THE ONEAMERICA MAINSTAGE JANUARY 10 - FEBRUARY 4
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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 www.OneAmerica.com.
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OUR MISSION & VISION
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 16 Guess Who's Coming to Dinner 24 Company bios for Guess Who's Coming to Dinner 32 Interview with Randy Pease 34 The Cay 42 Company bios for The Cay 50 Donor Listing
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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.
LEADERSHIP: SUZANNE SWEENEY
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, commissioned by Illusion Theater in Minneapolis. Also premiering recently was The Widow Lincoln at Ford’s Theatre in Washington, DC. James’s short play When Miss Lydia Hinkley Gives a Bird the Bird has appeared in several festivals around the country and was a finalist for the Heideman Award from Actors Theatre of Louisville. New plays in the works include (A) New World, as well as an adaptation of the classic Black Beauty commissioned by Seattle Children’s Theatre. James also works in television and film and has been nominated for five Emmys and a Television Critics Association Award; he has twice been a finalist for the Humanitas Prize. He was a producer and head writer for the series PAZ, the head writer for Maurice Sendak’s Little Bear, and writer for the Bill Cosby series Little Bill. He wrote The Little Bear Movie and The Miffy Movie as well as the feature film The Velocity of Gary. James grew up in Kansas and lives in Los Angeles.
James is an elected member of the National Theatre Conference in New York, and a Kennedy Center inductee of the College of Fellows of the American Theatre. Other honors include the Todd McNerney New Play Prize from the Spoleto Festival, William Inge Festival’s Otis Guernsey New Voices Award, the Orlin Corey Medallion from the Children’s Theatre Foundation of America, and the Charlotte B. Chorpenning Award for Distinguished Body of Work. His plays have been nominated four times for the Pulitzer Prize, and have been developed and workshopped at Robert Redford’s Sundance, the 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
INDIANA REPERTORY THEATRE PROFILE HISTORY
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
INDIANA REPERTORY THEATRE STAFF EXECUTIVE ARTISTIC DIRECTOR
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 Stepanie 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 Erin Robson-Smith Production Assistants Brittany Cowgill Claire Stark
INDIANA REPERTORY THEATRE PART-TIME STAFF & ASSOCIATES ARTISTIC Dramaturgy Intern Jesica Courtney Teaching Artists Chelsea Anderson Andrew Black Karaline Feller Callie Burk Hartz Ronn Johnstone Kathi Ridley-Merriweather Beverly Roche Milicent Wright
ELECTRICS Electricians Lee Edmundson Kate Smith Jonathan Harden
SCENE SHOP Carpenters Lee Edmundson Richard Landon Christopher Strain
PAINT SHOP Scenic Artists Robyn Kahn-Cleland Particia L. Money
Scenery & Paint Intern Danielle Graves
Scenic Painters Lee Edmundson
FINANCE Director of Finance Greg Perkins
ADMINISTRATION Receptionist / Administrative Assistant Seema Juneja Executive Assistant Randy Talley
Assistant Controller Danette Alles
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 Youth Audience Manager Ann Marie Elliott
MARKETING Program Advertising Manager Dave Charrlin | New Moon Advertising Marketing Intern Caitlin Flowers EDUCATION Education Intern John Collins FINANCE ASSOCIATES External Auditors Crowe Horwath LLP
Payroll & Benefits Specialist Jennifer Carpenter INFORMATION SYSTEMS Director of Information Systems Dan Bradburn MARKETING Marketing Communications Manager Carolyne Holcomb Audience Development Manager Elizabeth Petermann Graphic Designer Amber Mills Junior Designer & Digital Media Coordinator Alexis Morin
Nancy McCarthy Wintana Mesfin Dustin Miller 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 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
Sherry Nielsen 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 Haley Annis Pat Bebee Terri Bradburn Rebecca Eccles Rene Fox Marilyn Hatcher Bill Imel Sarah James Sherry McCoy Gail McDermott-Bowler
Bartenders Gayle Durcholz Sandra Hester-Steele Nancy Hiser Susan Korbin Tina Weaver
BOARD OF DIRECTORS OFFICERS CHAIR
Michael J. Harrington
VICE CHAIR | CHAIR ELECT
-Eli Lilly and Company
Thomas C. Froehle Jr. -Faegre Baker Daniels
-PNC Wealth Management
IMMEDIATE PAST CHAIR
Daniel C. Emerson -Indianapolis Colts
-Fifth Third Bank
MEMBERS Sharon R. Barner -Cummins, Inc. Frank Basile -Community Volunteer
Brenda Horn -Ice Miller LLP
Susan O. Ringo -Community Volunteer
Rebecca King -Leadership Indianapolis
Gerald Berg -Wells Fargo Advisors
Amy Kosnoff -Community Volunteer
Don Robinson-Gay -BMO Harris Commercial Banking
Keith Bice -Bingham Greenbaum Doll
Jill Lacy -The Lacy Foundation
Carl W. Butler -Angie’s List, Inc.
Sarah Lechleiter -Community Volunteer
Mary Beth Claus -IU Health
Deborah Loughrey -Community Volunteer
Ann Colussi Dee -Duke Realty
Jeff MacKay -Indianapolis Power & Light Co.
Gary Denney -Eli Lilly and Company, Retired
Andrew Michie -OneAmerica Financial Partners, Inc.
Michael P. Dinius -Noble Consulting Services, Inc.
Lawren K. Mills -Ice Miller LLP
Richard D. Feldman -Franciscan Health Indianapolis
Timothy W. Oliver -JP Morgan Chase Bank, NA
James W. Freeman -OneAmerica Financial Partners, Inc.
Brian Payne -Central Indiana Community Foundation
Ron Gifford -Jump IN for Healthy Kids
Tammara D. Porter -Taft Stettinius & Hollister LLP
William O. Williams II -UnitedHealthcare
Michael N. Heaton -Katz Sapper & Miller
Peter N. Reist -Oxford Financial Group
Heather Wilson -Frost Brown Todd
BOARD EMERITUS Robert Anker* Rollin Dick Berkley Duck* Dale Duncan* Michael Lee Gradison* Margie Herald David Klapper David Kleiman*
E. Kirk McKinney Jr. (in memoriam) Richard Morris* (in memoriam) Jane Schlegel* Jerry Semler* Jack Shaw* William E. Smith III* Eugene R. Tempel* * Past Board Chairs
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
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 12
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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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ONEAMERICA MAINSTAGE JAN 10 - FEB 4
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Director___________________ SKIP GREER Scenic Designer______________ ROBERT M. KOHARCHIK Costume Designer_______________________ B. MODERN Lighting Designer__________________ KENDALL SMITH Sound Designer________________ TODD MACK REISCHMAN Dramaturg________________________RICHARD J ROBERTS Stage Manager_________________ NATHAN GARRISON Casting________________________CLAIRE SIMON CASTING
Co-Produced with Geva Theatre Center
Rochester, New York Artistic Director_________________________MARK CUDDY Executive Director______________CHRISTOPHER MANNELLI
SEASON 2016 - 2017
m a k i n g t h e a rt s h a p p e n
Executive Artistic Director
THE CAST Matilda Binks____________________LYNDA GRAVÁTT Hilary St. George_________________ CONSTANCE MACY Christina Drayton______________ BRIGITT MARKUSFELD Matt Drayton______________________ CRAIG SPIDLE Joanna Drayton__________________ ANNIE MUNCH Dr. John Prentice__________________ CHIKÉ JOHNSON Monsignor Ryan_________________ MARK GOETZINGER John Prentice Sr._______________ CLEAVANT DERRICKS Mary Prentice_______________________ NORA COLE
The performance will last approximately two hours with an intermission.
