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2018-2019 SEASON




IRTLIVE.COM | 317.635.5252

Original artwork by Kyle Ragsdale



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

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

To find out more about how we share our strength, visit 2016 CA Approved for External Use PRINTED IN USA Š2016, Eli Lilly and Company. ALL RIGHTS RESERVED.




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 2018-2019 Season.

—Scott Davison, OneAmerica chairman, president and CEO

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 The Diary of Anne Frank and the Production Partner for Pipeline. 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 1,600 employees in central Indiana are proud to support our community through amazing programs like those offered by IRT. Enjoy the show.



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

3..............................Mission & Values 5.............................Profile 6.............................Leadership 10............................Staff 12............................Board of Directors 20...........................Holmes and Watson 30...........................Company bios for

VISION 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.

Holmes and Watson


Michael Keck

42...........................Pipeline 50...........................Company bios for Pipeline 60...........................Donor Listing



SUSTAINING A PROFESSIONAL, CREATIVE ATMOSPHERE The professional production of plays that provide insight and celebrate human relationships through the unique vision of the playwright • Professional artists of the highest quality working on our stages in an environment that allows them to grow and thrive • Our leadership role in fostering a creative environment where arts, education, corporate, civic, and cultural organizations collaborate to benefit our community.


PRUDENT STEWARDSHIP OF OUR RESOURCES Our public-benefit status, where the focus is on artistic integrity, affordable ticket prices that allow all segments of our community to attend, and community service • Fiscal responsibility and financial security based on achieving a balanced budget • Growing our endowment fund as a resource for future development and to ensure institutional longevity. INCLUSIVENESS The production of plays from a broad range of dramatic literature addressing diverse communities • The involvement of all segments of our community in our activities • Using theatre arts as a primary tool to bring meaning into the lives of our youth, making creativity a component of their education • The employment of artists and staff that celebrates the diversity of the United States. HERITAGE AND TRADITION Our role as Indiana’s premiere theatre for more than 40 years, recognized by the 107th Indiana General Assembly in 1991 as “Indiana’s Theatre Laureate.” • The historic Indiana Theatre as our home, as a cultural landmark, and as a significant contributor to a vital downtown • Our national, state, and local reputation for 40+ years of quality creative work and educational programming • Our board, staff, volunteers, artists, audiences, and donors as essential partners in fulfilling our mission.

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

PHOTO POLICY Photography of the set without actors and with proper credit to the scenic and lighting designers is permitted. Due to union agreements, photography, video, 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.



L E AV E THE DR AMA O N S TA G E The space between the Box and the bottom of the logo is equal to the height of the box

Faegre Baker Daniels is proud to keep drama on the IRT’s stage – and out of your business. Our 750 legal The URL is all blue. and consulting professionals provide Do not make “BD” green as it affects legibility on Box, URL, and logo are centered transactional, litigation and regulatory light backgrounds. Do not center the box/arrow together such as the example to the right. services that help companies stay on script.

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INDIANA REPERTORY THEATRE PROFILE HISTORY Since the Indiana Repertory Theatre was founded in 1971, it has grown into one of the leading regional theatres in the country, as well as one of the top-flight cultural institutions in the city and state. In 1991 Indiana’s General Assembly designated the IRT as “Theatre Laureate” of the state of Indiana. The IRT’s national reputation has been confirmed by prestigious grants from the National Endowment for the Arts, the Lila Wallace–Reader’s Digest Fund, the Theatre Communications Group–Pew Charitable Trusts, the Shubert Foundation, and the Kresge Foundation; and by a Joyce Award from the Joyce Foundation. The IRT remains the largest fully professional resident not-forprofit theatre in the state, providing more than 104,000 live professional theatre experiences for its audience last season. These experiences included 39,000 students and teachers from 53 of Indiana’s 92 counties, making the IRT one of the most youthoriented 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 performance spaces (OneAmerica Mainstage, Upperstage, and Cabaret) and work spaces, reviving this historic downtown entertainment site. To keep ticket prices and services affordable for the entire community, the IRT operates as a not-for-profit organization, deriving more than 50% of its operating income from contributions. The theatre is generously supported by foundations, corporations, and individuals, an investment which recognizes the IRT’s mission-based commitment to serving Central Indiana with top-quality theatrical fare.

Above: Photo by Geoff Chen.

PROGRAMS • The OneAmerica Season includes nine diverse productions from classical and contemporary repertoires, including Eli Lilly and Company presents A Christmas Carol and James Still’s Amber Waves.

• Young Playwrights in Process The IRT offers Young Playwrights in Process (YPiP), a playwriting contest and workshop for Indiana high school and junior high students.

• Community Gathering Place Located in a beautiful historic landmark, the IRT offers a wide variety of unique and adaptable spaces for family, business, and community gatherings of all types. Call Margaret Lehtinen at 317.916.4880 for more information.

• Opportunities The IRT depends on the generous donation of time and energy by volunteer ushers; call 317.916.4880 to learn how you can become involved.

• Meet the Artists Regularly scheduled pre-show chats, post-show discussions, and backstage tours offer audiences unique insights into each production. • Student Matinees The IRT continues a long-time commitment to student audiences with school-day student matinee performances of all IRT productions. These performances are augmented with educational activities and curriculum support materials. This season Eli Lilly and Company presents A Christmas Carol, The Diary of Anne Frank, and Elephant & Piggie’s “We Are in a Play!” 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.


LEADERSHIP: JANET ALLEN Executive Artistic Director

Creating world-class professional theatre for Central Indiana audiences of all ages has remained a career-long passion for Janet Allen. She began at the IRT in 1980 as the theatre’s first literary manager–dramaturg. After four years in New York City, she returned to serve ten years as associate artistic director under mentors Tom Haas and Libby Appel. Named the IRT’s fourth artistic director in 1996, she is now in her 23rd season in that role. In 2013, she was named the IRT’s executive artistic director. During Janet’s tenure, the IRT has significantly diversified its education services to both adults and children, expanded its new play development programs, solidified its reputation as a top-flight regional theatre dedicated to diverse programming and production quality, and established the IRT as a generous content partner with organizations throughout central Indiana. Janet’s passion for nurturing playwrights has led to a fruitful relationship with James Still, the IRT’s playwright-in-residence for 21 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 Foundation, as well as numerous grants from the National Endowment for the Arts and Shakespeare for a New Generation. Among the memorable productions Janet has directed on the IRT’s stages are The Glass Menagerie (1999), Ah! Wilderness (2002), The Drawer Boy (2004), Looking Over the President’s Shoulder (2008 & 2018), The Diary of Anne Frank (2011), James Still’s The House That Jack Built 6

(2012), and To Kill a Mockingbird (2016). Celebrating the IRT’s 47-year legacy this season, she directs a new production of The Diary of Anne Frank in collaboration with Seattle Children’s Theatre. Janet studied theatre at Illinois State University, Indiana University, University of Sussex, 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 2017 she was named an Indiana Living Legend by the Indiana Historical Society. In December 2018 she will be inducted into the National Theatre Conference, a gathering of distinguished members of the American theatre community. 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 Chatham Arch neighborhood with her husband, Joel Grynheim, and a lovely canine mutt. They enjoy following the adventures of their children, Daniel, Leah, and Nira, all now safely out of the nest and thriving!


Opposite: David Alan Anderson in IRT’s 2018 production of Looking Over the President’s Shoulder. Photo by Zach Rosing. Above: Elizabeth Ledo and Mickey Rowe in IRT’s 2017 production of The Curious Incident of the Dog in the Night-Time. Photo by Zach Rosing. Below: Paul DeBoy, Katrina Yaukey, and Andrew Mayer in IRT’s 2018 production of James Still’s Appoggiatura. Photo by Ed Stewart.

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 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.

Managing Director

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 six 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 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 Fall Creek Place with her 15-year-old son, Jackson, and their foxhound rescue dog, Gertie, and spends some of her downtime in Palatine, Illinois, with her partner, Todd Wiencek.



LEADERSHIP: JAMES STILL Playwright-in-Residence

During his 21 years as playwright-in-residence, IRT audiences have seen three productions each of James’s plays Looking over the President’s Shoulder and And Then They Came for Me: Remembering the World of Anne Frank, as well as all three plays in his trilogy of The House That Jack Built, Appoggiatura, and Miranda. Also April 4, 1968: Before We Forgot How to Dream, I Love to Eat: Cooking with James Beard, The Velveteen Rabbit, The Heavens Are Hung in Black, Interpreting William, Iron Kisses, The Gentleman from Indiana, Searching for Eden, He Held Me Grand, Amber Waves, and The Secret History of the Future. He has 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, Becky’s New Car, Rabbit Hole, Doubt, Bad Dates, Plaza Suite, The Immigrant, and Dinner with Friends, as well as his own I Love to Eat, Looking Over the President’s Shoulder (2001), and Amber Waves (2000). This season the IRT produces Amber Waves for the second time, and he directs A Doll’s House, Part 2. James is an elected member of the National Theatre Conference in New York, and a Kennedy Center inductee of the College of Fellows of the American Theatre. Other honors include the Todd McNerney New Play Prize from the Spoleto Festival, William Inge Festival’s Otis Guernsey New Voices Award, the Orlin Corey Medallion from the Children’s Theatre Foundation of America, and the Charlotte B. Chorpenning Award for Distinguished Body of Work. His plays have been nominated four times for the Pulitzer Prize, and have been developed and workshopped at Robert Redford’s Sundance, the New Harmony Project, Eugene O’Neill Playwrights Conference, Seven Devils 8

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, Weston Playhouse Residency, 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. 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 Center Stage in Oregon, Portland Stage in Maine, the Station, the Asolo, Company of Fools, the Children’s Theater Company of Minneapolis, Metro Theater Company, B-Street Theatre, Theatrical Outfit, Arkansas Rep, the Round House, American Blues, Shattered Globe, Illusion Theater, and the Mark Taper Forum. His plays are also often produced at community theatres, summer theatres, universities, and high schools. James’s short play When Miss Lydia Hinkley Gives a Bird the Bird has appeared in several festivals around the country after its premiere with Red Bull Theatre in New York. New plays include an adaptation of the classic Black Beauty commissioned by Seattle Children’s Theatre, a new play called (A) New World, and several secret new projects. James also works in television and film and has been nominated for five Emmys and a Television Critics Association Award; he has twice been a finalist for the Humanitas Prize. He was a producer and head writer for the TLC series PAZ, the head writer for Maurice Sendak’s Little Bear, and writer for the Bill Cosby series Little Bill. He wrote The Little Bear Movie and The Miffy Movie as well as the feature film The Velocity of Gary. James grew up in Kansas and lives in Los Angeles.

