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2018-2019 SEASON




IRTLIVE.COM | 317.635.5252

Original artwork by Kyle Ragsdale

Enduring values A history of building relationships For more than 140 years, the companies of OneAmerica® have helped our customers build and protect their financial futures through retirement services, annuities, employee benefits, individual life insurance and asset-based long-term care solutions. Our legacy began in the heart of Indy — and it lives on in the hearts of the people we’re committed to serve. Visit to learn more.

Life Insurance | Retirement | Employee Benefits © 2019 OneAmerica Financial Partners, Inc. All rights reserved.

C-32314 01/31/19

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

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

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




OneAmerica is proud to support the IRT as one of Central Indiana’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.

—Scott Davison, OneAmerica chairman, president and CEO

Through its community outreach efforts, the Navient Foundation supports organizations and programs that address the root causes which limit financial success for all Americans. This season, the Navient Foundation is proud to support the Indiana Repertory Theatre as the Student Matinee Sponsor of The Diary of Anne Frank and the Production Partner for Pipeline. Navient is a leading provider of asset management and business processing solutions to education, healthcare, and government clients at the federal, state, and local levels. Millions of Americans rely on financial support to further their education and improve their lives. We work hard each day to help our customers navigate financial challenges and achieve their goals. We at Navient have a deep appreciation for the arts and for the hard work, passion, and emotion that go into them, as well as the positive influences the arts have on individuals and their communities. Our 1,600 employees in central Indiana are proud to support our community through amazing programs like those offered by IRT. Enjoy the show.



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

3.............................. Mission & Values 5.............................. Profile 6.............................. Leadership 10............................ Staff 12............................. Board of Directors 20............................ A Doll’s House, Part 2 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.

A Doll’s House, Part 2

32............................. Interview:

Jane Robison

38............................ Amber Waves 48............................ Company bios for Amber Waves

58............................ Donor Listing



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


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

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

PHOTO POLICY Photography of the set without actors and with proper credit to the scenic and lighting designers is permitted. Due to union agreements, photography, video, and audio recording are not permitted during the performance. The videotaping of productions is a violation of United States Copyright Law and an actionable Federal Offense.



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

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

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INDIANA REPERTORY THEATRE PROFILE HISTORY Since the Indiana Repertory Theatre was founded in 1971, it has grown into one of the leading regional theatres in the country, as well as one of the top-flight cultural institutions in the city and state. In 1991 Indiana’s General Assembly designated the IRT as “Theatre Laureate” of the state of Indiana. The IRT’s national reputation has been confirmed by prestigious grants from the National Endowment for the Arts, the Lila Wallace–Reader’s Digest Fund, the Theatre Communications Group–Pew Charitable Trusts, the Shubert Foundation, and the Kresge Foundation; and by a Joyce Award from the Joyce Foundation. The IRT remains the largest fully professional resident not-forprofit theatre in the state, providing more than 104,000 live professional theatre experiences for its audience last season. These experiences included 39,000 students and teachers from 53 of Indiana’s 92 counties, making the IRT one of the most youthoriented professional theatres in the country. A staff of more than 100 seasonal and year-round employees creates nine productions exclusively for Indiana audiences. Actors, directors, and designers are members of professional stage unions. The IRT’s history has been enacted in two historic downtown theatres. The Athenaeum Turners Building housed the company’s first eight seasons. Since 1980 the IRT has occupied the 1927 Indiana Theatre, which was renovated to contain three performance spaces (OneAmerica Mainstage, Upperstage, and Cabaret) and work spaces, reviving this historic downtown entertainment site. To keep ticket prices and services affordable for the entire community, the IRT operates as a not-for-profit organization, deriving more than 50% of its operating income from contributions. The theatre is generously supported by foundations, corporations, and individuals, an investment which recognizes the IRT’s missionbased 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 middle and high school students. Community Gathering Place Located in a beautiful historic landmark, the IRT offers a wide variety of unique and adaptable spaces for family, business, and community gatherings of all types. Call Margaret Lehtinen at 317.916.4880 for more information. Opportunities The IRT depends on the generous donation of time and energy by volunteer ushers; call 317.916.4880 to learn how you can become involved. Meet the Artists Regularly scheduled pre-show chats, post-show discussions, and backstage tours offer audiences unique insights into each production. Student Matinees The IRT continues a long-time commitment to student audiences with school-day student matinee performances of all IRT productions. These performances are augmented with educational activities and curriculum support materials. This season 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 was inducted into the National Theatre Conference, a gathering of distinguished members of the American theatre community. Janet is a member of the Indianapolis Woman’s Club and Congregation Beth-El Zedeck. She lives in an historic house built in 1855 in the Chatham Arch neighborhood with her husband, Joel Grynheim, and a lovely canine mutt. They enjoy following the adventures of their children, Daniel, Leah, and Nira, all now safely out of the nest and thriving!


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

Suzanne is a 20-year veteran of the IRT, managing every administrative area within the theatre at one time or another during that period. Serving as the managing director is the capstone to her career here. Her main responsibility had been to serve as the chief financial officer of the theatre, running the business office, human resources, and information technology functions. As the CFO, she helped to steer the organization through 15 years of balanced budgets (and 15 audits!). She also served as the interim managing director for 18 months in 2004-2005.

Suzanne is active in the community, having been the treasurer of Irish Fest for nine years, a member of the board of directors and treasurer of the Day Nursery Association (now Early Learning Indiana) for seven years, and a past treasurer of IndyFringe.

Managing Director

Suzanne is continuing the work of maintaining a brilliant team whose members expertly manage all of the administrative areas. She is excited to be moving into year six of this leadership role of the organization she loves, alongside her mentor and friend Janet Allen. In 2016, Suzanne was honored to serve as a panelist for Shakespeare in American Communities in cooperation with Arts Midwest.

Suzanne is a graduate of the College of William & Mary (undergraduate) and Indiana University (M.B.A.). She started her career as a CPA; prior to coming to Indianapolis, she worked in finance for more than 10 years, living in such varied locales as Washington, DC; Dallas, Texas; Frankfurt, Germany; Honolulu, Hawaii; and even working for three months in Auckland, New Zealand (where, yes, she went bungee jumping). She is a proud alum of the Stanley K. Lacy Leadership Program (Class XXXI). Suzanne lives in Fall Creek Place with her 15-year-old son, Jackson, and their foxhound rescue dog, Gertie, and spends some of her downtime in Palatine, Illinois, with her partner, Todd Wiencek.


LEADERSHIP: JAMES STILL Playwright-in-Residence

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

Playwrights Conference, the Colorado New Play Summit, the Lark in New York, Launch Pad at UC–Santa Barbara, Perry-Mansfield New Works Festival, Telluride Playwright’s Festival, New Visions/New Voices, Fresh Ink, Weston Playhouse Residency, and Write Now at the IRT. Three of his plays have received the Distinguished Play Award from the American Alliance for Theatre & Education, and his work has been produced throughout the United States, Canada, China, Japan, Europe, South Africa, Australia, and New Zealand. Other theatres that have produced James’s plays include the Kennedy Center, Denver Center, Geva, Cornerstone Theater Company, Ford’s Theatre, People’s Light & Theatre, the Barter, Pasadena Playhouse, Portland Center Stage in Oregon, Portland Stage in Maine, the Station, the Asolo, Company of Fools, the Children’s Theater Company of Minneapolis, Metro Theater Company, B-Street Theatre, Theatrical Outfit, Arkansas Rep, the Round House, American Blues, Shattered Globe, Illusion Theater, and the Mark Taper Forum. His plays are also often produced at community theatres, summer theatres, universities, and high schools. James’s short play When Miss Lydia Hinkley Gives a Bird the Bird has appeared in several festivals around the country after its premiere with Red Bull Theatre in New York. New plays include an adaptation of the classic Black Beauty commissioned by Seattle Children’s Theatre, a new play called (A) New World, and several secret new projects. James also works in television and film and has been nominated for five Emmys and a Television Critics Association Award; he has twice been a finalist for the Humanitas Prize. He was a producer and head writer for the TLC series PAZ, the head writer for Maurice Sendak’s Little Bear, and writer for the Bill Cosby series Little Bill. He wrote The Little Bear Movie and The Miffy Movie as well as the feature film The Velocity of Gary. James grew up in Kansas and lives in Los Angeles.