SETTING The home of the Draytons in San Francisco Spring 1967
ACKNOWLEDGEMENTS *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.
WALKING IN SOMEONE ELSE'S SHOES BY JANET ALLEN, EXECUTIVE ARTISTIC DIRECTOR
The movie Guess Who’s Coming to Dinner was controversial when it was first released in 1967. The fact that it has had a revival as a stage play in the past couple of years tells us something about how issues of race and culture cycle back around in our country’s psyche. When I first read this stage adaptation, I was disquieted that I still found it so relevant. Now, many years after interracial marriage is not only legal but mainstream, why should this issue still create such dramatic tension? I think that we are now culturally beyond the question of why people of different races want to marry; what we aren’t beyond is the social response to marriage outside of “traditional” definitions. Marriage across perceived boundaries—race, religion, gender, even class or clan— causes tensions between viewpoints and generations that still resonate in our culture. The biggest question the play poses is, will love conquer prejudice? It has already done so for Joanna and John. But what about their families? And there are also subtler things at work in this piece that get at many of the things that divide us as Americans today. Many of the social constructs by which we define ourselves are motivators in this story. Not only are John and Joanna of different races, but they are considerably different in age and, presumably, religion. And their families are quite different in background: one is white collar, one is blue collar. At the same time, there are many things that connect them: John and Joanna have both suffered crippling loss, and that connects them deeply. They share similar intellectual interests. The two sets of parents’ reactions to this unexpected match suggest unexpected similarities in family structures as well. 18
Both mothers react considerably better to the proposed match than the fathers; and the fathers, who seem to hold very little in common, share largely the same reasons for their opposition to the match, despite their ideological and racial differences. If these fathers hang on to their opposition, how will their wives ultimately react? Will these mothers choose to support the happiness of their children over the disquiet of their husbands? Given the era in which the play takes place, that seems unlikely; but nonetheless, the shadow of fissure hangs over the toughest scenes in the play. Perhaps watching the reactions of the other couple gives each set of parents insight into their own struggles; seeing others wrestle with similar prejudices, but from the other side, can sometimes help us to move beyond our own fears. But it’s the character of Tillie that causes us to encounter some of the most difficult issues of the play. Today we see her position as the family’s “domestic” as largely a remnant of another era of our country’s history, and the situation brings up many feelings of institutionalized prejudice. And yet, her bond with Joanna is among the strongest in the play, giving her opinion significant weight in the outcome. Tillie becomes a barometer of sorts in the audience’s view into the play. As Tillie moves through the various stages of her reaction to Joanna’s match, she creates a big piece of the emotional heart of the play. These scenes cause us to experience empathy and disquiet in real ways. Guess Who’s Coming to Dinner asks us to put ourselves in many different people’s shoes. Ultimately, that is how we learn empathy and tolerance in a time when they are much needed.
A SEAT AT THE TABLE BY SKIP GREER, DIRECTOR
“You wrote that the whole world needs a round table. Remember? That gathering over issues and talking best expressed our humanity. You wrote that. Now look at us. This is the issue. Now look in the dining room. There’s our round table.” —Joanna, Guess Who’s Coming to Dinner I’ve always been most interested in theatre that becomes a catalyst for conversation. For me, one of the greatest qualities of art is its mesmerizing power to be used as a touchstone in assisting us to discuss a problem. Theatre allows us to sit side by side and address the issue before us. In Guess Who’s Coming to Dinner, the potential interracial marriage of Dr. John Prentice and Joanna Drayton is “the issue,” and we in the audience are asked, right on the heels of being reminded just how powerful love is in our fragile lives, to join the discussion. We are, in effect, invited to the table. Turn-of-the-last-century Chicago newsman Finley Peter Dunne once described the purpose of a newspaper, and for the last 30 years I’ve adapted his quote for my own purposes. I think the job of theatre is to “comfort the afflicted, and afflict the comfortable,” and I believe theatre is at its best
when it does both. That’s what has drawn me to this play. Todd Kreidler’s fine work on William Rose’s screenplay asks us to consider how far we’ve come in the last 50 years, and then reminds us of just how far we have yet to go—while simultaneously sparking laughter and touching our hearts. That’s no small trick. I often hear in conversations about race that the younger generations have changed their view; that they see the world differently than we do. They are our hope. The 1967 film of Guess Who’s Coming to Dinner hinted at the same thing; that the strength and ability to embrace each other despite our differences would be solved by John and Joanna’s generation. Well, those of us from that generation find ourselves here now, fifty years later. How’re we doing? Pull up a seat at the table and let’s talk about it.
FAMILY STYLE ROBERT M. KOHARCHIK
The mid-century modern style, especially architects Alvar Aalto, Richard Neutra, and Raphael Soriano, inspired the set design for Guess Whoâ&#x20AC;&#x2122;s Coming to Dinner. Being that Christina owns an art gallery and Matt is a newspaper publisher, the style helps to establish them as modern, forward-thinking people instilling their daughter with progressive ideasâ&#x20AC;&#x201D; such as racial equality.
From a lighting standpoint, the household should reflect the vibrant mood of this family, with the atmosphere being open, clear and sunny. As complications arise, the house begins to close in. With the setting of the sun and the approach of nightfall, the characters sense how trapped they have become, and the need to break out in new directions.
Preliminary sketch by scenic designer Robert M. Koharchik.
The characters of Guess Who’s Coming to Dinner should be wearing what seem to be real, believable garments, not costumes. While it is true that the play takes place in the 1960s, the director and I wanted to avoid any clothing that was too wild, consciously trendy, or counter-cultural. Each character in our play—even Joanna, the young daughter— is a professional in the world, and wants to put his or her best foot forward. Each would have considered carefully what they would wear for the occasion, and how it would be perceived by others. My goal has been to reflect that thoughtful consideration by dressing them in flattering, contemporary, wearable clothing that suits them and the momentous evening they anticipate.
