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APPLAUSE TO A TRUE COMMUNITY CHAMPION ONEAMERICA
2018-2019 SEASON SPONSOR
OneAmerica is proud to support the IRT as one of Central Indianaâ€™s most vibrant cultural institutions. Our strong partnership reflects one of the longest running sponsorships in community theater nationwide. On behalf of OneAmerica, we hope you enjoy the 2018-2019 season.
â€”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.
OUR MISSION & VISION
MISSION Live theatre connects us to meaningful issues in our lives and has the power to shape the human experience. The mission of the Indiana Repertory Theatre is to produce top-quality, professional theatre and related activities, providing experiences that will engage, surprise, challenge, and entertain people throughout their lifetimes, helping us build a vital and vibrant community.
3..............................Mission & Values 5.............................Profile 6.............................Leadership 10............................Staff 12............................Board of Directors 22............................Every Brilliant Thing 28...........................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.
AS AN INSTITUTION, WE VALUE... SUSTAINING A PROFESSIONAL, CREATIVE ATMOSPHERE The professional production of plays that provide insight and celebrate human relationships through the unique vision of the playwright • Professional artists of the highest quality working on our stages in an environment that allows them to grow and thrive • Our leadership role in fostering a creative environment where arts, education, corporate, civic, and cultural organizations collaborate to benefit our community. PRUDENT STEWARDSHIP OF OUR RESOURCES Our public-benefit status, where the focus is on artistic integrity, affordable ticket prices that allow all segments of our community to attend, and community service • Fiscal responsibility and financial security based on achieving a balanced budget • Growing our endowment fund as a resource for future development and to ensure institutional longevity. INCLUSIVENESS The production of plays from a broad range of dramatic literature addressing diverse communities • The involvement of all segments of our community in our activities • Using theatre arts as a primary tool to bring meaning into the lives of our youth, making creativity a component of their education • The employment of artists and staff that celebrates the diversity of the United States. HERITAGE AND TRADITION Our role as Indiana’s premiere theatre for more than 40 years, recognized by the 107th Indiana General Assembly in 1991 as “Indiana’s Theatre Laureate.” • The historic Indiana Theatre as our home, as a cultural landmark, and as a significant contributor to a vital downtown • Our national, state, and local reputation for 40+ years of quality creative work and educational programming • Our board, staff, volunteers, artists, audiences, and donors as essential partners in fulfilling our mission.
Every Brilliant Thing
36...........................The Diary of Anne Frank
46...........................Company bios for
The Diary of Anne Frank 60...........................Donor Listing
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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 Glick Philanthropies presents The Diary of Anne Frank, Elephant & Piggie’s “We Are in a Play!,” and Eli Lilly and Company presents A Christmas Carol 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!
LEADERSHIP: SUZANNE SWEENEY
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.
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.
IN 2017, SARAH & JOHN LECHLEITER GAVE A GIFT TO THE IRT IN HONOR OF JAMES STILL’S LONG-TIME RELATIONSHIP WITH THE IRT, CREATING THE JAMES STILL PLAYWRIGHTIN-RESIDENCE FUND, WHICH WILL PROVIDE FUTURE SUPPORT FOR THE PLAYWRIGHT-INRESIDENCE AS WELL AS THE CREATION OF NEW WORK FOR THE IRT.
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.
INDIANA REPERTORY THEATRE STAFF EXECUTIVE ARTISTIC DIRECTOR Janet Allen ARTISTIC Associate Artistic Director Benjamin Hanna
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
Wardrobe Supervisor Stacia Hunt
Assistant Technical Director John Bennett
Shop Assistant Jason Gill
Shop Foreman Kyle Baker
ELECTRICS Master Electrician Beth A. Nuzum
Carpenters Kurt Fenster Lisa Giebler David Sherrill
Assistant Master Electrician Elizabeth G. Smith Electrician Kayla Brown PAINT SHOP Charge Scenic Artist Claire Dana
Deck Manager Matt Shives SOUND & VIDEO Resident Sound Designer Todd Mack Reischman
Audio Engineer Rachel Landy
Assistant Charge Scenic Artists Jim Schumacher Robyn Vortex
Audio Video Engineer Alec Stunkel
PROPERTIES SHOP Properties Manager Geoffrey Ehrendreich
STAGE MANAGEMENT Production Stage Manager Nathan Garrison
Properties Artisan Rachelle Martin
Stage Manager Joel Grynheim
Properties Carpenter Michael M. Demasi
Production Assistants Rebecca Roeber Lilliana Rubio
SCENE SHOP Technical Director Chris Fretts
PART-TIME STAFF & ASSOCIATES ARTISTIC Teaching Artists Chelsea Anderson Joanna Bennett Andrew Black Emily Bohn Frankie Bolda Joey Collins Ann Marie Elliott Shawnte Gaston Tom Horan Josiah McQuiston Kathi Ridley-Merriweather Beverly Roche Milicent Wright
Company Management Intern Ellie Oegema Dramaturgy Intern Eden Rea-Hedrick 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
MANAGING DIRECTOR Suzanne Sweeney
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 Chelsea Brooks Nancy Carlson Cara Clapper
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 Multimedia Coordinator Heather Zalewski OUTREACH Group Sales & Teleservices Manager Doug Sims
Assistant Teleservices Manager Jeff Pigeon
Kyla Decker Scot Greenwell Marilyn Hatcher Jade Hogan Bill Imel Sarah James Barbara Janiak Norma Johnson Julia Kaser Michelle Kennedy-Coenen Sherry McCoy Gail McDermott-Bowler Karen Mitchell Dianna Mosedale Melanie Overfield
Teleservices Representatives Ty Conatser Margaret Freeman Judith Kline-Stratton 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 Customer Service Representatives Kourtnee Boose Erin Elliott Hannah Janowicz Kelsey Keating Jared Novitski Building Services Dameon Cooper Dave Melton
Deborah Provisor Darlene Raposa Phoebe Rodgers Kathy Sax Karen Sipes Brenda Thien 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
VICE CHAIR & CHAIR ELECT
Tom Froehle Faegre Baker Daniels Nadine Givens PNC Wealth Management
Jill Lacy The Lacy Foundation
IMMEDIATE PAST CHAIR
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 Heather Brogden B. Media House IRT Offscript Advisory Council Liaison Amy Burke Community Volunteer 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 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 BMO Harris Bank 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 Myra C. Selby Ice Miller LLP 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
THE REPERTORY SOCIETY
EXCLUSIVE ACCESS FOR UNPARALLELED SUPPORT
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.
FOR MORE INFORMATION OR TO JOIN THE REPERTORY SOCIETY
Contact Lindsey Horan, Associate Director of Major Gifts: email@example.com | 317.916.4833
FRIDAY, FEBRUARY 15, 2019 | THE CITY'S MOST HILARIOUS FUNDRAISING EVENT!
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OFFICIAL PRINTER OF INDIANA REPERTORY THEATRE
Origami model by Brian K. Webb
At Printing Partners, we look at the bigger picture. To us, print is more than simply putting ink on paper. It’s the act of transforming your thoughts, feelings and hard work into something tangible. Similarly, organizations like the Indiana Repertory Theatre aren’t just organizations, but educational journeys to a broadened mindset and an open heart.
And we’re proud to support it.
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Whether it’s entertainment, self-expression or community engagement, creativity is on display across Indy. At Citizens Energy Group, we’re proud to support today’s show because we understand that collaboration is an essential part of a quality performance. As we work within the community, we are inspired to seek creative solutions to improve Indy’s waterways. Go behind the scenes to see what we’re building 250 ft. below the city at DigIndyTunnel.com.
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Original artwork by Kyle Ragsdale
ENJOY MORE OF OUR 2018-2019 SEASON! BUILD YOUR OWN 3 PACKAGES STILL AVAILABLE FOR $177
FEBRUARY 23 - MARCH 24 joyful musical
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This is More Than a Stage. Itâ€™s a place where your imagination takes hold, where you can escape the everyday. From dress rehearsal to the final bow, Bingham Greenebaum Doll LLP is a proud supporter of the Indiana Repertory Theatre. Enjoy the show!
Learn more about how to add BGD to your starring cast by visiting www.BGDlegal.com.
INDIANAPOLIS | EVANSVILLE | LOUISVILLE | LEXINGTON | CINCINNATI
JOIN US! AN ANNUAL MEMBERSHIP IS JUST $50 & LASTS 12 MONTHS FROM PURCHASE DATE! Top-Quality Theatre, Exclusive Access to Special Events & IRT Artisans, $25 Tickets, Volunteer Opportunities MARK YOUR CALENDAR FOR THESE UPCOMING MEMBER EVENTS! EVERY BRILLIANT THING: January 17, 6 PM event; 7:30 PM performance Join us as IRT Prop Artisan Rachelle Martin talks about her production work at the IRT, as well as her artistic work with INDYPROV. Enjoy food courtesy of Conner’s Kitchen + Bar, drinks and a chance to participate in some improv exercises before experiencing Every Brilliant Thing, a theatrical experience like none other.
A DOLL’S HOUSE, PART 2: March 28, 6 PM event; 7:30 PM performance
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- Scenic Designer: Reuben Lucas - Lighting Designer: Allen Hahn UPPERSTAGE JANUARY 8 - FEBRUARY 10
Director_____________________TIM OCEL Scenic Designer__________________ REUBEN LUCAS Costume Designer______________________GUY CLARK Lighting Designer_____________________ALLEN HAHN Sound Designer_______________TODD MACK REISCHMAN Dramaturg______________________ RICHARD J ROBERTS Stage Manager___________________JOEL GRYNHEIM ARTS PARTNERS
m a k i n g t h e a rts h a p p e n
SEASON 2018 - 2019 ASSOCIATE SPONSOR
Funding for this production was made possible (in part) by grant number SM061768 from SAMHSA. The views expressed in this production and written materials/publications and by speakers and moderators do not necessarily reflect the views, opinions, or policies of CMHS, SAMHSA, or HHS; nor does mention of trade names, commercial practices, or organizations imply endorsement by the U.S. Government.
Executive Artistic Director
THE CAST The Man__________________ MARCUS TRUSCHINSKI There will be no intermission.