LEADERSHIP: BENJAMIN HANNA Associate Artistic Director

Ben is a director, educator, and community engagement specialist whose passion for multigenerational theatre has influenced his work across the country with companies such as Berkeley Repertory Theatre, Children’s Theatre Company, Penumbra Theatre, Seattle Children’s Theatre, Steppingstone Theatre, and the Bay Area Children’s Theatre. In all of his myriad roles, Ben is guided by the belief that access to highquality theatre helps build creative, empathetic people and healthy communities. Ben is thrilled to be in his second season at Indiana Repertory Theatre. Last season he directed The Town Mouse and the Country Mouse; this season he directed 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 Rep he created innovative community engagement programs

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.

to build and diversify audiences, and he facilitated youth development and leadership through the company’s Teen Council and representation at national conferences. Celebrating the work of young artists, he produced five festivals of plays written, directed, designed, and performed by Bay Area teens. At the Bay Area Children’s Theatre, he served as a director and interim artistic director, developing three world premiere musicals adapted from children’s literature, creating a new student matinee program, and overseeing a successful move into a new theatre building and campus. In his native Minnesota, Ben was honored to serve on the education staff of Penumbra Theatre Company, the nation’s leading African American theatre, where he helped to expand their education and outreach offerings. His proudest accomplishments during his four years with the company include growing the nationally recognized Summer Institute for Activist Artists into a three-year multidisciplinary social justice theatre training program, developing a multigenerational quilting circle, and helping to create and facilitate a racial equity training program through the company’s RACE workshop series. Ben holds a degree in theatre arts from the University of Minnesota Twin Cities. He grew up on a small rural farm and fell in love with theatre at the age of eleven. He continues to create for his new favorite audience: his five nieces and nephews.



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

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

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 Shawnté Gaston Tom Horan Josiah McCruiston Kathi Ridley-Merriweather Beverly Roche Milicent Wright


ELECTRICS Electricians Amanda Blevins Lee Edmundson Joel Grynheim Luke Hoefer Jessica Hughes PAINT SHOP Scenic Painters Lee Edmundson Rachel Torres

SCENE SHOP Lee Edmundson Katie Johnson Lucas Miller Chris Nelson William Rison SOUND & VIDEO Sound Intern Kacie Darrough


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

DEVELOPMENT & MARKETING Development & Marketing Intern Ally Johnson FINANCE ASSOCIATES External Auditors Crowe Horwath LLP

Legal Counsel Heather Moore PATRON SERVICES Assistant House Managers Pat Bebee Terri Bradburn

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

Teleservices Representatives Emilly Dennison Margaret Freeman Amy Pierce Joshua Short Judith Kline-Stratton PATRON SERVICES Operations Manager Robert Steele

Manager of Public Operations Margaret Lehtinen House Manager Heather Uuk Tessitura Administrator Molly Wible Sweets

Marketing Communications Manager Kerry Barmann

Ticket Office Manager Kim Reeves

Audience Development Manager Elizabeth Petermann

Assistant Ticket Office Manager Eric Wilburn

Graphic Designer Alexis Morin

Gift Shop Manager & Customer Service Representative Jessie Streeval

Multimedia Coordinator Heather Zalewski OUTREACH Group Sales & Teleservices Manager Doug Sims

Assistant Teleservices Manager Jeff Pigeon

Chelsea Brooks Nancy Carlson Cara Clapper Kyla Decker Stephen Denney Dieter Finn Scot Greenwell Marilyn Hatcher Jade Hogan Bill Imel Sarah James Barbara Janiak Norma Johnson Julia Kaser Michelle Kennedy-Coenen Sherry McCoy Gail McDermott-Bowler

Customer Service Representatives Kourtnee Boose Erin Elliott Hannah Janowicz Kelsey Keating Jared Novitski Building Services Dameon Cooper Markus Horne Dave Melton Dianna Mosedale Melanie Overfield 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





Tom Froehle Faegre Baker Daniels Nadine Givens PNC Wealth Management

Jill Lacy The Lacy Foundation


Michael J. Harrington* Eli Lilly and Company

Mark Shaffer KPMG LLP

MEMBERS Tammara D. Avant Taft Stettinius & Hollister LLP Sharon R. Barner Cummins, Inc. Gerald Berg Wells Fargo Advisors Keith A. Bice Bingham Greenebaum Doll LLP 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 Corteva Agriscience™ Division of DowDuPont 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 Inc. 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



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


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




Origami model by Brian K. Webb

At Printing Partners, we look at the bigger picture. To us, print is more than simply putting ink on paper. It’s the act of transforming your thoughts, feelings and hard work into something tangible. Similarly, organizations like the Indiana Repertory Theatre aren’t just organizations, but educational journeys to a broadened mindset and an open heart.

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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

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Barnes & ThornburgCircle applauds the 55 Monument Indiana Repertory Theatre for its commitment to the arts. Take a bow, ianapolis, 46204 you’veIndiana earned it! 317.687.0010 Established in 1989 Uncommon Value



- Scenic Designer: Ann Sheffield - Lighting Designer: Michelle Habeck ONEAMERICA MAINSTAGE MARCH 12 - APRIL 7



Director__________________ JAMES STILL Scenic Designer_________________ ANN SHEFFIELD Costume Designer_________________ ALEX JAEGER Lighting Designer______________ MICHELLE HABECK Sound Designer___________________ TOM HORAN Dramaturg_________________ RICHARD J ROBERTS Stage Managers_______________ NATHAN GARRISON ERIN ROBSON-SMITH ARTS PARTNERS

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




Executive Artistic Director


Managing Director

THE CAST Anne Marie_________________ KIM STAUNTON Nora_______________ TRACY MICHELLE ARNOLD Torvald___________________ NATHAN HOSNER Emmy_____________________ BECCA BROWN There will be no intermission.

ACKNOWLEDGEMENTS A Doll’s House, Part 2 is presented by special arrangement with Dramatists Play Service, Inc., New York. Originally produced on Broadway by Scott Rudin, Eli Bush, Joey Parnes, Sue Wagner, and John Johnson Commissioned and first produced by South Coast Repertory
 A Doll’s House, Part 2 benefited from a residency at New Dramatists Assistant Lighting Designer: Mercedes McCleary Actors and stage managers in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. The scenic, costume, and lighting designers are represented by United Scenic Artists Local 829, IATSE. Photography of the set without actors and with proper credit to scenic and lighting designers is permitted. Due to union agreements, photography, video, and audio recording are not permitted during the performance. The videotaping of productions is a violation of United States Copyright Law and an actionable Federal Offense.



Artists have been responding to classic works and creating role in late 19th century culture. Of course, this choice sequels for eons, and yet it’s rare to encounter one where was considered horrifically controversial in its time. the sequel is every bit as thrilling and groundbreaking “The door slam heard around the world,” which signifies as the original. Thus is the case with A Doll’s House, Part Nora’s departure from home and hearth and from gender 2, and one need look no farther than the listings of the stereotypes, has engendered many adaptations and regional theatres’ bills this season to see that many revisions, but no successful sequels until this 2017 play theatre professionals share that belief. The wonderful by American Lucas Hnath. irony of A Doll’s House, Part 2 is that Lucas Hnath has fashioned a sequel that does not need its original to exist Hnath’s play is loyal to the characters of the original completely and wholly. He accomplishes that feat with and keeps the period setting, but uses a contemporary ease and style, weaving the backstory of the characters language idiom; this fusion creates a freshness that into the forward movement of his new plot with apparent both surprises and leads us further into his purpose. In effortlessness. The accolade “expertly crafted” appears in something like a four-handed fugue, he invites each many reviews, and is completely apparent in this play. of the characters to express their viewpoint on the problematic situation that brings them together; these “LUCAS HNATH HAS FASHIONED A varying perspectives are at once character cogent and SEQUEL THAT DOES NOT NEED ITS also astonishing. Part legal thriller, part family drama, part exploration of gender roles both past and present, ORIGINAL TO EXIST COMPLETELY this play delivers much to discuss, as well as a superb AND WHOLLY.” experience in the theatre. The play Hnath has responded to is an 1879 drama by Norwegian playwright Henrik Ibsen. At the time, A Doll’s House was groundbreaking enough to be banned in several countries; but it has since come to be taught and admired as the cornerstone of modern drama. In 2001, it was inscribed as a manuscript of historic value by the United Nations Educational, Scientific, and Cultural Organization. In 2006, which marked the 100th anniversary of Ibsen’s death, it was the most produced play around the world.

I am not a big fan of sequels, so much so that I declined several opportunities to see this on Broadway last season and didn’t read the reviews. But when the script was in my hand, I couldn’t put it down, and I was wholeheartedly committed to sharing it with our audiences from the minute I finished reading it.

One of the greatest delights of my job is being surprised—by audiences, by writers, by actors—but I wasn’t surprised by the amazing actors that clamored to be in this production. We are delighted to have brought A Doll’s House is revered among theatre professionals, them together on this wildly entertaining and thoughtfeminists, and champions of social justice. Its ending provoking work. Enjoy the ride. is its claim to fame: Nora Helmer shockingly leaves her husband and young children to pursue a life of selffulfillment, escaping the stifling confines of her gender


Alla Nazimova & Alan Hale in a 1922 silent film of A Doll’s House.


