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THE ONEAMERICA MAINSTAGE NOVEMBER 14 - DECEMBER 24
Original artwork by Kyle Ragsdale
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APPLAUSE TO A TRUE COMMUNITY CHAMPION ONEAMERICA
2017-2018 SEASON SPONSOR
For more than 40 years, the Indiana Repertory Theatre has brought together actors, friends, families and neighbors to enjoy great entertainment and unique performances. We are proud to continue our support of the IRT and its significant cultural contributions. We hope that you will enjoy the 2017-2018 Season.
—Scott Davison, OneAmerica Chairman, President, and CEO
In a world of change, our focus is steadfast.
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OUR MISSION & VISION MISSION
Mission & Values
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.
14 Board of Directors
The Indiana Repertory Theatre will be a life-long destination of choice for an ever-expanding audience 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's goal is to make Indiana a dynamic 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.
8 Leadership 12 Staff
16 A Christmas Carol 24 Company bios for A Christmas Carol 32 Interview: Michael Lincoln 52 Donor Listing
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Photography of the set without actors and with proper credit to the scenic and lighting designers is permitted. (A Christmas Carol Credit: Pg. 16)
Due to union agreements, photography and audio recording are not permitted during the performance. The videotaping of productions is a violation of United States Copyright Law and an actionable Federal Offense. 5
Proud to be associated with the Indiana Repertory Theatre since 1989
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performance spaces (OneAmerica Mainstage, Upperstage, and The 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
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 more than 100,000 live professional theatre experiences for its audience last season. These experiences included 38,000 students and teachers from 53 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 Indiana Theatre, which was renovated to contain three
• 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 Appoggiatura. • 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 Margaret Lehtinen at 317.916.4880 for more information. • Opportunities The IRT depends on the generous donation of time and energy by volunteer ushers; call 317.916.4880 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, Romeo and Juliet, and The Town Mouse and the Country Mouse offer extensive opportunities for student attendance. • Educational Programs Auxiliary services offered include visiting artists in the classroom, study guides, pre- and post-show discussions, and guided tours of the IRT’s facilities. • Classes From creative dramatics to audition workshops to Shakespeare seminars, the IRT offers a wide array of personal learning opportunities for all ages, including our Summer Conservatory for Youth. Call 317.916.4842 for further information. 7
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 46-year legacy this season, she directs A Christmas Carol and Looking Over the President’s Shoulder.
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 and 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. Named the IRT’s fourth artistic director in 1996, she is now in her 22nd 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 playwrightin-residence for 20 years, and the creation and production of 16 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 Doris Duke Charitable Foundation, as well 8
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 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. In July 2017 Janet was named an Indiana Living Legend by the Indiana Historical Society. 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, and a lovely canine mutt.
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, she worked in finance for more than 10 years, living in such varied locales as Washington, DC; Dallas, Texas; Frankfurt, Germany; Honolulu, Hawaii; and even working for three months in Auckland, New Zealand (where, yes, she went bungee jumping). She is a proud alum of the Stanley K. Lacy Leadership Program (Class XXXI). Suzanne lives in the Old Northside with her 14-year-old son, Jackson, and their foxhound rescue dog, Gertie, and spends some of her downtime in Palatine, Illinois, with her partner, Todd Wiencek. Opposite: Kim Staunton and Lauren Briggeman in the IRT's 2016 production of Finding Home: Indiana at 200. Photo by Zach Rosing. Below: Rob Johansen and Elizabeth Laidlaw in the IRT's 2016 production of The Three Musketeers. Photo by Zach Rosing.
LEADERSHIP: SUZANNE SWEENEY MANAGING DIRECTOR
Suzanne is a 19-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 maintaining a brilliant team whose members expertly manage all of the administrative areas. She is excited to be moving into year five of this leadership role of the organization she loves, alongside her mentor and friend Janet Allen. 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 (now Early Learning Indiana) for seven years, and a past treasurer of IndyFringe.
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 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, Australia and New Zealand.
LEADERSHIP: JAMES STILL PLAYWRIGHT-IN-RESIDENCE
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, Shattered Globe, Illusion Theater, and the Mark Taper Forum.
During James’s 20 years as playwright-in-residence, IRT Recent premieres at other theatres include the Denver Center audiences have seen his plays Miranda; April 4, 1968: Before We Theatre production of Appoggiatura, which was a nominee for Forgot How to Dream; The House That Jack Built; I Love to Eat: Outstanding New Play for the Henry Awards at the Colorado Cooking with James Beard; The Velveteen Rabbit; The Heavens Theatre Guild. Miranda premiered at Illusion Theater in Are Hung in Black; Interpreting William; Iron Kisses; Looking Over Minneapolis just before its IRT production. The Widow Lincoln the President’s Shoulder (twice); The Gentleman from Indiana; premiered at Ford’s Theatre in Washington, DC, marking the 150th Searching for Eden; He Held Me Grand; And Then They Came anniversary of President Lincoln’s death. James’s short play When for Me: Remembering the World of Anne Frank (thrice); Amber Miss Lydia Hinkley Gives a Bird Waves; and The Secret History of IN 2017, SARAH & JOHN LECHLEITER GAVE A GIFT TO THE the Bird has appeared in several the Future. He has also directed IRT IN HONOR OF JAMES STILL’S LONG-TIME RELATIONSHIP festivals around the country after many productions at the IRT, WITH THE IRT, CREATING THE JAMES STILL PLAYWRIGHT-INits premiere with Red Bull Theatre including Dial “M” for Murder, RESIDENCE FUND, WHICH WILL PROVIDE FUTURE SUPPORT in New York. New plays include The Mystery of Irma Vep, Red, FOR THE PLAYWRIGHT-IN-RESIDENCE AS WELL AS THE an adaptation of the classic Black Other Desert Cities, God of CREATION OF NEW WORK FOR THE IRT. Beauty commissioned by Seattle Carnage, Becky’s New Car, Rabbit Children’s Theatre, and a new play called (A) New World. Hole, Doubt, Bad Dates, Plaza Suite, The Immigrant, and Dinner with Friends, as well as his own I Love to Eat, Looking over the James also works in television and film and has been nominated President’s Shoulder (2001), and Amber Waves. This season for five Emmys and a Television Critics Association Award; he has the IRT produces his plays Appoggiatura and Looking Over the twice been a finalist for the Humanitas Prize. He was a producer President’s Shoulder, and he directs The Originalist. and head writer for the series PAZ, the head writer for Maurice James is an elected member of the National Theatre Conference Sendak’s Little Bear, and writer for the Bill Cosby series Little Bill. in New York, and a Kennedy Center inductee of the College of He wrote The Little Bear Movie and The Miffy Movie as well as the Fellows of the American Theatre. Other honors include the Todd feature film The Velocity of Gary. James grew up in Kansas and McNerney New Play Prize from the Spoleto Festival, William lives in Los Angeles. 10
Bay Area Children’s Theatre. At Berkeley Rep he created innovative community engagement programs to build and diversify audiences, and he facilitated youth development and leadership through the company’s Teen Council and representation at national conferences. Celebrating the work of young artists, he produced five festivals of plays written, directed, designed, and performed by Bay Area teens. At the Bay Area Children’s Theatre, he served as a director and interim artistic director, developing three world premiere musicals adapted from children’s literature, creating a new student matinee program, and overseeing a successful move into a new theatre building and campus.
LEADERSHIP: BENJAMIN HANNA ASSOCIATE ARTISTIC DIRECTOR
Ben is a director, new play developer, educator, and community engagement specialist whose passion for multigenerational theatre has influenced his work across the country with companies such as Berkeley Repertory Theatre, Children’s Theatre Company, Penumbra Theatre, Seattle Children’s Theatre, Steppingstone Theatre, and the Bay Area Children’s Theatre. In all of his myriad roles, Ben is guided by the belief that access to high-quality theatre helps build creative, empathetic people and healthy communities.
In his native Minnesota, Ben was privileged and honored to serve on the education staff of Penumbra Theatre Company, the nation’s leading African American theatre, where he helped to expand their education and outreach offerings. His proudest accomplishments during his four years with the company include growing the nationally recognized Summer Institute for Activist Artists into a three-year multidisciplinary social justice theatre training program, developing a multigenerational quilting circle, and helping to create and facilitate a racial equity training program through the company’s RACE workshop series. Ben holds a degree in theatre arts from the University of Minnesota Twin Cities. He grew up on a small rural farm and fell in love with theatre at the age of eleven. He continues to create for his new favorite audience: his five nieces and nephews. Ben is excited to make his home in Indianapolis, to learn from the amazing team of artists and administrators at IRT, and to get to know (and no doubt love) this new and diverse community. Antonio King and Lex Lumpkin in IRT's 2017 production of Stuart Little. Photo by Zach Rosing.
