WRITTEN & PERFORMED BY LAUREN WEEDMAN
DIRECTED BY ROSE RIORDAN
WILD AND RECKLESS
FROM THE ARTISTIC DIRECTOR CHRIS COLEMAN
My first introduction to Blitzen Trapper was through Liam Kaas-Lentz, our production manager. I confess to being somewhat illiterate on the pop/indie music front (throw me a Springsteen or Fleetwood Mac lyric and I’ve got you covered, but more recent artists ... less so), so I was intrigued when he mentioned that one of Portland’s most popular bands might be interested in creating an evening with a narrative thread. Liam went to college with Brian Adrian Koch (the drummer for the band, who is also an actor), so he opened the door to a conversation. And I started listening to them. And I fell in love. To my unschooled ear, the music sounded at times like the Grateful Dead, sometimes like Freddie Mercury, sometimes like my favorite folk singers. What was consistent was a high level of musical complexity and experimentation, and an uncanny depth in the lyrics. So when we first had the chance to meet Brian and Eric Earley, the band’s primary songwriter and vocalist, I became even more intrigued by hearing their backstory. Friends who met in church in small-town Oregon, deeply familiar with the dead ends and economic traps in so much of rural America; who had found their way to the “big city” and built a career together that found the band touring Europe and being touted by Rolling Stone, Billboard and Paste and as “one of rock music’s most prolific and creative storytellers.” The chance to try and create a theatrical event — a long-form story through music — was as interesting to the band as it was to us. And so here we are. Enjoy the ride.
LAUREN WEEDMAN DOESN’T LIVE HERE ANYMORE It was the opening night of our revival of The People’s Republic of Portland when I heard the words come out of my mouth: “Look, I’ll produce whatever you want to write next.” I was standing outside Lauren’s dressing room, and while I’d loved the original incarnation of her Portland-inspired show, I was knocked out by how much she’d continued to hone and tighten it since its inception. She is always funny, but she’d found precisely how to fit the pieces together to make the story sing. So when she shared that her next piece would be centered on country music, I thought, “ummmmm, okay.” And Lauren continued: “Big hair, heartbreak and twangy tunes. Just like my life these days.” So our journey with Lauren continues. Whether you saw her first in our production of Bust, People’s Republic, on HBO’s Looking, or you’re meeting her for the first time — you never know where Lauren’s zany observations are going to take you. I always feel delighted I decided to take the journey.
MARCH 16 – APRIL 30, 2017 ON THE U.S. BANK MAIN STAGE
ARTISTIC DIRECTOR | CHRIS COLEMAN
A WORLD PREMIERE
WILD AND RECKLESS
Written and Performed by Blitzen Trapper Directed by Rose Riordan and Liam Kaas-Lentz Scenic Designer Sibyl Wickersheimer
Costume Designer Alison Heryer
Lighting Designer Daniel Meeker
Sound Designer Casi Pacilio
Projection Designer Jared Mezzocchi
Stage Manager Janine Vanderhoff*
Production Assistant Kristina Mast
Casting Rose Riordan, Brandon Woolley and Liam Kaas-Lentz
Wild and Reckless was commissioned by Portland Center Stage at The Armory for its Northwest Stories series and developed at JAW: A Playwrights Festival, July 2016, Rose Riordan, JAW Festival Director. Blitzen Trapper is managed worldwide by Brady Brock.
PERFORMED WITHOUT INTERMISSION. The photo, video or audio recording of this performance by any means whatsoever is strictly prohibited. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
SUPPORTING SEASON SPONSORS
Sarah J. Crooks Tasca & Paul Gulick Drs. Ann Smith Sehdev & Paul Sehdev Portland Center Stage at The Armory receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.
THE CAST (in order of appearance) Eric Earley.............................................The Narrator/Guitar Laura Carbonell*................................ The Girl/Piano/Guitar Brian Adrian Koch.......................... The Scientist/Percussion Leif Norby*....................................... The Dealer/Percussion Marty Marquis................................ The Professor/Keyboard Erik Menteer ������������������������������������������������The Kid/Guitar Michael Van Pelt �����������������������������������������Bass/Percussion *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
SONG LIST OVERTURE NO MAN’S LAND BLACKOUT, VERSION 1 WHEN I’M DYING ASTRONAUT, VERSION 1 SOUND OF THE STREETS
FROM THE DIRECTORS: Rose Riordan and Liam Kaas-Lentz
DANCE WITH ME WILD AND RECKLESS, VERSION 1 LOVE LIVE ON, VERSION 1 STOLEN HEARTS BABY WON’T YOU TURN ME ON
For over a decade, Blitzen Trapper has infused narrative into their albums and storytelling into their concerts. We continue this process with Wild and Reckless. Theater and performance are fickle things. We try to compartmentalize and draw distinctions between one and the other. We call one thing “theater” and another “performance.” What is most exciting about this collaboration is that it offers an opportunity to development a different kind of storytelling between Blitzen Trapper and Portland Center Stage at The Armory. So how do you “co-direct”? Is that even a thing? A quote from Oscar Martinez in The Office comes to mind: “Name a country that doesn’t have two presidents. A boat that sets sail without two captains. Where would Catholicism be without the popes?” It is definitely unusual and we definitely do NOT agree on everything. But the three things we do agree on: seaweed fries, the power of theatrical storytelling, and the music of Blitzen Trapper. That music drives the story of Wild and Reckless as it has driven the narrative in the many albums that came before it. We’re proud to put these musicians onstage and give them a platform to share their characters, music, stories and talent.
WIDE OPEN SKY ASTRONAUT, VERSION 2 WHEN I’M DYING, REPRISE WILD AND RECKLESS, VERSION 2 LOVE LIVE ON, VERSION 2 BLACKOUT, VERSION 2 STREET FIGHTING SUN BELOW THE HURRICANE BLACK RIVER KILLER FOREVER BLACKOUT, FINALE WILD AND RECKLESS, FINALE WIND DON’T ALWAYS BLOW
WILD AND RECKLESS IN DEVELOPMENT A little over a year ago, Portland Center Stage at The Armory approached Blitzen Trapper — Eric Earley, Brian Adrian Koch, Marty Marquis, Erik Menteer and Michael Van Pelt — with the idea of creating a world premiere for the company’s new Northwest Stories series, dedicated to developing and producing stories about, or by artists from, the Northwest region. In the months that followed, Blitzen Trapper visited The Armory for weeks of workshopping and production meetings, including a stint at our annual JAW: A Playwrights Festival. On the eve of the first rehearsal, we checked in with the band about their foray into the world of theater.
HOW DO YOU SEE THIS SHOW’S PLACE IN THE BAND’S EVOLUTION? EARLEY: It makes sense in terms of my own storytelling through
song. My writing has always been narrative in nature, so it feels like a meaningful extension of the work I’ve always been doing.
MARQUIS: There’s a certain symmetry to it, insofar as many of
our first shows were just down the street at the ur-dive Satyricon, and now we’ll be performing in a relatively pristine environment while commenting on those clubs, like Satyricon, where we once played. Also, our music has gradually become more “legible” over the years. Getting to put together this show is a good index of how far we’ve come from our psychedelic freak-out beginnings.
MENTEER: We’ve been releasing records and playing shows all over the world for the past eight years, so this is an interesting change for us. It seems very fitting because Eric’s songs often involve a strong narrative. Creating this visual and spoken accompaniment, and an overarching story that ties together with the music, seems like a natural move. This project is totally outside anything that we would normally think to do, but that made it especially exciting. It felt like it would be a unique challenge and those always tend to foster growth. DESCRIBE YOUR CREATIVE PROCESS FOR THIS PRODUCTION. HOW HAS THE COLLABORATION BEEN DIFFERENT FROM THE WORK YOU’VE DONE TOGETHER AS A BAND IN THE PAST? EARLEY: The songs themselves were already written and demoed, many of them story songs of a certain kind. Strangely, it wasn’t a difficult process to meld all the songs together into a single
narrative piece. There was a certain Bonnie and Clyde, Romeo and Juliet element to a few of the songs that I used to guide the overall narrative.
MARQUIS: Three weeks of workshopping an entire long-form musical narrative is a big departure from our usual process, where we work up individual songs and play different sets each night while we’re on the road. We’ve had to think more carefully about how to arrange the ensemble, and how to pluck out certain musical themes for theatrical effect. There was initially a good bit of brainstorming about the story and themes to begin with, which has never been a concern for our albums. VAN PELT: It’s definitely WAY more involved than simply doing music. Logical and dramaturgical consistencies need to be found in a theater piece, where music can simply live in the ether. KOCH: Working in the studio to record the songs for this album was maybe the most fun I’ve ever had in a recording environment. It all flowed so naturally. I’ve really enjoyed working collaboratively with Rose and The Armory crew, and also getting to work again with Liam Kaas-Lentz, who in the past has directed me twice in two Wallace Shawn plays (I’m lobbying for a third one). WHAT ARE SOME OF THE INSPIRATIONS YOU’VE DRAWN ON FOR THIS SHOW? EARLEY: I’ve drawn on my experiences from my twenties, living and trying to play music in Portland in the late 1990s/early 2000s. There was a different feeling in the city then. The underbelly was still extremely visible — hard drug addiction/dealing/supplydemand was the norm — and my contact with it was very personal. Though I was not a user, I was in very close relationships with users. MENTEER: Mostly, I’ve been reminiscing about the feel of Portland in the past. There was a kind of desperate desolation to the town that, while quite dark, also contained a limitless freedom. In a town that seemed forgotten and bleak, one can do almost anything without consequences. But there was also a feeling of being stuck, as if nothing that one did could ever move beyond the city limits. Nobody really cared or had the ambition to achieve anything beyond a good show or a crazy house party.
YOU CAME TO THE ARMORY LAST SUMMER TO WORKSHOP THE SHOW DURING JAW. WHAT WAS THAT EXPERIENCE LIKE, AND WHAT DID YOU LEARN ALONG THE WAY? MARQUIS: I had been around the theater a great deal when I was younger, but had become so used to musical collaboration that it was almost shocking the amount of verbal communication necessary to get a play into shape. In a rock band, you just need to know the tempo and key, and a few other things, and you can hear if what’s being played is right or not. In theater, there are many more dimensions to take into consideration, but also lots of helping eyes and ears outside of the performing ensemble. MENTEER: It was like entering a completely different world from
the one that we’re used to. By nature, the rock music world is much less focused and formal than the work we did at JAW. Time usage was more controlled. In a band practice one could play for ten minutes or three hours depending on the feel in the room, so it was always funny to me when we had to take mandatory breaks.