ENGAGING Which makes the most noise? The sound of a door slamming shut, or a knock on that same door 15 years later? For the people living in that house in Norway, both sounds signal enormous changes. This is where Lucas Hnath’s A Doll’s House, Part 2 begins—with Nora returning to the house she had once called home. Within the course of the play we discover not only what happened to Nora after her scandalous domestic exit in 1879 when she left her husband and three small children, but we also discover what’s brought her back. Hnath doesn’t shy away from the thorny connection between choices and consequences; but he’s also too smart a writer to make his play simply about the burdens of responsibility and the need to face our monsters. These are serious issues, but somehow Mr. Hnath manages to tinge his play with an infectious glee. His characters are in pursuit of many things they can’t quite grasp—and they aren’t beyond making fools of themselves in the process—but they engage. That’s the fuel of this play: engagement against all odds. These are characters sharing spontaneous ideas, testing the ideas on the spot, and using whatever works to figure out what’s next. They do it without selfreverence, with humor and modern-day vernaculars. It is as though Nora’s hard-won liberation has liberated the very form of storytelling, as though she’s written her own play about her life—only to discover that she doesn’t know all the story. In fact, it’s not even all her story. I remember vividly the first time I read A Doll’s House, Part 2 and felt a breathless restlessness. I laughed out loud. I was puzzled. I was under its spell. There is something beautifully poetic and practical about the story in Mr. Hnath’s play. Poetic because the language is rich and contemporary, and practical because these are characters with a very big problem to solve. The five


scenes (which Mr. Hnath describes as “boxing rounds”) fight their way through the play’s core subjects: marriage and free agency; the tension between sacrifice and emancipation; and the price paid for pursuing our authentic selves. For me, part of the brilliance of the play is how, although it is a “Part 2,” it easily lives on its own, for its own reasons. But what of Nora’s decision to return? There is something heartbreakingly human in the ways that we are unprepared for the unknown. Leaving can be an agonizing decision—even for the decider. And the return of someone who left can reignite grief and chaos for those who were left behind. Nora’s return makes it impossible for all four characters not to rage about the consequences of actions. Her return is as shocking as her dramatic exit 15 years ago—but now we are here to feel the flood of feelings that inevitably erupt, and to see how little it takes to undo the broken heart that has been stitched back together over time. For me, directing is very much about preparation—but a peculiar kind of preparation that also intuits that the point of preparation is to be surprised. Rehearsals are a time of immense invention, repetition that’s something akin to breaking a secret code. My job is to be “first witness” to the ways the play becomes our production. The process I have with designers and actors is sacred to me—collaboration as action. In January, the great poet Mary Oliver died, and I keep coming back to the last line of her poem “The Summer Day”: “Tell me, what is it you plan to do / With your one wild and precious life?” All of the characters in A Doll’s House, Part 2 ponder that question differently, and the many answers they confront can be as funny as they are painful.

Original artwork by Kyle Ragsdale

15 YEARS LATER… ALEX JAEGER COSTUME DESIGNER As a costume designer, I see my job as helping to tell the story in a clear way. Generally, I’m not devoted to strict adherence to period accuracy if it doesn’t support the characters. In the case of A Doll’s House, Part 2, while the costumes are from the period, I have worked with director James Still to choose clean silhouettes that I feel support the modern feel of the language and work with the beautiful, clean, open space of the set. The colors and fabrics were chosen to reflect the station in life of the characters, as well as their emotional states. Each of them has a way that they want to present themselves to the outside world and to each other. It is my hope that I have struck that delicate balance, and that my designs will enhance your enjoyment of this beautiful play.


Preliminary costume sketches for Nora, Torvald, and Emmy by designer Alex Jaeger.

ANN SHEFFIELD SCENIC DESIGNER I’m drawn to the work of late 19th and early 20th century Scandinavian artists whose landscapes and domestic interiors feel both bleak and hopeful. I admire the way beauty is revealed in the ordinary details of a hallway and window; and how rugged terrain is imbued with spiritual depth. The poetry of these masterworks supports contradictory notions: they are both real and imagined, noisy and quiet. For me, A Doll’s House, Part 2 seems to find that same complex and layered beauty. The play is simple in structure; its narrative is spare; it demands quiet spaces within the action.

Rough preliminary sketch by scenic designer Ann Sheffield.

My path as set designer found footing in these contradictions and structural observations. The structure of the design is formal and edited: a door, a window, a staircase. Although these elements might otherwise exist in a cohesive and detailed period interior, they have been released from such constrictions. With the walls gone, the impact of the overwhelmingly beautiful and imposing Norwegian landscape is ever-present—lending, I hope, visual poetry to an otherwise austere world. This vista is also a reminder that, for Nora, there is a stunning world right outside that door.


THE COMPANY TRACY MICHELLE ARNOLD | NORA Tracy is grateful and happy to make her IRT debut. This summer will mark her 20th season at American Players Theatre, where she is a member of the Core Acting Company. Roles at APT include Kate in The Taming of the Shrew, Cleopatra in Antony and Cleopatra, Jacques in As You Like It, Irene Molloy in The Matchmaker, Lady M in Macbeth, Olivia in Twelfth Night, Judith Bliss in Hay Fever, Beatrice in Much Ado About Nothing, Hesione Hushabye in Heartbreak House, and Blanche DuBois in A Streetcar Named Desire. Other regional credits include Brooke in Other Desert Cities at the Goodman Theatre, Regina in The Little Foxes at Asolo Repertory Theatre, Miss Madrigal in The Chalk Garden at Northlight Theatre, and Amanda in Private Lives at Chicago Shakespeare Theatre. “Love to my fellas.”

BECCA BROWN | EMMY Born and raised in Chicago, Becca is a Filipina-Jewish actor, musician, comedian, and writer. She is an alum of the School at Steppenwolf Theatre Company, the Second City, and the iO Theater’s training centers, as well as the University of Illinois at Chicago. Selected theatre credits include The Fly Honey Show at the Inconvenience, Spamilton with Center Theatre Group, and American Idiot with the Hypocrites. Film-TV credits include School of Rock, Easy on Netflix, and the upcoming independent feature Monuments. Becca is represented by Shirley Hamilton Talent.

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

KIM STAUNTON | ANNE MARIE Kim has appeared at the IRT in A Raisin in the Sun, Finding Home, and Fences. She has been a guest company member at the Denver Center Theatre Company (14 seasons) and represented DCTC as an inaugural Lunt-Fontanne Fellow at Ten Chimneys Foundation. Regional credits include South Coast Repertory, Utah Shakespeare Festival, Milwaukee Repertory Theater, Arizona Theatre Company, Portland Stage Company, Ebony Repertory Theatre, Center Theatre Group/ Kirk Douglas Theatre, Colorado Shakespeare Festival, Seattle Repertory Theatre, Syracuse Stage, Berkeley Repertory Theatre, Lake Dillon Theatre Company, Lone Tree Arts Center, Virginia Stage Company, Pittsburgh Public Theatre, Arena Stage, Hartford Stage Company, and the O’Neill Theatre Center. She has performed in numerous productions on and off Broadway. Film credits include First Sunday, Changing Lanes, Heat, Dragonfly, Bark, Holy Man, Deceived, and Amos & Andrew. Television appearances have included guest-starring roles on This is Us, Eleventh Hour, Army Wives, The Nine, Bones, Strong Medicine, Judging Amy, Law and Order, City of Angels, New York Undercover, and TNT’s original movie Glory and Honor. Kim is a native of Washington DC and a graduate of the Juilliard School.


LUCAS HNATH | PLAYWRIGHT Lucas Hnath grew up in Orlando, Florida. His play Red Speedo premiered in 2013 at the Studio Theatre, Washington DC. The Christians premiered at the 2014 Humana Festival in Louisville. He won the 2016 Obie Award for excellence in playwriting for the New York debuts of both plays. Hillary and Clinton premiered at Victory Gardens in Chicago in 2016. A Doll’sHouse, Part 2 had its premiere at South Coast Repertory while simultaneously opening on Broadway in April 2017, receiving eight Tony nominations, including Best Play. His play The Thin Place is currently being premiered at the 2019 Humana Festival. Hnath teaches at New York University. He has won the Kesselring Prize, the Whiting Award, the Steinberg Playwright Award, and the Windham-Campbell Literature Prize in Drama.