ACKNOWLEDGEMENTS Every Brilliant Thing is presented by special arrangement with Dramatists Play Service, Inc., New York. Every Brilliant Thing was first produced by Paines Plough and Pentabus Theatre on June 28, 2013, at Ludlow Fringe Festival. The play had its North American premiere at Barrow Street Theatre, New York, on December 6, 2014, where it was presented by Barrow Street Theatre and Jean Doumanian Productions. The actor and stage manager in this production are members of Actorsâ€™ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. The scenic and lighting designers are represented by United Scenic Artists Local 829, IATSE. Photography of the set without actors and with proper credit to scenic and lighting designers is permitted. Due to union agreements, photography, 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.
AROUND THE CAMPFIRE BY JANET ALLEN, EXECUTIVE ARTISTIC DIRECTOR
Every Brilliant Thing is a new kind of experience in the theatre for IRT—you will already have sampled a bit of this new experience if you are now in your seat! As you are about to learn further, this play places the audience into a new yet old relationship with a performer, rather more like being in the living room of a storyteller who you want to root for and encourage. This play invites us to participate. We can choose from a wide range of involvements— including no involvement at all—but I think that you will find that a significant part of the charm and heart of this piece is experiencing this new dynamic, literally hearing audience voices commingle with the voice of a performer (I’ll just call him Marcus from here on out). This experience really harkens back to an ancient storytelling tradition, where humans drew about fires to talk and share stories that remind us of our shared humanity in all its fragilities, our shared strengths in banding together, and our need for shared humor and pathos for survival. Subtly, the play also suggests that we have done damage to our humanity by placing distance— be it geographical or technological or fearful—between ourselves and our fellows, and that a return to the fireside is worth the effort. The play reminds us, in form as well as content, that we are all struggling with challenges, that we all share mornings where it’s hard to get out of bed, 24
that we all create mantras or lists that help calm us and guard against the many defeating impulses that being human assigns us. Every Brilliant Thing is the creation of two Englishmen—a writer and an actor—and it has taken off in many parts of the world due to the generosity of these men. The stage directions explicitly invite us to adapt the details to meet our conditions of geography and nuance of language, so we have done so. That generosity is also at the core of the piece—from its premise, it exudes a belief that if we listen closely to one another, if we give over to authentic sharing, if we engage our empathy, we can accomplish anything together. We can survive together. We can experience our humanity more deeply by lowering some of the barriers that separate us. This is also a new experience in trust: in the safety of the theatre, in the generosity of a performer (Marcus!), in a belief that language can actually express our hopes, not just our differences or our cynicism. So, we invite you to gather around the metaphoric fire that Marcus has lit for you in these frigid days of winter. He will guide us gently, encourage us generously, share openly, and invite us into a place where it’s safe to laugh, sigh, grieve, wonder, and experience joy, partly of our own making. Welcome to our campfire for humanity.
PAYING ATTENTION BY TIM OCEL, DIRECTOR
There is a line in Every Brilliant Thing that grabbed my attention from the very beginning: “If you live a long life and get to the end of it without ever once having felt crushingly depressed, then you probably haven’t been paying attention.” The statement is simple, but true. The idea that one can be crushingly depressed and not know it because “you haven’t been paying attention” seems reasonable. Also, dangerous. It made me wonder if I’ve been paying attention. My history with this piece is that last year I saw a staged reading of it by a student director at Webster University. I didn’t know the play, was immediately suspicious of being asked to participate, surprised that I had fun participating, and immediately wanted to direct the play if given the chance. Several weeks later, and purely by coincidence, Janet Allen asked if I was interested in directing a production with Marcus Truschinski. Of course, I said yes. Marcus and I go back about ten years when he played Amiens for me in a production of As You Like It at American Players Theater, and then Proteus for me at the same company in The Two Gentlemen of Verona. Terrific actor, lovely man, hard worker, wonderful collaborator. Since October, we’ve Skyped about the play and begun to share our own experiences with depression…. I have always paid attention to things—enough to know that the line separating living from dying can be very blurry; that to be in the world is sometimes more difficult than the choice to leave it. But I also know that life offers an infinite variety of lights along with the ever-lurking shadows. And so, I offer you this play, and Marcus Truschinski.
Original artwork by Kyle Ragsdale
SHARING THE STORY GUY CLARK COSTUME DESIGNER “All sorrows,” Isak Dinesen felt, “can be borne if you put them into a story.” In Every Brilliant Thing, our narrator has a difficult story to tell, a story of loss, and yet we will laugh as he tells it because he has first put us at ease. To do so, he needs to be comfortable telling his story. The costume for Every Brilliant Thing attempts to put our actor at ease as he engages with his audience and invites us to share this story of sorrow told with humor. ALLEN HAHN LIGHTING DESIGNER I find in Every Brilliant Thing so many of the elements that I value as an audience member and a theatre maker. The intimate bond between actor and audience is at its most crystal clear when under the spell of a single master of the craft. The elegance of a tale well told: the breathless journey down the rabbit hole into another world, familiar enough to easily picture ourselves in it, yet strange enough to be compelling and fresh. The deep empathy for characters seen and unseen who seem by turns like familiar portraits or mirrors of the self. And most importantly, the powerful human bond that comes from the shared experience of watching live theatre with a room full of strangers. In unsettled times most of all, this coming together to share the enterprise of storytelling— our most uniquely human ability—is why theatre matters and why I’m so grateful it’s my job.
Costume drawing for the Man by designer Guy Clark.
REUBEN LUCAS SCENIC DESIGNER The scenic design is approached from the notion that it is an attic full of memories. This attic space is expressed by hanging roof rafters draped with light bulbs (loosely representing the list), a central attic floor, and various piles of stuff and boxes placed around the stage. Together these items create an environment that is welcoming, warm, and bursting with family stories (cheerful and
Rough preliminary sketch by scenic designer Reuben Lucas.
tearful), encouraging the audience to connect to the storytelling by recalling their own family “attic.” My family’s “attic of memories” is a well-worn picture box that is usually haphazardly stored in a closet. During family gatherings, if the picture box is brought out it means an evening of laughter, stories, reminiscing, and goodnatured poking fun.
THE COMPANY MARCUS TRUSCHINSKI | THE MAN Marcus has appeared at the IRT in The Mystery of Irma Vep and The Hound of the Baskervilles. He is a core company member at American Players Theatre in Spring Green, Wisconsin, where he has worked for 15 seasons. Favorite APT roles include Angelo in Measure for Measure, Touchstone in As You Like It, Mr. Darcy in Pride and Prejudice, Algernon Moncrieff in The Importance of Being Earnest, Henry Carr in Travesties, Biff in Death of a Salesman, Chris Keller in All My Sons, and Jim O’Connor in The Glass Menagerie. Regional credits include Roland in Constellations at Theatre Lila, Father Flynn in Doubt at Milwaukee Chamber Theatre, Orlando in As You Like It and Rat in the world premiere of Old Glory by Brett Neveu at Writers Theatre, Carl in the world premiere of Ten Chimneys by Jeffrey Hatcher at Arizona Theatre Company, and Alworthy in the Midwest premiere of Tom Jones at Northlight Theatre. Marcus is a proud member of Actors’ Equity Association. He is extremely excited to work with Tim Ocel on such an important project. “Love to Gus.”
DUNCAN MACMILLAN | PLAYWRIGHT Duncan Macmillan is an English playwright and director. He is most noted for his plays Lungs; People, Places, and Things; and Every Brilliant Thing. With Robert Icke he co-adapted and co-directed George Orwell’s 1984, which played on Broadway in 2017.
JONNY DONAHOE | CO-PLAYWRIGHT Jonny Donahoe is a comedian, writer, and performer, born in Dublin, Ireland. He is best known for his comedy band Jonny and the Baptists, a collaboration with Paddy Gervers. He co-wrote Every Brilliant Thing with Duncan Macmillan and performed it off-Broadway in 2014-15; he was nominated for the Drama Desk Award for Outstanding Solo Performance and the Lucille Lortel Award for Outstanding Solo Show. The production was filmed and can be seen on HBO.
TIM OCEL | DIRECTOR At the IRT, Tim has directed eight productions including The Whipping Man, Nobody Don’t Like Yogi, Romeo and Juliet (2010), Death of a Salesman, I Do! I Do!, and Art. His work also includes productions at American Players Theatre, Geva Theatre Center, Shakespeare Santa Cruz, Shakespeare Festival Saint Louis, Theatre Emory, Georgia Shakespeare Festival, Sacramento Theater Company, Metro Theatre Company, the New Jewish Theatre, Union Avenue Opera, Opera Theatre of St. Louis, and Lyric Opera of Kansas City. Tim is an adjunct faculty member for the Conservatory of Theater at Webster University. He resides in St. Louis with his husband, Peter Shank. Upcoming productions include The Book of Will (APT), The Night of the Iguana (Tennessee Williams Festival—St. Louis), and Fahrenheit 451 (Webster University). timocel.com
REUBEN LUCAS | SCENIC DESIGNER At the IRT, Reuben has designed scenery for The Originalist and projections for Pipeline. 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. Before Indiana University, he was a Chicago-based 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.
GUY CLARK | COSTUME DESIGNER A graduate of Sarah Lawrence College, Guy manages the Indiana Repertory Theatre costume shop. His design work for IRT includes costumes for The Town Mouse and the Country Mouse, The Originalist, Stuart Little, The Mystery of Irma Vep, The Giver, The Velveteen Rabbit, Red, And Then They Came for Me, The House That Jack Built, God of Carnage, I Love to Eat, and Mary’s Wedding. During his 25-year career in professional theatre, he has created costumes for many original Broadway productions, including The Phantom of the Opera, Cats, and The Lion King. In 2007, Aretha Franklin commissioned him to design and build a dress for her performance at that year’s Grammy Awards ceremony, and the following year, he created the two gowns she wore to President Obama’s inaugural balls. Guy is a member of Indianapolis Shakespeare Company, where has designed costumes for several productions. He has also designed costumes for several Dance Kaleidoscope concerts.
