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THE ONEAMERICA MAINSTAGE MARCH 7 - MARCH 31 THE UPPERSTAGE MARCH 27 - MAY 6
CELEBRATING JAMES STILL'S 20 TH SEASON AS IRT'S PLAYWRIGHT-IN-RESIDENCE
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. â€”Scott Davison, OneAmerica Chairman, President, and CEO
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.
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
8 Leadership 12 Staff 14 Board of Directors 32 Company bios for Appoggiatura 38 Interview: James Still 42 Looking Over the President's Shoulder 54 Company bios for Looking Over the President's Shoulder 60 Donor Listing
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.
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Photography of the set without actors and with proper credit to the scenic and lighting designers is permitted. - Appoggiatura Credit: Page 24 - Looking Over the President's Shoulder Credit: Page 42 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
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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, James Still's Appoggiatura, and Noises Off. • 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 middle and high school 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 20-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 through 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 directed 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 Joanna Bennett Andrew Black Emily Bohn Ann Marie Elliott Callie Burk Hartz Kate Homan Ronn Johnstone
Wardrobe Supervisor Rachel Taylor Shop Assistant Jason Gill ELECTRICS
Master Electrician Beth A. Nuzum Assistant Master Electrician Elizabeth G. Smith Electrician Kayla Brown 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
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 Joel Grynheim Production Assistants Claire Stark Rebecca Roeber
Teaching Artists, Cont. Beverly Roche Katie Sellars Milicent Wright
Dramaturgy Intern Eden Rea-Hedrick
Luke Hoefer Chrystal Johnson
Electricians Lee Edmundson Jonathan Harden Luke Hoefer
Scenic Painter Lee Edmundson
Director of Finance Greg Perkins ADMINISTRATION Receptionist /Administrative Assistant Assistant Controller Danette Alles Seema Juneja Payroll & Benefits Specialist Executive Assistant Jennifer Carpenter 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 Education Randy D. Pease Youth Audience Manager Sarah Geis
Education Intern Evy Burch
External Auditors Crowe Horwath LLP Legal Counsel Heather Moore
Assistant House Managers Pat Bebee Terri Bradburn Nancy Carlson
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 OUTREACH
Group Sales & Teleservices Manager Doug Sims Assistant Teleservices Manager Jeff Pigeon
Assistant House Managers Cont. Shane Chuvalas Cara Clapper Kyla Decker Marilyn Hatcher Bill Imel Norma Johnson Alicia McClendon Sherry McCoy Gail McDermott-Bowler Dianna Mosedale Gregg Naaman Melanie Overfield Darlene Raposa
Teleservices Representatives Tom Detmer Jesse Jones Matt Kennicutt Victoria Smith PATRON SERVICES
Operations Manager Robert Steele Manager of Public Operations Margaret Lehtinen Assistant Ticket Office Manager Eric Wilburn Tessitura Administrator Molly Sweets House Manager Heather Uuk Customer Service Representatives Hayes Barnes Lis Hobbs Kelsey Keating Jacob Peterman Mac Wright Building Services Dameon Cooper Dave Melton
Assistant House Managers Cont. Phoebe Rodgers Kathy Sax Karen Sipes Rudy Thien Maggie Ward Heather Welling Bartenders Gayle Durcholz Sandra Hester-Steele Nancy Hiser Susan Korbin Tina Weaver 13
BOARD OF DIRECTORS 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! –Tom Froehle, IRT Board Chair OFFICERS CHAIR
-Faegre Baker Daniels
VICE CHAIR & CHAIR ELECT
-PNC Wealth Management
-The Lacy Foundation
IMMEDIATE PAST CHAIR
Michael J. Harrington -Eli Lilly and Company
Mark Shaffer -KPMG LLP
MEMBERS Tammara D. Avant
Michael N. Heaton
Peter N. Reist
Sharon R. Barner
Susan O. Ringo
Keith A. Bice
Mary Beth Claus
Ann Colussi Dee
Michael P. Dinius
Troy D. Farmer
L. Alan Whaley
Richard D. Feldman
Lawren K. Mills
James W. Freeman
William O. Williams II
Timothy W. Oliver
Ricardo L. Guimarães
-Taft Stettinius & Hollister LLP -Cummins, Inc.
-Wells Fargo Advisors -Bingham Greenebaum Doll LLP -IU Health
-Eli Lilly and Company, Retired -Noble Consulting Services, Inc. -Fifth Third Bank -Franciscan Health Indianapolis -OneAmerica Financial Partners, Inc., Retired -RDG Strategies LLC -Dow AgroSciences
* Past Board Chairs
-Katz Sapper & Miller
-Calumet Specialty Products Partners L.P. -Ice Miller LLP
-Leadership Indianapolis -CNO Financial Group, Inc. -Community Volunteer
-AES US Services and IPL -OneAmerica Financial Partners, Inc. -Ice Miller Strategies LLC, Ice Miller LLP -Frost Brown Todd LLC -JP Morgan Chase Bank, NA
-Community Volunteer -BMO Harris Commercial Banking -Schmidt Associates
-Cushman & Wakefield -Jupiter Peak, LLC -Second Helpings, Inc. -Salesforce
-Ice Miller LLP, Retired -Community Volunteer
-Frost Brown Todd LLC
-Frost Brown Todd LLC
-Central Indiana Community Foundation
BOARD EMERITUS Robert Anker* Rollin Dick Berkley Duck* Dale Duncan*
-Oxford Financial Group
* Past Board Chairs
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*
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€™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: firstname.lastname@example.org | 317.916.4833 Michael Joseph Mitchell in the IRT's 2016 production of Finding Home: Indiana at 200. Photo by Zach Rosing.
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€™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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INDIANAPOLIS | EVANSVILLE | LOUISVILLE | LEXINGTON | CINCINNATI
“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.
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Careful planning, talent and passion are on display at todayâ€™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!
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Clients at Center Stage At the IRT, you have the best seat in the house to view excellence on stage. At Faegre Baker Daniels, clients are front and center for excellent experiences. Our lawyers and consultants adopt the client’s point of view and provide high-quality service in the courtroom, at the negotiation table and everywhere in between.
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- Facebook/Twitter: #irtlive - Email: email@example.com PHOTO CREDIT (SET ONLY):
ONEAMERICA MAINSTAGE MARCH 7 - MARCH 31
- Scenic Designer: Lee Savage, wingspace.com/lee - Lighting Designer: Alexander Ridgers, alexanderridgers.com
DIRECTOR____________________ PETER AMSTER
Scenic Designer_________________________LEE SAVAGE Costume Designer_____________________ TRACY DORMAN Lighting Designer__________________ALEXANDER RIDGERS Sound Designer______________________TODD MACK REISCHMAN Projection Designer________________________KATHERINE FREER Music Director/Arrangements__________________ GREGG COFFIN Dramaturg________________________RICHARD J ROBERTS Stage Manager______________________NATHAN GARRISON* Casting_________________________CLAIRE SIMON CASTING
m a k i n g t h e a rt s h a p p e n
SEASON 2017 - 2018
LEAD SUPPORT THE MARGOT L. ECCLES ARTS & CULTURE FUND, A FUND OF CICF
COMMUNITY ENGAGEMENT SPONSOR
Executive Artistic Director
THE CAST Helen_______________________SUSAN PELLEGRINO* Sylvie, & young Helen___________ANDREA SAN MIGUEL Aunt Chuck______________________ TOM AULINO* Marco, & young Gordon_____________CASEY HOEKSTRA Street Musicians: Vivaldi et al._________________ANDREW MAYER* Gordon et al._______________________PAUL DEBOY* Kate et al.____________________KATRINA YAUKEY*
SETTING Venice, June, recently. And another June, not so recently.
There will be one intermission.
ACKNOWLEDGMENTS Dialect Coach: Henry McDaniel
Appoggiatura is produced by special arrangement with Bruce Ostler, Bret Adams, Ltd., 448 W. 44th Street, New York, NY 10036, bretadamsltd.net Appoggiatura was originally developed by the Denver Center Theatre Company, a division of the Denver Center for the Performing Arts, Kent Thompson, Artistic Director. Appoggiatura was developed as part of the Launch Pad Preview Production Program at the University of California, Santa Barbara–Department of Theatre and Dance, Risa Brainin, Director. *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 director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. 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.
THE JOURNEY TO APPOGGIATURA The spring of 2018 brings us into our season of celebrating James Still, and his dedication and artistry over twenty years as our playwright-in-residence. When he started this journey, James was an early career playwright, having moved full-time from acting into writing a decade earlier, but at that time principally writing for television. We found in him the perfect moment and the perfect partner: he was eager to dedicate himself to writing for the stage, and was fully prepared, as we have watched him do so beautifully, to commit himself to the life of the IRT in all its many aspects, and to fully embrace, explore, and celebrate our Midwestern community. As a native Midwesterner himself, he was— and is—poised to help us explore how our art can have impact on local and regional stories. Consequently, over these twenty years, he has created seven of the 19 plays that have become the Indiana Series.
To celebrate James’s twentieth season, we have chosen to produce two of his plays—one on the OneAmerica Mainstage, one on the Upperstage—thus creating a little James Still festival. We curated these plays very specifically. The first, Appoggiatura, we selected because it is new to Indiana audiences and expresses the breadth of James’s career in many ways. The second, Looking Over the President’s Shoulder, we selected because it sits at the very heart of the Indiana Series (and many of our patrons’ hearts as well). It is the first of James’s Indiana-based plays, and it has been produced all over the country, taking the story of native Hoosier Alonzo Fields into many people’s hearts and minds. This production will be our third since it premiered in 2001. So we will both expand our James Still oeuvre and celebrate a beloved gem in this twentieth year of his time with us. But those of you who have been season ticket holders for a while already have a relationship to Appoggiatura. It is part of
Deirdre Lovejoy and Patricia Hodges in IRT's 2012 production of The House That Jack Built. Photo by Zach Rosing.
BY JANET ALLEN, EXECUTIVE ARTISTIC DIRECTOR
a trilogy that includes The House that Jack Built (we produced the world premiere in 2012) and Miranda (we produced that just a year ago). The trilogy tells the story of three generations of a family impacted by the death of an adult son, Jack, who died in the Twin Towers on 9/11. With this production of Appoggiatura, IRT will become the first theatre to produce all three plays, which will be published together next year by Dramatic Publishing. But the beauty of these plays is their rare individuality—each is a completely different and completely stand-alone experience. Jack is set in Vermont on Thanksgiving day in 2011 and focuses on Jack’s mother, wife, and older sister. Appoggiatura is set in Venice in 2012 and focuses on a vacation taken by Jack’s mother and daughter and his father’s partner. Miranda, as you may recall from last spring’s production, is set in Yemen in 2015 and focuses on Jack’s youngest sister, Miranda, and her career as a CIA agent. They fit together, but they triumph apart.
Appoggiatura’s development also widens James Still’s sphere of influence and therefore, ours. Unlike many of James’s plays, the IRT commissioned none of the three in the trilogy. Appoggiatura was commissioned by the Denver Center Theatre; but it was first produced in a workshop production at Launch Pad, a play development program housed at the University of California, Santa Barbara, and founded by IRT’s former associate artistic director Risa Brainin—who also directed that workshop production. The play then had its professional premiere at Denver Center, first in 2014 as a staged reading in their new play development program, New Play Summit, and then in full production in the winter of 2015. We are pleased to create an entirely new production, so that James may see the play in a new light in his home theatre, and so our audiences may enjoy another journey into the hearts of some very winning American characters, a bit adrift in a place of great beauty, while wrestling with their own paths of healing and discovery.