MENTEER: Having the same circumstances for every performance is going to be interesting because we are so used to working under different conditions every night. Each venue has its quirks and we’ve become pretty adept at adapting and making each space work for the night. One place can have an amazing sound system, where everything sounds very precise and clear, then the next night you might find yourself in a bar held together by duct tape and hope, so we have to change our approach to each kind of venue. Being in the same room every night will allow for much more refinement in our performance, and I am really looking forward to that. WHAT ARE SOME OF THE SURPRISES WORKING ON THIS PRODUCTION SO FAR, AND WHAT ARE YOU MOST EXCITED ABOUT AS YOU BEGIN REHEARSALS? VAN PELT: I feel very fortunate to be a part of a production that has this amount of attention being paid to it — it feels like Europeanstyle arts development. And I’ve never really experienced that, nor thought it existed in the States, so that is very cool.
KOCH: The feedback is valuable, but showcasing unfinished work at that stage of development is really uncomfortable. Still, it was nice to get other people’s eyes on the thing. It contributed to the EARLEY: I had no idea just how meticulous the theater is when feeling that it was going in a good direction, from blurry to focused. it comes to the details of a show, the timing, staging, blocking, all the little things that make a performance happen. There’s some of that in a rock show, but nothing even close to theater. USUALLY WHEN YOU PLAY 28 PERFORMANCES, YOU’VE TRAVELED THOUSANDS OF MILES IN BETWEEN. AS YOU BEGIN REHEARSALS, HOW ARE YOU FEELING ABOUT BEING STRAPPED TO ONE STAGE FOR SO LONG, WHILE TAKING ON AN ENTIRELY DIFFERENT PERFORMANCE STYLE?
VAN PELT: A little apprehension, but mostly really ready to get some legs under this thing. KOCH: I’m happy we can perform nightly without the long daily
drives, but I do theater as well as music, so I’m comfortable on the move or stuck in one place.
OPPOSITE PAGE (L–R): Erik Menteer, Michael Van Pelt, Brian Adrian Koch, Marty Marquis. Photos by Kate Szrom
MARQUIS: I think the depth of resources available at The Armory is constantly surprising. It’s as though anything we might need is potentially available. Set design! Costumes! Lighting! Even publicity! In order to retain these kinds of professional services, a band often has to be working in the large hall/arena scale at least, and Blitzen Trapper is a club band. So it’s always wonderful to have what would seem usually to be unnecessary or even absurd wishes realized so easily. KOCH: I’m looking forward to seeing all the elements and aspects converge as we approach opening, but the entire theatrical process is intoxicating for me.
THIS PAGE (L–R) BACK: Erik Menteer, Eric Earley, Brian Adrian Koch, Michael Van Pelt, Marty Marquis. FRONT: Eric Earley. Photos by Kate Szrom
WILD AND RECKLESS | CAST & CREATIVE TEAM LAURA CARBONELL The Girl/Piano/Guitar
Laura is thrilled to be back home in Portland working at The Armory. Regional theater credits include One Night with Janis Joplin (Arena Stage and Cleveland Play House); The Storytelling Ability of a Boy (world premiere, Florida Stage); Glorious! (Shadowland Theatre). New York theater credits include the new rock musicals Destinations (Le Poisson Rouge) and Twist (The Kraine Theater); A Midsummer Night’s Dream (Pulse Ensemble Theatre); The Wrath of Aphrodite (TBG Arts Center); The Andrews Sisters Musical Revue (New York Dinner Theater). Film credits include The Captive (Sundance Channel) and the award-winning Simpler Times. Produced by Laura and her husband Steve Monarque’s company MonaVision Films, Simpler Times features comedy duo Stiller and Meara and a theme song Laura wrote with Jerry Stiller. Laura is the managing director of Off-Broadway’s Working Theater and holds a B.F.A. in theater from NYU’s Tisch School of the Arts and the Stella Adler Conservatory. ERIC EARLEY The Narrator/Guitar
Eric grew up in Salem, Oregon, playing in high school rock bands and working on blueberry farms in the summer. In 1995, he moved to Lookout Mountain, Georgia, where he studied history and hitchhiked around the south. Returning to Oregon, he moved to Portland to study abstract mathematics, physics and science-fiction literature. One Halloween, he developed a fever and had an extraordinary vision while drunk on Mickey’s. Subsequently, Eric quit school and returned to songwriting. He lives with his wife in SE Portland, where he records songs, writes novels and works in his garden. BRIAN ADRIAN KOCH The Scientist/Percussion
Brian Adrian Koch is a California born and Oregon raised artist. He is excited to make his debut at The Armory, and blend his passions for acting and music into a single show. In 2000, he moved from Salem to Portland, co-founded the band and began attending Portland State University, where he received his B.A. in
theater arts. Since then, he’s toured the western world over with Blitzen Trapper and continues to act, write, compose and occasionally direct for productions, both theatrical and cinematic. Recent/ favorite TV and film credits include: The Librarians, Grimm, Counterintelligence, North and Nowhere and Eight Types of Crazy. Theatrical credits include: Mr. Burns, Crackin’ The Code and Manos: The Hands of Fate. He is a member of SAGAFTRA and grateful to be represented by Dennis Troutman of OPTION Model and Media. MARTY MARQUIS The Professor/Keyboard
Marty is a native of Yakima, Washington, a son of an amateur thespian and a grandson of a Vaudevillian singer. As a youth, he haunted the community theater and performed in productions like Yakima’s legendary Professor Bud’s Mini-Circus. He was weaned on early MTV before discovering The Beatles and Led Zeppelin (and thence his vocation) as a teen. In the 90s, he met Eric Earley while studying American culture in Lookout Mountain, Georgia. Upon relocating to Portland, he was enlisted to join the nascent band. He lives in SE Portland with his wife and two children. Favorite pastimes include reading sci-fi, fantasy, historical fiction and that prince of American letters, Henry Miller. He recently released his first proper solo recording, Skookum Sound. 2019 will mark the sesquicentennial of the Marquis family in Oregon. ERIK MENTEER The Kid/Guitar
Erik Menteer was born in Salem, Oregon, to a British mother and a Michigander dad. He began to play music in the fourth grade, starting with the viola. The electric guitar came soon after, and he spent his high school years making as much noise as possible. Seeking out his favorite tones, he picked up more instruments like the organ, the sitar, and the Moog synthesizer. He brings this assortment of instruments to his role in Blitzen Trapper, but is mostly known for his electric and slide guitar work. At Mt. Hood Community College, he studied music theory before transferring to Portland State University where he received a bachelor’s degree in
applied linguistics. When the band isn’t on the road, he can be found playing his collection of early British R&B and punk records under the moniker of DJ Mod Fodder. LEIF NORBY The Dealer/Percussion
Leif was last seen in Astoria: Part One. Other appearances at The Armory include Clancy/ Voice of The Oregon Trail in The Oregon Trail, Professor Willard/Joe Stoddard in Our Town, De Guiche in Cyrano, Rodrigo in Othello, ensemble in both Anna Karenina and Sunset Boulevard, Richard Hannay in The 39 Steps, Tateh in Ragtime and Benny Southstreet in Guys and Dolls. Other recent Portland appearances include Cervantes in Man of La Mancha (Lakewood Theatre), Dr. Givings in In the Next Room (Profile Theatre), Tom in The God Game (Brandon Woolley prod.), Bastion in Mr. Kolpert and Jane/ Edgar in Mystery of Irma Vep (Third Rail Repertory Theatre), Verne/George in And So It Goes… and Frank Keller in Red Herring (Artists Repertory Theater), Charlie in The Scene (Portland Playhouse), and Beast in Beauty and the Beast (Pixie Dust Productions). TV credits include Portlandia and Leverage. Leif is a proud member of Actors’ Equity, sends love to his wife Susie, and thanks you for supporting live theater. MICHAEL VAN PELT Bass/Percussion
A fifth-generation native Oregonian, Michael is the grandson of a Willamette Valley strawberry and peppermint farmer. Fostered by his grandmother’s spinet piano, his parents’ vinyl collection, 80s pop culture, and the ascendance of hip hop, Michael took up bass guitar at the behest of Mr. Earley in the fall of 1993. Later, at the University of Oregon, he was hastily baptized into the world of subterranean college radio and bedroom 4-track cassette recording. By 2000, Michael had moved to Portland and helped crystalize what would soon become Blitzen Trapper. When not touring the western world, producing records, or curating sounds for Portland agency Marmoset, you can find him in his downtime clumsily reading Joyce and eating copious amounts of popcorn with his wife and two young sons.
WILD AND RECKLESS | CAST & CREATIVE TEAM BLITZEN TRAPPER
Blitzen Trapper were formed in Portland, Oregon, in 2003. Their self-released third album, Wild Mountain Nation, catapulted their career. The band signed to Sub Pop Records for their breakthrough fourth album, Furr, in 2008. Furr received universal acclaim. It was named #13 on Rolling Stone’s list of top 50 albums of the year and the band has been touring the world ever since. They most recently released their acclaimed eighth studio album, All Across This Land, with Paste praising the record as a “triumph of Blitzen Trapper’s classic rock sensibilities,” calling it “an album 15 years in the making, as the musicians are both in command of their talents individually and completely dialed in as a band.” Last year, the band released a live album which was recorded direct-to-acetate and released on Jack White’s Third Man Records. Blitzen Trapper are Eric Earley, Marty Marquis, Michael Van Pelt, Erik Menteer and Brian Adrian Koch. ROSE RIORDAN Co-Director
Rose is in her 19th season at Portland Center Stage at The Armory, where she serves as associate artistic director and has previously directed The Oregon Trail, Our Town, The People’s Republic of Portland (2013 and 2015), Vanya and Sonia and Masha and Spike, The Typographer’s Dream, LIZZIE, A Small Fire, The Mountaintop, The Whipping Man, The North Plan, Red, One Flew Over the Cuckoo’s Nest, A Christmas Story, The 25th Annual Putnam County Spelling Bee, The Receptionist, A Christmas Carol, Frost/Nixon, How to Disappear Completely and Never Be Found, Doubt, The Underpants, The Pillowman and The Thugs, which won four Drammy Awards, including Best Ensemble and Best Director. Rose has also recently directed, for various other theaters, Adam Bock’s Phaedra, The Passion Play, Telethon and The Receptionist. In 1999, she founded the annual JAW: A Playwrights Festival. JAW has been instrumental in developing new work for the company’s repertory, including Threesome, Bo-Nita, The People’s Republic of Portland, The Body of an American, The North Plan, Anna Karenina, Outrage, Flesh and Blood, Another Fine Mess, O Lovely Glowworm, Celebrity Row, Act a Lady, The Thugs and A Feminine Ending.
