honor of Klint Keyes Roger Steven & Marcella Flores In honor of Sharon Mueller Reynolds Potter In loving memory of Joan Peacock Portland Center Stage at The Armory In honor of Rose Riordan Tim & Mary Boyle

BOARD OF DIRECTORS Ted Austin, Chair, Senior Vice President, U.S. Bank Private Wealth Management Sarah J. Crooks, Vice Chair & Chair-Elect, Partner, Perkins Coie, LLP Betsy Henning, Vice Chair, CEO & Founder, AHA! Strategic Communications Tyler Tatman, Treasurer, Finance Controller, Intel Corporation Mike Golub, Secretary, President Of Business, Portland Timbers Mary Boyle, Immediate Past Chair, Civic Volunteer Scott Andrews, Principal, Melvin Mark Companies Phil Beyl, President, GBD Architects Saskia M. de Boer, Partner, Stoel Rives, LLP

In honor of David E. Wagner Bill Dickey

Greg Chandler, Vice President, IT, The Standard

In memory of Elaine Whiteley Portland Center Stage at The Armory

Kelly K. Douglas, Manager, State Investments, LLC

Gustavo J. Cruz Jr., Senior Counsel, Farleigh Wada Witt

Lana Finley, Community Activist Jeff Gardner, Chief Marketing Officer, Umpqua Bank

LEGACY CIRCLE The Armory Legacy Circle honors those who have included Portland Center Stage at The Armory in their will or estate plans.

Renée Holzman, Community Volunteer Linda Illig, Retired, Community Volunteer Jim L. Knoll, President, James L. Knoll, PC Aron Larson, Senior Technical Project Manager, Amazon Web Services Cindy Larson, Owner, Scale Asset Management

Anonymous (2)

Dedre Marriott, Retired, Former CEO & Professor

Keith & Sharon Barnes

Joseph F. Mitchoff, CEO, Viridian Reclaimed Wood

Judy Bradley & Dave Mitchell Dr. Gene Baker & Regina Brody

Turid Owren, Partner, Tonkon Torp, LLP

John Maul & Kay Campbell

Alison Page, Vice President, Global Team Services, adidas

Jess Dishman

Dana Rasmussen, Retired, Attorney

William & Karen Early

Shelli Romero, President, Rose City Chica

Cynthia M. Fuhrman Diana Gerding Jennifer & Tim Goldsmith

Joseph Sawicki, Vice President & General Manager, Design-To-Silicon Division, Mentor Graphics

Leslie S. Homer Charitable Fund

Dr. Ann E. Smith Sehdev, Physician, Cascade Pathology

Dr. Barbara Hort

Rosemarie Thompson, Managing Partner,

Carol & Charles Mackey Virginia S. Mullen

Roselake Property & Designs, LLC

Jean O’Neill

Dan Watson, CFO, Neil Kelly Company

Joan Peacock

Michelle Weisenbach, Oregon & SE Washington Market

Diane Quiring Michael Sands & Jane Robinson Lisa Sanman Douglas & Teresa Smith Eric Steinhauser & Gregg Macy Joe Mitchoff & Curtis Thompson Larry & Elizabeth Volchok

President & Commercial Bank Leader, KeyBank J. Greg Ness, Armory Theater Fund Chair, Director Emeritus, Chairman, CEO & President, Standard Insurance Stancorp Financial Group H. Pat Ritz, Director Emeritus, Chairman & CEO, Footwear Specialties International Julie Vigeland, Director Emeritus, Civic Volunteer Diana Gerding, Member Emeritus, Community Volunteer In Memoriam: Bob Gerding

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Life is the world’s greatest improv performance.

The best thing about live theatre is it’s live. Actors can flub a line or start laughing uncontrollably but the show must go on. You improvise, figure it out and keep moving forward. When life changes, it helps to have a trusted financial advisor who can change and adapt right along with you.

Umpqua is proud to support Portland Center Stage at The Armory and all the people in the audience who aren’t afraid to improvise a little when things don’t go as planned.