Ben is thrilled to begin his first year on the leadership team at Indiana Repertory Theatre. He joins IRT following the completion of a prestigious 18-month Theatre Communications Group Leadership University Award. This highly competitive grant, administered by TCG and funded by the Andrew W. Mellon Foundation, supported his artistic associate position at the Children’s Theatre Company in Minneapolis, the nation’s largest theatre for young audiences. During his tenure at CTC, Ben directed in-house productions and took shows across the globe, as far afield as South Africa; he played a key role in fundraising, management, education, and strategic planning processes; and he helped guide the organization in addressing historical inequities and ensuring that the company’s work reflected the diversity of the local community. Prior to his role at CTC, Ben spent five years in California’s Bay Area, dividing his time between Berkeley Repertory Theatre and the
INDIANA REPERTORY THEATRE STAFF & ASSOCIATES EXECUTIVE ARTISTIC DIRECTOR
Associate Artistic Director Benjamin Hanna 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
Teaching Artists Chelsea Anderson Andrew Black Emily Bohn Callie Burk Hartz Ronn Johnstone Beverly Roche Milicent Wright
Wardrobe Supervisor Rachel Taylor Shop Assistant Jason Gill ELECTRICS
Master Electrician Beth A. Nuzum Assistant Master Electrician Elizabeth G. Smith Electrician Matt Griffin PAINT SHOP
Charge Scenic Artist Claire Dana Assistant Charge Scenic Artists Jim Schumacher Robyn Vortex PROPERTIES SHOP
Properties Manager Geoffrey Ehrendreich Properties Carpenter Christina Buerosse Properties Artisan Rachelle Martin Wilbur SCENE SHOP
Technical Director Chris Fretts
Electricians Lee Edmundson Jonathan Harden Luke Hoefer
Scenic Painter Lee Edmundson
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 Audio Engineer Maggie Hall Audio Video Engineer Alec Stunkel STAGE MANAGEMENT
Production Stage Manager Nathan Garrison Stage Manager Erin Robson-Smith Production Assistants Claire Stark Rebecca Roeber Young Actor Liaison Jessica Hughes
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 Eric J. Olson Donor Relations Manager Maggie Barrett Schlake Development Systems Brady Clark EDUCATION
Director of Finance Greg Perkins Assistant Controller Danette Alles Payroll & Benefits Specialist Jennifer Carpenter INFORMATION SYSTEMS
Director of Information Systems Dan Bradburn MARKETING
Director of Marketing & Sales Danielle M. Dove Marketing Communications Manager Carolyne Holcomb Audience Development Manager Elizabeth Petermann Graphic Designer Amber Mills Junior Designer & Digital Media Coordinator Alexis Morin
Director of Education Randy D. Pease Youth Audience Manager Sarah Geis
Video Production Associate Caitlin Flowers EDUCATION
Education Intern Evy Burch
External Auditors Crowe Horwath LLP Legal Counsel Heather Moore
Group Sales & Teleservices Manager Doug Sims Assistant Teleservices Manager Jeff Pigeon
Assistant House Managers Pat Bebee Terri Bradburn Marilyn Hatcher Bill Imel Norma Johnson Alicia McClendon Sherry McCoy Gail McDermott-Bowler Dianna Mosedale Melanie Overfield Deborah Provisor
Teleservices Representatives Tom Detmer Akeem Harris Jesse Jones Matt Kennicutt Victoria Smith Carolynne Tropepe PATRON SERVICES
Operations Manager Robert Steele Manager of Public Operations Margaret Lehtinen Assistant Ticket Office Manager Jessie Streeval Tessitura Administrator Molly Sweets House Manager Heather Uuk Customer Service Representatives Cara Clapper Barbara Janiak Hannah Jenkins Jacob Peterman Gift Shop & Customer Service Rep. Eric Wilburn Group Sales & Customer Service Rep. Kimberly Reeves Building Services Dameon Cooper Dave Melton
Phoebe Rodgers Kathy Sax Judy Seigle Karen Sipes Maggie Ward Heather Welling Bartenders Gayle Durcholz Sandra Hester-Steele Nancy Hiser Susan Korbin Tina Weaver
BOARD OF DIRECTORS OFFICERS CHAIR
VICE CHAIR & CHAIR ELECT
-Faegre Baker Daniels
-PNC Wealth Management
-The Lacy Foundation
IMMEDIATE PAST CHAIR
Michael J. Harrington -Eli Lilly and Company
Mark Shaffer -KPMG LLP
MEMBERS * Past Board Chairs
Tammara D. Avant
Michael N. Heaton
Sharon R. Barner
-Taft Stettinius & Hollister LLP -Cummins, Inc.
-Wells Fargo Advisors
Keith A. Bice
-Bingham Greenebaum Doll LLP
-Katz Sapper & Miller
-Calumet Specialty Products Partners L.P.
Michael P. Dinius
-Noble Consulting Services, Inc.
Richard D. Feldman
-Franciscan Health Indianapolis
-CNO Financial Group, Inc. -Community Volunteer
-AES US Services and IPL
-OneAmerica Financial Partners, Inc.
James W. Freeman
Lawren K. Mills
-OneAmerica Financial Partners, Inc., Retired -Jump IN for Healthy Kids
Ricardo L. Guimarães -Dow AgroSciences
-Oxford Financial Group
-Ice Miller LLP
Ann Colussi Dee -Eli Lilly and Company, Retired
Peter N. Reist
-Central Indiana Community Foundation
Susan O. Ringo
Mary Beth Claus -IU Health
-Ice Miller Strategies LLP, Ice Miller LLP -Frost Brown Todd, LLC
Timothy W. Oliver
-JP Morgan Chase Bank, NA
-Community Volunteer -BMO Harris Commercial Banking
Wayne Schmidt -Schmidt Associates
-Cushman & Wakefield
Mike Simmons -Jupiter Peak, LLC
-Second Helpings, Inc.
Amy Waggoner -Salesforce
L. Alan Whaley -Ice Miller LLP
William O. Williams II -UnitedHealthcare
-Frost Brown Todd LLC
BOARD EMERITUS * Past Board Chairs
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*
TOM FROEHLE BOARD CHAIR
Welcome to the IRT! On behalf of the IRT’s Board of Directors and staff, thank you for joining us for another outstanding performance created right here at Indiana’s leading professional theatre. Great theatre sparks conversations, thoughtful questions, and ideas that reflect on and carry into our lives, workplaces, and communities. Whether you’ve been part of the IRT family for years or are a first-time visitor, we are glad you are with us! As we celebrate our 46th season, we also want to thank you for supporting the IRT’s mission to bring world-class theatre to adult and youth audiences across the state. Your attendance, your gifts, and your good will are critical to our ongoing ability to serve the people of Indiana. 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, and we look forward to seeing you again soon!
Original artwork by Kyle Ragsdale
DONâ&#x20AC;&#x2122;T MISS THE REST OF OUR 2017-2018 SEASON BUILD YOUR OWN 3 PACKAGES STILL AVAILABLE FOR $171, BUY NOW!
SEPTEMBER 19 - OCTOBER 14 CAPTIVATING MYSTERY
JANUARY 10 - FEBRUARY 3
OCTOBER 17 - NOVEMBER 19
NOVEMBER 18 - DECEMBER 24
JANUARY 27 - MARCH 3
FEBRUARY 24 15 - MARCH 25
INSPIRING AMERICAN CLASSIC
HEARTBREAKING LOVE STORY THE STORY OF AN UNSUNG PATRIOT
MARCH 7 - MARCH 31
MARCH 27 - MAY 6
THE STORY OF AN UNSUNG PATROIT
HOLIDAY TRADITION VENETIAN ESCAPADE
APRIL 24 - MAY 20 UPROARIOUS BACKSTAGE COMEDY
IRTLIVE.COM/SEASONTICKETS | 317.635.5252
ONEAMERICA MAINSTAGE NOVEMBER 14 DECEMBER 24 REVIEWS:
- Facebook/Twitter: #irtlive - Email: firstname.lastname@example.org PHOTO CREDIT (SET ONLY):
- Scenic Designer: Russell Metheny, @russellmetheny - Lighting Designer: Michael Lincoln, michaellincoln.net
DIRECTOR___________________ JANET ALLEN
Scenic Designer____________________ RUSSELL METHENY Costume Designer____________________ MURELL HORTON Lighting Designer___________________ MICHAEL LINCOLN Composer & Sound Designer______________ANDREW HOPSON Assistant Director___________________ BENJAMIN HANNA Choreographer_______________________ DAVID HOCHOY Musical Director_______________________ TERRY WOODS Dramaturg________________________RICHARD J ROBERTS Stage Managers_____________________NATHAN GARRISON* ERIN ROBSON-SMITH* Assistant Stage Manager_______________BRIAN S. NEWMAN*
SEASON 2017 - 2018
FAMILY SERIES SPONSOR
m a k i n g t h e a rts h a p p e n
Executive Artistic Director
THE CAST CHRISTMAS EVE Narrators_________THE COMPANY Ebenezer Scrooge_ RYAN ARTZBERGER* Bob Cratchit_____ JEREMY FISHER* Fred_______CHARLES PASTERNAK* Felicity________ ASHLEY DILLARD* Portly Gentleman_ MARK GOETZINGER* Sister of Mercy___MILICENT WRIGHT* Mrs. Cratchit______ EMILY RISTINE* Belinda Cratchit___JORDAN PECAR or NINA R. MOREY Peter Cratchit_____GIDEON ROARK or MILES M. MOREY Tiny Tim________ TOBIN SEIPLE or MADDIE MEDLEY Waiter_______ SCOT GREENWELL* Marley's Ghost_____CHARLES GOAD* CHRISTMAS PAST Ghost__________ EMILY RISTINE* Schoolmaster_______JOEY COLLINS* Postboy_________SCOT GREENWELL* Fezziwig_________CHARLES GOAD* Young Scrooge_ CHARLES PASTERNAK* Young Marley_____ JEREMY FISHER* Mrs. Fezziwig__ JENNIFER JOHANSEN* Millworkers________ THE COMPANY Belle_________ ASHLEY DILLARD* Belle's Husband__ SCOT GREENWELL*
CHRISTMAS PRESENT Ghost________MILICENT WRIGHT* Henrietta Cratchit or___CAMIL MCGHEE or Henry Cratchit AIDAN BETTS Betsy Cratchit_______ ALI D. BOICE or ELISE KELIAH BENSON Martha Cratchit___ASHLEY DILLARD* Lamplighter____ SCOT GREENWELL* Plump Sister__ JENNIFER JOHANSEN* Roses Sister_______ EMILY RISTINE* Nutley__________ JOEY COLLINS* Topper_________ CHARLES GOAD* CHRISTMAS FUTURE Ghost________SCOT GREENWELL* Brokers__________ CHARLES GOAD* CHARLES PASTERNAK* Old Joe_______MARK GOETZINGER* Charwoman____MILICENT WRIGHT* Laundress___ JENNIFER JOHANSEN* Undertaker________JOEY COLLINS* CHRISTMAS DAY Poulterer's Man_____JOEY COLLINS* Londoners_________THE COMPANY
SETTING The performance will last 90 minutes with no intermission.