ALLEN HAHN | LIGHTING DESIGNER Allen designed lighting for Bridge & Tunnel on the Upperstage. He has designed at New York City Opera, Santa Fe Opera, Glimmerglass, Lincoln Center and Spoleto USA Festivals; internationally for companies in Australia, South Korea, France, Germany, the Netherlands, Spain, and the UK; and world premieres at Juilliard and the Royal Danish Opera. His theatre designs have been seen in New York, Philadelphia, Seattle, and Portland, among other US cities. His work was selected for the 2007 Prague Quadrennial Exhibition of Stage Design, and he served as a curator for the US delegation to the 2011 Quadrennial. He has worked with the performance company The Builders Association since 1994 and with artist Tony Oursler on installations at the Metropolitan Museum of Art (NYC) and ARoS Kunstmuseum in Denmark. He is associate professor of lighting design at Indiana University in Bloomington.
TODD MACK REISCHMAN | SOUND DESIGNER This marks Todd’s 17th season as resident sound designer at IRT. He is also in his seventh year as sound designer/composer for the Indianapolis Shakespeare Company. His work has been heard in several other local and national venues. Todd recently won an Emmy Award for his sound design work on IRT’s Finding Home: Indiana at 200, which was filmed and aired by WFYI. You may see him involved in a variety of music projects around town—most recently leading a drum troupe for Coriolanus and playing bass for The Rocky Horror Show. After 25 years in professional audio, he can both create and describe the ruckus.
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. Most recently he directed Bernstein’s Trouble in Tahiti for the Indianapolis Chamber Orchestra. Other directing credits include Actors Theatre of Indiana, the Phoenix Theatre, Edyvean Repertory Theatre, Indianapolis Civic Theatre, IndyShakes/Wisdom Tooth, Butler University, and Anderson University. Richard studied music at DePauw University and theatre at Indiana University. He is a Creative Renewal Arts Fellow with the Arts Council of Indianapolis.
JOEL GRYNHEIM | STAGE MANAGER This is the 96th production Joel has stage managed over 29 years at the IRT. He resides in an historic home in downtown Indianapolis, sharing that home and his life with Janet Allen and their two daughters, Nira and Leah.
of Minnesota–Twin Cities for my undergraduate degree and minored in youth studies. I primarily studied acting and directing, but my program also encouraged coursework in design, dramaturgy, and theatre education. I served on the board of directors of the student-led theatre on campus.
WHAT IS IT ABOUT THEATRE THAT FEEDS YOUR SOUL? Stories have the power to illuminate the human condition and build empathy. I love telling stories. My favorite part about making theatre is working with artists who bring their exceptional skills and passions together to make one piece of art. I feel like both creating and attending theatre have had a huge impact on my worldview. I know that I have learned empathy, patience, collaboration, focus, and persistence from making work. While in the audience, I learn more about myself through each story, and my lens expands as I lean into new perspectives, cultures, ideas, styles, and histories.
HOW HAS YOUR CAREER LED YOU TO THE IRT?
INTERVIEW: BENJAMIN HANNA BENJAMIN HANNA IS IN HIS SECOND SEASON AS THE IRT’S ASSOCIATE ARTISTIC DIRECTOR.
HOW DID YOU FIRST GET INTERESTED IN THEATRE? I was a shy eleven-year-old and had moved to a rural farming community in Minnesota. One of the local small towns had a community theatre called Prairie Wind Players, and my teacher encouraged me to audition for a youth production. I loved my experience, and my enthusiasm and passion for theatre just kept growing after that. I acted in as many things as I could, but I also painted sets, sewed costumes, sold tickets, and plastered the town with posters. I even ended up joining the board of directors as their first youth representative. Theatre really pulled me out of my shell and helped me find my voice. I spent the majority of my high school and college life balancing multiple youth leadership roles with rehearsals and performances onstage. I studied theatre at the University 30
I have been blessed to work at some incredible theatres with wonderful mentors. Following college I spent a year as a performing apprentice at Children’s Theatre Company in Minneapolis. CTC is the nation’s flagship theatre for young audiences and is lauded for building new work with outstanding production values. It was there that I learned the importance of introducing excellent live theatre to our youngest audiences in their formative years. I then worked for four years with mentors Sarah and Lou Bellamy at Penumbra Theatre in St. Paul, the nation’s preeminent African American theatre. I built and supported multiple education and community engagement initiatives including the Summer Institute for Activist Artists. Summer Institute is a training program that helps young people use art to effect positive social change in their communities. I also coordinated the RACE workshop series, the Penumbra Quilting Circle, and many other projects. In 2010 I moved to the Bay Area to work at Berkeley Repertory Theatre and the Bay Area Children’s Theatre. I spent five years building the Berkeley Rep Teen Council, a program serving more than 600 teens in the Bay Area. The program strives to cultivate the next generation of theatre audiences and professionals, giving them the tools and support to create programming that is relevant and inspiring for their peers. Teens produced their own festival of new work, developed a leadership council, led postshow discussions, interviewed theatre professionals, traveled to national conferences, advocated locally and nationally for arts education, and managed their own budgets and marketing. It
was (and still is!) a thriving community of bright young artists learning how to run theatres and make art. Also in my role at Berkeley Rep, I managed a docent program of 25 community volunteers who led hundreds of talks and discussions annually in our theatre and in many libraries and retirement communities. During my time in the Bay I also began developing and directing new works for young audiences with the Bay Area Children’s Theatre. I was inspired by the mission and vision of the theatre, and I loved adapting children’s literature to the stage. When the artistic director needed to take a personal leave of absence, I stepped into the role of interim artistic director amidst a large transition for the organization. I helped the company take residence in a new theatre facility and complete their renovation, launched a new student matinee series, and developed several new plays, all while managing a staff of ten with multiple performances taking place across the nine county area. It was this stretch of six months that solidified my interest in not only making theatre but in leading an institution. At the end of my interim position, I applied for and received a prestigious leadership grant from the Andrew W. Mellon Foundation, administered through Theatre Communications Group. This grant allowed me to spend 18 months with longtime mentor and Artistic Director of The Children’s Theatre Company, Peter C. Brosius. I acted as artistic associate, functioning as a senior staff member and leading theatre-wide projects while shadowing the artistic director in every area of the theatre: season planning, development, marketing, board, community, production, education, and new play development, as well as Equity, Diversity, and Inclusion initiatives. Additionally, I assistant directed multiple productions, directed a transfer of a beloved production to Seattle Children’s Theatre, and workshopped multiple new plays. I was fortunate to be introduced to Janet Allen and James Still through IRT’s former associate artistic director, Courtney Sale. HOW DID EQUITY, DIVERSITY, AND INCLUSION BECOME IMPORTANT TO YOU? I grew up in a very homogenous community. It was rare that I ever encountered a person of another race, culture, creed, or sexuality. We were all asked to be as similar as possible— stepping outside of your prescribed box was a sign that you didn’t belong. Being gay, I grew up navigating a community that struggled to see my humanity. As I grew older and I encountered diversity in all kinds of relationships and people, I continued to find patterns of oppression and segregation. Where Equity, Diversity, and Inclusion became cornerstone to my work in the theatre was most certainly at Penumbra Theatre Company. This is where I learned to identify my privilege as a
white, cis-gendered, middle class man. The systems that are built to oppress so many were also built to ensure that my privilege and power is sustained. It is essential that those in positions of privilege use their influence to guide our world toward equity through intentional, supported initiatives. At Penumbra I learned to push past my guilt over these inherited privileges and to be an agent for change.
HOW DO YOU MANIFEST THOSE IDEAS IN YOUR WORK? IRT’s mission is to serve the state of Indiana and all of its communities. That’s a lot of varying constituents! Equity, Diversity, and Inclusion are a part of every conversation and decision I make at the theatre, including when I am directing. It is important to acknowledge and dissect who has privilege, power, and access in rooms where decisions are being made. I advocate for all communities, but especially those whose voices are not at the table or whose stories are rarely depicted onstage in dimensional, multi-faceted, celebratory stories. I look for ways to make the art we make at IRT and the community we foster live up to our core values as an institution.
WHAT HAS BEEN YOUR IRT EXPERIENCE SO FAR? I have felt embraced by the local community, and Indianapolis is more like home every day. What has truly surprised me is the warmth and generosity of Hoosiers. The board and staff here are wonderful: smart, mission-driven, community connected, eager to support artists, and keenly invested in the future of the organization. I couldn’t ask for a better mentor than Janet Allen. Learning from and leading alongside an executive artistic leader with such grace and clarity of vision has been inspiring. I am proud to be working at IRT. It is a fiscally responsible, balanced, forward-thinking, and joyful theatre with a strong reputation nationally. I love that in a season at IRT you are able to see a variety of classic plays and contemporary works, including multigenerational pieces that invite our youngest audiences. We support and sustain many local artists while also building relationships and gaining perspective from artists across the nation. When guest artists visit they are always surprised at the level of care and artistry. Making excellent, relevant art for Indiana audiences is something we take very seriously, and we strive to open our doors wider every day.
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Original artwork by Kyle Ragsdale
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- Scenic Designer: Bill Clarke - Lighting Designer: Andrew D. Smith ONEAMERICA MAINSTAGE JANUARY 22 - FEBRUARY 24
Scenic Designer___________________ BILL CLARKE Costume Designer___________________ YAO CHEN Lighting Designer______________ ANDREW D. SMITH Composer & Sound Designer________ANDREW HOPSON Dramaturg_________________ RICHARD J ROBERTS Guest Dramaturg___________ RABBI BRETT KRICHIVER Stage Managers______________ NATHAN GARRISON* MICHAEL JOHN EGAN* Assistant Stage Manager________ BRIAN S. NEWMAN* CO-PRODUCED WITH SEATTLE CHILDRENâ€™S THEATRE | SEATTLE, WASHINGTON
Artistic Director____________________ COURTNEY SALE Managing Director_________________ KEVIN MALGESINI
m a k i n g t h e a rts h a p p e n
SEASON 2018 - 2019 TITLE SPONSOR
STUDENT MATINEE SPONSOR
Executive Artistic Director
THE CAST Otto Frank_______________ RYAN ARTZBERGER* Miep Gies________________ SYDNEY ANDREWS* Mrs. Van Daan______________CONSTANCE MACY* Mr. Van Daan_________________ ROBERT NEAL* Peter Van Daan________ BENJAMIN N.M. LUDIKER* Edith Frank________________ BETSY SCHWARTZ* Margot Frank_______________ HANNAH RUWE* Anne Frank________________MIRANDA TROUTT* Mr. Kraler________________ MARK GOETZINGER* Mr. Dussel_________________ ROB JOHANSEN* First Man___________________ MICHAEL HOSP Second Man__________________ RYAN P. CLAUS Third Man_____________ZACHARIAH STONEROCK
SETTING the top floors of the annex to an office building in Amsterdam World War II There will be one intermission.