Jennifer Coombs and Ninos Baba in IRT's 2017 production of Miranda. Photo by Zach Rosing.
DELAYING CADENCE BY PETER AMSTER, DIRECTOR
It’s an unlikely title for a play: Appoggiatura. It’s not easy to pronounce at first, but with a few tries it tumbles off the tongue: “Ah-podge-uh-TOO-ruh.” And when you find out that it refers to a musical technique of adding a note that delays cadence, a note that leans on the final note of the phrase, and that you’ve been listening to it in everything from Mozart to Sinatra to Adele, it becomes like a secret handshake. Sing the last phrase (quietly) of “Happy Birthday to You.” Now, sing it again, but this time when you get to the “you,” sing it on the same note as “to.”THEN slide down to the “you” note. Notice how doing that achingly delays getting to the end, how that penultimate note LEANS on the last note. That’s appoggiatura. Now that you’re a member of the appoggiatura club, let me get personal: I love this play. After all, it was written by James Still. Directing The Heavens Are Hung in Black and The Gentleman from Indiana at the IRT, and Iron Kisses at Geva, have been some of my favorite times in the theatre. James demonstrates a particular gift for creating interesting, eccentric characters— charming, frustrating, obsessed, confused—and making us care desperately about them. He tells big stories about presidents and their butlers, about Nazis, and the Klan. He also tells small stories about obscure folk rooted in Midwestern soil. 28
He insists on finding and celebrating the poetry in even the most prosaic of souls, guiding them, and us, to places of clarity and grace. This is particularly true in Appoggiatura. It is a lyrical, often funny, always touching journey through the memory banks of Venice, for three tourists and their local “tour-guider,” each with a broken heart and a sad soul. Venice is like no other place on earth: magical, disorienting, mysterious, surprising, watery, theatrical. The play’s lyricism is manifest in music: not only are there troubadours guiding us through the story, but the action moves forward with the same contrapuntal push and pull as the music of Vivaldi (who manages to make a guest appearance). And we come, as we do with so many of James Still’s characters, to have deep empathic responses to Helen and Aunt Chuck, to Sylvie and Marco, as they wander through a magical city, suspended like the penultimate note of a love song, delaying cadence, leaning on each other and the past.
DISCOVERING VENICE BY JAMES STILL, PLAYWRIGHT-IN-RESIDENCE
Writers are often/always asked about the origins of their plays, where the ideas come from, what it all means.… And I’ve spent a lifetime (in interviews and program notes) obediently and patiently trying to answer those unanswerable questions. The cheeky response is that the play itself is the answer to all the questions. But here’s some personal stuff I can share, fragments that became feelings that became fuel that was transformed by urgency and that then somehow, miraculously, became this play. 1. Some years ago running in Central Park and being passed by a guy twenty years younger than me and realizing he was actually ME, that I was in a race to catch up with myself. 2. Living in Italy and every morning seeing an old man who looked exactly like my great-grandfather. I loved greeting him “Buongiorno!" It made me believe that if I kept running long enough I’d run into other people I’d lost and still loved. 3. The surgeon who performed a life-saving transplant on me when I was a child in Kansas and who half a century later would name a race horse Appoggiatura in honor of my play. It turned out my surgeon had grown up in Indiana and asked me to write the foreword to his autobiography. 4. And of course my own time spent in Venice, Italy, which is a place that rises up out of the sea like a dream, where
I watched a man and his dogs sing to each other in the moonlight, where the sunlight is gold and violet, and where sorrow and grace and wonder all mingle effortlessly with memory and mystery. Someone once asked me why my play is set in Venice. I found it such a strange question, because Appoggiatura could ONLY happen in Venice. If the play were set in a different place, it would be a completely different play. Venice is a character in and of itself. That’s another thing I love about Venice: somehow it convinces us that we are the only ones who have ever seen it, that we are the first to discover its beguiling beauty. Why else do people take photographs of Venice that have been taken millions of times by millions of people? Maybe my play is like one of those photographs: Venice convinced me that I was the only one who had ever truly seen it and could tell this story. I always hope that audiences will find themselves in my plays—maybe not literally, but in spirit. That’s especially true with Appoggiatura. What I’ve learned in Venice is that sometimes you have to get lost in order to be found. That’s true as a writer too. I didn’t know I was going to write a play called Appoggiatura. It surprised me. I hope it surprises you too. 29
DRIFTING THROUGH THE FLOATING CITY ALEXANDER RIDGERS LIGHTING DESIGNER
Appoggiatura follows characters on a journey and experience of memory through the beautiful city of Venice. The light will follow them to various locations, illuminating the architecture of Venice with shape, angle, and color. The light in Venice is exciting, filled with darkness, shadows, and long corridors of light between the buildings. There is
an isolation and loneliness in the warm glow of the dark night, which feels completely different from the busyness of bright daytime. The design will explore these ideas as the characters roam the streets and uncover the brightness and darkness in themselves and each other.
LEE SAVAGE SCENIC DESIGNER I feel lucky to be working on Appoggiatura with such a terrific creative team! Even though I have never been to Venice, Jamesâ€™s play captures its very essence, and it has been a joy
to dive into the research and images of this magical city. It was our goal to create a world with many layers and a sense of history to help tell our story and bring it to life.
Preliminary model by scenic designer Lee Savage.
TRACY DORMAN COSTUME DESIGNER Designing costumes for Appoggiatura has presented the interesting challenge of portraying real characters mixed in with characters who are conjured out of memory, fantasy, and imagination. We have approached this conundrum by grounding the worlds from which these characters emerge in different palettes. Helen, Aunt Chuck, and Sylvie are in a sense in their own world: rumpled, travel-weary, with a
realistic palette, in clothes that tell the story of where they have come from, and where they are expecting to go. The musicians too are in their own world, and it’s a stark contrast; because they become the characters who populate Venice, they have a more exotic look and palette. The characters from Helen’s past have the look of a different era and, I hope, fuel a sense of nostalgia both in her and the audience.
GREGG COFFIN COMPOSER Any play with a musical title like Appoggiatura had better deliver some wonderful music. Director Peter Amster and I researched the many musical facets of James’s piece, and we are excited to bring the audience into an aural experience of Venice, its beautiful bells and birds and street musicians;
Vivaldi, his haunting violin work with notes that lean into one another; and the idea of musical memories, with wisps of melodies barely remembered and the sound of romance lingering in our ears and hearts.
Preliminary costume sketches for Sylvie, Aunt Chuck, Helen, and Marco by designer Tracy Dorman.
THE COMPANY TOM AULINO AUNT CHUCK
Tom is grateful to return to IRT, where he appeared in the 1994 production of Holiday Memories and the 2011 production of The 39 Steps. New York credits include the Broadway revival of On the Town as well as Marvin’s Room at Playwrights Horizons and Up Against It!, Measure for Measure, and Henry VIII at the Public Theatre. Chicago credits include Candide, The Winter’s Tale, and She Always Said, Pablo at the Goodman; The Dresser and Valparaiso at Steppenwolf; and Take Me Out (Joseph Jefferson Award) for About Face at Steppenwolf. At Kansas City Rep, he acted in Circle Mirror Transformation and Vanya and Sonya and Masha and Spike and directed The Mystery of Irma Vep. Tom is a graduate of Northwestern and has served on the performance faculty at Wayne State and Auburn.
PAUL DEBOY STREET MUSICIAN, GORDON, et al.
Paul’s New York credits include Mamma Mia! on Broadway and National Tour, Ferguson at 30th Street Theatre, Sight Unseen at Manhattan Theatre Club, Eurydice at Second Stage Theatre, and Edwin at Theatre at St Clements. Regional credits include Present Laughter at Brown County Playhouse, The Christians at Syracuse Stage and The Wilma Theatre, All the Way at Denver Center for the Performing Arts, My Fair Lady at Pioneer Theatre, and The 39 Steps at Repertory Theatre of St Louis, as well as Contemporary American Theatre Festival, Cincinnati Playhouse, Kansas City Rep, the Walnut Street Theatre, Maltz Jupiter Theatre, the Olney Theatre, and Studio Arena. TV and film credits include Blacklist: Redemption, Law & Order: SVU, Royal Pains, The Following, Law & Order, Law & Order: Criminal Intent, and A Dirty Shame by John Waters. pauldeboy.com
CASEY HOEKSTRA MARCO, & YOUNG GORDON
Casey is excited to be making his Indiana Repertory Theater debut. He bases out of Chicago where he shares a small apartment in Edgewater with his girlfriend, Andrea. Casey has acted in Minnesota, Chicago, Washington, DC, Georgia, and Wisconsin. Some of his favorite roles include: Happy in Death of a Salesman and Marco in A View from the Bridge at American Players Theater, Shere Khan in The Jungle Book at Children’s Theater of Minneapolis, Jerry Devine in Juno and the Paycock at the Guthrie Theater, and Romeo in Romeo and Juliet at Montana Shakespeare in the Parks. He’s an avid reader, board game enthusiast, and amateur illustrator.
ANDREW MAYER STREET MUSICIAN, VIVALDI, et al.
Andrew makes his IRT debut. He was seen on Broadway in Natasha, Pierre, & the Great Comet of 1812. Off-Broadway and regional credits include Prince of Egypt for Stephen Schwartz and Dreamworks Theatrical, The 12—A New Rock Musical at Denver Center Theater, Dying for It at Atlantic Theater Company, Fiddler on the Roof at Barrington Stage Company, Thomas Paine in Violence at HERE NYC, and Fallujah at TPAC-NYC and the Kennedy Center. Recent TV and film credits include The 71st Annual Tony Awards, The Hunted: Encore (series regular), III.1 Romeo’s Turn, and 20 Feet Close. Andrew is a member of top NYC event band the Michael Hart Band. A stage combat specialist, he performs and choreographs for stage and screen. His training includes a B.F.A. in acting from Boston University School of Theatre; voice, violin, and piano at Manhattan School of Music; and classical acting and stage combat at LAMDA. Instagram: @AcMusikman | andrewcmayer.com
SUSAN PELLEGRINO HELEN
Susan is very happy to be making her IRT debut in this lovely play. Her Broadway credits include Equus, Prelude to a Kiss, Present Laughter, The Kentucky Cycle, and Two Shakespearean Actors. Off-Broadway she has worked with the Roundabout Theatre, the Keen Company, EST, Second Stage, and the Minetta Lane Theatre (Marvin’s Room). Regionally she has worked at the McCarter, Merrimac Rep, Long Wharf, Hartford Stage, Portland Stage, Repertory Theatre of St. Louis, the Alley Theatre, Cleveland Play House, and the American Conservatory Theatre. Guest roles on TV include Law & Order (all three), Unforgettable, The Good Wife, and Pan Am. Film credits are Michael Clayton, The Wendigo, and The Becky Bell Story.
ANDREA SAN MIGUEL SYLVIE, & YOUNG HELEN
Andrea is enchanted and elated to make her debut performance at IRT. Coming from Chicago she has been making her way through the Midwest this past year. Her favorite and more recent roles include Marianne in Constellations for Theatre LILA, Solange in The Maids and Lucienne in A Flea in her Ear at American Players Theatre, and Benvolio in Romeo & Juliet and Viola in Twelfth Night at Chicago Shakespeare Theater. Next you can see her in her second season in the glorious woods of APT. “I dedicate this performance to my best friend and adventure-seeking soul mate, Casey. Andiamo, amore mio!”
KATRINA YAUKEY STREET MUSICIAN, KATE, et al.
