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Original artwork by Kyle Ragsdale.

IRTLIVE.COM 317.635.5252



Investing in our community takes center stage OneAmerica® is proud to support organizations that share our commitment to creating a vibrant community. For more than 20 years, we’ve been the season sponsor at the Indiana Repertory Theatre — one of the most youth-centric professional theaters in the United States. Each year, more than 40,000 students and teachers visit the IRT through youth education programs. Professional live theater inspires discovery, creativity and innovation, and we’re delighted to play a role in introducing young people to this experience. Learn more about us at

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SEASON SPONSOR 2016 - 2017


to a World Class Sponsor For over four decades, the Indiana Repertory Theatre has brought actors, friends, families, and community members together to enjoy great entertainment and performances. We are proud to continue our support of the IRT as a key cultural organization in Indianapolis. We hope that you will enjoy the 2016-2017 Season. —Scott Davison, President and CEO

Clients at Center Stage At the IRT, you have the best seat in the house to view excellence on stage. At Faegre Baker Daniels, clients are front and center for excellent experiences. Our lawyers and consultants adopt the client’s point of view and provide high-quality service in the courtroom, at the negotiation table and everywhere in between.




MISSION Live theatre connects us to meaningful issues in our lives and has the power to shape the human experience. The mission of the Indiana Repertory Theatre is to produce top-quality, professional theatre and related activities, providing experiences that will engage, surprise, challenge, and entertain people throughout their lifetimes, helping us build a vital and vibrant community.


VISION The Indiana Repertory Theatre will be a life-long destination of choice for people of all ages and backgrounds seeking enjoyable and meaningful experiences. Using theatre as a springboard for both personal reflection and community discussion, our productions and programs will inspire our neighbors to learn about themselves and others. As an arts leader in the state of Indiana, the IRT invites collaborations with other top-quality community institutions, with the goal of making Indiana a vibrant home of cultural expression, economic vitality, and a diverse, informed, and engaged citizenry.

AS AN INSTITUTION, WE VALUE: SUSTAINING A PROFESSIONAL, CREATIVE ATMOSPHERE The professional production of plays that provide insight and celebrate human relationships through the unique vision of the playwright • Professional artists of the highest quality working on our stages in an environment that allows them to grow and thrive • Our leadership role in fostering a creative environment where arts, education, corporate, civic, and cultural organizations collaborate to benefit our community. PRUDENT STEWARDSHIP OF OUR RESOURCES Our public-benefit status, where the focus is on artistic integrity, affordable ticket prices that allow all segments of our community to attend, and community service • Fiscal responsibility and financial security based on achieving a balanced budget • Growing our endowment fund as a resource for future development and to ensure institutional longevity. INCLUSIVENESS The production of plays from a broad range of dramatic literature addressing diverse communities • The involvement of all segments of our community in our activities • Using theatre arts as a primary tool to bring meaning into the lives of our youth, making creativity a component of their education • The employment of artists and staff that celebrates the diversity of the United States. HERITAGE AND TRADITION Our role as Indiana’s premiere theatre for more than 40 years, recognized by the 107th Indiana General Assembly in 1991 as “Indiana’s Theatre Laureate.” • The historic Indiana Theatre as our home, as a cultural landmark, and as a significant contributor to a vital downtown • Our national, state, and local reputation for 40+ years of quality creative work and educational programming • Our board, staff, volunteers, artists, audiences, and donors as essential partners in fulfilling our mission.

Mission & Values

4 Leadership 7 Profile 8 Staff 10 Board of Directors 12 The Three Musketeers 20 Company bios for The Three Musketeers 26 Interview with Chris Fretts 42 Donor Listing


CONTACT US IRTLIVE.COM TICKET OFFICE: 317.635.5252 ADMIN OFFICES: 317.635.5277 140 West Washington Street, Indianapolis, Indiana 46204

SEASON 2016 - 2017


Doris Duke Foundation, as well as numerous grants from the National Endowment for the Arts and Shakespeare for a New Generation. Among the memorable productions Janet has directed on the IRT’s stages are The Glass Menagerie (1999), Ah! Wilderness (2002), The Drawer Boy (2004), Looking over the President’s Shoulder (2008), The Diary of Anne Frank (2011), James Still’s The House That Jack Built (2012), and To Kill a Mockingbird (2016). Celebrating the IRT’s 45-year legacy this season, she directs A Christmas Carol.

LEADERSHIP: JANET ALLEN EXECUTIVE ARTISTIC DIRECTOR Creating world-class professional theatre for Central Indiana audiences of all ages has remained a career-long passion for Janet Allen. She began at the IRT in 1980 as the theatre’s first literary manager–dramaturg. After four years in New York City, she returned to serve ten years as associate artistic director under mentors Tom Haas and Libby Appel. She was named the IRT’s fourth artistic director in 1996, and last season celebrated her 20th season in that role. In 2013, she was named the IRT’s executive artistic director. During Janet’s tenure, the IRT has significantly diversified its education services to both adults and children, expanded its new play development programs, solidified its reputation as a top-flight regional theatre dedicated to diverse programming and production quality, and established the IRT as a generous content partner with organizations throughout central Indiana. Janet’s passion for nurturing playwrights has led to a fruitful relationship with James Still, the IRT’s playwright-in-residence for 19 years, and the creation and production of 15 new works, the Indiana Series, that examine Hoosier and Midwestern sensibilities (seven of them by James Still). Her collaboration with playwrights has brought the theatre prestigious grants from the Pew Charitable Trusts, the Joyce Foundation, and the 4

Janet studied theatre at Illinois State University, Indiana University, and Exeter College, Oxford. As a classical theatre specialist, she has published and taught theatre history and dramaturgy at IUPUI and Butler University. Janet’s leadership skills and community service have been recognized by Indianapolis Business Journal’s 40 Under 40 Award, the Network of Women in Business–IBJ’s Influential Women in Business Award, Safeco’s Beacon of Light in Our Community Award, a Distinguished Hoosier Award conferred by Governor Frank O’Bannon, Girls Inc.’s Touchstone Award for Arts Leadership, and the Indiana Commission on Women’s Keeper of the Light Torchbearer Award. She is a proud alum of the Stanley K. Lacy Leadership program (Class XIX) and the Shannon Leadership Institute in Minneapolis, Minnesota, and is a 2013-14 Arts Council of Indianapolis Creative Renewal Arts Fellow. In April 2015 Janet was inducted into the College of Fellows of the American Theatre at the John F. Kennedy Center for the Performing Arts and received a Medallion Award for significant national contributions from the Children’s Theatre Foundation of America. Janet is a member of the Indianapolis Woman’s Club and Congregation Beth-El Zedeck. She lives in an historic house built in 1855 in the downtown Chatham Arch neighborhood with her husband, Joel Grynheim, their two daughters, her mother, and two lovely mutts.

In 2016, Suzanne was honored to serve as a panelist for Shakespeare in American Communities in cooperation with Arts Midwest. Suzanne is active in the community, having been the treasurer of Irish Fest for nine years, a member of the board of directors and treasurer of the Day Nursery Association for seven years, and a past treasurer of Indy Fringe.


Suzanne is a graduate of the College of William & Mary (undergraduate) and Indiana University (M.B.A.). She started her career as a CPA; prior to coming to Indianapolis, Suzanne worked in finance for more than 10 years, living in such varied locales as Washington, DC; Dallas, Texas; Frankfurt, Germany; Honolulu, Hawaii; and even working for three months in Auckland, New Zealand (where, yes, she went bungee jumping). Suzanne is an alum of the Stanley K. Lacy Leadership Program (Class XXXI). Suzanne lives in the Old Northside, with her 13-year-old son, Jackson, and their foxhound rescue dog, Gertie.

MANAGING DIRECTOR Suzanne is an 18-year veteran of the IRT, managing every administrative area within the theatre at one time or another during that period. Serving as the managing director is the capstone to her career here. Her main responsibility had been to serve as the chief financial officer of the theatre, running the business office, human resources, and information technology functions. As the CFO, she helped to steer the organization thorough 15 years of balanced budgets (and 15 audits!). She also served as the interim managing director for 18 months in 2004-2005. Suzanne is continuing the work of helping to implement a structured and inclusive fundraising effort, including moving the theatre more proactively into planned giving, as well as expanding its marketing efforts and creativity. She is excited to be moving into year four of this leadership role of the organization she loves.

Left: Paula Hopkins and Ryan Artzberger in the IRT's 2016 production of To Kill a Mockingbird. Photo by Zach Rosing. Right: Rob Johansen and Marcus Truschinski in the IRT's 2016 production of The Mystery of Irma Vep. Photo by Zach Rosing.


New Harmony Project, Eugene O’Neill Playwrights Conference, the Colorado New Play Summit, the Lark in New York, Launch Pad at UC–Santa Barbara, Perry-Mansfield New Works Festival, Telluride Playwright’s Festival, New Visions/New Voices, Fresh Ink, and Write Now at the IRT. Three of his plays have received the Distinguished Play Award from the American Alliance for Theatre & Education, and his work has been produced throughout the United States, Canada, China, Japan, Europe, South Africa, and Australia. Other theatres that have produced James’s plays include the Kennedy Center, Denver Center, Geva, Cornerstone Theater Company, Ford’s Theatre, People’s Light & Theatre, the Barter, Pasadena Playhouse, Portland Stage, the Station, the Asolo, Company of Fools, the Children’s Theater Company of Minneapolis, Metro Theater Company, B-Street Theatre, Tricklock, Vermont Stage Company, the Round House, American Blues, Illusion Theater, and the Mark Taper Forum.

