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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

6 Leadership 9 Profile 10 Staff 12 Board of Directors 20 Boeing Boeing 28 Company bios for Boeing Boeing 36 Interview with Jennifer Turner 38 Miranda 48 Company bios for Miranda 54 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


It begins with a promise to give back to the world around us.

The Lilly family set a precedent for service from the company’s earliest days, rushing medicines to victims of natural disasters and supporting civic organizations such as the Red Cross and YMCA. Today, we continue to find creative ways to give back to our communities. In our own neighborhoods and across the globe, we work hand-in-hand with governments and civic organizations to improve the health and well-being of the people we serve. This work is part of our living heritage and our enduring promise to make life better for people around the world.

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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 directed 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 6

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, D.C. ; 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 which premiered earlier this year at 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 8 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. 9


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 Lead Draper Jessica Hayes Draper Stephanie Eubank 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 Production Assistants Brittany Cowgill Claire Stark

INDIANA REPERTORY THEATRE PART-TIME STAFF & ASSOCIATES ARTISTIC 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 Jonathan Harden PAINT SHOP Scenic Artists Robyn Kahn-Cleland Particia L. Money Scenic Painters Lee Edmundson Danielle Graves


SCENE SHOP Carpenters Lee Edmundson Richard Landon Christopher Strain


Suzanne Sweeney

ADMINISTRATION Receptionist / Administrative Assistant Seema Juneja Executive Assistant Randy Talley 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 FINANCE Director of Finance Greg Perkins

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

Assistant Controller Danette Alles Payroll & Benefits Specialist Jennifer Carpenter INFORMATION SYSTEMS Director of Information Systems Dan Bradburn MARKETING Marketing & Sales Director Danielle Dove Marketing Communications Manager Carolyne Holcomb Audience Development Manager Elizabeth Petermann Graphic Designer Amber Mills Junior Designer & Digital Media Coordinator Alexis Morin

Nancy McCarthy Jeff Pigeon Mark Vogel PATRON SERVICES Operations Manager Robert Steele Ticket Office Manager Margaret Lehtinen Assistant Ticket Office Manager Jessie Streeval

Assistant Teleservicing Manager Aaron Henze

Ticketing Systems Specialist Molly Wible House Manager & Special Events Coordinator Amanda Lyons Customer Service Representatives Sara Lambie Jessica Meister Katie Paolacci Jacob Peterman Katie Phelan Elizabeth Watts Eric Wilburn Group Sales Manager Kimberly Reeves

Teleservicing Representatives Akilyah Carpenter Tom Detmer

Building Services Dameon Cooper Dave Melton

Legal Counsel Heather Moore

Melanie Overfield Deborah Provisor Phoebe Rodgers Kathy Sax Karen Sipes Sheila Smith Maggie Ward Heather Welling

OUTREACH Group Sales & Teleservicing Manager Doug Sims

PATRON SERVICES Assistant House Managers Pat Bebee Terri Bradburn Rebecca Eccles Rene Fox Marilyn Hatcher Bill Imel Sarah James Sherry McCoy Gail McDermott-Bowler Sherry Nielsen

Bartenders Gayle Durcholz Sandra Hester-Steele Nancy Hiser Susan Korbin Tina Weaver 11



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

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

Holt Hedrick -Barnes & Thronburg

Peter N. Reist -Oxford Financial Group

Brenda Horn -Ice Miller LLP

Susan O. Ringo -Community Volunteer

Gerald Berg -Wells Fargo Advisors

Rebecca King -Leadership Indianapolis

Keith A. Bice -Bingham Greenbaum Doll LLP

John Kline -CNO Financial Group, Inc.

Don Robinson-Gay -BMO Harris Commercial Banking

Carl W. Butler -Angie’s List, Inc.

Amy Kosnoff -Community Volunteer

Mary Beth Claus -IU Health

Jill Lacy -The Lacy Foundation

Ann Colussi Dee -Duke Realty

Sarah Lechleiter -Community Volunteer

Gary Denney -Eli Lilly and Company, Retired

Deborah Loughrey -Community Volunteer

Michael P. Dinius -Noble Consulting Services, Inc.

Jeff MacKay -Indianapolis Power & Light Co.

Richard D. Feldman -Franciscan Health Indianapolis

Andrew Michie -OneAmerica Financial Partners, Inc.

James W. Freeman -OneAmerica Financial Partners, Inc.

Lawren K. Mills -Ice Miller LLP

Ron Gifford -Jump IN for Healthy Kids

Timothy W. Oliver -JP Morgan Chase Bank, NA

Ricardo L. Guimarães -Jump IN for Healthy Kids

Brian Payne -Central Indiana Community Foundation

Michael N. Heaton -Katz Sapper & Miller

Tammara D. Porter -Taft Stettinius & Hollister LLP

BOARD EMERITUS Robert Anker* Rollin Dick Berkley Duck* Dale Duncan* Michael Lee Gradison* (in memoriam) 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

Wayne Schmidt -Schmidt Associates Michael Semler -Cushman & Wakefield Mark Shaffer -KPMG LLP Jacqueline Simmons -Indiana University Mike Simmons -Jupiter Peak LLC Jennifer Vigran -Second Helpings, Inc. Amy Waggoner -Salesforce L. Alan Whaley -Ice Miller LLP David Whitman* -Community Volunteer 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



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.

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This is our standing ovation. Today’s IRT performance was rehearsed, well planned and took an incredible amount of talent to bring to life. At Citizens Energy Group, we recognize the dedication required to deliver quality work. We strive to provide excellent customer service and believe that being involved in the community is an ensemble effort.

Bravo on an excellent season!

Carys Kresny, education director for South Bend Civic Theatre, teaches an acting exercise to Madison Primary Center students on Feb. 29. South Bend Tribune photo/ROBERT FRANKLIN

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for the arts the next time you purchase or renew your license plate!



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


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



Bingham Greenebaum Doll LLP is proud to announce the recent appointment of Keith Bice to the Indiana Repertory Theatre Board of Directors!

For nearly two decades, Keith has served as counsel to both businesses and lending institutions. His practice focuses on getting deals done through understanding and solving the legal issues involved, as well as assisting clients in achieving their goals and objectives. Learn more about how to add BGD to your starring cast, please visit





Director________________ LAURA GORDON Scenic Designer_____________________ VICKI SMITH Costume Designer_________________ MATHEW LEFEBVRE Lighting Designer_________________ CHARLES COOPER Sound Designer________________ TODD MACK REISCHMAN Dramaturg________________________RICHARD J ROBERTS Stage Manager_________________ NATHAN GARRISON


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


Season Sponsor

SEASON 2016 - 2017


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


Executive Artistic Director


Managing Director

THE CAST Bernard____________________ MATT SCHWADER Gloria____________________HILLARY CLEMENS Berthe___________________ ELIZABETH LEDO Robert___________________ CHRIS KLOPATEK Gabriella__________________ MELISA PEREYRA Gretchen__________________ GRETA WOHLRABE

SETTING Paris, the early 60s

ACKNOWLEDGEMENTS Boeing Boeing is presented by special arrangement with Samuel French, Inc. Movement & Fight Coordinator: Rob Johansen Vocal & Dialect Coach: Kathy Logelin Actors and stage managers in this production are members of Actors and stage managers in this production are 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.

The performance will last approximately two hours and 15 minutes with one intermission.



Laughter is the cure for many things—it makes us healthier, lighter, and more relaxed. It gives us insight into the frailties of the human condition. That’s exactly why we are serving up Boeing Boeing, a farce extraordinaire about the most farcical of human emotions: love. Of course, the other thing about farce is that its true home is in the theatre; while there have been many great film and television farces—I’ve been thinking a lot about Mary Tyler Moore lately, in the wake of her death, and what a magnificent farceur she was!—the theatre serves farce in the most piquant and immediate manner. We can literally see the actors sweat, and watch to see if they land a wrong foot or if they crack each other up. In film and video they simply edit out the mistakes; in the theatre, audiences get to enjoy them! But as we say in the theatre, “Tragedy is easy; comedy is hard.” This axiom refers to the intense precision that is required in comedy, and especially in farce, which makes huge demands upon the actor. You’ll see extremes in physical behavior, in timing, in stamina. It’s like running sprints for two hours; actors often say that they have to be in peak condition to play farce. While their goal is to make it look easy, the reality is that it’s hard work! Victor Hugo said, “Laughter is the sun that drives winter from the human face.” Milton Berle said, “Laughter is an instant vacation.” Victor Borge said, “Laughter is the shortest bridge between two people.” These aphorisms and many others remind us of the global power of laughter. We give ourselves over to laughter in these dark days not only of the calendar, but of world view, when we need more than ever to be reminded of our common humanity. 22


French playwright Marc Camoletti wrote Boeing Boeing in 1962. The English language adaptation of this French farce ran in London for seven years, and by 1991 the play was listed in the Guinness Book of Records as the most performed French play in the world. It was revived in London in 2007, and a Broadway revival followed in 2008. Since then it has been enjoying a new life in productions across the country.