Katrina’s Broadway credits include Natasha, Pierre, & the Great Comet of 1812, Cabaret (2014 and 1998), War Horse, Billy Elliot, and Company. National/International Tours include Billy Elliot, Sweeney Todd, Cabaret, and Victor/Victoria. In the Off-Broadway production of Natasha, Pierre, & the Great Comet of 1812 she played Princess Mary. Her regional credits include ART, the Public, ACT, the Cape Playhouse, and Totem Pole Playhouse. Katrina studied oboe performance and musical theatre at Penn State University; she also holds both a Bachelors of Professional Studies and a Masters Certificate in Music Production from Berklee College of Music. katrinayaukey.com 33
THE COMPANY JAMES STILL PLAYWRIGHT
This season James celebrates 20 seasons as the IRT’s playwright-in-residence, and the company is producing his plays Appoggiatura and Looking Over the President’s Shoulder. IRT audiences have seen James’s plays Miranda, April 4, 1968: Before We Forgot How to Dream, The Velveteen Rabbit, The House That Jack Built, I Love to Eat, The Heavens Are Hung in Black, Interpreting William, Iron Kisses, The Gentleman from Indiana, Searching for Eden, He Held Me Grand, Amber Waves, And Then They Came for Me: Remembering the World of Anne Frank, and The Secret History of the Future. James has also directed many productions at the IRT, including The Originalist, Dial “M” for Murder, The Mystery of Irma Vep, Red, Other Desert Cities, God of Carnage, Mary’s Wedding, Becky’s New Car, Rabbit Hole, Doubt, Bad Dates, Old Wicked Songs, Plaza Suite, The Immigrant, and Dinner with Friends, as well as his own I Love to Eat, Amber Waves, and Looking Over the President’s Shoulder (2001). (complete bio on page 10)
PETER AMSTER DIRECTOR
Peter has directed 20 productions at the IRT, including Finding Home, The Great Gatsby, The Hound of the Baskervilles, The Game’s Afoot, A Midsummer Night’s Dream, The 39 Steps, The Heavens Are Hung in Black, Our Town, The Gentleman from Indiana, Pride and Prejudice, Arcadia, Abe Lincoln in Illinois, and She Loves Me. He has been nominated for Chicago’s Jefferson Award for his direction of Once on This Island, The World Goes Round, and The Rothschilds at Apple Tree Theatre, and Pride and Prejudice at Northlight Theatre. Other Chicago credits include Steppenwolf, the Court Theatre, and the Goodman. Regional credits include the Utah Shakespeare Festival, Oregon Shakespeare Festival, Cleveland Play House, Syracuse Stage, and Asolo Repertory Theatre. Peter has directed and choreographed operas for the Lyric Opera of Chicago, Chicago Opera Theatre, Skylight Opera, and Light Opera Works. He has taught theatre, opera, and performance studies at Northwestern University, CalArts, LSU, DePaul University, and Roosevelt University.
LEE SAVAGE SCENIC DESIGNER
Lee has designed The Great Gatsby and The Crucible at the IRT. His New York credits include X: or, Betty Shabazz v. the Nation for the Acting Company; The Lightning Thief for Theatreworks USA; Muscles in Our Toes, Sunset Baby, and Thinner than Water for Labyrinth Theater Company; and others. Regionally he has worked at Glimmerglass Festival, the Goodman, the Guthrie, Washington National Opera, Yale Rep, and many others. He has received an NAACP Theatre Award for Satchmo at the Waldorf at the Annenberg Center, the Helen Hayes Award for Much Ado about Nothing at the Shakespeare Theatre Company, and the Connecticut Critics Circle Award for The Intelligent Design of Jenny Chow at Yale Rep. Lee is a member of Wingspace Theatrical Design and an instructor at the Yale School of Drama and at Rhode Island School of Design. He earned his B.F.A. at the Rhode Island School of Design and his M.F.A. at the Yale School of Drama.
TRACY DORMAN COSTUME DESIGNER
At the IRT, Tracy has designed Dial “M” for Murder, The Great Gatsby, The Hound of the Baskervilles, The Game’s Afoot, The Crucible, Dracula, The 39 Steps, The Heavens Are Hung in Black, Rabbit Hole, Sherlock Holmes: The Final Adventure, Intimate Apparel, Searching for Eden, The Tale of the Allergist’s Wife, and Jitney. She has designed at numerous regional opera and theatre companies around the country including Asolo Repertory Theatre, Geva, Maltz-Jupiter, Drury Lane, Cincinnati Playhouse in the Park, Milwaukee Rep, Actors Theatre of Louisville, Kansas City Rep, Syracuse Stage, Virginia Opera, Kentucky Opera, Chicago Opera Theatre, Glimmerglass, and New York City Opera. From 2005 to 2008 she was an associate costume designer on the CBS daytime drama As the World Turns, for which she won a 2007 Emmy Award for Costume Design. tracydorman.com 34
ALEXANDER RIDGERS LIGHTING DESIGNER
Alexander designed James Still’s Miranda last season at the IRT. He is a lighting designer based in Chicago hailing from Edinburgh, Scotland. He worked as a freelance designer and associate lighting designer with Sell a Door Theatre Company in London before moving to Chicago in 2012. Since being based in the United States, he has designed at American Theatre Company, Theatre Wit, Griffin Theatre Company, Writers Theatre, Lucky Plush Productions, and American Blues Theater, and has assisted nationally with Marcus Doshi Design. Alexander is adjunct lecturer of lighting design at the University of Illinois at Chicago, as well as the 2016 winner of the Best Student Exhibit at the Michael Merritt Awards in Chicago. He was nominated for a 2017 Non-Equity Jeff Award for best lighting design for Winterset. He has an M.F.A. from Northwestern University, and a B.A. from the Royal Conservatoire of Scotland. alexanderridgers.com
TODD MACK REISCHMAN SOUND DESIGNER
Todd has created sounds and music for more than 80 productions at IRT during his 16 seasons as resident sound designer. His work has also been heard in other theaters around the country. In his other life, Todd dabbles in a number of music projects and considers himself fortunate to keep busy doing things he loves. The craft has taught him both to create and describe the ruckus.
KATHERINE FREER PROJECTION DESIGNER
Katherine is a multimedia designer working in theatre, events, and installation. At the IRT, she has created projections for The Curious Incident of the Dog in the Night-Time, Dial “M” for Murder, and The Great Gatsby. Frequent collaborators include Ping Chong, Tim Bond, Liz Lerman, Kamilah Forbes, and Talvin Wilks. Recent designs include Generation NYZ for New Victory, The Wizard of Oz and Mary Poppins (directed by Peter Amster) at Syracuse Stage, Alaxsxa | Alaska for La Mama and Lincoln Center Education, Detroit 67 at Chautauqua Theater Company, The Four Immigrants: An American Musical Manga for TheatreWorks, Crane: on Earth, in Sky at Lied Center, Macbeth at Richard Rodgers Amphitheater, The Wholehearted at Z space, and Poster Boy at Williamstown Theater Festival. Katherine is a Helen Hayes nominee and an Innovative Theater Award nominee.
GREGG COFFIN MUSIC DIRECTOR/ARRANGEMENTS
Gregg’s incidental scores for the IRT include The Hound of the Baskervilles, The Game’s Afoot, The Whipping Man, Dracula, Romeo and Juliet (2010), Our Town, Death of a Salesman, The Gentleman from Indiana, The Drawer Boy, and The Lion in Winter. Elsewhere he has provided the music for productions throughout the United States and Canada, including the Minetta Lane Theatre and the Duke on 42nd Street (Off Broadway), the Stratford Festival of Canada, the National Arts Centre, Canadian Stage Company, Alley Theatre, Arena Stage, Asolo Repertory Theatre, Berkeley Rep, Denver Center, Geva Theatre Center, Guthrie Theater, Pioneer Theatre Company, and South Coast Rep, as well as the Oregon, Alabama, Santa Cruz, California, Santa Fe, and St. Louis Shakespeare festivals.
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. 35
THE COMPANY 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.
CLAIRE SIMON CASTING
Based in Chicago, Claire Simon, C.S.A., has worked with the IRT on casting more than 30 productions, including Romeo and Juliet, The Originalist, The Curious Incident of the Dog in the Night-Time, Guess Who’s Coming to Dinner, Finding Home, The Three Musketeers, The Mousetrap, The Great Gatsby, The Game’s Afoot, The Mountaintop, The Crucible, and many more. Other regional credits include Syracuse Stage, Indiana Festival Theatre, Lyric Opera, Milwaukee Rep, New Theatre, Paramount, Writers Theatre, Broadway in Chicago’s Working, and the Tony Award–winning Million Dollar Quartet. TV credits include Empire, Sense8, Chicago Fire, Chicago PD, Crisis, Betrayal, Detroit 1-8-7, Boss, Mob Doctor, and Chicago Code. Film credits include Divergent, Contagion, Unexpected, and Man of Steel. Claire has won Artios Awards for casting the pilot of Empire and for Season 1 of Fox’s Prison Break.
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€™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)
PLAYWRIGHT-IN-RESIDENCE JAMES STILL THIS YEAR THE IRT IS CELEBRATING JAMES STILL’S 20TH SEASON AS PLAYWRIGHT-IN-RESIDENCE.
HOW DID YOU FIRST BECOME INTERESTED IN THEATRE? I was read to from the time I was really young. That led me to being a reader, and I think all of that led to my interest in story. I was always writing. Like a lot of kids, I wrote poetry, I wrote stories. I won some contests as a kid. I was that cousin who got the other cousins together when we were little kids to put on plays at the family reunions—plays I wrote, of course. Our little town in Kansas would put on the school play, which I always attended. Then when I was 15 I saw a touring production of Who’s Afraid of Virginia Woolf?—in a church, can you imagine? It was wildly controversial—and I was absolutely mesmerized.
WHAT WAS YOUR FORMAL TRAINING? I received a theatre scholarship at a small private college in Kansas. And in the first month, my very charismatic theatre professor pulled me aside and said, “I’m going to leave next year, and I’m going to take ten students with me, and I’m going to start a theatre company.” I didn’t even think about it. I said yes, I’ll do it! We’d have these secret meetings in the middle of the night because we couldn’t tell anyone about our plans. I couldn’t tell my classmates, I couldn’t tell my parents. It was very CIA, like Miranda, my play the IRT produced last season. I didn’t really know what I was signing up for. But I was 19-years-old, and it was an adventure.
Everything changed when I was 16 and started as an apprentice at a summer stock company near my hometown. It was an old barn that had been converted into a theatre called Vassar Playhouse. It had 200 seats maybe, and a tiny stage. It had an old olio roll drop curtain, and businesses bought ads, and every year we painted the ads on it. We did everything, plays, comedies, big musicals like Oklahoma! We would close one show on Sunday, tear down the set, put up the new one, and open the next show on Tuesday—with no sleep! For the first time I was around other people like me, people who knew all the words to A Chorus Line and Company and Cabaret, people who thought it was fun to rehearse two plays in a day and do another one at night, people who were willing to clean the bathrooms and take the tickets and work the concessions bar because it also meant they got to be in plays, people who were willing to work 18-hour days, seven days a week. Not only was it my first professional job, but it was also the first experience that showed me a way forward in my life. I loved it! I worked there for four summers. I considered the owners, Bruce and Veda Rogers, to be my “theatrical parents,” and I am still very, very close to them. They taught me not to be afraid of anything. They helped shape my work ethic and my courage. They helped me be unafraid of my ambition.