LEADERSHIP: JAMES STILL PLAYWRIGHT-IN-RESIDENCE During James’s 19 years as playwright-in-residence, IRT audiences have seen his plays April 4, 1968: Before We Forgot How to Dream, The House That Jack Built, I Love to Eat: Cooking with James Beard, The Velveteen Rabbit, The Heavens Are Hung in Black, Interpreting William, Iron Kisses, Looking over the President’s Shoulder (twice), The Gentleman from Indiana, Searching for Eden, He Held Me Grand, And Then They Came for Me: Remembering the World of Anne Frank (thrice), Amber Waves, and The Secret History of the Future. He has also directed many productions at the IRT, including The Mystery of Irma Vep, Red, Other Desert Cities, God of Carnage, Becky’s New Car, Rabbit Hole, Doubt, Bad Dates, Plaza Suite, The Immigrant, and Dinner with Friends, as well as his own I Love to Eat, Looking over the President’s Shoulder (2001), and Amber Waves. This season the IRT produces his new play Miranda and he directs Dial “M” for Murder.

Recent premieres at other theaters include the Denver Center Theatre production of Appoggiatura, which was a nominee for Outstanding New Play for the Henry Awards at the Colorado Theatre Guild. Appoggiatura is the second play in the family trilogy that began with the award-winning The House That Jack Built. The final play in the trilogy is Miranda, commissioned by Illusion Theater in Minneapolis. Also premiering recently was The Widow Lincoln at Ford’s Theatre in Washington, DC. James’s short play When Miss Lydia Hinkley Gives a Bird the Bird has appeared in several festivals around the country and was a finalist for the Heideman Award from Actors Theatre of Louisville. New plays in the works include (A) New World, as well as an adaptation of the classic Black Beauty commissioned by Seattle Children’s Theatre. James also works in television and film and has been nominated for five Emmys and a Television Critics Association Award; he has twice been a finalist for the Humanitas Prize. He was a producer and head writer for the series PAZ, the head writer for Maurice Sendak’s Little Bear, and writer for the Bill Cosby series Little Bill. He wrote The Little Bear Movie and The Miffy Movie as well as the feature film The Velocity of Gary. James grew up in Kansas and lives in Los Angeles.

James is an elected member of the National Theatre Conference in New York, and a Kennedy Center inductee of the College of Fellows of the American Theatre. Other honors include the Todd McNerney New Play Prize from the Spoleto Festival, William Inge Festival’s Otis Guernsey New Voices Award, the Orlin Corey Medallion from the Children’s Theatre Foundation of America, and the Charlotte B. Chorpenning Award for Distinguished Body of Work. His plays have been nominated four times for the Pulitzer Prize, and have been developed and workshopped at Robert Redford’s Sundance, the 6

Christina D. Harper, Tracey N. Bonner, Nick Vidal, and Nia Simmons in IRT's 2015 production of April 4, 1968: Before We Forgot How to Dream. Photo by Zach Rosing.

Indiana Theatre, which was renovated to contain three performance spaces (OneAmerica Stage, Upperstage, and Cabaret) and work spaces, reviving this historic downtown entertainment site. To keep ticket prices and services affordable for the entire community, the IRT operates as a not-for-profit organization, deriving more than 50% of its operating income from contributions. The theatre is generously supported by foundations, corporations, and individuals, an investment which recognizes the IRT’s mission-based commitment to serving Central Indiana with top-quality theatrical fare. PROGRAMS


Since the Indiana Repertory Theatre was founded in 1971, it has grown into one of the leading regional theatres in the country, as well as one of the top-flight cultural institutions in the city and state. In 1991 Indiana’s General Assembly designated the IRT as “Theatre Laureate” of the state of Indiana. The IRT’s national reputation has been confirmed by prestigious grants from the National Endowment for the Arts, the Lila Wallace–Reader’s Digest Fund, the Theatre Communications Group–Pew Charitable Trusts, the Shubert Foundation, and the Kresge Foundation; and by a Joyce Award from the Joyce Foundation. The IRT remains the largest fully professional resident not-forprofit theatre in the state, providing 120,000 live professional theatre experiences for its audience last season. These experiences included 40,000 students and teachers from 56 of Indiana’s 92 counties, making the IRT one of the most youth-oriented professional theatres in the country. A staff of more than 100 seasonal and year-round employees creates nine productions exclusively for Indiana audiences. Actors, directors, and designers are members of professional stage unions. The IRT’s history has been enacted in two historic downtown theatres. The Athenaeum Turners Building housed the company’s first eight seasons. Since 1980 the IRT has occupied the 1927

• The OneAmerica Season includes nine diverse productions from classical and contemporary repertoires, including Eli Lilly and Company presents A Christmas Carol and James Still's Miranda. • New Play Development The IRT offers Write Now, a prestigious national workshop for adult playwrights writing for young audiences; and Young Playwrights in Process (YPiP), a playwriting contest and workshop for Indiana high school and junior high students. • Community Gathering Place Located in a beautiful historic landmark, the IRT offers a wide variety of unique and adaptable spaces for family, business, and community gatherings of all types. Call Amanda Lyons at 317.916.4805 for more information. • Volunteer Opportunities The IRT depends on the generous donation of time and energy by volunteers; call 317.916.4805 to learn how you can become involved. • Meet the Artists Regularly scheduled pre-show chats, post-show discussions, and backstage tours offer audiences unique insights into each production. • Student Matinees The IRT continues a long-time commitment to student audiences with school-day student matinee performances of all IRT productions. These performances are augmented with educational activities and curriculum support materials. This season Eli Lilly and Company presents A Christmas Carol, The Cay, and Stuart Little offer extensive opportunities for student attendance. • Educational Programs Auxiliary services offered include visiting artists in the classroom, study guides, pre- and postshow discussions, and guided tours of the IRT’s facilities. • Classes From creative dramatics to audition workshops to Shakespeare seminars, the IRT offers a wide array of personal learning opportunities for all ages, including our Summer Conservatory for Youth. Call 317.916.4842 for further information. 7


Janet Allen

ARTISTIC General Manager Jane Robison Production Manager Brian S. Newman Resident Dramaturg Richard J Roberts Company Manager Hillary Martin Manager of Outreach Programs Milicent Wright Playwright-in-Residence James Still COSTUME SHOP Costume Shop Manager Guy Clark Cutter-Drapers Stepanie Eubank Jessica Hayes Costumers Christi Parker Judith Skyles Wardrobe Supervisor Rich Taylor

Shop Assistant Kelsey Sikes ELECTRICS Master Electrician Beth A. Nuzum Assistant Master Electrician Elizabeth Smith Electrician Matt Griffin PAINT SHOP Charge Scenic Artist Claire Dana Assistant Charge Scenic Artist Jim Schumacher PROPERTIES SHOP Properties Manager Geoffrey Ehrendreich Properties Carpenter Christina Buerosse Properties Artisan Rachelle Martin Wilburn SCENE SHOP Technical Director Chris Fretts Assistant Technical Director John Bennett

Shop Foreman Kyle Baker Master Carpenter Betty Rupp Carpenters Seth Randall-Tapply David Sherrill Deck Manager Matt Shives SOUND Resident Sound Designer Todd Mack Reischman Lead Sound Engineer Maggie Hall Sound Engineer Jason Tuttle STAGE MANAGEMENT Production Stage Manager Nathan Garrison Stage Manager Joel Grynheim Assistant Stage Manager Erin Robson-Smith Production Assistants Brittany Cowgill Claire Stark Sarah Geis

INDIANA REPERTORY THEATRE PART-TIME STAFF & ASSOCIATES ARTISTIC Dramaturgy Intern Jesica Courtney Teaching Artists Chelsea Anderson Andrew Black Karaline Feller Callie Burk Hartz Ronn Johnstone Kathi Ridley-Merriweather Beverly Roche Milicent Wright


ELECTRICS Electricians Lee Edmundson Kate Smith PAINT SHOP Scenic Artist Robyn Kahn-Cleland Scenic Painters Lee Edmundson Jason J. Gill Callie N. Haven

SCENE SHOP Carpenters Lee Edmundson Richard Landon Colin Shay Amanda Greene Scenery & Paint Intern Danielle Graves


FINANCE Director of Finance Greg Perkins

ADMINISTRATION Receptionist / Administrative Assistant Seema Juneja Executive Assistant Randy Talley

Payroll & Benefits Specialist Jennifer Carpenter

Suzanne Sweeney

Administrative Support Specialist Suzanne Spradlin Beinart DEVELOPMENT Director of Development Jennifer Turner Associate Director of Major Gifts Lindsey Horan Institutional Giving Manager Elisabeth Lesem Donor Relations Manager Maggie Barrett Schlake Development Systems Brady Clark EDUCATION Director of Education Randy D. Pease Assistant Manager of Education Ann Marie Elliott

MARKETING Program Advertising Manager Dave Charrlin | New Moon Advertising Marketing Intern Caitlin Flowers EDUCATION Education Intern John Collins FINANCE ASSOCIATES External Auditors Crowe Horwath LLP

INFORMATION SYSTEMS Director of Information Systems Dan Bradburn MARKETING Director of Marketing & Sales Brandee Bryant Marketing Communications Manager Carolyne Holcomb Audience Development Manager Elizabeth Petermann Graphic Designer Amber Mills Junior Designer & Digital Media Coordinator Alexis Morin OUTREACH Group Sales & Teleservicing Manager Doug Sims Assistant Teleservicing Manager Aaron Henze

Legal Counsel Heather Moore PATRON SERVICES Assistant House Managers Haley Annis Pat Bebee Terri Bradburn Rebecca Eccles Rene Fox Marilyn Hatcher Bill Imel Sarah James Sherry McCoy Gail McDermott-Bowler