LEADERSHIP: BENJAMIN HANNA Associate Artistic Director

Ben is a director, 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. Ben is thrilled to begin his second season at Indiana Repertory Theatre. Last season he directed The Town Mouse and the Country Mouse; this season he directs A Christmas Carol and Elephant & Piggie’s “We Are in a Play!” Ben joined the IRT leadership team 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 Bay Area Children’s Theatre. At Berkeley

Above: Grant Somkiet O’Meara and Paeton Chavis in IRT’s 2018 production of The Town Mouse and the Country Mouse. Photo by Zach Rosing.

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. In his native Minnesota, Ben was 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.



General Manager Jane Robison Production Manager Brian S. Newman Resident Dramaturg Richard J Roberts Company Manager Hillary Martin Playwright-in-Residence James Still COSTUME SHOP Costume Shop Manager Guy Clark

Lead Draper Jessica Hayes Draper Magdalena Tortoriello Costumers Christi Parker Judith Skyles

Shop Assistant Jason Gill

Assistant Technical Director John Bennett

ELECTRICS Master Electrician Beth A. Nuzum

Shop Foreman Kyle Baker

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

Carpenters Kurt Fenster Lisa Giebler David Sherrill Deck Manager Matt Shives SOUND & VIDEO Resident Sound Designer Todd Mack Reischman

Audio Engineer Rachel Landy Audio Video Engineer Alec Stunkel

Properties Carpenter Erin Brandt

STAGE MANAGEMENT Production Stage Manager Nathan Garrison

Properties Artisan Rachelle Martin

Stage Manager Erin Robson-Smith

SCENE SHOP Technical Director Chris Fretts

Production Assistants Rebecca Roeber Lilliana Rubio Chrystal Johnson

PART-TIME STAFF & ASSOCIATES ARTISTIC Teaching Artists Chelsea Anderson Joanna Bennett Andrew Black Emily Bohn Ann Marie Elliott Callie Burk Hartz Kate Homan Tom Horan Ronn Johnstone Kathi Ridley-Merriweather Beverly Roche Katie Sellars Milicent Wright


Dramaturgy Intern Eden Rea-Hedrick Company Management Intern Ellie Oegema ELECTRICS Electricians Lee Edmundson Joel Grynheim Jonathan Harden Luke Hoefer

PAINT SHOP Scenic Painter Lee Edmundson Rachel Torres SCENE SHOP Lee Edmundson Richard Landon Chris Nelson Chris Strain


FINANCE Director of Finance Greg Perkins

ADMINISTRATION Receptionist / Administrative Assistant Seema Juneja

Assistant Controller Danette Alles

Executive Assistant Randy Talley Administrative Support Specialist Suzanne Spradlin Beinart DEVELOPMENT Director of Development Jennifer Turner

Associate Director of Major Gifts Lindsey Horan Institutional Giving Manager Eric J. Olson Donor Relations Manager Maggie Barrett Schlake Development Systems Brady Clark EDUCATION Director of Education Randy D. Pease

Youth Audience Manager Sarah Geis

FINANCE ASSOCIATES External Auditors Crowe Horwath LLP

Legal Counsel Heather Moore PATRON SERVICES Assistant House Managers Pat Bebee Terri Bradburn Nancy Carlson Cara Clapper Michelle Kennedy Coenen

Payroll & Benefits Specialist Jennifer Carpenter INFORMATION SYSTEMS Director of Information Systems Dan Bradburn MARKETING Director of Marketing & Sales Danielle M. Dove

Marketing Communications Manager Kerry Barmann Audience Development Manager Elizabeth Petermann Graphic Designer Alexis Morin

Teleservices Representatives Ty Conatser Dara Ford Margaret Freeman PATRON SERVICES Operations Manager Robert Steele

Manager of Public Operations Margaret Lehtinen House Manager Heather Uuk Tessitura Administrator Molly Wible Sweets Ticket Office Manager Kim Reeves Assistant Ticket Office Manager Eric Wilburn Gift Shop Manager & Customer Service Representative Jessie Streeval

Multimedia Coordinator Heather Zalewski

Customer Service Representatives Kelsey Keating Jacob Peterman

OUTREACH Group Sales & Teleservices Manager Doug Sims

Building Services Dameon Cooper Dave Melton

Assistant Teleservices Manager Jeff Pigeon

Kyla Decker Marilyn Hatcher Jade Hogan Bill Imel Sarah James Barbara Janiak Norma Johnson Julia Kaser Sherry McCoy Gail McDermott-Bowler Dianna Mosedale Melanie Overfield Deborah Provisor Darlene Raposa

Phoebe Rodgers Kathy Sax Karen Sipes Rudy Thien Maggie Ward Bartenders Sheryl Conner Sandra Hester-Steele Nancy Hiser Susan Korbin Tina Weaver


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 47th 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




Tom Froehle -Faegre Baker Daniels Nadine Givens -PNC Wealth Management

Jill Lacy -The Lacy Foundation


Michael J. Harrington* -Eli Lilly and Company

Mark Shaffer -KPMG LLP

MEMBERS Tammara D. Avant -Taft Stettinius & Hollister LLP Sharon R. Barner -Cummins, Inc. Gerald Berg -Wells Fargo Advisors Keith A. Bice -Bingham Greenebaum Doll LLP Mary Beth Claus -IU Health Ann Colussi Dee -Duke Realty Gary Denney -Eli Lilly and Company, Retired Michael P. Dinius -Noble Consulting Services, Inc. Laurie Dippold -KAR Auction Services, Inc. Daniel C. Emerson* -Indianapolis Colts Troy D. Farmer -Fifth Third Bank Richard D. Feldman -Franciscan Health Indianapolis James W. Freeman -OneAmerica Financial Partners, Inc., Retired

Ron Gifford -RDG Strategies LLC Ricardo L. Guimarães -Dow AgroSciences Michael N. Heaton -Katz Sapper & Miller Holt Hedrick -Calumet Specialty Products Partners L.P. Brenda Horn -Ice Miller LLP Rebecca King -Leadership Indianapolis Amy Kosnoff -Community Volunteer Sarah Lechleiter -Community Volunteer Andrew Michie -OneAmerica Financial Partners, Inc. Alan Mills -Barnes & Thornburg LLP Detra Mills -Round Room LLC Lawren K. Mills -Ice Miller Strategies LLC, Ice Miller LLP Michael Moriarty -Frost Brown Todd LLC Timothy W. Oliver -JP Morgan Chase Bank, NA

Brian Payne -Central Indiana Community Foundation Peter Racher -Plews Shadley Racher & Braun LLP Peter N. Reist -Oxford Financial Group Susan O. Ringo -Community Volunteer Don Robinson-Gay -Lake City Bank Wayne Schmidt -Schmidt Associates Michael Semler -Cushman & Wakefield Mike Simmons -Jupiter Peak, LLC Susan L. Smith -Community Volunteer Jennifer Vigran -Second Helpings, Inc. Amy Waggoner -Salesforce L. Alan Whaley -Ice Miller LLP, Retired David Whitman* -PricewaterhouseCoopers LLP, Retired Heather Wilson -Frost Brown Todd LLC

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*

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


* Past Board Chairs



An Indiana child’s awe-inspiring first live theatre experience… An evening at the Theatre filled with laughter and friends… A ride-home debate sparked by a new perspective presented on stage… These moments and many others are made possible through the generous support of Repertory Society members. Donors giving $1,500 or more each season will join this exclusive group and gain access to a slate of benefits created to extend your access to our art and enhance your theatergoing experience. Repertory Society Benefits Include: VIP Ticket Concierge, Donor Lounge Access, Complimentary Valet Parking, Exclusive Special Events, and so much more! Dorcas Sowunmi and Chiké Johnson in the IRT’s 2018 production of A Raisin in the Sun. Photo by Zach Rosing.


Contact Lindsey Horan, Associate Director of Major Gifts: | 317.916.4833





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.

Printing • Mailing Services • Publishing • Signage • Promotional Products • Marketing



For 100 years, we’ve committed to making Central Indiana a better, more beautiful and more equitable community. For all.

317.634.2423 |

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317-261-1900 | | Indianapolis Not FDIC Insured – No Bank Guarantee – May Lose Value

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Heather Brogden -B. Media House VICE CHAIR

Patrick F. Jessee -Delta Sigma Phi Fraternity & Foundation Tammara D. Avant -Taft Stettinius & Hollister LLP

Allison M. Barkel -Project Lead The Way Claire Burke -Lawrence Central High School Laurie Dippold -KAR Auction Services, Inc Holt Hedrick -Calumet Specialty Products Partners, L.P.

Rebecca King -Leadership Indianapolis Jill Lacy -The Lacy Foundation Eric D. Ratner -WTHR Amy Waggoner -Salesforce Joseph Zielinski -Eskenazi Health






- Scenic Designer: Robert Mark Morgan - Lighting Designer: Michael Klaers


Director_________________ RISA BRAININ Scenic Designer____________ ROBERT MARK MORGAN Costume Designer__________________ DEVON PAINTER Lighting Designer__________________MICHAEL KLAERS Composer____________________________MICHAEL KECK Dramaturg______________________ RICHARD J ROBERTS Stage Manager________________ NATHAN GARRISON Casting__________________________ CLAIRE SIMON CSA


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




Executive Artistic Director


Managing Director

THE CAST Watson_______________________ TORREY HANSON Dr. Evans________________________HENRY WORONICZ Orderly_____________________ RYAN ARTZBERGER Matron______________________ JENNIFER JOHANSEN Holmes 1________________________MICHAEL BRUSASCO Holmes 2_____________________ NATHAN HOSNER Holmes 3_________________________ ROB JOHANSEN

SETTING 1894. An asylum on the island of Starkhaven in Scotland, and other places. There will be no intermission.

ACKNOWLEDGEMENTS Holmes and Watson is presented by special arrangement with Dramatists Play Service, Inc., New York. The world premiere of Holmes and Watson was originally commissioned and produced by Arizona Theatre Company, Tucson/Phoenix, Arizona—David Ira Goldstein, Artistic Director. Fight Director: Rob Johansen Assistant to the Director: Nicole Zahner Dialect Coach: Allison Moody Swings: Rob Johansen, Devan Mathias, Adam Tran Actors and stage managers in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. The scenic, costume, 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, video, 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.