At the end of my freshman year, ten of us left school and moved to Kansas City. I got a day job in an office, had several roommates. We rehearsed at night and would perform anywhere anyone would have us. It was kind of amazing and kind of awful. We were kids, and as a theatre ensemble we imploded. But I learned so much that year about being self-sufficient.
So then I went to the University of Kansas, which is a big school with a big theatre department, and I had an incredible college experience. And that’s the first time I was around new plays. We had visiting writers and graduate students working on plays, I was in readings of new plays. I started to get an idea of this other thing in the theatre I might think about. WHAT DID YOU DO NEXT? I moved to Chicago and I got cast immediately in a new musical called Summer Stock Murders. I did that show for a year, and it was a blast. I was the murderer, actually. Peter Amster [director of Appoggiatura] was the choreographer! It was a crazy, campy, wonderful three-act musical that was just so much fun to do, and I loved that time. I was also taking acting classes at Steppenwolf, which was just becoming the theatre ensemble we now revere. Jeff Perry, one of the co-founders, was my acting teacher. They were doing
the first production of Cloud Nine outside of New York. They hired me as Jeff’s understudy, and when the show moved for a commercial run, I took over the role. So there I was at 23-yearsold on stage with Laurie Metcalf, Rondi Reed, Joan Allen, Terry Kinney, Francis Guinan, Alan Wilder … and me! Being in a Caryl Churchill play as an actor is the reason I became a writer. There was something about being inside that play and doing it eight times a week, where I really felt like my head kind of exploded. Her exploration of how time works in the theatre made a huge impact on me. I look at all my work, and time is kind of an obsession. But also how time is theatrical, and how you can do things with time in the theatre that are just different than novels and film even. HOW DID YOU START WRITING PLAYS? After two very successful shows, I went from feeling like I was doing OK as an actor, to not getting cast, and not getting cast, and really feeling like I was hitting a wall. And I was scared. I hadn’t thought about what else I might do. So I wrote a play. As selfaggrandizing as it sounds, I wrote a play to save myself. I felt myself drowning, a little bit in desperation, but also in rage and frustration that I didn’t have a place at the table. And I think I wrote a play to make a place at the table for myself. I wonder why I thought it would be easier as a writer. As an actor, you’re waiting for somebody to cast you; but as a writer, you’re waiting for someone to produce your play. So I sent my play to anybody in the world who would read it. I probably sent it to the IRT! And of course I didn’t hear back from 95%, and the ones I did hear back from were rejections, form letters. But I got maybe five personal responses, and all of them said, we’re not going to do 40
your play, but we’re intrigued. You have a voice. And we’d like to read your next play. And I thought, next play … what? I wrote my play! I hadn’t thought about a“next play.”So I wrote my next play, and sent it out, and it was mostly rejected, and I started a long process of gradually teaching myself how to be a writer, and also how to be an entrepreneur. I would say my greatest teacher as a writer has come from wrestling deeply with the art of structure. Because I came at it from more of an actor’s point of view, my initial ways of thinking about plays were all about character. There came a time—I don’t know, somewhere early in my IRT days probably—where I realized, I don’t need to think about character so much, that’s just part of who I am. But I do need to think about structure. So I went back and started studying plays as structure. How are plays put together, how are they built? Of course, for every perfect well-made play, you read some amazing play that breaks every possible rule, and works beautifully. But it’s that old adage: you have to know the rules so you can break the rules. HOW HAS BEING AFFILIATED WITH THE IRT FOR 20 YEARS AFFECTED YOUR CAREER? It’s hard to peel back the layers now, but I’ve been thinking: what would it have been like if I hadn’t been at the IRT? Very likely I might not have continued in the theatre. At the time we started, I was writing a lot of TV. I was trying to leave the theatre, consciously trying to uncouple. Not because I didn’t love it any more, but because I was writing so much and it was still so hard to make a living. I wasn’t one of those writers who hit the lottery and had a play that was done at every regional theatre or went to Broadway. I was much more like most of the playwrights in this country: I was writing plays that were being produced, but
I wasn’t hitting the zeitgeist. Initially the Pew grant was for two years, and I thought, I can do anything for two years. And then the grant got renewed, and we were talking about so many possible projects. In the theatre, you sow seeds that often take a long time to grow. But to answer your question more directly: I know of no other writer who has had one theatre do 20 productions of 16 of their plays. So when I think about my education as a writer … you can’t evolve as a playwright if your plays aren't produced. If it’s not on the stage, you’re not really experiencing what you’ve imagined, and you don’t get to sharpen your skills. How do you make something work on stage? And how do you interact with your play in the rehearsal room? That’s a skill as well, being in the room when people are struggling with what you’ve written. Part of what you have to learn as a writer is, are the struggles just part of the process, or is it a problem with the play? Early in my career, I thought it was always the play, and I tried to fix things too quickly. And then I realized I was not only cheating the play, but I was also cheating my collaborators, because they weren’t getting to work through their own process. Obviously there are times when it is the play’s issue, and as the writer you’ve got to deal with that. But I’ve become much more patient as a writer. I will also say, that way of working requires a high level of artistry from your collaborators. And the IRT is a theatre that does high caliber art-making. I can’t imagine that I could have spent 20 years with a theatre that wasn’t of this caliber, because I don’t think that I would have become a better writer, I think I would have become a worse writer. It’s a really deep thing for me to think about. I may be standing in the lobby with an audience member who has seen many
of my plays. That may not be what we talk about, but there’s still a shared vocabulary. And sometimes that makes me feel extremely exposed. The things that profoundly matter to me emerge in the work, and I’m sure people sense that—wishes, warnings, politics, dreams…. There’s also something unique and scary when audience members know that when they see one of my plays, they might run into me at some point, we might have a conversation about it. It’s personal. The IRT has clearly been a place where I can practice my art, and my craft, and my leadership. It’s also about place, it’s about investing in so many of the same people—audiences, but also staff members. I like the work that we do here. That keeps me engaged—what other artists are making on our stages. I’m moved, and often amazed. I don’t think anyone could plan to be the playwright-in-residence for 20 years at a theatre. It’s not something you even aspire to, though the dividends are endless. But it’s kind of unimaginable, because it hasn’t happened before, not the way we’ve done it. So in a way, maybe other writers and theatres now will be able to think about what that might be like, because we’ve done it, we’re doing it. Doing. It’s always good for a writer to end an interview with a verb. Top Left: Tim Grimm and John Henry Redwood in IRT’s 2000 production of Amber Waves. Top Center: Nicholas Hormann and Mary Beth Fisher in IRT's 2010 production of The Heavens Are Hung in Black. Photos by Julie Curry. Top Right: James T. Alfred and Nia Simmons in IRT's 2015 production of April 4, 1968: Before We Forgot How to Dream. Photo by Zach Rosing. Left: Constance Macy and Ryan Artzberger in IRT’s 2007 production of Iron Kisses. Right: Robert Neal in IRT's 2011 production of I Love to Eat. Photos by Julie Curry.
UPPERSTAGE MARCH 27 - MAY 6 REVIEWS:
- Facebook/Twitter: #irtlive - Email: firstname.lastname@example.org PHOTO CREDIT (SET ONLY):
- Scenic Designer: Robert M. Koharchik - Lighting Designer: Michelle Habeck habeckportfolio.com
DIRECTOR___________________ JANET ALLEN
Scenic Designer_________________ ROBERT M. KOHARCHIK Costume Designer____________ MARTIN CHAPMAN-BOWMAN Lighting Designer___________________ MICHELLE HABECK Projection Designer____________________CHRIS BERCHILD Composer___________________________MICHAEL KECK Dramaturg________________________RICHARD J ROBERTS Stage Manager____________________________ JOEL GRYNHEIM
SEASON 2017 - 2018
ARTS PARTNERS 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 Alonzo Fields________________ DAVID ALAN ANDERSON
SETTING Lafayette Park, Washington, DC 1953
There will be one intermission.
ACKNOWLEDGEMENTS Understudy: Ansley Valentine
Looking Over the Presidentâ€™s Shoulder is produced by special arrangement with Dramatic Publishing, Woodstock, Illinois. Actors and stage managers in this production are members of Actorsâ€™ 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 and lighting 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.
A REMINDER IN OUR CHANGING WORLD BY JANET ALLEN, EXECUTIVE ARTISTIC DIRECTOR
Much has changed in our world since last we produced Looking Over the President’s Shoulder in 2008. We have had a black president, not just black men serving the president. We have experienced many violent racial events in our country, and been called to the cry of Black Lives Matter. We have seen The Butler, based on a different African American butler at the White House—one who, by the way, was trained on the job by the subject of our play, Alonzo Fields. We have witnessed the creation of the National Museum of African American History and Culture on the mall in Washington, DC—which includes an exhibit dedicated to the story of Lyles Station, Indiana, Alonzo Fields’s hometown. In 1999, James Still, then IRT’s newly minted playwright-inresidence, found an old yellowed newspaper clipping in the Indiana Historical Society library, brought to him by now-retired reference librarian Wilma Gibbs Moore, that outlined the story of Alonzo Fields: a young man from Lyles Station, Indiana, one of Indiana’s many all-black towns, who trained to be an opera singer, then spent 21 years as a butler in the White House, serving four presidents. A beguiling seed for a play. James eventually found his way to Alonzo’s widow, Mayland Fields, who gave him the handwritten first draft of Alonzo’s long-outof-print memoir, My 21 Years in the White House. A new play was born, our third Indiana Series commission. Now, almost 20 years later, we are creating our third production of the play, and celebrating its many productions all over our country. Mr. 44
Fields’s view of the world, from behind the president’s chair, continues to command our attention and respect. We are blessed to have David Alan Anderson take on the role of Alonzo Fields again. We would not have produced the play again without him. David is nothing short of an Indianapolis treasure. While he has played the role several times, including at the IRT in 2008, he now revisits it at a point in his professional career where looking back on a 21-year experience has richer meaning. He also brings to it more of the wisdom and craft that comes to a highly skilled performer with each great role he takes on, accruing experience and a deepening connection to story and audience. Thank you, David, for taking Alonzo’s journey again with us and for us. There are many ways, in our current times, in which we imagine life in the White House—we deduce various things from the media, turning press stories into inklings of lifestyle and photos into imagined interactions. The stories of the various presidents in the play seem a far cry from the stories that emanate from today’s White House. Alonzo Fields reminds us of a time when civility, and perhaps an old-fashioned idea of respect and privacy, were practiced in the White House in ways that social media and the internet seem now to have abolished. I often wonder what Lonny Fields would make of his workplace today. Meanwhile, we enjoy the privilege of reflecting on what Mr. Fields’s 21 years in the White House meant to him, to our country, and to us, in this splendid play about a remarkable Hoosier.
David Alan Anderson in the IRT’s 2008 production of Looking Over the President’s Shoulder.