Teleservicing Representatives Tom Detmer Nancy McCarthy Dustin Miller Mark Vogel PATRON SERVICES Operations Manager Robert Steele Ticket Office Manager Margaret Lehtinen Assistant Ticket Office Manager Jessie Streeval Ticketing Systems Specialist Molly Wible House Manager & Special Events Coordinator Amanda Lyons Customer Service Representatives Jacob Peterman Katie Phelan Kimberly Reeves Building Services Dameon Cooper Gaylord Gaulden Dave Melton

Sherry Nielsen Melanie Overfield Deborah Provisor Phoebe Rodgers Kathy Sax Karen Sipes Sheila Smith Maggie Ward Heather Welling Bartenders Gayle Durcholz Sandra Hester-Steele Nancy Hiser Susan Korbin Tina Weaver




Michael J. Harrington

Nadine Givens



-Eli Lilly and Company

Thomas C. Froehle Jr. -Faegre Baker Daniels

-PNC Wealth Management


Daniel C. Emerson -Indianapolis Colts

Amy Griman

-Fifth Third Bank

MEMBERS Sharon R. Barner -Cummins, Inc. Frank Basile -Community Volunteer

Jill Lacy -The Lacy Foundation

Wayne Schmidt -Schmidt Associates

Sarah Lechleiter -Community Volunteer

Michael Semler -Cushman & Wakefield

Gerald Berg -Wells Fargo Advisors

Deborah Loughrey -Community Volunteer

Mark Shaffer -KPMG LLP

Carl W. Butler -Angie’s List, Inc.

Jeff MacKay -Indianapolis Power & Light Co.

Jacqueline Simmons -Indiana University

Ann Colussi Dee -Duke Realty

Andrew Michie -OneAmerica Financial Partners

Mike Simmons -T2 Systems

Gary Denney -Eli Lilly and Company, Retired

Lawren K. Mills -Ice Miller LLP

Jennifer Vigran -Second Helpings, Inc.

Michael P. Dinius -Noble Consulting Services, Inc.

Charlie Morgan -Emmis Communications

Amy Waggoner -Salesforce

Richard D. Feldman -Franciscan St. Francis Health

Timothy W. Oliver -JP Morgan Chase Bank, NA

L. Alan Whaley -Ice Miller LLP

James W. Freeman -OneAmerica Financial Partners, Inc.

Brian Payne -Central Indiana Community Foundation

David Whitman* -Community Volunteer

Ron Gifford -Jump IN for Healthy Kids

Tammara D. Porter -Taft Stettinius & Hollister LLP

Michael N. Heaton -Katz Sapper & Miller

Peter N. Reist -Oxford Financial Group

Brenda Horn -Ice Miller LLP

Susan O. Ringo -Community Volunteer

Amy Kosnoff -Community Volunteer

Don Robinson-Gay -BMO Harris Commercial Banking

BOARD EMERITUS Robert Anker* Rollin Dick Berkley Duck* Dale Duncan* Michael Lee Gradison* Margie Herald David Klapper David Kleiman*

E. Kirk McKinney Jr. (in memoriam) Richard Morris* (in memoriam) Jane Schlegel* Jerry Semler* Jack Shaw* William E. Smith III* Eugene R. Tempel* * Past Board Chairs

William O. Williams II -UnitedHealthcare Heather Wilson -Frost Brown Todd

MICHAEL J. HARRINGTON BOARD CHAIR Welcome to the IRT! On behalf of the IRT’s Board of Directors and staff, I want to thank you for joining us for another world-class performance created right here at Indiana's leading fully professional theatre. Whether you’ve been part of the IRT family for years or you are here for the first time, we’re glad to see you! As we celebrate our 45th season, we also want to thank you for continuing to support the IRT’s service to the people of Indiana. Your attendance, your gifts, and your good will are crucial components in our ongoing stability. With your participation, the IRT can continue its longtime role as a pillar of the state’s performing arts scene, an important downtown magnet, and a valuable community partner. Enjoy the show!

–Michael J. Harrington 10

Calling Indiana home since 1876.

To learn more, visit 2016 CA Approved for External Use PRINTED IN USA ©2016, Eli Lilly and Company. ALL RIGHTS RESERVED.




Director______________ HENRY WORONICZ Scenic Designer_______________WILLIAM BLOODGOOD Costume Designer____________________DEVON PAINTER Lighting Designer________________ANN G. WRIGHTSON Sound Design & Original Music_____BARRY G. FUNDERBURG Fight Director_______________________ PAUL DENNHARDT Dramaturg________________________RICHARD J ROBERTS Stage Manager________________ NATHAN GARRISON* Casting________________________CLAIRE SIMON CASTING


m a k i n g t h e a rts h a p p e n


Season Sponsor

SEASON 2016 - 2017

Lead Sponsor

Family Series Sponsor


Executive Artistic Director


Managing Director

THE CAST D’Artagnan_______________________JEB BURRIS* Rochefort et al.__________________ROB JOHANSEN* Milady de Winter et al.____________ ELIZABETH LAIDLAW* Planchet et al.___________________SCOT GREENWELL* Monsieur de Treville et al.________________ ROBERT NEAL* Cardinal Richelieu et al.________________DAN KREMER* Athos________________________RYAN ARTZBERGER* Aramis_______________________NATHAN HOSNER* Porthos_________________________DAVID FOLSOM* Jussac et al._____________________ LOGAN MOORE Monsieur Bonacieux et al._____________ CHARLES GOAD* Constance et al._______________ AMANDA CATANIA* Lord Buckingham et al.__________CHARLES PASTERNAK* Queen Anne et al.___________________ EMILY RISTINE* King Louis XIII et al.________________ CHARLES GOAD* Kitty et al.________________________ MARA LEFLER Abbess et al.____________________DEE DEE BATTEAST Felton et al.____________CARLOS MEDINA MALDONADO

THE SETTING various locations in Paris & London, 1628 The performance will last approximately two hours and 10 minutes with one intermission.

ACKNOWLEDGEMENTS This adaptation of The Three Musketeers was first produced at Barter Theatre, Abingdon, Virginia, Richard Rose, Producing Artistic Director. Dance Choreography: Mariel Greenlee Dance Captain: Emily Ristine Fight Captain: Rob Johansen

Assistant to the Fight Director: John Tovar Assistant to the Costume Designer: Kate Fulop

*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. The scenic, costume, lighting, and sound designers are represented by United Scenic Artists Local 829, IATSE. Photography and recording are forbidden in the theatre. The videotaping of this production is a violation of United States Copyright Law and an actionable Federal Offense.



Opening with Dumas’s The Three Musketeers throws open our doors for the IRT’s 45th season with just the right amount of bravado. It’s a big acting and design canvas that allows us both to show off our skills in scenery and costuming, and to put a lot of highly skilled actors on stage—many familiar faces and many new ones. It also puts swords in the hands and feathers on the heads of a phalanx of men in a way that we haven’t done in many years! Really, who can’t find something to love in a big swashbuckling period melodrama where—after much travail— the good guys win! This is just the stuff of theatre, and a way for us to open our arms to our adult audiences, our family audiences, and our high school audiences—together! We’re delighted to be off on this journey with Henry Woronicz at the directing helm. Henry is a familiar face as an actor at IRT, most recently as the mysterious Mr. Paravicini in The Mousetrap, but perhaps most memorably in his 2013 solo show An Iliad or as Mark Rothko in 2014’s Red. We are very appreciative that Henry’s Indiana University teaching schedule allows him to take the reins on this big production. His credentials couldn’t be better for such a piece. Henry’s extensive work at the Oregon, Utah, and Pennsylvania Shakespeare festivals, along with American Players Theatre and other companies, has often focused on classic productions. This experience gives him great skill at the staging of these massive historic stories, as well as insight into the importance of character nuance—even when those characters are created less through language than behavior. Henry will work closely with Paul Dennhardt, the fight choreographer we’ve brought on for this project.


It’s been a long time since our IRT audiences have seen a production with this much stage combat; it seems there’s a new fight every other page! But that action definitely contributes to the thrill of a production like this. Paul and Henry’s longtime work relationship will be very helpful in integrating the story and character development into the production’s movement idiom. One of the great triumphs of Dumas’s storytelling is his ability to look back into French history and to write about moments where the political stakes were high. It’s true, historical characters such as Louis XIII, Cardinal Richelieu, Lord Buckingham, and Queen Anne aren’t at the center of the story; they exist more as juicy cameos. But their importance to the overall sweep of the plot gives Dumas’s essentially potboiler format some exciting historic underpinnings and a sense of gravitas. As we watch the play, we feel that the exploits of the musketeers have the ability to change the course of history. That’s great storytelling, and an excellent expression of the triumph of Dumas’s popularity. We are thrilled to be opening IRT’s 45th season with this delicious and theatrical romp through French history! En garde!

The Dumas monument in the Place du Général-Catroux in Paris features this bronze of D’Artagnan by Gustave Doré.


Alexandre Dumas wrote his famous classic The Three Musketeers in 1844, releasing it in serialized form over the course of five months. It remains to this day one of the world’s great adventure tales—and “adventure” is the key word of this genre. Catherine Bush, in the opening stage directions of her brisk, straightforward adaption, lands this idea firmly: “The stage is dark. Music under—from the sound of it, we can tell we are in for an adventure!” And … we’re off! This simple concept, we feel, must be the primary component to any stage production, and one which we have taken to heart. Dumas’s canvas is larger than life, and thereby demands a certain theatricality—and yet at the same time it must be firmly rooted in the humanity of its characters. Like all good serializations, there is an episodic, cliffhanger quality to The Three Musketeers, full of heart-pounding fun, derring-do, romance, and of course, a certain degree of tragedy. For all real adventure requires risking something important, often life and limb; the stakes should thus remain high for all involved. And all the while, of course, there is a clock ticking.