Preliminary costume sketches for Hilary St. George, Joanna Drayton, & Dr. John Prentice by designer B. Modern.
THE WORLD IN 1967 BY RICHARD J ROBERTS, DRAMATURG
HISTORICAL EVENTS Ronald Reagan becomes governor of California Super Bowl I—Green Bay Packers 35, Kansas City Chiefs 10 3 astronauts, including Hoosier Gus Grissom, are killed in an Apollo 1 launch pad test The Summer of Love—100,000 hippies in Haight-Ashbury, San Francisco Six-Day War between Israel and Egypt, Jordan, and Syria Loving v. Virginia, landmark Supreme Court case legalizing inter-racial marriage Widespread demonstrations against the Vietnam War Race riots across the United States The British Parliament decriminalizes homosexuality Thurgood Marshall becomes first African American Supreme Court justice The final voyage of the Queen Mary Che Guevara executed in Bolivia John McCain is shot down in Vietnam and becomes a prisoner of war
MUSIC “I’m a Believer” — the Monkees “Light My Fire” — The Doors “Can’t Take My Eyes off You” — Frankie Valli “Respect” — Aretha Franklin “All You Need Is Love” — The Beatles FILM The Graduate The Jungle Book Guess Who’s Coming to Dinner Bonnie and Clyde The Dirty Dozen BOOKS One Hundred Years of Solitude by Gabriel García Márquez The Chosen by Chaim Potok The Outsiders by S. E. Hinton The Confessions of Nat Turner by William Styron The Naked Ape by Desmond Morris THEATRE Hair by MacDermott, Rado, & Ragni A Delicate Balance by Edward Albee Cabaret by Kander & Ebb Rosencrantz & Guildenstern Are Dead by Tom Stoppard NEW IN 1967 ATMs Rolling Stone Magazine Heart transplant surgery
THE COMPANY NORA COLE MARY PRENTICE
Nora is making her IRT debut. She has worked with George C. Wolf on the Broadway productions of Jelly’s Last Jam and On the Town, and on Caroline, or Change at the National Theatre in London. Other career highlights include Fences, To Kill a Mockingbird, Doubt, On Golden Pond, Medea (with Vinnette Carroll), Joe Turner’s Come and Gone, The Colored Museum, and Rinde Eckert’s And God Created Great Whales (Drama League & Audelco nominee). Nora’s solo shows include Voices of the Spirits in My Soul (Audelco nominee), Olivia’s Opus, and her recent first full-length play, Katherine’s Colored Lieutenant. She has been awarded a TCG/Fox Foundation Resident Actor Fellowship, a Hedgebrook residency, a Black Theatre Torch Bearer Award, ATL’s Women in Music Award, and a Spencer Cherashore Individual Artist Grant. She earned her B.F.A. at the Goodman School of Drama.
CLEAVANT DERRICKS JOHN PRENTICE SR.
Cleavant created the role of James Thunder Early for Dreamgirls, receiving Tony and Drama Desk awards as well as the LA Drama Circle Award for vocal arrangements. Starring in Bob Fosse’s Broadway production Big Deal, he was nominated for Tony and Drama Desk awards for Best Actor. Other Broadway credits include the 1977 revival of Hair, Vinette Carroll's Your Arms Too Short to Box with God, But Never Jam Today, and Brooklyn the Musical. He received the NAACP Theatre Award for Best Male Performance for his portrayal of Horse in the Full Monty national tour. Cleavant was awarded the Heroes and Legends award for Outstanding Achievement in Theatre; served as composer, musical director, and featured actor for the musical When Hell Freezes Over I’ll Skate, which aired as a PBS special; and starred in Cy Coleman's Like Jazz at the Mark Taper Forum. Film roles include Moscow on the Hudson, The Slugger's Wife, Offbeat, Carnival of Souls, Bluffing It, Miami Magma, Basilisk, and World Traveler. His appearances as a TV series regular include Sliders, Thea, Drexell’s Class, Good Sports, and Woops! Some TV guest appearances include Touched by an Angel, Charmed, The Practice, The Bernie Mac Show, Cold Case, and David E. Kelly’s Wedding Bells.
MARK GOETZINGER MONSIGNOR RYAN
This is Mark’s 34th season at the IRT, and he celebrates his 90th production with Guess Who’s Coming to Dinner. Some of his favorite roles include Yogi Berra in Nobody Don’t Like Yogi, the title role of The Drawer Boy, Atticus Finch in To Kill a Mockingbird (2009), Dr. Watson in Sherlock Holmes: The Final Adventure, Hucklebee in The Fantasticks, Dr. Gibbs in Our Town, Charley in Death of a Salesman, Old Tom Martin in The Gentleman from Indiana, Albany in King Lear, Rev. Brown in Inherit the Wind, Mr. Bennet in Pride and Prejudice, Milton Perry in The Immigrant, Uncle Sid in Ah, Wilderness!, and Heck Tate in To Kill a Mockingbird (1997), as well as dozens of Cabarets.
LYNDA GRAVÁTT MATILDA BINKS
Lynda has been seen on Broadway in Cat on a Hot Tin Roof, Doubt, King Hedley II, and 45 Seconds from Broadway. Her Off-Broadway credits include Skeleton Crew (2016 DramaLeague Nominee for Best Actress), The Hummingbird’s Tour, The Little Foxes, Zooman and the Sign, King Hedley II, Intimate Apparel, Dividing the Estate, and The Old Settler. She has won the Theatre World Award and three Audelco Awards. Her regional highlights include The Widow Lincoln by James Still, Guess Who’s Coming to Dinner, A Raisin in the Sun, August Wilson’s Century Cycle, and Crowns (Helen Hayes Award). TV credits include Difficult People, 30 Rock, Person of Interest, Elementary, and The Hoop Life. Film credits include Delivery Man, Violet & Daisy, The Bounty Hunter, and more. She has directed award-winning productions of Hair, The Wiz, and Dreamgirls at the Duke Ellington School of the Arts. She is a proud graduate of Howard University and prouder member of Actors’ Equity.