ACKNOWLEDGEMENTS The Diary of Anne Frank is produced by special arrangement with Samuel French, Inc. Assistant to the Director: Joseph Mervis Projections: Alec Stunkel Understudy for Mr. Van Daan: Rob Johansen Understudy for Otto Frank: Robert Neal
Understudy for Edith Frank and Mrs. Van Daan: Sydney Andrews Understudy for Mr. Dussel and Mr. Kraler: Michael Hosp Understudy for Peter Van Daan: Ryan P. Claus Understudy for Anne Frank, Margot Frank, and Miep: Ivy Moody
*Actors and stage managers in this production who are members of Actorsâ€™ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. The scenic, lighting, and sound 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.
A LIGHT IN THE DARKNESS BY JANET ALLEN, EXECUTIVE ARTISTIC DIRECTOR
Given the schedule of our publications calendar, I find myself writing about The Diary of Anne Frank just a few days after the shootings at Pittsburgh’s Tree of Life Synagogue, which left 11 Jewish worshippers dead. One of Tree of Life’s congregants, Judah Samet, who was caught in the crossfire, heard the shooter screaming antiSemitic curses as he fired his semiautomatic rifle. Samet, who was not injured, had heard and seen these things before: he survived Bergen-Belsen Concentration camp (the same camp where Anne and Margot Frank died). In an interview with the Chicago Tribune, Samet said: “I know not to depend on humanity.” In reading that, I couldn’t help but think that, had she survived, Anne Frank could have been one of those 92-year-old worshippers in Pittsburgh. 38
We are reminded far too often these days of the extent to which humanity betrays itself with violence and hate. The commonness of it grows overwhelming. My family made a pilgrimage to Auschwitz last December: the steel-gray skies and snow-covered grounds made it very easy to feel the horror that engulfed its inhabitants. Yet at the same time, the experience is numbing, incomprehensible, all too easy to push away. Today, the Holocaust is taught in some circles merely as one more in a long line of history’s genocides, and not the most recent at that. It is perhaps easy to wonder if Anne Frank’s message still resonates. Even in 2011 when we last produced this play, we were shocked by the number of
people who asked, in post-show discussions, if the events of the play were based on actual history. How is it possible that anyone could question that? Is Anne’s diary fading as the totem of history’s worst catastrophe of hate? I don’t think so. But Anne’s diary (like the play) isn’t about hate or even about anti-Semitic rhetoric: it’s about a young teenager coming of age in circumstances made very restricted and, ultimately, tragic, by hate, but who is overwhelmingly caught up in living. And therein lies the power of her story which, in fact, is full of surging, searching, youthful thoughts. In the words of biographer Francine Prose: Perhaps more than any other book, Anne’s diary reminds us of what bewilderment and yearning were like. The diary entries become a sort of mirror in which teenagers, male and female, can see themselves—a capsule description of the alienation, the loneliness, and the torrents of freefloating grief that define adolescence in 20th century Western culture. Older readers will recognize familiar but forgotten echoes from their own pasts as Anne describes her inability to breach the wall that separates her from others. Younger readers may experience an almost eerie kinship with a girl who died so long ago but who is saying what no one has expressed quite so succinctly. Of course, she is writing about eight Jews forced by the Nazis to spend two years in an attic. But she is also describing what it is like to be young.
been born into a particular race or religion or tribe. But the scene of Nazis hunting down Jews is unlikely to happen again, though history teaches us never to say never. This [the arrest of the Franks and Van Daans] will be the arrest that future generations can visualize…. They will have to remind themselves that it happened to real people, though these people have survived and will live on, as characters in a book. There is no question that we produce a play like this to put a human face on genocide—for art to stir empathy and understanding in all of us, from children to the elders for whom the Holocaust is more vivid. We produce it with the same unswerving commitment to quality in art-making that we commit to all our work, believing that through that commitment to quality—in creating a captivating, authentic experience for our audiences—we can further move audiences to say what the Jewish people have said for 70 years: “never again.” Never again to any acts of hatred that marginalize a people defined by race, religion, or tribe. Art can change lives. For those who may believe that the Holocaust is a waning historical moment, rather than a frighteningly vivid and recurring symptom of humanity’s worst attributes, we hope this production can bring understanding and awakening.
Anne’s delight in life, her belief in the possibility of her own remarkable future, makes the diary, and the play based on it, all the more poignant these days. Not just because there is a horrible rise of anti-Semitic behavior and rhetoric in our polarized country, but because we are witnessing the end of an era in which the people who survived the Holocaust are alive to tell us about it. Again, from Francine Prose: In a few more years, no one alive will have witnessed the scene of a Nazi arresting a Jew. There have been, and will be, other arrests and executions for the crime of having 39
THE SECRET ANNEX BILL CLARKE SCENIC DESIGNER The designer’s job here is parallel to that of the Diary’s theatrical adapters: we both start with Anne’s text, and we both work—via selective choices, condensation, a bit of juggling, and some dramatic highlighting—to bring the secret annex alive onstage. For this play I think a set designer’s challenge is to recreate the atmosphere and cramped feeling of eight people living piled atop each other in a warren of suffocating proximity, yet provide
clear sightlines for everyone in the audience to see the play. The annex was in fact stacked vertically over three narrow stories, while onstage space must be arranged more horizontally. Anne recorded her small physical world with painstaking care, from overall layout to minutest detail, and our goal has been to honor historical reality while making this evening theatrically vibrant and immediate.
ANDREW D. SMITH LIGHTING DESIGNER About 25 years ago I saw an exhibit of Jewish children’s artwork made during World War II in Terezin Concentration Camp in Czechoslovakia before they were sent to Auschwitz. What struck me was that these pictures looked like any kid’s drawings: a simple house with flowers and a sunny sky, a whimsical undersea world
of clams and jellyfish, three girls playing in a yard. These pictures flood my mind as I work on The Diary of Anne Frank. I want the light to reflect the life these eight people still long for, filled with soft daylight, warm lightbulbs at night, and moonlight.
Preliminary rendering by scenic designer Bill Clarke.
ANDREW HOPSON COMPOSER & SOUND DESIGNER I was lying in bed the other night and I realized that over the years I have become really used to the sounds my house makes, and that when some new sound intrudes it can jolt me from a deep sleep and set my pulse racing. Never being able to leave the annex for two years, the Franks must have learned every sound their hideout made—the building was several hundred years old, after all—plus
all the sounds of the office below them, and the traffic through the neighborhood. Anything out of the ordinary might mean that they were about to be arrested. After being cooped up for so long, it is hard not to imagine that certain sounds such as gurgling pipes, a squeaky step, or a loose shutter would at first be terrifying, then irrationally infuriating, and finally comforting.
YAO CHEN COSTUME DESIGNER The war forced fashion in the 1940s to be simple and practical. The challenges for me as a costume designer in this production are to find interest within subtlety, and to respect the historical look while moving the narrative forward at the same time. What is the story of these pieces of clothing worn on stage? Where are they from? When were they purchased? How worn out is each piece going to be? How can we use the characters’ wardrobes
to show the step by step decaying of their physical and psychological selves? I hope the audience can detect the “codes” we hide in the costumes. Finally, as a foreigner in the United States, I am honored by this opportunity for detailed research and study of this significant chapter in Jewish and world history.
Preliminary costume sketches for Anne Frank, Otto Frank, Mrs. Van Daan, Mr. Dussel, and Margot Frank by designer Yao Chen.
HITLER & WORLD WAR II BY RICHARD J ROBERTS, DRAMATURG
Adolf Hitler was born in Austria on April 20, 1889. Early on, Hitler developed an admiration of the German nation and a fascination with German culture. Following professional failures in Austria, Hitler moved to Munich in 1913 and eventually joined the German Imperial Army at the onset of World War I in 1914. While serving in the Imperial Army, his longtime admiration for Germany grew and, after the Central Powers declared defeat, he began to feel that his life’s mission was to “liberate” Germany. The Treaty of Versailles was signed on May 7, 1919, officially ending the First World War. The Western Powers explicitly used the provisions of the Treaty to punish Germany by depriving the nation of valuable territory and forcing it to pay exorbitant reparations. By 1919, Hitler returned to Munich and joined the Information Office of the Bavarian Military Administration, an intelligence gathering branch of the Bavarian Armed Forces, and was tasked with spying on the German Workers Party (DAP). He found that he admired the new party’s nationalist, anticapitalist, anti-Marxist, and anti-Semitic ideas, while the party leaders, in turn, were impressed with his oratory skills and use of propaganda. Hitler joined the DAP in October of 1919 before being honorably discharged from the military in May of 1920. Hitler quickly rose through the ranks of the party leadership and, by 1921, had named himself Führer of the newly coined National Socialist German Workers Party (Nazis). In 1923 Hitler and the Nazi Party failed in their attempt to seize power of Bavaria leading to Hitler’s arrest and imprisonment for treason. The trial that followed his arrest provided Hitler a platform to share his anti-Semitic viewpoints and nationalist sentiments. His nationalistic speeches at the trial made him famous, and he emerged from a nine-month imprisonment having formulated Mein Kampf (My Struggle), which would end up becoming a best-selling autobiography. Central to Hitler’s rising appeal was his ability to capitalize on Germany’s wounded national pride. When early attempts to blame the Jews for Germany’s woes failed, Hitler began to combine antiSemitism with anti-Republic sentiments, and this volatile cocktail worked. By 1932, Hitler’s Nazi party controlled 33% of seats in the Reichstag (German Parliament), and in 1933 Hitler was appointed Chancellor of a coalition government. On the eve of a pivotal election, fire was set to the Reichstag which the Nazi 42
party blamed on Communists. In response, basic civil rights were suspended and Hitler came one step closer to complete dictatorship. In August 1934, when the German president died, Hitler’s cabinet appointed him Führer und Reichskanzler (leader and chancellor) of Germany. Hitler capitalized on people’s fear and used his charisma to convince Germans that they needed to be saved from Communists, Jews, and other “undesirable” minorities. He massively expanded the military, started huge infrastructure projects, and bolstered industry, effectively reducing unemployment while masking the financial manipulations that sustained these efforts. Meanwhile, in preparation for German expansion across Europe, he established an alliance with Mussolini’s Italy and dropped alliances with China in favor of Japan. Hitler focused his efforts on gaining territory that was lost in the Treaty of Versailles, beginning with a unification with Austria and gaining control of the Sudetenland (German speaking Czechoslovakia) through agreements made at the Munich Conference. By 1939, Hitler’s vision of creating a pure Aryan territory for ethnic Germans caused Germany to invade Poland, leading France and Great Britain to declare war on Germany. Over the next two years, through military campaigns and treaties, Germany subdued most of continental Europe except the Soviet Union, which was the next target. Meanwhile, in December 1941, Japan attacked the United States at Pearl Harbor. Between the Allies (Great Britain, the Soviet Union, France, the United States and other countries) and the Axis (Germany, Japan, Italy and other countries), more than 100 million military personnel were mobilized worldwide. The tide of the war began to turn in 1942 with Japanese defeats in the Pacific and German defeats in the Soviet Union and North Africa. By 1943, the Axis Powers were in defensive retreat. The Allied invasion of Normandy and the Soviet recapture of lost territories in 1944 led to Germany’s surrender and Hitler’s suicide in May 1945. The atomic bombing of Hiroshima and Nagasaki led to Japan’s surrender in August of that year, effectively ending the Second World War.