Boeing Boeing contains all the elements of a traditional French farce: physical comedy, mistaken identities, lightning-fast dialogue, and an exaggerated, outrageous, improbable plot. Bernard is an American architect living in Paris in the early 1960s. He is engaged to Gloria. And to Gabriella. And to Gretchen. All three fiancées are flight attendants, on three different airlines. The successful juggling of Bernard’s ladies is reliant on the predictability of international flight timetables. But with the introduction of the Super Boeing jetliner, which is able to travel at a much faster speed, those old timetables are no longer so reliable—making Bernard’s life much less predictable. Add to the mix a less-than-worldly old friend from Wisconsin, a sassy French housekeeper, and seven doors, stir with mathematical precision ... and you get farce!


accomplished classical actors—who also happen to be incredibly funny. The joy of directing, for me, is the alchemy that happens when the right group of people get together in the rehearsal room. I couldn’t be happier with the crazy cast we’ve assembled. I believe in the power of theatre. Not only does it challenge us, and ask us to examine the way we view the world ... it also entertains. And sometimes, as is the case with Boeing Boeing, its goal is simply to make us laugh. Like the old French proverb says, “A day without laughter is a day wasted.”

Top: Max Robinson and Kelly Mares in IRT's 2009 production of The Ladies Man. Middle: Rob Johansen and Marcus Truschinski in IRT's 2016 production of The Mystery of Irma Vep. Bottom: Rob Johansen, Constance Macy, and Carmen Roman in IRT's 2014 production of The Game's Afoot. Photos by Zach Rosing.

For this production, we’ve brought together an outstanding group of actors, all of whose work I know well. They are highly skilled, passionate, intelligent,




Boeing Boeing takes place in the 1960s in a Parisian flat owned by Bernard, an architect. It’s a classic bedroom farce set in one room: lots of doors, lots of action, very silly. When the creative team discussed the set, we decided that rather than a more cartooned, non-realistic, theatrical space, we wanted an actual room—or something like an actual room, given that the script requires seven doors. First and foremost, I needed to arrange those seven doors with good visibility for all, since fast entrances and exits are important. Our room has a fairly traditional rectilinear shape, using traditional French architecture (somewhat liberally interpreted), while trying to give some sense of Bernard and his modern tastes in art, furniture, and décor.

Simply put, my job as a lighting designer is to help the audience see the play. I use the qualities of light such as color, texture, and angle to help physically define a space. Like the camera in a film, I may highlight a specific place onstage to help tell the audience what is important about a scene, and where to look. Lighting design will often subliminally reflect the emotional tone of the scene. In its simplest form, this quality could be represented by warm soft light for a comedic scene, and cold, crisp light for a scene that is sad. Arrivals and departures are a key theme in this play, causing me to think about what might create the light in the scene, and where that light is emanating from. Is it hot, crisp daylight crashing through a window of a Paris flat, or soft, romantic light from lamps within the room itself? If I have done my job properly, you as an audience member will be effortlessly transported to Bernard’s flat, and you will be able to clearly focus on the madcap comedy and fun contained within.


Preliminary sketch by scenic designer Vicki Smith.




The Calder mobile on our set is the perfect metaphor for this play: at first glance it appears to be out of control, but it is actually organized chaos on a prescribed path. As a nod to Calder’s bright primary colors, we opted to bump up the colors of our flight attendant uniforms from what is historically accurate. Since Boeing Boeing is set in the early sixties, we couldn't help but be

influenced by the series Mad Men, with its homage to the clean lines of fashions of the period. We also had fun with the flight attendants out of their uniforms: Gabriella’s look is highly influenced by Italian couture, Gloria is undeniably American, and Gretchen has subtle Bavarian overtones. I realize this reflection may seem very cerebral and esoteric, but trust me, the show is a laugh riot.

Preliminary costume sketches for Gabriella, Bernard, Gretchen, and Gloria by designer Mathew LeFebvre.



Farce places exaggerated characters in improbable situations where they face outrageous obstacles. In the fifth century BCE, Aristophanes entertained the audiences of Ancient Greece with larger-than-life characters, ridiculous situations, and lots of bawdy humor. Aristophanes combined his uproarious comedy with serious social messages: In Lysistrata, the women of Athens and Sparta go on a sex strike until their husbands stop the war. Two centuries later, Roman playwright Plautus became the first great genius of farce, mastering the art of mistaken identity. The genre got its name from the Old French farce, “to stuff,” when irreverent actors in fifteenth century France stuffed comic improvisations between the scenes of religious dramas. Soon, plays that focused exclusively on such gags were popular throughout Europe. Sixteenth century Italy developed its own particular brand of farce, commedia


dell’arte, with its stock characters and situations enlivened by improvised lazzi (what today we call “bits” or “shtick”). The great French playwright Molière got his start in commedia dell’arte, later folding its farcical elements into the more refined strictures of French comedy to create such masterpieces as Tartuffe and The Miser. Shakespeare went all the way back to Plautus’s Menaechmi, with its two pairs of mismatched twins, for the plot of his Comedy of Errors. Today when we hear the term farce, we usually think of bedroom farce, best exemplified by the work of Georges Feydeau (1862-1921). Feydeau wrote more than sixty plays, most of them big hits in Paris and around Europe. His most famous include A Flea in Her Ear and The Girl from Maxim’s. Feydeau was the king of the bedroom farce, plays that focused on the comic possibilities in attempted love affairs. The settings for Feydeau’s plays often feature a

HISTORY OF FARCE single room with several doors, and much of the fun comes from the characters chasing each other through those doors, often just missing each other. Meanwhile in London and on Broadway, Charley’s Aunt by Brandon Thomas (1892) was rolling them in the aisles and racking up long runs. The new technology of cinema quickly embraced farce, making stars of the Keystone Kops, Charlie Chaplin, and the Marx Brothers. More recently, films like Some Like It Hot (1959), the Pink Panther series, and A Fish Called Wanda (1988) have become classics, while television has given us I Love Lucy and Fawlty Towers.

on the Way to the Forum by Larry Gelbart, Bert Shevelove, and Stephen Sondheim returned once again to the Roman master Plautus, stirring together a cocktail of plot lines from several of his greatest hits with a big splash of vaudevillian slapstick. More recent stage farces include the British Michael Frayn’s Noises Off (1982) and the American Ken Ludwig’s Lend Me a Tenor (1989). For more than two millennia, farce has kept us laughing by showing us just how ridiculous the human species can be. Cristina Panfilio and Kelsey Brennan in IRT's 2012 production of Fallen Angels.

Farce returned to its French roots in 1960 with Marc Camoletti’s Boeing Boeing, adapted for London by Beverley Cross in 1962 and revised for Broadway by Francis Evans in 2008. The 1962 hit musical A Funny Thing Happened



Hillary previously appeared at IRT in The Great Gatsby and The Game’s Afoot. Favorite Chicago credits include Bethany at the Gift Theatre Company (Jeff nomination—Principal Actress), As You Like It at Chicago Shakespeare, The Illusion at Court Theatre, Ski Dubai at Steppenwolf, and Picnic at Writers Theatre (Jeff nomination—Supporting Actress). Regionally, she has worked with Seattle Shakespeare, ACT Seattle, Asolo Repertory Theatre, American Players Theatre, Lake Tahoe Shakespeare Festival, Indiana Festival Theatre, Kansas City Repertory Theatre, and Heart of America Shakespeare Festival (where she’ll return this summer as Ophelia in Hamlet). She is a graduate of Loyola University Chicago and the School at Steppenwolf, and a proud member of Actors’ Equity and SAG-AFTRA. “I am so lucky to share the stage, my life, and a baby boy with Matt Schwader.”


This is Chris’s debut performance with Indiana Repertory Theatre. He was most recently seen as Jeff in Lobby Hero at Milwaukee Chamber Theatre and Emile in the world premiere of Goosebumps the Musical: Phantom of the Auditorium at First Stage. Last summer he appeared as Boyet in Love’s Labor’s Lost at Great Lakes Theater and Idaho Shakespeare, and he will be reprising the role later this year at Lake Tahoe Shakespeare. Chris has been seen on many stages across the nation, including American Players Theatre, Utah Shakespeare Festival, and Texas Shakespeare. He earned his M.F.A. at the University of California–Irvine, where he has also taught undergraduate courses. “Special thanks to Laura Gordon for letting me be a part of this wonderful production.”