CHIKÉ JOHNSON DR. JOHN PRENTICE
Chiké recently appeared as Crooks in Of Mice and Men at Milwaukee Repertory Theatre and Arizona Theatre Company, as Marley in A Christmas Carol at Milwaukee Rep, and as Othello, Winston, and Pistol at American Players Theatre. He has been seen on Broadway in A Time to Kill and in Manhattan Theatre Club’s Wit, and off Broadway in Lost in the Stars for City Center’s Encores! and Ruined at the Manhattan Theatre Club. Chicago credits include Meet Vera Stark at the Goodman; Sizwe Banzi Is Dead at the Court; and The Crucible, The Unmentionables, and Huck Finn at Steppenwolf. Other regional credits include The Unmentionables at Yale Repertory Theatre, Lincoln in Topdog/Underdog at Renaissance Theaterworks, Cornwall in King Lear at Milwaukee Rep, Cephus Miles in Home at In Tandem Theatre, Willie in “Master Harold” … and the boys at Milwaukee Chamber Theatre, and Martin Luther King Jr. in Smoldering Fires at First Stage Children’s Theater. Film credits include Friends with Benefits, Sleepwalk with Me, and The Machinist; television credits include Law & Order, Girls, Veep, and Prison Break.
CONSTANCE MACY HILARY ST. GEORGE
Constance’s recent IRT appearances include A Christmas Carol, The Great Gatsby, On Golden Pond, Good People, The Game’s Afoot, Who Am I This Time?, God of Carnage, Lost—A Memoir, The Diary of Anne Frank, Becky’s New Car, and Iron Kisses. She is a frequent performer with Cardinal Stage Company in Bloomington, and was a co-founder and performer with ShadowApe Theatre Company for a dozen years. Other local favorites include narrating the music of Harry Potter with the Indianapolis Symphony Orchestra at Conner Prairie and playing Paulina in HART’s production of The Winter’s Tale in White River State Park. She teaches acting at IRT’s Summer Conservatory for Youth, and her own teachers have included David Hyde Pierce and Olympia Dukakis. Constance was named an Indy Theatre MVP by the Indianapolis Foundation, and is a two-time Arts Council of Indianapolis Creative Renewal Fellow as well as a Lunt-Fontanne National Fellow.
BRIGITT MARKUSFELD CHRISTINA DRAYTON
Brigitt’s regional credits include Stella and Lou at Chenango River Theatre; To Kill a Mockingbird, Stranded on Earth, You Can’t Take It with You, Over the Tavern, A Christmas Story, Our Town, Smell of the Kill, House and Garden, The Weir, Stop Kiss, The Triumph of Love, A Girl’s Life, The Illusion, Picasso at the Lapin Agile, and The Comedy of Errors at Geva Theatre; Richard III and Rumors at Sacramento Theatre Company; I Remember Mama at A.C.T.; and On the Verge at Marin Theatre Company. Brigitt is a founding member of A Noise Within in Los Angeles, where she has appeared in The Way of the World and Blood Wedding. Her TV credits include Picket Fences, The Bold and the Beautiful, Tour of Duty, Second Chances, and national TV and radio commercials. Brigitt received her training at A.C.T. in San Francisco. 25
THE COMPANY ANNIE MUNCH JOANNA DRAYTON
Annie is making her IRT debut. She was most recently seen on stage at Steppenwolf Theatre Company in the world premiere production of Mary Page Marlowe by Tracy Letts. Other Chicago credits include work with Strawdog Theatre Company, Next Theatre, the side project, and Awkward Pause. Television credits include Chicago PD, Sense8, Crisis, and Underemployed. Annie is a proud graduate of Northwestern University (”Go ’Cats!”) and is represented by Stewart Talent. “As always, love and thanks to Mom, Dad, and Meg.”
CRAIG SPIDLE MATT DRAYTON
Craig previously appeared at the IRT in Sister Carrie. His Chicago credits include The Tempest, As I Lay Dying, and Libra at Steppenwolf; Passion Play, Oedipus Complex, Pericles, Black Star Line, and As You Like It at the Goodman; Life’s a Dream, The Little Foxes, Nora, Desire under the Elms, and The Cherry Orchard at Court; The Brothers Karamazov at Lookingglass; and Ten Little Indians, Fiddler on the Roof, and The Man Who Came to Dinner at Drury Lane Oakbrook. Regional credits include Arizona Theatre Company, Huntington Theatre in Boston, Freedom Theatre in Philadelphia, Public Theatre in Pittsburgh, American Players Theatre in Wisconsin, and Cherry Lane Theatre in New York. Craig has been seen on television in Early Edition and America’s Most Wanted and on film in Public Enemies, Road to Perdition, The Untouchables, and The Color of Money. He has done voice-overs, commercials, and industrials, and currently teaches at Columbia College in Chicago.
WILLIAM ROSE SCREENWRITER
William Rose (1914-1987) was born in Missouri. Before the United States entered World War II, he volunteered for the Canadian Black Watch regiment. After the war, he stayed in England and took a screenwriting course. He wrote several successful British comedies, earning Oscar nominations for Genevieve (1953) and The Ladykillers (1955). He eventually returned to the United States, writing such hits as It’s a Mad Mad Mad Mad World (1963) and The Russians Are Coming! The Russians Are Coming! (1966), for which he received a third Oscar nomination. In 1967 he won the Academy Award for Best Original Screenplay for Guess Who’s Coming to Dinner.
TODD KREIDLER PLAYWRIGHT
Todd Kreidler worked with August Wilson as dramaturg on his plays Gem of the Ocean and Radio Golf. He developed and directed Wilson’s one-man show How I Learned What I Learned when Wilson performed it at Seattle Rep in 2003. He co-founded the August Wilson Monologue Competition, a national program aimed at integrating August Wilson’s work into high school curriculum. Kreidler’s stage adaptation of Guess Who’s Coming to Dinner premiered at True Colors Theatre Company in Atlanta in 2012. He wrote the book for the 2014 Broadway musical Holler If Ya Hear Me featuring the rap music of Tupac Shakur. He is currently working on several projects, including The Heroin Diaries, a musical with Mötley Crüe bassist Nikki Sixx based on Sixx's memoir and music, and a one-man show with songwriterproducer David Foster.
SKIP GREER DIRECTOR
As artist in residence for 21 years at Geva Theatre Center in Rochester, New York, Skip’s directing credits include Red, The Mountaintop, Last Gas, Freud’s Last Session, A Midsummer Night’s Dream, On Golden Pond, Over the Tavern, The House in Hydesville, Doubt, American Buffalo, Inherit the Wind, Key West, Death of a Salesman, The Weir, and The Triumph of Love. Other recent directing credits include Men on the Take at Repertory Theatre of St. Louis; King Lear at Shakespeare Santa Cruz; Velocity of Autumn with Beth Fowler, Talley’s Folly, Freud’s Last Session, and Almost, Maine at the Cape Playhouse; Steel Magnolias with Melissa Gilbert at Totem Pole Playhouse; and Golf with Alan Shepard with Charles Durning, Jack Klugman, and Paul Dooley at Gary Marshall’s Falcon Theatre. Last summer Skip directed Velocity of Autumn at the brand new White Heron Theatre in Nantucket. He has also acted in more than 40 productions in regional theatres across the country, and has toured Europe, Africa, Indonesia, New Zealand, Australia, and the Cook Islands, directing, performing, and teaching.