Rose has also directed some of the staged readings for JAW festivals: The Thugs (2005), Telethon (2006), A Story About a Girl (2007), 99 Ways to F*** a Swan (2009), The North Plan (2010), San Diego (2012), The People’s Republic of Portland (2012), Mai Dang Lao (2013) and A Life (2014). She enjoys being part of a company committed to new work and having a beautiful building in which to work. LIAM KAAS-LENTZ Co-Director
Liam is a native of Bellingham, WA. He is an ensemble member of Sojourn Theatre, having served as their stage and production manager for the past decade and a half. Recent directing credits include How to End Poverty in 90 Minutes with Sojourn Theatre and Portland Playhouse, and The Hotel Play and Marie and Bruce with The New House Theatre. In any number of theatrical capacities, Liam has worked with Hand2Mouth Theatre, Portland Playhouse, Artists Repertory Theatre, Pacific Conservatory for the Performing Arts, Geva Theatre Center, Oregon Children’s Theatre, Pixie Dust Productions, The Kitchen, River to River Festival, Teatro Milagro and many others. He received his B.F.A. in stage management from Southern Oregon University, and his M.Ed. in curriculum and instruction from Portland State University. Liam has taught stage and production management with a focus on ensemble, devised and sitespecific contexts and methodologies at universities across the country. He would like to dedicate this show to Sy. Beyond Rocketships. SIBYL WICKERSHEIMER Scenic Designer
Also in Oregon, Sibyl recently designed Julius Caesar, directed by Shana Cooper, and Richard 2, directed by Bill Rauch, at the Oregon Shakespeare Festival. Her regional set design credits include productions at Oregon Shakespeare Festival, Woolly Mammoth Theatre Company, Lookingglass Theatre, Seattle Repertory Theatre, Portland Playhouse, Berkeley Repertory Theatre, Arizona Theatre Company, The Kirk Douglas Theatre, Geffen Playhouse and South Coast Repertory. Sibyl resides in Los Angeles where she designs for numerous local companies and teaches at the University of Southern California. Her
work includes over 10 productions at The Actors’ Gang, of which two have toured to five continents and across the United States. Outside of traditional theater spaces, she has designed for The Natural History Museum of LA County, Kaiser Educational Theatre, Disney Cruise Line, and her art installations have been exhibited in galleries throughout Southern California. ALISON HERYER Costume Designer
Alison Heryer is a costume designer for theater, film and print. She is thrilled to be returning to Portland Center Stage at The Armory, after designing costumes for His Eye is on the Sparrow, The Oregon Trail, Ain’t Misbehavin’, Our Town, Three Days of Rain and Threesome. Other design credits include productions with Steppenwolf Theatre Company, 59E59 Theaters, La MaMa, The New Victory Theater, Kansas City Repertory Theatre, Indiana Repertory Theatre, Portland Opera, Artists Repertory Theatre and The Hypocrites. She has exhibited work at the Nelson Atkins Museum of Art, the Austin Museum of Modern Art, and Prague Quadrennial of Design and Space. Recent awards include the ArtsKC Inspiration Grant, the Austin Critics Table Award and a 2016 Drammy. Alison is an assistant professor of art practice in the School of Art + Design at Portland State University and a member of United Scenic Artists Local 829. alisonheryerdesign.com DANIEL MEEKER Lighting Designer
Previously at The Armory: scenery for The People’s Republic of Portland and Red (Drammy Award); lighting for Twist Your Dickens; and set and lighting for Vanya and Sonia and Masha and Spike, The Typographer’s Dream, LIZZIE (Drammy Award for Best Lighting), The Last Five Years and The Mountaintop. Current projects: Big Night Out, Così fan tutte, The Difficulty of Crossing a Field and The Little Match Girl Passion for Portland Opera; The Talented Ones at Artists Repertory Theatre; The Language Archive for Portland Playhouse; Pinkalicious for Oregon Children’s Theatre; and 26 Hours for Profile Theatre. Recent credits: scenery for Women in Jeopardy at Pioneer Theatre Company; lighting for How I Learned What I Learned, and set and lighting for Peter and the Starcatcher at Portland
WILD AND RECKLESS | CREATIVE TEAM Playhouse; set and lighting for The How and The Why for COHO Productions; scenery for Mothers and Sons at Artists Repertory Theatre; scenery for Eugene Onegin and L’Italiana in Algeri for Portland Opera; lighting for James and the Giant Peach for Oregon Children’s Theatre; and lighting director for the Pickathon Festival. Daniel is a graduate of Ithaca College and The Yale School of Drama, and a member of United Scenic Artists. CASI PACILIO Sound Designer
Casi’s home base is The Armory, where recent credits include His Eye is on the Sparrow, The Oregon Trail, Little Shop of Horrors, A Streetcar Named Desire, Great Expectations, Ain’t Misbehavin’, Three Days of Rain, Cyrano; Other Desert Cities, Vanya and Sonia and Masha and Spike, A Small Fire and Chinglish with composer Jana Crenshaw; and ten seasons of JAW. National shows: Holcombe Waller’s Surfacing and Wayfinders; Left Hand of Darkness, My Mind is Like an Open Meadow (Drammy Award, 2011), Something’s Got Ahold Of My Heart and PEP TALK for Hand2Mouth Theatre. Other credits include Squonk Opera’s Bigsmorgasbord-WunderWerk (Broadway, PS122, national and international tours); I Am My Own Wife, I Think I Like Girls (La Jolla Playhouse); Playland, 10 Fingers and Lips Together, Teeth Apart (City Theatre, PA). Film credits include Creation of Destiny, Out of Our Time and A Powerful Thang. Imagineer/maker of the Eat Me Machine, a dessert vending machine. JARED MEZZOCCHI Projection Designer
Jared Mezzocchi is the recipient of the 2012 Princess Grace Award. New York City: Manhattan Theater Club (Vietgone), 3-Legged Dog (The Downtown Loop), HERE (You Are Dead. You Are Here.), The Builders Association (Jet Lag), Rob Roth (Screen Test), Big Art Group (SOS, The Sleep). Regional: Arena Stage (Intelligence), Studio Theatre DC and Company One Boston (Astroboy and the God of Comics), Everyman Theatre and Olney Theatre Center (Grounded), Center stage, Cleveland Play House, Milwaukee Repertory Theatre (American Song, History of Invulnerability) and Woolly Mammoth Theatre Company, where he is a company member (The Nether, Chad
Deity). Mezzocchi is the producing artistic director of Andy’s Summer Playhouse, an experimental multimedia theater for children in NH. Throughout the year, he is a faculty member for the M.F.A. design program at University of Maryland’s School of Theatre, Dance and Performance Studies. JANINE VANDERHOFF Stage Manager
Janine is glad to be back for her second season at The Armory. Previous credits at The Armory include: The Santaland Diaries, The Oregon Trail, Little Shop of Horrors, JAW 2016, Great Expectations, Ain’t Misbehavin’, Our Town. Other Portland credits include: Portland Opera’s Sweeney Todd (followspot caller); DC Copeland’s Play (stage manager/production manager); How to End Poverty in 90 Minutes and The Other Place at Portland Playhouse (stage manager). Touring stage management credits include: The Graduate (starring Morgan Fairchild), Cats, The Vagina Monologues, Jekyll & Hyde and Show Boat. While in New York, Janine had the opportunity to work on The Lion King on Broadway, as well as with many Off-Broadway and regional companies. Production management credits include: The Daily Show with Jon Stewart for “Democalypse 2012 Republican National Convention” (Tampa, FL); Straz Center (Tampa, FL); The Fox Theatre (Atlanta, GA). Proud NYU graduate and AEA member. KRISTINA MAST Production Assistant
Kristina Mast is excited to be working at The Armory for the first time. Recent stage management credits include db and The How and The Why (Coho Productions); One Slight Hitch (Clackamas Repertory Theatre); [or, the whale], All Well and Drowned Horse Tavern (Portland Experimental Theatre Ensemble). Assistant stage management credits include Peter and the Starcatcher, Mr. Burns, a Post-Electric Play (Portland Playhouse) and One Man, Two Guvnors (Clackamas Repertory Theatre). She received her training at Goshen College (Goshen, IN), Guthrie Theater’s stage management internship program, and Portland Playhouse’s apprenticeship program. She is a core company member of Portland Experimental Theatre Ensemble.
WILD AND RECKLESS SPONSOR STATEMENTS AHA
We at AHA are passionate about creative storytelling that earns its way into people’s lives. We help brands do this every day. The Armory also does this with every production. We’re proud to support them as they captivate audience members with each performance of Wild and Reckless — through the vulnerability and raw, authentic emotion that unfolds throughout the story.
SARAH J. CROOKS
I am proud to sponsor The Armory’s latest innovation in bringing to stage Blitzen Trapper’s Wild and Reckless. Starting at last year’s JAW festival, our incredibly talented co-directors — Rose Riordan and Liam Kaas-Lentz — have guided Portland’s timeless band and gifted storytellers, Blitzen Trapper, on this wild Northwest story. Thank you for joining me at The Armory for this world premiere escapade.
TASCA AND PAUL GULICK
We are thrilled to play a part in the world premieres of Lauren Weedman Doesn’t Live Here Anymore and Blitzen Trapper’s Wild and Reckless. Now more than ever we need stories of survival, grit, tenacity and resilience. And if we laugh, feel, empathize, and possibly cry along the way … even better.
DRS. ANN SMITH SEHDEV AND PAUL SEHDEV
Blitzen Trapper rocks and so does Portland Center Stage at The Armory. Join us in supporting the arts.
STOEL RIVES, LLP
Celebrating 10 years in this wonderful building, Portland Center Stage at The Armory presents this world premiere love story set to a rock-and-roll score. This amazing show is a product of the company’s JAW festival, which brings artists together each summer to create and refine their scripts and ideas in the presence of an audience. As a longtime supporter, Stoel Rives is proud to sponsor this edgy, innovative play, which showcases the breadth and depth of creative energy in the Pacific Northwest.
Portland Center Stage at
TEEN THEATER INTENSIVES Summer 2017 Photo by Kate Szrom.