Elizabeth last appeared at the IRT in Arcadia. Chicago credits include Tug of War–Civil Strife, A Midsummer Night’s Dream, As You Like It, and Amadeus at Chicago Shakespeare Theatre; One Man Two Guvnors, The Secret Garden, Tartuffe (Jeff award), The Misanthrope, The Illusion, The Comedy of Errors, and Titus Andronicus at Court Theatre; The Matchmaker, Boleros for the Disenchanted, and three seasons of A Christmas Carol at the Goodman; Le Switch, The Homosexuals, and Say You Love Satan at About Face Theatre; Isaac’s Eye and Arms and the Man at Writers Theatre; The Old Curiosity Shop at Lookingglass Theatre; and Homebody/Kabul and Morningstar at Steppenwolf Theatre. Regional credits include Shakespeare at Notre Dame and more than 25 productions with Milwaukee Rep. Elizabeth was a 2016 Lunt-Fontanne Fellow. Her voice-overs can be heard on many commercials and video games and The Twilight Zone “Radio Dramas.” Television credits include Boss, Chicago Fire, and Doubt. She is a graduate of Loyola University Chicago.



Melisa is thrilled to be making her IRT debut. A Latina actress-writer living in the woods of Wisconsin with her husband and fellow actor Jeb Burris, she is a member of the Core Company at American Players Theatre. Her favorite regional credits include Juliet in Romeo and Juliet, Lydia in Pride and Prejudice, and Cassius in Julius Caesar. She holds an M.F.A. from Illinois State University and a B.F.A from Utah State University, and she trained in the UK at Shakespeare’s Globe Theatre and the Royal Shakespeare Company. “Love to my dear Jeb y mi familia alrededor del mundo.”


Matt is overjoyed at returning to IRT, having previously appeared in the title role of The Great Gatsby and in A Christmas Carol. A company member with American Players Theatre from 2007 to 2014, he has also appeared with Chicago Shakespeare, Court, Goodman, and Northlight theatres in Chicago, Actors Theatre of Louisville, the Notre Dame, Utah, and Lake Tahoe Shakespeare Festivals, the Royal Shakespeare Company in the United Kingdom, with Shakespeare Link Canada/Montes Namuli Dance Company in Mozambique, and on NBC’s Chicago PD. Matt has voiced a variety of TV, internet, and radio spots. He resides in Kansas City with his wife, the ebullient Hillary Clemens, and their sweet baby boy. Matt holds an M.F.A. from the University of Delaware’s Professional Theatre Training Program, and is a proud union member of AEA and SAG-AFTRA.


Greta is making her IRT debut. Her regional theatre credits include Let There Be Love at American Conservatory Theater; Much Ado about Nothing, Macbeth, As You Like It, and The Merry Wives of Windsor at Shakespeare Santa Cruz; Grounded with Cardinal Stage Company; Venus in Fur at Cincinnati Playhouse in the Park (LCT Award, Best Actress in a Play) and Milwaukee Repertory Theater; Clybourne Park at Milwaukee Repertory Theatre and Arizona Theatre Company; Skylight (Wall Street Journal Best Performance in a Play 2012),Twelfth Night, Troilus and Cressida, The Critic, The Taming of the Shrew, and The Tempest at American Players Theatre; and The Mousetrap, Cabaret, and A Christmas Carol at Milwaukee Repertory Theatre. She earned her M.F.A. in acting from Purdue University and her B.A. from Wheaton College in Massachusetts, and she is an alumna of the Eugene O’Neill National Theatre Institute.



A French citizen born in Geneva to Italian parents, Marc Camoletti (1923-2003) wrote more than 40 plays. His theatre career launched with three plays running simultaneously in Paris. Boeing Boeing, produced in London in 1962, became his first major international success, running for seven years. A 1965 Paramount film starred Jerry Lewis, Tony Curtis, and Thelma Ritter. Camoletti’s 1986 play Don’t Dress for Dinner also ran for seven years in London’s West End. His plays have been performed in numerous languages in 55 countries. In Paris alone, 18 of his plays have totaled around 20,000 performances in all. He was an associate of the Société Nationale des Beaux Arts, and he was awarded the Chevalier de la Légion d'honneur, one of France's highest honors.


Beverley Cross (1931-1998) achieved instant success in 1959 with his play One More River, starring Sir Michael Caine and directed by Laurence Olivier. His second play, Strip the Willow, made Maggie Smith a star. Among his other successes were the musical Half a Sixpence (1963), based on H. G. Wells’s book Kipps, and his screenplays for 1963’s Jason and the Argonauts and 1981’s Clash of the Titans. He wrote opera librettos for Richard Rodney Bennet and Nicholas Maw. He was married to Maggie Smith from 1975 until his death.


Francis Evans is a translator who lives in London.


A Milwaukee-based actor and director, Laura is working at IRT for the first time. Her directing credits include The Foreigner, Venus in Fur, Speaking in Tongues, Almost Maine, Seascape, Laurel and Hardy, and Gutenberg! The Musical! at Milwaukee Rep; Much Ado about Nothing at Santa Cruz Shakespeare; Measure for Measure, Love’s Labor’s Lost, and The Winter’s Tale at Utah Shakespeare Festival; In the Next Room (or The Vibrator Play) at Actors Theater of Louisville; Skin Tight, Amelia, and Memory House at Renaissance Theaterworks; Red and Going to St. Ives at Forward Theater; and Richard III at Notre Dame Shakespeare Festival. Her acting credits include Margie in Good People, Linda Loman in Death of a Salesman, Elizabeth Proctor in The Crucible, Sister Aloysius in Doubt, Elizabeth in Richard III, Maureen in The Beauty Queen of Leenane, and Queen Elizabeth I in Mary Stuart. Laura is a Lunt-Fontanne Fellow and an associate artist with the Milwaukee Repertory Theater. She is a member of SDC and Actors Equity Association.


Vicki has designed Fences, What I Learned in Paris, and Radio Golf at the IRT. Regional credits include Arizona Theatre Company, Denver Center Theatre Company, Cincinnati Playhouse, Milwaukee Rep, Geva Theatre Center, Utah Shakespeare Festival, Children’s Theatre Company, Oregon Shakespeare Festival, Guthrie Theater, Penumbra Theatre Company, Cleveland Play House, Actors Theatre of Louisville, Repertory Theatre of St. Louis, Seattle Repertory Theatre, Kansas City Repertory Theatre, Dallas Theatre Center, Pittsburgh Public Theatre, Alley Theatre, Berkeley Repertory Theatre, ACT (Seattle), and San Jose Repertory Theatre. She has also designed for Anchorage Opera, Minnesota Opera, and the Comedy Theatre of Budapest and National Theatre of Miskolc in Hungary. Awards include Bay Area Theatre Critics Circle Awards for Kite Runner and Execution of Justice; Drama-Logue Award for Cyrano; and Colorado Theatre Guild and Denver Ovation Awards for Mariela in the Desert, Doubt, Plainsong, I’m Not Rappaport, and Pierre, which was selected for the 2007 Prague Quadrennial Design Exposition.



At the IRT, Mathew has designed Fences and What I Learned in Paris. His Off-Broadway credits include Two Trains Running at Signature Theatre (Lucille Lortel Award winner for Best Revival of a Play, AUDELCO Award nominee for costume design) and Bach at Leipzig for New York Theatre Workshop. Mathew has designed costumes for more than 25 productions at the Guthrie Theater, including A Christmas Carol, A Streetcar Named Desire, 1776, She Loves Me, Pride and Prejudice, Wintertime, Merrily We Roll Along, and School for Scandal. He has designed costumes for several Penumbra Theatre Company productions, including Fences, Redshirts, Get Ready, Grandchildren of the Buffalo Soldiers, On the Open Road, Black Eagles, Joe Turner’s Come and Gone, Jitney, and both scenery and costumes for Gem of the Ocean. Other regional credits include the Old Globe, the Acting Company, Repertory Theatre of St. Louis, Oregon Shakespeare Festival, Minnesota Opera, Milwaukee Repertory Theater, Trinity Repertory Company, Cleveland Play House, Theatre de la Jeune Lune, Geffen Playhouse, the Jungle Theater, and American Players Theatre.


Charles previously designed the IRT’s Around the World in 80 Days. Recent work includes Woody Sez and Gutenberg! The Musical! at Milwaukee Rep; Bye Bye Birdie, Hairspray, and Curtains at Drury Lane; The Clean House and Creditors at Remy Bumppo; Love, Loss, and What I Wore at Asolo Rep, Philadelphia Theatre Company, San Jose Rep, and Broadway in Chicago, as well as the first and second national tours; Do the Hustle and Old Glory at Writers Theatre; Of Mice and Men and First Look Repertory of New Work at Steppenwolf Theatre; and Eclipsed and She Stoops to Conquer at Northlight Theatre. He has designed 16 productions for TimeLine Theatre, where he is an associate artist, and six seasons for Peninsula Players in Door County. Charles has been nominated for seven Joseph Jefferson awards, winning one in 2016 for Murder Ballad at Bailiwick Chicago. He Lives in Oak Park, Illinois, with his wife Angela and his children Ethan and Gavin. Member, United Scenic Artists.