THE HOLOCAUST BY RICHARD J ROBERTS, DRAMATURG
On the night of November 9-10, 1938, Nazi party members and other citizens attacked Jews and vandalized Jewish homes, businesses, and synagogues throughout Germany and parts of Poland and Eastern Europe in what became known as Kristallnacht (the Night of Broken Glass). This increase in violence against Jews was accompanied by legislation in 1939 that attempted to strip Jews of their individual identities by forcing them to be identified by a yellow star worn on their clothes at all times. Then, after the invasion of Poland, the Nazis began to further isolate Jews by forcing them into ghettos in cities such as Warsaw and Lodz. Central to Nazi ideology was the concept of Aryan superiority. “Survival of the fittest” was interpreted as a need for racial purity and the destruction of “life not worthy of life.” At the root of Nazi ideology was anti-Semitism, a prejudice or discrimination against Jews. While the term “anti-semitism” was not in common use until the 19th century, its tenants have been expressed in cultural discourse for millenia. The history of the Jewish people has been punctuated by tragedies that emerged from a rise in anti-Semitism, which has led some historians to refer to anti-Semitism as “the oldest hatred.”The spread of Christianity can often be tied to the spread of anti-Semitism and is linked to events such as the Crusades, the Spanish Inquisition, as well as expulsion of Jews from England, Spain, and Portugal. Other forms of anti-Semitism led to Jewish exclusion from society including the development of ghettos and later the pogroms of Tsarist Russia. After Hitler came to power, he began to restrict the legal, economic, and social rights of Jews within Germany and all annexed territories. Through these laws, piece by piece, Jews were banned from medicine, agriculture, law, civil service, schools, and journalism. In 1935, a series of laws known as the Nuremberg Laws were enacted, which stripped Jews of their citizenship, prohibited Jews from marrying Aryans, and denied all Jews their civil rights. While some Jews were able to escape Germany in the early 1930s, the introduction of these laws made it nearly impossible to do so after 1935. When the Nazi party annexed land in Poland, Czechoslovakia, France, and other countries throughout Europe, they instituted these laws and practices targeting Jews.
The Nazi ideology of a pure Aryan race led its leadership to develop the “Final Solution to the Jewish Question,” namely a plan for the elimination of all Jews from Europe and beyond. After invading the Soviet Union in 1941, mobile death squads were dispatched throughout the conquered territory, rounding up Jews along the way and killing them one by one before burying them in mass graves. While concentration camps for Jews and other “undesirables” had existed throughout the 1930’s, the Nazi leadership determined that a “more efficient” method of killing needed to be established. In late 1941, the Nazis began to build six extermination camps within occupied Poland for the express purpose of murdering Jews: Chelmno, Majdanek, Auschwitz-Birkenau, Sobibor, Treblinka, and Belzec. As the war neared its conclusion and the Allies began to move towards areas where death camps were located, the Nazis made a final effort to murder Jews by forcing them to participate in long death marches. All told, at least six million Jews, including 1.5 million children, were murdered by the Nazis during the Holocaust. The atrocities of the Holocaust cannot be forgotten. In all, approximately 11 to 14 million people were killed during the Holocaust: non-Jewish Poles, Communists and other political opponents, members of resistance groups, homosexuals, Roma & Sinti (gypsies), the physically and mentally disabled, Soviet prisoners of war, Jehovah’s Witnesses, Adventists, trade unionists and Jews, including the young Anne Frank. It is imperative that Anne’s story and those of others continue to be told so that the atrocities of the Holocaust are not forgotten and never repeated.
We are particularly grateful to Glick Philanthropies for their leadership and to staff members at the Jewish Federation of Greater Indianapolis, and the Jewish Community ResourceCouncil for their support and assistance: Lindsey Mintz, Marla Topiol, (JCRC), Nina Price, Amber Maze, and Debra Barton-Grant, (JFGI)
ANNE FRANK â€¢ 1929-1945 BY RICHARD J ROBERTS, DRAMATURG
Annelies Marie Frank was born in Frankfurt am Main, Germany, on June 12, 1929, the younger daughter of Otto and Edith Frank. The Franks were progressive Jews who lived a comfortable life in an assimilated community. When Hitler’s Nazi Party won the local municipal council elections in March 1933, anti-Semitic demonstrations began; so later that year, when Otto was offered a job in Amsterdam with Opekta, a pectin company, the family moved. In 1938, Otto opened a second business, Pectacon, a wholesaler of herbs and spices. In May 1940, Germany invaded the Netherlands, and restrictions against Jews began almost immediately. The Frank’s daughters were forced to leave public school, and they enrolled in the Jewish Lyceum. Otto took legal steps to protect his businesses from confiscation while maintaining a family income. He also began to make plans for the family to go into hiding when it became necessary. Anne’s quiet, reserved older sister, Margot, excelled in mathematics, while outspoken, popular Anne preferred writing. For her 13th birthday in June 1942, Anne received a red-and-green plaid diary that she had recently shown her father in a shop window. She began writing in it almost immediately, addressing her entries to Kitty, a character from a book she had enjoyed. She talked about her life at school and her friends, as well as her reactions to some of the restrictions on Jews. In July 1942, Margot received a call-up notice ordering her to report for relocation, and the family decided to go into hiding the next morning. They left the house in disarray as if they had departed suddenly, leaving a note hinting they had gone to Switzerland. In fact, they walked two miles in multiple layers of clothes—they could not carry luggage or ride public transportation—to Otto’s business. There, on the upper floors of an attached annex behind the office building, they would live in secret for the next two years. A week later the Franks were joined by the van Pels family: Hermann (an employee of Otto’s), his wife Auguste, and their 16-year-old son Peter. In November the group was enlarged by Fritz Pfeffer, a dentist. Four of Otto’s employees, along with two outsiders, secretly provided food and other supplies as well as news on a daily basis. Hoping to go back to school when they were able to emerge from hiding, all three children continued their studies. Anne, who aspired to be a journalist, wrote
at great length while in hiding, detailing life as she experienced it, as well as writing numerous short stories she hoped one day to publish. On August 4, 1944, the annex was stormed by police, and the group was arrested. It has never been discovered who informed on them. Three days later, they were transported to Westerbork, a transit camp, and from there to Auschwitz, where they were separated. Anne died, presumably of epidemic typhus, at Bergen-Belsen in March 1945, just a few weeks before the camp was liberated. Of the eight hiding in the annex, only Otto Frank survived the war. In July 1945, Otto returned to Amerstdam, where Miep Gies, one of the group’s helpers, gave him Anne’s diary, which she had rescued after the group’s arrest. Upon reading it, Otto began to transcribe it for family reading only, but he was eventually persuaded by friends to have it published. Hoping her diary would be published, Anne had given different names to the people she wrote about; Otto chose to retain the actual names of his own family, but to use most of Anne’s other pseudonyms. He also chose to edit out certain passages, particularly Anne’s criticisms of her mother and her discussions of her own developing sexuality. Since its publication, The Diary of a Young Girl has been translated into more than 60 languages. It is considered by many to be one of the most important books of the twentieth century. Frances Goodrich and Albert Hackett’s 1955 stage adaptation won both the Tony Award and the Pulitzer Prize and has been performed around the world. The 1959 film version was nominated for eight Academy Awards and won three: for art direction, cinematography, and supporting actress (Shelley Winters as Mrs. van Daan). In 1989, nine years after Otto Frank’s death—and according to his own wishes—an unexpurgated version of the diary was published. In 1996 a new stage version, adapted by Wendy Kesselman to incorporate some of this newly revealed material, was produced on Broadway. In 1999, Roger Rosenblatt wrote in Time magazine, “The passions the book ignites suggest that everyone owns Anne Frank, that she has risen above the Holocaust, Judaism, girlhood, and even goodness, and become a totemic figure of the modern world—the moral individual mind beset by the machinery of destruction, insisting on the right to live and question and hope for the future of human beings.” 45
THE COMPANY SYDNEY ANDREWS | MIEP GIES Sydney is a Seattle-based actor, and is honored to be working with IRT for the first time. In Indianapolis, she played Viola for Indianapolis Shakespeare Company’s production of Twelfth Night, directed by Courtney Sale. In Seattle, she has performed with Seattle Children’s Theatre, ACT Theatre, Village Theatre, Seattle Shakespeare, Book-It Repertory, New Century Theatre Company, and the Annex. She is a proud member of the Seagull Project, a Seattle-based company dedicated to producing the major works of Anton Chekhov. She will be playing Irina in Three Sisters and Varya in The Cherry Orchard for TSP’s upcoming Chekhov Festival. Regionally, she has work in Austin, Charlotte, Massachusetts, and NYC. She holds an M.F.A. from the University of Texas at Austin and a B.A. from Greensboro College.