ACKNOWLEDGMENTS Dance Captain & Choral Leader: Emily Ristine Understudy for Scrooge: Charles Goad Swings: Chelsea Anderson & Tyler Ostrander Lighting Design Assistants: Bentley Heydt & Moneé Stamp *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. The scenic, costume, lighting, sound, and projection designers are represented by United Scenic Artists Local 829, IATSE. Photography of the set without actors and with proper credit to scenic and lighting designers is permitted. Due to union agreements, photography and audio recording are not permitted during the performance. The videotaping of productions is a violation of United States Copyright Law and an actionable Federal Offense.
ELI LILLY AND COMPANY FOUNDATION — A CHRISTMAS CAROL MESSAGE
The Eli Lilly and Company
Foundation is proud to be the Title Sponsor of A Christmas Carol. This wonderful production brings Dickens’ language and characters thrillingly to life. We are honored to help the IRT make this play available to you and hope you enjoy the performance. We also hope that you join us in supporting the IRT and applauding the many contributions they make to our community throughout the year. Robert L. Smith President, Eli Lilly and Company Foundation
Ryan Artzberger in IRT's 2015 production of A Christmas Carol. Photo by Zach Rosing.
CHARLES DICKENS AUTHOR
TOM HAAS PLAYWRIGHT
The works of the great English novelist Charles Dickens are not only great literature, they are also cracking good reads, with one-of-a-kind characters and stories that both tug at the heartstrings and leave readers breathless with excitement. But the author’s purpose went beyond mere entertainment; his books were almost always designed to alert his readers to the wretched conditions of England’s poor and destitute. Born in 1812, Dickens suffered an impoverished childhood that provided plenty of grist for tales of debtors’ prison and rat-infested factories. Yet despite this poverty and his lack of formal education, he rose from legal clerk to newspaper columnist to best-selling author by the age of 24. During his lifetime, his books—Oliver Twist, Great Expectations, David Copperfield, and many more—were wildly popular, not only in England but also around the world; most are still in print. When A Christmas Carol was published in 1843, the holiday was not widely celebrated in England; the book inspired such a revival that the author became known as Father Christmas. In his later years, Dickens made almost a second career of public readings of this beloved novel. Long before he died in 1870, he was hailed everywhere as the greatest writer of his age.
Tom Haas was artistic director of the IRT from 1980 until his untimely death in 1991. Prior to his association with the IRT, he was artistic director of PlayMakers Repertory Company in Chapel Hill, North Carolina. He was associate director at Yale Repertory Theatre and head of the Acting-Directing Program at Yale University, where his students included Henry Winkler, Sigourney Weaver, and Meryl Streep. At the IRT, Tom directed 40 productions, including memorable renditions of A Midsummer Night’s Dream, Mourning Becomes Electra, The Skin of Our Teeth, The Cocktail Party, Six Characters in Search of an Author, and, of course, A Christmas Carol. IRT audiences also saw his stage adaptations of Frankenstein, Dracula, and The Three Musketeers, as well as the musical Operetta, My Dear Watson and dozens of Cabaret shows. Tom’s adaptation of A Christmas Carol was produced at the IRT annually from 1980 through 1984. The play returned in 1996 and has been a welcome holiday tradition ever since.
REMINDERS Have you ever wondered why A Christmas Carol continues to bring so much joy to so many, despite the many strands of unfortunate events contained in the tale? Dickens knew more than a little about human nature. He knew that some of the best lessons in living come after we go through darkness and learn to appreciate life anew. His tale dramatizes a maxim that we often forget: money doesn’t buy happiness. The Cratchits, despite their economic struggles, are “happy, grateful, pleased with one another, and contented with the time.” Scrooge, for all his wealth, is “a wrenching, grasping, scraping, clutching, covetous old sinner; hard and sharp as flint, from which no steel had
ever struck out generous fire.” Although most of the time we’re too consumed by our own challenges to really see our lives with much clarity, theatre is an excellent place to experience allegory. Somehow, we can transpose its lessons into our own lives. We seem to be at no loss today for continuous public displays of what’s worst about human nature. Finding something we can all celebrate about humanity seems to elude us. Dickens, too, was living in a time of great change and unrest. The Industrial Revolution was rather like our Tech Revolution in the speed at which change was jarring people into the kind of freefall that can unhinge humans from remembering their best selves. At times like these,
BY JANET ALLEN, EXECUTIVE ARTISTIC DIRECTOR
great writers gravitate to telling timeless stories: stories that focus on generosity, on the need for human connection, on the importance of seeing and helping others. Scrooge lives in self-imposed isolation: he does not experience his humanity at all except as an act of survival. The spectral journey that Dickens launches Scrooge into is meant to jar him back into touch with his humanity by reminding him of what heâ&#x20AC;&#x2122;s lost: his attachment to nature, to other people, to the joys of love. He needs very serious reminding.
season of looking around ourselves to see how we can reach out, how we can be of service, how we can experience our humanity anew. Thanks, Mr. Dickens, for handing us this renewing lesson across 170 years. Perhaps you knew that we were still going to need it. The cast of IRT's 2016 production of A Christmas Carol. Photo by Zach Rosing.
Perhaps we all need reminders in this festive season. Reminders that it is the season of giving, not taking; the 21
"OF ALL THE GOOD DAYS OF THE YEAR, ON CHRISTMAS EVE" RUSSELL METHENY SCENIC DESIGNER It’s ironic, but as a scenic designer the thing I love most is great performances. I love creating an empty space in which great performances happen. That’s what this set is all about: an empty field of snow in which wonderful
actors tell a wonderful story. When I see something on stage that is not what it is and looks like something else— that to me is great theatre.
MICHAEL LINCOLN LIGHTING DESIGNER Well of course, the first thing is the snow. That enormous field of white offers a technical challenge to a lighting designer. It’s harder to create isolated lighting effects; everything just bounces all over the place. But I also have unique opportunities, such as creating silhouettes against the snow. In terms of design, the snow functions very much like a sky drop—it’s a blank canvas on which I can paint any color. This production does not rely on theatrical “effects.” It’s all about the magic created between the actors and the audience. There are always new discoveries to make in the snow. It’s an unnerving yet exhilarating process. Right: Preliminary set rendering by scenic designer Russell Metheny. Opposite: Renderings by costume designer Murell Horton for the Charwoman, Fred, and the Lamplighter.
ANDREW HOPSON COMPOSER The pipe organ has the distinction of being associated with three diverse concepts: religion, theatre, and phantoms. Using an organ as one of the main instruments in A Christmas Carol was an obvious choice. For ghostly sound effects, I ended up using four metal instruments: for Marley, I used a waterphone (an instrument invented—
I think—for the movie Aliens); for Christmas Past, I used wind chimes: for Christmas Present, I experimented with harp strings; for Christmas Future, I played a cymbal with a violin bow, and dragged a chain inside a piano.
MURELL HORTON COSTUME DESIGNER
One of the original goals for this design was to create costumes authentic to the period, based on real Victorian clothing rather than fanciful ideas of nostalgia. The clothes for this period (1840s) are industrial—top hats were called stove pipes—and
dark, with sharp silhouettes against the beautiful snow (which is so white it makes its own set of rules). But the play also ventures into the past, which has a more dreamy, foggy, candlelit look; and into the future, which is darker and creepier.
THE COMPANY RYAN ARTZBERGER EBENEZER SCROOGE
Ryan’s IRT credits include A Christmas Carol, The Three Musketeers, The Mousetrap, To Kill a Mockingbird, The Great Gatsby, The Crucible, A Midsummer Night’s Dream, Dr. Jekyll and Mr. Hyde, God of Carnage, Julius Caesar, Fire in the Garden, Romeo and Juliet, Rabbit Hole, Iron Kisses, Our Town, Death of a Salesman, He Held Me Grand, Macbeth, and The Herbal Bed; he will be seen later this season in Romeo and Juliet and Noises Off. Ryan is a member of Indianapolis Shakespeare Company, where he has appeared in The Winter’s Tale, Twelfth Night, The Tempest, The Taming of the Shrew, and Othello, and where this past summer he directed As You Like It. At the Phoenix Theatre he performed in Reasons to Be Pretty. Regional credits include the Shakespeare Theatre and the Studio Theatre in Washington, D.C., Shakespeare Santa Cruz, the Goodman Theatre, Berkeley Rep, Kansas City Rep, the Lookingglass, Great Lakes Theater Festival, the Denver Center, New Jersey Shakespeare, and Playmakers Rep. Ryan is a graduate of Ohio University and the Juilliard School.
JOEY COLLINS SCHOOLMASTER, NUTLEY, UNDERTAKER, POULTERER’S MAN, et al.
Joey’s Broadway credits include The Glass Menagerie, Rock ‘n’ Roll, and The Lonesome West. He has been seen Off-Broadway in 1599, St. Joan of the Stockyards, Bug, Straight Faced Lies, Vieux Carré, Beasley’s Christmas Party, Gross Indecency: The Three Trials of Oscar Wilde, and Apartment 3A. He appeared in the world premieres of Mark St. Germain’s Scott & Hem at Contemporary American Theater Festival and Barrington Stage, and Beat Generation by Jack Kerouac at Merrimack Rep. His regional credits include Berkshire Theatre Group (BCTA/ Berkie Award), Repertory Theatre of St. Louis, Triad Stage, Berkeley Rep, Yale Rep, White Heron Theatre, Pioneer Theatre, the Old Globe, Pittsburgh Public, and Cape Playhouse. He has been seen on film in Modern Man, Un œuf is enough, Dottie’s Thanksgiving Pickle with Olympia Dukakis, Bittersweet, and The Number 36. Television credits include Law & Order, Kidnapped, All My Children, and Guiding Light. www.joeycollins.net or @MrJoeyCollins
ASHLEY DILLARD FELICITY, BELLE, MARTHA, et al.