During the last 15 seasons as resident sound designer Todd has created effects and music for many IRT productions. He has worked in theatres all around the country, both on stage and off, since the age of 10. Away from the theatre Todd works with a variety of musical collaborators recording and performing around town. Although he has led a fun and full life, Todd still has yet to swim with a Flemish giant.


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 The Cay, 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. 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).


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JENNIFER TURNER DIRECTOR OF DEVELOPMENT Jennifer Turner began working in the corporate giving area of the IRT’s Development Department in 2007. She has been the IRT’s Director of Development for almost a year.

HOW DID YOU FIRST GET INTERESTED IN THEATRE? I grew up in Sullivan, Illinois, a tiny little town, but the one thing we had was the Little Theatre on the Square, a professional summer stock theatre. It was a great way to expand your horizons. I got to meet people who came from a variety of backgrounds and then see stories that were different from this tiny little town. My one on-stage theatre crowning achievement was in Winnie-the-Pooh at the Little Theatre when I was 8 years old. I was one of Rabbit’s kids, and we had a choreographed fight scene, and I thought that was the best thing ever. I also felt that was where I was going to peak in my acting career, so I decided that I was better suited to support the arts from behind the scenes. I volunteer ushered there every summer. Then in college I did a marketing internship there. At Illinois State, I studied international business and marketing with the thought that I wanted to work internationally. But when I got my first job out of college, I discovered that the forprofit sector, while doing lots of great work, was not the best fit for me. I was miserable, and this life plan that I had wasn't working out. One of my professors said, “You never really enjoyed studying business. It was what you thought you should do. What do you want to study?” I said literature, of course. He said, “Go do that. Communication skills and critical thinking will always be valuable.” At that point I had moved to Indianapolis, so I went to Butler and got a master’s in English literature, with my thesis focused on Hamlet. Which, by the way, don’t ever do a thesis on Hamlet, because people have said a lot of things about that play, and you have to write about all of it and then find your own unique take. But it was a lot of fun, and the faculty at Butler were fantastic, 36

and it was a great opportunity to build skills without necessarily having a direct career path in mind. I got a job at the Indianapolis Business Journal working in their custom publishing division doing some writing, editing, and project management. While I was there, I happened to meet someone who was transitioning away from the IRT. She said, “You would be perfect for my job. You should apply.” So I did, and that is how I got hired at the IRT. WHAT IS THE BASIC CORE IDEA OF DEVELOPMENT? Development is this great opportunity to connect people with their passion, and to connect their resources with an organization that makes an impact and creates a better world. Whether that’s through health and human services, the arts, higher learning, there are a million different ways that people can bring their gifts to life. But for me it’s about getting to talk about something that I’m passionate about, and connecting with other people who are passionate about the arts. Then I help them realize that what they have to offer to the arts is not only their support by active attendance and talking about it in the community, but they can put their financial resources to work for the theatre as well. WHAT DO YOU DO AS THE IRT’S DIRECTOR OF DEVELOPMENT? I help maintain the overall vision for the development program. That involves looking at individual giving, government or public giving, foundation funding, and corporate funding, and making

sure that we have a clear path to bringing all of those pieces together to provide the contributed revenue that we need for the organization. That also involves working with the executive leadership—both the executive artistic director and managing director as well as the Board—to make sure that I understand the strategic plan for the organization going forward. Because we’re not only funding for today, we’re funding for 20 years from now, and 40 years from now, and who we want to be then. WHAT IS THE IRT’S GREATEST RESOURCE? Individual giving is really about building relationships. If I can get the person into the theatre to see one of our plays, then three quarters of the work is done for me. The work on stage is such top quality from all sides of production, that at that point all I have to do is help the donor understand: by giving a little bit of their treasure, we can make the treasures that are on the stage go even further. Really at that point it’s just about helping people understand how their gift can make a difference. We get scared to give sometimes because we’re afraid we’re going to run out. If we come from a place of scarcity, then it’s hard to feel like we can make that really significant gift. But there is always a way to do it. The most successful entrepreneurs in the world have not had a fear of running out. They go boldly into the fact that they can make more money. So, if you give yourself up to that, then making the gift is not hard. You get the benefit of seeing the impact of your gift: Seeing a production that moves you. Students that you helped bring to the theatre. A production that comes to life on stage with new technology. The variety of programing is able to change because we have more resources. Then it becomes something you’re really excited to give to.

WHAT DO YOU SEE AS THE IRT’S BIGGEST CHALLENGE? I think that whenever you want to do bold programing, there is always a yin and yang between wanting to do it and having the resources to back it up. We have great artistic leadership with a solid vision for our organization; we have to make sure that we have the resources to do it. The other challenge in development is that you get to the end of the season, you make it to the goal line, and then you immediately have a new goal line. You’re always moving on to the next thing, and making sure that the next season and the next season are able to be executed. We want what we are doing here in this city to have an impact, and it’s figuring out new and creative ways to be able to do that. OVER THE LAST 10 YEARS YOU’VE GONE FROM A PERSON WHO LIKES THEATRE, TO SOMEONE WHO IS SURROUNDED BY IT EVERY DAY. HOW HAS THAT AFFECTED YOUR LIFE? It is a wonderful thing to be so close to the art. In development, it can be a lot of spreadsheets, a lot of planning, a lot of looking at numbers, and you can forget sometimes. Why are we doing this? Why is this important? Then all I have to do is sit through a run-through in the rehearsal room, or sneak into the back of the house during preview week. Without fail, I walk out of every one of those experiences saying, “OK, I need to get back at it and make sure that the artists have whatever they need in order to make this happen." Those moments, when audience and art come together, are inspiring. Above: Jennifer Turner, photographed by Daniel Alecio.





Director__________________HENRY GODINEZ Scenic Designer______________________ANN SHEFFIELD Costume Designer_______________________ LINDA PISANO Lighting Designer________________ ALEXANDER RIDGERS Sound Designer______________________ANDREW HOPSON Composer____________________________GUSTAVO LEONE Dramaturg_________________________ RICHARD J ROBERTS Stage Manager______________________JOEL GRYNHEIM Casting_________________________CLAIRE SIMON CASTING


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THE CAST Miranda______________________ JENNIFER COOMBS Rose________________________ MARY BETH FISHER John_________________________ TORREY HANSON Dr. Al-Agbhari_____________________ARYA DAIRE Reed_________________________ TORREY HANSON Shahid___________________________NINOS BABA Lauren____________________ MARY BETH FISHER

THE SETTING The play takes place mostly in Aden, Yemen. The time is not long ago, 2014-2015.

ACKNOWLEDGEMENTS Miranda is produced by special arrangement with Bruce Ostler, Bret Adams, Ltd., 448 West 44th Street, New York, NY 10036. Miranda was commissioned and first produced by Illusion Theater, Minneapolis, Minnesota; Michael H. Robins and Bonnie Morris, Producing Directors. Miranda was also developed as part of the New Harmony Project. Projection Designer: Chris Berchild. Actors and stage managers in this production are 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.

The performance will last approximately two hours, including one intermission.



My vantage point for watching writers create new work is a privileged one—and in the case of James Still, a rare one. Of the 15 plays of James’s that we have produced during his 19 years of residency, we have commissioned 7 and premiered 2 more, allowing our staff a close experience of watching a writer create. In many ways, the process is very similar to watching a painter or a sculptor: one is watching an artist embellish and/or chip away, over time, until the true heart of the work is found and the artist’s instincts are satisfied. But there is also a big difference. Because theatre is a public art—one that takes many artists to bring to ultimate fruition on a stage—the act of perfecting involves actors, directors, and dramaturgs. It’s the “rehearing” part of rehearsal: the writer needs to hear the play in various rewrites over and over, in workshops, in rehearsals, and finally in performance, to refine the voice of the new work and its impact. Time is often a big factor in this process, as most plays take many months or years to create. New plays that involve a lot of research can take even more years. This factor of time can change many things—in the case of Miranda, it has changed entirely how we think of the setting, the small, Saudi peninsula country of Yemen. But before we dive down that hole, let’s continue our focus on play development. Miranda was developed by our colleagues at the Illusion Theatre in Minneapolis. The Illusion, very much like the Phoenix Theatre here in Indianapolis, focuses almost exclusively on new work. They workshopped Miranda last summer and produced it just a couple months ago in January and February. (We were pleased to have a contingent of IRT board members, donors, and staff at the premiere). 40

You might wonder why the IRT’s playwright-in-residence has work created at other theatres. That answer is simple and goes back to the public art part of the equation. More professional viewpoints on a work are generally a good thing and help hone the work, particularly when those viewpoints are trusted colleagues—and Illusion has produced five of James’s plays over 25 years. It’s also particularly important with new plays to secure a second production. Many theatres enjoy the excitement of a world premiere, but it can be hard to achieve that second production, which gives the writer an important second hearing/seeing of the play before it gets published. That’s the role the IRT is playing in Miranda: that elusive second production. And rather than invite the director, designers, or any of the actors from the Illusion production, we’ve chosen a clean creative slate. We did this not because we disagreed with the Illusion production—we did our hiring almost a year before the Illusion production—but because we wanted to see these artists’ “take” on Miranda, knowing that it would be different from the Illusion’s artists’ “take” on Miranda. These different “takes” are all to the benefit to our playwright-in-residence—James has the rare opportunity within a single season to see how his words and characters and ideas work out of the mouths of very different actors, led by very different directors, with completely different designs, produced in very different theatres. One of the goals with any new play is to create within the play itself a sturdy infrastructure of plotting and characters that will withstand many different productions, or “takes” on the text. Giving James two entirely different experiences of his play is a significant advantage to him, and to the play.