Professional Acting & Audition Incoming Freshmen–Seniors
June 19-30, Monday–Friday 9 am–4 pm
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ARTISTIC DIRECTOR | CHRIS COLEMAN
MARCH 17 – APRIL 30, 2017 ON THE U.S. BANK MAIN STAGE
A WORLD PREMIERE
LAUREN WEEDMAN DOESN’T LIVE HERE ANYMORE Written and Performed by Lauren Weedman Directed by Rose Riordan Music Director Tim Sonnefeld
Scenic Designer Sibyl Wickersheimer
Costume Designer Alison Heryer
Lighting Designer Daniel Meeker
Sound Designer Casi Pacilio
Production Dramaturg Erica Beeney
Production Stage Manager Janine Vanderhoff*
Rehearsal Stage Manager Alyssa Escalante*
Production Assistants Kristina Mast and Iris Gonzalez
Tim Sonnefeld....................Guitar Ji Tanzer....................Percussion Lauren Weedman Doesn’t Live Here Anymore was developed at JAW: A Playwrights Festival, July 2016, Rose Riordan, JAW Festival Director.
PERFORMED WITHOUT INTERMISSION. The videotaping or other photo or audio recording of this production is strictly prohibited. *The Actor and Stage Managers in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
SUPPORTING SEASON SPONSORS
Tasca & Paul Gulick Portland Center Stage at The Armory receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.
FROM THE DIRECTOR:
After three seasons with us — The People’s Republic of Portland for two of them and Bust for another — Lauren picked up a guitar and fell in love with Lucinda Williams and a scene from Coal Miner’s Daughter. In particular, it was the scene where Loretta Lynn is yelling for her philandering husband and stumbling onto the Grand Ole Opry stage. Lauren felt it was the perfect description of her current mood. So began her intensive training in guitar, and playing and singing with a band. We decided the show would be the emotional metamorphosis of the “being single and loving it” Lauren Weedman. The creative process, like life, is messy. You kiss a lot of frogs before … well, anyway, you get the gist. What Lauren does, that most people don’t have the guts to do, is expose herself — and all of her flaws and vulnerabilities — to create theater that we can gain experience from, without risking our own nakedness. It’s not for the faint of heart. Portland Center Stage at
Portland Center Stage at
PORTLAND’S DRAMATICALLY PORTLAND’S UNIQUE VENUE DRAMATICALLY In the Heart of the Pearl UNIQUE VENUE In the Heart of the Pearl
Visit pcs.org/rent Visit pcs.org/rent
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CAST & CREATIVE TEAM LAUREN WEEDMAN Writer and Performer
Lauren is an awardwinning comedic actress, playwright and author. Her first show, Homecoming, began as a 15-minute performance art piece at Seattle’s On the Boards and went on to an OffBroadway production in New York City, back in 2001. Bust, about her work in the Los Angeles county jail, received a MacDowell Fellowship for playwriting by the Alpert Awards, as well as several “best of the arts” across the nation. She has written and performed more than 10 solo plays, including Homecoming, Amsterdam, If Ornaments Had Lips, Huu, Rash, Wreckage, Bust, No … You Shut Up, and most recently, The People’s Republic of Portland at The Armory. Her television credits include The Daily Show, Horny Patty on HBO’s Hung, and Doris on HBO’s Looking. Her most recent films, due for release this fall, are The Little Hours starring John C. Reilly and Wilson with Woody Harrelson. Weedman is the author of two books of comedic essays, A Woman Trapped in a Woman’s Body: (Tales from a Life of Cringe) and Miss Fortune: Fresh Perspectives on Having it All From Someone Who is Not Okay. She lives in a rent-controlled apartment with her 7-year-old son, Leo. TIM SONNEFELD Music Director/Guitar
Tim Sonnefeld is a Grammy Awardwinning producer, musician, songwriter and mixing engineer from Philadelphia, PA. In 2005, he became a staff producer/engineer/ studio musician at the renowned MilkBoy Recording/Larry Gold’s The Studio. It was there that, in 2006, he co-produced a record for legendary gospel icons The Dixie Hummingbirds. The album was nominated for Best Traditional Gospel Album at the 2007 Grammy Awards. Four years later, he co-produced and mixed several tracks on Usher’s Raymond vs Raymond album, which was the recipient of the Best Contemporary R&B Album at the 2011 Grammy Awards. Disillusioned with Philadelphia’s amazing bread, loyal friends and family, and four seasons, Tim moved to Los Angeles in
2015, where one of his first paid gigs was playing guitar with the illustrious Lauren Weedman at Hollywood Improv. JI TANZER Percussion
Drummer/actor Ji Tanzer’s education includes jazz performance, music therapy, literature and music composition at both Portland State University and Marylhurst University. He has performed nationally and internationally with Swansea, Blue Cranes, Rebecca Gates and The Consortium, Crystal Bowersox, Curtis Salgado, among many others. In addition to live performance, Ji is an in-demand session musician, who has played on over 100 recordings since 2000. In 2009, Ji starred in the feature-length independent film Light of Mine, which was honored with an official selection into the American Film Institute Festival — the only American independent film to be awarded entry. In addition to acting, he has provided music for feature films (Nightscape, Redwood Highway, Light of Mine, A Standing Still, Death On A Rock) and advertisements (Disney, Nike, Adobe, Motorola). ROSE RIORDAN Director
Rose is in her 19th season at Portland Center Stage at The Armory, where she serves as associate artistic director and has previously directed The Oregon Trail, Our Town, The People’s Republic of Portland (2013 and 2015), Vanya and Sonia and Masha and Spike, The Typographer’s Dream, LIZZIE, A Small Fire, The Mountaintop, The Whipping Man, The North Plan, Red, One Flew Over the Cuckoo’s Nest, A Christmas Story, The 25th Annual Putnam County Spelling Bee, The Receptionist, A Christmas Carol, Frost/Nixon, How to Disappear Completely and Never Be Found, Doubt, The Underpants, The Pillowman and The Thugs, which won four Drammy Awards, including Best Ensemble and Best Director. Rose has also recently directed, for various other theaters, Adam Bock’s Phaedra, The Passion Play, Telethon and The Receptionist. In 1999, she founded the annual JAW: A Playwrights Festival. JAW has been instrumental in developing new work for the company’s repertory, including Threesome, Bo-Nita, The People’s Republic of Portland, The Body of an American, The North Plan, Anna Karenina, Outrage, Flesh
LAUREN WEEDMAN DOESN’T LIVE HERE ANYMORE | CREATIVE TEAM and Blood, Another Fine Mess, O Lovely Glowworm, Celebrity Row, Act a Lady, The Thugs and A Feminine Ending. Rose has also directed some of the staged readings for JAW festivals: The Thugs (2005), Telethon (2006), A Story About a Girl (2007), 99 Ways to F*** a Swan (2009), The North Plan (2010), San Diego (2012), The People’s Republic of Portland (2012), Mai Dang Lao (2013) and A Life (2014). She enjoys being part of a company committed to new work and having a beautiful building in which to work. SIBYL WICKERSHEIMER Scenic Designer
Also in Oregon, Sibyl recently designed Julius Caesar, directed by Shana Cooper, and Richard 2, directed by Bill Rauch, at the Oregon Shakespeare Festival. Her regional set design credits include productions at Oregon Shakespeare Festival, Woolly Mammoth Theatre Company, Lookingglass Theatre, Seattle Repertory Theatre, Portland Playhouse, Berkeley Repertory Theatre, Arizona Theatre Company, The Kirk Douglas Theatre, Geffen Playhouse and South Coast Repertory. Sibyl resides in Los Angeles where she designs for numerous local companies and teaches at the University of Southern California. Her work includes over 10 productions at The Actors’ Gang, of which two have toured to five continents and across the United States. Outside of traditional theater spaces, she has designed for The Natural History Museum of LA County, Kaiser Educational Theatre, Disney Cruise Line, and her art installations have been exhibited in galleries throughout Southern California. ALISON HERYER Costume Designer
Alison Heryer is a costume designer for theater, film and print. She is thrilled to be returning to Portland Center Stage at The Armory, after designing costumes for His Eye is on the Sparrow, The Oregon Trail, Ain’t Misbehavin’, Our Town, Three Days of Rain and Threesome. Other design credits include productions with Steppenwolf Theatre Company, 59E59 Theaters, La MaMa, The New Victory Theater, Kansas City Repertory Theatre, Indiana Repertory Theatre, Portland Opera, Artists Repertory Theatre and The Hypocrites. She has exhibited work at the Nelson Atkins Museum of Art, the Austin Museum of Modern Art, and Prague
Quadrennial of Design and Space. Recent awards include the ArtsKC Inspiration Grant, the Austin Critics Table Award and a 2016 Drammy. Alison is an assistant professor of art practice in the School of Art + Design at Portland State University and a member of United Scenic Artists Local 829. alisonheryerdesign.com DANIEL MEEKER Lighting Designer
Previously at The Armory: scenery for The People’s Republic of Portland and Red (Drammy Award); lighting for Twist Your Dickens; and set and lighting for Vanya and Sonia and Masha and Spike, The Typographer’s Dream, LIZZIE (Drammy Award for Best Lighting), The Last Five Years and The Mountaintop. Current projects: Big Night Out, Così fan tutte, The Difficulty of Crossing a Field and The Little Match Girl Passion for Portland Opera; The Talented Ones at Artists Repertory Theatre; The Language Archive for Portland Playhouse; Pinkalicious for Oregon Children’s Theatre; and 26 Hours for Profile Theatre. Recent credits: scenery for Women in Jeopardy at Pioneer Theatre Company; lighting for How I Learned What I Learned, and set and lighting for Peter and the Starcatcher at Portland Playhouse; set and lighting for The How and The Why for COHO Productions; scenery for Mothers and Sons at Artists Repertory Theatre; scenery for Eugene Onegin and L’Italiana in Algeri for Portland Opera; lighting for James and the Giant Peach for Oregon Children’s Theatre; and lighting director for the Pickathon Festival. Daniel is a graduate of Ithaca College and The Yale School of Drama, and a member of United Scenic Artists. CASI PACILIO Sound Designer