Ashley is thrilled to be making her IRT debut in A Christmas Carol. Regional credits include Vanya and Sonia and Masha and Spike at the Phoenix Theatre; Love’s Labor’s Lost, Persuasion, A Midsummer Night’s Dream, and Sense and Sensibility at IU Summer Theatre; Garfield: The Musical and Brighton Beach Memoirs at Cardinal Stage Company; Home—A New Musical at Bloomington Playwrights Project; Rent, A Wrinkle in Time, Godspell, Crimes of the Heart, You’re a Good Man Charlie Brown, A Doll’s House, and Moon over Buffalo at Crossroads Repertory; Lend Me a Tenor at Gilmore Creek Repertory; and Pump Boys and Dinettes at Chenango River Theatre. Ashley holds an M.F.A. in acting from Indiana University and a B.A. in theatre from Indiana State University. 24
JEREMY FISHER BOB CRATCHIT, YOUNG MARLEY, et al.
Jeremy made his IRT debut last season in A Christmas Carol; he will be seen later this season in Romeo and Juliet. He recently made his Phoenix Theatre debut in The Open Hand. Selected regional credits include Pygmalion, Richard III, Measure for Measure, The Merchant of Venice, and Rosencrantz and Guildenstern Are Dead at the Old Globe; Stage Door at Griffin Theater; The Hollow Lands and Coronado at Steep Theater; Ivanov and Sweet Confinement for Sinnerman Ensemble; Odin’s Horse for Infamous Commonwealth; and Hot ’n’ Throbbing at Pinebox Theater. As a youth mentor and teacher, Jeremy has worked with the 52nd Street Project in New York City and Young Actors Theatre in Indianapolis. He holds an M.F.A. from the Old Globe/University of San Diego Dramatic Arts Program and is a graduate of the School at Steppenwolf. “Thanks to Janet for the opportunity. Thank you, family, for the support.” www.actorjeremyfisher.com
CHARLES GOAD MARLEY’S GHOST, FEZZIWIG, TOPPER, BROKER, et al.
Chuck is delighted to return for his 17th Carol (11 Scrooges, 3 Marleys, 2 Fezziwigs, and a partridge in a pear tree). Other IRT credits include The Three Musketeers, The Great Gatsby, Hamlet, Romeo and Juliet, Othello, Driving Miss Daisy, Our Town, Pygmalion, Blithe Spirit, All My Sons, To Kill a Mockingbird, and The Fantasticks. He recently directed Pippin for Summer Stock Stage and Rumors for Civic Theatre, and he is a founding member of the Phoenix Theatre where he most recently appeared in The Open Hand. Other Phoenix favorites have been Vanya and Sonia and Masha and Spike, August: Osage County, Gross Indecency: The Three Trials of Oscar Wilde, November, Shipwrecked, and The Mystery of Irma Vep. Local credits also include Indianapolis Shakespeare Company, Actors Theatre of Indiana, Bobdirex, ShadowApe, Brown County Playhouse, and Cardinal Stage. Regionally he has worked at Cincinnati Playhouse, Missouri Rep, and Syracuse Stage.
MARK GOETZINGER PORTLY GENTLEMAN, OLD JOE, et al.
This is Mark’s 35th season at the IRT, with roles in more than 90 productions. Some of his favorites 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!, Heck Tate in To Kill a Mockingbird (1997), and Luther Billis in South Pacific, as well as dozens of Cabarets. 25
THE COMPANY SCOT GREENWELL WAITER, POSTBOY, BELLE’S HUSBAND, LAMPLIGHTER, CHRISTMAS FUTURE, et al.
Scot is thrilled to return for his third IRT Carol! Other IRT credits include The Three Musketeers, The Two Gentlemen of Verona, and A Midsummer Night’s Dream. As a company member of Indianapolis Shakespeare Company, he has appeared in The Winter’s Tale, The Taming of the Shrew, The Tempest, and Othello, among others. Regional credits include Unnecessary Farce at Actors Theatre of Indiana; The Cockfight Play, The Nether, In the Next Room..., Bloody Bloody Andrew Jackson, and Freud’s Last Session at Phoenix Theatre; and The Grapes of Wrath, The Santaland Diaries, and Little Shop of Horrors at Cardinal Stage Company. A native of Loogootee, Indiana, Scot is a proud graduate of the University of Evansville’s prestigious theatre program. He has told stories and played characters in schools and libraries throughout the state, as well as at the Children’s Museum. “Thanks to Zack, my friends, and family for unconditional love and support.”
JENNIFER JOHANSEN MRS. FEZZIWIG, PLUMP SISTER, LAUNDRESS, et al.
Jen’s IRT appearances include The Mousetrap, A Christmas Carol, The Game’s Afoot, A Midsummer Night’s Dream, The Syringa Tree, Julius Caesar, The Ladies Man, Macbeth, and Twelfth Night. Recent productions at the Phoenix Theatre include Hir; On Clover Road; Mr. Burns, a post-electric play; Clark Gable Slept Here; and Vanya and Sonia and Masha and Spike. Last season Jen made her Chicago stage debut in King Charles III at Chicago Shakespeare Theater. She has appeared in Sex with Strangers, Vanya and ..., God of Carnage, Romeo and Juliet, and A Christmas Carol at the Human Race Theatre in Dayton. Her performance in Time Stands Still earned her a Leading Actress Award with Ensemble Theatre of Cincinnati. She has appeared on TV’s Chicago Fire. Jen is a Creative Renewal Fellow, and has trained with Anne Bogart and the SITI Company and at the Royal Academy of Dramatic Art in London. She is a proud member of Actors Equity, and thanks you for choosing live theatre.
CHARLES PASTERNAK FRED, YOUNG SCROOGE, BROKER, et al.
Charles has appeared at IRT in A Christmas Carol, The Three Musketeers, The Mousetrap, and The Two Gentlemen of Verona; he will return later this season in Romeo and Juliet. Regional credits include Peter and the Starcatcher, The Busy Body, and Titus Andronicus at the Clarence Brown Theatre; The Winter’s Tale, Antony and Cleopatra, Henry IV, and Henry V at the Shakespeare Festival of St. Louis; Macbeth at Sierra Repertory Theatre; Much Ado about Nothing at the Shakespeare Theatre of New Jersey; Romeo and Juliet and The Three Musketeers at the Denver Center; Creditors at Ensemble Theatre, Santa Barbara; and four seasons at Shakespeare Santa Cruz. Charles is the artistic director of the Porters of Hellsgate Theatre Company based in Los Angeles. 26
EMILY RISTINE MRS. CRATCHIT, CHRISTMAS PAST, ROSES SISTER, et al.
Emily recently appeared as Helen Bechdel in the Phoenix Theatre’s production of Fun Home. Other favorite roles include Diana in Next to Normal, Kate Monster in Avenue Q, Helen in The Gentleman from Indiana, Queen Anne in The Three Musketeers, and Hope in Urinetown: the Musical. Emily is a founding member and artistic director of Summer Stock Stage, where she has spent her last 14 summers directing musicals with young performers. While her professional career started at Disney, Emily has been in local productions at the Phoenix Theatre and Beef & Boards, and has sung with the Indianapolis Symphony Orchestra. Emily works as a studio singer recording for Music Theater International, does radio and television commercial work, directs regional theatre, and teaches acting at Butler University.
MILICENT WRIGHT SISTER OF MERCY, CHRISTMAS PRESENT, CHARWOMAN, et al.
This is Milicent’s 11th season of A Christmas Carol. Other IRT appearances include five one-woman shows—The Power of One, Pretty Fire, Neat, The Night Watcher, and Bridge & Tunnel—as well as To Kill a Mockingbird, The Crucible, Julius Caesar, A Woman Called Truth, Twelfth Night, As You Like It, Mother of the Movement, and Hard Times. At the Phoenix she has enjoyed Human Rites; Dontrell Who Kissed the Sea; Love, Loss, and What I Wore; and …And Her Hair Went with Her. She has also been seen in Twelfth Night for HART; Doubt for Cardinal Stage; and Stonewall Jackson’s House at the Human Race Theatre. Milicent is the IRT’s manager of outreach programs and a resident teaching artist in the IRT’s Summer Conservatory for Youth. She has done youth programming for the Asante Children’s Theatre and Young Audiences of Indiana, and adult classes for Indianapolis Civic Theatre. Milicent was a 2011 Arts Council of Indianapolis Creative Renewal Fellowship recipient and a 2015 award recipient from the Center for Leadership and Development.
THE COMPANY JANET ALLEN DIRECTOR
Janet has been the IRT’s artistic leader for 22 seasons. Among the 20 IRT productions she has directed are A Christmas Carol, To Kill a Mockingbird, On Golden Pond, Who Am I This Time?, The House That Jack Built, The Diary of Anne Frank, Looking Over the President’s Shoulder (2008), The Drawer Boy, Ah, Wilderness!, and The Glass Menagerie. (see full bio on page 10)
RUSSELL METHENY SCENIC DESIGNER
Russell has designed more than 40 IRT productions, including The Curious Incident of the Dog in the Night-Time; A Christmas Carol; April 4, 1968; The Game’s Afoot; Who Am I This Time?; A Little Night Music; The House That Jack Built; Dr. Jekyll and Mr. Hyde; God of Carnage; The Heavens Are Hung in Black; Sherlock Holmes: The Final Adventure; Iron Kisses; The Unexpected Guest; The Gentleman from Indiana; Old Wicked Songs; Searching for Eden; Plaza Suite; Arcadia; The Immigrant; Ah, Wilderness!; and Looking Over the President’s Shoulder (2001). He has also designed for the Studio Theatre, the Great Lakes and Idaho Shakespeare festivals, Asolo Theatre, Maltz Jupiter Theatre, Weston Playhouse, Dallas Theatre Center, the Old Globe Theatre, Geffen Playhouse, Missouri Rep, Actors Theatre of Kansas City, the Goodman Theatre, Syracuse Stage, Buffalo Studio Arena, Portland Stage, and Goodspeed Musicals.