OUR FASCINATION WITH SHERLOCK HOLMES Welcome to the IRT’s 47th season! As always, it is a pleasure to greet our audiences again, after a summer of preparation for the new season. Our industry will soon be apparent, as you enjoy the first of the nine productions we are crafting for you this season: a journey meant to delight you, provoke you, remind you, and surprise you, while inviting you to experience your humanity at its deepest layers of frailty, triumph, and discovery.

Jeff has cannily introduced into this Holmes tale the very contemporary idea of identity theft, imagining, as a quick glance at the program will tell you, not one, not two, but three Holmes characters, all claiming to be the “real” Holmes. Mistaken identity is a common plot device of theatre, used with great success by Shakespeare and many other playwrights. In the case of Holmes it makes perfect sense: who wouldn’t want the fame and accolades that would come from successfully impersonating the We open our season with a unique celebration of one of master detective himself? But the premise also draws us theatre’s—and film and literature’s—favorite characters, deeper into some very real and primal human concerns: the inimitable Sherlock Holmes. There must be few if any What comprises identity? What happens if those closest cultures on the planet where the name “Sherlock Holmes” to us fail to recognize us? How can identity be used to doesn’t summon some sort of image or construct. Be it compromise us? In the era of cyber-communication, we the Inverness-clad, Deer Stalker–sporting, Meerschaum are all genuinely concerned with these questions in all pipe–smoking, clichéd figure of the early Holmes too real terms. illustrations, or the suave, brainy, contemporary renditions by Robert Downey Jr. or Benedict Cumberbatch, the At the helm of this production is one of our greatest character of Sherlock Holmes has cut a wide swath in imaginers, former IRT associate artistic director Risa the zeitgeist of the past and present centuries. It is not Brainin. Risa has the distinct advantage of knowing Mr. surprising that there are many film and theatre iterations Hatcher personally, and, as this is still a relatively new of this character, who uses logic and mental mastery (as play, that access is very beneficial. She is also a great one well as some canny martial arts!) to solve crimes that no for a puzzle, bringing a finely honed sense of curiosity as one else can solve. The theatrical possibilities are endless, well as prodigious theatrical skill to her work. She led the offering excellent opportunities to writers and theatre charge on a very different kind of mystery last season, artists of all kinds to create work that intrigues and The Curious Incident of the Dog in the Night-Time, which delights audiences. was widely and deservedly praised, so we know that this journey will be brilliantly conceived and nuanced Holmes and Watson is derived from just this fascination: in its clues. specifically, from the brain of one of contemporary American theatre’s greatest Holmes brains, Jeffrey Hatcher. We are also delighted to have cast many IRT favorites in this Jeff’s take on Holmes is surprising at every turn, using production, opening our season not only with a wonderful some of Arthur Conan Doyle’s own reversal techniques theatrical ride that will appeal to our multigenerational to craft a wholly new story. This production follows in a audience, but acted by a group of talented actors that our long line of Holmes plays the IRT has produced over its audiences know and love. history—most recently, The Hound of the Baskervilles (in 2015) which was a literary adaptation of what is perhaps So let the mystery fest begin! And welcome to what we Doyle’s most popular tale. Holmes and Watson, on the intend will be IRT’s best season ever! other hand, allows us to witness the flight of fancy of a playwright deeply immersed in the Holmes legends and writings, who has captured the voice of the legendary character, while crafting a plot that is entirely original, yet Matthew Brumlow as Dr. Watson and Marcus Truschinski as Sherlock Holmes in the IRT’s 2015 production of The Hound of the Baskervilles. seems entirely plausible within the Doyle canon. Photo by Zach Rosing. 22






What is it about mysteries that we love so much? There is something so satisfying about solving a mystery, right? It is fun, it is challenging, and when you reach the end, you feel a sense of accomplishment. Sherlock Holmes is the great icon of mystery stories in modern fiction. Since the character was born in 1887, he has been brought to life in literally thousands of ways, including novels, short stories, plays, radio dramas, TV shows, films, and even video games. He holds the Guinness record for “most portrayed movie character in history.” Whether you have read the books or not, we all have an image of the character. In fact, the character is so specifically etched in our minds, that some people even believe he was a real person! I recently went to the Sherlock Holmes Museum in London, which is a replica of Holmes’s house on Baker Street complete with wax figures of characters. It was a bit strange to be there in the “home” of a fictional character! There are enormously long lines—every single day—to get into this museum. The fan base is extraordinary. So, with all of the zillions of portrayals out there, how does one tell a new tale about this very old and beloved character? Leave it to Jeff Hatcher to figure that one out. Hatcher has taken the period of time between Sir Arthur Conan Doyle’s “The Final Problem,” where Holmes is supposedly “killed” by his arch nemesis Moriarty, and “The Adventure of the Empty House,” when he returns. In that moment, Hatcher hypothesizes a wonderful mystery. I’ve always been a huge fan of Jeffrey Hatcher’s work, and have enjoyed directing several of his plays over the years. What I love most, and something most evident in this piece, is his ability to weave a complex story with humor and pathos. You get all of the fun of solving a great Sherlock Holmes mystery, and you get a little bit more. With his ironic (and sometimes sardonic) sense of humor, he is a master of dramatic tension and release. Oh, how I adore anything Hatcher! He knows that if you are here tonight, you likely know and love Sherlock Holmes. If you do, get ready to enjoy a new classic tale. If you are new to Mr. Holmes, we hope you’ll enjoy stepping into his world tonight to solve the mystery. The IRT’s 2012 production of Dr. Jeckyll & Mr. Hyde by Jeffrey Hatcher, directed by Risa Brainin.


A DARK AND STORMY NIGHT ROBERT MARK MORGAN SCENIC DESIGNER The set for Holmes and Watson should be, like the play itself, wrapped in mystery. The location where Jeffrey Hatcher has set his play is a designer’s dream, simply because of the limitless possibilities it presents to an artist: a fortress that became a lighthouse and then became an insane asylum. No one knows (including me) what that looks like ... and that’s wonderful! We’ve attempted to approach the set and staging in layers with the knowledge

that, like the Holmes story itself, it will reveal itself to you as the play goes on. We drew our visual inspiration from a variety of sources, including screen captures from films, random textures, colors, and a book simply called Asylum. The results of that six-month design process from research to finished set ends tonight with the set you see before you. I hope you enjoy the journey.

MICHAEL KLAERS LIGHTING DESIGNER This is such a fun play to do. It jumps around and doesn’t let us get settled. Controlling primary and secondary focus is critical to telling the story. The lights have a few jobs, including: They have to tell us when we leave the island, and where we go when we do leave. They have to help us interrogate everyone who has information we need. They

have to make sure that in the swirly reality of the set we never get our feet too firmly planted. Some of these can be accomplished with color and texture in the light. Some of it needs direction and motion. But the most important job for the lights is to help us know where to look first and where to look second.

MICHAEL KECK COMPOSER In addition to his proficiency with observation, forensic science, and logical reasoning, Sherlock Homes is an accomplished violinist. In Doyle’s first Holmes novel, A Study in Scarlet, we learn that he is particularly fond of

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Mendelssohn’s Lieder ohne Worte (Songs without Words), a sequence of beautiful melodies which is the inspiration for our score featuring solo violin.

Preliminary computer rendering by scenic designer Robert Mark Morgan.

DEVON PAINTER COSTUME DESIGNER This wonderful mystery adventure is shrouded in Victorian English styles and includes extreme characters with surprising secrets that I found fun to design. In addition to reading The Complete Works of Sherlock Holmes, I studied Doyle’s wonderful illustrators—Sidney Paget primarily. I also watched many versions of Sherlock Holmes, both

modern and historical, which examine different aspects of the characters. It was fascinating to compare and contrast them; a “bohemian” Sherlock Holmes, as we view it today, may look different than the one in the illustrations, but all of them informed a design that felt right for this particular mystery.

Preliminary costume sketches for Dr. Watson and Professor Moriarty by designer Devon Painter.



Scottish physician and writer Sir Arthur Conan Doyle was born in 1859 in Edinburgh, Scotland, and educated at a Jesuit preparatory school in Lancashire, England. He studied medicine at Edinburgh University, where he was inspired by the brilliant deductive skills of his mentor, Joseph Bell. While in school, Doyle worked as a ship’s doctor and later ran his own practice in Portsmouth, England. During these years of study and practice, Doyle wrote and submitted several short stories to the literary magazines of the day. In 1887 Doyle first penned his most famous creation, Sherlock Holmes of Baker Street. By 1891, Holmes stories had become a fixture of the Strand Magazine. Other fictional detectives had appeared before Holmes, including characters created by Edgar Allen Poe (“The Murders in the Rue Morgue”) and Emile Gaboriau (“L’Affaire Lerouge”). But Holmes captured the public


imagination like few other literary figures have ever done. Doyle himself, however, quickly became tired of his creation and killed him off in “The Final Problem” in 1893. After eight years of pressure from his readers, Doyle wrote The Hound of the Baskervilles, set before Holmes’s death. This masterpiece only whetted the public’s appetite, and two years later Doyle resumed the series with “The Adventure of the Empty House,” explaining that Holmes had faked his own death at Reichenbach. Ultimately, Doyle wrote a total of four novels and 56 short stories featuring Sherlock Holmes. From 1899 to 1902, Doyle served as a physician in the Boer War. Upon his return, he wrote The Great Boer War (1900) and The War in South Africa: Its Causes and Conduct (1902), for which he was knighted.

This 1927 painting of Arthur Conan Doyle by Henry L. Gates hangs in the National Portrait Gallery, London.

Although Holmes might be considered the literary icon of empiricism, Doyle was profoundly interested in spiritualism. This irony cultivated many of Doyle’s mystic beliefs, such as fairies, psychic powers, and communication with the dead. He wrote several books on the subject, including The Coming of the Fairies (1921), The History of Spiritualism (1926), and The Edge of the Unknown (1930), where he argued that his friend Harry Houdini had supernatural powers. Doyle died in 1930 from heart disease at his home in Sussex. The first of many Sherlock Holmes societies was founded in 1934, and such organizations still actively

debate the finer points of the detective’s work. Whole books have treated Holmes and Watson as actual historical figures, filling in gaps and calculating dates from clues in the stories. Nearly 100 actors have portrayed Holmes in more than 300 films and television programs. Dozens of authors since Doyle have written their own Holmes stories, novels, films, and plays. The IRT’s production of Jeffrey Hatcher’s Holmes and Watson—one of those new creations—is only the latest chapter in our ongoing fascination with Sir Arthur’s indelible detective.