CSG18.0519

STAFF MARISSA WOLF

CYNTHIA FUHRMAN

Artistic Director

Managing Director

ARTISTIC

PRODUCTION

Chip Miller, Associate Producer Benjamin Fainstein, Literary Manager RaChelle Schmidt, Executive Assistant

Liam Kaas-Lentz, Director of Production Katie Nguyen, Associate Production Manager Hannah Rice, Company Manager Kristen Mun, Mark Tynan, Janine Vanderhoff, Stage Managers, AEA Dana Petersen, Macarena Subiabre,

ADMINISTRATION & FINANCE Lisa Comer, Finance Director Caitlin Upshaw, Director of HR, Equity & Inclusion

Lydia Comer, HR Manager Ticia Evans, Accounting Manager Alan King, Accountant Chris Beatty, IT Administrator Clement Mugabo, IT Associate

EDUCATION & COMMUNITY PROGRAMS Kelsey Tyler, Education & Community Programs Director

Jonas Angelet, Community Programs Manager Clara-Liis Hillier, Education & Community Programs Associate, Teaching Artist

Matthew B. Zrebski,

Resident Teaching Artist

DEVELOPMENT

Stage Management Apprentices

Derek Easton, Technical Director Amanda Nelsen, Scene Shop Coordinator Nick Foltz, Master Carpenter Nathan Crosby, Michael Hall, Phil A. Shaw, Carpenters Mary Reischmann, Scenic Charge Artist Shawn Mallory, Kiona McAlister Scenic Painters

Michael Jones, Properties Supervisor Lauren Chilton, Lead Properties Artisan Jamie Tait, Properties Artisan Alex Wren Meadows, Costume Shop Manager Paula Buchert, Eva Steingrueber-Fagan, Cutters/Drapers

Larissa Cranmer, Associate Draper Barbara Casement, Costume Crafts Artisan Bonnie Henderson-Winnie, Wardrobe Supervisor

Luisa Adrianzen Guyer, Director of Development

Eric Steinhauser,

Em Douglas, Lighting Supervisor Trent Alexz Eccles, Master Electrician & Programmer, U.S. Bank Main Stage

Associate Director of Development

Marlene A. Montooth, Grants Manager Jack E. Ridenour, Development Manager

Alex Agnes, Master Electrician & Programmer, Ellyn Bye Studio

Casi Maxwell Pacilio, Resident Sound Designer & Sound/Video Supervisor

MARKETING & COMMUNICATIONS

Evan Duckworth,

Sharon Martell,

Sammi Kelly, Sound & Video Apprentice Tim McGarry, Deck Manager

Director of Marketing & Communications

Claudie Jean Fisher,

Associate Director

of Marketing & Communications

Aiyana Cunningham,

Group Sales &

Promotions Manager

Kate Kerns,

Associate Sound & Video Supervisor

Marketing &

Communications Associate

Mikey Mann, Graphic Designer Kate Szrom, Multimedia Designer Christian Bisgard, Webmaster

OPERATIONS Katie Cronin, Operations Manager Gregery Lee, Eric Murray, Stewart Towle, Operations Assistants

Jacob Foster, Tim Taylor, Facilities Assistants

EVENTS & RENTALS

Natalie Myers-Guzman, Kitchen & Catering Lead

Leesidhe Blackburn, Kitchen Assistant Dana Carey, Justin Charles, Starla Cummins, Natalie Fund, Kim Gautier, Jeremy Laney, Jamie Lou, Marguerite McLean, Will Ramis, Andrew Rubin, Logan Starnes Vanessa VanHardenberg, Jon Verkler, Dani White, Food & Beverage Staff

FOR THIS PRODUCTION Hedwig and the Angry Inch Robert Amico, Thomas Chapman, Properties Artisans

Julia Braun, Claudia La Rue, First Hands Foggie Bell, Morgan Reaves, Stitchers Narangkar Glover, Crafts Artisan Gina Piva, Dresser Kate Belden, Mike Cino, Kelly Cullom, Joel Ferraro, Charles Lattin, Connery MacRae, Myke Rodriguez, Christopher Stull, Mark Twohy, Laurel Jane Vonderau, Michael Wax, Lauren Williams, Claire Zaro, Electricians Miranda Nolten, Assistant to the Wig Designer School Girls; Or, The African Mean Girls Play Robert Amico, Thomas Chapman, Properties Artisans