MURELL HORTON COSTUME DESIGNER
Murell is the winner of the 2007 Irene Sharaff Young Master Award for Costume Design. Last season he was nominated for a New York Drama Desk Award for The Liar. He has received eight Helen Hayes nominations for Outstanding Costume Design, for productions of The Critic/The Real Inspector Hound, The Government Inspector, The Liar, Edward II, Lorenzaccio, Hedda Gabler, Camino Real, and the world premiere of Wallenstein. He has designed for the Houston Grand Opera, New York City Opera, the Guthrie Theater, the Oregon Shakespeare Festival, the Shakespeare Theatre Company in D.C., Baltimore’s Center Stage, Denver Center Theatre, the Juilliard School, the Acting Company, the Pearl Theatre, Cleveland Play House, Philadelphia Theatre Company, the Delaware Theatre Company, the Berkshire Theatre Festival, Shakespeare Theatre of New Jersey, and Madison Repertory Theatre. Murell is represented by the Gersh Agency in New York City.
MICHAEL LINCOLN LIGHTING DESIGNER
Michael has designed more than 30 productions at the IRT, including Finding Home; April 4, 1968; The Two Gentlemen of Verona; Who Am I This Time?; A Little Night Music; The House That Jack Built; God of Carnage; The 39 Steps; Becky’s New Car; This Wonderful Life; The Piano Lesson; Old Wicked Songs; Arcadia; The Immigrant; Ah, Wilderness!; The Glass Menagerie; Hedda Gabler; and Benefactors; among others. Highlights of his career include the Broadway productions of Copenhagen, More to Love, and Skylight, as well as off-Broadway designs including Mr. Goldwyn, The Bubbly Black Girl Sheds Her Chameleon Skin, Defying Gravity, Bunny Bunny, and Swingtime Canteen. In addition to the IRT, Michael has had long associations with the Alley Theatre, Cleveland Play House, Studio Theatre DC, Santa Fe Opera, and Los Angeles Ballet. He is artistic director of the Ohio University Theater Division. www.michaellincoln.net
ANDREW HOPSON COMPOSER & SOUND DESIGNER
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.
BENJAMIN HANNA ASSISTANT DIRECTOR
Ben is thrilled to be in his first year as associate artistic director at Indiana Repertory Theatre. He is a director, new play developer, educator, and community engagement specialist whose passion for multigenerational theatre has influenced his work across the country with companies such as Berkeley Repertory Theatre, Children’s Theatre Company, Penumbra Theatre, Seattle Children’s Theatre, Steppingstone Theatre, and the Bay Area Children’s Theatre. In all of his myriad roles, Ben is guided by the belief that access to high-quality theatre helps build creative, empathetic people and healthy communities. Later this season, Ben will direct The Town Mouse and the Country Mouse. (see full bio on page 13)
DAVID HOCHOY CHOREOGRAPHER
Artistic director of Dance Kaleidoscope since 1991, David has created choreography and/or movement for more than a dozen productions at the IRT and co-directed Ain’t Misbehavin’ and As You Like It. He has danced with numerous national companies, including the Martha Graham Dance Company, where he was a soloist and rehearsal director. He has taught dance classes and workshops around the world, and spent two years on the faculty at Texas Christian University prior to his appointment at DK. He has choreographed productions at the Indianapolis Civic Theatre, Phoenix Theatre, and Edyvean Repertory Theatre, as well as Arizona Opera and Cincinnati Playhouse in the Park. He was artistic director of the Green Shows at the Oregon Shakespeare Festival, where for ten summers DK performed as resident dance company. He has received awards from the Indiana Arts Commission, the Arts Council of Indianapolis, the Center for Leadership Development, Indy Men’s Magazine, University High School, and the Choo-San Goh and Robert McGee Foundation. In 2013 David was named an Indiana Living Legend by the Indiana Historical Society, and last year he and Dance Kaleidoscope received the Governor’s Arts Award from the Indiana Arts Commission. Most recently David received awards from the Institute for Caribbean Studies in Washington, DC, and from the Penn State Thespians.
THE COMPANY TERRY WOODS MUSICAL DIRECTOR
At the IRT, Terry has musical directed several shows, including The Gifts of the Magi, He Held Me Grand, I Do! I Do!, and several editions of A Christmas Carol. He has musical directed Les Misérables, Hairspray, Singin’ in the Rain, Hello, Dolly!, and many other shows at Beef & Boards Dinner Theatre. Recently he has worked with Actors Theatre of Indiana on Forever Plaid, My Way, and A Year with Frog and Toad. He has performed nationally at Walt Disney World as a musician and puppeteer and also at the Sheraton New Orleans in the “French Quarter Follies.” He has traveled in the United States with several tours including One Mo’ Time and throughout Europe with West Side Story. He has appeared on stage in 1776 at Indianapolis Civic Theatre and in Evita and Sugar Babies at Gateway Playhouse on Long Island. He costumed The Marvelous Land of Oz for the Indianapolis Children’s Museum, as well as several shows for Beef & Boards Dinner Theatre.
RICHARD J ROBERTS DRAMATURG
This is Richard’s 28th season with the IRT, and his 20th as resident dramaturg. He has also been a dramaturg for the Hotchner Playwriting Festival, 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.
NATHAN GARRISON STAGE MANAGER
This is Nathan’s 22nd season at the IRT. He has also worked with Center Stage in Baltimore, Utah Shakespeare Festival, and Brown County Playhouse. He received a Creative Renewal Fellowship from the Arts Council of Indianapolis in 2005; and he is an inaugural company member of the new Indianapolis Shakespeare Company.
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 The Cay, 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.”
BRIAN S. NEWMAN ASSISTANT STAGE MANAGER
Brian is the IRT’s production manager. Prior to joining the IRT, he was the general stage manager for Cirque du Soleil’s ZAiA in Macau, China, for four years. He was previously the production manager for Ringling Bros. and Barnum & Bailey, where he managed three different tours over a four-year period. He has stage managed professionally all over the United States and has been a member of Actors Equity Association, the union of professional actors and stage managers, since 2002. Brian earned his M.F.A. in stage management from the Professional Theatre Training Program at the University of Delaware and his bachelor’s degree from Louisiana State University. 30
ROLES ARE PLAYED BY TWO ALTERNATING TEAMS OF ACTORS
ROLE PETER CRATCHIT et al.
GIDEON ROARK HOME SCHOOL | 10TH GRADE
MILES M. MOREY HOME SCHOOL | 9TH GRADE
BELINDA CRATCHIT et al. JORDAN PECAR SYCAMORE SCHOOL | 7TH GRADE
NINA R. MOREY HOME SCHOOL | 7TH GRADE
HENRIETTA/ HENRY CRATCHIT et al. CAMIL MCGHEE ST. MATTHEW SCHOOL | 4TH GRADE
AIDAN BETTS FORTUNE ACADEMY | 8TH GRADE
BETSY CRATCHIT et al. ALI D. BOICE LEGACY CHRISTIAN SCHOOL | 6TH GRADE
ELISE KELIAH BENSON OAKS ACADEMY | 8TH GRADE
TINY TIM et al. TOBIN SEIPLE HOME SCHOOL | 5TH GRADE JESSICA HUGHS | YOUNG ACTOR LIAISON
MADDIE MEDLEY ST. THOMAS AQUINAS SCHOOL | 4TH GRADE 31
MICHAEL LINCOLN LIGHTING DESIGNER HOW DID YOU INITIALLY GET INTO THE THEATRE? I grew up in western Nebraska—the middle of nowhere. My first job in the theatre was pulling the curtain in high school. It was a big heavy curtain—you really had to pull on it hard—and my director said pull it fast. So I did, and nearly knocked her off the stage. I went to Knox College in Galesburg, Illinois, a really good small liberal arts college. I was interested in either theatre or art or English literature. At some point I realized I could combine all of those interests and be a designer. I went to graduate school at Brandeis, outside of Boston, where you just studied everything for three years and developed all these skills as you went. So I did costume design (which I had no intension of pursuing) as well as scenery and lighting. I didn’t really decide to focus solely on lighting until three years out of grad school. WHAT DREW YOU TO LIGHTING DESIGN? When I was a little kid I saw a house by Frank Lloyd Wright in LIFE magazine. That made me want to be an architect— until my older brother said, “You know you need to have math.” I hated math! But to my eyes, so much of architecture is the manipulation of light. At Wingspread, the house I saw in LIFE, the clerestory windows make a pattern of light that changes constantly on the central chimney. I actually went there this summer, and I could have sat there and watched 32
that all day. The way light reveals architecture—you can reproduce that on stage, and make it look a certain way because you light it a certain way. My other really big influence was working for three years as tech director and lighting designer for Los Angeles Ballet. I learned to think about actors as moving sculptures. If I could, I would make every light plot like a dance light plot, so the bodies are really sculpted out of the space. For example, in A Christmas Carol, with its wide open set, almost like an empty dance stage, I try to light the actors as sculptures. The thing about lighting is that it is intangible. It’s sort of like looking at a beautiful sunset, or even just light coming in through a window. It’s so beautiful, but it’s only going to last a minute or two and then it’s going to change. That’s what’s interesting about lighting on stage: it’s constantly in change. A lot of the change the audience doesn’t even see, but it’s very subtly moving the focus around the stage. WHAT IS UNIQUE ABOUT WORKING AT THE IRT? Working at the IRT is coming home, it really is, because I have such a long history with the institution and with the people. It’s like family, with all the ups and downs. It’s interesting that the two theatres are so radically different. The Mainstage is one of the easiest stages I’ve ever worked on because of all the catwalks—you can make a change in five minutes without having to drag out a ladder and all
Left: Matthew Brumlow in IRT's 2011 production of The 39 Steps. Second from Left: Cast of IRT’s 2016 production of Finding Home: Indiana at 200. Center: Emily Ristine and Ryan Artzberger in IRT’s 2016 production of A Christmas Carol. Photos by Zach Rosing.