The Three Musketeers is a tale of lovers in peril, conspiracies, escapes, sword fights, knife fights, near misses, passionate kisses, tavern brawls, poison, revenge, heroism, and death. But also, of course … love. Which is indeed what keeps us returning to any story again and again—the very human connection to be found in love. Which may be the greatest adventure of them all. We have had a glorious time bringing this vibrant story to life. And we hope that you will enjoy the ride.




My inspiration for The Three Musketeers comes from the wonderful paintings of Reubens, Rembrandt, Van Dyck, Vermeer, Sir Peter Lely … and the story itself: the swashbuckling adventures of the dashing D’Artagnan. The boots, the hats, the leather, the satins—all light-reflective, and rich—provide texture for our story. And away we go!

Dueling was a mania in France during the era of The Three Musketeers, and the resulting societal cost was high. Robert Baldick writes in The Duel that as many as four thousand gentlemen were slain in affairs of honor during the reign of Henri IV from 1589 to 1607. Louis XIII and Cardinal Richelieu passed edicts outlawing dueling on pain of death for all parties involved, but gentlemen continued to fight, often on trivial grounds—spurred on by the honor incurred by dueling in defiance of the edicts! Our approach to the violence in this production (at least twelve duels, brawls, murders, struggles, and assassinations) will emphasize both the adventure and reality of the violence. Using theatrical weapons with the heft, balance, and appearance of actual rapiers (unsharpened, of course), coupled with daggers, cloaks, and other objects, we’ll create fights that are exciting, scary, messy, organic, and deadly in their consequence.



Left: Rough sketch of Athos, Porthos, Aramis, and D’Artagnan by costume designer Devon Painter. Right: Paint elevations by scenic designer William Bloodgood.




The stage directions for this adaptation begin: “The stage is dark. Music under—from the sound of it, we can tell we are in for an adventure!” This tells you everything you need to know about my approach to the score and sound design for our production. Adventure, swashbuckling, and suspense were all keywords in my conversations with our director. Add perhaps a harkening back to the scores of classic films of romance and adventure. Our desire is to draw the audience into the action, to put into your ears the time and place where our heroes exist, and to push the action along with the tension, bravado, and rakish humor that are so key in Dumas’s work.

The Three Musketeers. What a project! It has energy, speed, fights, swords, intrigue, lots of scenes, and snappy clothes. The key for me is to be flexible and textural. Shadows— coming out of the shadows—is a strong image for the director. So light needs to be closely controlled, with patterns that break it up. Soft edges that evolve into sharper edges can add to the mystery. Inspiration for color comes from Rembrandt’s The Night Watch: gray-green hues to start, then moving into deep reds underneath as the action gets more perilous. Towards the end of the story the colors deepen and age into sepias and golds, tracing the paths of the characters as they mature through hardship and experience.




Alexandre Dumas’s original novel is a fanciful, imaginative adventure written in the 19th century but set in a much earlier time. We decided to play upon this dichotomy in the scenery for our IRT production by setting this modern

stage adaptation in a design that borrows heavily from the theatrical practices and scenic conventions of 17th century France: the forced perspective lines and tracked, flat-painted wings that were the fashion of the time of Louis XIII.



Alexandre Dumas was born in 1802. His father, ThomasAlexandre Dumas Davy de la Pailleterie (1762-1806), was born in Haiti, the illegitimate son of a French nobleman and an Afro-Caribbean slave. Educated in France, his father grew up to have a distinguished military career: not only the first black general in the French army, but eventually the French commander-in-chief—still the highest ranking army officer of African descent in European history. His father died of cancer when Alexandre was four. His mother, the daughter of an innkeeper, could not afford to give her son much of an education, but he read voraciously and taught himself Spanish. He grew up on his mother’s stories of his father’s military exploits, which were a great inspiration to him throughout his career.


When he was 20, Dumas acquired a secretarial position with the Duke of Orléans in Paris. Several years later he began writing plays on the side; the first two were so successful that he became a fulltime playwright. After almost a decade focused on the stage, he adapted one of his plays into a serial novel, and a new career was born. The year 1844 was a particularly memorable year for Dumas, producing four of his most enduring works. The Three Musketeers is an historical adventure set in the 1620s, but it slyly comments on France’s post-Napoleonic debate between monarchists and republicans. The Count of Monte Cristo has become a classic of western literature, its story of romance, betrayal, fortune, and vengeance

as deeply embedded in world culture as any myth. The Corsican Brothers is a dark tale of romance and intrigue involving conjoined twins separated at birth who feel a psychic and emotional connection throughout their lives. And Dumas’s adaptation of E. T. A. Hoffman’s Nutcracker and Mouse King lives on as the basis for Tchaikovsky’s ballet. Dumas’s other most widely remember book, The Man in the Iron Mask (1847), is one of several sequels to The Three Musketeers. Most of Dumas’s novels—nearly 50 in total—were written with uncredited collaborators. He established a studio with several assistants who wrote first drafts under his direction. Inserting his own dialogue and composing the final chapters himself, Dumas added details throughout, giving the books his own distinctive flair. He also wrote a dozen travel books, history books, journal articles on politics and culture, and a dictionary of cuisine. All told, Dumas published 100,000 pages during his lifetime. His works have been translated into 100 languages and are the basis for some 200 films.

Constantly in and out of debt (and in and out of political favor), Dumas fled to Belgium in 1851 to escape both creditors and the newly elected president, Louis Napoléon Bonaparte. He later spent two years in Russia exploiting his popularity there, and three years in Italy publishing a pro-unification newspaper. He returned to France in 1864 and died in 1870. He was buried in the town of VillersCotterêts, where he was born. In 2002 Dumas’s ashes were reinterred in Paris in the mausoleum of the Panthéon, alongside such luminaries as Voltaire, Rousseau, Victor Hugo, Émile Zola, Pierre and Marie Curie, and Toussaint Louverture. At the ceremony, French President Jacques Chirac lauded Dumas as France’s most popular writer: “With you, we were D’Artagnan, Monte Cristo, or Balsamo, riding along the roads of France, touring battlefields, visiting palaces and castles—with you, we dream.”

In 1840 Dumas married Ida Ferrier. He was, however, a notorious womanizer, with forty known mistresses and at least seven illegitimate children. His most famous son, Alexandre Dumas fils (1824-1895), was also an acclaimed author; he wrote Camille, one of the most sensational plays of the 19th century, the basis of Garbo’s film and Verdi’s La Traviata. Despite his wealth, fame, and aristocratic pedigree, Dumas père did not escape prejudice against his mixedrace ancestry. Once, when insulted about his background, he responded, “My father was a mulatto, my grandfather was a Negro, and my great-grandfather a monkey. You see, Sir, my family starts where yours ends.” Dumas enjoyed an extravagant lifestyle; throughout his life he earned and spent several fortunes. In 1846 he built a lavish country home, the Château de Monte-Cristo, filling it with friends and acquaintances who stayed for long visits; only two years later, he was forced to sell it. English playwright Watts Phillips described Dumas as “the most generous, large-hearted being in the world. He also was the most delightfully amusing and egotistical creature on the face of the earth. His tongue was like a windmill—once set in motion, you never knew when he would stop, especially if the theme was himself.”



Ryan’s IRT credits include The Mousetrap, To Kill a Mockingbird, A Christmas Carol, The Great Gatsby, The Crucible, A Midsummer Night’s Dream, Dr. Jekyll and Mr. Hyde, God of Carnage, Julius Caesar, Fire in the Garden, Romeo and Juliet, Rabbit Hole, Iron Kisses, Our Town, Death of a Salesman, He Held Me Grand, Macbeth, and The Herbal Bed. Ryan is a member of Heartland Actors Repertory Theatre, where he has appeared in The Winter’s Tale, Twelfth Night, The Tempest, The Taming of the Shrew, and Othello. At the Phoenix Theatre he performed in Reasons to Be Pretty. Regional credits include the Shakespeare Theatre and the Studio Theatre in Washington, D.C., Shakespeare Santa Cruz, the Goodman Theatre, Berkeley Rep, Kansas City Rep, the Lookingglass, Great Lakes Theater Festival, the Denver Center, New Jersey Shakespeare, and Playmakers Rep. Ryan is a graduate of Ohio University and the Juilliard School.


Dee Dee is making her IRT debut. She is proud to be a member of the acting faculty at Ball State University, where she is also an alumnus. Following her undergraduate education, she moved to NYC, where her roles included Stella in Better Lucky than Smart (Theatre Row) and Barbara in DMV: The Musical (TADA Theatre). Most recently, she was a company member at PlayMakers Repertory Theatre in North Carolina, where her roles included Texas in Cabaret, Ruth in A Raisin in the Sun, Montjoy in Henry V, Elizabeth in In the Next Room, and Yamba in Shipwrecked! An Entertainment. M.F.A.: University of North Carolina—Chapel Hill; B.S.: Ball State University. “I would like to dedicate this performance to my students and remind them, ‘Don’t panic, and play to win.’”


Jeb is thrilled to be working with IRT! Some recent credits: Great Lakes Theatre/Idaho Shakespeare Festival: Love’s Labour’s Lost. Lake Tahoe Shakespeare Festival: The Comedy of Errors. American Players Theatre: Pride and Prejudice, The Game of Love and Chance, Othello, The Merry Wives of Windsor, Travesties, Romeo and Juliet, and Much Ado about Nothing. The Utah Shakespeare Festival: The Tempest, King John, Love’s Labour’s Lost, Titus Andronicus, The Merry Wives of Windsor, The Glass Menagerie, and Richard III. Chicago Shakespeare Theatre: Romeo and Juliet. Sacramento Theatre Company: Romeo and Juliet, Julius Caesar. Jeb earned his B.A. from Ball State University and his M.F.A. from Illinois State University and trained with the Royal Shakespeare Company and Shakespeare’s Globe Theatre in the U.K. “Love to Melisa, always.”