JAMES STILL | DIRECTOR This is James’s 21st season as the IRT’s playwright-in-residence; the company next produces his play Amber Waves. James 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, Mary’s Wedding, Becky’s New Car, Rabbit Hole, Doubt, Bad Dates, Old Wicked Songs, Plaza Suite, The Immigrant, and Dinner with Friends, as well as his own I Love to Eat, Amber Waves (2000), and Looking Over the President’s Shoulder (2001). IRT audiences have also seen James’s plays Appoggiatura, Miranda, April 4, 1968: Before We Forgot How to Dream, The Velveteen Rabbit, The House That Jack Built, The Heavens Are Hung in Black, Interpreting William, Iron Kisses, The Gentleman from Indiana, Searching for Eden, He Held Me Grand, And Then They Came for Me: Remembering the World of Anne Frank, and The Secret History of the Future. (complete bio on page 8)

ANN SHEFFIELD | SCENIC DESIGNER Ann’s work at the IRT has included scenery for Red, Other Desert Cities, Interpreting William, The Drawer Boy, The Last Night of Ballyhoo, Cyrano de Bergerac, The Rivals, and Six Characters in Search of an Author; costumes for Finding Home, Our Town, Othello, and 1992’s Twelfth Night; and both scenic and costume designs for Doubt, Ghosts, Candida, The Cocktail Hour, Hedda Gabler, and 1990’s Julius Caesar. Her designs have been seen at the Laguna Playhouse, Buffalo’s Studio Arena Theatre, La Jolla Playhouse, the Goodspeed Opera House, Philadelphia’s Walnut Street Theatre, DC’s Ford’s Theatre, the Arizona Theatre Company, the Oklahoma Festival Ballet, the Children’s Theatre Company of Minneapolis, and the South Coast Repertory Theatre. Ann has a long association with award-winning designer Tony Walton, assisting him on the Broadway productions of Anything Goes, Waiting for Godot, Grand Hotel, and The Will Rogers Follies. A graduate of the Yale School of Drama, Ann is head of design for the Department of Theatre and Dance at California State University, Fullerton.

ALEX JAEGER | COSTUME DESIGNER Alex designs costumes across the country. For IRT he has designed James Still’s Interpreting William. Other credits include Two Sisters and a Piano for the Public Theatre; Mr. Burns, a post-electric play for the Guthrie; The Sneetches for Children’s Theatre Company in Minneapolis; many productions including A Streetcar Named Desire, Cat on a Hot Tin Roof, and the upcoming All’s Well That Ends Well for Oregon Shakespeare Festival; The Nether and The Paris Letter for Kirk Douglas Theatre; many productions including Amadeus for South Coast Repertory; Arcadia, Major Barbara, Once in a Lifetime, and others for A.C.T., San Francisco. Alex is also a frequent designer for the Magic Theatre in San Francisco. Recent projects include Hairspray for the Village Theatre and The Legend of Georgia McBride for the Ensemble Theatre.


THE COMPANY MICHELLE HABECK | LIGHTING DESIGNER At the IRT, Michelle has designed lighting for Looking Over the President’s Shoulder, Dial “M” for Murder, The Mousetrap, and Amber Waves, and lighting and scenery for An Almost Holy Picture. Her Broadway credits include Thoroughly Modern Millie (slide artist), The Boy from Oz, Movin’ Out, Thoroughly Modern Millie, and King Hedley II (associate & assistant lighting design). Off Broadway Michelle designed Fifty Words for MCC Theatre. Regional credits include the Guthrie, Steppenwolf, the Goodman, Alliance, Seattle Children’s Theatre, Minneapolis Children’s Theatre, Cincinnati Playhouse in the Park, Arizona Theatre Company, Penumbra, Lookingglass, and others. Opera credits include The Masked Ball and The Elixir of Love for Austin Opera, and associate for Julie Taymor’s Grendel. Michelle was awarded the NEA/TCG Career Development Grant for Design. She leads the B.A./M.F.A. lighting program in the Department of Theatre and Dance at the University of Texas at Austin.

TOM HORAN | SOUND DESIGNER Tom has designed sound at the IRT for The Mountaintop, The Giver, Peter Rabbit and Me, and The Town Mouse and the Country Mouse. He is a writer, sound designer, and co-artistic director of the Austin-born theatre collective The Duplicates. His works have been honored with several awards, including Best-of-Week and Best-of-Fest honors at the Austin FronteraFest for The King and the Clockmaker (Solo, 2012) and the Austin Table Critics Award for The Poison Squad (The Duplicates, 2013). Currently, Tom serves as playwright-in-residence at the Phoenix Theatre and is assistant professor of playwriting and new works development at Ball State University.

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. Earlier this season he directed Leonard 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. 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, and he is a company member with the Indianapolis Shakespeare Company.

ERIN ROBSON-SMITH | STAGE MANAGER Since moving to Indianapolis in 2013, Erin has had the pleasure of working with IRT and its incredible staff. Favorite productions include Pipeline, Romeo and Juliet, Finding Home, and And Then They Came for Me at IRT; Hotel Nepenthe at Phoenix Theatre; Sometimes a Great Notion and Frost/Nixon at Portland Center Stage; Metamorphoses and Copenhagen at Artists Repertory Theatre; and Number Three at Third Rail Repertory Theatre. Erin spent the summers of 2008 and 2009 working with the JAW Festival at Portland Center Stage.


This is More Than a Stage. It’s a place where your imagination takes hold, where you can escape the everyday. From dress rehearsal to the final bow, Bingham Greenebaum Doll LLP is a proud supporter of the Indiana Repertory Theatre. Enjoy the show!

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AN INTERVIEW WITH JANE ROBISON GENERAL MANAGER HOW DID YOU FIRST GET INTERESTED IN THEATRE? My father was a theatre buff. He met Hal Prince when he was in the Army. Hal Prince turned out to be a bigtime Broadway producer and director, and they stayed friends. But my father always liked the theatre, even prior to that. He was an attorney, and he thought an attorney was a little bit of showbiz. He and my mother went to the theatre a lot. We lived in Frankfort, and they had season tickets to the Broadway series at Clowes Hall, so every now and then my sister or I would get to go. 32

I did theatre in high school, mostly props, and some theatre in college at DePauw, again mostly not on stage. But I liked doing it, it was interesting, you met interesting people. I like process. I like knowing how things fit together. First semester my senior year I did an internship in New York with a Broadway producer named Manny Azenberg. Among other things, Mr. Azenberg produced most of Neil Simon’s plays, all the way back to The Sunshine Boys. He was also general managing two or three companies of A Chorus Line on the road—which was a big deal at that time—plus a big national tour of The Wiz.

When I graduated I went back to work for Mr. Azenberg. I worked on I Ought to Be in Pictures, a little on Chapter Two. I mostly worked on Brighton Beach Memoirs and Ain’t Misbehavin’—and a little on The Wiz as well. I was a company manager and their office manager. In New York, a company manager is a liaison between the producer’s office and the actors and crew at the theatre. So there is a lot of back-and-forth, making sure everybody gets paid, dealing with their ticket needs—which is a lot!— or any other questions or things like that. You work really closely with stage managers, on understudy rehearsals and other details. What you don’t deal with much is housing and transportation, which is a huge part of company management in the regional theatres.

managers and the production manager, I help monitor our union compliance. Right now we are working on licensing the nine plays for next season—securing the rights, negotiating royalties. A lot of phone calls, a lot of emails.

WHAT’S A TYPICAL WEEK FOR YOU? We do payroll on Monday. Plus on Monday we are dealing with what happened over the weekend with the play, so if there is overtime, or any kind of performance-related payment to make, when we do the payroll on Monday we take care of that. Then on Tuesday with the company manager I am sort of plotting the rest of our week: what designers, directors, actors are yet to arrive, who needs a phone call, who needs a plane ticket, housing, who needs HOW DID YOU COME BACK TO INDIANA AND picked up from or delivered to the airport, what offers that THE IRT? we made last week need checking up on? As we approach The eighties was not a good time on Broadway. There the weekend, what’s closing, what’s getting ready to were more empty theatres than full. And I liked what I did, start rehearsal, or to move downstairs to the stage? There but I didn’t particularly enjoy living in New York. I think it’s is a process that happens with all departments as one a terrific place to go visit, but.... show closes and the next one is getting ready to go. Or even in the middle of a long run like A Christmas Carol, I sent a letter and résumé to the IRT. The managing things can change: one stage manager leaves, another director brought me in for an interview, and then I read stage manager comes on, someone is sick, an understudy the next day in the paper that he was no longer with the goes on. Making sure that all of those things are ready theatre. So.... Then a friend of mine was visiting later that to happen. summer, and she came in for an interview. I came with her for some reason, and I sat at the front desk waiting We believe here at the IRT—and this is institution-wide— for her to finish. The office assistant came out to cover our job is making the lives of our guest artists seamless. If lunch, and she said, “Wait a minute, aren’t you a company you are worried about your housing or your groceries or manager? You were here. You interviewed.” I said yes. She your ride to the theatre, if you don’t feel comfortable, if said, “Well, our company manager just quit.” So she got you don’t feel safe, if you don’t know where to find the the business manager to come down and talk to me. My answers to your questions—that’s going to show. That’s friend came back and said, “I don’t think this is going to going to affect what happens in the rehearsal room or in lead to anything. How was your visit?” And I said, “I think the shop. And that is just not efficient. That’s not what we I have a job.” do at the IRT. After several years as company manager, I became general WHAT DOES THEATRE MEAN TO YOU? manager in 1993. As general manager, I help develop the I just think it’s fascinating. I like all of the people that artistic budget with the artistic director. Then I contract you get to meet and the places that you get to go seeing what we budget, and I facilitate the contracts. In the plays. I love that Miranda took me to the Middle East. And I artistic budget are the salaries and benefits, housing and love that Every Brilliant Thing gave you a way to talk about transportation, for all of the actors, directors, designers, a topic that’s really hard. We all should remember what and other freelance artists. This season we have had 59 happened to the Frank family and the other six million roles for Equity actors, 13 roles for non-union actors, 12 people. And who doesn’t want to see You Can’t Take It roles for juvenile actors, nine directors, 40-some-odd With You? I mean really! I don’t think that it’s medicine. I designers. Each one has a contract. Negotiate the contract, don’t think that you should see it because it’s good for you. send it out, get it signed, process their payment, process I think it opens your mind, it opens your heart, and we all their pension and health. Three quarters of them are need more of that. covered by collective bargaining, so along with the stage 33 9875 Cherryleaf Drive • Indianapolis, IN 46268 • 317-873-3349 Pantone 554

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an experience at the IRT...