MICHAEL LINCOLN HAS DESIGNED MORE THAN 30 PRODUCTIONS AT THE IRT, INCLUDING FINDING HOME: INDIANA AT 200, WHO AM I THIS TIME?, A LITTLE NIGHT MUSIC, THE HOUSE THAT JACK BUILT, THE 39 STEPS, BECKY’S NEW CAR, AND THIS WONDERFUL LIFE, AS WELL AS A CHRISTMAS CAROL.
that. The Upperstage not so much—a tension grid or some kind of grid system would make it way easier to work in. IN SUMMER 2016 THE IRT PURCHASED A NUMBER OF NEW LIGHTING INSTRUMENTS THANKS TO A GIFT FROM THE LILLY ENDOWMENT. HOW ARE THINGS DIFFERENT WITH THIS NEW EQUIPMENT? You can accomplish so much more. Lighting is constantly changing because it’s reliant on technology. The new equipment at IRT really pushes that envelope forward. When I first started lighting design we didn’t have any such a thing as a color changer. In your light plot, you had to have colors that you could mix to get to a secondary color. Then semaphore style color changers came along—basically just a flag that came in front of the light. And then the scroller, which was great, but if you want to go from a color in scroll A to a color in scroll O, you have go through a bunch of other colors. So you have to fade the instrument out and then change the color and then bring it back up. And they’re noisy! Now it’s LED lights, where there’s nothing mechanical about it and it’s instant. You just look on the computer and you pick a color off the screen. Oh no, I want just a little greener. Or maybe a little bluer. It’s phenomenal!
rest of the light plot, especially in spaces like the IRT where the equipment is all visible. You know, moving lights are intended for rock and roll, so they do all this unnecessary flash and trash. But just in the last couple of years, a really good manufacturer has released a light that basically does everything you need in theatre, and it’s no bigger than a regular fixture. So it doesn’t stick out like a sore thumb. All of this makes the work faster and easier, so you can focus your attention less on the equipment and more on the design. Plays today are much more episodic, and scenes change all the time, which has made set design more fluid and abstract. So now it’s lighting that creates architecture, which makes it even more interesting, but that much more complex. Fortunately, the tools keep changing to allow that complexity—as long as you are able to keep up with buying the new technology. You have to invest wisely and hope that your investment is going to last. Ten years is about it for moving light technology. It’s changing rapidly but you’ve got to do it. You’ve got to keep up.
I was just emailing Beth [Nuzum, the IRT’s master electrician] about a new moving light, and I said you guys need to look at this because it’s perfect for your spaces. Moving lights are big and clunky and they stick out from the Second from Right: Nicholas Hormann in IRT's 2010 production of Becky’s New Car. Right: Deirdre Lovejoy and Patricia Hodges in IRT’s 2012 production of The House that Jack Built. Photos by Zach Rosing. Below Right: Lighting Designer Michael Lincoln.
Bravo! Barnes & Thornburg applauds the Indiana Repertory Theatre for its commitment to the arts. Take a bow, youâ&#x20AC;&#x2122;ve earned it! Uncommon Value
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THE ARTS MATTER.
“The Art of the Matter” brings you artists and stories from Indiana’s diverse arts and cultural scene, and tales of the creative process from around the world. Sharon Gamble hosts this weekly dose of inspiration and information on upcoming arts events in and around Indianapolis.
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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 Equipment | More! Zach Kenney, Teagan Rose, and David Folsom in IRT's 2015 production of The Great Gatsby. Photo by Zach Rosing.
MORE INFO: LHORAN@IRTLIVE.COM | 317.916.4833
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Herron High School is not affiliated with Herron School of Art and Design at IUPUI.
Origami model by Brian K. Webb.
At Printing Partners, we look at the bigger picture. To us, print is more than simply putting ink on paper. It’s the act of transforming your thoughts, feelings and hard work into something tangible. Similarly, organizations like the Indiana Repertory Theatre aren’t just organizations, but educational journeys to a broadened mindset and an open heart. And we’re proud to support it.
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This is More Than a Stage. Itâ&#x20AC;&#x2122;s a place where your imagination takes hold, where you can escape the everyday. From dress rehearsal to the final bow, Bingham Greenebaum Doll LLP is a proud supporter of the Indiana Repertory Theatre. Enjoy the show!
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Give your children the gift of knowledge and values that will last a lifetime. Schedule a tour at St. Richardâ&#x20AC;&#x2122;s Episcopal School. www.sresdragons.org
“THERE WAS A WHOLE WORLD WAITING FOR ME THAT I JUST HAD TO HOLD ON AND GET TO.” –JAMES STILL Celebrating his 20th season as IRT’s playwright-in-residence
The Indianapolis Foundation is proud to support organizations like the Indiana Repertory Theatre that are dedicated to making Central Indiana a more inspiring and vibrant community for all.
Discover more of James’ story and others on CICF’s social media and at cicf.org.
317.634.2423 | cicf.org
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 clientâ&#x20AC;&#x2122;s point of view and provide high-quality service in the courtroom, at the negotiation table and everywhere in between.
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OVER 40,000 STUDENTS WILL EXPERIENCE LIVE THEATRE AT THE IRT THIS SEASON Without the Alan and Linda Cohen Education Fund, almost half of those students would not be 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
Tyler Ostrander and Lex Lumpkin in IRT's 2017 production of Stuart Little. Photo by Zach Rosing.
FOR MORE INFORMATION ABOUT SUPPORTING STUDENT MATINEES, CONTACT: MAGGIE BARRETT SCHLAKE: MBARRETT@IRTLIVE.COM | 317.916.4830
You can show your support for the arts and make an investment in the cultural future of our state at the same time. The arts create schools that are exciting places for learning and discovery. Students that participate in the arts, both in school and after school, demonstrate improved academic performance and lower dropout rates1. Funds raised from license plate sales are currently used to supplement funding for the Indiana Arts Commissionâ&#x20AC;&#x2122;s arts education program, Partnering Arts, Communities and Education (PACE). The Arts Trust license plate may be purchased at any Bureau of Motor Vehicles branch or online at bmv.IN.gov
South Bend Tribune photo/ROBERT FRANKLIN Catterall, J.S., Dumais, S.A. & Hampden-Thompson, G. (2012)
FRIDAY, FEBRUARY 16, 2018 THE CITY'S MOST HILARIOUS FUNDRAISING EVENT! FOR MORE INFORMATION, VISIT IRTLIVE.COM/RADIOSHOW
Careful planning, talent and passion are on display at todayâ&#x20AC;&#x2122;s performance. At Citizens Energy Group, we understand the value of working hard behind the scenes to deliver quality on a daily basis. We strive to replicate that ensemble effort in our work and are proud to support the productions that bring live theatre to our community. Congratulations to the cast, crew and theater staff on a job well done!
Top-Quality Theatre | Exclusive Access to Special Events & IRT Artisans | $25 Tickets | Volunteer Opportunities An Annual Membership is just $50 and lasts 12 months from purchase date! G E T I N VO LV E D: I R T L I V E .CO M /O FFS CRIPT
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www.indianahistory.org EUGENE AND MARILYN GLICK INDIANA HISTORY CENTER | 450 WEST OHIO STREET, INDIANAPOLIS, INDIANA 46202-3269
DON'T FORGET TO CHECK OUT OUR GIFT SHOP! LOCATED IN THE TICKET OFFICE SEASON TICKET HOLDERS RECEIVE 10% OFF! INDIANA TREASURES GOODS CRAFTED BY LOCAL ARTISTS CHOCOLATES UNIQUE GIFTS
OVATION SOCIETY: CREATE A PERSONAL LEGACY AT THE IRT For 46 seasons, the IRT has been privileged to provide our community with professional, world-class theatre. You can play a vital role in supporting the next 46 seasons by making an estate gift to the Theatre. From a simple bequest to more complicated charitable trusts, there are a variety of ways you can include the IRT in your estate plans. 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 you meet your financial and charitable goals. Include the IRT in your estate plans and help ensure one of Indianaâ&#x20AC;&#x2122;s great cultural institutions continues to thrive for generations to come. Have you already included the IRT in your plans? Please let us know so that we can recognize you in the Ovation Society!
WANT MORE INFORMATION? READY TO CREATE YOUR LEGACY?
Contact Lindsey Horan, Associate Director of Major Gifts: email@example.com | 317.916.4833 Michael Joseph Mitchell in the IRT's 2016 production of Finding Home: Indiana at 200. Photo by Zach Rosing.
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!