Amanda is delighted to make her IRT debut. Chicago credits include A Midsummer Night’s Dream (Chicago Shakespeare Theater in the Parks), Measure for Measure (Goodman Theatre), 50 min Romeo and Juliet, as well as multiple staged readings (Shakespeare Project of Chicago). Regional credits include A Midsummer Night’s Dream, Sense and Sensibility, As You Like It, The Gentleman From Indiana (Indiana Festival Theatre); A Midsummer Night’s Dream (Clarence Brown Theatre); A Streetcar Named Desire (Cardinal Stage Company); Macbeth, Failure: A Love Story, The Comedy of Errors, Othello, As You Like It, The Rivals (Illinois Shakespeare Festival); Othello, The Comedy of Errors, Charlotte’s Web, The Three Musketeers (Alabama Shakespeare Festival): Catch-22, Julius Caesar, Twelfth Night, and Much Ado About Nothing (Aquila Theatre Company). Film credits include The United States. Amanda earned her B.F.A. from New York University’s Tisch School of the Arts and is a proud member of Actors’Equity Association. 20


David made his IRT debut with The Great Gatsby. Most recently he appeared in Macbeth, Love’s Labour’s Lost, King Lear, and The Comedy of Errors at Door Shakespeare. Other credits include Off Broadway’s Cherry Lane Theatre and, regionally, the Guthrie, Fulton Theatre, Artists Repertory Theatre, Portland Center Stage, New York Collective for the Arts, and the Blank Theatre and El Centro in Los Angeles. He earned his M.F.A. at the University of Washington and his B.F.A. at Carnegie Mellon.


Some of Chuck’s IRT credits include To Kill a Mockingbird, A Christmas Carol, The Great Gatsby, The Miser, Hamlet, Romeo and Juliet, Othello, Driving Miss Daisy, Our Town, Pygmalion, Blithe Spirit, All My Sons, The Fantasticks, and Great Expectations. Chuck is a founding member of the Phoenix Theatre where he has acted and directed many times. Favorites there include August: Osage County, Gross Indecency, Shipwrecked, Company, and most recently directing Buyer & Cellar. Recently he directed Bonnie & Clyde for Summer Stock Stage and acted in The Winter’s Tale for Heartland Actors Rep. Other local credits include Beyond the Rainbow with Actors Theatre of Indiana, Spamalot with Bobdirex, Welcome to the Monkey House with ShadowApe, The Odd Couple at Brown County Playhouse, and Amadeus with Cardinal Stage. Regional credits include Cincinnati Playhouse, Missouri Rep, and Syracuse Stage.


Scot has been seen at the IRT in A Christmas Carol, The Two Gentlemen of Verona, and A Midsummer Night’s Dream. As a company member of Heartland Actors' Repertory Theatre, he has appeared in The Winter’s Tale, The Taming of the Shrew, The Tempest, and Othello, among others. Regional credits include Unnecessary Farce (Actors Theatre of Indiana); The Cockfight Play, The Nether, Next Fall, In the Next Room..., Bloody Bloody Andrew Jackson, Freud’s Last Session (Phoenix Theatre); The Grapes of Wrath, The Santaland Diaries, and Little Shop of Horrors (Cardinal Stage Company). A native of Loogootee, Indiana, Scot is a proud graduate of the University of Evansville’s prestigious theatre program. He has told stories and played characters in schools and libraries throughout the state, as well as at the Children’s Museum. Scot is an interpreter at the Indiana History Center. “Thank you Zack, friends, and family, for unconditional love and support.”


Nathan is delighted to make his IRT debut. Chicago credits include productions with Writers Theatre, Chicago Shakespeare Theater, the Goodman Theatre, Northlight Theatre, the Paramount Theatre, About Face Theatre, First Folio Theatre, Shaw Chicago, and the Shakespeare Project of Chicago. Other credits include Peter and the Starcatcher (First National Tour) and productions with American Players Theatre, the New Theatre, Alabama Shakespeare Festival, Arkansas Shakespeare Theatre, the BoarsHead Theater, Illinois Shakespeare Festival, Door Shakespeare, and the Madison Repertory New Play Festival. Nathan is a graduate of the Royal Academy of Dramatic Art, London. Television credits include Chicago PD and As the World Turns.


After 18 straight seasons performing in 42 shows, Rob spent the last two years teaching at his alma mater, Indiana University. “I am grateful for my time at both IU and the IRT. I wouldn’t have a career without those two life-changing places.”Rob’s IRT favorites include The Mystery of Irma Vep, The Game’s Afoot, The Grapes of Wrath, The Turn of the Screw, The 39 Steps, nine years of playing Bob Cratchit in A Christmas Carol, and Cyrano. He recently appeared in On Clover Road at the Phoenix Theatre and in The Winter’s Tale for HART. Rob is a proud and dedicated volunteer at the Indy Humane Society. “I hope anyone wanting a pet will go to a shelter, because that’s where the need—and love—are.” 21


IRT debut. At the Shakespeare Theatre Company in D.C.: Caesar in Julius Caesar, Capulet in Romeo and Juliet, Enobarbus in Antony and Cleopatra. With the Utah Shakespeare Festival: Lear in King Lear, Titus in Titus Andronicus, Vandergelder in The Matchmaker, Gaunt in Richard II. In fourteen seasons with the Oregon Shakespeare Festival, more than forty productions, including: Undershaft in Major Barbara, Prospero in The Tempest, Jacques in As You Like It, diMedici in The White Devil, LeRoux in Pravda, Elomire in La Bête, John in Oleanna, and the premieres of Emma’s Child and The Majestic Kid. Nationally, Dan has appeared with A Contemporary Theatre, American Conservatory Theatre, Arizona Theatre Company, Dallas Theater Center, Denver Center, Geva, and the Kansas City, McCarter, Merrimack, Milwaukee, Seattle, and Yale Repertory Theatres. Dan played King Frederick on the NBC series Grimm.


Elizabeth made her IRT debut as Elizabeth Proctor in The Crucible. In Chicago, she has worked with Writers Theatre, Chicago Shakespeare, Court Theatre, the Goodman, Steppenwolf, Next Theatre, About Face, Chicago Dramatists, Strawdog, Lifeline, and the Journeymen, among many others. Regionally, she has appeared at American Repertory Theatre and the Irish Classical Theatre Company in Buffalo. Elizabeth is the founder and artistic director of Lakeside Shakespeare Theatre. Film credits include the critically acclaimed Henry Gamble’s Birthday Party as well as Cleveland Abduction, Into the Wake, Eastern College, and Dimension. Television credits include Hard Earned (AlJazeera America, narrator), Chicago PD and Crisis (NBC), Betrayal (ABC), Boss (Starz),Turks (CBS), and The Chicago Code (FOX).“Thank you to my son Owen, his dad Gilbert, my mother, and my Village.”


Mara made her IRT debut in Peter Rabbit and Me. She is an M.F.A graduate in acting from Indiana University. At IU Festival Theatre she appeared in As You Like It, The Gentleman from Indiana, Twelfth Night, and Much Ado about Nothing. At IU Theatre she was seen in Sing to Me Now, Pride and Prejudice, King Lear, Cat on a Hot Tin Roof, The School for Scandal, and Richard III. Other credits include The Comedy of Errors for Salt Lake Shakespeare; Noises Off for Centerpoint Legacy Theatre; The Foreigner for Sugar Factory Playhouse; Enchanted April for Stage Right Theatre; and Howay for Wodney Wat, Breaking Through, The Wave Curtains, and Macbeth for PCPA Theatrefest. Mara is from Salt Lake City, Utah.


Carlos is proud to make his IRT debut! He is originally from Gurnee, Illinois, and recently acquired a B.F.A. in acting from Illinois Wesleyan University. Recent credits include: Valentine (Twelfth Night), Dogbreath (Rodeo), and Ensemble (Hamlet), all from the Illinois Shakespeare Festival, and the Taxi Driver (Women on the Verge of a Nervous Breakdown) at the Jerome Mirza Theater.



Logan appeared at the IRT in Peter Rabbit and Me. He is a 2014 graduate of Butler University where he earned a B.A. in theatre performance. His most recent appearances include Harry the Horse in Guys and Dolls at Beef & Boards and El Gallo in The Fantasticks and Richard Hannay in The 39 Steps with Actors Theatre of Indiana. Other local appearances include NoExit Performance, Bobdirex, Booth Tarkington Civic Theatre, Footlite Musicals, and Defiance Comedy. ”I would like to thank Janet Allen and Richard Roberts for giving me this opportunity. A shout out to my family for their love and support which has always been a constant blessing, and a very special shout out to Danielle Carnagua for everything she does for me from day to day. I am one lucky and blessed guy!”


This is Robert’s 17th season with the IRT, where he has performed in more than 30 productions. He is a company member of Heartland Actors Repertory Theatre, where this summer he directed The Winter’s Tale. Other local theatres include ShadowApe, the Phoenix Theatre, and Cardinal Stage; he has also performed with the Indianapolis Symphony Orchestra and Indianapolis Early Music. In 2012 he reprised his role as James Beard in James Still’s I Love to Eat for the James Beard Foundation Awards at Lincoln Center in New York City. Regional theatre credits include Syracuse Stage, the Blackstone Theatre, the Bailiwick Repertory Theatre, American Players Theatre, Pennsylvania Center Stage, the Oklahoma and Kentucky Shakespeare festivals, and the Brown County Playhouse, as well as the English American Theatre Festival in Dusseldorf, Germany. Television credits include NBC’s Chicago Fire. Robert’s training is from Penn State (M.F.A.) and the London Academy of Music and Dramatic Art.