ROBERT M. KOHARCHIK SCENIC DESIGNER
Rob has designed more than 30 productions for the IRT, including all four Going Solo Festivals and such shows as The Mousetrap, On Golden Pond, The Mountaintop, The Miracle Worker, Crime and Punishment, To Kill a Mockingbird, Looking over the President’s Shoulder, Hamlet, Twelfth Night, Pride and Prejudice, Romeo and Juliet, and The Turn of the Screw. Robert works locally with the Indianapolis Civic Theatre and the Lilly Theatre at the Children’s Museum; and his regional credits include Repertory Theatre of St. Louis, Cleveland Play House, Cincinnati Playhouse in the Park, Weston Playhouse, Geva Theatre, and American Players Theatre. A 2000 & 2011 Arts Council–Lilly Endowment Creative Renewal Fellow, Robert holds an M.F.A. in set design from Boston University and a B.S. in theatre from Ball State. He teaches theatre design at Butler University.
B. MODERN COSTUME DESIGNER
B. is delighted to return to IRT to join old friends and new for this production of Guess Who’s Coming to Dinner. Past productions here include Art, A Lion in Winter, Death of a Salesman, The Grapes of Wrath, and Inherit the Wind. B. is an artistic associate at Santa Cruz Shakespeare in California and Geva Theatre Center in Rochester, New York. Regional design credits include productions at Oregon Shakespeare Festival, Old Globe Theatre, Denver Center Theatre Company, TheatreWorks, Geva Theatre Center, Asolo Rep, American Players Theatre, Saint Louis Rep, and the Jewel Theatre Company. Opera credits include Opera Theatre of Saint Louis and Opera San Jose. B. has served as guest lecturer and designer at the University of California Berkeley, UC Santa Cruz, and San Francisco State University.
KENDALL SMITH LIGHTING DESIGNER
At the IRT, Ken has designed The Whipping Man, The Lion in Winter, and Enter the Guardsman. His other theatre credits include Oregon Shakespeare Festival, Geva Theatre, Syracuse Stage, Pioneer Theatre, and North Shore Music Theatre. As the resident designer for Michigan Opera Theatre since 1989, he has designed more than 65 productions. Other regional opera credits include Florida Grand Opera, Opera Pacific, Minnesota Opera, Indianapolis Opera, Lyric Opera of Kansas City, and Virginia Opera. Upcoming productions include Little Women and La Fanciulla del West for Michigan Opera Theatre.
TODD MACK REISCHMAN SOUND DESIGNER
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.
THE COMPANY RICHARD J ROBERTS DRAMATURG
Richard has been resident dramaturg for 19 of his 27 seasons with the IRT. He has also been a dramaturg for the New Harmony Project and Write Now. He has directed the IRT’s productions of Bridge & Tunnel, The Night Watcher, Neat, Pretty Fire, The Giver (2009), The Power of One, and Twelfth Night, as well as four editions of A Christmas Carol; this season he assistant directed Finding Home and directs The Cay. Other directing credits include Actors Theatre of Indiana, the Phoenix Theatre, Edyvean Repertory Theatre, Indianapolis Civic Theatre, IndyShakes/Wisdom Tooth, Butler University, and Anderson University. Richard studied music at DePauw University and theatre at Indiana University. In 2003 he was awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis.
NATHAN GARRISON STAGE MANAGER
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).
CLAIRE SIMON CASTING
Based in Chicago, Claire Simon, C.S.A., has worked with the IRT on casting more than 30 productions, including Finding Home, The Three Musketeers, The Mousetrap, The Great Gatsby, The Game’s Afoot, The Mountaintop, The Crucible, The House That Jack Built, Dr. Jekyll and Mr. Hyde, Fallen Angels, The Diary of Anne Frank, Romeo and Juliet, The Heavens Are Hung in Black, Our Town, Inherit the Wind, Pride and Prejudice, and many more. Other regional credits include Syracuse Stage, Indiana Festival Theatre, Lyric Opera, Milwaukee Rep, New Theatre, Paramount, Writers Theatre, Broadway in Chicago’s Working, and the Tony Award–winning Million Dollar Quartet. TV credits include Empire, Sense8, Chicago Fire, Chicago PD, Crisis, Betrayal, Detroit 1-8-7, Boss, Mob Doctor, and Chicago Code. Film credits include Divergent, Contagion, Unexpected, and Man of Steel. Claire won an Artios Award this year for casting the pilot of Empire, and previously for Season 1 of Fox’s Prison Break.
OUR CO-PRODUCING PARTNER: GEVA THEATRE CENTER
Founded in 1972, Geva Theatre Center is a not-for-profit, professional theatre company dedicated to creating and producing professional theatre productions, programs, and services of a national standard. As Rochester’s leading professional theatre, Geva Theatre Center is the most attended regional theatre in New York State, and one of the 25 most subscribed in the country, serving up to 160,000 patrons annually, including more than 16,000 students. The 526-seat Elaine P. Wilson Mainstage is home to a wide variety of performances, from musicals to American and world classics. The 180-seat Ron & Donna Fielding Nextstage is home to Geva’s own series of contemporary drama, comedy, and musical theatre; Geva Comedy Improv; Geva’s New Play Reading Series; and the Hornet’s Nest: an innovative play-reading series facilitating community-wide discussion on controversial topics. In addition, the Nextstage hosts visiting companies of both local and international renown. Geva Theatre Center offers a wide variety of educational, outreach, and literary programs, nurturing audiences and artists alike. Since 1995, the organization has been under the artistic direction of Mark Cuddy.
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RANDY PEASE DIRECTOR OF EDUCATION After six years of teaching in a variety of classrooms across Indianapolis, Randy Pease is now in his third season as the IRT’s director of education.
HOW DID YOU FIRST GET INTERESTED IN THEATRE? My older brother and sister were both involved in theatre and choir in high school. When I was about seven my sister did Joseph and the Amazing Technicolor Dreamcoat, and my parents will tell you I sat in the front row and was transfixed. The next year my brother played the Tin Man in The Wizard of Oz, and I played the Munchkin Coroner.
alternative method to get young or transitioning professionals into the classroom. The immediate hope is that you are going to be a great teacher for a couple years. The long game is that, after you have spent time working in a low-income or high-needs community, whatever you do the rest of your life, even if you are no longer teaching, you are going to do it having that context of what those kids need. The big conversation is: what can we do to help kids?