Although Sydney Paget was famous for his original drawings of Sherlock Holmes, when Arthur Conan Doyle saw this illustration by Frank Wiles in the Strand Magazine in 1914, he said, “This comes closest to my conception of what he really looks like.”


THE COMPANY RYAN ARTZBERGER | ORDERLY Ryan’s IRT credits include Noises Off, Romeo and Juliet (2018 & 2010), A Christmas Carol, The Three Musketeers, The Mousetrap, To Kill a Mockingbird, The Great Gatsby, The Crucible, A Midsummer Night’s Dream, Dr. Jekyll & Mr. Hyde, God of Carnage, Julius Caesar, Fire in the Garden, Rabbit Hole, Iron Kisses, Our Town, Death of a Salesman, He Held Me Grand, Macbeth (1999), and The Herbal Bed. Ryan is a member of Indianapolis Shakespeare Company, where he has directed As You Like It and appeared in Coriolanus, The Winter’s Tale, Twelfth Night, The Tempest, The Taming of the Shrew, and Othello. At the Phoenix Theatre he performed in Reasons to Be Pretty. Regional credits include the Shakespeare Theatre and the Studio Theatre in Washington DC, Shakespeare Santa Cruz, the Goodman Theatre, Berkeley Rep, Kansas City Rep, the Lookingglass, Great Lakes Theater Festival, the Denver Center, New Jersey Shakespeare, and Playmakers Rep. Ryan is a graduate of Ohio University and the Juilliard School.

MICHAEL BRUSASCO | HOLMES 1 Michael is honored to make his IRT debut. He has recently been seen in Julius Caesar and The Wild Duck with the Quintessence Theatre and in Shakespeare in Love with Cincinnati Playhouse in the Park and Baltimore Center Stage. At the Alley Theatre he performed in A Midsummer Night’s Dream, Hand to God, Spider’s Web, All the Way, and A Christmas Carol. Regional credits include Dallas Theater Center, Cleveland Play House, Syracuse Stage, Pittsburgh Public Theatre, Barrington Stage Company, Round House Theatre, the Folger Theatre, the Shakespeare Theatre DC, Pioneer Theatre Company, Berkeley Rep, ACT, California Shakespeare Theatre, Pennsylvania Shakespeare Festival, and Utah Shakespeare Festival. In New York, he performed in several off Broadway productions, most of which were sparsely attended and barely paid his bills. Next up: Michael relocates to the West Coast with his wife, where he will continue to act, teach, and record audiobooks. He thinks you should follow his cat on Instagram: @ramona_salami

TORREY HANSON | WATSON Torrey is a Chicago-based actor who has appeared at Indiana Rep in Miranda and Dr. Jekyll and Mr. Hyde. His Chicago credits include Blind Date at the Goodman Theater; The Nutcracker at the House Theater; Arcadia at Writers Theatre; A Christmas Carol at Drury Lane–Oakbrook; Pericles, Julius Caesar, Elizabeth Rex, and The Madness of King George at Chicago Shakespeare Theater; Cock at Profiles Theater; Language Archive at Piven Theatre Workshop; Paulus at Silk Road Rising; and Spoon River Anthology at Provision Theatre. Regionally and internationally he has worked at Alley Theatre, Milwaukee Repertory Theater (75 productions over 17 seasons), Oregon Shakespeare Festival (five seasons), Seattle Repertory Theatre, Intiman Theatre, A Contemporary Theatre, the Empty Space, Cleveland Play House, Utah Shakespeare Festival, Resident Ensemble Players at the University of Delaware, Madison Repertory Theatre, and Theatre Company Subaru, Tokyo. On television, he has appeared on Detroiters, The Exorcist, Empire, Crisis, Chicago Fire, Cheers, and Wings.


NATHAN HOSNER | HOLMES 2 Nathan made his IRT debut in The Three Musketeers. Chicago credits include productions with Lookingglass Theatre, Writers Theatre, Chicago Shakespeare Theater, the Goodman Theatre, Northlight Theatre, Court Theatre, Paramount Theatre, About Face Theatre, and First Folio Theatre. Other credits include the first national tour of Peter and the Starcatcher and productions with American Players Theatre, the New Theatre, Alabama Shakespeare Festival, Arkansas Shakespeare Theatre, the BoarsHead Theater, Illinois Shakespeare Festival, and Door Shakespeare. Nathan is a graduate of the Royal Academy of Dramatic Art, London. His film and television credits include the upcoming feature Girls of Summer as well as Chicago PD and As the World Turns.

JENNIFER JOHANSEN | MATRON Jen makes her first foray into the world of the Great Detective with this production, although she has orbited the genre in IRT’s productions of The Mousetrap and The Game’s Afoot. Other IRT favorites include many Shakespeare plays, many A Christmas Carols, and The Syringa Tree. She recently appeared in Coriolanus with the Indianapolis Shakespeare Company and in The Pill at the Phoenix Theatre. Other Phoenix favorites include Hir, On Clover Road, and Mr. Burns, a post-electric play. Jen has performed with Chicago Shakespeare Theater, Ensemble Theatre Cincinnati, and the Human Race Theatre. Proud member of Actors Equity, proud wife of Rob. “I dedicate my performance to the loving memory of Betty Rupp and to my uncle, John Bohler.”

ROB JOHANSEN | HOLMES 3 It’s been almost twenty years since Rob acted under Risa Brainin’s direction; the last time was in 1999’s Macbeth. Rob is deeply grateful for a renewed opportunity to act for Risa, and he wishes to thank all the associate artistic directors of IRT, past and present, for their profound influence on his career. Priscilla Lindsay directed Rob in To Kill a Mockingbird, Romeo and Juliet, and many Carols. Under Courtney Sale’s lead, Rob was in Jackie and Me as well as two memorable shows at the Phoenix Theatre: Mr. Burns and On Clover Road. The good fortune continues this season: Rob will be directed by new associate artistic director Ben Hanna in A Christmas Carol, where he will reprise his role as Bob Cratchit, with none other than his wife, Jen, as Mrs. Cratchit. “I am the luckiest guy. Thanks to all for the years of fun, and let’s keep it rolling on!”

HENRY WORONICZ | DR. EVANS At the IRT, Henry has acted in The Originalist, The Mousetrap, Red, An Iliad, A Midsummer Night’s Dream, Young Lady from Rwanda, and King Lear; he has also directed The Three Musketeers and last season’s Romeo and Juliet. Regional acting and directing credits include Actors Theatre of Louisville, American Conservatory Theatre, American Players Theatre, Arden Theatre Company, Berkeley Repertory Theatre, Boston Shakespeare Company, Center Stage, Delaware Theatre Company, Hong Kong Repertory Company, La Jolla Playhouse, Meadow Brook Theatre, Syracuse Stage, the Shakespeare Theatre, and the Alabama, Illinois, New Jersey, Pennsylvania, and Utah Shakespeare festivals. He was seen on Broadway in Julius Caesar with Denzel Washington. Television credits include Seinfeld, Cheers, Third Rock from the Sun, Star Trek, and Law & Order. At the Oregon Shakespeare Festival, he was a resident actor/director from 1984 to 1991 and artistic director from 1991 to 1995. Henry also served as executive producer at Lake Tahoe Shakespeare Festival from 2008 to 2009, the head of M.F.A. Acting at Illinois State University from 2009 to 2012, and a visiting professor in the Department of Theatre at IU Bloomington from 2014 to 2017.


THE COMPANY JEFFREY HATCHER | PLAYWRIGHT The IRT has previously produced three of Jeffrey Hatcher’s stage adaptations: Henry James’s The Turn of the Screw (2003); Tuesdays with Morrie (2007), co-written with author Mitch Albom; and Robert Louis Stevenson’s Dr. Jekyll & Mr. Hyde (2012), which was nominated for an Edgar Award. Hatcher’s enthusiasm for Doyle’s detective can be seen in his 2011 play Sherlock Holmes and the Adventure of the Suicide Club and his screenplay for the 2015 film Mr. Holmes starring Ian McKellen. Hatcher’s other plays include Scotland Road, Three Viewings, A Picasso, Ten Chimneys, and Compleat Female Stage Beauty, which he adapted for the screen as Stage Beauty. Other films include Casanova starring Heath Ledger and The Duchess starring Keira Knightly; currently in post-production is The Good Liar starring Helen Mirren and Ian McKellen. Hatcher also wrote for the long-running TV series Columbo.

RISA BRAININ | DIRECTOR Risa served as the IRT’s associate artistic director from 1997 to 2000. Her IRT credits include The Curious Incident of the Dog in the Night-Time, Dr. Jekyll & Mr. Hyde, Tuesdays with Morrie, Young Lady from Rwanda, Blithe Spirit, One Thousand Cranes, Pygmalion, Noises Off (1999), Macbeth (1999), The Herbal Bed, Mother of the Movement, Talley’s Folly, and To Kill a Mockingbird (1997). Risa has served as artistic director of Shakespeare Santa Cruz, associate artistic director for Kansas City Repertory Theatre, and associate company director and resident director for the Guthrie Theater. Other directing credits include plays at Denver Center Theatre Company, Alabama Shakespeare Festival, Actors Theatre of Louisville, Shakespeare Festival of St. Louis, Kansas City Actors Theatre, Idaho Shakespeare Festival, Milwaukee Repertory Theatre, Great Lakes Theatre Festival, Syracuse Stage, American Players Theatre, and Repertory Theatre of St. Louis. Risa is the artistic director of LAUNCH PAD, a groundbreaking new play development program at UC Santa Barbara. She is a graduate of the Carnegie-Mellon University Drama Program.

ROBERT MARK MORGAN | SCENIC DESIGNER Rob has designed Finding Home, The Giver, The Two Gentlemen of Verona, An Iliad, and Dracula at the IRT. He has designed for the theatre, theme parks, and museums. His work has been seen onstage nationally at Asolo Repertory Theatre in Sarasota, the Repertory Theatre of St. Louis, Cincinnati Playhouse, Studio Arena, Cleveland Play House, San Jose Repertory Theatre, Denver Center Theatre Company, Alliance Theatre in Atlanta, Barrington Stage, Marin Theatre Company, Magic Theatre, and American Conservatory Theatre in San Francisco. Rob is on the design faculty at Washington University in St. Louis.