H. Ward Miles, Ferocious and Feminine, Acrylic on Canvas


- Scenic Designer: Narelle Sissons - Lighting Designer: Mary Louise Geiger UPPERSTAGE | APRIL 2 - 28



Director___________________LISA ROTHE Scenic Designer________________ NARELLE SISSONS Costume Designer______________ THERESA SQUIRE Lighting Designer_____________MARY LOUISE GEIGER Sound Designer____________TODD MACK REISCHMAN Original Score & Songs_______________TIM GRIMM & JASON WILBER Dramaturg_________________ RICHARD J ROBERTS Stage Manager________________ JOEL GRYNHEIM* Casting________________ STEPHANIE KLAPPER CSA



ARTS PARTNERS FAMILY SERIES SPONSOR m a k i n g t h e a rts h a p p e n



Executive Artistic Director


Managing Director

THE CAST Deb______________________ JORDAN PECAR Penny______________________MARY BACON* Mike__________________ TORSTEN HILLHOUSE* Scott________________ WILLIAM BROSNAHAN* Julie________________________ RILEY IARIA Johnny__________________ CHARLES DUMAS* Musicians____________________TIM GRIMM* RACHEL EDDY

SETTING The Olson farm and other places in and around their Indiana town. Act One: Summer & Fall Act Two: Winter & Spring

ACKNOWLEDGEMENTS Amber Waves is presented by special arrangement with Samuel French, Inc. Additional music by Tim Grimm. Traditional arrangements by Tim Grimm and Rachel Eddy. Understudy for Deb and Julie: Lauren Sciaudone *Actors and stage managers in this production who are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. The scenic, costume, lighting, 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.



When we produced Amber Waves in 2000, we were introducing our audiences to our new playwright-inresidence, James Still, with a play he revised for us from a one act he had written on commission from the Kennedy Center. The play, which captures James’s voice as a small town Kansas native, whose grandparents and greatgrandparents farmed, also captured something intrinsic to many Midwestern natives’ experience: the importance of agrarian and small town values and lifestyle. Now, 19 years later, James has again revised this play, which ostensibly launched our Indiana Series, in which we have produced 19 works that focus on Midwestern and Indiana themes, biography, and historic moment. Of these, James has written seven, making him, in many ways, the voice of this series. Amber Waves coalesces many of the exploratory themes of the Indiana Series. It is 40

multigenerational in the best sense, in that it tells stories of three generations and their changing relationships to farming life. It is diverse, in that it tells stories of white and black farm families. It is both heartbreaking and hopeful in its movement into the fears of this family, as well as their best hopes for the future for themselves and for their way of life. It reminds many of us where we came from. Among the gifts of the first production was a musical score created by Tim Grimm and Jason Wilber, recorded for the show, which became a CD. For many, that score became the anthems by which we lived, reviving memories of the production as well as connecting many of us to our love of the Midwest character and landscape. For our 2019 production, we’re delighted that Tim Grimm will play this music live onstage, along with some new music created

specifically for this production. Joining him is another remarkable musician, West Virginia native Rachel Eddy, whose expertise in string instruments in the folk genre has brought her many exciting opportunities in Europe and the United States. This duo will expand and deepen our experience of the play in remarkable ways. A stanza from one of Tim’s songs expresses much of the evocative nature of the play: Take my hand, come walk with me And I will show you these things I’ve seen And I will give you all that I know There are some things in your blood and in your bones And we will walk where there are no streets Where the sky and the valley meet These amber waves

Many things have changed about farming life since we produced the play almost 20 years ago. There are still many political issues of industrial/corporate farming, farm subsidies, land values, etc. But there are many things to be hopeful for: there is a new generation of farmers coming up who are committed to providing organically grown crops and ethically raised animals, and who are leading a movement to farm in an environmentally responsible way. So the conversation of the play expands and goes forth—as will our conversations following our experience of this deeply Midwestern play.



A long time ago I ran away from home. In many ways, Amber Waves has been one of the ways I’ve never forgotten where I come from. The writer Willa Cather wrote many of her novels that were set in the Midwest while she was living in New York. Mark Twain wrote his novels set on the Mississippi while living in Connecticut. I first wrote Amber Waves while living in New York in a fifth-floor walk-up apartment in Hell’s Kitchen in the same room where my roommate was watching TV, listening to the radio, and talking on the phone. Somehow with the help of my Walkman—remember the Walkman?—I kept my headphones on and my head down. I would type with my eyes closed because the unrelenting and beautiful landscape of the Midwest was profoundly alive inside me. The play was set in my native Kansas; when the IRT produced it in 2000, I wrote a version set in Indiana. For this current IRT production, I’ve reimagined the play again—this time from my home in Los Angeles. I affectionately call it Amber Waves 3.0. Much has happened in the world since I first wrote the play, but one thing that hasn’t changed is that family farms continue to disappear, and with them a way of life disappears as well. Two events I want to share with you. The first is the loss of my own family’s farm. My grandparents, in their mid-eighties, had finally decided to sell the family farm in Kansas and move into the nearest town. The auction was like all the auctions that happen on summer weekends throughout the Midwest.

Strangers, old friends, and family members sift through a lifetime of mementos. The highest bidder takes home things that I grew up with: a stereoscope, my grandmother’s wedding dress, an old Case tractor...the house. My great-grandparents homesteaded that house. My grandparents moved into that house on their wedding day and lived there for more than 60 years. My father was born in that house. I grew up going to that house, to that farm, playing in the fields of 80 acres in Eastern Kansas. Flash forward to just a couple years ago: I was visiting my dad in Kansas and we decided to make the 90-minute drive just to see what had happened to the old farm. I wondered who might live there now, if they had found my handprints in the cement sidewalk leading up to the house. Was there still the comforting smell of my grandma’s cherry pies baking in the oven? When we approached the old place, something was different, disorienting. My dad and I fell silent. The entire place had been razed. The barn and chicken coop and garage—everything was gone. And the house was gone. The only thing I recognized was the remains of the old circle driveway and the water hydrant that was still in the front yard. We didn’t get out of the car. People driving by would have no idea that this was once the place where a family thrived. They would have no idea that once there was a little boy who spent long summer days playing in the hayloft or watching my grandma make her prize-winning quilts or riding my grandpa’s horse. People would have no idea that this little boy grew up to be a writer and wrote a play called Amber Waves which at its heart is meant to honor generations of farmers, a way of life that continues to disappear, and how the relationship to land is both holy and practical. I’ve come to understand that writing this play has been one way of returning—spiritually and emotionally—to a place where sunsets seemed to last longer, where generations of a family were carved into the land like rings of a tree, and where ordinary hard-working people spoke a kind of poetry that is all their own. It is a poetry everyone understands. It’s the poetry of place and family, it’s the poetry that helps us remember what home means. Amber Waves is part of me, it goes with me wherever I go. I hope it might become part of you as well. Left: Photo by Amber Mills.

40 ACRES THERESA SQUIRE COSTUME DESIGNER My parents grew up on dairy farms in northeastern Ohio. I grew up visiting these farms, and Amber Waves brings up many a memory. Granpa waking us up when a cow was in labor. My uncle putting his whole arm into a cow to help her birth a breach calf. Feeding the calves with a giant bottle of fresh milk. Gathering eggs, not wanting to put my hand under the hens. Riding Irish, a gentle giant of a horse, in the fields where the cattle grazed. Riding on the tractor with Granpa and later learning to drive the tractor. My Granpa’s laughter at me getting a wagon load of freshly bailed hay caught on a corner of the pighouse. It was a rite of passage for my Dad, my uncles, and then me. There were hard times as well; in those times Granma

talked about the weather. These are the people I grew up with, people that I cherish. My hope is to treat these characters, these people with as much respect as I have for the family I was born into. A playwright once asked me not to design costumes for his characters but to dress them in clothing. After finding photographs of real working farms and families, I am providing the actors with a closet of clothing to wear.