I went to Indiana University Southeast in New Albany and majored in communications and theatre. After graduation, some friends and I founded a theatre company in Louisville. Specific Gravity Ensemble was a found-space environmental theatre company. Our claim to fame was Elevator Plays. Over the course of the evening you would ride four elevators up and down three times each and see 24 new two-minute plays. We also did Macbeth in an old chair factory, another piece in an art gallery, an after-hours play in the restrooms at Actors Theatre of Louisville—it was really great.
Through Teach for America I was hired by Herron High School to teach U.S. history and government. It was an interesting change. I did not study history. I had a lot of psych and sociology courses in my undergrad, and several semesters of theatre history, so I guess that led TFA to think I would be a good social studies teacher. I really, really loved it. I enjoyed the ability to build narratives, just as you would in a story or a play. I’ve been listening to Hamilton a lot: “who lives, who dies, who tells the story.” The narrative of history is really fascinating to me, and trying to get kids to buy into: it’s not a series of facts, it’s not a series of wars, it’s a story, told by people—with biases.
HOW DID YOU BECOME A TEACHER? My wife got a job here in Indianapolis, through Teach for America, and through her contacts I got a job substitute teaching at Oaklandon Elementary. They were great: I could do auditions, I did a couple shows around town, I did a little tour back in Louisville. Then I was a teacher’s aide for kids with special needs—mostly fourth and fifth graders on the autism spectrum. After a while, I realized I had stopped going to auditions, and that I was fulfilled emotionally and creatively by the kids I was working with. So I decided to apply to Teach for America myself. Teach for America recruits leaders who are early in their careers, to commit two years to teaching in high-need areas. It’s an 32
HOW DID YOU GET TO THE IRT? In between my two years at Herron, Janet Allen wrote a grant to bring TFA teachers to the IRT Summer Conservatory. Deep in my heart I wanted to teach theatre, so I jumped at the chance. As a teacher I knew what I was doing in the classroom, but also as someone who had studied and worked in theatre, I understood the content. When the four weeks was over, I said let me know if there’s ever anything you need. A year and a half later, I had left Herron and was training new teachers as part of the TFA staff, when I got an email from Janet saying, our education director is leaving, when can you interview? While I was teaching, I was so focused on education—I don’t think I saw a play for three years. The idea of coming back to theatre was very appealing. To get to use my theatre degree and the skills I had developed as a teacher—it was exciting. WHAT DO YOU DO HERE AT THE IRT? My job is making sure that any program that brings young people through our doors operates successfully. Whether it’s bringing school groups in for student matinees, or bringing kids in for classes or Summer Conservatory—I try to make sure that they get a good experience. Conservatory is our summer intensive acting and theatre production program. It’s focused on taking kids 8 to 18 and getting them in the rehearsal room with theatre professionals, with teaching artists and working actors who share what they know about performance, to make each student the best possible performer he or she can be. If you want to be better at speaking or presenting yourself, or just to build your confidence, it’s great for that. And for young people who want to audition, want to be
doing plays, it’s a training program like none other. Four weeks, eight hours a day, working directly with people who are making theatre in Indianapolis—you can’t ask for a better way to learn about performance. At student matinees we see kids from all over Indiana—56 of 92 counties. We bring them in to see live professional theatre— many of them for the first time. We don’t water it down. The same play that we are putting up for Friday night audiences, the kids see on a Tuesday morning. It exposes them to what theatre is, but it also gives them an opportunity to engage in a piece of cultural capital that they may not have otherwise encountered. They ask great questions. Seeing all of them gathered in the space, and the energy they bring—the theatre is now my classroom. My goal is always to broaden our audience. Finding the schools that aren’t coming, and helping them to understand what a trip to the IRT can do for their classroom. Getting more kids to come to our training programs, and saying, here’s what we offer to make you the best performer you can be. I’m excited about programs like Any Given Child that are coming to Indianapolis, that are going to help kids see the value of arts, help teachers and administrators and legislators see the value of arts, and hopefully that turns into more young people engaging. The idea that maybe some teenagers on a Friday night might go, hey, let’s go to the theatre—that’s what drives me. I want kids to have access to this art form. If they don’t want to become actors, I don’t care; but if they know that theatre is there, and that it has something to say—that’s hugely important to me. Left: Randy Pease working with students before a student matinee of IRT"s 2015 production of Peter Rabbit and Me. Photo by Amber Mills. Above: Randy Pease, photographed by Daniel Alecio.
THE UPPERSTAGE JAN 28 - FEB 26
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Director_____________ RICHARD J ROBERTS Scenic Designer_____________________ERIC BARKER Costume Designer___________________ WENDY MEADEN Lighting Designer_________________MICHAEL JACKSON Composer & Sound Designer____________ MATTHEW TIBBS Stage Manager_______________ ERIN ROBSON-SMITH*
m a k i n g t h e a rts h a p p e n
SEASON 2016 - 2017
Student Matinee Sponsor
Executive Artistic Director
THE CAST Phillip________________ DALYN STEWART Timothy__________DAVID ALAN ANDERSON*
THE SETTING 1942 The Dutch island of Curaรงao in the Caribbean Sea
ACKNOWLEDGEMENTS The Cay is produced by special arrangement with Dramatic Publishing, Woodstock, Illinois. Assistant Sound Designer: Alex Brock Assistant Lighting Designer: Natalie Spoerle * Actors and stage managers in this production who are members of Actors Equity Association, the Union of Professional Actors and Stage Managers in the United States. 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 one hour with no intermission.
WHAT UNITES US BY JANET ALLEN, EXECUTIVE ARTISTIC DIRECTOR
We actively look for opportunities to produce work that enlivens Indiana curriculum. The Cay provides us with an excellent theatrical challenge, as well as a wonderful chance to showcase great acting, all for the purpose of stirring the imaginations and deepening the understanding of our youth audience. While The Cay is clearly cinematic in its leaning, it is our hope that the opportunity to be in the room with actors playing these iconic characters will create indelible memories for thousands of Hoosier children, whether theyâ&#x20AC;&#x2122;ve read the book or not.
make it without each other. In order to survive, they must each discover that a person is not merely the sum of his or her skin color, gender, age, and economic circumstance, and that the essence of a person supersedes these surface identifiers. Kindness, generosity, honesty, patience, curiosity, ingenuity, and compassion are what truly identify a person and their value to humanity. We produce a play like this to make these values tangible, in hopes that our young audience will go away with more to consider about what unites us, not what separates us.
Tolerance and understanding between races and socioeconomic classes has emerged as the most pressing topic of our time. The Cay addresses these issues in the most fundamental way: these two people cannot
Above: Actors David Alan Anderson and Dalyn Stewart. Photo by Amber Mills.