DEVON PAINTER | COSTUME DESIGNER Devon’s IRT designs include The Curious Incident of the Dog in the Night-Time, The Three Musketeers, Dr. Jekyll & Mr. Hyde, The Miracle Worker, Pygmalion, Noises Off (1999), Abe Lincoln in Illinois, and To Kill a Mockingbird (1998). Regional design credits include the Oregon Shakespeare Festival, Guthrie Theatre, Milwaukee Rep, Denver Center, Geva Theatre Center, Kansas City Rep, Shakespeare Festival of St. Louis, Actors Theatre, Great Lakes Theatre Festival, Folger Theatre, Studio Theatre, Utah Shakespearean Festival, and the American Players Theatre. New York credits include many productions at the Pearl Theatre, Juilliard, and many other off Broadway venues, as well as associate work on Broadway with the late, great Desmond Healey. Devon is a member of United Scenic Artists.


MICHAEL KLAERS | LIGHTING DESIGNER Michael’s earlier shows at the IRT include, among others, The Curious Incident of the Dog in the Night-Time, Dr. Jekyll & Mr. Hyde, The Herbal Bed, Pygmalion, To Kill a Mockingbird (1997), Macbeth (1999), and Noises Off (1999). Regional theatre credits include Repertory Theatre of St. Louis, Idaho Shakespeare Festival, Milwaukee Repertory Theater, Great Lakes Theater Festival, Shakespeare Festival of St. Louis, Shakespeare Santa Cruz, Pacific Conservatory of the Performing Arts, Missouri Repertory Theatre, Mixed Blood Theatre, and many others.

MICHAEL KECK | COMPOSER At the IRT, Michael has composed music for all three productions of Looking Over the President’s Shoulder; A Raisin in the Sun; April 4, 1968 (in which he also acted); Dr. Jekyll and Mr. Hyde; Rabbit Hole; Gem of the Ocean; Searching for Eden; and As You Like It. 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 29th season with the IRT, and his 21st as resident dramaturg. He has also been a dramaturg for the New Harmony Project, Write Now, and the Hotchner Playwriting Festival. He has directed IRT productions of The Cay, Bridge & Tunnel, The Night Watcher, Neat, Pretty Fire, The Giver (2009), The Power of One, Twelfth Night, and four editions of A Christmas Carol. This season he directs Bernstein’s Trouble in Tahiti for the Indianapolis Chamber Orchestra and It’s a Wonderful Life for Actors Theatre of Indiana. Other directing credits include the Phoenix Theatre, Edyvean Repertory Theatre, Indianapolis Civic Theatre, IndyShakes/Wisdom Tooth, Butler University, and Anderson University. Richard studied music at DePauw University and theatre at Indiana University. In 2003 he was awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis.

NATHAN GARRISON | STAGE MANAGER This is Nathan’s 23rd 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 a company member with the Indianapolis Shakespeare Company.

CLAIRE SIMON CSA | CASTING Based in Chicago, Claire Simon CSA has worked with the IRT for the past 22 years on casting more than 40 productions, including Noises Off, Appoggiatura, Romeo and Juliet, The Originalist, The Curious Incident of the Dog in the Night-Time, Guess Who’s Coming to Dinner, Finding Home, The Great Gatsby, and many more. Other regional credits include Syracuse Stage, Asolo 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, Easy, Sense8, Chicago Fire, Chicago PD, Crisis, Betrayal, Detroit 1-8-7, Boss, Mob Doctor, and Chicago Code. Film credits include Divergent, Contagion, Unexpected, Man of Steel, Save the Last Dance, and High Fidelity. Claire has won Artios Awards for casting the pilot of Empire and for Season 1 of Fox’s Prison Break.



INTERVIEW: MICHAEL KECK At the IRT, Michael Keck has written music for A Raisin in the Sun, Dr. Jekyll and Mr. Hyde, Rabbit Hole, Gem of the Ocean, Searching for Eden, As You Like It, all three productions of Looking Over the President’s Shoulder, and this season, Holmes and Watson. An actor as well, he both played the DJ and created music for April 4, 1968: Before We Forgot How to Dream. HOW DID YOU FIRST GET INTERESTED IN THEATRE? I grew up in Zebulon, North Carolina, on the outskirts of Raleigh. My parents were big on reading, and they took me to Saturday morning story time at the public library. Then the kids in the neighborhood would bring those stories to life out in the back yard, with dances and music or whatever. 36

Our tiny little junior-senior high school had a small theatre program, but I was mostly into music then. When we did a theatre program or an opera—I remember once we did Amahl and the Night Visitors—Miss Emily May Kelly, our choral teacher, asked me to be involved with it. I think she just recognized that I could do a bunch of different things. So she made me generalissimo, and put me in charge of whatever—running the lights, pulling the curtains, maybe some music, maybe run in and say a line—and I became her go-to person for anything that she needed. But my main focus was music. I sang, and I tried to play the trombone, but my arms were too short, so they gave me a trumpet, and then a clarinet, and a bunch of other things.

SO THEN YOU STUDIED MUSIC IN COLLEGE … No, I was pre-med: biology, chemistry. But I was out working when I was in college, I had my union card from a little touring variety show that I had been in. So I was in the American Federation of Musicians, then I got my SAG/AFTRA card because I was doing a lot of commercials. When I got out of school and started looking around to see what I wanted to do next, I was already in the groove and paying for my college bills by doing shows. None of the medical schools I was looking at had anything about wellness, or preventative medicine, which is what I was interested in. And I kept getting gig after gig after gig after gig. I sold some songs to RCA, then I transferred to Columbia, one of my songs got picked up by Atlantic. So I just kept writing music, and going on the road doing shows, and I never thought to go back for another six years of medical training. HOW DID YOU TRANSITION FROM BEING A PERFORMER TO BEING A COMPOSER? I started writing little songs in junior high, and the local black radio station recorded them and played them on weekends. So I was always writing music, and performing music, and acting, but they were all sort of separate. There was a casting director, Sylvia Mays, and I was in her acting class, and she said to me, I think you’re a really good actor for these commercials, but you’d be better if you were in the theatre. So she sent me to Bill Hamilton at 7 Stages down in Atlanta. And I was acting in his experimental shows, and then they found out that I was a musician. So then every time I was in a show around town, I was doing the music, too. And my career just grew. Some people know me as both an actor and a composer, and some people only know me as one and don’t have any idea I also do the other. It’s all the same to me. I love them both. WHAT IS IT ABOUT MUSIC THAT SPEAKS TO YOU? Music is always a character in my life. Music has the same things as any narrative. There’s tempo, and there’s rhythm, and there’s emphasis on operative words, just as in music there’d be emphasis on particular notes. There’s a pacing that’s very much like language, and I find that music speaks to me in those same terms: where the emphasis is, whether its rubato or in a tempo beat, whether it’s something light and lyrical like a Schubert piece, or something very bluesy and sultry like a Robert Johnson piece. They both have their narratives, and they both have their human connection that resonates on a spiritual level. Music has a healing resonance. Certain tones stimulate certain Chakras that make us feel or relate in a particular way. Music attracts me in that way, because I get a sense

of what that narrative is. And when you combine music with text, I can understand where those frequencies need to be, so that you can have music, but the actors can actually be heard around the music. There’s a certain way of carving out the tonalities and frequencies so language can speak through and the music can exist at the same time. I relate to music and it teases out my feelings about the narrative because it actually is its own narrative, and I just get drawn into that. And quite honestly, there is no particular genre that attracts me any more than others. Mixing African beats with Asian flutes and Celtic harps, and putting, I don’t know, a jazz saxophone on top of it—that world combo plate kind of music fascinates me. Because even though music is specific to culture and place, it is the universal language. When you put all that stuff together, those different energies push against each other, and that’s what excites me: the ability to speak through a lot of different cultures. YOU TALK ABOUT MUSIC IN VERY THEATRICAL TERMS. DO YOU THINK ABOUT ACTING IN MUSICAL TERMS? I think of them both in the same frame. When I do my own shows, writing my own music for my performances, I think of the music as another character. It allows me to figure out how to create a musical tension, and a narrative tension, that I can navigate on stage. Then when I’m dealing with actors like I am here at the IRT, and creating music for them, as I’m composing I’m paying attention to who they are as actors, so that the music becomes a counterpoint—or if it’s not contrapuntal, it’s relatable, depending on what needs to happen theatrically at that moment. WHAT DO YOU LIKE ABOUT WORKING AT THE IRT? Everything! Top-down bottom-up, it feels like a community of people who have the right idea, in my view. It has a sense of community, and ensemble. I love it when I see the same people I’ve met before, how wonderfully talented they are, but yet generous in spirit. That’s not always the case. A lot of theatres, the guests come in, and we have less agency, and less access to that vibe because we are the out-of-towners. I have always felt like a part of IRT every time I walk in the door. I’ve always felt like my ideas were valued, and that people trusted me, which is important. I feel heard. I can tell you, that’s not the case everywhere. I have always felt trusted and valued at the IRT, not only from the top down, but the actors, the crew—we’ve all become family. I am not the outsider. 37








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- Scenic Designer: Junghyun Georgia Lee - Lighting Designer: Xavier Pierce


Director__________ RAELLE MYRICK-HODGES Scenic Designer____________ JUNGHYUN GEORGIA LEE Costume Designer_____________________ ARI FULTON Lighting Designer___________________ XAVIER PIERCE Projection Designer___________________ REUBEN LUCAS Original Music________________________ JUSTIN HICKS Dramaturg______________________ RICHARD J ROBERTS Stage Manager_______________ERIN ROBSON-SMITH Casting____________________ STEPHANIE KLAPPER CSA




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




Executive Artistic Director


Managing Director

THE CAST Nya________________________ AIMÉ DONNA KELLY Jasmine_________________________RENIKA WILLIAMS Omari___________________________COLE TAYLOR Laurie_________________________ CONSTANCE MACY Dun___________________________TOUSSAINT JEANLOUIS Xavier_________________________ ANDRÉ GARNER

SETTING Inner city. Today. There will be no intermission.

ACKNOWLEDGEMENTS Pipeline is presented by special arrangement with Samuel French, Inc. Pipeline was originally produced by Lincoln Center Theater, New York City, in 2017. The play was commissioned by Steppenwolf Theatre Company, Chicago—Martha Lavey, Artistic Director; David Hawkanson, Executive Director. “We Real Cool” by Gwendolyn Brooks used by consent of Brooks Permissions. Assistant Director: Regina Victor Swings: Daniel A. Martin, Dena Toler Actors and stage managers in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. The scenic 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, video, 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.