NARELLE SISSONS SCENIC DESIGNER My process started with a design trip to Indiana. I was struck by the Midwest countryside which opened up James Still’s play for me in a deeply visual way. We visited a farmhouse and barns, walked through woods, and then went to meet a local farmer. I was struck by the light that crept through the gaps in the leaning barn planks, the isolated pieces of farm equipment laying at rest between seasons, the sounds of the animals and birds. The large open skies reminded me of the challenge between people and nature. With this, I went back home to continue the process of designing. My instincts told me that the audience should be immersed in the world of the

play, that the space needed to be flexible, and that we were going to want glimpses of sky at times. I started with a large barn-like structure over the audience, but it felt too literal. I then took the planking and created a flexible and abstract environment instead. Once I had the feel of the story, it was important to use the same language to create the locations James describes. The abstract nature of the set design creates a place for his beautiful story to live; it reminds me of generations of farmers and the tilt of future crops. Scale model by scenic designer Narelle Sissons.


“Ancient poetry and mythology suggest, at least, that husbandry was once a sacred art; but it is pursued with irreverent haste and heedlessness by us, our object being to have large farms and large crops merely. We have no festival, nor procession, nor ceremony, not excepting our cattle-shows and so-called Thanksgivings, by which the farmer expresses a sense of the sacredness of his calling, or is reminded of its sacred origin.” —Henry David Thoreau, “The Bean Field,” Walden

“Why do farmers farm, given their economic adversities on top of the many frustrations and difficulties normal to farming? And always the answer is: ‘Love. They must do it for love.’ Farmers farm for the love of farming. They love to watch and nurture the growth of plants. They love to live in the presence of animals. They love to work outdoors. They love the weather, maybe even when it is making them miserable. They love to live where they work and to work where they live. They love the measure of independence that farm life can still provide.” —Wendell Berry, author, activist, & farmer

“Black people have a history in regenerative agriculture that is not circumscribed by slavery, share cropping, and tenant farming. We have tens of thousands of years of history innovating and coming up with dignified solutions to solving hunger in our communities without destroying the planet.... There is so much to love about being a farmer. Today I am in love with the opportunity to be close to the source of all wisdom, which I believe is the living Earth. And by having contact with the soil, there’s abundant communication that comes from the Earth about how we can best live in human community.” —Leah Penniman, farmer, activist, & author of the new book Farming While Black: Soul Fire Farm’s Practical Guide to Liberation on the Land

“There were no clouds, the sun was going down in a limpid, gold-washed sky. Just as the lower edge of the red disk rested on the high fields against the horizon, a great black figure suddenly appeared on the face of the sun. We sprang to our feet, straining our eyes toward it. In a moment, we realized what it was. On some upland farm, a plough had been left standing in the field. The sun was sinking just behind it. Magnified across the distance by the horizontal light, it stood out against the sun, was exactly contained within the circle of the disk; the handles, the tongue, the share—black against the molten red. There it was, heroic in size, a picture writing on the sun.” —Willa Cather, My Ántonia “I just found it so infuriating that the media had sort of lost interest in the farm crisis.... I think I was hungry to see myself or see someone that I recognized. I’ve always been interested in the poetry of ordinary people, that there is a rhythm and a cadence and a use of imagery that is very specific to the Midwest that I find beautiful and as poetic as someone else would find Shakespeare.” —James Still, playwright

Photo by Amber Mills.




Twenty years ago, Jason Wilber and I began to work on songs for James Still’s Amber Waves. My wife, Jan Lucas, and I were to play the farm couple, Mike and Penny. In most ways neither of those tasks were a stretch. I spent many summers on my grandfather’s farm in northern Indiana, working with both him and my youngest uncle, Jim. He was the one brother Grimm who “stayed with the farm” while three others became lawyers and my father chose to become a schoolteacher. I learned about the weather and how farmers have an almost symbiotic relationship with its vagaries and blessings. I learned about hard physical work: the heat, the sweat, the fatigue. I learned a different lesson about the importance of family: that attitude and willingness to pitch in for friends and neighbors at the drop of a hat and the blowing in of a storm. Jan and I together experienced the best parts of this rural farm life when we moved back “home” from the West Coast when our boys were young. We looked to the wisdom of the surrounding older farm couples, and my romantic vision of the small family farm blossomed. James made our job easy, these songs we wrote, because the play itself is rich with elemental stories of the rural human condition and its relationship with the land— framed in the elegance of the four seasons and the tapestry of multiple generations.

Twenty years later we find ourselves now.... I have asked multi-instrumentalist Rachel Eddy to join me in creating the sonic landscape of Amber Waves. Rachel is a master of the fiddle and the banjo and likely will pick up another instrument or two in the evening. She comes from the old-time music tradition of Appalachia. It’s a tradition based on community—where everyone plays together, learning tunes that are passed down, and the notion of “performance” is almost frowned upon. On one hand, it seems very simple; on the other it is richly complex. I know I’ll learn some things from Rachel. I came up in folk music, steeped in the history of the troubadour: the writer of songs about “folks,” songs about the human condition and pretty much anything we love and are willing to fight for in this world. Together, Rachel and I will create the musical landscape of the farm, its inhabitants, and the seasons that they move through. When I listen back to the songs that Jason and I wrote 20 years ago, it’s like sitting down with an old friend: you know them, and you trust they’ll be true. As I write this, I’m thinking there may be a new song or two in the mix. We’ll see as we dive into the creative process. In these past 20 years, I’ve found myself forever straddling the line between theatre and music, and I love these opportunities of blending and bending the two together. At the core, what I do is about storytelling. It always has been.

“Amber Waves,” the title song, was the first song I wrote for the play. I wanted a song that could almost serve as an anthem, that distilled and spun the essence of James’s script. I wanted the song to be filled with hope and reverence and hardship, because that is the landscape of the play. I wanted to be able to come back to the melody during the evening, to find both its minor version and its more exuberant state.


Tim Grimm. Photo by Amber Mills.

THE COMPANY MARY BACON | PENNY This is Mary’s third collaboration with James Still, including the premieres of Iron Kisses at Geva and The Widow Lincoln at the Ford’s Theatre in DC. This is her second premiere with Lisa Rothe, after Ally Currin’s Sooner/Later at Cincinnati Playhouse. Mary’s favorite NYC credits include Tom Stoppard’s Rock ’n’ Roll and Arcadia on Broadway; and off Broadway productions of Horton Foote’s The Roads to Home and Harrison, TX; Happy Now and Charles Busch’s The Tribute Artist at Primary Stages; Lortel- and Drama Desk–nominated Women without Men and Days to Come at the Mint; Giant at the Public; and Eccentricities of a Nightingale with TACT. Regional credits include Hartford Stage, Hudson Valley Shakespeare, Williamstown, Westport Playhouse, the McCarter, Yale Rep, Seattle Rep, Long Wharf, the Old Globe, Dorset Theatre Festival, Denver Center, and Chautauqua Theater Festival. TV credits include The Mist, Blue Bloods, Elementary, Blacklist, Madam Secretary, Boardwalk Empire, The Good Wife, Mildred Pierce, Criminal Intent, and Law and Order: SVU. Mary earned her B.F.A. at Carnegie Mellon. ”For James and Lisa...”

WILLIAM BROSNAHAN | SCOTT This is Will’s first show with IRT after recently graduating from Carnegie Mellon School of Drama. He is excited to get to know and work hard with this new group of folks as well as finally play someone around his age. Other roles have included Mr. Vandergelder in The Matchmaker, Vealtenic Hutx in A Bright Room Called Day, and the title role in Mr. Marmalade. Although based in New York City, Will has roots in an Illinois family farm. “I am honored to be part of this production.”

CHARLES DUMAS | JOHNNY This is Charles’s first appearance at IRT. His favorite roles include Sam in The Shadow Box on Broadway. Regional and off Broadway credits include King Lear, Othello, Fences, Radio Golf, Joe Turner’s Come and Gone, “Master Harold”...and the boys, Death of a Salesman, and Driving Miss Daisy. Film credits include Jumpin’ Jack Flash, Die Hard with a Vengeance, and Deep Impact. He has appeared on TV in the Emmy Award–winning Separate but Equal and in recurring roles on Law & Order, 100 Centre Street, and Ed. He was chosen best lead actor by the Beverly Hills/Hollywood NAACP for his portrayal of Musa in B.C. Historia. He was a Hendler Fellow at the American Film Institute and is a professor emeritus at Penn State University.

TORSTEN HILLHOUSE | MIKE Torsten’s New York City credits include The Polish Play and The Odyssey off Broadway, Tender at Thirteenth Night Theatre, As You Like It and The Recruiting Officer at New York Classical Theatre, and WTC View at 59E59. Regional credits include Be Here Now at Cincinnati Playhouse, Doubt and Other Desert Cities at Capital Repertory Theatre, A Few Good Men at Pioneer Theatre Company, Harvey at Arvada Center, In the Next Room (or The Vibrator Play) at Perseverance Theatre, The 39 Steps and the world premieres of Love/Sick and Out of Sterno at Portland Stage Company, Ripcord at the Public Theatre, Pericles and Is He Dead? at Theater at Monmouth, Snow in June and A Midsummer Night’s Dream at American Repertory Theater, Life Is a Dream and the world premiere of Billy Hell at Creede Repertory Theatre, Three Sisters at Moscow Art Theater School, and Cinzano at Edinburgh Fringe Festival. Film credits include Adam and Where God Left His Shoes. Television credits include Bull, FBI, Law & Order, Law & Order: SVU, and As the World Turns. Torsten received his M.F.A. from ART/M.X.A.T. at Harvard University.