U-BOATS IN THE CARIBBEAN BY RICHARD J ROBERTS, DRAMATURG
Although located far from the centers of battle in Europe and the South Pacific, the Caribbean Sea was an important front during World War II— particularly for the United States. The Royal Dutch Shell oil refinery on the island of Curaçao, located just off the coast of South America, was the largest in the world, shipping 11 million barrels of Venezuelan oil each month; and there were several other major refineries in the region. With Italy blocking access to oil from the Middle East, Venezuelan oil was vital to the Allied war effort. Equally significant was bauxite ore from the Guyanas, needed to make aluminum for U.S. military aircraft production. Perhaps most important was the Panama Canal, crucial to U.S. shipping and defense.
In February 1942, two months after the Japanese attack on Pearl Harbor, three German U-boats launched simultaneous assaults on tankers and refineries in Aruba, Curaçao, and the Gulf of Venezuela; soon there were as many as a dozen U-boats patrolling the area with regular attacks. In all, the Germans sank 336 vessels in the Caribbean in 1942; the increased effectiveness of U.S. anti-submarine operations reduced that number to 38 for the rest of the war. But in April 1942, when Phillip and his mother ship out from Curaçao for Miami, the Caribbean Sea is a very dangerous place.
BENEATH THE SURFACE BY RICHARD J ROBERTS, DIRECTOR
At first glance, Theodore Taylor’s book The Cay would seem to have all the elements of an exciting actionadventure tale: a world at war, midnight torpedo raids, a harrowing escape on a tiny raft to an uncharted cay—a coral reef that barely rises out of the sea. It’s a literary mash-up of perilous war story and desert island survival tale. But underneath these trappings it’s really a story about friendship. When Timothy and Phillip meet, they could not be more different: old and young, poor and privileged, black and white. In order to survive, they must overcome their differences and learn to work together. In that sense their challenge is very
like the challenge facing our nation today: to put aside preconceived notions that separate us and move forward together as one. Like Phillip and Timothy, it will not be easy for us—but our survival depends upon it. The challenge of bringing this intimate epic to the stage might seem equally daunting. How do you put the wide, fathomless sea on a 20-by-30-foot platform? How do you bring into the theatre a hurricane—or even harder, a cat? Just as Phillip expands his world view and learns to see Timothy in new ways, we ask that you, the audience, expand your vision and let your imagination bloom. We will not try to fool you with cutout palm trees or painted sunsets; but we will try to
inspire you with creative storytelling in which objects may or may not be what they seem to be. Just as Phillip and Timothy learn to look beyond surfaces and discover a common bond within, I believe that the best theatre happens when we each break through our protective shell and together find the story we all share. Only when we search beneath the skin can we find the beating heart of a true friend.
Right: Actors David Alan Anderson and Dalyn Stewart. Photo by Amber MIlls.
PUTTING THE SEA ON STAGE ERIC BARKER
The Cay presents many unique and exciting design challenges. With the story being told from the perspective of a child, one of my main objectives was to allow the audience to take their own personal journey of discovery within the scenic elements, much like a child’s imagination. The cycle of deconstruction and construction as part of survival is a powerful dichotomy to watch. Shapes and forms can be manipulated, both physically and with light, to spark ideas for both the characters and the audience.
MICHAEL JACKSON LIGHTING DESIGNER
The Cay is a story of overcoming adversities that are much larger than any single person: war, the humbling power of mother nature, and our own societal prejudices. When approaching the play from the standpoint of its lighting, my goal is to create an experience that helps the audience to meet these larger environmental forces in a visceral and emotionally resonant manner. With the scenery existing as a single, stationary island, the lighting must evoke the natural world—the ocean and sky, moving from isolated darkness through poetic dawn towards blazing sunlight— while also taking the audience along for Phillip and Timothy’s emotional journey of survival and personal transformation. Preliminary costume renderings for Phillip and Timothy by designer Wendy Meaden.
In The Cay, Timothy is a grown man whose clothes show not only his low social and economic status, but also his confidence and comfort with himself. Philip, a privileged boy, begins in clothes typical of a 1940s school uniform, projecting both his youth and the expectation of his eventualy rise to adulthood. Texture and color connect these characters to the setting as their lives are shaped by their time on the island. As the show progresses, the two characters begin to look more alike, with Timothy becoming more vulnerable, and Phillip maturing toward Timothyâ&#x20AC;&#x2122;s image. The gradual distressing of garments not only illustrates the passage of time, but also metaphorically indicates the stripping away of differences, revealing the essential similarity of all people.
COMPOSER & SOUND DESIGNER
Composers for centuries, from Beethoven to Ravel to Philip Glass, have attempted to represent nature in their music. For this production, the director and I chose to work in the musical traditions of impressionism and minimalism for the natural elements of The Cay. I've searched these genres for inspiration to see how composers have historically communicated these environments. I have at times borrowed a phrase and rearranged it; other times I've used an idea and created something completely new. I hope that the music both helps tell the story and opens your imagination to the world of The Cay. Rough preliminary sketch by scenic designer Eric Barker.
THE COMPANY DAVID ALAN ANDERSON TIMOTHY
IRT audiences have seen David in Finding Home, Fences, What I Learned in Paris, Julius Caesar, The Mountaintop, The Whipping Man, Radio Golf, Looking over the Presidents Shoulder, A Christmas Carol, and many others. He was nominated for Chicago’s Jeff Award for The Mountaintop at the Court Theatre. Other regional credits include the Guthrie Theater; CenterStage; Denver Theatre Center; Actors Theatre of Louisville; the Idaho, Pennsylvania, and Lake Tahoe Shakespeare festivals; and many more. Directing credits include The Color of Justice and Most Valuable Player on the IRT Upperstage and Two Trains Running and Topdog/Underdog at the Phoenix Theatre. He is a company member with the Penumbra Theatre. David has received a Creative Renewal Fellowship from the Arts Council of Indianapolis and a Lunt-Fontanne Fellowship sponsored by the Ten Chimneys Foundation, and he has been honored by the Circle City Links for his achievements in the arts.
DALYN STEWART PHILLIP
Dalyn made his IRT debut in Peter Rabbit and Me. He is 14 years old and has been acting since he was 8. He has played Avery in Charlotte’s Web, Sam in We the People, Edmund in The Lion, the Witch, and the Wardrobe, Dylan Thomas in A Child’s Christmas in Wales, Antony in Antshillvania, Colin in The Secret Garden, and Pliable in Pilgrim. Dalyn also loves singing, soccer, and computer programming.