OUR FRIEND IN THE WHITE HOUSE BY JAMES STILL, PLAYWRIGHT-IN-RESIDENCE
Looking Over the President’s Shoulder is a one-person play. Why? It was my instinct from the beginning to write this play for one actor. There is something intimate and exhilarating and shared about watching one character tell his or her story. As an audience, we feel close to that character, we feel as though we’ve been cast as his confidant, we feel essential to the experience. We’re here to hear a story. And on a technical level, there is something dangerous and thrilling about watching one actor bravely inhabit the stage for two hours. But secretly, there was more to it than that. As the Chief Butler in the White House, Alonzo Fields was required to be silent, to stare straight ahead, not to smile or acknowledge any of the conversations taking place. As an African American in the White House from 1931 to 1953, he stood behind four presidents as the country struggled with its complicated history of racism and classism. I remember feeling there was something perfectly subversive and bold about a one-man play whose character hadn’t been allowed to talk on the job. Finally, Alonzo Fields would get to tell his story. Through the years I’ve also discovered there were many audiences who want to hear his story. It is fitting that I’m sharing my 20th season as playwright-in-residence with Alonzo Fields. It’s one of the first plays of mine the IRT commissioned. If you’re like me, you might never have heard of Alonzo Fields. I first ran across his name in 1999 while doing research on another project for the IRT. Soon I was making phone calls to the
Harry S. Truman Library in Independence, Missouri, to the White House, and to the Smithsonian. I would travel to Boston and spend time with Alonzo Fields’s second wife, Mayland (whom I recently visited on the occasion of her 100th birthday!). I would travel to Washington DC and talk to White House staff, spend time in the White House kitchen and the butler’s pantry, and walk up and down the back stairs. I would also walk across Pennsylvania Avenue, sit on a park bench, and look back at the White House—just as Alonzo Fields does in the play. Many years and many productions later, and I’m reminded anew what a wonderful man Fields was, what a complicated moment in history he shares with us, and what a unique role he played. He really was “in the front row watching the passing parade of history...” Alonzo Fields died in 1994, so I’ll never know what he might have thought about this play and all the attention he’s gotten through the many actors who have played him on many stages through the years. If he were here, there are things I’d love to ask him. But mostly I’d want to say thank you. Thank you for teaching me about living a life with grace and elegance, about doing a job with a sense of purpose and pride, and about being an artist who served dinner to four presidents and their families— and served his country too. I dedicate this production to the memory of John Henry Redwood who originated the role. And to David Alan Anderson who so beautifully accepted the baton from “Pops” and brings Alonzo Fields to life yet again.
John Henry Redwood in the IRT’s 2001 production of Looking Over the President’s Shoulder.
THE VIEW FROM THE BUTLER'S PANTRY ROBERT M. KOHARCHIK SCENIC DESIGNER Being a big fan of history and of this script, I am delighted to be designing Looking Over the President’s Shoulder for the second time. The set design for this production is
inspired by the architecture of Washington, DC and its many monuments. The result is an open and formal space that includes surfaces for projected images.
CHRIS BERCHILD PROJECTION DESIGNER The visual world of Looking Over the President’s Shoulder is a very engaging one, as the play is both a memory play (based on the memoirs of Alonzo Fields) and a dramatization of very real and recognizable places, people, and events from modern American history. The challenge in this design is to strike the balance between these two poles—offering historical anchors for the audience
while still respecting and exploring the perspective of this remarkable man and his own experiences. Some of the visuals will be instantly recognizable, as though they came from the archives of the mainstream media, while others may seem abstract or fragmented as seen through the lens of Alonzo Fields as he remembers his time in the White House.
MARTIN CHAPMAN-BOWMAN COSTUME DESIGNER Alonzo Fields was a classically trained singer who suddenly found himself at the White House as a butler. We only have two looks to help create Mr. Fields’s taste, style, and position: a travel ensemble and the formal livery worn by the White House staff. The uniform has its own style: black tail coat, white gloves, the classic look of formal service. The travel outfit is where as designer I can speak to Mr. Fields’s personal taste. He was not a man of great wealth; he had a daughter to support, and his wife was seriously ill. His style is one of class but not ostentation. I felt it important that he be shown in warm tones to reflect his more private side—as his family and friends saw him. MICHAEL KECK COMPOSER I am inspired by James’s inclusion of Schubert’s "Ave Maria," a recurring motif heard as Alonso Fields sings it from the stage and in his memory through a recording of Marion Anderson. To help set the tone and mark the period, I am pulled toward the intimate sound of a piano and small string ensemble as might have performed for dinner guests of the First Family in the splendor of the White House East Room. Using historical broadcast recordings stitched together with original compositions and playfully quaint campaign songs, I join our creative team in offering a window into Alonso Fields’s service from 1931 through 1953. Right: Preliminary costume sketch for Alonzo Fields by designer Martin Chapman-Bowman. Left: Preliminary scenic design by Robert M. Koharchik.
ALONZO FIELDS 21 YEARS IN THE WHITE HOUSE
Alonzo Fields joins the White House staff as a butler; Herbert Hoover (below) is president.
U.S. unemployment reaches 20 million
Hitler elected chancellor of Germany
FDR (bottom) defeats Herbert Hoover for President
Franklin Roosevelt inaugurated, saying, “The only thing we have to fear is fear itself.”
Movies: Grand Hotel Scarface Books: Brave New World
U.S. unemployment 4–5 million "The Star-Spangled Banner" is officially designated the United States national anthem Nine black youths convicted of raping two white girls in Alabama in the Scottsboro case The Empire State Building opens Movies: Dracula Frankenstein Books: The Story of Babar New in 1931: Alka-Seltzer Bisquick Dick Tracy Clairol hair dye electric razors
New in 1932: Zippo lighter Fritos corn chips Skippy peanut butter Revlon cosmetics
Alonzo Fields promoted to Chief Butler The 21st Amendment repeals Prohibition Movies: King Kong Duck Soup Books: Lost Horizon New in 1933: Ritz crackers Monopoly Windex
SEC created to regulate stock market
WPA set up to employ 1/3 of the nation’s 11 million unemployed
Civil War in Spain
German bombers destroy the Spanish town of Guernica. (See Picasso's painting Guernica below.)
FCC created to regulate broadcast and telegraph services Public Enemy #1 John Dillinger (below) gunned down by FBI agents
Hitler enacts the Nuremberg laws, rescinding the civil rights of German Jews
Jesse Owens (below) wins 4 gold medals at the Berlin Olympics
The Hindenburg erupts in flames while attempting to land
Mussolini invades Ethiopia
Pilot Amelia Earhart disappears while attempting to fly around the world
Music: Porgy and Bess New in 1935: Social Security beer in cans fluorescent lights parking meters
The Dust Bowl: drought and years of over-farming turn 150,000 square miles of prairie into desert Movies: It Happened One Night Music: Rachmaninoff’s Paganini Rhapsody New in 1934: Donald Duck laundromats
Japan invades China Books: Of Mice and Men Roosevelt re-elected Edward VIII abdicates British throne to marry American divorcee Wallis Simpson New in 1936: Hoover Dam Polaroid sunglasses Waring blender
Music: Orff’s Carmina Burana New in 1937: Golden Gate Bridge shopping carts drive-in banks antihistamines
Hitler invades Poland
The Mercury Theatre’s radio broadcast of “War of the Worlds” causes panic across America
Marian Anderson (below) sings for 75,000 at the Lincoln Memorial after the DAR refuse her permission to sing in Constitution Hall because she is black
British ships rescue 340,000 allied troops trapped by the Nazis in Dunkirk
Japan attacks Pearl Harbor
Kristallnacht: synagogues burnt, shops smashed, and Jews beaten by Nazis (below)
The London Blitz: German bombers attack England FDR wins unprecedented third term
Kate Smith first sings “God Bless America”
Books: Native Son
Movies: Snow White and the Seven Dwarfs Theatre: Our Town
Paris occupied by Nazis
Movies: Gone with the Wind The Wizard of Oz
Music: “Body and Soul” Coleman Hawkins
Books: The Grapes of Wrath
New in 1938: Superman instant coffee Fiberglass
New in 1939: microfilm food stamps automatic dishwashers
New in 1940: Bugs Bunny Jeep M&Ms
Winston Churchill visits the White House Mount Rushmore Memorial completed Movies: Citizen Kane The Maltese Falcon New in 1941: aerosol insect spray Cheerios Wonder Woman
Below, Alonzo Fields.
Sugar and gasoline are the first goods rationed for wartime use
U.S. defeats Japan at Guadalcanal
D-Day: 150,000 Allied troops storm beaches at Normandy
U.S. defeats Japan at Midway 115,000 Japanese-American citizens imprisoned in internment camps Music: "White Christmas" Movies: Casablanca (below) New in 1942: Napalm Kelloggâ€™s Raisin Bran K rations
Dwight D. Eisenhower named supreme commander of Allied forces in Europe Italy surrenders Theatre: Oklahoma! Paul Robeson in Othello New in 1943: Jefferson Memorial
FDR wins fourth term Theatre: No Exit Dance: Appalachian Spring New in 1944: Seventeen magazine Chiquita Banana
Truman sworn in as President (bottom) Allied troops liberate survivors of the Nazi concentration camps, where more than 6 million Jews were killed Germany surrenders Atomic bombs dropped on Hiroshima and Nagasakiâ€“ more than 110,000 people killed; Japan surrenders. Music: Peter Grimes New in 1945: bumper stickers frozen orange juice Tupperware
Churchill refers to Communist occupation of eastern Europe as “an iron curtain”
The Dead Sea Scrolls discovered
State of Israel created
White House under renovation (below); Trumans move to Blair House
Massive strikes in U.S.– coal, auto, electric, and steel industries Movies: It’s a Wonderful Life Notorious Books: All the King’s Men New in 1946: United Nations Tide detergent Timex watches bikini bathing suits the Slinky
Alonzo Fields’s mother dies India and Pakistan granted independence from Great Britain Jackie Robinson (below) is first black player in Major League Baseball House Un-American Activities Committee investigates Hollywood; many film artists blacklisted by studios Broadway: A Streetcar Named Desire Books: The Diary of Anne Frank New in 1947: transistors Ajax cleanser
President Truman integrates the armed forces
Apartheid established in South Africa
Steel workers strike
Truman re-elected President
Communists create People’s Republic of China
New in 1948: McDonald’s the LP Velcro Porsche
Broadway: Death of a Salesman South Pacific Books: 1984 New in 1949: Silly Putty TV soap operas Scrabble Legos cake mixes
Korean War begins
Julius and Ethel Rosenberg (below) convicted of espionage
The first hydrogen bomb exploded
Double helix structure of DNA discovered
Movies: All about Eve Sunset Boulevard
Trumans move back into the newly renovated White House
Eisenhower’s inauguration is the first telecast coast to coast (below)
Elizabeth II crowned queen of England
Theatre: The Bald Soprano
China begins 5-Year Plan for industrialization
Alonzo Fields leaves his White House job to return to Boston
Truman orders government to seize U.S. railways to avert a strike
New in 1950: credit cards Minute Rice
Books: Catcher in the Rye Movies: The Day the Earth Stood Still New in 1951: power steering rock ’n’ roll Tropicana I Love Lucy (below)
Eva Peron dies
The peak of Mount Everest reached for the first time
Korean War ends
Theatre: Waiting for Godot
Theatre: The Crucible
Books: The Old Man and the Sea by Ernest Hemmingway
New in 1953: Irish coffee the Corvette TV Guide instant iced tea
New in 1952: Holiday Inn transistor radios Mad magazine sugar-free soda 3-D movies
THE COMPANY DAVID ALAN ANDERSON ALONZO FIELDS
IPS #37, #57, Arsenal Tech High School, Indiana University. David is Indianapolis born and bred, and began his association with the IRT in 1990 in A Dickens of a Christmas Carol directed by Janet Allen. Since then, IRT audiences have seen him in more than 30 productions, including The Curious Incident of the Dog in the Night-Time, The Cay, Finding Home, A Christmas Carol, Fences, What I Learned in Paris, The Mountaintop, The Whipping Man, Radio Golf, Julius Caesar, Romeo and Juliet (2010), Gem of the Ocean, and many others, including James Still’s The Heavens Are Hung in Black, Interpreting William, The Gentleman from Indiana, Searching for Eden, He Held Me Grand, and the 2008 production of Looking Over the President's Shoulder. Recently David appeared at Asolo Repertory Theatre in Morning after Grace. He was nominated for a Jefferson Award for his work in The Mountaintop at the Court Theatre in Chicago, where he also appeared in Gem of the Ocean. Other regional credits include the Guthrie Theater; Baltimore CenterStage; Denver Theatre Center; Actors Theatre of Louisville; the Idaho, Pennsylvania, and Lake Tahoe Shakespeare Festivals; the Great Lakes Theatre Festival; Cleveland Play House; Arizona Theatre Company; and many more. David is a company member with the Penumbra Theatre in St. Paul, Minnesota, where he has been involved in several productions of the August Wilson cycle. David’s 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. David also works in film and television, most recently appearing as the recurring character Greavy on Showtime’s new hit series The Chi. He received a 2007 Creative Renewal Fellowship from the Arts Council of Indianapolis, and he was honored in 2009 by the Circle City Links for his achievements in the arts. He is a 2013 recipient of the prestigious Lunt-Fontanne Fellowship sponsored by the Ten Chimneys Foundation.