We at the IRT also have some great advantages as it relates to this play. Miranda is the third play in a trilogy about an extended family. Each of the plays stands beautifully on its own, but also has tiny tentacles of meaning that relate it to the others. The first play, The House that Jack Built, we premiered (but didn’t commission!) in 2012. In that play, Miranda is called “Teenie,” a family nickname, because she’s the youngest. Teenie is an offstage character in that play: we hear about her but don’t see her. Instead, we meet her older sister Lulu, her sister-in-law Jules, and her mother Helen, who talks with pride about her younger daughter (Teenie, AKA Miranda) traipsing around the world building IKEA stores. In Miranda, it is now Helen who is an offstage character: she is talked about and talked to on the phone, but never seen. If you didn’t happen to see Jack, none of these connectivity moments will lessen your experience of Miranda: but if you did see Jack, now Miranda offers a few gifts of recognition. Jack himself is a very important offstage character in both plays. Next season, on the OneAmerica Mainstage, the IRT will produce the play that James wrote in between Jack and Miranda: Appoggiatura. Its primary focus is on Helen, the matriarch of the family, as she travels to Venice with two other offstage characters—not Miranda—from The House that Jack Built! Think of it like three interlocking Rubik’s Cubes, or three voices of a fugue, or three paintings of the same figures from different perspectives. The IRT will be not only the first theatre to produce more than one of the trilogy, but next year, all three! We hope many other theatres follow us.

Also at work in Miranda is James’s desire to try his hand at a genre piece—so Miranda has its structural feet in the thriller/mystery genre. The House that Jack Built is largely a realistic family drama; Appoggiatura is a music-infused, time-traveling fantasy; and Miranda is a political thriller. Such stylistic shifts are part of what’s exciting about experiencing a writer’s work over time: the chance to see the artist experiment with genre and form. As our playwright-in-residence, we’ve seen James create oneperson shows (Looking over the President’s Shoulder, I Love to Eat), large sprawling canvasses (The Gentleman from Indiana, He Held Me Grand), close-focus issue plays (Amber Waves, April 4, 1968), and many others that defy categorization. So welcome to James Still’s land of the thriller—you will certainly experience a new side of his work. A brief return to the subject of time and its relationship to new play development: when James started to work on Miranda, several years ago, Yemen was one of the relatively quiet corners of the Arabic world. That is clearly no longer the case. It’s impossible to keep a play like this, that has a swiftly changing geo-political world at its center, entirely up to date. So rather than chase the headlines every day, James decided last summer to fix the play in 2014-2015. That allowed him to focus on the things that make a play unique: not its relevance to the daily news cycle, but its invitation, through characters and story, to view the world anew. In Miranda, we get a very detailed and conflicting view of American defense activities and the people who perform them—which changes how we listen to the daily news. That is how art makes its best impact: by putting a human face on our view of the world.

Above: Above: Actors Deirdre David Alan Anderson and Dalyn Stewart. Lovejoy and Patricia Hodges in IRT's 2013 production of The House that Jack Built. Photo by Amber Mills.



We live at a time in our country when inflammatory rhetoric about foreigners in general, and Muslims in particular, is charged with suspicion and fear. Any opportunity we can be afforded to view our shared humanity is a rare and much needed thing. That is exactly what James Still has given us with his hauntingly beautiful play Miranda. While we may have heard of the violence in Yemen, few of us understand the complexity of the issues at stake, much less the individuals involved—even when those individuals are Americans working as our eyes and ears on the ground. So much of the work these brave women and men do is based on their developing a sense of trust with the local people, building relationships that often put their lives at risk. As of this writing, a lot is being said that questions the integrity and motives of our intelligence operatives. Yet our sense of who these people are, what they actually do, and why they do it, is as mysterious and vague to us as the countless anonymous victims trapped between their country’s sectarian violence and our country’s drone strikes. Perhaps the less we know the easier it is to be desensitized. But living up to the fullest potential of our humanity has never been easy, and that’s why theatre has been a part of democratic society from its inception: to challenge us to be our best selves. No pain, no gain. What Miranda does, like all great art, is ease that pain with beauty and compassion. It exposes the human cost of conflict on both sides, to remind us that goodness and trust are not exclusive to any nation, to any culture, but are in fact universally human. Right: Preliminary costume sketches for Miranda and a patient by designer Linda Pisano.



There’s a line in Miranda where she’s asked what her mother knows about the work she does in the CIA, and Miranda says,“There’s so little you can talk about without talking about too much of it, you know?” It’s the same with my play and the process of writing it: everyone has secrets. Some questions about Miranda I’m often asked: Why CIA? Why a woman? Why Yemen? Why Othello? Why, why, why? My attempts to answer make me think of another line in the play: “If all else fails, lie truthfully.” There’s a thin line that separates the play and the writer—but it’s in that holy/terrifying/unknown/mysterious space where the work happens, where the story emerges, where the characters seem more real to myself than myself. What I can talk about with confidence are the ways Miranda is borne out of pure process, deep patience, timely resilience, and the faith of so many collaborators. What makes Miranda especially unique in my body of work is that it completes a trilogy of plays about an American family that started with The House that Jack Built (which premiered at the IRT), continued with Appoggiatura (which premiered at Denver Center Theatre and will be seen next season at the IRT), and is complete now with Miranda (which premiered earlier this year at Illusion Theater in Minneapolis). If my trilogy of plays is about a family, then Miranda is about a family inside that family. The more time I spent inside my own play, the more profoundly I understood the dedication and independence required by the women and men who commit to a life in CIA. There is an overwhelming sense of isolation and loneliness that seems to come with that job; there’s also danger and service and yes, intelligence. What kind of person chooses that life—and why? That’s one of the questions my play and its characters wrestle with.

On a plane recently, I was doing a crossword puzzle and this was the clue:“Neighbor of Saudi Arabia.”A few years ago I might not have known the answer so quickly. After all, a few years ago I hadn’t yet dreamed about writing a play set in Yemen. I hadn’t yet met with a CIA officer recently retired after her 31 years with the National Clandestine Service (NCS), and I hadn’t yet Skyped with a woman whose hometown is Aden, Yemen, and is now in the United States doing her masters in international studies. I hadn’t yet been emailing with scholars and journalists and photographers who have told Yemen’s stories through different lenses. I hadn’t yet re-read the novels of Graham Green and John le Carre or the memoirs of women who have served in the CIA. I hadn’t yet considered Othello to be one of the first great spy stories, and I hadn’t yet wondered how Shakespeare sounds when spoken in Arabic. I hadn’t yet spent time at the International Spy Museum in Washington, D.C. (because I couldn’t resist). I hadn’t yet immersed myself in declassified CIA documents or fallen heart-first down the rabbit holes of the internet or become so paranoid and convinced that we’re all being watched/tracked/monitored through our phones, laptops, and security cameras that really are everywhere. And I hadn’t yet seen Yemen’s blood of dragon trees…. While the pursuit of happiness may be one of the inalienable rights guaranteed in our Declaration of Independence, Miranda is too smart not to know that happiness is elusive. She’s thrived during her years in the CIA in pursuit of meaning, not happiness. But what if that meaning and sense of purpose has faded with time and age; what now? That’s something that haunts the play: that slippery, rigorous, lonely pursuit of meaning. It’s what makes Miranda like all of us; but because of the life she’s living and the place she’s doing it, she’s also like none of us. For me, that’s what makes her seem both familiar and surprising and is just one of the many things that continues to intrigue me about her and the other characters in the play. I know them—until I don’t. Which only makes me want to know them more.