REPERTORY SOCIETY ANNUAL CAMPAIGN GIFTS $1500+ | JULY 1, 2017 - OCTOBER 18, 2017 PLAYWRIGHT CIRCLE $10,000+
Bob & Toni Bader Leo G. Bianchi & Jill A. Panetta Scott & Lorraine Davison Michael Dinius & Jeannie Regan-Dinius Nancy & Berkley Duck Dan & Ginny Emerson Tom & Jenny Froehle The Judy and Michael Harrington Family Foundation, a fund of CICF David I. & Betty Klapper Sarah & John Lechleiter Dr. & Mrs. William Macias Jackie Nytes & Michael O'Brien Sue & Bill Ringo Wayne & Susan Schmidt Simmons Family Foundation, a fund of CICF David P. Whitman & Donna L. Reynolds Dr. Christian Wolf & Elaine Holden-Wolf DIRECTOR CIRCLE $5,000 - $9,999
David & Jackie Barrett Susie & Joel Blum Gary Denney & Louise Bakker Rollie & Cheri Dick David & Ann Frick Drs. Cherryl & Shelly Friedman Nadine & Alvin Givens Ann Hinson Bill & Nancy Hunt Carl Nelson & Loui Lord Nelson 52
Mr. Stephen Owen & Dr. Cheryl Torok Owen Ben Pecar & Leslie Thompson Mel & Joan Perelman Noel & Mary Phillips* Dr. Eric Schultze & Dr. Marcia Kolvitz
Joe & Jill Tanner Gene & Mary Tempel Jeff & Benita Thomasson John & Kathy Vahle
ARTIST CIRCLE $3,000 - $4,999
Janet Allen & Joel Grynheim Anonymous Tammara D. Porter Avant & Jesse Avant Trudy W. Banta Sharon R. Barner Sarah C. Barney Frank & Katrina Basile Keith A. & Heather Bice Benjamin & Ashley Blair Dan Bradburn & Jane Robison Craig Burke & Diane Cruz-Burke David & Judith Chadwick Alan & Linda Cohen Cowan & King, LLP Susan M. Cross Daniel & Catherine Cunningham Ann & Kenneth Dee Dr. Brian Dillman & Erin Hedges* Drs. Richard & Rebecca Feldman Gary R. & Barrie K. Fisch Fritz French Brian & Lorene Furrer Phyllis & Ed Gabovitch Mr. Jim Gawne Dorothea & Philip Genetos Robert Giannini Ron & Kathy Gifford Ricardo & Beatriz GuimarÃ£es
A.J. Allen & Kathy Maeglin Daniel & Rita Blay Mary Findling & John Hurt Dick & Brenda Freije Donald & Teri Hecht Richard & Elizabeth Holmes John & Liz Jenkins Tom & Kathy Jenkins Eric & Karen Jensen David Kleiman & Susan Jacobs John & Susan Kline Steve & Bev Koepper Richard & Mary Kortokrax Scott & Amy Kosnoff Kevin Krulewitch & Rosanne Ammirati* Dr. & Mrs. Dan & Martha Lehman John & Laura Ludwig Charlie Morgan & Kelly Smith David & Leslie Morgan Mr. & Mrs. Kimball Morris Bob & Dale Nagy Dr. Christine & Mr. Michael Phillips Becca & Jonathan Polak N. Clay & Amy Robbins Jerry & Rosie Semler Cynthia & William Smith III
PATRON CIRCLE $1,500 - $2,999
REPERTORY SOCIETY CONT. ANNUAL CAMPAIGN GIFTS $1500+ | JULY 1, 2017 - OCTOBER 18, 2017 PATRON CIRCLE CONT. $1,500 - $2,999
Dr. & Mrs. James & Pat Hamby Michael N. Heaton Bruce Hetrick & Cheri O'Neill William & Patricia Hirsch Brenda S. Horn Randolph & Rebecca Horton The Indianapolis Fellows Fund, a fund of The Indianapolis Foundation Daniel T. Jensen & Steven Follis Cliff & Janet Johnson Mike & Pegg Kennedy Arthur & Jacquelyn King Rebecca & Brad King Dr. & Mrs. Alan Ladd Joe & Deborah Loughrey Donald & Ruth Ann MacPherson The Alice Greene McKinney and E. Kirk McKinney, Jr. Fund, a fund of CICF
Sharon R. Merriman Dod & Laura Michael Michael D. Moriarty Stephen & Deanna Nash Nancy & John Null Larry & Louise Paxton The David and Arden Pletzer Endowment Fund, a fund of Legacy Fund Bob & Kathi Postlethwait Phil & Joyce Probst Ken & Debra Renkens Marya & Tony Rose Chip & Jane Rutledge Francisnelli Santos & Brian S. Newman Charles & Jenny Schalliol Jane & Fred Schlegel Tom & Barbara Schoellkopf Tim & Karen Seiler Marguerite K. Shepard, M.D.
Michael & Cynthia Skehan Cheryl & Bob Sparks Edward & Susann Stahl Robert & Barbara Stevens Suzanne Sweeney & Todd Wiencek Jennifer C. Turner Amy Waggoner Dorothy Webb Rosalind Webb & Duard Ballard Carol Weiss Alan & Elizabeth Whaley Cliff & Molly Williams Ken & Peggy Williams Bob & Dana Wilson Heather Wilson Jim & Joyce Winner John & Linda Zimmermann *Denotes a sustaining member
DONOR GUILDS ANNUAL CAMPAIGN GIFTS $250+ | JULY 1, 2017 - OCTOBER 18, 2017 DRAMA GUILD $650 - $1,499
Anonymous Andrea Best Jesse L. & Carolynne Bobbitt Vince & Robyn Caponi Brady Clark Dr. & Mrs. John J. Coleman III Daniel P. Corrigan David Crites & Joan Tupin-Crites Emily F. (Cramer) Hancock* Dave & Donna Kaiser R. Keith & Marion Michael David H. Moore, M.D. & M. Kristine Beckwith, M.D. John & Carolyn Mutz Offscript: IRT Young Professionals Group
Scott & Susan Putney Richard & Christine Scales Robert & Alice Schloss Thomas & Teresa Sharp Ed & Jane Stephenson Dr. James & Linda Trippi Barbara S. Tully* Brian West Frederick & Jacquelyn Winters THEATRE GUILD $250 - $649
RJohn & Eileen Ahrens* Anonymous (4)* Phillip Baker Walter Bartz* Constance C. Beardsley*
Mr. & Mrs. J. Burton Black Barbara & Christopher Bodem* Ted & Peggy Boehm William & Donna Bonifield Mary T. Bookwalter & Jeffery Stant Charlie & Cary Boswell Alice Brown Melanie Brown & Amy Harbin* Mr. & Mrs. Michael E. Brown David & Beverly Butler Tom & Bobbie Campbell Clarence L. & Carol Casazza Jeff Coffee Keith & Brenda Coley Don & Dolly Craft *Denotes a sustaining member
THE SUPPORTING CAST
INDIANA REPERTORY THEATRE DONORS
DONOR GUILDS CONT. ANNUAL CAMPAIGN GIFTS $250+ | JULY 1, 2017 - OCTOBER 18, 2017 THEATRE GUILD, CONT. $250 - $649
Karen Dace* Clem Davis Paul & Carol DeCoursey* Phillip & Caroline Dennis* Ditech Inc. John & Cynthia Dozier* Jim Eup Dawn M. Fazli Hank & Nanci Feuer David & Jean Fronek William & Jill Ann Garvey Darrell & Thecla Gossett Peggie & Bob Gould Alexandra & Justin Harris* Eleanor Hood Ron M. Hubbard Lindsey & Tom Horan Christopher S. Jones, M.D. Steven & Mary Koch* Roger & Janet Lang Frank & Sandra Learned
Andra Liepa Charitable Fund, a Donor Advised Fund of the U.S. Charitable Gift Trust Mark & Teresa Lubbers Dr. & Mrs. Peter Marcus* Patrick Marlatt* Anne & Ken Marnocha William & Margo Martin Sandy & Tom Mason James M. McMechan MidAmerica Health Dr. Frederick & Alice Milley Rev. Mary Ann Moman* Kent & Elaine Morrison* Dr. LeeAnne M. Nazer Ray & Kimberley Peck Gary & Pam Pedigo* Michael & Patricia Pillar Dr. Nenetzin Reyes* Robert Reynolds Rich & Shari Richey Ann & Richard Riegner Julie & Tracy Rosa
Dennis & Sandy Sasso Steve Schlangen* Dr. Jill Shedd* Richard & Kimberly Shields Kevin & Amy Sobiski* Ross & Rosemarie Springer Luke Stark* Alice Steppe & Patrick Murphy Richard & Lois Surber Nela Swinehart* Christopher J. Tolzmann Robert & Barbetta True* Dick & Ramona Waddell Jim Wade Susan Weatherly* Dan Wheeler & Susan Wakefield* A. Donald Wiles Prof. Gail F. Williamson Dr. Frank & Christine Wilson Reba Boyd Wooden* Zionsville Physical Therapy* *Denotes a sustaining member
JAMES STILL SOCIETY Thank you to those donors who are supporting James Still’s 20th season as IRT Playwright-in-Residence. As a member of the James Still Society, you are demonstrating your dedication to new play development and celebrating storytelling. In order to qualify for the Society, donors must be new to the IRT this season, or have increased their contribution by an amount listed below. MANUSCRIPT CIRCLE $500+
Trudy W. Banta Sarah C. Barney David & Jackie Barrett Leo G. Bianchi & Jill A. Panetta Keith A. & Heather Bice Mr. & Mrs. J. Burton Black Susie & Joel Blum Craig Burke & Diane Cruz-Burke 54
David & Judith Chadwick Alan & Linda Cohen Daniel P. Corrigan Cowan & King, LLP Scott & Lorraine Davison Ann & Kenneth Dee Michael Dinius & Jeannie Regan-Dinius Dan & Ginny Emerson Fritz French Drs. Cherryl & Shelly Friedman Tom & Jenny Froehle
Ron & Kathy Gifford Nadine & Alvin Givens Ricardo & Beatriz Guimarães The Judy and Michael Harrington Family Foundation, a fund of CICF Ann Hinson William & Patricia Hirsch Randolph & Rebecca Horton Tom & Kathy Jenkins Daniel T. Jensen & Steven Follis Dave & Donna Kaiser
JAMES STILL SOCIETY CONT. MANUSCRIPT CIRCLE CONT. $500+