JAMES STILL PLAYWRIGHT
This season James celebrates 20 seasons as the IRT’s playwright-in-residence, and the company is producing his plays Appoggiatura and Looking Over the President’s Shoulder (which the IRT previously produced in 2008 and 2001). IRT audiences have seen James’s plays Miranda, April 4, 1968: Before We Forgot How to Dream, The Velveteen Rabbit, The House That Jack Built, I Love to Eat, The Heavens Are Hung in Black, Interpreting William, Iron Kisses, The Gentleman from Indiana, Searching for Eden, He Held Me Grand, Amber Waves, And Then They Came for Me: Remembering the World of Anne Frank, and The Secret History of the Future. James has also directed many productions at the IRT, including The Originalist, Dial “M”for Murder, The Mystery of Irma Vep, Red, Other Desert Cities, God of Carnage, Mary’s Wedding, Becky’s New Car, Rabbit Hole, Doubt, Bad Dates, Old Wicked Songs, Plaza Suite, The Immigrant, and Dinner with Friends, as well as his own I Love to Eat, Amber Waves, and Looking Over the President’s Shoulder (2001). (complete bio on page 10)
JANET ALLEN DIRECTOR
Janet has been the IRT’s artistic leader for 22 seasons. Among the 21 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 8)
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 Guess Who’s Coming to Dinner, The Mousetrap, On Golden Pond, The Mountaintop, The Miracle Worker, Crime and Punishment, To Kill a Mockingbird (2009), Looking Over the President’s Shoulder (2008), Hamlet, Twelfth Night, Pride and Prejudice, Romeo and Juliet (2004), and The Turn of the Screw. Robert’s regional credits include the Walnut Street Theatre, Repertory Theatre of St. Louis, Cleveland Play House, Cincinnati Playhouse in the Park, Weston Playhouse, Geva Theatre, and American Players Theatre. A 2000 and 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.
MARTIN CHAPMAN-BOWMAN COSTUME DESIGNER
Martin has worked in theatres across the nation, with such artists as Lauren Bacall, John Raitt, Mary Martin, Larry Kert, and Chita Rivera. Prior to his retirement, he worked at the IRT for 26 years, where he designed Looking Over the President’s Shoulder (2008) on the Mainstage; The Color of Justice, A Woman Called Truth, and Most Valuable Player on the Upperstage; and Greater Tuna, Bullshot Crummond, and many other shows in The Cabaret. He was resident designer for the Weathervane Theatre in New Hampshire for 10 years, the Wagon Wheel Playhouse in Warsaw for 13 years, and Theatre in the Round in Minneapolis for nine years. He also worked at Starlight Musicals and the Guthrie Theater. Among his favorite designs are Children of Eden, My Fair Lady, and The Lion in Winter. “I am pleased to return to what was my home for so many years.”
THE COMPANY MICHELLE HABECK LIGHTING DESIGNER
At the IRT, Michelle has designed lighting for Dial“M”for Murder, The Mousetrap, and Amber Waves, and lighting and scenery for An Almost Holy Picture. Her Broadway credits include Thoroughly Modern Millie (slide artist), The Boy from Oz, Movin’Out, Thoroughly Modern Millie, and King Hedley II (associate & assistant lighting design). Off Broadway Michelle designed Fifty Words for MCC Theatre. Regional credits include the Guthrie, Steppenwolf, the Goodman, Alliance, Seattle Children’s Theatre, Minneapolis Children’s Theatre, Cincinnati Playhouse in the Park, Arizona Theatre Company, Penumbra, Lookingglass, and others. Opera credits include The Masked Ball and The Elixir of Love for Austin Opera, and associate for Julie Taymor’s Grendel. Michelle was awarded the NEA/TCG Career Development Grant for Design. She leads the B.A./M.F.A. lighting program in the Department of Theatre and Dance at the University of Texas at Austin.
CHRIS BERCHILD PROJECTION DESIGNER
Looking Over the President’s Shoulder is Chris’s second projection design for IRT after working on last season’s Miranda. He is the chair of the Indiana State University Department of Theater, where he teaches directing, sound and projection design, and theatre theory, and is the resident sound and projection designer. His most recent research includes the scenography of international Shakespeare performances as well as the ceremonies of the Olympic Games. He is artistic director of Crossroads Repertory Theatre, where his directing credits include Dr. Jekyll and Mr. Hyde, The Lonesome West, Rent, The Woman in Black, A Midsummer Night’s Dream, Much Ado about Nothing, and Macbeth. A transplant from Southern California, Chris earned his doctorate in theatre from the University of California, San Diego.
MICHAEL KECK COMPOSER
Most recently at the IRT, Michael composed music for A Raisin in the Sun; last season he both composed music for and acted in April 4, 1968. He has also composed music for Dr. Jekyll and Mr. Hyde, Rabbit Hole, Gem of the Ocean, Searching for Eden, As You Like It, and both previous productions of Looking Over the President’s Shoulder. His music has accompanied productions at Oregon Shakespeare Festival, Milwaukee Rep, Mark Taper Forum, Arena Stage, Cincinnati Playhouse, and many others. His international credits include the Market Theatre Johannesburg South Africa, National Theater of Croatia–Zagreb, the Barbican Theatre Center, and Bristol Old Vic. Excerpts from his solo performance piece Voices in the Rain are published by Temple University Press and Alta Mira Press. Michael received the Theatre Bay Area Award in San Francisco and three Barrymore Award nominations for his work in Philadelphia. He has served as a panelist for the National Endowment for the Arts, the New York State Arts Council, and Meet the Composer. He is a member of AEA, SAG–AFTRA, ASCAP, PEN, and the Dramatists Guild.
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.
JOEL GRYNHEIM STAGE MANAGER
This is the 95th production Joel has stage managed over 28 years at the IRT. He resides in an historic home in downtown Indianapolis, sharing that home and his life with Janet Allen and their two daughters, Nira and Leah. 56
Bravo! Barnes & Thornburg applauds the Indiana Repertory Theatre for its commitment to the arts. Take a bow, youâ€™ve earned it! Uncommon Value
ATLANTA CHICAGO DALLAS DELAWARE INDIANA LOS ANGELES MICHIGAN MINNEAPOLIS OHIO WASHINGTON, D.C. btlaw.com
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.
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Proud to be associated with the Indiana Repertory Theatre since 1989
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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!
REPERTORY SOCIETY ANNUAL CAMPAIGN GIFTS $1500+ | JULY 1, 2017 - FEBRUARY 21, 2018 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 Susan & Charlie Golden 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 Mary Frances Rubly & Jerry Hummer 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 60
Carl Nelson & Loui Lord Nelson Mr. Stephen Owen & Dr. Cheryl Torok Owen Ben Pecar & Leslie Thompson Mel & Joan Perelman Noel & Mary Phillips* Dr. Eric Schultze & Dr. Marcia Kolvitz Mike & Sue Smith ARTIST CIRCLE $3,000 - $4,999
A.J. Allen & Kathy Maeglin Daniel & Rita Blay Mary Findling & John Hurt Dick & Brenda Freije Robert Giannini Charles Goad & James Kincannon Jeffrey Harrison 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 Ann Nagy Dr. Christine & Mr. Michael Phillips
Becca & Jonathan Polak N. Clay & Amy Robbins Jerry & Rosie Semler Mark & Gerri Shaffer Cynthia & William Smith III Jim & Cheryl Strain Joe & Jill Tanner Gene & Mary Tempel Jeff & Benita Thomasson John & Kathy Vahle PATRON CIRCLE $1,500 - $2,999
Janet Allen & Joel Grynheim Anonymous (2) 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 James & Kathy Cornelius Cowan & King, LLP Susan M. Cross Daniel & Catherine Cunningham Frank & Noreen Deane Gregory Dedinsky, M.D. & Cherri Hobgood, M.D. Ann & Kenneth Dee Dr. Brian Dillman & Erin Hedges*
REPERTORY SOCIETY CONT. ANNUAL CAMPAIGN GIFTS $1500+ | JULY 1, 2017 - FEBRUARY 21, 2018 PATRON CIRCLE, CONT. $1,500 - $2,999
Drs. Richard & Rebecca Feldman Gary R. & Barrie K. Fisch Jim & Julie Freeman Fritz French Brian & Lorene Furrer The Future Keys Foundation Phyllis & Ed Gabovitch Mr. Jim Gawne Dorothea & Philip Genetos Ron & Kathy Gifford Marianne Glick & Mike Woods Ricardo & Beatriz GuimarÃ£es 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 Denny & Judi Jones Mike & Pegg Kennedy Arthur & Jacquelyn King Rebecca & Brad King Joy Kleinmaier Gary Knott & Colette Irwin-Knott Kurt & Judy Kroenke Jill & Peter Lacy
Dr. & Mrs. Alan Ladd Ed & Ann Ledford Andrew & Lynn Lewis Joe & Deborah Loughrey John & Barbara MacDougall Jeff & Patricia MacKay Donald & Ruth Ann MacPherson Mike & Pat McCrory The Alice Greene McKinney and E. Kirk McKinney, Jr. Fund, a fund of CICF Sharon R. Merriman Dod & Laura Michael Andrew & Amy Michie David & Robin Miner Michael D. Moriarty Stephen & Deanna Nash The Blake Lee and Carolyn Lytle Neubauer Charitable Fund, a fund of Legacy Fund Nancy & John Null Tim & Melissa Oliver Larry & Louise Paxton Brian & Gail Payne The David and Arden Pletzer Endowment Fund, a fund of Legacy Fund Bob & Kathi Postlethwait Phil & Joyce Probst Peter & Karen Reist Ken & Debra Renkens Karen & Dick Ristine Marya & Tony Rose Chip & Jane Rutledge