Charles has appeared at the IRT in The Mousetrap and The Two Gentlemen of Verona; he will return for A Christmas Carol. His regional credits include Titus Andronicus at Clarence Brown Theatre; the title role in Macbeth at Sierra Repertory Theatre; two seasons with Shakespeare Festival St. Louis, where his roles included Hotspur and Octavius; Much Ado about Nothing at Shakespeare Theatre New Jersey; four seasons with Shakespeare Santa Cruz, where his roles included Romeo and Henry V; Romeo and Juliet and The Three Musketeers at the Denver Center; Creditors at Ensemble Theatre Santa Barbara; and The Merchant of Venice and Romeo and Juliet at Shakespeare Center Los Angeles. Charles is artistic director of the Los Angeles-based Porters of Hellsgate Theatre Company.


Emily has appeared at the IRT in A Christmas Carol, The Gentleman from Indiana, and As You Like It. Other favorite roles include Diana in Next to Normal, Kate Monster in Avenue Q, Kay Banks in Father of the Bride, and Hope in Urinetown: the Musical. Emily is a founding member and artistic director of Summer Stock Stage, where she has spent her last 13 summers directing more than 20 musicals with young performers. While her professional career started at Disney, Emily has been in local productions at the Phoenix Theatre, Beef & Boards, Booth Tarkington, and American Cabaret Theatre, and sung with the Indianapolis Symphony Orchestra. Emily works as a studio singer recording for Music Theater International, does radio and television commercial work, directs school theatre, teaches acting at Butler University, and most recently directed The Book of Merman at the Phoenix Theatre.



Catherine Bush is the playwright-in-residence for Barter Theatre, the State Theatre of Virginia, which has produced her plays The Other Side of the Mountain, The Quiltmaker, Comin’ Up a Storm, Wooden Snowflakes, The Controversial Rescue of Fatty the Pig, Where Trouble Sleeps, and others. An award-winning production of Tradin’ Paint was produced at Center Stage North in Atlanta in 2009, and her musical I’ll Never Be Hungry Again continues to be produced nationally. Her other plays include The Frankenstein Summer (Red Light Theatre District, New York City), The Executioner’s Sons (Echo Theatre, Texas), and Just a Kiss (New Theatre, Florida), which was a finalist for the 2007 Steinberg Award presented by the American Theatre Critics Association. Her plays for young audiences have been commissioned and produced by the Barter Players, and several have toured to schools across the southeast United States.


Henry makes his IRT directing debut with this production, after acting in The Mousetrap, Red, An Iliad, A Midsummer Night’s Dream, …Young Lady from Rwanda, and King Lear. Regional acting and directing credits include Actors Theatre of Louisville, American Conservatory Theatre, American Players Theatre, Arden Theatre Company, Berkeley Repertory Theatre, Boston Shakespeare Company, Center Stage, Delaware Theatre Company, Hong Kong Repertory Company, La Jolla Playhouse, Meadow Brook Theatre, Syracuse Stage, the Shakespeare Theatre, and the Alabama, Illinois, New Jersey, Pennsylvania, and Utah Shakespeare festivals. He was seen on Broadway in Julius Caesar with Denzel Washington. Television credits include Seinfeld, Cheers, Third Rock from the Sun, Star Trek, and Law & Order. At the Oregon Shakespeare Festival, he was a resident actor/director from 1984 to 1991 and artistic director from 1991 to 1995. Henry also served as executive producer at Lake Tahoe Shakespeare Festival from 2008 to 2009, the head of M.F.A. Acting at Illinois State University from 2009 to 2012, and is currently a visiting professor in the Department of Theatre at IU Bloomington.


William’s work has been seen at the IRT in As You Like It, The Sisters Rosensweig, The Magnificent Ambersons, Broadway Bound, She Loves Me, and Yerma. He has worked in many regional theatres, including Arena Stage, Arizona Theatre Company, the Berkeley Repertory Theatre, the Alley Theatre, Chicago Shakespeare Theater, Denver Center Theatre Company, Intiman Theatre, the Old Globe Theatre, Portland Center Stage, Seattle Repertory Theatre, Syracuse Stage, and the Oregon Shakespeare Festival, where he designed the scenery for 150 productions. In 2011 he was honored to design the United States national exhibit for the Prague Quadrennial of Performance and Space Design. He is the recipient of many awards for his designs, including the Oregon Governor’s Award for the Arts in 2002. Currently, he is a professor of scene design at the University of Texas at Austin.


Devon happily returns to the IRT, where her past designs include Dr. Jekyll and Mr. Hyde, The Miracle Worker, Pygmalion, Noises Off, Abe Lincoln in Illinois, and To Kill a Mockingbird (1998). Regional design credits include the Oregon Shakespeare Festival, Guthrie Theater, Milwaukee Repertory Theatre, Resident Ensemble Theatre, Denver Center, Geva Theatre Center, Kansas City Rep, Shakespeare Festival of St Louis, Folger Theatre, and many shows at American Players Theatre. New York credits include many productions at the Pearl Theatre, Juilliard, and many other Off-Broadway venues, as well as associate work on Broadway. Her costume designs were exhibited in Curtain Call: Celebrating a Century of Women Designing for Live Performance. Devon is a member of United Scenic Artists.



Ann’s work for the IRT includes Good People, A Midsummer Night’s Dream, The Diary of Anne Frank, Pride and Prejudice, and The Drawer Boy, among others. She designed the Broadway production of Souvenir and was a Tony nominee for her work on Tony Award–winning August: Osage County, which she designed for Broadway, London, Sydney, and the National Tour. Recent projects include A Moon for the Misbegotten for the Theatre Royal in Waterford, Ireland, and Geva Theatre in Rochester; Domesticated at Steppenwolf Theatre; and Georama (premiere) and Disgraced at Repertory Theatre of St Louis. Other work has been seen at many regional theatres, including the Guthrie, Alliance, Arena Stage, Cleveland Play House, Yale Rep, Milwaukee Rep, Portland Center Stage, McCarter Theatre, and the Eugene O’Neill Theater Center. Awards include IRNE Award for Best Lighting for Fences and Backstage Garland Award for Magic Fire at Oregon Shakespeare Festival.


Barry is thrilled to return to IRT, where he designed and composed Dinner with Friends and One Thousand Cranes. Chicago credits include Fake, Carter’s Way, and Mother Courage at Steppenwolf; as well as Writers Theatre, Mercury Theater, Next Theatre, Lookingglass, and Theatre at the Center. Off-Broadway, he designed the New York premiere of Wittenberg at the Pearl Theatre. Regional credits include more than 70 productions at Milwaukee Rep, more than 20 at Utah Shakespeare Festival, and productions at Actors Theatre of Louisville, Arizona Theatre Company, Repertory Theatre of St. Louis, Kansas City Rep, Centerstage, Clarence Brown Theatre, and Alabama Shakespeare Festival. Barry has received two Chicago Equity Wing Jeff Awards and a 2015 St. Louis Theater Circle Award He earned his M.F.A. in sound design at Purdue University.


Paul is delighted to make his IRT debut. Regional credits include the Shakespeare Theatre Company, the Folger Theatre, the Guthrie Theater, the Arden Theatre Company, Perseverance Theatre, the Dallas Theater Center, the Taipei National University for the Arts, Rep Stage, Milwaukee Shakespeare, Florentine Opera Company, Madison Rep, Shakespeare Festival St. Louis; American Theater Company, Vitalist Theatre, the Theatre at Monmouth, and the Illinois Shakespeare Festival. Paul is a professor of theatre at Illinois State University where he heads movement training for the M.F.A. program in classical acting. Paul is a proud member of the Stage Directors and Choreographers Society, a certified teacher of the Alexander Technique, a Fight Director/Certified Teacher with the Society of American Fight Directors, and a Master Teacher/Fight Director with Dueling Arts International. He is the recipient of the Society of American Fight Directors 2010 Paddy Crean Award.


Richard has been resident dramaturg for 19 of his 27 seasons with the IRT. He has also been a dramaturg for the New Harmony Project and Write Now. He has directed the IRT’s productions of Bridge & Tunnel, The Night Watcher, Neat, Pretty Fire, The Giver (2009), The Power of One, and Twelfth Night, as well as four editions of A Christmas Carol; later this season he directs The Cay. Other directing credits include Actors Theatre of Indiana, the Phoenix Theatre, Edyvean Repertory Theatre, Indianapolis Civic Theatre, IndyShakes/Wisdom Tooth, Butler University, and Anderson University. Richard studied music at DePauw University and theatre at Indiana University. In 2003 he was awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis.


This is Nathan’s 21st season at the IRT. He has also worked with Center Stage in Baltimore, Utah Shakespeare Festival, Brown County Playhouse, and Heartland Actors Repertory (HART).