John & Susan Kline Richard & Mary Kortokrax Scott & Amy Kosnoff Lacy Foundation Sarah & John Lechleiter Mark & Teresa Lubbers John & Laura Ludwig Dr. & Mrs. William Macias The Alice Greene McKinney and E. Kirk McKinney, Jr. Fund, a fund of CICF Sharon R. Merriman MidAmerica Health David H. Moore, M.D. & M. Kristine Beckwith, M.D. Charlie Morgan & Kelly Smith David & Leslie Morgan Mr. & Mrs. Kimball Morris Carl Nelson & Loui Lord Nelson Jackie Nytes & Michael Oâ&#x20AC;&#x2122;Brien Mr. Stephen Owen & Dr. Cheryl Torok Owen Ben Pecar & Leslie Thompson Noel & Mary Phillips Sue & Bill Ringo Marguerite K. Shepard, M.D. Simmons Family Foundation, a fund of CICF Cynthia & William Smith III Robert & Barbara Stevens Joe & Jill Tanner Christopher J. Tolzmann John & Kathy Vahle Jim Wade Dorothy Webb Alan & Elizabeth Whaley DIALOGUE CIRCLE $250 - $499
Anonymous Frank & Katrina Basile Daniel & Rita Blay William & Donna Bonifield
Mary T. Bookwalter & Jeffery Stant Alice Brown Tom & Bobbie Campbell Dr. & Mrs. John J. Coleman III David Crites & Joan Tupin-Crites Dawn M. Fazli Mr. Jim Gawne Peggie & Bob Gould Richard & Elizabeth Holmes Christopher S. Jones, M.D. William & Margo Martin James M. McMechan Ray & Kimberley Peck Rich & Shari Richey Julie & Tracy Rosa Frederick & Jacquelyn Winters CHARACTER CIRCLE $100 - $249
Jo-Ann Andrews Anonymous Phillip Baker David & Nikki Barrett Kristi Beyer Dr. Marc & Ann Bilodeau Rosemary Bova-Wood Dan Bradburn & Jane Robison Brett Brewer & Jan Hornaday Robert & Julie Burns James & Sharon Cross Sharon David Clem Davis Nancy Davis & Robert Robinson Gary Denney & Louise Bakker Dr. Antoinette Dobson Mark Dodds Julie & Matthew Dollins Christopher Douglas Jacqueline Drain & Richard Lippitz Marni R. Fechtman David & Jean Fronek Sara Garland William & Jill Ann Garvey
Karen & Joe Glaser Tom & Betty Graffis Jan Guffin Emily F. (Cramer) Hancock Laura M. Hays Donald & Teri Hecht Eleanor Hood Dr. Donna Hudson Laura Hutson Nicholas Ide & Audra Baumgartner Mr. & Mrs. Lawrence Jahnke Suzann Johnson Patricia A. Kinney Steve & Bev Koepper Frank & Sandra Learned Karlton Litteral Mark Magee Gerald Malone Esperanza Martinez-Mier Kellie McCarthy Alan & Ann McKenzie James Miller John & Carolyn Mutz Brian & Gail Payne Valerie & Andrea Petro Michael & Patricia Pillar Scott & Susan Putney James & Julia Richter Ann & Richard Riegner Jane Rothbaum Donor Advised Philanthropic Fund Nanci Sears-Perry Jane & Fred Schlegel Errol & Judy Spears Alice Steppe & Patrick Murphy Mr. & Mrs. Lee Strassell Jeffrey Stratton Sue Sudhoff Gregg & Judy Summerville Dianne Sutton Suzanne Sweeney & Todd Wiencek Laura Tagliani
THE SUPPORTING CAST
INDIANA REPERTORY THEATRE DONORS
JAMES STILL SOCIETY CONT. CHARACTER CIRCLE, CONT. $100 - $249
Randy Talley Gordon & Mary-Anne Thompson
Dick & Ramona Waddell Elaine Wagner & Family Rosalind Webb & Duard Ballard Debbie & Dave Wietfeldt
Dr. Frank & Christine Wilson Ken & Mary Anne Winslow Jan Woodruff
TRIBUTE GIFTS IN HONOR OF JANET ALLEN Hilary Givens M.S. Woods Real Estate, LLC
OVATION SOCIETY The Ovation Society is an exclusive program that recognizes donors that have made a legacy 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 Bob & Patricia Anker Frank & Katrina Basile Charlie & Cary Boswell Ron & Julia Carpenter John R. Carr (in memoriam) John & Mary Challman Thomas & Sue Dapp Nancy Davis & Robert Robinson Rollie & Cheri Dick Nancy & Berkley Duck Dale & Karen Duncan
Jim & Julie Freeman Meg Gammage-Tucker David A. & Dee Garrett (in memoriam) Michael Gradison (in memoriam) Emily F. (Cramer) Hancock Bruce Hetrick & Cheri O’Neill David Kleiman & Susan Jacobs Frank & Jacqueline La Vista Donald & Ruth Ann MacPherson Stuart L. Main (in memoriam) Michael R. & Sue Maine Sharon R. Merriman David & Leslie Morgan
Richard & Lila Morris Deena J. Nystrom Marcia O’Brien (in memoriam) George & Olive Rhodes (in memoriam) Jane & Fred Schlegel Michael Suit (in memoriam) Gene & Mary Tempel Jeff & Benita Thomasson Christopher J. Tolzmann Alan & Elizabeth Whaley John & Margaret Wilson
CORPORATE, FOUNDATION & GOVERNMENT ANNUAL CAMPAIGN GIFTS $250+ | JULY 1, 2017 - OCTOBER 18, 2017 CORPORATE
Anthem Blue Cross Blue Shield Apex Benefits Group Barnes & Thornburg LLP Bingham Greenebaum Doll LLP BMO Harris Bank Eli Lilly and Company Faegre Baker Daniels Frost Brown Todd Hilliard Lyons Indiana Farm Bureau Insurance Company Indiana University Health
Katz, Sapper & Miller, LLP Navient Foundation OneAmerica Financial Partners Oxford Financial Group, Ltd. PNC Printing Partners Schmidt Associates, Inc. Taft Stettinius & Hollister LLP FOUNDATIONS
Allen Whitehill Clowes Charitable Foundation Christel DeHaan Family Foundation The Margot L. and Robert S. Eccles Fund, a fund of CICF
The Glick Family Foundation F.R. Hensel Fund for Fine Arts, Music, and Education, a fund of The Indianapolis Foundation Lilly Endowment, Inc. GOVERNMENT
Arts Council of Indianapolis Indiana Arts Commission Shakespeare in American Communities, a program of the National Endowment for the Arts in partnership with Arts Midwest
IN-KIND/TRADE GIFTS ANNUAL CAMPAIGN GIFTS $250+ | JULY 1, 2017 - OCTOBER 18, 2017
Candlewood Suites Eco-Kinetic Hotel Tango Artisan Distillery IBJ Corp JL Squared
National Institute of Fitness & Sport New Day Craft NUVO Saint Joseph Brewery, LLC Tastings Wine Bar
Taxman Brewing Company TwoDEEP Brewing WFYI
THE ALAN AND LINDA COHEN EDUCATION FUND Eli Lilly and Company
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. www.christelhouse.org
Through its community outreach efforts, the Navient Foundation supports 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 Romeo & Juliet and the Production Partner for A Raisin in the Sun. Navient is a leading provider of asset management and business processing solutions to education, healthcare, and government clients at the federal, state, and local levels. Millions of Americans rely on financial support to further their education and improve their lives. We work hard each day to help our customers navigate financial challenges and achieve their goals. We at Navient have a deep appreciation for the arts and for the hard work, passion, and emotion that go into them, as well as the positive influences the arts have on individuals and their communities. Our 1,500+ employees in central Indiana are proud to support our community through amazing programs like those offered by IRT. Enjoy the show.
JOIN THE IRT'S CORPORATE CLUB Get exclusive treatment and benefits including group tickets, VIP concierge service from the IRT Development Department, and private event(s) before a world-class IRT production.
Starting at $2,500, Let the Indiana Repertory Theatre Help You: Entertain Clients | Reward Your Employees | Recruit Potential Employees & Clients
FOR MORE INFORMATION OR TO JOIN, CONTACT: ERIC J. OLSON: EOLSON@IRTLIVE.COM | 317.916.4832
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IRT STAGE DOOR RESTAURANTS
DISCOUNTS FOR OUR SEASON TICKET HOLDERS DON'T HAVE SEASON TICKETS? BUY NOW! 317.635.5252 | IRTLIVE.COM/SEASONTICKETS
THANK YOU TO OUR 2017-2018 SEASON TICKET SPONSOR, OCEANAIRE COMPLIMENTARY APPETIZER WITH THE PURCHASE OF AN ENTRÉE restrictions may apply 30 S Meridian St | 317.955.2277
339 S Delaware St | 317.870.1320
THE GREEK ISLANDS RESTAURANT COMPLIMENTARY SAGANAKI WITH A PURCHASE OF TWO DINNER ENTRÉES 906 S Meridian St | 317.636.0700
PEARINGS 15% OFF 6 W Washington St | 317.608.6456
ROCK BOTTOM COMPLIMENTARY APPETIZER WITH PURCHASE OF AN ENTRÉE
RUTH'S CHRIS 10% OFF
10 W Washington St | 317.681.8180
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CERULEAN RESTAURANT 15% OFF excludes beverages restrictions may apply
excluding any combo platter
TASTINGS 20% OFF
some restrictions apply night of performance only
50 W Washington St | 317.423.2400
PALOMINO 15% OFF
not valid with other promotions excludes alcohol
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excluding alcohol downtown only
WEBER GRILL 10% OFF, excluding alcohol
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Oxford proudly supports the Indiana Repertory Theatre. Oxford is independent and unbiased — and always will be. We are committed to providing business owners wholly independent and unbiased financial counsel, families generational estate planning and institutions forward-thinking investment strategies.
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