RYAN ARTZBERGER | OTTO FRANK Ryan’s IRT credits include A Christmas Carol, Holmes and Watson, Noises Off, Romeo and Juliet (2018 & 2010), The Three Musketeers, The Mousetrap, To Kill a Mockingbird, The Great Gatsby, The Crucible, A Midsummer Night’s Dream, Dr. Jekyll and Mr. Hyde, God of Carnage, Julius Caesar, Fire in the Garden, Rabbit Hole, Iron Kisses, Our Town, Death of a Salesman, He Held Me Grand, Macbeth, 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.
RYAN P. CLAUS | SECOND MAN Ryan is a local actor grateful to be making his IRT debut. He was recently seen in the ensemble of Indianapolis Shakespeare Company’s Coriolanus and as Malcolm and a Witch in their educational tour of Macbeth. Ryan is a graduate of Indiana University, where he studied theatre, drama, and contemporary dance.
MARK GOETZINGER | MR. KRALER This is Mark’s 36th season at the IRT, with roles in more than 90 productions. Some of his favorites include Yogi Berra in Nobody Don’t Like Yogi, the title role of The Drawer Boy, Atticus Finch in To Kill a Mockingbird (2009), Dr. Watson in Sherlock Holmes: The Final Adventure, Hucklebee in The Fantasticks, Dr. Gibbs in Our Town, Charley in Death of a Salesman, Old Tom Martin in The Gentleman from Indiana, Albany in King Lear, Rev. Brown in Inherit the Wind, Mr. Bennet in Pride and Prejudice, Milton Perry in The Immigrant, Uncle Sid in Ah, Wilderness!, Heck Tate in To Kill a Mockingbird (1997), and Luther Billis in South Pacific, as well as dozens of Cabarets.
MICHAEL HOSP | FIRST MAN Michael is thrilled to make his IRT debut. He was last seen in Cry It Out at the Phoenix Theatre. Other recent credits include the rolling world premiere of Halftime with Don at the Phoenix and As You Like It with the Indianapolis Shakespeare Company. Michael is a graduate of Butler University and an actor at the Children’s Museum of Indianapolis. “Much love to my wife, Katelyn.”
ROB JOHANSEN | MR. DUSSEL Rob is extremely grateful to be a part of this cast. Much of Rob’s work at IRT has focused on comedies, but occasionally he gets a chance to tell a deeper story. One of his favorite dramatic roles was Jim Casey in The Grapes of Wrath. He also played the title role in Cyrano as well as the Man in The Turn of the Screw. Of course, Rob is thankful for comedic opportunities as well. The 39 Steps, The Game’s Afoot, and The Mystery of Irma Vep are some of the greatest moments he has known on stage. This is Rob’s 23rd season with the IRT.
BENJAMIN N.M. LUDIKER | PETER VAN DAAN Benjamin is thrilled to make his professional debut with the Indiana Repertory Theatre. While graduating with a B.F.A. in acting from Cornish College of the Arts this past December, he completed an internship with Book-It Repertory Theatre’s production of My Antonia in the ensemble. His college credits include Don John in Much Ado About Nothing, Philip in It Can’t Happen Here, and Hot Blades Harry in Urinetown. “I am looking forward to the positive impact this show will have on the Indianapolis and Seattle communities.”
CONSTANCE MACY | MRS. VAN DAAN This is Constance’s third production as Mrs. van Daan, having previously played the role at the IRT in 2011 and at Cardinal Stage in Bloomington in 2008. Other favorite IRT appearances include Pipeline, 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, 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.
THE COMPANY ROBERT NEAL | MR. VAN DAAN Robert has performed in more than 40 productions at the IRT in 18 seasons. Favorite shows include The Curious Incident of the Dog in the Night-Time, Noises Off, The Miracle Worker, and James Still’s I Love to Eat which he reprised at the 2012 James Beard Foundation Awards at Lincoln Center. He is a member of the Indianapolis Shakespeare Company, where he directed Coriolanus this past summer, and has appeared locally with the Phoenix Theatre, Cardinal Stage, the Indianapolis Symphony Orchestra, and the Indianapolis Early Music Festival. Regional credits include Syracuse Stage, American Players Theatre, Pennsylvania Center Stage, and the Oklahoma and Kentucky Shakespeare festivals, to name a few, as well as the English American Theatre Festival in Dusseldorf, Germany. TV credits include NBC’s Chicago Fire. Robert’s training is from Penn State (M.F.A.) and the London Academy of Music and Dramatic Art. He is a recipient of the 2007 Arts Council of Indianapolis Creative Renewal Fellowship and the 2016 Theatre MVP Grant from the Central Indiana Community Foundation, and he is a 2017 Lunt-Fontanne National Fellow at Ten Chimneys where he worked with master teacher Alfred Molina.
HANNAH RUWE | MARGOT FRANK Hannah is exceptionally honored to be a part of this story and to be on stage at Indiana Repertory Theatre for the first time. Recent credits include Hamlet, ...And Hilarity Ensues..., and Brechtfest with The Horse in Motion; the world premiere of Ibsen in Chicago at Seattle Repertory Theatre; Grand Concourse and On Clover Road at Seattle Public Theatre; The Cherry Orchard and Things You Can Do at ACT; Indian Ink with Sound Theatre Company; The Tall Girls at Washington Ensemble Theatre; and Cowboy Mouth at Penthouse Theatre. Hannah graduated from the University of Washington School of Drama in 2014 with a Bachelor of Arts.
BETSY SCHWARTZ | EDITH FRANK Betsy is making her IRT debut. Based in the Seattle area, Betsy has worked for many local theatres, including, Seattle Children’s Theatre, NCTC, ACT, Book-It, Seattle Shakespeare Company, Wooden O, Strawberry Theatre Workshop, Intiman Playhouse, Intiman Summer Festival, and the Village Theatre, where she played Margot in The Diary of Anne Frank. Betsy is a founding member of upstart crow collective and was seen most recently in the upstart crow/Seattle Shakespeare Company co-productions of Richard III as Elizabeth, and in Bring Down the House, an adaption of Shakespeare’s Henry VI plays where she played Henry VI. Betsy has a B.F.A. from the University of New Mexico and an M.F.A. from SMU. “Much love to Peter and Lucy!”
ZACHARIAH STONEROCK | THIRD MAN Zachariah is an Indianapolis-based actor and director. His local and regional credits include the Phoenix Theatre, Cardinal Stage, Indianapolis Shakespeare Company, Storefront Theatre of Indianapolis, EclecticPond, Wisdom Tooth Theatre Project, Newfields, Indiana Historical Society, and the Act Out Ensemble. “Love and thanks to Audrey.”
MIRANDA TROUTT | ANNE FRANK Miranda is a Seattle native who earned her B.F.A. from Cornish College of the Arts. She is honored to bring this amazing story to life. Some favorite past roles include Lucy in Seattle Children’s Theatre’s The Lion, the Witch, and the Wardrobe; Aurelia in the world premiere of the sci-fi acapella musical Silhouette; Laura in Goblin Market; and a swing in Village Theatre’s Into the Woods. She has been part of the professional singing company The Dickens Carolers for seven years and sings opera at a restaurant in downtown Seattle. Miranda has also taught youth circus arts at Teatro Zinzanni and SANCA and makes custom wedding gowns. She loves nature and salsa and bachata dancing. “Much love to my family, friends, partner, and cat.”
FRANCES GOODRICH & ALBERT HACKETT | PLAYWRIGHTS Frances Goodrich (1890-1984) and Albert Hackett (1900-1995) met in 1927 in Denver, where both were acting with a stock company. Their first collaborative writing effort was the play Up Pops the Devil, which opened in New York in 1930 and was made into a film in 1931, the year the couple married. Over the next three decades, they wrote more than 40 screenplays together, including such classics as The Thin Man (1934), It’s a Wonderful Life (1946), Easter Parade, (1949), Father of the Bride (1950), and Seven Brides for Seven Brothers (1955). They worked on their stage adaptation of The Diary of Anne Frank for two years, meeting with Otto Frank and visiting the attic where the Franks had hidden from the Nazis. The play opened on Broadway in 1955, winning both the Tony Award and the Pulitzer Prize. In 1959, they adapted the play into a film, which won an Academy Award for Shelley Winters as Mrs. van Daan.
WENDY KESSELMAN | ADAPTOR Wendy Kesselman is an American playwright. In 1981 she won the Susan Smith Blackburn Prize for her play My Sister in this House, which premiered at the Actors Theatre of Louisville’s Humana Festival. Among her other plays are I Love You, I Love You Not; The Juniper Tree; Maggie Magalita; and The Notebook. She wrote the 2004 television adaptation of A Separate Peace.
THE COMPANY JANET ALLEN | DIRECTOR Janet has been the IRT’s artistic leader for 23 seasons. Among the 22 IRT productions she has directed are Looking Over the President’s Shoulder (2018 & 2008), A Christmas Carol, To Kill a Mockingbird, On Golden Pond, Who Am I This Time?, The House That Jack Built, The Diary of Anne Frank (2011), The Drawer Boy, Ah, Wilderness!, and The Glass Menagerie. (see full bio on page 6)
BILL CLARKE | SCENIC DESIGNER Bill has previously designed Noises Off, To Kill a Mockingbird, The Diary of Anne Frank (2011), The Ladies Man, A Streetcar Named Desire, The Nerd, and Long Day’s Journey into Night at the IRT. He has designed A Walk in the Woods and Abby’s Song on Broadway; Off-Broadway designs include Lemon Sky for Keen Co, So Help Me God! at the Lortel, Eccentricities of a Nightingale for T.A.C.T., The Daughter-in-Law for Mint Theater (NYTimes 10 Best List), June Moon for the Drama Dep’t, Ann Magnuson’s You Could Be Home Now at NYSF, The Cherry Orchard at Juilliard, and many more. Regional credits include Seattle Rep, Old Globe, Milwaukee Rep, Alley, Asolo, Denver Center, A.R.T., Huntington, McCarter, Coconut Grove, Cincinnati Playhouse, Cleveland Play House, and Pittsburgh Public. Bill earned his M.F.A. at the Yale School of Drama. He is the recipient of Merimack Rep’s Artistic Achievement Award, IRNE (New England) Award, New Hampshire Theatre Award, Hollywood Drama-Logue Award, and the San Diego Theater Critics’ Circle Award.