We are delighted to introduce the force that is Dominique Morisseau to our Indiana audiences with this production of Pipeline. A native of Detroit, Ms. Morisseau has enriched our American dramatic literature landscape with a dozen wide-ranging plays that refract the American race experience with a sharp and insightful voice. When I saw Pipeline at Lincoln Center in the summer of 2017, I was literally breathless with the strength of the narrative, the clarion cry of the characters, and above all, the impact of the story itself. Her ability to capture so many pulsing human intersections in a swift 90 minutes without ever getting polemic was so vivid and timely that I couldn’t wait to make a production of this play for our Indiana audiences. The way she has created this piece of theatre makes it very hard to turn away, certainly harder than turning off the television or moving to another less disturbing news story on your feed. Her art causes the content—content we all share responsibility for—to make us wrestle with, and potentially question, our own assumptions about race and education. What Morisseau does in this play is land the audience in the middle of some of America’s most important issues about young people, particularly young people of color: how do we educate them, how do we care for them, how do we protect them, how do we prepare them? Even these questions point to one of the problems the play identifies: in trying to create systems that will help children thrive, 44

we reduce them to a population, a cohort, a group to be dealt with, rather than a unique set of individuals, each with his or her own unique challenges. The student in this play, Omari, is entirely himself, not just a construct of his time, his generation, his color, his economic status, his family background. And yet how often do we reduce children to statistics, to data points about graduation rates, test scores, college entrance access? Parents and teachers of all socioeconomic positions and races battle with these concerns daily, trying to do the best they can for their students in a system that seems rigged for failure. These are some of the primal questions Morisseau raises in this breathtaking play. It isn’t often that a play comes along with such a superb blend of craft and social content, a blend that impacts and informs us while staying true to itself and its art. And yet the layers of social issues that the play touches and enlightens are extraordinary: not only about education, but about friendship, about love, about economic class, about race, about institutions, about aging, about economic mobility, about family—the list could go on and on. What I hope above all is that we can’t stop thinking about it and talking about it, that the play penetrates our thinking and our emotional lives as no news story can, and that it helps us see, with greater clarity, how we are each a part of the social fabric that has such negative impact on this unique child.


It is very easy to “discuss” the complexity of America’s public school system as an outsider. It makes for great intellectual conversation. But we don’t discuss the stress on students and teachers and parents enveloped by this system. I went to public school. And, I come from a family of school teachers (the job that black women with college degrees could get during segregation). I have been given the textbook that didn’t have a front cover, yet at the end of the year, I was expected to pay $75 for the “evident damage” while it was in my possession. I had a grade school teacher so bigoted that she took to calling me “Black Nina” to separate me from the other two girls in my class named Nina. (That is when I started calling myself Raelle—my middle name—because “Black Nina” seemed so uncomfortable). I watched a public high school math teacher have a nervous breakdown in front of a classroom. And I hated being in school because of the system I endured. “School” never rubbed off on me, because I

always felt that my teachers—none of whom were teachers of color—made extensive assumptions about my capacity and my family history. They were too overwhelmed to be diligent in the necessary care needed to educate young people. School is the big scorecard of the privilege line in this country. And those of us subjected to the subtle economic bias, ethnic bigotry, and emotional exhaustion of its teachers—well, it left me little to take from this system aside from its need to be overhauled. I would not have made it out of school without the tenacity of an extremely well-educated mother who had the time—with support of her family—to focus my studies. So, I dedicate this production to all the parents, students, and teachers who endure the complexity of public education. And to my high school teacher Mrs. Mittleburger, who spent her own money on supplies, created the drama program for my school, and never missed a day of trying to make great adults from little humans. 45

CLASS ROOMS JUNGHYUN GEORGIA LEE SCENIC DESIGNER To support the storytelling, I focused on delineating the safe places and the unsafe places. A teachers’ lounge tucked away in a heavy concrete school building is a safe, familiar place. That room shares the stage with a small

dorm room and the corner of Nya’s living room. But we also see, woven into the known places, the dark and unknown places, where Nya’s child might be.

ARI FULTON COSTUME DESIGNER Perception and surveillance are two themes the design team talked about incorporating into our production of Pipeline. I am interested in how the characters present themselves when faced with the reality that they are constantly watched and judged against racial stereotypes. In designing Pipeline, I was interested in how characters use fashion as a means both to fit in and to stand out. For

example, the students Omari and Jasmine wear uniforms, which by design, are markers of assimilation; but they break with conformity in the styling of these uniforms, as well as in their hair and shoes. Within the characters’ strict dress code, I wanted to find markers to express their humanity and help them reclaim their personal narratives.

JUSTIN HICKS ORIGINAL MUSIC My entrance into this play is through the poem “We Real Cool” by Gwendolyn Brooks. My mother taught me the poem when I was about ten years old. The use of the poem in the play brought up memories of adolescence and reminded me of many women I knew who were mothers as well as teachers. It also comments on the fragility of the bond between a mother and a teenage son who’s reaching toward manhood. Another source of inspiration

46 46

for me has been the presence of young men of color in the news, and various situations where they’ve been singled out both as victims and antagonizers. This play seats us in the world of a young man and makes us deal with the psychology of the prejudice inflicted on him and his fear of being perceived as something or someone other than who he is.

Preliminary rendering by projection designer Reuben Lucas.

Gwendolyn Brooks (1917-2000) was a Pulitzer Prize–winning poet, the first black woman to be a consultant in poetry to the Library of Congress, and poet laureate of the state of Illinois. In 1966, Detroit’s Broadside press reprinted her 1959 poem “We Real Cool” in this design by Cledie Taylor. Reprinted by permission of Brooks Permissions. 47

PLAYWRIGHT DOMINIQUE MORISSEAU Dominique Morisseau was one of the top twenty most-produced playwrights in the United States in the 2015-16 season. Her play Pipeline was commissioned by Steppenwolf Theater and premiered at Lincoln Center Theatre. Her three-play cycle The Detroit Project consists of Skeleton Crew (Atlantic Theater Company), Paradise Blue (Signature Theatre), and Detroit ’67 (Public Theater, Classical Theatre of Harlem, and National Black Theatre). Her other plays include Sunset Baby (LAByrinth Theatre), Blood at the Root (National Black Theatre), and Follow Me to Nellie’s (Premiere Stages). She wrote the book for the new musical Ain’t Too Proud—The Life and Times of the Temptations (Berkeley Repertory Theatre). She is an alumna of the Public Theater Emerging Writer’s Group, 48

Women’s Project Lab, and Lark Playwrights Workshop, and has developed work at Sundance Lab, Williamstown Theatre Festival, and Eugene O’Neil Playwrights Conference. Her work has been commissioned by Women’s Project, South Coast Rep, People’s Light and Theatre, Oregon Shakespeare Festival, and Penumbra Theatre. She recently served as co-producer on the Showtime series Shameless. She has received the Spirit of Detroit Award, PoNY Fellowship, Sky-Cooper Prize, TEER Trailblazer Award, Steinberg Playwright Award, Audelco Awards, NBFT August Wilson Playwriting Award, Edward M. Kennedy Prize for Drama, OBIE Award, and Ford Foundation Art of Change Fellowship, and she was named one of Variety’s Women of Impact for 2017-18.

“I came to writing plays from being an actress,” says carry all of these things on your back, and then also feeling Dominique Morisseau. “When I was at the University of like your child is failing, and that the system is failing your Michigan I studied acting, but we weren’t studying any child, and you really don’t know where to put the blame.” writers of color or women, and on our stages we saw very few plays by writers of color or women. Honestly, I Even closer to home, a young friend of Morisseau’s, a got frustrated with not seeing representations of myself, surrogate nephew, had an incident at school that was and I wanted to perform in some work … so I wrote quickly vilified online and in the press. “It shocked me and a play. It took on a life of its own, and the rest of the concerned me how quickly we criminalize and don’t give student body got behind it. Here was something that second chances to young men of color, and particularly was bigger than just my need to perform. There was young African American men.” a voice that people were hungry to hear, and that changed something for me.” Morisseau’s play looks at challenging issues that don’t have easy solutions. “I’m not so arrogant to think I have That “something bigger” has shaped Morisseau’s plays. all the answers. I don’t have them. I have none. These are “There is some sense of justice I am always seeking for my the things that stay on my mind all the time. These are characters. How are they or are they not getting justice things that I wrestle with and I’m trying to work out. There in their lives for the things that they want? How are they are some things I think I know, but I don’t know the full or are they not being measured fairly by each other and extent of it. In Pipeline, I do know that there are structural by the world? And how are they or are they not being and cultural failures in both the private and public schools, considered by those who have status over them?” so I know that there is a pipeline that our students are being sucked into. I do know that, and I do know that it’s The playwright has cited several inspirations for Pipeline. going to take some work and some recalibrating how we “I was reading Michelle Alexander’s The New Jim Crow, look at education and who we’re listening to when we and I was really struck by the school-to-prison pipeline, talk about education. I know those things for sure. What

“I WAS READING MICHELLE ALEXANDER’S THE NEW JIM CROW, AND I WAS REALLY STRUCK BY THE SCHOOL-TO-PRISON PIPELINE, AND WHAT IT MEANS TO HAVE PEOPLE GO STRAIGHT FROM SCHOOL RIGHT INTO PRISON—HOW YOU CAN SYSTEMICALLY CREATE THAT KIND OF STRUCTURE, SO THAT IT’S NOT JUST INDIVIDUAL, IT ACTUALLY BECOMES A WAY OF SOCIALIZING OUR COMMUNITY. “ and what it means to have people go straight from school right into prison—how you can systemically create that kind of structure, so that it’s not just individual, it actually becomes a way of socializing our community. I think that’s about policy. We put a lot of blame on public schools and public school teachers, but every time we call a teacher a failure, I’m saying: Who failed the teacher? Because everything has a trickle down.” Morisseau knows the education system from the inside: not only was her mother a career-long inner-city public school teacher, but the playwright herself taught school for 16 years: in Detroit, where she grew up, and in all five boroughs of New York City. “There were incidents at my mother’s school, where a teacher had to hide in a classroom from young parents who would come up to the school furious because of the volatile environment of having to

I don’t know is how we do all that. I feel like if I ask the important questions that I have around it, maybe, collectively, as a society, we will start to have the kind of conversation that can find a solution.” Morisseau is careful to point out that the situations seen in Pipeline could happen anywhere; in the script, she notes that the play’s setting can be “any inner city environment where the public school system is under duress.” She hopes her work will be a dialogue with a wide audience. “I want a white working-class family to see themselves in a black working-class family. Or white teachers, teaching in a predominantly black environment, with mostly black and Latino workers. If we can see ourselves in each other like that, then maybe we would know that we have much more common ground than we think we do.”