Based in Chicago, Claire Simon, C.S.A., has worked with the IRT on casting more than 30 productions, including The Mousetrap, The Great Gatsby, The Game’s Afoot, The Mountaintop, The Crucible, The House That Jack Built, Dr. Jekyll and Mr. Hyde, Fallen Angels, The Diary of Anne Frank, Romeo and Juliet, The Heavens Are Hung in Black, Our Town, Inherit the Wind, Pride and Prejudice, and many more. Other regional credits include Syracuse Stage, Indiana Festival Theatre, Lyric Opera, Milwaukee Rep, New Theatre, Paramount, Writers Theatre, Broadway in Chicago’s Working, and the Tony Award–winning Million Dollar Quartet. TV credits include Empire, Sense8, Chicago Fire, Chicago PD, Crisis, Betrayal, Detroit 1-8-7, Boss, Mob Doctor, and Chicago Code. Film credits include Divergent, Contagion, Unexpected, and Man of Steel. Claire won an Artios Award this year for casting the pilot of Empire, and previously for Season 1 of Fox’s Prison Break. 25


HOW DID YOU GET INTERESTED IN THEATRE? My junior high school did a play based on Lincoln’s assassination and Our American Cousin. We had an ambitious theatre teacher in my junior high. I took the drama class, and did some acting. I remember helping with the sets—everybody did everything at that point. In high school I started working on the scenery crew more. I’ve always been interested in building things, starting with Legos and that kind of stuff, model tanks and planes— like for the game I play. [Chris competes in a World War II miniature war game called Flames of War; he is currently the top ranked player in the nation.] WHEN DID YOU START TO REALLY FOCUS ON THEATRE? I went to college with the idea that I was going to be a business major. In fact, Suzanne Sweeney [IRT’s managing director] and I were in the same class at William & Mary—we might have been in the same basic accounting classes, but we never knew each other. Anyway, I was also involved in theatre. I spent three summers at Alabama Shakespeare Festival—as an intern, a carpenter, and then master carpenter. I changed my major. After I graduated I went to Berkshire Theatre Festival as a junior carpenter, and then the technical director at Virginia Stage Company hired me as master carpenter. I had skills and was able to jump in to a lot of places that fit me. A year later he left, and they asked me if I was interested in being technical director. At first I said no, because I wanted to work for some other people and learn more. But then 26

I started seeing the people they were interviewing, and I realized that I had the potential of working for a bozo, or I could be the bozo. I threw my hat in, and they hired me. So then I got to work with Marjorie Kellogg, John Lee Beatty, some really big designers. In the summers I went to Pepsico Summerfair, and I worked on the Peter Sellars Mozart operas: Così, and Don Giovanni, and Marriage of Figaro set in Trump Tower. They turned out to become very famous productions around the world. I think I was one of the few people who worked on all three of them. I stayed at Virginia Stage Company for nine years. We did the original production of The Secret Garden before it went

to Broadway. And I went back to Berkshire Theatre Festival in the summers and was the technical director. A lot of people at Berkshire would come down to Virginia, including Claire Dana [IRT’s charge scenic artist]. That’s how we met, and then after several months we started dating, and then two years later got married. Then we went to Stage West, and then we came here. AS IRT’S TECHNICAL DIRECTOR, WHAT EXACTLY DO YOU DO? Essentially my job is to take the scenic designer’s ideas and translate them to the stage. The designer has an idea of what the show is supposed to look like, and it’s my job to

figure out how to build it. We have to build it in pieces in the shop, then set it up relatively quickly on stage, within the time we have, within the budget we have. The amount of engineering varies from designer to designer. Sometimes they will make suggestions, sometimes I will come back to them—it really is a collaborative process at that point. It’s all digital drafting. I spend most of my time drawing, figuring out how stuff goes together and how it works. John Bennett, our assistant technical director, handles a lot of the actual physical motor and automation work—that’s his specialty. He also handles all the bills and hiring and that kind of stuff. And then the shop foreman, Kyle Baker, does the direct supervision of the carpenters. He’ll come to me or the carpenters will come to me if they have questions about things, but essentially he is the person running the shop floor out there. WHAT DO YOU LIKE ABOUT YOUR JOB? It’s always a challenge and it’s always changing. Every four to six weeks I’m on to a new project, a new set of challenges. There’s a lot of creativity involved, taking something apart and figuring out how to put it together— that’s what I really enjoy, coming up with solutions. And certainly the collaboration: a bunch of people working towards a common goal, feeding off of ideas and solutions. The final product is always more than any one person can put together. Top: Chris Fretts in IRT's Scene Shop. Photo by Amber Mills. Left: Rob Johansen, Constance Macy, Hillary Clemens, and Jürgen Hooper in IRT's 2014 production of The Game's Afoot. Photo by Zach Rosing.


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OVATION SOCIETY THE FUTURE IS IN YOUR HANDS For 45 Seasons, the IRT has been privileged to provide Indiana with world class theatre. Arranging a planned gift to the IRT will help ensure that the theatre you know and love can continue to thrive for generations to come. Including the IRT in your long-term financial plans gives you the flexibility to manage your assets in a way that makes financial sense to you and your family, while providing future funds to support the continued success of one of Indiana’s great cultural institutions, the IRT. There are a variety of ways you can choose to include the IRT in your estate planning. Our staff is happy to work with you and your financial advisor, tax professional or family attorney to determine how a planned gift can help meet your financial and charitable goals. Please let us know if you have already made arrangements for a planned gift so that we can add you as a member to our growing Ovation Society!

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Top to bottom: David Alan Anderson and Erika LaVonn in IRT's 2015 production of What I Learned in Paris. Hillary Clemens in IRT's 2015 production of The Great Gatsby. Rob Johansen and Marcus Truschinski in the IRT's 2016 production of The Mystery of Irma Vep. Dalyn Stewart and Piper Murphy in IRT's 2015 production of Peter Rabbit and Me. Darrie Lawrence and Constance Macy in IRT's 2015 production of On Golden Pond. David Alan Anderson and Grayson Molin in IRT's 2015 production of The Giver. All Photos by Zach Rosing.

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OVER 40,000 STUDENTS EXPERIENCE LIVE THEATRE AT THE IRT EACH SEASON Without the Alan and Linda Cohen Education Fund, almost half of those students would not have been able to attend. Join the hundreds of donors who make live theatre experiences possible for students across the state, donate to the Cohen Education Fund today! "A student told me he couldn’t pay for the trip because his family doesn’t have a lot of money right now. I told him that the IRT had helped cover the cost. His eyes lit up and he kept saying 'thank you!' throughout the day." -An Indiana Teacher

Paula Hopkins and Jan Lucas in the IRT's 2016 production of To Kill a Mockingbird. Photo by Zach Rosing.



Foster Creativity. Inspire Excellence. The Christel DeHaan Family Foundation is proud to support the Indiana Repertory Theatre. Our support is also provided in honor of the children and families of Christel House.

Barnes & Thornburg is proud to support the Indiana Repertory Theatre. Your commitment to the arts has left us speechless.

Uncommon Value


THE SUPPORTING CAST INDIANA REPERTORY THEATRE DONORS WHAT IF YOU SAW ONLY HALF THE PLAY? Ticket revenue covers just half of what it costs to produce world-class professional theatre at the Indiana Repertory Theatre. The IRT gratefully acknowledges the remarkable support we receive from our generous and committed donors whose contributions ensure that the show does go on! *Denotes a sustaining member


($1500 +) | JULY 1, 2016 - AUGUST 31, 2016


David Kleiman & Susan Jacobs John & Susan Kline Steve & Bev Koepper Kevin Krulewitch & Rosanne Ammirati* David & Leslie Morgan Mr. & Mrs. Robert L. Nagy Dr. Christine & Michael Phillips Becca & Jonathan Polak Bob & Kathi Postlethwait Dr. Eric A. Schultze & Dr. Marcia Kolvitz Cynthia & William Smith III Cheryl & Jim Strain Gene & Mary Tempel

Mr. Leo Bianchi & Dr. Jill A. Panetta Michael Dinius & Jeannie Regan-Dinius Nancy & Berkley Duck Dan & Ginny Emerson Mr. & Mrs. Charles & Susan Golden Michael & Judy Harrington Sarah & John Lechleiter Sue & Bill Ringo Wayne & Susan Schmidt David P. Whitman & Donna L. Reynolds DIRECTOR CIRCLE $5,000 - $9,999

Susie & Joel Blum Cheri & Rollie Dick David & Ann Frick Ann Hinson Bill & Nancy Hunt Clifton & Janet Johnson Dr. & Mrs. William Macias Carl & Loui Lord Nelson Mel & Joan Perelman Mike & Sue Smith Cheryl & Ray Waldman Cliff & Molly Williams Dr. Christian Wolf & Elaine Holden-Wolf ARTIST CIRCLE $3,000 - $4,999

A.J. Allen & Kathy Maeglin Mary Findling & John Hurt Dick & Brenda Freije Donald & Teri Hecht Richard & Elizabeth Holmes John & Liz Jenkins 42

PATRON CIRCLE $1,500 - $2,999

Janet Allen & Joel Grynheim Anonymous Hon. Sharon R. Barner Benjamin & Ashley Blair Daniel & Catherine Cunningham Ann & Kenneth Dee Drs. Richard & Rebecca Feldman Brian & Lorene Furrer Rick Fuson Phyllis & Ed Gabovitch Jim Gawne Robert & Jo Ann Giannini Michael N. Heaton Bruce Hetrick & Cheri O'Neill Ted Hingst William & Patricia Hirsch Randolph & Rebecca Horton DanielT. Jensen & Steven Follis Mike & Pegg Kennedy Phil & Colleen Kenney Arthur & Jacquelyn King