Francisnelli Santos & Brian S. Newman Charles & Jenny Schalliol Jane & Fred Schlegel Tom & Barbara Schoellkopf Tim & Karen Seiler Michael & Holly Semler Jack & Karen Shaw Marguerite K. Shepard, M.D. Michael & Cynthia Skehan Cheryl & Bob Sparks Edward & Susann Stahl Robert & Barbara Stevens Suzanne Sweeney & Todd Wiencek Jonathan Tempel Jennifer C. Turner Eric van Straten Larry & Nancy VanArendonk Jennifer & Gary Vigran Amy Waggoner Dorothy Webb Rosalind Webb & Duard Ballard Carol Weiss Alan & Elizabeth Whaley Cliff & Molly Williams Ken & Peggy Williams Bob & Dana Wilson Heather Wilson John & Margaret Wilson Jim & Joyce Winner John & Linda Zimmermann *Denotes a sustaining member
DONOR GUILDS ANNUAL CAMPAIGN GIFTS $250+ | JULY 1, 2017 - FEBRUARY 21, 2018 DRAMA GUILD $650 - $1,499
Pat & Bob Anker Anonymous Jeri Ballantine
Kristen Belcredi Andrea Best Jesse L. & Carolynne Bobbitt Christopher Brannon Paul & Renee Cacchillo
Vince & Robyn Caponi Brady Clark Dr. & Mrs. John J. Coleman III Daniel P. Corrigan Don & Dolly Craft
THE SUPPORTING CAST
INDIANA REPERTORY THEATRE DONORS
DONOR GUILDS DRAMA GUILD $650 - $1,499
David Crites & Joan Tupin-Crites Craig & Marsha Dunkin Rick & Kathy Feid Michael & Beth Gastineau Griffith Family Foundation, Inc. Susan C. Guba, M.D. Emily F. (Cramer) Hancock Marjorie & James Herald Karen Holmes Charles Howe Dave & Donna Kaiser Louise & Mike Kinney Michael & Molly Kraus Dr. Donald & Mrs. Shirley Kreipke Liz & JD Masur James & Kathleen McGrath Susan Meloy & Chick Vladuchick R. Keith & Marion Michael David H. Moore, M.D. & M. Kristine Beckwith, M.D. John & Carolyn Mutz Robert & Sara Norris Dr. & Mrs. Lee Phipps Gail & William Plater Myrta Pulliam Scott & Susan Putney Sally Rowland Richard & Christine Scales Owen Schaub & Donna McClearey Robert & Alice Schloss Thomas & Teresa Sharp Jacqueline Simmons & Tom Schnellenberger Michael Slavens Steven & Patricia Spence Ed & Jane Stephenson Lynne & Alex Timmermans Robert & Debra Titus Dr. James & Linda Trippi 62
Barbara S. Tully* Brian West Philip & Shandon Whistler John & Ingrid Barbro Wiebke Frederick & Jacquelyn Winters THEATRE GUILD $250 - $649
John & Eileen Ahrens* David & Mary Allen Anonymous (11) Phillip Baker Walter Bartz* Carolyn Bealmear Charles & Suzanne Beard Constance C. Beardsley* Jane & Mike Bennett Dan & Barb Bickel Mr. & Mrs. J. Burton Black Barbara & Christopher Bodem* Ted & Peggy Boehm Stephen Bogdewic & Betsy Lee Daniel & Elizabeth Bohn William & Donna Bonifield Mary T. Bookwalter & Jeffery Stant Charlie & Cary Boswell Risa Brainin & Michael Klaers Ray & Kathy Brinkmeyer Thomas & Victoria Broadie Bob & Chris Broughton Alice Brown Melanie Brown & Amy Harbin* Mr. & Mrs. Michael E. Brown Chris & Charlie Brunette Dr. Mellonee Burnim David & Beverly Butler Sherry A. Butler Tom & Bobbie Campbell Dr. Louis B. & Linda E. Cantor Allen B. Carter & Patricia Hester Clarence L. & Carol Casazza Steve Chatham & Family Robert & Jennifer Cochrane
Jeff Coffee Keith & Brenda Coley William E. & Angela Corley Michael & Jennifer Courtney Dennis & Cindy Crawley Karen Dace* Robert & Elaine Damler Clem Davis Dr. Rebecca De La Rosa Paul & Carol DeCoursey* Phillip & Caroline Dennis* Steve & Mary DeVoe Catharine Diehr Ditech Inc. Rosemary Dorsa John & Cynthia Dozier* Jenni Egger Richard & Judith Essex Jim Eup Sherry Faris Dawn M. Fazli Karen & Terry Feltner Margaret Ferguson* Dr. Thomas Ferry Elaine K. Fetta Hank & Nanci Feuer Rebecca Fields Joan M. FitzGibbon Mary L. Forster, M.D. Mary Fortney Kerry Foster Hayley & Eric Frandsen Edward & Elizabeth Frazier David & Jean Fronek Gamma Nu Chapter of Psi Iota Xi William & Jill Ann Garvey Jennifer Gates Paul & Phylis Gesellchen Bruce J. Glor Darrell & Thecla Gossett Peggie & Bob Gould John & Mary Ann Grogan
DONOR GUILDS, CONT. THEATRE GUILD, CONT. $250 - $649
Walter & Janet Gross Bill & Phyllis Groth Brad Guill Marla & Mike Guzman Jerry & Kathleen Hacker Mr. & Mrs. David J. Hamernik Amy Hamilton Don & Carolyn Hardman David & Tish Haskett Hear Here LLC Mike & Noel Heymann Tom & Mary Hightshue Marilyn Hoffman Eleanor Hood Lindsey & Tom Horan Ron M. Hubbard Rick & Katy Johnson Christopher S. Jones, M.D. Marty & Linda Kaplan Marc & Dana Katz Aldy Keene Alison J. King Jay & Carole Kirkpatrick Steven & Mary Koch* Paul & Lana Kruse Dr. John and Tisa Ladd Roger & Janet Lang John Langham I.M. Larrinua & M.T. Wolf Frank & Sandra Learned Celeste Jasmin Ledezma Dr. Peggy Daniels Lee Andra Liepa Charitable Fund, a Donor Advised Fund of the U.S. Charitable Gift Trust Rebecca Lindberg Linda Lough* Mark & Teresa Lubbers Terren Magid & Julie Manning Magid Dr. & Mrs. Peter Marcus* Anne & Ken Marnocha
William & Margo Martin Sandy & Tom Mason Charles & Sonnie McAuley Christina McBride Donald & Elizabeth McIntire James M. McMechan Trinda & Doug Metzger MidAmerica Health Milton & Margaret Miller Dr. Frederick & Alice Milley The Mills Family Foundation, a fund of Legacy Fund Rev. Mary Ann Moman* James A. & Tammy Morris Terry & Lew Mumford John & Beth Murphy Sharon & Dan Murphy Aaron & Leigh Anne Naas Susan & Jim Naus Dr. LeeAnne M. Nazer Christine Osborn Dr. & Mrs. Robert & Judith Pearce Ray & Kimberley Peck Gary & Pam Pedigo* Judy & Sidney Pellissier Deb & Greg Perkins Paul Eric Pickett Michael & Patricia Pillar Flora Reichanadter Adrienne Reiswerg & Rob Young Dr. Nenetzin Reyes* Bob & Carol Reynolds Richard & Diane Rhodes Rich & Shari Richey Ann & Richard Riegner Charlotte Robertson Larry Robinette Mark & Karen Roller Pat Garrett Rooney Julie & Tracy Rosa Bill Rosenbaum & Mimi Brittingham Royal United Mortgage
Samudio Consulting Paula F. Santa Dennis & Sandy Sasso Mark & Julanne Sausser Scampers the Cat Anne & Rod Scheele Dan & Patty Schipp Steve Schlangen* Ms. Karen Schnyder* Philip Seabrook Kevin & Carol Sears Kevin & Jacqueline Shaffer Dr. Jill Shedd* Richard & Kimberly Shields Dr. & Mrs. Michael Silbert Joyce A. Smidley Amanda Smiley Kevin & Amy Sobiski* Marta Spence Ross & Rosemarie Springer Luke Stark* Sarah Stelzner Alice Steppe & Patrick Murphy Doshia & John Stewart Nancy S. Stokely, Ph.D. Dan & Diana Sullivan Richard & Lois Surber Nela Swinehart* Zach & Melissa Taft Corby & Julie Thompson Lori Thompson Jennifer & Randall Todd Christopher J. Tolzmann Robert & Barbetta True* Glenn & Margy Tuckman Dr. Carson Turner Ann & Mark Varnau Dick & Ramona Waddell David & Jenny Wade Jim Wade Ron Walker *Denotes a sustaining member
THE SUPPORTING CAST
INDIANA REPERTORY THEATRE DONORS
DONOR GUILDS, CONT. Susan Weatherly* Zoe Urena Weiss John & Pamela West Dan Wheeler & Susan Wakefield* Julie Whitman & Ray Stuart Bill & Audrey Wiebenga A. Donald Wiles
Allen R. Wilkie Patty Wilkinson Ronald Wilkinson Prof. Gail F. Williamson Dr. Frank & Christine Wilson John & Judy Wilson Lisa Winternheimer
Reba Boyd Wooden* Brant & Lorene Wright Wendy Wright Laura Yeo Steven & Judith Young Zionsville Physical Therapy *Denotes a sustaining member
JAMES STILL SOCIETY Thank you to those donors who are supporting James Stillâ€™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+
Anonymous Trudy W. Banta Sarah C. Barney David & Jackie Barrett Carolyn Bealmear Charles & Suzanne Beard Leo G. Bianchi & Jill A. Panetta Keith A. & Heather Bice Mr. & Mrs. J. Burton Black Susie & Joel Blum Daniel & Elizabeth Bohn Christopher Brannon Craig Burke & Diane Cruz-Burke David & Judith Chadwick Alan & Linda Cohen Daniel P. Corrigan Cowan & King, LLP Don & Dolly Craft Robert & Elaine Damler Scott & Lorraine Davison Ann & Kenneth Dee Michael Dinius & Jeannie Regan-Dinius Dan & Ginny Emerson Fritz French Drs. Cherryl & Shelly Friedman 64
Tom & Jenny Froehle Michael & Beth Gastineau Robert Giannini Ron & Kathy Gifford Nadine & Alvin Givens Marianne Glick & Mike Woods Griffith Family Foundation, Inc. Walter & Janet Gross Ricardo & Beatriz Guimaraes The Judy and Michael Harrington Family Foundation, a fund of CICF Jeffrey Harrison Ann Hinson William & Patricia Hirsch Randolph & Rebecca Horton Tom & Kathy Jenkins Daniel T. Jensen & Steven Follis Dave & Donna Kaiser Joy Kleinmaier John & Susan Kline Gary Knott & Colette Irwin-Knott Richard & Mary Kortokrax Scott & Amy Kosnoff Michael & Molly Kraus Lacy Foundation Sarah & John Lechleiter Ed & Ann Ledford Mark & Teresa Lubbers
John & Laura Ludwig Dr. & Mrs. William Macias Jeff & Patricia MacKay The Alice Greene McKinney and E. Kirk McKinney, Jr. Fund, a fund of CICF Sharon R. Merriman MidAmerica Health David & Robin Miner David H. Moore, M.D. & M. Kristine Beckwith, M.D. Charlie Morgan & Kelly Smith David & Leslie Morgan Mr. & Mrs. Kimball Morris John & Beth Murphy Carl Nelson & Loui Lord Nelson Robert & Sara Norris Jackie Nytes & Michael O'Brien Tim & Melissa Oliver Mr. Stephen Owen & Dr. Cheryl Torok Owen Ben Pecar & Leslie Thompson Noel & Mary Phillips* Dr. & Mrs. Lee Phipps Sue & Bill Ringo Sally Rowland Marguerite K. Shepard, M.D. Simmons Family Foundation, a fund of CICF Michael Slavens Cynthia & William Smith III
JAMES STILL SOCIETY, CONT. MANUSCRIPT CIRCLE, CONT. $500+
Robert & Barbara Stevens Joe & Jill Tanner Lynne & Alex Timmermans Christopher J. Tolzmann John & Kathy Vahle Eric van Straten Jim Wade Dorothy Webb Alan & Elizabeth Whaley