The approach to the costumes for Miranda is straightforward and realistic. Based on research comprised mostly of photo journalism of recent events in Yemen, the clothing reflects authentic and simple silhouettes that one would encounter in the region. Given the characters’ various circumstances, and taking care to reflect the nuances of age, job, and socio-economic status, the clothing suggests their biographies. Special attention is taken in the detailing of daily wear and tear from the climate and conditions of each character’s lifestyles, as well as the value and meaning of the clothing to the character's self-identity (such as in the silhouettes of Dr. Al-Agbhari and Reed). The clothing also must reflect tiers of meaning: for example, Miranda identifies as a particular role in the community, when her actual objectives are very different from what others perceive.

Miranda is an exciting psychological thriller. It has layers of different worlds varying between the psychological and the real, all of which are a constant game of shifting perspectives around the central character, Miranda. It feels like déjà-vu. The light will build upon this idea of the play: reality versus abstraction. The internal psychological and personal world of Miranda will feel abstract, with the use of color, unnatural angles, and a constant movement of light; whilst the light of Yemen is rooted within a reality of warm and cool white light.



Set in the most explosive part of the world, Miranda is a psychological thriller with several layers of meaning. Although strongly based on Yemeni folk music, the music design of the play reflects the place where the story is set, as well as the depth of the individual characters. Solos and group instrumental numbers, combined with vocal effects combining the Arabic language with pseudo-psalmodic recitation—these are the elements that populate the musical landscape of the play. Preliminary costume sketches for Rose and Shahid, by designer Linda Pisano.





On the one hand, Miranda is a story rooted in the world of international espionage. On the other, it is a layered and mysterious journey of discovery, disappointment, and in many ways … triumph. How to honor the mysticism and beauty of the Middle Eastern landscape with its living ancient architecture, and yet also present a visual world that can underline the terrible truth of the contemporary war-stricken world that has decimated so much of Yemen and it’s people? The answer was not immediately clear to me. Nevertheless, in the set design I strove for poetic links between textures and colors, shapes and “geographical” composition. The intent was to give the audience a sensory taste of the Yemeni world we generally only see from a great distance through CNN’s eyes; and to assemble physical “snapshots” of the daily struggle unfolding in that region the the Middle East. A running theme of the play is memory: as with most memories, only the essentials are preserved—the smells, the tastes, the feel of certain surfaces. Concrete tiles, mosaics, wooden screens, painted plexiglass, and ancient plastered walls make up the textural alphabet: painterly and sculptural layers that ebb and flow much as Miranda does herself. She is in a kind of dance, moving from one scene to the next—from one reality to another—never resting in any location for very long … but always propelling the story forward. Preliminary sketch by scenic designer Ann Sheffield.



Yemen is believed to be the location of Biblical Sheba. Today it is a nation of about 26 million people—around the same population as Texas, in about three quarters of the area. With its long seacoast situated between eastern and western civilizations, Yemen has always boasted a strategic trade location at a crossroads of cultures. Because of declining oil resources and a series of civil wars that have plagued the country since 1962, however, today Yemen is the poorest country in the Middle East. The current political crisis in Yemen has largely been overlooked by American news media. Raging since 2015, the Yemeni Civil War is a three-way battle between the Sunni government of President Abdrabbuh Mansur Hadi, elected in 2012; the Houthis, a rebel group of Shiite Muslims who feel marginalized and discriminated against in the majority Sunni country; and Al-Qaeda, whose most active and dangerous branch is centered in Yemen. Differences between the two main branches of Islam began almost 2000 years ago with the death of the prophet Muhammad, founder of Islam. Sunni Muslims (today about 90% of the world’s Muslims) elected Muhammad’s father-in-law as his successor. Shia Muslims (about 10%) believe that his cousin should have been the successor. In September 2014, the Houthi rebels took over Yemen’s capital, Sana’a, eventually declaring a coup d’état. The Shia Houthi are backed by Iran, home to 40% of the world’s Shiites. The former government of Sunni President Hadi, now based in Aden, is backed by a coalition led by Saudi Arabia—a beneficiary of U.S.


military support since World War II. But the Houthis also fight against Al-Qaeda, a terrorist organization that the United States strongly opposes. Clearly, the United States has conflicting interests in Yemen. Many see the Yemeni Civil War as a front for a shadow war between Saudi Arabia and Iran. In 2015, the United States dropped economic sanctions against Iran in exchange for Iran reducing its nuclear program. Iran’s political and economic power has since increased, and Saudi Arabia is nervous about pro-Iran Houthis right next door in Yemen. In March 2015, Saudi Arabia began bombing Houthi territory, destroying marketplaces, hospitals, and schools. Civilian casualties have been massive. This indiscriminate bombing has led the United Nations to investigate Saudi Arabia for war crimes. In recent years, the United States has sold more weapons to Saudi Arabia than any other nation in the world—$22 billion worth in the last two years alone, including most of the F-15 fighter planes that are bombing Yemen. The U.S. military even provides airborne refueling to those fighter planes during their raids on Yemen. The United Nations estimates that 16,000 have died in the Yemeni Civil War, including 10,000 civilians. Three million people—more than one tenth of the population—have been displaced from their homes. In the 2012 Global Gender Gap Report, which measures gender equality, Yemen was ranked last of 135 countries. And despite continued bombing, the Houthi government endures, leaving a bloody stalemate in Yemen—with no end in sight.




There is a theory that the works of Shakespeare, that icon of British literature, were actually written by Sheik Zubayr bin William, an Arab Muslim living in England. Most scholars treat this idea as a sort of intellectual jest, but many readers have found Arab roots in Shakespeare’s plays. Othello, with its Moorish (Muslim) title character and its setting in Cyprus—located only 60 miles off the coasts of Turkey, Syria, and Lebanon—is of course strongly linked to the Middle East. But Arab elements have also been noted in the plot of King Lear and in ideas expressed by characters in The Tempest. The first known performance of The Tragedy of Othello, the Moor of Venice was in 1604. Shakespeare based his play on the story “Un Capitano Moro”(“A Moorish Captain”) by the Italian novelist and poet Cinthio, first published in 1565. In Shakespeare’s day, the term Moor was variously applied to Arabs, North Africans, and Muslim Europeans. The character of Othello is distinctly an outsider in his world: a black general—a foreigner—leading a white army for a white nation; an older black career military man who marries a wealthy young white girl against her father’s wishes. It is interesting to note that, while Othello is the tragic hero of the play, it is the villainous Iago who has the most lines. The play begins in Venice, where Othello is a general who has just married Desdemona, the daughter of a senator. When the Doge of Venice sends the military hero to Cyprus—then a Venetian colony—to defend the island from attack by the Ottoman Empire (the Turks), Desdemona goes with him. In Cyprus, the battle is over before it begins, and the garrison is restless. Othello’s ensign, Iago, while pretending to be a loyal friend and officer, secretly hates Othello and is jealous of Michael Cassio, whom Othello has promoted over him. Iago plies Cassio

with wine, and after a drunken brawl, Othello strips Cassio of his rank. Iago then insinuates to Othello that Desdemona is having an affair with the young, handsome Cassio. When Desdemona innocently pleads Cassio’s case to Othello, his jealousy burns. Meanwhile, Iago’s wife, Emilia, picks up a handkerchief that Desdemona has dropped, a gift from Othello. Iago snatches it from her, convincing Othello that Desdemona has given the love token to Cassio, who in turn has tossed it to his mistress, Bianca. Othello tells Desdemona to wait for him alone in her chamber, and she dismisses Emilia for the night. Othello, racked by love and jealousy, tenderly kisses Desdemona, then suffocates her in her bed. When Emilia learns what has happened, she realizes Iago’s treachery, and Iago kills her. Othello, finally understanding that he has been tricked into killing his bride and destroying his career, takes his own life.

Portrait of Abd el-Ouahed ben Messaoud ben Mohammed Anoun, Moorish ambassador to the court of Queen Elizabeth I in 1600, thought by some to be an inspiration for Othello.



Ninos is a Chicagoland native, and this is his first show with IRT. His most recent credit is I Am My Own Wife with About Face Theatre in Chicago. Last summer, Ninos took part in the apprenticeship program at American Players Theatre, where he performed in King Lear, Death of a Salesman, and The Comedy of Errors. He is a recent graduate of the University of Illinois at Urbana-Champaign. While at school he performed in The Grapes of Wrath, 1984, Oh! What a Lovely War, Not About Nightingales, and Much Ado about Nothing. “I’d like to thank my family, friends, and teachers that have supported my journey so far.”