RILEY IARIA | JULIE Riley is very excited to be performing in her first production at the Indiana Repertory Theatre. She is a junior at Decatur Central High School and has previously spent three summers at the IRT Summer Conservatory. She has been seen elsewhere in productions of The Addams Family, The Wizard of Oz, The Great Gatsby, and Legally Blonde. “I would like to thank Lisa and Janet for this opportunity, as well as my family and friends for all of their love and support!”

JORDAN PECAR | DEB Jordan is thrilled to be returning to IRT in the cast of Amber Waves. She made her professional acting debut at IRT at nine years old as Lily in The Giver, and she recently finished her fourth season of IRT’s production of A Christmas Carol. Jordan has performed with the Indianapolis Opera as Ngana in South Pacific and in the chorus of La Bohème. She is an eighth-grade student at Sycamore School and an enthusiastic participant of IRT’s Summer Conservatory program. “I would like to thank Janet, Ben, and my fellow actors at IRT for their support and training as well as Coach Blair, my teachers, and my friends for their guidance. Most importantly, I wish to thank my parents and family for their ongoing devotion.”

TIM GRIMM | CO-COMPOSER & MUSICIAN Tim has composed music for numerous productions at the IRT, including Finding Home, To Kill a Mockingbird, The Grapes of Wrath, and Inherit the Wind, and (with Jason Wilber) Amber Waves and He Held Me Grand; he has performed in Finding Home, God of Carnage, Interpreting William, Art, Dinner with Friends, State of the Union, Amber Waves, and An Almost Holy Picture. At the Phoenix Theatre he has directed The Handler and acted in Bluff and Pure Prine. Other regional credits include Asolo Rep, Victory Gardens, Steppenwolf, Cleveland Play House, Center Stage, the Goodman, and Madison Rep. He appeared in two seasons of NBC’s Reasonable Doubts; his film credits include Clear and Present Danger, The Express, and Backdraft. An award-winning singer-songwriter with several recordings, Tim tours much of the United States and Europe with his music. He co-developed the stage-concert piece Wilderness Plots that was filmed for PBS. Tim and his wife, Jan Lucas, lead tours of Scotland, Ireland, and the Netherlands each year.

RACHEL EDDY | MUSICIAN Rachel hails from West Virginia, where she grew up steeped in Appalachian music and dance. Her talents include multiple instruments and soulful singing. Currently based out of DC, she performs as a soloist in addition to touring with the Early Mays (Pittsburgh) and the Kolodner Quartet (Baltimore). Born and raised in rural West Virginia just south of Morgantown, Rachel grew up in a musical family and started playing at a young age. For more than 20 years she has been performing and teaching full-time on fiddle, banjo, guitar, mandolin, and bass. “My love of music comes from the heart and I love every part of my job, from performing to educating dedicated students to the electrifying charge of leading jam sessions around the world.”


THE COMPANY JAMES STILL | PLAYWRIGHT During his 21 years as playwright-in-residence, IRT audiences have seen James’s plays Appoggiatura, Miranda, April 4, 1968: Before We Forgot How to Dream, The Velveteen Rabbit, The House That Jack Built, I Love to Eat, The Heavens Are Hung in Black, Interpreting William, Iron Kisses, The Gentleman from Indiana, Searching for Eden, He Held Me Grand, Looking Over the President’s Shoulder, Amber Waves, And Then They Came for Me: Remembering the World of Anne Frank, and The Secret History of the Future. James has also directed many productions at the IRT, including A Doll’s House Part 2, The Originalist, Dial “M” for Murder, The Mystery of Irma Vep, Red, Other Desert Cities, God of Carnage, Mary’s Wedding, Becky’s New Car, Rabbit Hole, Doubt, Bad Dates, Old Wicked Songs, Plaza Suite, The Immigrant, and Dinner with Friends, as well as his own I Love to Eat, Amber Waves, and Looking Over the President’s Shoulder (2001). (complete bio on page 8)

LISA ROTHE | DIRECTOR Lisa is thrilled to be back at IRT, having directed James Still’s Interpreting William in 2009. An NYC–based director and educator, she recently won multiple Theatre Bay Area Awards for Hold These Truths by Jeanne Sakata at TheatreWorks/Silicon Valley: Outstanding Direction, Production, and Performance (Joel de la Fuente); she was also nominated for SDC’s Joe A. Callaway Award for Direction for the Off Broadway production. Recent credits include Wild Abandon at Irish Repertory Theatre, Sooner/Later at Cincinnati Playhouse, Confederates at Theatreworks/Silicon Valley (eight Bay Area Critics Circle Award nominations), Ropes at Two River Theater, The Harassment of Iris Malloy and Dear Elizabeth at People’s Light, Cat on a Hot Tin Roof at Chautauqua Theater Company, and Detroit ’67 at Playmakers Repertory Theatre. Lisa is co-artistic director of the Actor’s Center in NYC, recent co-president of the League of Professional Theatre Women, and a Usual Suspect with New York Theatre Workshop. She was the director of global exchange at the Lark for over five years, providing expanded opportunities for playwrights.

NARELLE SISSONS | SCENIC DESIGNER On Broadway Narelle designed All My Sons at the Roundabout Theatre. Off Broadway she has designed Julius Caesar and the original productions of How I Learned to Drive, Stop Kiss, In the Blood, Kit Marlowe, and Little Flower of East Orange at the Joseph Papp Public Theatre. Also in NYC she has designed many productions with Primary Stages, Mabou Mines, LAByrinth Theatre Company (where she is a co-member), Playwrights Horizons, WPP, and New York Theatre Workshop. International credits include Jesus Hopped the A Train (director Philip Seymour Hoffman) in London and New York, Mabou Mines’ DollHouse (director Lee Breuer) in its US and world tour, The Syringa Tree in Vienna and Frankfurt, and Sokrates: A Banquet in Prytaneion at VAT Theatre Estonia. She has been a Fulbright Specialist and has received Drama Desk, Helen Hayes, Elliot Norton, and Kevin Kline Award nominations, amongst others. She was an exhibitor at Prague Quadrennial in 2007 and 2011.

THERESA SQUIRE | COSTUME DESIGNER Theresa has been designing costumes in New York for more than 20 years. Although she designs mainly for theatre, her work has also been seen in dance, film, print, industrials, and commercials. Recent favorite projects include the costumes for Sooner/Later directed by Lisa Rothe at Cincinnati Playhouse in the Park; Lisa Ramirez’s To the Bone directed by Lisa Peterson and Charles Mee’s First Love directed by Kim Wield, both at the Cherry Lane; and Looking for Helen Twelvetrees directed by Leigh Silverman and Cusi Cram’s The Saint Vincent’s Project directed by Daniella Topol, both at Rattlestick Playwrights Theater.


MARY LOUISE GEIGER | LIGHTING DESIGNER ML designed James Still’s Interpreting William and Searching for Eden at the IRT. Her New York credits include The Constant Wife on Broadway at the Roundabout and off Broadway productions of Kindness, The Busy World Is Hushed, and The Blue Door at Playwrights’s Horzons; Buffalo Gal at Primary Stages; Violet Fire at the BAM Next Wave Festival; Mabou Mines’ DollHouse at St. Ann’s and Red Beads at the Skirball Center for the Performing Arts; Incident at Vichy and The Runner Stumbles at TACT; Oedipus at Palm Springs at the New York Theatre Workshop; and Jump/Cut at the Women’s Project. Regional credits include LA Opera, Mark Taper Forum, ACT Theatre, Alley Theatre, Actors Theatre of Louisville, Alliance Theatre, Berkeley Repertory Theatre, Geva Theatre, Intiman Theatre, Seattle Repertory Theatre, Portland Center Stage, Portland Stage Company, and many more. Internationally, she has designed The Wanderers for the Royal Danish Ballet, Misericordes for the Bolshoi Ballet; the international tour of Mabou Mines’ DollHouse, and Violet Fire at the National Theatre, Belgrade, Serbia. ML trained at the Yale School of Drama and she is on the faculty at NYU’s Tisch School of the Arts.

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. Earlier this season he directed Leonard 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. In 2003 he was awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis.

JOEL GRYNHEIM | STAGE MANAGER This is the 97th 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.