DIALOGUE CIRCLE $250 - $499
Anonymous (4) Frank & Katrina Basile Kristen Belcredi Daniel & Rita Blay Mary T. Bookwalter & Jeffery Stant Alice Brown Tom & Bobbie Campbell Allen B. Carter & Patricia Hester Steve Chatham & Family Dr. & Mrs. John J. Coleman III David Crites & Joan Tupin-Crites Dr. Rebecca De La Rosa Jenni Egger Dawn M. Fazli Rick & Kathy Feid Rebecca Fields Jennifer Gates Mr. Jim Gawne Peggie & Bob Gould Brad Guill Amy Hamilton Tom & Mary Hightshue Marilyn Hoffman Karen Holmes Richard & Elizabeth Holmes Charles Howe Ron M. Hubbard Christopher S. Jones, M.D. Aldy Keene
Alison J. King Steve & Bev Koepper Dr. Donald & Mrs. Shirley Kreipke Dr. Peggy Daniels Lee Rebecca Lindberg Linda Lough Terren Magid & Julie Manning Magid William & Margo Martin Christina McBride Mike & Pat McCrory Donald & Elizabeth McIntire James M. McMechan Aaron & Leigh Anne Naas Christine Osborn Ray & Kimberley Peck Judy & Sidney Pellissier Paul Eric Pickett Gail & William Plater Adrienne Reiswerg & Rob Young Rich & Shari Richey Mark & Karen Roller Pat Garrett Rooney Julie & Tracy Rosa Samudio Consulting Anne & Rod Scheele Philip Seabrook Kevin & Jacqueline Shaffer Joyce A. Smidley Marta Spence Steven & Patricia Spence Sarah Stelzner Zach & Melissa Taft Corby & Julie Thompson Glenn & Margy Tuckman Dr. Carson Turner Patty Wilkinson Ronald Wilkinson Jim & Joyce Winner Lisa Winternheimer Frederick & Jacquelyn Winters Wendy Wright
CHARACTER CIRCLE $100 - $249
Tim & Sue Alexander Janet Allen & Joel Grynheim Jo-Ann Andrews Anonymous (4) Linda Bailey Phillip Baker Mary Ball Jeri Ballantine William Bankston Sandra Barnes David & Nikki Barrett Doug & Pat Bebee The Begala Family Kristi Beyer Michael & Jennifer Bielarczyk Brian Biggs Dr. Marc & Ann Bilodeau Jason Bohac* William & Donna Bonifield Dan & Val Boots Rosemary Bova-Wood Dan Bradburn & Jane Robison D. Craig & Stephanie Brater James & Julie Breuninger Brett Brewer & Jan Hornaday William & Sue Ann Brown Carol Bryan Russell C. & Nancy Burk Bob & Julie Burns Jim & Becky Butler Paul & Renee Cacchillo Dr. Louis B. & Linda E. Cantor Helen Carroll Kathryn Cimera Brenda Cole Cindy & Keith Condon Charles & Sheila Connett Doug & Megan Cooper Kathleen Corbin Mike & Helen Corbitt
THE SUPPORTING CAST
INDIANA REPERTORY THEATRE DONORS
JAMES STILL SOCIETY, CONT. CHARACTER CIRCLE, CONT. $100 - $249
Michael & Jennifer Courtney James & Sharon Cross Sharon David Jef & Pam Davidson Clem Davis Nancy Davis & Robert Robinson Carolyn Dederer Kevin & Natalie Dempsey Gary Denney & Louise Bakker Ann Dettwiler Jenny Dickey Eric Diters Dr. Antoinette Dobson Mark Dodds Julie & Matthew Dollins Sarah Donaldson* Christopher Douglas Jacqueline Drain & Richard Lippitz Bob & Patricia Edwards Carole Ervin-Brown Cindy Evans Marni R. Fechtman Karen & Terry Feltner Margaret Ferguson Elaine K. Fetta Mr. Jeffery Fites Mary Fortney Kerry Foster Hayley & Eric Frandsen Edwin Free & Cynthia Zweber-Free David & Jean Fronek Meg Gaffney Bill & Roberta Gardner Kevin & Anne Gardner Sara Garland William & Jill Ann Garvey Glen & Catherine Gillespie Rick Ginther Karen & Joe Glaser 66
Tom & Betty Graffis John & Mary Ann Grogan Carl Grow & Judith Reed Jan Guffin Marla & Mike Guzman Jerry & Kathleen Hacker Shirley Haflich Tim & Diane Hall Emily F. (Cramer) Hancock* John Hansberry & Karry Book David & Tish Haskett Jeremy & Courtney Hatch Laura M. Hays Hear Here LLC Donald & Teri Hecht Tony Hill* Eleanor Hood Dr. Donna Hudson Laura Hutson Nicholas Ide & Audra Baumgartner Sharon Jackson Mr. & Mrs. Lawrence Jahnke Rick & Katy Johnson Suzann Johnson Kenneth & Phyllis Kaplan Marty & Linda Kaplan Marc & Dana Katz Linda S. Kennen Louise & Mike Kinney Patricia A. Kinney Dennis & Robin Klutzke Mary Beth & Kevin Kohart Norbert & Katherine Krapf Mark & Karen Kryah Deb Lawrence Cathy & Bill Lawson Frank & Sandra Learned Shawn Leuck Ned & Shirley Lewis Karlton Litteral Cindy Lorentson Cook Mark Magee
Gerald Malone Meredith Mann Esperanza Martinez-Mier Mike & Jody Mason Kellie McCarthy Martha McCullen Alan & Ann McKenzie Kevin & Amy McMullen Dana McRae Don & Terri Means Susan Meloy & Chick Vladuchick Trinda & Doug Metzger James Miller James A. & Tammy Morris Terry & Lew Mumford John & Carolyn Mutz Edward Milburn Gilbert-Nease Tom Noonan & Marian Mather Brian D. Parker Brian & Gail Payne Deb & Greg Perkins Valerie & Andrea Petro Michael & Patricia Pillar Karon Preston Maureen & John Purcell Tony Purkey Scott & Susan Putney James & Julia Richter Sue Rickett Sandra & Joe Ridenour Ann & Richard Riegner Cynthia Robbins Jane Rothbaum Donor Advised Philanthropic Fund Mary Frances Rubly & Jerry Hummer Judith Russell Jane & Fred Schlegel Robert L. & Becky Schneider Kevin & Carol Sears Nanci Sears-Perry Dr. & Mrs. Michael Silbert Amanda Smiley
JAMES STILL SOCIETY, CONT. CHARACTER CIRCLE, CONT. $100 - $249
Brent Smith Gary Smith Barbara Snyder Errol & Judith Spears Jodine Staebler Robert Stanley David & Lori Starr Alice Steppe & Patrick Murphy Jim & Cheryl Strain Mr. & Mrs. Lee Strassell Jeffrey Stratton Sue Sudhoff Gregg & Judy Summerville Dianne Sutton
Suzanne Sweeney & Todd Wiencek Claudia Swhier Robert Swingle Laura Tagliani Randy Talley Nolan J. Taylor Sue Ann & Richard Tempero Byron Tetrick Joshua Thaxton Ms. Michele Thomas & Mr. Steve Wornhoff Gordon & Mary-Anne Thompson Lori Thompson William & Karen Thompson Nadine Treon UBS Financial Services
United Transportation Union 1548 Larry & Nancy VanArendonk Dick & Ramona Waddell David & Jenny Wade Elaine Wagner & Family Ron Walker Sherry Watkins Rosalind Webb & Duard Ballard Julie Whitman & Ray Stuart Debbie & Dave Wietfeldt Dr. Frank & Christine Wilson Ken & Mary Anne Winslow Jim Wintz Jan Woodruff Steven & Judith Young
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 Pat & Bob 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 Michael D. Moriarty 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
THE SUPPORTING CAST
INDIANA REPERTORY THEATRE DONORS
CORPORATE, FOUNDATION & GOVERNMENT ANNUAL CAMPAIGN GIFTS $250+ | JULY 1, 2017 - FEBRUARY 21, 2018 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 Indianapolis Colts Indianapolis Power & Light Company JPMorgan Chase Bank Katz, Sapper & Miller, LLP
KPMG LLP Navient Foundation OneAmerica Financial Partners Oxford Financial Group, Ltd. PNC Printing Partners Schmidt Associates, Inc. Taft Stettinius & Hollister LLP Wells Fargo Foundation in cooperation with Wells Fargo Advisors FOUNDATIONS
The Ackerman Foundation Actors' Equity Foundation, Inc. The Jerry L. and Barbara J. Burris Foundation Allen Whitehill Clowes Charitable Foundation
Christel DeHaan Family Foundation The Margot L. Eccles Arts & Culture 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 - FEBRUARY 21, 2018
Brooks Publications/Urban Times Candlewood Suites Eco-Kinetic Hotel Tango Artisan Distillery IBJ Corp JL Squared Midwest Parenting Publications
National Institute of Fitness & Sport New Day Craft NUVO Pac-Van, Inc. Saint Joseph Brewery, LLC Skyline Exhibits By Reitz & Associates Studio 2000
Tastings Wine Bar Taxman Brewing Company TwoDEEP Brewing WFYI WICR
IRT SUMMER CONSERVATORY SCHOLARSHIP FUND Drs. Robert Baker & Paula Trzepacz
THE ALAN AND LINDA COHEN EDUCATION FUND Eli Lilly and Company 68
F.R. Hensel Fund for Fine Arts, Music, and Education, a fund of The Indianapolis Foundation
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
Ralph Lauer/The Cliburn
When the show is over, you can still get your fix of arts and cultural programming on WFYI Public Media. Whether youâ€™re looking for the best in local arts, or music, theater, dance and art from around the world, we have you covered. Visit WFYI.org for a list of television and radio programming highlights and to access our on-demand streaming library. WFYI.ORG PUBLIC MEDIA
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
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1 American Sq, Ste 140, Indianapolis, Indiana, IN 46282 sahmsatrium.com | 317.536.1305
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
THE GREEK ISLANDS RESTAURANT COMPLIMENTARY SAGANAKI WITH A PURCHASE OF TWO DINNER ENTRÉES 906 S Meridian St | 317.636.0700
PALOMINO 15% OFF
not valid with other promotions excludes alcohol
49 W Maryland St, Suite189 317.974.0400
TASTINGS 20% OFF
ROCK BOTTOM COMPLIMENTARY APPETIZER WITH PURCHASE OF AN ENTRÉE
RUTH'S CHRIS 10% OFF excluding alcohol downtown only
some restrictions apply night of performance only
10 W Washington St | 317.681.8180
45 S Illinois St | 317.633.1313
50 W Washington St | 317.423.2400
excluding any combo platter
WEBER GRILL 10% OFF, excluding alcohol
PEARINGS 15% OFF 6 W Washington St | 317.608.6456
10 N Illinois St | 317.636.7600
AN ANNUAL MEMBERSHIP IS JUST $50 & LASTS 12 MONTHS FROM PURCHASE DATE! TOP-QUALITY THEATRE EXCLUSIVE ACCESS TO SPECIAL EVENTS & IRT ARTISANS $25 TICKETS VOLUNTEER OPPORTUNITIES
GET INVOLVED: IRTLIVE.COM/OFFSCRIPT
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.
THOUGHTFUL. INSIGHTFUL. COMMITTED. 317.843.5678 WWW.OFGLTD.COM/IRT CHICAGO CINCINNATI GRAND RAPIDS INDIANAPOLIS TWIN CITIES
Published on Mar 2, 2018