Julia Braun, Claudia La Rue, First Hands Foggie Bell, Morgan Reaves, Stitchers Gina Piva, Dresser Victoria Alvarez-Chacon, Kate Belden, Don Crossley, Joel Ferraro, Charles Lattin, Mary Michels, Avi Sheehan, Laurel Jane Vonderau, Connor Ward, Michael Wax, Lauren Williams, Electricians

VOLUNTEER COMMITTEE Connie Guist, Office Assistants Chair Karen Watson, Supporting Cast Chair

Jenn Thompson, Interim Events & Rentals Manager

PATRON SERVICES Luke Robertson, Audience Services Director Sierra Walker, Patron Services Manager

Emily S. Ryan, Patron Services Assistant Manager

Madelyn Clement, David Harper, Senior Patron Services Representatives

Virginia Johnson, Charley Praither, Patron Services Representatives

Kay Argens, Hannah Fulop, Azalea Micketti, Megan Schenk, Patron Services Sales Associates

FRONT OF HOUSE Nevan Richard, Lead Concierge Nsilo Berry, Wynee Hu, Concierges Michael Rocha, Lead House Manager, Volunteer Coordinator

Jenna Barganski, Azalea Micketti, Nhu Nguyen, House Managers

FOOD & BEVERAGE Melissa Larrabee, Bar Manager Erin Rubin, Kitchen & Catering Manager Katrina Hall, Ryan Smith, Food & Beverage Leads

52

PCS.ORG

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

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

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

Celebrate Giving WINEMAKER DINNERS WINTER: February 25, 26 & 27 & March 1, 2020 SPRING: April 28, 29 & 30, 2020 SUMMER (new!): Dates TBD Held at select Portland-area restaurants, these memorable culinary experiences feature esteemed Pacific Northwest winemakers partnered with local chefs.

WinemakerDinnersPDX.com

THE 36TH ANNUAL CLASSIC WINES AUCTION Saturday, March 7, 2020 Oregon Convention Center Classic Wines Auction is one of the longest-running charity wine auctions in the U.S., ranking in the Top 10 of U.S. Charity Wine Auctions by Wine Spectator Magazine. It has raised nearly $50 over the past 35 years for local nonprofits.

CORKS + FORKS Thursday, June 4, 2020 The Redd on Salmon Street Corks + Forks is a wine and food tasting event where guests nibble on delicious bites from Portland’s hottest restaurants and sip from the area’s best wineries while enjoying music, games and a live demonstration kitchen.

ClassicWinesAuction.com

CorksAndForksPDX.com

Join us for our year-round series of wine + food events

ClassicWinesAuction.com Benefiting children and families in our community

2020 CLASSIC WINES AUCTION PRESENTING SPONSOR

@artslandia @pittockmansion #holidayparty #artslandiawashere #ourfavoritethings

@chehalemculturalcenter #installation #artslandiawashere #newbergoregon

@oregonsymphony #artslandiawashere #shakespeare #sibelius

#ARTSLANDIAWASHERE HERE, THERE, AND EVERYWHERE! FOLLOW @ARTSLANDIA ON INSTAGRAM TO TRACK THIS SEASON’S ADVENTURES. USE #ARTSLANDIAWASHERE TO WIN PRIZES & SEE YOUR PHOTOS IN PRINT. @artslandia #patriciaresercenterforthearts #artslandiawashere #beaverton #arts

@oregon.ballet.theatre #artslandiawashere #katarinasvetlova #30thanniversary

54

@portlandartmuseum @hankwillisthomas @artistvat #allthingsbeingequal

@orculturaltrust @livewireradio #bts #culturaltrust #artslandiawashere

@portlandcenterstage #prideandprejudice #missbennet #artslandiawashere

@portlandcenterstage #artslandiawashere #macbeth #theatrebabies #pdxtheatre

@portlandopera @zivvy91 #pdxopogo #artslandiawashere #pogoboheme

@christoferpdx @seattlerep #artslandiawashere #shoutsistershout

PCS.ORG

Retirement living with the city as your backyard

Whatever the indulgence, seeing is believing. Parkview at Terwilliger Plaza invites you to see floorplans, ponder interior treatments, and soak up the splendor of what makes Parkview so special. Why wait?

■

Take a tour

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Choose the right floorplan for you

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Find out about Charter Member privileges

503-808-7870 or marketing@terwilligerplaza.com

Parkview at Terwilliger Plaza is a not-for-profit continuing care retirement community for residents age 62+.