YAO CHEN | COSTUME DESIGNER Yao has international design credits in the United States, China, and Costa Rica. Her recent productions include Titus Andronicus and The Merry Wives of Windsor at Shakespeare Theatre of New Jersey; Infants of Spring at UMASS Amherst; The Little Prince at Seattle Children’s Theatre; The Music Man at Berkshire Theatre Group; Antony and Cleopatra and Dr. Jekyll and Mr. Hyde at Orlando Shakespeare Theatre; I am Tai Ping Goat, a children’s production at Dong Gong Theatre and Long Fu Theatre in Beijing, China; Amadeus at the Theatre Espressivo, San Jose, Costa Rica; and Nancy Drew and Her Biggest Box, Skippyjon Jones, and Diary of a Worm, a Spider, and a Fly at Orlando Repertory Theatre.
ANDREW D. SMITH | LIGHTING DESIGNER Andrew is pleased to be designing lights for his first production with IRT. National work includes Native Gardens at Arizona Theatre Company; Circle Mirror Transformation at Seattle Repertory Theatre; and Tribes, The Mystery of Love & Sex, and Bethany at ACT; as well as Seattle Children’s Theatre, Cornerstone Theatre Company, Flint Repertory Theatre, Cincinnati Shakespeare Company, and Cardinal Stage Company. Andrew is a Seattle-based designer and educator. Seattle work has been seen at Book-It Repertory Theatre, New Century Theatre Company, Washington Ensemble, Seattle Shakespeare Company, Azeotrope, Strawberry Theatre Workshop, Seattle Public Theatre, Theater Off Jackson, ArtsWest, On the Boards, Velocity Dance Center, and Broadway Performance Hall. Andrew holds a B.A. from Duke University and an M.F.A. from the University of Washington, where he currently teaches.
ANDREW HOPSON | COMPOSER & SOUND DESIGNER Andrew is an associate professor of sound design in the Department of Theatre, Drama, and Contemporary Dance at Indiana University. He has designed or written the scores for shows at such theatres as the Oregon Shakespeare Festival, Utah Shakespearean Festival, Actors Theatre of Louisville, American Repertory Theatre, American Players Theatre, Cincinnati Playhouse, Pioneer Playhouse, Cleveland Play House, Victory Gardens, Harvard University, and the Indiana Repertory Theatre, where he was resident sound designer for five years. In 2004 his New York debut, Trying, was rated one of the best off-Broadway shows of the year. In film, he has scored the documentaries Birth of Legends, The Battle of Comm Avenue, Hockey’s Greatest Era 1942-1967, The Frozen Four, and Utah’s Olympic Legacy. He has produced, engineered, or performed on more than 40 CDs, ranging from stories for children to collections of modern American piano works. He is a member of United Scenic Artists, local 829, and the Unites States Institute of Theatre Technology.
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. Most recently he directed Bernstein’s Trouble in Tahiti for the Indianapolis Chamber Orchestra. Other directing credits include Actors Theatre of Indiana, 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 is a company member with the Indianapolis Shakespeare Company.
MICHAEL JOHN EGAN | STAGE MANAGER Broadway: Les Misérables, Man of La Mancha, and Never Gonna Dance. National Tours: Billy Elliot, Les Misérables, Miss Saigon, Cabaret, and Mamma Mia!. Seattle Children’s Theatre: The Journal of Ben Uchida: Citizen 13559, Into the West, The Cat in the Hat, James and the Giant Peach, and The Wizard of Oz. Seattle Repertory Theatre: Familiar, King Charles III, Disgraced, Lizard Boy, The Piano Lesson, and Good People. Seattle Opera: Wagner’s Ring Cycle (twice!), La traviata, Pearl Fishers, Parsifal, Lohengrin, and Iphigenie en Tauride. Spoleto Festival USA: Eugene Onegin, The Rise and Fall of the City of Mahagonny, La Cenerentola, and Kepler. Mike is proud to be both an English major and a member of Actors Equity Association.
BRIAN S. NEWMAN | ASSISTANT STAGE MANAGER Brian is the IRT’s production manager; he also stage managed The Mountaintop on the Upperstage. Prior to joining the IRT, he was the general stage manager for Cirque du Soleil’s Zaia in Macau, China, for four years. He was previously the production manager for Ringling Bros. and Barnum & Bailey, where he managed three different tours over a four-year period. He has stage managed professionally all over the United States and has been a member of Actors Equity Association, the union of professional actors and stage managers, since 2002. Brian earned his M.F.A. in stage management from the Professional Theatre Training Program at the University of Delaware and his bachelor’s degree from Louisiana State University.
OUR CO-PRODUCING PARTNER: SEATTLE CHILDREN’S THEATRE Seattle Children’s Theatre (SCT) is one of the most prominent theatres for young audiences in the United States and the world. The company’s mission is to provide children of all ages access to professional theatre, with a focus on new works and theatre education. Founded in 1975, Seattle Children’s Theatre entertains, inspires, and educates more than 4 million children through innovative artistic programming and professional theatre for the young people and families of the Puget Sound region. SCT has produced 240 plays, 111 of which have been world premieres.
Glick Philanthropies seeks to build community and create opportunities for children and adults to reach their full potential and lead lives of dignity. We do this by supporting equitable access to quality education, basic needs, affordable housing and creative forms of expression.
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DON'T FORGET TO CHECK OUT OUR GIFT SHOP! LOCATED IN THE TICKET OFFICE SEASON TICKET HOLDERS RECEIVE 10% OFF! INDIANA TREASURES GOODS CRAFTED BY LOCAL ARTISTS CHOCOLATES UNIQUE GIFTS
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
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 Indianaâ€™s great cultural institutions continues to thrive for generations to come. Have you already included the IRT in your plans? Please let us know so that we can recognize you in the Ovation Society!
READY TO CREATE YOUR LEGACY?
Contact Lindsey Horan, Associate Director of Major Gifts: firstname.lastname@example.org | 317.916.4833 David Alan Anderson in the IRT's 2018 production of Looking Over the Presidentâ€™s Shoulder. Photo by Drew Endicott.
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The largest locally-owned national bank is proud to be a major supporter of the Arts.
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Creative minds will drive Indianaâ€™s future
To support arts in education programming purchase your Arts Trust license plate online today at bmv.IN.gov Letter from student participating in Indiana Arts Commission arts in education programming.
THE SUPPORTING CAST
INDIANA REPERTORY THEATRE DONORS
WHAT IF YOU SAW ONLY HALF THE PLAY? Ticket revenue covers just half of what it costs to produce world-class professional theatre at the Indiana Repertory Theatre. The IRT gratefully acknowledges the remarkable support we receive from our generous and committed donors whose contributions ensure that the show does go on!
REPERTORY SOCIETY ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2018 - DECEMBER 10, 2018 PLAYWRIGHT CIRCLE $10,000+ Anonymous Bob & Toni Bader Mr. Leo Bianchi & Dr. Jill Panetta Scott & Lorraine Davison Michael Dinius & Jeannie Regan-Dinius Nancy & Berkley Duck Dan & Ginny Emerson David & Ann Frick Jenny & Tom Froehle Susan & Charlie Golden The Judy and Michael Harrington Family Foundation, a fund of CICF David I. & Betty Klapper Sarah & John Lechleiter Jackie Nytes & Michael Oâ€™Brien Mel & Joan Perelman Sue & Bill Ringo Wayne & Susan Schmidt Simmons Family Foundation, a fund of CICF Cynthia & William Smith III DIRECTOR CIRCLE $5,000 - $9,999 David & Jackie Barrett Susie & Joel Blum Gary Denney & Louise Bakker Rollie & Cheri Dick Drs. Cherryl & Shelly Friedman Nadine & Alvin Givens Ann Hinson
Bill & Nancy Hunt Dr. & Mrs. William Macias Carl Nelson & Loui Lord Nelson Mr. Stephen Owen Sr. & Dr. Cheryl Torok Owen Ben Pecar & Leslie Thompson Dr. & Mr. Christine & Michael Phillips Noel & Mary Phillips* Drs. Eric Schultze & Marcia Kolvitz Sue & Mike Smith Cheryl & Ray Waldman Dr. Christian Wolf & Elaine Holden-Wolf ARTIST CIRCLE $3,000 - $4,999 A.J. Allen & Kathy Maeglin Anonymous Amy Burke Ann & Kenneth Dee Mary Findling & John Hurt Dick & Brenda Freije Robert Giannini Charles Goad & James Kincannon Donald & Teri Hecht Richard & Elizabeth Holmes The Indianapolis Fellows Fund, a fund of The Indianapolis Foundation Eric & Karen Jensen Rebecca King David Kleiman & Susan Jacobs John & Susan Kline Steve & Bev Koepper Kevin Krulewitch & Rosanne Ammirati*