THE COMPANY ANDRÉ GARNER | XAVIER André is thrilled to make his IRT debut with Pipeline. He has been seen on Broadway in How the Grinch Stole Christmas, The Music Man, Marie Christine, and Grease, and off Broadway in the title role of Langston Hughes’s Little Ham and in From My Hometown. His national tours include The Color Purple, Dreamgirls, Joseph and the Amazing Technicolor Dreamcoat, and Miss Saigon. Select regional credits include Children of Eden at Ford’s Theatre, Abyssinia at Goodspeed Opera House, Five Guys Named Moe at Pioneer Theatre, and The Human Comedy at Barrington Stage Company. He holds an M.F.A. in acting from California State University–Long Beach, and a B.S. management degree from Virginia Tech. André’s most cherished credits are husband to Molly and daddy to Delilah and Quincy.

TOUSSAINT JEANLOUIS | DUN Toussaint is honored to be working on Pipeline and making his debut at this prestigious theatre. He recently worked at the Kennedy Center in Chasing Mehserle and was directed by Karin Coonrod in The Merchant of Venice. New York credits include Soot and Spit, CasablancaBox, Duat, Afterward, and but i cd only whisper (Best Actor nominee, Audelco Awards). He performed in the world and US premieres of The Parable of the Sower: The Opera in Abu Dhabi, Singapore, and Amsterdam. Toussaint was born and raised in Houston and currently resides in New York City. He earned his Bachelor of Arts in theatre from Arizona State University and his Master of Fine Arts in acting from California Institute of the Arts. “Special thanks to Raelle Myrick-Hodges.”

AIMÉ DONNA KELLY | NYA Aimé makes her IRT debut. She has been seen off Broadway in Exit Strategy at Primary Stages, and in Macbeth and Othello with Epic Theatre Ensemble. Regional favorites include Father Comes Home from the Wars (Parts 1, 2, & 3) at the Goodman; Disgraced at Philadelphia Theatre Company; The White Snake at Baltimore Center Stage; Macbeth at Arden Theatre Company; Moon Man Walk with Orbiter 3, The Dangerous House of Pretty Mbane (Barrymore Awards Best Actress nomination), and We are Proud to Present… at InterAct Theatre Company; This Is the Week That Is with 1812 Productions; Unsex Me Here with Theatre 4the People; We are Bandits with Applied Mechanics; The Exonerated at Delaware Theatre Company; and The North Plan with Theatre Exile. TV credits include Iron Fist and The Marvelous Mrs. Maisel. Aimé earned her B.F.A. at the University of the Arts.


CONSTANCE MACY | LAURIE Constance’s favorite IRT appearances include The Curious Incident of the Dog in the Night-Time, On Golden Pond, Good People, The Game’s Afoot, God of Carnage, Lost—A Memoir, The Diary of Anne Frank (she will play Mrs. Van Daan again this season), Becky’s New Car, and Iron Kisses. She began her professional career at the IRT 28 years ago, and was a co-founder and performer with ShadowApe Theatre Company for a dozen years. She works in regionals throughout the country, but loves her Indianapolis home. Recent local appearances include Volumnia in Coriolanus with Indy Shakes and Margaret Sanger in The Pill at the Phoenix. A 15-year veteran teacher at IRT’s Summer Conservatory for Youth, Constance was named an Indy Theatre MVP by the Indianapolis Foundation, and is a two-time Arts Council of Indianapolis Creative Renewal Fellow, as well as a Lunt-Fontanne National Fellow.

COLE TAYLOR | OMARI Cole is a graduate of Pace University’s B.F.A. Acting Program in New York City. He is excited to be making his regional theater debut. Cole’s past roles on stage include BJJ in An Octoroon by Branden Jacobs-Jenkins, and G in Polaroid Stories by Naomi Iizuka. “Much love to cast, crew, fam, and friends.” #BLM

RENIKA WILLIAMS | JASMINE Based in New York City and originally from Dayton, Renika feels blessed to finally work on a Dominique Morisseau play. She recently performed in Arden Theatre Company’s production of Toni Morrison’s The Bluest Eye directed by Raelle Myrick-Hodges. Her off Broadway debut was the National Black Theatre’s world premiere production of Sweet by Harrison David Rivers. Some of her favorite regional credits include Beneatha in A Raisin in the Sun at Cincinnati Shakespeare Company, the title role in Antigone and Helen Robinson in To Kill a Mockingbird at Cincinnati Playhouse in the Park, Susan in David Mamet’s Race at New Edgecliff Theatre Company, and Juliet in Romeo and Juliet at Wright State University, where she earned her B.F.A. in acting. “I would like to thank my family, friends, and my agents from Avalon Artists Group for their love and support. Matthew 5:14.”


THE COMPANY RAELLE MYRICK-HODGES | DIRECTOR Raelle has been directing, producing, and curating theatre since she was fired from a retail store. She is the creator and co-founder of Azuka Theatre. She has directed productions nationally and internationally, for National Black Theatre, Magic Theatre, Urban Bush Women, Arden Theatre Company in Philadelphia, Playmakers Repertory in North Carolina, and Théâtre Monnot in Beirut, Lebanon, among many others. She is currently a guest professor of graduate studies in Theatre Performance at Brown University. From interning in small theatres to directing in large scale performance spaces, Raelle has had the opportunity to reimagine theatre performance, placing more focus on the artist’s duty as citizen. She has no formal training in theatre arts and is a product of the public school system of the eighties and nineties.

JUNGHYUN GEORGIA LEE | SCENIC DESIGNER Junghyun Georgia Lee designed costumes for The Unexpected Guest at the IRT. She is a Korean-born New York–based scenic and costume designer. She has designed for Ma-Yi, Soho Rep, the Play Company, the Guthrie Theater, Hartford Stage, Huntington Theatre Company, Cincinnati Playhouse in the Park, and Playmakers Rep. She is a member of New Neighborhood, a theatre/TV/music company. She earned her M.F.A. at the Yale School of Drama.

ARI FULTON | COSTUME DESIGNER Ari is a New York–based costume designer for stage and film. Her theatre design credits include Skeleton Crew at Huntington Theatre; Terminus for Monk Parrots in collaboration with New York Theatre Workshop; Alligator for the Sol Project; We are Proud to Present… for Yale Dramatic Association; Late Wedding, Wake, and The Seagull at Columbia University; Sweet for the National Black Theater; but I cd only whisper at the Flea Theater; Locusts Have No King at Intar Theatre; Force Continuum at Fordham University; R/evolution, Meantime, and In the Next Room or the vibrator play at New York University; and The Widow of Tom’s Hill at 59 East 59. Her film credits include Nigerian Prince, shown at the Tribeca Film Festival, and Black Girl in Paris, an HBO special selection.

XAVIER PIERCE | LIGHTING DESIGNER Xavier’s theatre credits include Othello and Shakespeare in Love at Oregon Shakespeare Festival; The Roommate at Steppenwolf; Native Gardens, Harvey, and Blithe Spirit at the Guthrie; Smart People and Native Gardens at Arena Stage; Yours Unfaithfully and A Day by the Sea at Mint Theatre NYC; Dutch Masters with the Wild Project, NYC; Fences at Long Wharf and the McCarter; Peter and the Starcatcher, 4000 Miles, The Mountaintop, and Detroit ’67 at PlayMakers Rep; Two Trains Running at Arden Theatre; Outside Mulingar at Arizona Theatre Company; The Piano Lesson at Olney Theatre Center; Fly at Florida Studio Theatre; Common Enemy and Red at Triad Stage; A Raisin in the Sun at Westport Country Playhouse; Two Trains Running at Two River Theater Company; The Glass Menagerie, Black Odyssey, and Fences at California Shakespeare Theatre; and Hamlet and Pippin at Arkansas Shakespeare Theatre.

JUSTIN HICKS | ORIGINAL MUSIC Justin’s work has been featured at Lincoln Center, Performance Space New York, the Public Theatre, MoMA, and Festival Steirischer Herbst in Graz, Austria. He was a member of Kara Walker’s 6-8 Months Space and was the composer for Mlima’s Tale (Drama Desk nomination). He was music director and composer for Shasta Geaux Pop by Ayesha Jordan and Charlotte Brathwaite. He was also a contributing songwriter for Meshell Ndegeocello’s Can I Get a Witness? at Harlem Stage. Justin has collaborated with visual artists Abigail DeVille, Cauleen Smith, and Steffani Jemison, among others. His work with Jemison has been exhibited internationally at Kadist in Paris and Western Front Society in Vancouver.


REUBEN LUCAS | PROJECTION DESIGNER Reuben made his IRT debut last season designing scenery for The Originalist; later this season he designs scenery for Every Brilliant Thing. His designs have been seen onstage at the Denver Center Theatre Company, National Theatre Conservatory, Theatre Aspen, Indiana Festival Theatre, Rocky Mountain Repertory Theatre, Curious Theatre Company, and others. He is the head of the graduate scenic design program at Indiana University in Bloomington where he continues his freelance design career as well. Before Indiana University, he was a Chicagobased freelance associate scenic and exhibit designer on museum and theatre projects at various national companies. Additionally, he served as the resident scenic design associate at the Denver Center Theatre Company for four years. Reuben received his M.F.A. from the University of Illinois at Urbana-Champaign and is a member of United Scenic Artists Local 829.

RICHARD J ROBERTS | DRAMATURG This is Richard’s 29th season with the IRT, and his 21st as resident dramaturg. He has also been a dramaturg for the New Harmony Project, Write Now, and the Hotchner Playwriting Festival. He has directed IRT productions of The Cay, Bridge & Tunnel, The Night Watcher, Neat, Pretty Fire, The Giver (2009), The Power of One, Twelfth Night, and four editions of A Christmas Carol. This season he directs Bernstein’s Trouble in Tahiti for the Indianapolis Chamber Orchestra and It’s a Wonderful Life for Actors Theatre of Indiana. Other directing credits include 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.

ERIN ROBSON-SMITH | STAGE MANAGER Since moving to Indianapolis in 2013, Erin has had the pleasure of working with IRT and its incredible staff. Favorite productions include Romeo and Juliet, The Cay, Finding Home, and And Then They Came for Me at IRT; Sometimes a Great Notion, How to Disappear Completely and Never be Found, and Frost/Nixon at Portland Center Stage; Metamorphoses, Frozen, and Copenhagen at Artists Repertory Theatre; and Lonesome West and Number Three at Third Rail Repertory Theatre. Erin spent the summers of 2008 and 2009 working with the JAW Festival at Portland Center Stage.