Jane Herndon & Dan Kramer Kurt & Judy Kroenke Joe & Deborah Loughrey John & Laura Ludwig John & Barbara MacDougall Jeff & Patricia MacKay Donald & Ruth Ann MacPherson Sharon R. Merriman Dod & Laura Michael Michael D. Moriarty Francisnelli Santos & Brian S. Newman Anne Nobles & David L. Johnson Brian & Gail Payne The Pletzer Endowment Fund, a fund of Legacy Fund Phil & Joyce Probst Myrta Pulliam Peter & Karen Reist Ken & Debra Renkens Karen & Dick Ristine Mr. & Mrs. Charles O. & Jane Rutledge Charles & Jenny Schalliol Tom & Barbara Schoellkopf Marguerite K. Shepard, M.D. Reuben & Lee Shevitz Jacqueline Simmons &Tom Schnellenberger Michael & Cynthia Skehan Suzanne Sweeney &ToddWiencek Joe & JillTanner JenniferTurner John & KathyVahle DorothyWebb RosalindWebb & Duard Ballard CarolWeiss Alan & ElizabethWhaley Pam & BillWilliams Bob & DanaWilson

JULY 1, 2016 - AUGUST 31, 2016 DONOR GUILDS

ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2016 - AUGUST 31, 2016

Every dollar counts – donations of all sizes allow world-class theatre to continue on the IRT’s stages. We thank our donor guilds for giving their support to the IRT. * Denotes Sustaining Member DRAMA GUILD $650 - $1,499

Jesse L. & Carolynne Bobbitt Brady Clark Drs. Eric Farmer &TateTrujillo Keith & Marion Michael John & Carolyn Mutz Robert & Alice Schloss Dr. James & LindaTrippi Barbara S.Tully* John & Linda Zimmermann THEATRE GUILD $250 - $649

John & Eileen Ahrens* Constance C. Beardsley* Barbara & Christopher Bodem* Reba BoydWooden* Doug & Brenda Chappell William S. Coleman Jr. Keith & Brenda Coley

Martha Cronkhite* Karen Dace* Paul & Carol DeCoursey* Phillip & Caroline Dennis* Dr. Brian Dillman & Erin Hedges* Ditech Inc. Garry & Glenda Frey Julie Funk Emily Hancock* Alexandra & Justin Harris* Angela & Douglas Harris* Lindsey &Tom Horan Ron & Shannon Jones Dave & Donna Kaiser Steven & Mary Koch* Paul & Lana Kruse Roger & Janet Lang Dr. & Mrs. Peter Marcus* Patrick Marlatt* Melissa Maulding

Rev. Mary Ann Moman* Mr. Electric Kathryn Page & PeterWitczak* Al & Debbie Parrish* Steve & Quin Paul* Scott & Susan Putney Dr. Jill Shedd* Kevin & Amy Sobiski* Ross & Rosemarie Springer Stillpoint Family Chiropractic Nela Swinehart* Robert & BarbettaTrue* Steve &TeresaVincent SusanWeatherly* DanWheeler & SusanWakefield* Allen R.Wilkie Zionsville PhysicalTherapy* Patrick & Rebecca Zirnheld*

OVATION SOCIETY The Ovation Society is an exclusive program that recognizes donors that have made a planned gift to the IRT. The IRT truly appreciates those individuals whose gift will ensure that the Theatre can continue to provide meaningful and inspirational experiences for future generations of Hoosiers. Gary Addison Frank & Katrina Basile Ron & Julia Carpenter John & Mary Challman Cheri & Rollie Dick Nancy & Berkley Duck Dale & Karen Duncan Meg Gammage-Tucker David A. & Dee Garrett Michael Gradison

Emily Hancock Bruce Hetrick & Cheri O'Neill David Kleiman & Susan Jacobs Frank & Jacqueline La Vista Donald & Ruth Ann MacPherson Stuart L. Main Michael R. & Sue Maine David & Leslie Morgan Richard & Lila Morris Deena Nystrom

Marcia O'Brien Robert V. Robinson & Nancy J. Davis Jane & Fred Schlegel Jerry & Rosie Semler Gene & Mary Tempel Jeff & Benita Thomasson Christopher J. Tolzmann Alan & Elizabeth Whaley John & Margaret Wilson


THE SUPPORTING CAST INDIANA REPERTORY THEATRE DONORS FINDING HOME: INDIANA AT 200 The IRT developend a new work for Indiana audiences to celebrate Indiana’s Bicentennial. This work will premiere on October 18, 2016 on IRT's Upperstage. Thank you to those individuals whose support is making this new work possible. Eli Lilly and Company Indiana Arts Commission

Sarah & John Lechleiter The Margot L. and Robert S. Eccles Fund, a fund of CICF


ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2016 - AUGUST 31, 2016


Barnes & Thornburg LLP BMO Harris Bank Eli Lilly and Company Frost Brown Todd Navient Foundation OneAmerica Financial Partners PNC Printing Partners T2 Systems Taxman Brewing Company

IN-KIND/TRADE GIFTS 9 on Canal Candlewood Suites


Allen Whitehill Clowes Charitable Foundation The Glick Family Foundation The Glick Fund, a fund of CICF


Arts Council of Indianapolis Indiana Arts Commission National Endowment for the Arts

ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2016 - AUGUST 31, 2016 Eco-Kinetic WFYI


ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2016 - AUGUST 31, 2016

We are enormously grateful to the Cohens for this visionary gift which directly benefits students attending all of our many student matinees this season and in future seasons as well.With the support of this fund, the IRT is able to underwrite ticketing four our young audiences. Eli Lilly and Company


Jim & Mary Russell

Dr. Frank Wilson

TURN YOUR OLD CAR INTO A CONTRIBUTION TO THE IRT Donate a vehicle to the IRT and we will sell it at auction. The proceeds will benefit the Theatre, and you can qualify for a tax deduction. We don’t just accept automobiles, you can donate any of the following: Boats | Motorcycles | Motor Homes | Snow Mobiles | Farm Equiptment | More! Zach Kenney, Teagan Rose, and David Folsom in IRT's 2015 production of The Great Gatsby. Photo by Zach Rosing.




Share your vision for the future of Central Indiana at

Photo courtesy of Bass Photo Co Collection, Indiana Historical Society


Ralph Lauer/The Cliburn

Elaine Mayson

When the show is over, you can still get your fix of arts and cultural programming on WFYI Public Media. Whether you’re looking for the best in local arts, or music, theater, dance and art from around the world, we have you covered. Visit for a list of television and radio programming highlights and to access our on-demand streaming library. WFYI.ORG PUBLIC MEDIA





Post-show discussions and complimentary tea and cookies. Discussion speakers include cast, crew, and special guests. Following our 2nd Sunday performances (2:00 pm performances)

Complimentary Sun King brews, New Day mead and appetizers. Half-priced bar throughout the performance. Tuesdays, starting at 5:30 pm (6:30 pm performances)



Complimentary cookies, coffee and tea served in the lobby during intermission. Thursday 2:00 pm performances

Celebrate with the cast and enjoy complimentary champagne, hors d’oeuvres and a tour of the stage after the performance. Opening Night performances


In a world of change, our focus is steadfast.

317-261-1900 Not FDIC Insured

No Bank Guarantee May Lose Value

© 2016 Diamond Capital Management

No Ordinary Fitness Center



Job #:


4040 World of Change_5.5x4

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DCM - World of Change Ad



Half Page H 5.5" x 4"; 4C


Insertion Date:

March 2016




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Jaquie Hensley | 317.283.2776 9840 North Michigan Road, Carmel, IN 46032

2502 East 52nd Street, Indianapolis, IN 46205

Mary Beth Poe | 317.636.4444

JOIN THE IRT'S CORPORATE CLUB Get exclusive treatment and benefits including group tickets, VIP concierge service from the IRT Development Department, and private event(s) before a world-class IRT production.

Starting at $2,500, Let the Indiana Repertory Theatre Help You: Entertain Clients | Reward Your Employees | Recruit Potential Employees & Clients




ADOBO GRILL 10% OFF, EXCLUDING ALCOHOL 110 E Washington St | 317.822.9990


COLTS GRILLE 20% OFF, EXCLUDING ALCOHOL 110 W Washington St | 317.631.2007


PALOMINO $10 OFF 49 W Maryland St, Suite189 317.974.0400

PEARINGS 15% OFF 6 W Washington St | 317.608.6456



WEBER GRILL 10% OFF, EXCLUDING ALCOHOL 10 N Illinois St | 317.636.7600

DON'T FORGET TO CHECK OUT IRT'S GIFT SHOP! Located in the ticket office & open through intermission. IRT season ticket holders receive 10% off! Indiana Treasures | Goods Crafted by Local Artists | Chocolates | Unique Gifts 52


SAVE $200!


*Restrictions apply, offer subject to change.



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Our community outreach programs, sponsored by the Navient Foundation, support organizations and programs that address the root causes which limit financial success for all Americans. This season, the Navient Foundation is proud to support the Indiana Repertory Theatre as the Student Matinee Sponsor of The Cay and the Production Partner for Guess Who’s Coming to Dinner. As the nation's leading loan management, servicing and asset recovery company, Navient helps customers navigate the path to financial success. The company supports the educational and economic achievements of more than 12 million Americans. A growing number of public and private sector government clients rely on Navient for proven solutions to meet their financial goals. Today, many Americans rely on financial support to further their education and improve their chances of financial success. We work hard every day to educate our clients and customers to help them through financial challenges so they can achieve their desired financial results. We at Navient share an affinity for the arts and an appreciation for the hard work, passion and emotion that goes into it, as well as the positive influence it can have on people’s lives. Navient and its over 1,500 employees in the Central Indiana area are dedicated to giving back to and supporting our community through amazing programs like those offered by IRT. Enjoy the show.

Oxford proudly supports the Indiana Repertory Theatre.

Oxford is independent and unbiased — and always will be. We are committed to providing families generational estate planning and institutions forward-thinking investment strategies.


IRT Program: "The Three Musketeers"  
IRT Program: "The Three Musketeers"  

September 20 - October 15, 2016