Dr. & Mrs. Dan & Martha Lehman John & Laura Ludwig Dod & Laura Michael David & Robin Miner David & Leslie Morgan Mr. & Mrs. Kimball Morris Bob & Dale Nagy Michael & Melissa Rawlings N. Clay & Amy McConkey Robbins Jerry & Rosie Semler & Family Mark & Gerri Shaffer Joe & Jill Tanner Gene & Mary Tempel Jeff & Benita Thomasson John & Kathy Vahle Richard Vonnegut Pam & Bill Williams PATRON CIRCLE $1,500 - $2,999 Eric & Catherine Allen Janet Allen & Joel Grynheim Anonymous Tammara D. Porter Avant & Jesse Avant Trudy W. Banta Frank & Katrina Basile Kristen Belcredi Gerald & Moira Berg Dan Bradburn & Jane Robison David & Judith Chadwick Mary Beth Claus Alan & Linda Cohen Cowan & King, LLP
REPERTORY SOCIETY CONT. ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2018 - DECEMBER 10, 2018 Susan M. Cross Daniel & Catherine Cunningham Dr. Gregory Dedinsky & Dr. Cherri Hobgood Dr. Brian Dillman & Erin Hedges* Laurie Dippold Paul & Glenda Drew Frank & Valerie Esposito Troy Farmer Drs. Richard & Rebecca Feldman Gary R. & Barrie K. Fisch Jim & Julie Freeman Brian & Lorene Furrer The Future Keys Foundation Phyllis & Ed Gabovitch Mr. Jim Gawne Dorothea & Philip Genetos Prof. Nicholas Georgakopoulos Marianne Glick & Mike Woods Ricardo & Beatriz GuimarĂŁes Michael N. Heaton Jane Herndon & Dan Kramer William & Patricia Hirsch Brenda S. Horn Randolph & Rebecca Horton Tom & Kathy Jenkins Daniel T. Jensen & Steven Follis Janet M. Johnson Denny & Judi Jones Mike & Pegg Kennedy Arthur & Jacquelyn King Kurt & Judy Kroenke Jill & Peter Lacy Dr. & Mrs. Alan Ladd Ed & Ann Ledford Joe & Deborah Loughrey John & Barbara MacDougall Donald & Ruth Ann MacPherson Mike & Pat McCrory Sharon R. Merriman
Andrew & Amy Michie Douglas & Detra Mills Lawren Mills & Brad Rateike Michael D. Moriarty Stephen & Deanna Nash Brian S. Newman & Francisnelli Bailoni dos Santos Nancy & John Null Larry & Louise Paxton Brian & Gail Payne Mr. & Mrs. Kenneth A. Peterson Gail & William Plater The David and Arden Pletzer Endowment Fund, a fund of Hamilton County Community Foundation Bob & Kathi Postlethwait Phil & Joyce Probst Peter & Karen Reist Ken & Debra Renkens Karen & Dick Ristine Chip & Jane Rutledge Paula F. Santa Charles & Jenny Schalliol Jane & Fred Schlegel Tom & Barbara Schoellkopf Tim & Karen Seiler Jack & Karen Shaw Reuben & Lee Shevitz Michael & Cynthia Skehan Cheryl & Bob Sparks Edward & Susann Stahl Ed & Jane Stephenson Robert & Barbara Stevens Suzanne Sweeney & Todd Wiencek Jonathan T. Tempel John & Deborah Thornburgh Jennifer C. Turner Eric van Straten & Karri Emly Jennifer & Gary Vigran
Amy Waggoner Dorothy Webb Rosalind Webb & Duard Ballard Carol Weiss Alan & Elizabeth Whaley Cliff & Molly Williams Ken & Peggy Williams Bob & Dana Wilson Heather Wilson John & Margaret Wilson Jim & Joyce Winner John & Linda Zimmermann
*Denotes sustaining members
THE SUPPORTING CAST
INDIANA REPERTORY THEATRE DONORS
DONOR GUILDS ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2018 - DECEMBER 10, 2018 DRAMA GUILD $750 - $1,499 John & Mary Bartley Jesse L. & Carolynne Bobbitt Charlie & Cary Boswell Sherry A. Butler Brady Clark Dr. & Mrs. John J. Coleman III Daniel P. Corrigan Don & Dolly Craft Bruce Curry & Myra Selby Joan M. FitzGibbon Mary L. Forster, M.D. Walter & Janet Gross Bruce Hetrick & Cheri O’Neill Drs. Meredith & Kathleen Hull John & Liz Jenkins David H. Moore, M.D. & M. Kristine Beckwith, M.D. John & Carolyn Mutz Robert & Sara Norris Offscript, IRT Young Professionals Group Ann Marie L. Ogden Scott & Susan Putney The Sanders Family Trust, a fund of Hamilton County Community Foundation Richard & Christine Scales Alice Schloss Donor Advised Fund, a fund of Jewish Federation of Greater Indianapolis Nan Schulte & Matt Russell Thomas & Teresa Sharp Dr. James & Linda Trippi Lainie Veenstra Karen S. Waltz Samuel L. Westerman Foundation Frederick & Jacquelyn Winters
THEATRE GUILD $300-$749 John & Eileen Ahrens* American Senior Communities Anonymous (2) Walter Bartz* Constance C. Beardsley* Barbara & Christopher Bodem* Ted & Peggy Boehm Jason & Jessica Bohac* Roger & Jan Brinkman David & Beverly Butler Tom & Bobbie Campbell Steve Chatham & Family Jeff Coffee Jerry & Carol Collins Karen Dace* Fr. Clem Davis Paul & Carol DeCoursey* Phillip & Caroline Dennis* Mary & Stephen DeVoe Sarah Donaldson* Danielle M. Dove Drs. Eric Farmer & Tate Trujillo & Christopher Scott* Margaret Ferguson* Hank & Nanci Feuer Peter Furno & Pamela Steed Gamma Nu Chapter of Psi Iota Xi Michael & Beth Gastineau Paul & Phylis Gesellchen Richard & Sharon Gilmor Thecla Gossett Greg Grossart John Guerrasio Tim & Diane Hall Emily F. (Cramer) Hancock* John Hansberry & Karry Book
Don & Carolyn Hardman Don & Elizabeth Harmon Theodore & Linda Hegeman Tony Hill* Lindsey & Tom Horan Nicholas Ide & Audra Baumgartner David Jackson Ron & Shannon Jones Steven & Mary Koch* Roger & Janet Lang I.M. Larrinua & M.T. Wolf Dr. Peggy Daniels Lee Andra Liepa Charitable Fund, a Donor Advised Fund of the U.S. Charitable Gift Trust Jim Long & Kathy Russell Lee & Pat Lonzo Linda Lough* Lyle & Deborah Mannweiler Dr. & Mrs. Peter Marcus* Donald & P.J. McCullough James M. McMechan R. Keith & Marion Michael Larry & Crystal Minnix Rev. Mary Ann Moman* Jim & Judith Mowry Marcia Munshower John & Beth Murphy Sharon & Dan Murphy* Col & Mrs. James Malvin Mutter Susan & Jim Naus Dr. LeeAnne M. Nazer Margaret O’Donnel Merrell & Barbara Owen Robert M. & Kelli DeMott Park Gary & Pam Pedigo* Michael & Patricia Pillar
DONOR GUILDS CONT. ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2018 - DECEMBER 10, 2018 Dr. Nenetzin Reyes* Richard & Diane Rhodes Richard & Ann Riegner Julie & Tracy Rosa Sally Rowland Maggie Barrett Schlake & Joshua Schlake Ms. Karen Schnyder* Dr. Jill Shedd* Vicky Sherman, M.D. Rosemarie Springer
Luke Stark* David & Lori Starr Alice Steppe & Patrick Murphy Dan & Diana Sullivan Richard & Lois Surber Nela Swinehart* Steve & Barb Tegarden* Robert & Barbetta True* Barbara S. Tully* Craig & Karin Veatch
Susan Weatherly* Dan Wheeler & Susan Wakefield* John Whitaker Prof. Gail F. Williamson John & Tania Wingfield* Reba Boyd Wooden* Brant & Lorene Wright Zionsville Physical Therapy* *Denotes sustaining members
TRIBUTE GIFTS IN MEMORY OF DAVID KLEIMAN’S SISTER, CAROLYN WINN Ronald & Penni Brodey
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 Bill & Nancy Hunt 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
THE SUPPORTING CAST
INDIANA REPERTORY THEATRE DONORS
CORPORATE, FOUNDATION & GOVERNMENT ANNUAL CAMPAIGN GIFTS $300+ | JULY 1, 2018 - DECEMBER 10, 2018 CORPORATE Barnes & Thornburg LLP Bingham Greenebaum Doll LLP Community Health Network Dow AgroSciences LLC Eli Lilly and Company Faegre Baker Daniels Frost Brown Todd Glick Philanthropies Indiana Farm Bureau Insurance Company Katz, Sapper & Miller, LLP KPMG LLP Navient Foundation OneAmerica Financial Partners Oxford Financial Group, Ltd. PNC
Printing Partners Strategic Wealth Designers Taft Stettinius & Hollister LLP FOUNDATION Allen Whitehill Clowes Charitable Foundation The Jerry L. and Barbara J. Burris Foundation Central Indiana Community Foundation Christel DeHaan Family Foundation The Margot L. Eccles Arts & Culture Fund, a fund of CICF Efroymson Family Fund The Glick Family Foundation
F.R. Hensel Fund for Fine Arts, Music, and Education, a fund of The Indianapolis Foundation The Indianapolis Fund, a fund of CICF Lacy Foundation Lilly Endowment, Inc. Nicholas H. Noyes Jr. Memorial Foundation, Inc. The Penrod Society The Shubert Foundation GOVERNMENT Arts Council of Indianapolis Indiana Arts Commission National Endowment for the Arts
IN-KIND/TRADE GIFTS ANNUAL CAMPAIGN GIFTS $300+ | JULY 1, 2018 - DECEMBER 10, 2018 Candlewood Suites Current Publishing Eco-Kinetic
IBJ Corp Midwest Parenting Publications National Institute of Fitness & Sport
NUVO Pac-Van, Inc. Studio 2000
THE ALAN AND LINDA COHEN EDUCATION FUND Anonymous
Eli Lilly and Company
ROBERT BAKER AND PAULA TRZEPACZ ENDOWED SUMMER CONSERVATORY FUND Drs. Robert Baker & Paula Trzepacz
Your Vision. Our Experience. FINANCIAL ADVISORS DEDICATED TO YOU
CONTRIBUTE YOUR OLD CAR TO THE IRT Donate a vehicle to the IRT and we will sell it at auction. The proceeds will benefit the Theatre, and you can qualify for a tax deduction. We donâ€™t just accept automobiles, you can donate any of the following: Boats | Motorcycles | Motor Homes | Snow Mobiles | Farm Equipment | More!
Zach Kenney, Teagan Rose, and David Folsom in IRT's 2015 production of The Great Gatsby. Photo by Zach Rosing.
MORE INFORMATION: MBARRETT@IRTLIVE.COM | 317.916.4830
IRT STAGE DOOR RESTAURANTS
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