Casi’s home base is The Armory, where recent credits include His Eye is on the Sparrow, The Oregon Trail, Little Shop of Horrors, A Streetcar Named Desire, Great Expectations, Ain’t Misbehavin’, Three Days of Rain, Cyrano; Other Desert Cities, Vanya and Sonia and Masha and Spike, A Small Fire and Chinglish with composer Jana Crenshaw; and ten seasons of JAW. National shows: Holcombe Waller’s Surfacing and Wayfinders; Left Hand of Darkness, My Mind is Like an Open Meadow (Drammy Award, 2011), Something’s Got Ahold Of My Heart and PEP TALK for Hand2Mouth
Theatre. Other credits include Squonk Opera’s Bigsmorgasbord-WunderWerk (Broadway, PS122, national and international tours); I Am My Own Wife, I Think I Like Girls (La Jolla Playhouse); Playland, 10 Fingers and Lips Together, Teeth Apart (City Theatre, PA). Film credits include Creation of Destiny, Out of Our Time and A Powerful Thang. Imagineer/maker of the Eat Me Machine, a dessert vending machine. ERICA BEENEY Production Dramaturg
Erica Beeney holds a B.F.A. in film production from Bard College and an M.F.A. in creative writing from Ohio State University. After writing The Battle of Shaker Heights (produced by Miramax as part of Project Greenlight), Erica has written and developed numerous film and TV projects for Sony, New Line, Lifetime, and for the producers of The Terminator movies, Game of Thrones and House of Cards. With Rupert Wyatt (director of Rise of the Planet of the Apes) Erica wrote multiple projects for 20th Century Fox, as well as Captive State, which is currently in production in Chicago with financing from Participant Media. She has written and is developing The Ballad of Charlie Melody. She writes poetry about gossip on her Tumblr and was one of Esquire’s “2006 Women We Love,” so she’s got that going for her. JANINE VANDERHOFF Production Stage Manager
Janine is glad to be back for her second season at The Armory. Previous credits at The Armory include: The Santaland Diaries, The Oregon Trail, Little Shop of Horrors, JAW 2016, Great Expectations, Ain’t Misbehavin’, Our Town. Other Portland credits include: Portland Opera’s Sweeney Todd (followspot caller); DC Copeland’s Play (stage manager/ production manager); How to End Poverty in 90 Minutes and The Other Place at Portland Playhouse (stage manager). Touring stage management credits include: The Graduate (starring Morgan Fairchild), Cats, The Vagina Monologues, Jekyll & Hyde and Show Boat. While in New York, Janine had the opportunity to work on The Lion King on Broadway, as well as with many Off-Broadway and regional companies. Production management credits include: The Daily Show with Jon Stewart for “Democalypse 2012 Republican National Convention” (Tampa, FL); Straz Center (Tampa, FL);
CREATIVE TEAM CONT. The Fox Theatre (Atlanta, GA). Proud NYU graduate and AEA member. ALYSSA ESCALANTE Rehearsal Stage Manager
Alyssa is an Equity stage manager in Los Angeles. Some of her favorite Los Angeles credits include The Secret Garden (dir. Jessica Kubzansky), Haunted House Party (dir. Matt Walker), Mojada: A Medea in Los Angeles (dir. Jessica Kubzansky), Criers for Hire (dir. John Lawrence Rivera), Cash on Delivery (dir. Ray Cooney), My Barking Dog (dir. Michael Michetti), The Missing Pages of Lewis Carroll (dir. Abigail Deser), Happy Days (dir. Andrei Belgrader), RII (dir. Jessica Kubzansky) and Proof (dir. John Hindman). She has also toured the United States with Placas: The Most Dangerous Tattoo (starring Ric Salinas). KRISTINA MAST Production Assistant
Kristina Mast is excited to be working at The Armory for the first time. Recent stage management credits include db and The How and The Why (Coho Productions); One Slight Hitch
LAUREN WEEDMAN DOESN’T LIVE HERE ANYMORE
CURTIS THOMPSON, M.D., AND ASSOCIATES, LLC
(Clackamas Repertory Theatre); [or, the whale], All Well and Drowned Horse Tavern (Portland Experimental Theatre Ensemble). Assistant stage management credits include Peter and the Starcatcher, Mr. Burns, a Post-Electric Play (Portland Playhouse) and One Man, Two Guvnors (Clackamas Repertory Theatre). She received her training at Goshen College (Goshen, IN), Guthrie Theater’s stage management internship program, and Portland Playhouse’s apprenticeship program. She is a core company member of Portland Experimental Theatre Ensemble. IRIS GONZALEZ Production Assistant
Iris has been working in theater as long as she can remember. She wears many hats depending on what production she’s doing. Most recently, she wrapped work with Cornerstone Theater Company on their production fellowship: a play for volunteers. She has thoroughly enjoyed working with Lauren on this entertaining and meaningful project.
HOP ACROSS THE OTHER POND.
LONDON AWAITS. New nonstop flights between Portland and London begin May 26, 2017.
I am thrilled to sponsor Lauren’s show again this year. Lauren’s ability to delve deeply into life’s challenges while making everyone laugh is truly a gift.
TASCA AND PAUL GULICK
We are thrilled to play a part in the world premieres of Lauren Weedman Doesn’t Live Here Anymore and Blitzen Trapper’s Wild and Reckless. Now more than ever we need stories of survival, grit, tenacity and resilience. And if we laugh, feel, empathize, and possibly cry along the way … even better.
Seasonal nonstop service from May 26, 2017 - October 28, 2017.
Lauren Weedman Doesn’t Live Here Anymore ... but we’re glad she’s back in Portland Lauren Weedman made her debut at The Armory in 2011 with Bust. Her unique brand of humor and insight was such a hit, the company commissioned her to create a new show about her experiences in Portland. In 2012, she came back to The Armory to workshop that show, The People’s Republic of Portland, at our annual festival for new work development, JAW: A Playwrights Festival. The show had its world premiere in the Ellyn Bye Studio in 2013. After playing to sold-out crowds in an extended run, we invited Lauren back for a return engagement in 2015. That same year, Lauren picked up a guitar and starting working on this new production, her first world premiere on the U.S. Bank Main Stage. She took a break from rehearsal to talk about the creative process for her latest show.
HOW DID THIS PROJECT INITIALLY COME ABOUT?
Thanks to a little mid-life crisis and divorce my life became, to quote the songwriter John Prine, “my life became sadder than any country song.” Country music, especially the songs of Lucinda Williams and Loretta Lynn, was initially so comforting and cathartic that I wanted to do any show that would allow me to embody those ladies and sing those songs.
WHERE DID YOU GET THE IDEA FOR THE CHARACTER OF TAMMY LISA?
Sitting in my apartment after my son had gone to sleep, drinking whiskey and listening to Lucinda, I caught a glimpse of myself in the mirror and saw my face looking tired and worn out, and my overbite looking particularly buck-toothy, and I thought, “geez … I look like Tammy Lisa.” Long ago, I found my birth parents and found out that when I was given up for adoption my birth mother and birth father were each allowed to give me a name for the initial paperwork. My birth father chose the name Tammy and my birth mother chose the name Lisa. Or maybe it was the other way around. Either way, they were very young at the time and chose their names without knowing what the other had chosen. I like to think about how, if I’d been kept, I would have been named Tammy Lisa. It’s a name that evokes my birth father’s West Virginia roots and feels very far away from the “Lauren Huntington Weedman” that I was adopted into. As my life has churned on, I’m always thinking, “Tammy Lisa is lurking. She’s in there and she’s gonna get out, no matter how you dress her or train her or how you try to straighten her teeth … she’s coming out.”
DESCRIBE YOUR CREATIVE PROCESS FOR THIS SHOW.
My process for this show has been different from other shows in that it’s taken a lot longer to put this show together. Everything is so much slower now. Meaning it’s been hard to find time to do all that I want to do with it. My creative process gets harder and harder the older I get, because of being a single mom. Trying to find the time to fully immerse
myself in the show. I have a son who lets me know that he hates when I’m gone. He also hates me being divorced. He’s very vocal about his feelings. I remember meeting an actor at JAW once who grew up as an only child with parents who did theater. She said she always felt like her mother had this “other love” in her life that she couldn’t compete with. Which made my heart ache, but it also made me look at her and think, she seemed so amazing that maybe it will be okay.
WHAT ARE SOME OF THE MUSICAL INFLUENCES THAT HAVE INSPIRED THIS PRODUCTION?
Patty Griffin and Lucinda Williams. Their poetry and honesty are a good go-to for post-breakup. Every one of Lucinda’s albums has a song that destroys me. Her song “Are You Alright?” is brutal. Something about the repetition of the line “are you alright?” sung over and over again: Are you all right? All of a sudden you went away Are you all right? I hope you come back around someday I love Loretta Lynn and Jack White’s album Van Lear Rose. Hearing Loretta working with the distorted guitar and heavy rocking of Jack White is incredibly inspiring. Maybe it gives me hope that as I get older I’ll be able to keep pushing things and being inspired by working with younger artists. Not that I’m anything like Loretta, or that I’ve ever come close to meeting someone like Jack White. I think there may be a few drag queens who would sing some duets with me. I’ve also been watching hours of Dean Martin variety shows. I always thought Dean Martin was the funniest and most charming of all the members of the Rat Pack. There’s something about his performances that feels so authentic. You can tell he’s really having a good time. I love the humor. It’s very un-PC, which I know makes a lot of people struggle, but that’s part of why I love it. It’s shocking.
LAUREN’S PDX PLAYLIST Lauren has been keeping a playlist called “PDX” on her computer for whenever she hears a song that feels right for the show or is simply inspiring. Here’s a peek at her playlist. A selection of these songs will be used in today’s performance.