THEODORE TAYLOR AUTHOR
Theodore Taylor (1921-2006) served in the U.S. Navy during World War II, later participating in the nuclear testing at Bikini Atoll. He worked in Hollywood as a press agent and producer’s assistant, writing screenplays, and producing and directing documentaries. He wrote more than 50 books in a wide variety of genres, from military history to biography to suspense to young adult literature. The Cay (1969) is his most well-known work. He wrote it in three weeks; it has sold 4 million copies around the world. In 1993 he published a prequel/sequel, Timothy of the Cay. Among his other books are The Weirdo (winner of the 1992 Edgar Award for Best Young Adult Mystery), The Bomb (inspired by his experiences at Bikini Atoll), and an autobiography titled Making Love to Typewriters.
GAYLE CORNELISON PLAYWRIGHT
Gayle Cornelison founded the California Theatre Center in 1976 and is still leading the company in its 41st season. He has written more than 25 plays. The IRT produced his Most Valuable Player in 1996 and 2004.
RICHARD J ROBERTS DIRECTOR
Richard has directed the IRT’s productions of Bridge & Tunnel, The Night Watcher, Neat, Pretty Fire, The Giver, The Power of One, and Twelfth Night, as well as four editions of A Christmas Carol; earlier this season he was assistant director for Finding Home. Other directing credits include Sweeney Todd, My Fair Lady, The 39 Steps, and The Musical of Musicals at Actors Theatre of Indiana, as well as productions at the Phoenix Theatre, Edyvean Repertory Theatre, Indianapolis Civic Theatre, IndyShakes/Wisdom Tooth, Butler University, and Anderson University. Richard has been resident dramaturg for 19 of his 27 seasons with the IRT. He 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.
ERIC BARKER SCENIC DESIGNER
Eric is the assistant professor of scenic design and technology at Valparaiso University. His recent design work includes King Lear, The Comedy of Errors, A Midsummer Night’s Dream, and Titus Andronicus for the Richmond Shakespeare Festival; Vanya and Sonia and Masha and Spike, The Elephant Man, Peter and the Starcatcher, The Final Table, and My Name Is Asher Lev for CATCO; I and You for Repertory Theatre of St. Louis; The Glass Menagerie for the Human Race Theatre; Armide and The Marriage of Figaro for Opera Columbus; Urinetown, In the Next Room, and Twelfth Night at Earlham College; and The Merry Wives of Windsor at Santa Cruz Shakespeare. Eric has also served as the visiting assistant professor of theatre arts at Earlham College. He received his M.F.A. in scenic design from the University of California—Irvine and his B.A. from the Ohio State University. ericbarkerdesigns.com
WENDY MEADEN COSTUME DESIGNER
Wendy is always pleased to return to the IRT, where she has designed Neat, Holes, Pretty Fire, The Year of Magical Thinking, After Paul McCartney, This Wonderful Life, And Then They Came for Me, and Rosa Parks and the Montgomery Bus Boycott, and where she enjoyed ten years on the staff as a draper. Locally, she has has also designed for ShadowApe, Susurrus, the Phoenix Theatre, Conner Prairie, and many projects at the Children’s Museum. Wendy is on the faculty of Butler University.
MICHAEL JACKSON LIGHTING DESIGNER
Michael is delighted to make his IRT debut. Regional theatre credits include ten productions for Cardinal Stage Company, including Next to Normal, August: Osage County, and One Flew Over the Cuckoo’s Nest. He has also designed for the Phoenix Theatre, the Florida Studio Theatre, and the Crossroads Repertory Theatre. New York credits include productions at the Wild Project, Here Arts Center, Dixon Place, and P.S. 122. Michael teaches in the Department of Theater at Indiana State University, where he serves as associate professor and resident lighting and scenic designer. An Indiana native, he earned his undergraduate degree from the University of Evansville, and his M.F.A. in lighting design from NYU.
MATTHEW TIBBS COMPOSER & SOUND DESIGNER
Matthew is an assistant professor in the Department of Theatre and Dance at Ball State University. Recent work includes sound designs of Julius Caesar at Great River Shakespeare Festival, Fire on Babylon at the 2016 Fresh Fruits Festival in NYC, and Violet at the Clarence Brown Theatre. Matthew’s nearly 100 sound designs have been seen on stages nationally, including New York City, Chicago, Washington D.C., Cincinnati, Salt Lake City, and Portland, Oregon. His film work has been seen at festivals nationally and internationally. For the past five years, he has designed sound for Great River Shakespeare Festival. Prior to his position at Ball State, Matthew spent three years as resident sound designer for Pioneer Theatre Company and as adjunct faculty at University of Utah. He earned his B.A. at George Fox University and his M.F.A. at University of Cincinnati’s College-Conservatory of Music.
ERIN ROBSON-SMITH STAGE MANAGER
Since moving to Indianapolis in 2013, Erin has had the pleasure of working with IRT and its incredible staff. Favorite productions include Finding Home and And Then They Came for Me at IRT; Sometimes a Great Notion, How to Disappear Completely and Never be Found, and Frost/Nixon at Portland Center Stage; Metamorphoses, Frozen, and Copenhagen at Artists Repertory Theatre; and Lonesome West and Number Three at Third Rail Repertory Theatre. Erin spent the summers of 2008 and 2009 working with the JAW Festival at Portland Center Stage. “For Nicholas.”
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 Indianaâ&#x20AC;&#x2122;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 firstname.lastname@example.org | 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.
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THE SUPPORTING CAST INDIANA REPERTORY THEATRE DONORS WHAT IF YOU SAW ONLY HALF THE PLAY? Ticket revenue covers just half of what it costs to produce world-class professional theatre at the Indiana Repertory Theatre. The IRT gratefully acknowledges the remarkable support we receive from our generous and committed donors whose contributions ensure that the show does go on! *Denotes a sustaining member
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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 donâ&#x20AC;&#x2122;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.
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THE SUPPORTING CAST INDIANA REPERTORY THEATRE DONORS DONOR GUILDS
ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2016 - NOVEMBER 23, 2016
* Denotes Sustaining Member DRAMA GUILD $650 - $1,499
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TRIBUTE GIFTS In Honor of Janet Allen: Tom & Nora Hiatt
In Honor of Jeff & Benita Thomasson: Dan & Diana Yates
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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
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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
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ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2016 - NOVEMBER 23, 2016
We are enormously grateful to the Cohens for this visionary gift which directly benefits students attending all of our many student matinees this season and in future seasons as well.With the support of this fund, the IRT is able to underwrite ticketing four our young audiences. Eli Lilly and Company 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
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.
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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 Whoâ&#x20AC;&#x2122;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 peopleâ&#x20AC;&#x2122;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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