STEPHANIE KLAPPER CSA | CASTING Stephanie Klapper’s work is frequently seen on and off Broadway, regionally, internationally, and on television and film. She is resident casting director for Primary Stages and continues her long collaborations with numerous companies such as Mint Theater Company, New York Classical Theatre, Hudson Valley Shakespeare Company, Masterworks, and Resonance Ensemble, as well as others in NYC. She is the resident casting director for Adirondack Theatre Festival, Capital Rep, Cincinnati Playhouse in the Park, Hudson Valley Shakespeare Festival, and Kansas City Rep, and works with many other regional theatres. Recent projects include Pride and Prejudice with Kate Hamill, Sweeny Todd at Kansas City Rep, Candide with Clarence Brown Theatre and the Knoxville Symphony, West Side Story with the Philadelphia Orchestra, and a short film, Epiphany V. She is a member of the Casting Society of America.


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

Claire Wilcher and Grant Somkiet O’Meara in IRT’s 2018 production of The Town Mouse and the Country Mouse. Photo by Zach Rosing. FOR MORE INFORMATION ABOUT SUPPORTING STUDENT MATINEES, CONTACT: MAGGIE BARRETT SCHLAKE: MBARRETT@IRTLIVE.COM | 317.916.4830



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.

OVATION SOCIETY: CREATE A PERSONAL LEGACY AT THE IRT For 47 seasons, the IRT has produced professional, world-class theatre in Indianapolis. You can play a vital role in supporting the next 47 seasons by making a legacy gift to the Theatre. From a simple bequest to charitable trusts, there are a variety of ways you can include the IRT in your estate plans. Our staff will 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 Indiana’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!


Contact Lindsey Horan, Associate Director of Major Gifts: | 317.916.4833 David Alan Anderson in the IRT's 2018 production of Looking Over the President’s Shoulder. Photo by Drew Endicott.


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DONOR GUILDS ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2018 - SEPTEMBER 13, 2018 DRAMA GUILD $750 - $1,499 John & Mary Bartley Jesse L. & Carolynne Bobbitt Brady Clark Dr. & Mrs. John J. Coleman III Daniel P. Corrigan Don & Dolly Craft Walter & Janet Gross Bruce Hetrick & Cheri O’Neill John & Liz Jenkins Arthur & Jacquelyn King David H. Moore, M.D. & M. Kristine Beckwith, M.D. John & Carolyn Mutz Ann Marie L. Ogden The Sanders Family Trust, a fund of Legacy Fund Richard & Christine Scales Thomas & Teresa Sharp

Dr. James & Linda Trippi Lainie Veenstra Karen S. Waltz Frederick & Jacquelyn Winters THEATRE GUILD $300-$749 Anonymous John & Eileen Ahrens* Walter Bartz* Constance C. Beardsley* Barbara & Christopher Bodem* Jason & Jessica Bohac* Melanie Brown & Amy Harbin* Jeff & Jeni Christoffersen Karen Dace* Fr. Clem Davis Paul & Carol DeCoursey* Phillip & Caroline Dennis* Sarah Donaldson*

Danielle M. Dove Drs. Eric Farmer & Tate Trujillo & Christopher Scott* Margaret Ferguson* Hank & Nanci Feuer Peter Furno & Pamela Steed Michael & Beth Gastineau Greg Grossart John Guerrasio Emily F. (Cramer) Hancock* Don & Carolyn Hardman Don & Elizabeth Harmon Tony Hill* Lindsey & Tom Horan Nicholas Ide & Audra Baumgartner Ron & Shannon Jones Steven & Mary Koch* Roger & Janet Lang Dr. Peggy Daniels Lee




DONOR GUILDS CONT. ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2018 - SEPTEMBER 13, 2018 THEATRE GUILD CONT. $300-$749 Lee & Pat Lonzo Linda Lough* Lyle & Deborah Mannweiler Dr. & Mrs. Peter Marcus* James M. McMechan R. Keith & Marion Michael Larry & Crystal Minnix Rev. Mary Ann Moman* Jim & Judith Mowry Marcia Munshower

Merrell & Barbara Owen Robert M. & Kelli DeMott Park Gary & Pam Pedigo* Michael & Patricia Pillar Dr. Nenetzin Reyes* Julie & Tracy Rosa Maggie Barrett Schlake & Joshua Schlake Ms. Karen Schnyder* Dr. Jill Shedd* Dr. Vicky Sherman, M.D. Luke Stark* Ed & Jane Stephenson

Alice Steppe & Patrick Murphy Nela Swinehart* Steve & Barb Tegarden* Robert & Barbetta True* Barbara S. Tully* Susan Weatherly* Dan Wheeler & Susan Wakefield* Prof. Gail F. Williamson John & Tania Wingfield Reba Boyd Wooden* Zionsville Physical Therapy*


IN MEMORY OF BETTY RUPP Janet Allen & Joel Grynheim

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 John & Barbara MacDougall Donald & Ruth Ann MacPherson Stuart L. Main (in memoriam) Michael R. & Sue Maine Megan McKinney 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 & Cynthia Skehan Michael Suit (in memoriam) Gene & Mary Tempel Jeff & Benita Thomasson Christopher J. Tolzmann Alan & Elizabeth Whaley John & Margaret Wilson

CORPORATE, FOUNDATION & GOVERNMENT ANNUAL CAMPAIGN GIFTS $300+ | JULY 1, 2018 - SEPTEMBER 13, 2018 CORPORATE Barnes & Thornburg LLP Eli Lilly and Company Faegre Baker Daniels Frost Brown Todd Navient Foundation OneAmerica Financial Partners Oxford Financial Group, Ltd. PNC Printing Partners Taft Stettinius & Hollister LLP

FOUNDATION Central Indiana Community 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 The Indianapolis Fund, a fund of CICF

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

IN-KIND/TRADE GIFTS ANNUAL CAMPAIGN GIFTS $300+ | JULY 1, 2018 - SEPTEMBER 13, 2018 Candlewood Suites Eco-Kinetic

National Institute of Fitness & Sport WFYI




stay closed when you want it closed, and stay open when you want it open, that’s going be a constant source of frustration. So you want somebody doing them who knows what they’re doing. But more than that, Betty was sort of the shop’s dorm mom. You learned how to get through the day from a person like Betty. When it seemed like something was never going to be done, and tempers were getting short—she’d make rude noises and crack us up, and we’d get it finished. She had her finger on the pulse of what was going on with people in the shop. She knew when this person was not doing well, when that person was having an extra tough time, and she’d make sure they got a boost. She had her down times too, and could be crabby. But then she’d start cursing under her breath like Fred Flintstone: “wackin’ frackin’ schmackin’ rassa-frass!” You’d hear that from across the stage, and you’d laugh and know it was going to be all right. One Easter she came in and she hid Peeps all over the shop: in the tools, in the road boxes, in the buckets, in the hardware bins—we kept finding them for months.

Betty Rupp was master carpenter in the IRT scene shop from 2001 until she died unexpectedly this summer. She was a walking tome of resources and information, and the first person I would generally go to when I had questions about anything to do with carpentry. She exuded that kind of know-how. Betty could crank out a lot of scenery very fast. She could go through drawings like a Tasmanian devil. She was our number one welder. Betty did a lot of the finish work—trim work—which involves a lot of complicated compound angles. She would do a lot of the door work. As you could see in Noises Off, doors are critical—even if you have only a single door on set. If that bugger doesn’t 64

In the summers, when the seasonal shop staff has about three months off, a lot of people go work at summer theatres. Betty worked with the garden plants at Meijer, setup and display, making sure that they were cared for and that they looked their best. She loved that—standing in the sun and working with plants all day. And she was a major gardener at home. She was always bringing in huge amounts of vegetables to share with the staff. One time at the State Fair I went into the horticulture building, and I’m looking at the tomatoes, and there on the plate with the blue ribbon are Betty Rupp’s tomatoes! We’re going to miss Betty’s tomatoes. Seventeen years worth of dedication, and she had no small hand in every part of that. It’s invaluable work. Our industry, our theatres survive on that. She was like a flower in our lives—this blossom, this ray of light, this beautiful thing, and then one day it’s gone. We will never get over you, Betty Rupp. | 317.702.1368




THANK YOU TO OUR 2018-2019 SEASON TICKET SPONSOR, PALOMINO 15% OFF WHEN YOU DINE AT PALOMINO RESTAURANT & BAR not valid with other promotions & excludes alcohol

59 West Maryland Street, Suite 189 | 317.974.0400


CONNER'S KITCHEN + BAR 20% OFF FOOD 350 W. Maryland St. | 317.405.6100


OCEANAIRE COMPLIMENTARY APPETIZER WITH PURCHASE OF AN ENTRÉE restrictions may apply 30 S. Meridian St | 317.955.2277



15% OFF not valid with other promotions excludes alcohol 10 S. West St. | 317.860.5777

COMPLIMENTARY APPETIZER WITH PURCHASE OF AN ENTRÉE excluding any combo platter 10 W. Washington St. | 317.681.8180



10% OFF excluding alcohol, downtown only 45 S. Illinois St. | 317.633.1313

20% OFF A FOOD ORDER OF $10 OR MORE excluding alcohol, other restrictions may apply 1 Virginia Avenue | 317.571.0808



20% OFF 24 W. Washington St. | 317.493.1293

10% OFF excluding alcohol 10 N. Illinois St. | 317.636.7600







Betsy Cooprider-Bernstein

Antonia Zunarelli

Jaquie Hensley

5635 East County Road 450 N, Brownsburg, IN 46219 | 317.396.5310

140 West Washington Street, Indianapolis, IN 46204 | 317.236.1874

9840 North Michigan Road, Carmel, IN 46032 | 317.283.2776

Mary Beth Poe

Jordan Nightengale

Debbie Lambert

2502 East 52nd Street, Indianapolis, IN 46205 | 317.636.4444

1 American Sq, Ste 140, Indianapolis, Indiana, IN 46282 | 317.536.1305

10 North Illinois Street, Indianapolis, IN 46204 | 317.636.7607

CONTRIBUTE YOUR OLD CAR TO THE IRT Donate a vehicle to the IRT and we will sell it at auction. The proceeds will benefit the Theatre, and you can qualify for a tax deduction. We don’t just accept automobiles, you can donate any of the following: Boats | Motorcycles | Motor Homes | Snow Mobiles | Farm Equipment | More!

Zach Kenney, Teagan Rose, and David Folsom in IRT's 2015 production of The Great Gatsby. Photo by Zach Rosing.


Profile for Indiana Repertory Theatre

IRT Program: "Holmes and Watson"  

2018-2019 Season

IRT Program: "Holmes and Watson"  

2018-2019 Season

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