This is Jennifer’s IRT debut. Theatre credits include Disgraced at Singapore Repertory Theatre; Disgraced, The Hairy Ape, and Rapture, Blister, Burn at the Goodman Theatre; Ski Dubai at Steppenwolf Theatre Company; A Work of Art at Chicago Dramatists (a co-production with Goodman Theatre); The Threepenny Opera at the Hypocrites; Because They Have No Words (Jeff Award nomination, Best Ensemble) at Piven Theatre Workshop; and One for the Road/Catastrophe and Power at Remy Bumppo Theatre Company. Regional credits include Proof and How I Learned to Drive at Oregon Contemporary Theatre; Twelfth Night at Willamette Repertory Theatre; and All the Happy People at Edinburgh Fringe Festival. TV credits include Chicago Justice on NBC. Jennifer is a proud Studio Graduate of Black Box Acting in Chicago. “Thank you James and Henry for this gift. For Charles.”


Arya is thrilled to be making her first appearance at Indiana Rep. TV credits include A Christmas Carol— The Concert on PBS and Chicago Fire on NBC. Chicago theatre credits include A Disappearing Number and Inana at TimeLine; Julius Caesar at Writers Theatre; Suburbia at University of Chicago; Samsara and Disconnect at Victory Gardens; Principal Principle at Stage Left; Rudolph the Red-Nosed Reindeer for Emerald City; Much Ado about Nothing for Rasaka; Big Lake Big City at Lookingglass; and The 25th Annual Putnam County Spelling Bee at Beverly Arts Center. Arya attended Northwestern University and is represented by Stewart Talent. “Much love to my beautiful family and friends, and warmest thanks to Henry Godinez, James Still, and the truly inspired cast and crew of this show.”


Mary Beth has previously appeared at the IRT in Dr. Jekyll and Mr. Hyde, The Heavens Are Hung in Black, and Arcadia. Her Chicago credits include Vania & Sonia & Masha & Spike, The Little Foxes, Luna Gale, God of Carnage, The Seagull, and The Clean House at the Goodman; Domesticated, The Dresser, and Dead Man’s Cell Phone at Steppenwolf; Long Day’s Journey into Night, The Year of Magical Thinking, and Three Tall Women at the Court; and many more. In New York she has appeared in Frank’s Home at Playwrights’Horizons; Boy Gets Girl, The Radical Mystique, and By the Sea at Manhattan Theatre Club; The Night of the Iguana at the Roundabout; and Extremities at Westside Arts. TV and film credits include Chicago Justice, Sense8, Chicago Fire, Without a Trace, Numb3rs, Profiler, and Prison Break. Mary Beth has received two Joseph Jefferson Awards, the L.A. Drama Critics Circle Award, and the 2010 Chicago’s Leading Lady Award from the Sarah Siddons Society, as well as Lucille Lortel and Drama Desk nominations. She was an inaugural Lunt-Fontanne Fellow and a Beinecke Fellow at Yale University. 48


Torrey is a Chicago based actor who last appeared at Indiana Rep in Dr. Jekyll and Mr. Hyde. His most recent Chicago credits include Drosselmeyer in The Nutcracker at the House Theatre and Scrooge in A Christmas Carol at Dury Lane–Oakbrook. Other Chicago credits include Arcadia at Writers Theater; Pericles, Julius Caesar, Elizabeth Rex, and The Madness of King George at Chicago Shakespeare Theater; Cock at Profiles Theater; Language Archive at Piven Theater Workshop; Paulus at Silk Road Rising Theater; Spoon River Anthology at Provision Theater; and Never the Sinner at Northwestern University. Regionally and internationally he has worked at Milwaukee Repertory Theater (75 productions over 17 seasons), Oregon Shakespeare Festival (five seasons), Seattle Repertory Theatre, Intiman Theatre, A Contemporary Theatre, the Empty Space Theatre, Cleveland Play House, Utah Shakespeare Festival, Resident Ensemble Players at the University of Delaware, Madison Repertory Theatre, and Subaru Theater Company, Tokyo. His television work includes roles on The Exorcist, Empire, Crisis, Chicago Fire, Cheers, and Wings.


Making his IRT debut, Henry is resident artistic associate at the Goodman Theatre, where he fostered the co-production of Pedro Paramo with Teatro Buendia of Cuba. Also at the Goodman he has directed Feathers and Teeth, The Sins of Sor Juana, Boleros for the Disenchanted (also its world premiere at Yale Repertory Theatre), Regina Taylor’s Millennium Mambo, Straight as a Line, The Cook, Mariela in the Desert, Electricidad, Zoot Suit, and Cloud Tectonics. He was a co-founder and is former artistic director of Teatro Vista. Other directing credits include work at Court Theatre, Northlight, Chicago Children’s Theatre, Victory Gardens, Portland Center Stage, Signature Theatre in NYC, Kansas City Repertory Theatre, and Colorado Shakespeare Festival. Born in Havana, Cuba, Henry is a professor at Northwestern University and proudly serves on the Board of Directors of Albany Park Theatre Project and the Illinois Arts Council Agency.


Ann’s work at the IRT has included scenery for Red, Other Desert Cities, Interpreting William, The Drawer Boy, The Last Night of Ballyhoo, Cyrano de Bergerac, The Rivals, and Six Characters in Search of an Author; costumes for Finding Home, Our Town, Othello, and 1992’s Twelfth Night; and both scenic and costume designs for Doubt, Ghosts, Candida, The Cocktail Hour, Hedda Gabler, and 1990’s Julius Caesar. Her designs have been seen at South Coast Repertory Theatre, Arizona Theatre Company, Los Angeles Playwrights’ Arena, the Laguna Playhouse, Buffalo’s Studio Arena Theatre, the La Jolla Playhouse, Goodspeed Opera House, Walnut Street Theatre, Ford’s Theatre, Oklahoma Festival Ballet, and the Children’s Theatre Company of Minneapolis. Ann has a long association with award-winning designer Tony Walton, assisting him on the Broadway productions of Anything Goes, Waiting for Godot, Grand Hotel, and The Will Rogers Follies. A graduate of the Yale School of Drama, Ann is head of design for the Department of Theatre and Dance at California State University, Fullerton.


Linda has designed more than a dozen shows at the IRT, including To Kill a Mockingbird (twice), On Golden Pond, A Little Night Music, The Diary of Anne Frank, and Romeo and Juliet (twice). Professor of costume design and head of Design and Technology at Indiana University–Bloomington, she also directs IU’s theatre study abroad program in London. Linda is a four-time winner of the Peggy Ezekiel Award for Excellence in Design and a four-time jury winner of the National Design Expo, and she is the only American costume designer to be invited to Taipei for the World Design Expo in 2017. Linda has designed more than 100 productions around the United States, including world premieres of two new operas. Her work has been featured in the UK, Russia, China, and Canada. She serves on the Board of Directors for the United States Institute of Theatre Technology.


Alexander is a lighting designer based in Chicago hailing from Edinburgh, Scotland. He worked as a freelance designer and associate lighting designer with Sell a Door Theatre Company in London before moving to Chicago to study theatre design at Northwestern University in 2012. Since being based in the United States, he has designed at American Theatre Company, Theatre Wit, Griffin Theatre Company, the New Colony, and Northwestern University, and has assisted nationally with Marcus Doshi Design. Alexander is adjunct lecturer of lighting design at the University of Illinois at Chicago, as well as the 2016 winner of the Best Student Exhibit at the Michael Merritt Awards in Chicago. 49


Andrew is an associate professor of sound design in the Department of Theatre, Drama, and Contemporary Dance at Indiana University. He has designed or written the scores for shows at such theatres as the Oregon Shakespeare Festival, Utah Shakespearean Festival, Actors Theatre of Louisville, American Repertory Theatre, American Players Theatre, Cincinnati Playhouse, Pioneer Playhouse, Cleveland Play House, Victory Gardens, Harvard University, and the Indiana Repertory Theatre, where he was resident sound designer for five years. In 2004 his New York debut, Trying, was rated one of the best off-Broadway shows of the year. In film, he has scored the documentaries Birth of Legends, The Battle of Comm Avenue, Hockey’s Greatest Era 1942-1967, The Frozen Four, and Utah’s Olympic Legacy. He has produced, engineered, or performed on more than 40 CDs, ranging from stories for children to collections of modern American piano works. He is a member of United Scenic Artists, local 829, and the Unites States Institute of Theatre Technology.


Chris is excited to make his IRT debut. He is the chair of the Indiana State University Department of Theater where he teaches directing, sound and projection design, and theatre theory, and is the resident sound and projection designer. His most recent research includes the scenography of international Shakespeare performances as well as the Olympic Games. He is artistic director of Crossroads Repertory Theatre, where his directing credits include The Lonesome West, Rent, The Woman in Black, A Midsummer Night’s Dream, Much Ado about Nothing, and Macbeth. A transplant from Southern California, Chris earned his undergraduate degree from the Pomona College Department of Theatre and Dance, and his doctorate in theatre from the University of California, San Diego.