BREAKING UP IS HARD TO DO Neil Sedaka, Howard Greenfield NOBODY Kye Fleming, Dennis Morgan, Sylvia HARPER VALLEY PTA Tom T. Hall, Jeannie C. Riley MRS. LEROY BROWN Loretta Lynn JOLENE Dolly Parton
SWEET SIDE Lucinda Williams KEEP ON SINGING Danny Janssen, Bobby Hart, Helen Reddy SHE’S SINGLE AGAIN Peter McCann, Charlie Craig, Janie Fricke STAND UP Ludacris KEEP YOUR HANDS TO YOURSELF Georgia Satellites YOU’RE THE REASON OUR KIDS ARE UGLY Loretta Lynn, Conway Twitty CAN’T LET GO Randy Weeks, Lucinda Williams I JUST WANTED TO SEE YOU SO BAD Lucinda Williams I AM I SAID Neil Diamond
JACKSON Billy Edd Wheeler, Jerry Leiber, Johnny Cash I LOVE THE NIGHTLIFE Alicia Bridges THE LETTER Matt Sherrod, Jamie Houston, Macy Gray DANKE SCHOEN Bert Kaempfert, Kurt Schwabach, Milt Gabler IS THAT ALL THERE IS Jerry Leiber, Mike Stoller SPIRIT IN THE SKY Norman Greenbaum RRRRR Matias Aguayo BOUM! Charles Trenet THESE BOOTS ARE MADE FOR WALKIN’ Lee Hazlewood, Nancy Sinatra WHAT’S UP 4 Non Blondes
INFO | THE ARMORY
CHRIS COLEMAN Artistic Director
Chris joined Portland Center Stage at The Armory as artistic director in May, 2000. Before coming to Portland, Chris was the artistic director at Actor’s Express in Atlanta, a company he co-founded in the basement of an old church in 1988. Chris returned to Atlanta in 2015 to direct the world premiere of Edward Foote at Alliance Theatre (Suzi Bass Awards for Best Direction, Best Production and Best World Premiere). Other recent directing credits include the Off-Broadway debut of Threesome at 59E59 Theaters; a production that had its world premiere at The Armory and was also presented at ACT Theatre in Seattle. Favorite directing assignments for Portland Center Stage at The Armory include Astoria: Part One, A Streetcar Named Desire, Ain’t Misbehavin’, Three Days of Rain, Threesome, Dreamgirls, Othello, Fiddler on the Roof, Clybourne Park, Sweeney Todd, Shakespeare’s Amazing Cymbeline (which he also adapted), Anna Karenina, Oklahoma!, Snow Falling on Cedars, Ragtime, Crazy Enough, Beard of Avon, Cabaret, King Lear, Cat on a Hot Tin Roof, Man and Superman, Outrage, Flesh and Blood and The Devils. Chris has directed at theaters across the country, including Actor’s Theater of Louisville, Oregon Shakespeare Festival, ACT Theatre (Seattle), The Alliance, Dallas Theatre Center, Pittsburgh Public Theatre, New York Theatre Workshop and Center Stage (Baltimore). A native Atlantan, Chris holds a B.F.A. from Baylor University and an M.F.A. from Carnegie Mellon. He is currently the board president for the Cultural Advocacy Coalition. Chris and his husband, Rodney Hicks — who is appearing in the new musical Come From Away, which just opened on Broadway — are the proud parents of an 18-lb Jack Russell/Lab mix, and a 110-lb English Blockhead Yellow Lab.
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Phone: Noon–6:00 p.m., Daily Walk-Up Window: Open Until Showtime Single tickets and season tickets may be purchased in person, online at PCS.ORG, or by phone at 503.445.3700. PLEASE ARRIVE EARLY. Late seating may be offered but is at the discretion of the house manager; late seating is not guaranteed. Those arriving late to a performance or exiting the theater during the performance may be asked to view the show on the lobby monitor until intermission. Refunds and/or exchanges are not available for late arrivals. NO LATE SEATING AVAILABLE IN THE STUDIO. Because of the intimate nature of the Ellyn Bye Studio, it is not possible to accommodate late seating. NO CAMERAS OR RECORDING EQUIPMENT. No recording devices of any kind are allowed in the theaters. PLEASE SILENCE ALL CELL PHONES. You may check your cell phones with the concierge and they will notify you in case of an emergency. CHECK BACKPACKS and LARGE PARCELS. For safety purposes, please check large backpacks and parcels at the coat check.
Portland Center Stage at The Armory is the largest theater company in Portland and among the top 20 regional theaters in the country. Established in 1988 as a branch of the Oregon Shakespeare Festival, the company became independent in 1994 and has been under the leadership of Artistic Director Chris Coleman since 2000. An estimated 160,000 people visit The Armory annually to enjoy a mix of classical, contemporary and world premiere productions, along with a variety of high quality education and community programs. Eleven productions are offered each season, in addition to roughly 400 community events
created — in partnership with 170+ local organizations and individuals — to serve the diverse populations in the city. As part of its dedication to new play development, the company has produced 21 world premieres and presents an annual new works festival, JAW: A Playwrights Festival. The Northwest Stories series was recently launched to develop and produce works about, or by artists from, the Northwest region. Home to two theaters, The Armory was the first building on the National Register of Historic Places, and the first performing arts venue, to achieve a LEED Platinum rating.
THE ARMORY IS FULLY ACCESSIBLE. Anyone with a special seating need (such as moderate sight or hearing impairment) is encouraged to inform the Box Office in advance to accommodate the request. ASSISTED LISTENING DEVICES ARE AVAILABLE. Listening devices are available at the concierge desk free of charge. CHILDREN UNDER THE AGE OF SIX ARE NOT ADMITTED. While we encourage you to bring interested children to the theater, as a courtesy to other patrons and actors, we do not admit anyone under the age of six years to our performances. FOOD IS NOT ALLOWED INSIDE THE THEATER. Beverages are allowed, but must be in a compostable cup with a lid. All food must be consumed in the lobby. PLEASE DO NOT WEAR STRONG PERFUMES/ COLOGNES. Strong perfumes or colognes can be distracting for other patrons and for people with allergies. Please use moderation when applying strong fragrances before the performance.
THANK YOU, DONORS!
We gratefully acknowledge the supporters of our 2016–2017 season.ofTheir generosity allows us to inspire our community Portland Center Stage gratefully acknowledges the supporters our 2013–14 season. Their generosity allows us to inspire our community byby bringing stories to to lifelife in in unexpected ways. WeWe thank them. bringing stories unexpected ways. thank them.
CORPORATE GIFTS SEASON SUPERSTAR ($150,000+)
OVATION SOCIETY ($100,000+)
LEADERSHIP CIRCLE ($25,000+)
The Standard Curtis T. Thompson, M.D. and Associates, LLC Wells Fargo
SEASON STARS ($10,000+)
AHA! Boeing Company Davis Wright Tremaine Delta Air Lines GBD Architects Hoffman Construction KeyBank Moda NW Natural Stoel Rives LLP Work for Art, including contributions from more than 75 companies and 2,000 employees
Bank of America Glumac KPFF Mentor Graphics Perkins Coie Troutman Sanders LLP Wieden + Kennedy
D’Amore Law Group Hygeia Healing Klarquist PCC Structurals, Inc. Portland Timbers Pricewaterhousecoopers LLP Vernier Software & Technology Zimmer Gunsul Frasca
Downtown Development Group Pacific Office Automation
Cupcake Jones Graphic Arts Building ShadewoRx
Alliance Française de Portland Altabira City Tavern Al’s Garden Center Argyle Winery Art of Catering
Artemis Foods Keith & Sharon Barnes Bellino Tratoria Siciliana Ben & Jerry’s Boeing Company Byways Cafe Caffe Umbria Cheese Bar Chehalem Wines Chop Conundrum Trail Mix Cupcake Jones Daimler Aishwarya Deenadayalu Delta Airlines Devil’s Food Catering De Ponte Cellars Eat Your Heart Out Eastside Distilling Everything’s Jake Free Geek Food in Bloom Footwear Specialties International Geranium Lake Flowers Rosemond Graham Hotel G Hunt & Gather Catering Donna Huntsman Craig & Lynne Johnston Kelley Young Harrington Interiors Regan & Gina Leon Drs Skye & Jane Lininger Richard Linn
Rebecca MacGregor Mario’s Maurice Mingo Restaurant Morel Ink Monique’S Boutique Marlene Montooth Nel Centro New Deal Distillery NIKE, Inc. Nuvrei Fine Cakes & Pastries NW Film Center NW Natural Oblation Papers & Press Pacific Pie Company Paragon Restaurant & Bar Partners Of Maison Venasque Pearl Catering Pearl Gallery & Framing Portland Opera Chef Eric Powe Precision Graphics Restaurant St. Jack Pat & Trudy Ritz Ralph & Elba Shaw St. Honore Boulangerie Simpatica Catering Thea’s Vintage Living Umpqua Bank Uptowne Paper Weinmann Painting West Coast Event Productions Zupan’s Market
FOUNDATION & GOVERNMENT SUPPORT
(AS OF FEBRUARY 9, 2017)
OVATION SOCIETY ($100K+)
Collins Foundation The Fred W. Fields Fund of The Oregon Community Foundation Meyer Memorial Trust James F. & Marion L. Miller Foundation The Regional Arts & Culture Council, including support from the City of Portland, Multnomah County, and the Arts Education and Access Fund The Wallace Foundation
LEADERSHIP CIRCLE ($25K+)
The Kinsman Foundation Marie Lamfrom Charitable Foundation National Endowment for the Arts Oregon Cultural Trust The Harold & Arlene Schnitzer CARE Foundation/Arlene Schnitzer & Jordan Schnitzer Shubert Foundation
SEASON STARS ($10K+)
Anonymous (2) The Holzman Foundation/Renée & Irwin Holzman
Jackson Foundation Maybelle Clark Macdonald Fund Oregon Arts Commission, a state agency PGE Foundation The Rose E. Tucker Charitable Trust Travel Oregon
ARTISTIC DIRECTOR’S CIRCLE ($3K+)
H.W. & D.C.H. Irwin Foundation Samuel S. Johnson Foundation Herbert A. Templeton Foundation
SUPPORTING SEASON SPONSORS
Autzen Foundation Travel Portland Union Pacific Foundation
Big Sky Fund of Equity Foundation Leupold & Stevens Foundation
Portland Center Stage at The Armory receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endowment for the Arts.