Gustavo is a professor of music at the Department of Fine and Performing Arts of Loyola University Chicago. He is a recipient of the Walter Hinrichsen Award given by the American Academy of Art and Letters. His music is included in the catalogs of C. F. Peters–New York, Toccata Classics, and Naxos Recordings. Ensembles such as the Avalon String Quartet, Cuarteto Q-Arte, Grant Park Festival Orchestra, the Symphonic Orchestra of Michoacán, the Chicago Sinfonietta, Vienna Chamber Orchestra, and the Czech National Symphony Orchestra have commissioned and played hiss works. His credits for the theatre include productions at Yale Repertory Theatre, Goodman Theatre, Victory Gardens Theater, Lookingglass Theatre, and Teatro Vista. Jonathan Woolf has said on Music Web International, “Leone’s is a versatile voice in the contemporary firmament.”


This is the 93rd production Joel has stage managed over 27 years at the IRT. He resides in an historic home in downtown Indianapolis, sharing that home and his life with Janet Allen and their two daughters, Nira and Leah.


Based in Chicago, Claire Simon, C.S.A., has worked with the IRT on casting more than 30 productions, including Guess Who’s Coming to Dinner, Finding Home, The Three Musketeers, The Mousetrap, The Great Gatsby, The Game’s Afoot, The Mountaintop, The Crucible, 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. 50

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.

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*Denotes Sustaining Member THEATRE GUILD $250 - $649

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Ditech Inc. Rosemary Dorsa John & Cynthia Dozier* Sherry Faris James Farrar Rick & Kathy Feid Dr. Thomas Ferry Hank & Nanci Feuer Joan M. FitzGibbon Bill & Jennie Forehand George & Sheri Foster Kerry & Kimberly Foster Edward & Elizabeth Frazier Garry & Glenda Frey Matt Fritz & Kara Ooley & Family Julie Funk Gamma Nu Chapter of Psi Iota Xi Richard & Sharon Gilmor Mark & Laurel Goetzinger Laura Baker Darrell & Thecla Gossett Bill & Phyllis Groth Marla & Mike Guzman Rebecca A. Gwin David J. & Jeanne C. Hamernik Emily Hancock* Don & Carolyn Hardman Alexandra & Justin Harris* Hear Here LLC Steve & Kathy Heath Mike & Noel Heymann Ellen Hines Karen Holmes Lindsey & Tom Horan Charles Howe Alice Hughes Indy Instrument Service, LLC Greg & Patricia Jacoby Paula Jarrett Ron & Shannon Jones Dave & Donna Kaiser Frantk & Frances Kelly Jay & Carole Kirkpatrick

Steven & Mary Koch* Dr. Donald & Mrs. Shirley Kreipke Paul & Lana Kruse Roger & Janet Lang I.M. Larrinua & M.T. Wolf Lisa Le Crone Celeste Jasmin Ledezma Stephen Lehman & Maureen Toth Lehman Margaret Lehtinen & Dr. Lawrence Mark Andra Liepa Charitable Fund, a Donor Advised Fund of the U.S. Charitable Gift Trust Dr. David & Anna Mandelbaum Dr. & Mrs. Peter Marcus* Patrick Marlatt* Anne & Ken Marnocha Tom & Sandy Mason Melissa Maulding Donald & P.J. McCullough Brenda & Rick Merkel Milton & Margaret Miller Dr. Frederick & Alice Milley Molly-Maid of Indy Rev. Mary Ann Moman* David H. Moore, M.D. & M. Kristine Beckwith, M.D. Kent & Elaine Morrison* Mr. Electric Anne Myers Susan & Jim Naus Dr. LeeAnne M. Nazer Diana J. Ohman Srikanth Padmanabhan Al & Debbie Parrish* Steve & Quin Paul* Dr. & Mrs. Robert M. Pearce Gary & Pam Pedigo* Greg Perkins Daniel & Donna Perrott Michael & Patricia Pillar Scott & Susan Putney Flora Reichanadter Dr. Nenetzin Reyes* Richard & Diane Rhodes Ann & Richard Riegner


ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2016 - JANUARY 27, 2017

*Denotes Sustaining Member

William Tod Rosenbaum Brent & Kristen Ruder Mark & Julanne Sausser Anne & Rod Scheele Steve Schlangen* Ms. Karen Schnyder Dr. Jill Shedd* Richard & Kimberly Shields Kevin & Amy Sobiski* Tom & Mary Sparrow Ross & Rosemarie Springer Bob & Pam Stearman Andrew Stegman Stillpoint Family Chiropractic Nancy S. Stokely Ph.D. Richard & Lois Surber

Darrell & Melanie Swartzentruber Nela Swinehart* Fred & Carol Terzo Matthew Allan Thornberry Lynne & Alex Timmermans Jennifer & Randall Todd Robert & Barbetta True* Dr. & Mrs. Kurt Van Scoik Ann & Mark Varnau Steve & Teresa Vincent Dr. William C. Vladuchick & Ms. Susan M. Meloy David & Jenny Wade Norma Bangel Wallman Bill & Joan Warrick Susan Weatherly*

Zoe Urena Weiss John & Pamela West Karen J. Weyrauch Dan Wheeler & Susan Wakefield* Bill & Audrey Wiebenga A. Donald & Jeanette B. Wiles Allen R. Wilkie Jan & John Williams Prof. Gail F. Williamson John & Judy Wilson Kathryn Page Witczak* Reba Boyd Wooden* Harold Woodman Patrick & Laurie Wootan Brant & Lorene Wright Patrick & Rebecca Zirnheld

CONTRIBUTE YOUR OLD CAR 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.


THE SUPPORTING CAST INDIANA REPERTORY THEATRE DONORS 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 Janet Allen & Joel Grynheim 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

George & Olive Rhodes 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

FINDING HOME: INDIANA AT 200 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 - JANUARY 27, 2017


Anthem Blue Cross Blue Shield Barnes & Thornburg LLP Bedel Financial Consulting, Inc. Bingham Greenebaum Doll LLP BMO Harris Bank Eli Lilly and Company Faegre Baker Daniels Franciscan Health Indianapolis Frost Brown Todd Indiana Farm Bureau Insurance Company Integrity One Navient Foundation OneAmerica Financial Partners


Oxford Financial Group, Ltd. PNC Printing Partners Saint Joseph Brewery, LLC T2 Systems Taft Stettinius & Hollister LLP Taxman Brewing Company Wells Fargo Foundation in cooperation with Wells Fargo Advisors FOUNDATIONS

The Ackerman Foundation Allen Whitehill Clowes Charitable Foundation Christel DeHaan Family Foundation The Glick Family Foundation

The Glick Fund, a fund of CICF The Jerry and Barbara Burris Foundation F.R. Hensel Fund for Fine Arts, Music, and Education, a fund of The Indianapolis Foundation, a CICF Affiliate The Lacy Foundation Lilly Endowment, Inc. GOVERNMENT

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

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! Ready to create your legacy at the IRT? Want more information about making a planned gift? Contact Lindsey Horan, Associate Director of Major Gifts | 317.916.4833 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.

THE SUPPORTING CAST INDIANA REPERTORY THEATRE DONORS IN-KIND/TRADE GIFTS 9 on Canal A Cut Above Catering Alan's Catered Events Candlewood Suites Eco-Kinetic

ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2016 - JANUARY 27, 2017 Hoaglin Fine Catering Hotel Tango Artisan Distillery National Institute of Fitness & Sport New Day Craft Noble Consulting Services, Inc.

Pac-Van, Inc. Studio 2000 Sun King Brewery Co. WFYI



ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2016 - JANUARY 27, 2017

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. Anonymous Eli Lilly and Company


F.R. Hensel Fund for Fine Arts, Music, and Education, a fund of The Indianapolis Foundation, a CICF Affiliate

The Glick Fund, a fund of CICF Janelle Runge Jim & Mary Russell Dr. Frank Wilson Wendy Wright

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.




Together we can change the world. Learn how at

Photo by Tony Vasquez taken at IN Light IN, the celebration of The Indianapolis Foundation’s 100th anniversary. Shadows of Our Prairie Past by Opera-Matic & Know No Stranger. Behind: Night Lights/FunkyForms by YesYesNo.



We don’t know if you’ve noticed, but we love Indianapolis — and part of what makes Indianapolis so easy to love is our thriving, inclusive, exciting arts community. So, thank you for patronizing the arts and allowing us to do what we love to do: extensively cover them, just like we have for 27 years running. Love, Your NUVO Editors


In a world of change, our focus is steadfast.

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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.





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Profile for Indiana Repertory Theatre

IRT Program: "Boeing Boeing" & "Miranda"  

2016-2017 Season

IRT Program: "Boeing Boeing" & "Miranda"  

2016-2017 Season

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