INDIVIDUAL GIFTS (AS OF FEBRUARY 1, 2017) The membership levels and names listed below are determined by your individual gift membership renewal date and are recognized for twelve months. We make every attempt to acknowledge your name accurately. If you find a mistake, want to make a change or think your name should be listed and want to inquire further, please don’t hesitate to call 503.445.3744 to let us know. We are more than happy to make changes for the next playbill. Those donors whose names are in bold are a part of our Sustaining Supporters group. We want to honor those donors who have given every year for the last five years. Your consistent support means a great deal to us and keeps our theater thriving. Thank you for your loyalty and generosity. OVATION SOCIETY ($100,000+)
Keith & Sharon Barnes Don & Mary Blair Mary & Tim Boyle Heather Killough Joanne M. Lilley Fund of The Oregon Community Foundation
LEADERSHIP CIRCLE ($25,000–$99,999)
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DONOR LIST (CONTINUED) Lourri Hammack Kregg & Andrea Hanson Richard L. Hay MJ & Lee Alan Helgerson Paul & Ruth Herrington Laurie Holland Dixie Huey Susan Immer & Larry Juday Christina Isacson Cecily Johns Jessie Jonas Douglas & PJ Jones Susan E. Jossi & Bob Conners Kevin & Suzanne Kahn Gerri Karetsky & Larry Naughton Carla Kelley Nancy Keystone & Michael Schlitt Kevin & Lee Kidd Lucien & Sally Klein BettyLou Koffel & Philip Moyer Mr. Rudy Kohnle & Ms. Krista Larson Jon & Karen Kruse Bruce & Cathy Kuehnl Susan Lair & Doug Trobough Libbi Layton & Lawrence Tamiyasu Jon & Sheila Levine Bonnie & Mike Leiser Richard M. Linn Elaine & Richard Lycan Stephen Mason & Christine Fisher JS & Robin May Ann Mccabe Karen & Brent McCune Charles & Kathleen McGee Jessica McVay Richard Meeker & Ellen Rosenblum Merry & John Melonas Rob & Kate Melton Robert & Violet Metzler Bruce W. Miller Michael & Susan Mueller Ward & Pamela Nelson Don & Doris Nielsen David & Anne Noall Juris V. & Silvia Orle Vicki & Greg Page John & Carolyn Parchinsky Carol Pelmas Elizabeth Perris & Beverly Schnabel Jim & Pam Phillips Wallace & Elizabeth Preble Dick & Linda Reedy Drs. Scott & Kay Reichlin Leslie Rennie-Hill & Ken Hill Tony & Sherryl Reser Kelly Ritz-Eisenstein & Scott Eisenstein Rebecca Ross Mary & Craig Ruble Mardi Saathoff Steven & Carol Sandor Dianne Sawyer & Richard Petersen Therese Scott Peter Shinbach Virginia Shipman & Richard Kaiser Brad Simmons & Shannon Hart J & C Skuster Walter & Carol Smith Kimberly Smith-Cupani Rick & Denyse Stawicki
Elaine R. & Rudolph B. Stevens Janice Stewart & Gordon Allen Dan & Linda Sullivan Dr. Jeffrey & Mrs. Roberta Swanson Meri & Stephen Taylor Bruce & Rebecca Teborek Beverly Terry Don & Judy Thompson Marcia K. Timm Paul Tucker & Blake Walter Lewis & Susan Van Winkle Virginia Vanderbilt & Michael Garrison Dan Volkmer & Frank Dixon Richard Wallace & Patricia White Wendy Ware & Dan Gleason Joan & David Weil Aurora WindDancer Dr. & Mrs. Bennett Wight Jeff & Jaynie Wirkkala Brian R. Wilson Fabian & Julie Yeager
Anonymous (10) Anonymous (4) Vanessa Abahashemi & Soren Jorgensen Jose Alcarez Joan & Brian Allen Philip & Pip Allen Linda C. Anderson Thomas R. Anderson & Joan Montague Mr. & Mrs. John K. Ankeney Nigel & Kerry Arkell Kregg Arnston & Ted E. Fettig Lee & Lynn Aronson Elizabeth Ash & David Morganstern Linda Aso Jean & Ray Auel Jean & David Avison Susan Bach & Douglas Egan Grover & Susan Bagby Mrs. Bernice Bagnall Bill Bagnall & Clayton Lloyd Thayne & Mary Anne Balzer Bill Bagnall & Clayton Lloyd Gary & Christine Barbour Mr. & Mrs. Peter Barnhisel Don & Jo Barney Diane & Arthur Barry Sidney & Barbara Bass George W. Bateman Richard Baumann Kathleen Bauska Donald C. & Doris Beard Rob & Sharon Bennett Jamie & John Birkett Cheryl A. Bittle Anita & Clark Blanchard Chris Blattner & Cindy McCann Ms. Catherine Blosser & Mr.Terry Dolan Jeffrey Bluhm Robert E Blum & Carol M. Black Jacquelyn & John Boardman Lynne & Frank Bocarde Brian & Karen Borton Betty G. Lavis & Charles Brasher Kay Bristow Patsy Bruggere
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Patrick & Eileen Fiegenbaum David Filer & Marlene Anderson Colleen Finn Sally & Jerry Fish Peter & Nancy Fisher Sherry & Paul Fishman Greg Fitz-Gerald Mary Flahive & David Finch George H. Fleerlage Per-Olof Jarnberg & Joan Foley Steve & Susan Ford Bernard A. & Loretta E. Fox Larry & Judy Fox Sharon Frank Terry Franks & Carolyn Duran Marc Franklin Bruce & Kate Frederick Gail & Kim Frederick Richard Smith & Patricia Frobes Jerome & Mary Fulton William & Beverly Galen Susan & Seth Garber Colleen Gekler Merry Gilbertson Lisa Goldberg Lynn Goldstein Lottie Goodwin Barbara Gordon-Lickey Rosemond Graham Patricia & Tim Gray Mark & Michelle Greenwood Nancy & Ron Gronowski Elisabeth Hall Irv & Gail Handelman Ulrich H. Hardt & Karen Johnson Gary Hargett Tom & Jan Harvey Fred & Sara Harwin Mark & Paige Hasson Jane L. Hatch Regina Hauser & Chris Carson Tracey Heinrich Tom & Verna Hendrickson Mr. & Mrs. Clayton Hering Diane M. Herrmann Gary & Jane Hibler Frances & Hunter Hicks Margaret & Timothy Hill Suzanne Hiscox Barbara & Mark Hochgesang Mrs. Beverly Hoeffer & Mrs. Carol Beeston Karen & Chuck Hoff Andrew Hoffmann Kevin Hogan & Aaron Larson Barry & Fanny Horowitz Jeanne Provost & R. Brian Hough Donald & Lynnette Houghton Dr. Hal Howard Jay Howell Robert & Jill Hrdlicka Nancy Hull & Chris Sproul Kathy & Tom Iberle Robina & Tim Ingram-Rich Willard & Shirley James Joanne Jene, M.D. Sonny Jepson & Felice Moskowitz Becky & Jarrett Jones Joan Jones K&J Jack & Farol Kahle Cindy Kaplan Ross Kaplan & Paula Kanarek Chad & Mary Karr
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Roger & Karen Miller Kate & Jack Mills Sherry Mills Tom & Lia Mills David & Machteld Mok Grant Molsberry & William Apt Brandon Monroe Douglas & Malinda Moore Jane Moore & David Pokorny Clint & Donna Moran Mike & Jan Morgan Laura & Joseph Munoz Fran Nay Bill & Pat Nelson Jeanne Newmark Ann Nickerson Landscape Design Susan & Peter Norman Gloria Norton Kay Novak Mary Lou Obloy Ron & Janet O’Day Ric Oleksak Barry D. Olson Eileen & Alfred Ono Jamie Ordower Beverly J. Orth Lottie Goodwin Lynda Paige Jennifer Peery JoAnn Pari-Mueller & Dan Mueller Gail & Alan Pasternack Susan & Milt Parker Janet Peek Jennifer Peery Steve & Melissa Peterman Francis Peters John M. & Suzy J. Petersen Kevin Phaup Donna Philbrick Mr. Joe Phillippay & Kris Phillippay Sue Pickgrobe & Mike Hoffman Nancy Pitney Shirley Pollock Jennifer Politsch Michael Ponder & Bea Davis David & Margo Price Edgar & Prudence Ragsdale Jay & Barbara Ramaker Michael R. Rankin Bonnie & Peter Reagan Mark Reploeg Helen Richardson & Don S. Hayner David Robertson & Chuck Brimmer Gertrude Robinson Lucinda Rodgers Charles & Judith Rooks Kelly & Tomilynn Ross Ted & Holly Ruback Davia & Ted Rubenstein Jim & Joanne Ruyle Bunny & Jerry Sadis Linda Salinsky Deborah Santomero & Lisa Hoffman Lia Saroyan & Michael Knapp Christine & Steven Satterlee John & Stephanie Saven Dianne Sawyer & Richard Petersen Jim Scherzinger & Claire Carder Sheldon & Jean Schiager Martha M. Schostal
Peter C. & Jeanette M. Scott Michael & Pam Shanahan Dr. Jeffrey D Sher Karen Sheridan Carl R. Shinkle Jaymi & Francis Sladen Rodger & Marcella Sleven Christine & Todd Smith Charles E. Smith Constance Smith Neil Soiffer & Carolyn J. Smith George Soule & Maurice Horn Doug Sparks & Casey Bass Harley & Robyn Spring Sarah Sterling Zach & Vassie Stoumbos Milan & Jean Stoyanov Rhonda Studnick Kaiser Tony & Vanessa Sturgeon Margie Sutherland, MD Mr. & Mrs. John Sutton Roger & Gale Swanson John & Jan Switzer Amy & Emanuel Tanne Ellen Tappon & Ted Wilson Kara & Tyler Tatman Ann & Dave Taylor Jerome & Kathleen Taylor Jane Thanner & Tim Smith William & Lori Thayer James & Linda Thomas Grant & Sandra Thurston Sandra Teel Trainer Mr. Michael Traylor & Derek Holmgren Peter & Cathy Tronquet Mark & Christy Uhrich Phil & Mimi Underwood Dawn Vermeulen David & Julie Verburg James N. Stamper & Jennifer P. Villano Mark & Mary Ann Vollbrecht Drs. Bastian & Barb Wagner Karen & Charles Waibel George & Marilou Waldmann John N. & Betty K. Walker Nancy Walker & Terry Foty Sheila Walty Ms. Shu-Ju Wang & Mr. Mike Coleman Michael Weiner & Kathy Davis-Weiner Brandon & Betty Jean Wentworth Karen Whitaker Chris & Jana White James M. White Diana & Jim White JD & D’Alene White Maurice & Lauretta Williams Marjorie & Tom Wilson Alan Winders Callie & Ana Winner Greg Winterowd Loring & Margaret Winthrop Don & Jan Wolf Richard & Leslie Wong J. Marcus Wood & Sue Hennessey Linda M. Wood David & Julie Verburg Robert & Vickie Woods Paul Wrigley Jack Wussow & Kyle Adams Russ & Mary Youmans Alan & Janet Zell Kurtis & Michaell Zenner
BOARD OF DIRECTORS
IN TRIBUTE Peter and Suzie Belluschi in memory of Richard Lawson, a presence forever remaining Ginger A. Carroll in memory of J. Michael Carroll Chris Coleman in memory of Jerry Stern, a blessing to have known him Chris Coleman in memory of Brot Bishop Scott and Jeanette Depoy in memory of Annette Coleman Bill Dickey in memory of Richard Lawson Tom and Betsy Henning in memory of Annette Coleman Dr. Hal Howard in memory of Carol Howard Christina Isacson in honor of Ann Smith Sehdev Cindy Kaplan in honor of Lisa Sanman Nancy Keystone in memory of Annette Coleman Joan Peacock in memory of Ben Buckley Portland Center Stage at The Armory in memory of Bing Sheldon Portland Center Stage at The Armory in memory of David E. Wedge Portland Center Stage at The Armory in memory of Don Waggoner Rhian Rotz in honor of Leslie Copland Sarah Sterling in memory of Julie Sterling Minh Tran and Gary Nelson in memory of Richard Lawson Ted and Julie Vigeland in memory of Annette Coleman Ted and Julie Vigeland in fond memory of Richard Lawson, who loved and strongly supported Portland Center Stage at The Armory. He was loved by us and so many others. Ted and Julie Vigeland in grateful memory of Jerry Stern and his fondness for and tremendous support of Portland Center Stage at The Armory Julie and Ted Vigeland in memory and honor of Brot Bishop, who was one of the intrepid founders of Portland Center Stage at The Armory. His steadfast guidance and support over the years helped to propel the theater to where it is today, as one of the nation’s most prominent regional theaters (as of February 9, 2017) TRIBUTE GIFTS Why not try something different? Instead of searching for that perfect gift or struggling over how to acknowledge a special achievement, you can recognize someone with a 100% tax deductible Tribute Gift. We’ll make it even easier for you by specially notifying the appropriate person that a Tribute Gift was made in honor or memoriam and list your gift in the playbill. If you would like to make a Tribute Gift, please contact 503.445.3744 or email@example.com.
Ted Austin, Chair Senior Vice President, The Private Client Reserve of U.S. Bank Betsy Henning, Vice Chair CEO and Founder, AHA! Strategic Communications Brigid Flanigan, Treasurer President, Shamrock Holdings, LLC Steven E. Wynne, Secretary Executive Vice President, Moda Health Mary Boyle, Immediate Past Chair Civic Volunteer Chris Coleman, President Artistic Director, Portland Center Stage at The Armory Sharon Barnes, Community Volunteer Phil Beyl, President, GBD Architects Sarah Crooks, Partner, Perkins Coie, LLP Evelyn Crowell, Retired, Portland State University Gustavo J. Cruz, Jr., Senior Counsel, Farleigh Wada Witt Martin Daum, President and CEO, Daimler Trucks North America Lana Finley, Community Activist Diana Gerding, Community Volunteer Mike Golub, President of Business, Portland Timbers Lani Hayward, Executive VP, Creative Strategies, Umpqua Holdings Corp Greg Hazelton, Senior Vice President – Finance, Hawaiian Electric Industries Tasca Gulick, Community Activist Yuki “Lynne” Johnston, Advocate for the Arts Kevin Kelly, Retired Jim Knoll, President, Knoll Mediation Karen O’Connor Kruse, Partner, Stoel Rives LLP Dedre Marriott, Community Volunteer Charles McGee, President and CEO, Black Parent Initiative Peter Potwin, Retired, CFO, Benson Industries, Inc. Dennis Rawlinson, Firm Chair and Partner, Miller Nash Graham & Dunn, LLP Joe Sawicki, Vice President and General Manager, Mentor Graphics, Design-To-Silicon Division Marcy Schwartz, Senior Vice President, CH2M HILL Ann E. Smith Sehdev, Physician, Cascade Pathology Doug Smith, Retired, Senior Vice President, AMEC J. Greg Ness, Director Emeritus, Chairman, President and CEO, Standard Insurance, StanCorp Financial Group Pat Ritz, Director Emeritus, Chairman and CEO, Footwear Specialties International Julie Vigeland, Director Emeritus, Civic Volunteer In Memoriam Bob Gerding
LEAD CORPORATE CHAMPION
ACTORS TAKE CHANCES.
Sometimes they work. Sometimes they don’t. But none of these actors would be on stage tonight without taking chances. It’s part of growth, and we’re all made to grow. That’s why we’re such a proud supporter of Portland Center Stage at The Armory. Let this performance inspire you to take the chances that power your own growth.
- A local artist every 15 minutes - No commercials - Now on your radio dial at 99.1 fm all day! - Streaming 24/7 at PRP.fm
p o r t l a n d ’ s h o t e l t o th e ar t s IN THE HEART OF PORTLAND’S WEST END DISTRICT
4 0 9 S W 1 1 T H AV E P O R T L A N D | 5 0 3 . 2 2 4 . 3 2 9 3 | M A R K S P E N C E R . C O M
Artistic Director | Chris Coleman
ARTISTIC Associate Artistic Director: Rose Riordan Producing Associate: Brandon Woolley Literary Manager: Benjamin Fainstein Company Manager: Will Cotter EDUCATION & COMMUNITY PROGRAMS Education & Community Programs Director: Kelsey Tyler Education & Community Programs Associate: Clara-Liis Hillier Education & Community Programs Assistant: Eric Werner Resident Teaching Artist: Matthew B. Zrebski ADMINISTRATION & FINANCE Chief Operating Officer: Cynthia Fuhrman General Manager: Creon Thorne Finance Director: Lisa Comer Accounting Manager: Aurora Sanquilly Accountant: Alan King HR Manager: Caitlin Upshaw Executive & HR Assistant: Nia I. Adams IT Administrator: Christian Kisanga IT Associate: Chris Beatty Database/Tessitura Consultant: Bob Thomas DEVELOPMENT Development Director: Lisa Sanman Associate Development Director: Jennifer Goldsmith Grants Manager: Marlene A. Montooth Special Events Manager: Kate Bowman Development Associate: Michael Magnes MARKETING & COMMUNICATIONS Director of Marketing & Communications: Cynthia Fuhrman Associate Director of Marketing: Mandy Morgan Public Relations & Publications Manager: Claudie Jean Fisher Marketing & Communications Associate: Alice Hodge Group Sales Coordinator: Liz Brown Graphic Designer: Mikey Mann Multimedia Designer: Kate Szrom Webmaster: Christian Bisgard Production Photographer: Patrick Weishampel PATRON SERVICES Patron Services Manager: Luke Robertson Patron Services Assistant Managers: Klint Keys, Sierra Walker Senior Patron Services Associate: Emily S. Ryan Patron Services Associates: Madelyn Clement, Megan Harned, David Harper Sales Associates: Michael Erickson, Jack Ridenour, Mark Woodlief OPERATIONS Operations Manager: Sean Andries Operations Assistants: Mitchell Bohanan, Katie Cronin Events & Rentals Manager: Annessa Hartman
Events & Rentals Coordinator: Elizabeth Hjort Custodians: Gregery Lee, Tim Taylor PRODUCTION Production Manager: Liam Kaas-Lentz Production Coordinator: Lydia Comer Stage Managers, AEA: Kelsey Daye Lutz, Mark Tynan, Janine Vanderhoff Production Assistants: Will Bailey, Bailey Anne Maxwell, Kristen Mun Technical Director: Derek Easton Scene Shop Manager: Seth Chandler Master Carpenter: Nick Foltz Staff Carpenters/Welders: Christian Cheker, Nathan Crosby, Michael Hall, Phil A. Shaw Properties Master: Michael Jones Lead Props Artisan: Rachel Peterson Schmerge Props Artisan: James Tait Scenic Charge Artist: Kate Webb Lead Scenic Painter: Shawn Mallory Scenic Painter: Kiona McAlister Costume Shop Manager: Alex Wren Meadows Cutters/Drapers: Paula Buchert, Eva Steingrueber-Fagan Junior Draper: Larissa Cranmer Costume Crafts Artisan: Barbara Casement Wardrobe Mistress: Bonnie Henderson-Winnie Master Electrician, U.S. Bank Main Stage: Alexz Eccles Master Electrician, Ellyn Bye Studio: Em Douglas Lighting Assistant: Alex Agnes Deck Manager: Tim McGarry Resident Sound Designer & Sound/Video Supervisor: Casi Pacilio Sound Engineer & Lead Programmer: Scott Thorson Sound Engineer & Programmer: Adam Bintz FRONT OF HOUSE Lead Concierge: Miles B. Lewis Concierges: Meghan Howard-Hakala, Wynee Hu, Eric Murray Volunteer Coordinator: RaChelle Schmidt Lead House Manager: Michael Rocha House Managers: Jenna Barganski, Nhu Nguyen, Emerson Scott, RaChelle Schmidt Food and Beverage Manager: Noelle dePinna Kitchen Supervisor: Erik Sanchez Catering Supervisor: Logan Starnes Café Supervisor: Franz Rutherford Kitchen Assistant/Cook: Sam DiChiara Food & Beverage Service Staff: Gregory Couper, Conor Eifler, Chris Klarer, Melissa Larrabee, Erin Rubin, Andrea Van Der Rest
FOR THIS PRODUCTION WILD AND RECKLESS and LAUREN WEEDMAN DOESN’T LIVE HERE ANYMORE SCENIC PAINTERS
LIGHT BOARD OPERATORS
COSTUME DESIGN ASSISTANT
Elecia Beebe Nora Victoroff
Brandilyn Scott SOUND BOARD OPERATOR
Alexz Eccles Alex Agnes
Alex Agnes Kate Belden Liz Carlson Don Crossley Hannah Fattor Rob Forester Zahra Garrett Duane Hall Margaux Hodges Duncan Lynch
WILD AND RECKLESS SOUND ENGINEER
Lauren Weedman Doesn’t Live Here Anymore cover art by Mikey Mann; photo by Kate Szrom. Wild and Reckless cover art by Michael Buchino; photo by Kate Szrom.
Portland Center Stage at The Armory operates under an agreement among the League of Resident Theatres (LORT), Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States, and the Society of Stage Directors and Choreographers. Portland Center Stage at The Armory is a member of LORT, Theatre Communications Group, Portland Business Alliance and Travel Portland. Portland Center Stage at The Armory is a participant in the Audience (R)Evolution Program, funded by the Doris Duke Charitable Foundation and administered by Theatre Communications Group, the national organization for the professional not-for-profit American theater.
Office Assistants Chair: Connie Guist Entertainers Chair: Jo McGeorge Supporting Cast Chair: Karen Watson
The Scenic, Costume, Lighting and Sound Designers in LORT are represented by United Scenic Artists Local USA-829, IATSE
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