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


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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 Sarah C. Barney Frank & Katrina Basile Kristen Belcredi Gerald & Moira Berg Dan Bradburn & Jane Robison

REPERTORY SOCIETY CONT. ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2018 - FEBRUARY 18, 2019 PATRON CIRCLE, CONT. $1,500 - $2,999 David & Judith Chadwick Mary Beth Claus Alan & Linda Cohen James & Kathy Cornelius Cowan & King, LLP Susan M. Cross Daniel & Catherine Cunningham Frank & Noreen Deane Dr. Gregory Dedinsky & Dr. Cherri Hobgood Dr. Brian Dillman & Erin Hedges* Laurie Dippold Paul & Glenda Drew Craig & Marsha Dunkin Frank & Valerie Esposito Drs. Richard & Rebecca Feldman Gary R. & Barrie K. Fisch Jim & Julie Freeman Karen Fried Brian & Lorene Furrer The Future Keys Foundation Phyllis & Ed Gabovitch Robert & Christy Gauss Mr. Jim Gawne Dorothea & Philip Genetos Prof. Nicholas Georgakopoulos Ron & Kathy Gifford Marianne Glick & Mike Woods Ricardo & Beatriz GuimarĂŁes Jeffrey Harrison 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 Phil & Colleen Kenney 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 The Blake Lee and Carolyn Lytle Neubauer Charitable Fund, a fund of Hamilton County Community Foundation Brian S. Newman & Francisnelli Bailoni dos Santos Nancy & John Null Tim & Melissa Oliver Larry & Louise Paxton Brian & Gail Payne Mr. & Mrs. Kenneth A. Peterson Dr. & Mrs. Lee Phipps Gail & William Plater The David and Arden Pletzer Endowment Fund, a fund of Hamilton County Community Foundation George & Christine Plews Bob & Kathi Postlethwait Phil & Joyce Probst Peter Racher & Sarah Binford 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 Michael & Holly Semler Jack & Karen Shaw Marguerite K. Shepard, M.D. Reuben & Lee Shevitz Michael & Cynthia Skehan Cheryl & Bob Sparks Edward & Susann Stahl Ed & Jane Stephenson Robert & Barbara Stevens Jim & Cheryl Strain Suzanne Sweeney & Todd Wiencek Jonathan T. Tempel John & Deborah Thornburgh Jennifer C. Turner Eric van Straten & Karri Emly Larry & Nancy VanArendonk Jennifer & Gary Vigran Amy Waggoner Dorothy Webb Rosalind Webb & Duard Ballard Carol Weiss Emily A. West 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




DONOR GUILDS ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2018 - FEBRUARY 18, 2019 DRAMA GUILD $750 - $1,499 Pat & Bob Anker John & Mary Bartley Jesse L. & Carolynne Bobbitt Charlie & Cary Boswell Thomas & Victoria Broadie Debora Bush 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. Fritz French Garth & Christine Gathers Walter & Janet Gross Bill & Phyllis Groth Bruce Hetrick & Cheri O’Neill Drs. Meredith & Kathleen Hull Nicholas & Audra Ide John & Liz Jenkins Donna & Dave Kaiser Michael & Molly Kraus 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 Deb & Greg Perkins Scott & Susan Putney Roger & Anna Radue 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 Michael Slavens Lynne & Alex Timmermans Dr. James & Linda Trippi Lainie Veenstra Karen S. Waltz Samuel L. Westerman Foundation John & Ingrid Barbro Wiebke Frederick & Jacquelyn Winters THEATRE GUILD $300-$749 John & Eileen Ahrens* American Senior Communities Anonymous (7) Adam Bailey Walter Bartz* Constance C. Beardsley* Dan & Barb Bickel Barbara & Christopher Bodem* Ted & Peggy Boehm Jason & Jessica Bohac* Mary Bookwalter & Jeffrey Stant Risa Brainin & Michael Klaers Glenn M. Brazel Jan & Roger Brinkman Bob & Chris Broughton David & Beverly Butler Tom & Bobbie Campbell Dr. William Capello & Georgia Strickland Steve Chatham & Family Jeff & Jeni Christoffersen Circle City Rebar, LLC Robert & Jennifer Cochrane Jeff Coffee

Jerry & Carol Collins Karen Dace* Fr. Clem Davis Paul & Carol DeCoursey* Phillip & Caroline Dennis* Mary & Steve DeVoe Catharine Diehr Sarah Donaldson* Rosemary Dorsa Danielle M. Dove Jim Eup Sherry Faris 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 Mr. & Mrs. David J. Hamernik Emily F. (Cramer) Hancock* John Hansberry & Karry Book Don & Carolyn Hardman Don & Elizabeth Harmon Renata Harris Theodore & Linda Hegeman Catherine Herber Lindsey & Tom Horan Charles Howe Dr. Barbara Jackson David Jackson Ron & Shannon Jones

DONOR GUILDS CONT. ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2018 - FEBRUARY 18, 2019 THEATRE GUILD, CONT. $300-$749 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* Melissa Maulding Paul & Tina McAninch Sonnie and Chip McAuley Donald & P.J. McCullough James M. McMechan William & Nancy McNiece Jim and Pam Meng Don & Kimberly Meyer R. Keith & Marion Michael Dr. Frederick & Alice Milley Larry & Crystal Minnix Rev. Mary Ann Moman* Joyce Morrison Jim & Judith Mowry Eric & Jennie Moy

Marcia Munshower John & Beth Murphy Sharon & Dan Murphy* Col & Mrs. James Malvin Mutter Susan & Jim Naus Dr. LeeAnne M. Nazer Margaret O’Donnel Mr. & Mrs. Niels Ostergaard Merrell & Barbara Owen Robert M. & Kelli DeMott Park Dr. & Mrs. Robert & Judith Pearce Ray & Kimberley Peck Gary & Pam Pedigo* Judy & Sidney Pellissier Mark Perkins Michael & Patricia Pillar Dr. Nenetzin Reyes* Richard & Diane Rhodes Richard & Ann Riegner River Bend Hose Specialty Inc. Julie & Tracy Rosa Sally Rowland Owen Schaub & Donna McClearey Anne & Rod Scheele Dan & Patty Schipp Maggie Barrett Schlake & Joshua Schlake Robert L. & Becky Schneider Ms. Karen Schnyder* Dr. Jill Shedd*

Vicky Sherman, M.D. Randy & Linda Shields Eric Siegman & Kathleen McDonald Siegman Kevin & Amy Sobiski 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 Ron Walker Susan Weatherly* Zoe Urena Weiss John Whitaker Prof. Gail F. Williamson John & Tania Wingfield* Reba Boyd Wooden* Brant & Lorene Wright Zionsville Physical Therapy*

*Denotes sustaining members





OVATION SOCIETY The Ovation Society is an exclusive program that recognizes donors who 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

CORPORATE, FOUNDATION & GOVERNMENT ANNUAL CAMPAIGN GIFTS $300+ | JULY 1, 2018 - FEBRUARY 18, 2019 CORPORATE Barnes & Thornburg LLP Bingham Greenebaum Doll LLP Community Health Network Corteva Agriscience Agriculture Division of DowDuPont Eli Lilly and Company Faegre Baker Daniels Frost Brown Todd Glick Philanthropies Indiana Farm Bureau Insurance Company Indianapolis Colts 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 The Ackerman Foundation Actors’ Equity Foundation, Inc. Elba L. & Gene Portteus Branigin Foundation, Inc. The Jerry L. and Barbara J. Burris Foundation Central Indiana Community Foundation Allen Whitehill Clowes Charitable Foundation Christel DeHaan Family Foundation

The Margot L. Eccles Arts & Culture Fund, a fund of CICF The Glick Family Foundation 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 - FEBRUARY 18, 2019 Ash & Elm Cider Co. Candlewood Suites Current Publishing Eco-Kinetic Hotel Tango Artisan Distillery

IBJ Corp Midwest Parenting Publications National Institute of Fitness & Sport NUVO Pac-Van, Inc.

Saint Joseph Brewery, LLC Studio 2000 West Fork Whiskey Co.

THE ALAN AND LINDA COHEN EDUCATION FUND Anonymous Elba L. & Gene Portteus Branigin Foundation, Inc.

Efroymson Family Fund, a fund of CICF Eli Lilly and Company

David Flaherty

SUMMER CONSERVATORY FUND Robert Baker and Paula Trzepacz Endowed Summer Conservatory Fund | 317.702.1368 63



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

59 West Maryland Street, Suite 189 | 317.974.0400


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



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

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




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



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

20% OFF 24 W. Washington St. | 317.493.1293

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





Betsy Cooprider-Bernstein

Antonia Zunarelli

Jaquie Hensley

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

140 West Washington Street, Indianapolis, IN 46204 | 317.236.1874

9840 North Michigan Road, Carmel, IN 46032 | 317.283.2776

Mary Beth Poe

Jordan Nightengale

Debbie Lambert

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

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

10 North Illinois Street, Indianapolis, IN 46204 | 317.636.7607

Oxford proudly supports the Indiana Repertory Theatre. Oxford is independent and unbiased — and always will be. We are committed to providing multi-generational estate planning advice and forward-thinking investment solutions to families and institutions.


Profile for Indiana Repertory Theatre

IRT Program: "A Doll's House, Part 2" and "Amber Waves"  

2018-2019 Season

IRT Program: "A Doll's House, Part 2" and "Amber Waves"  

2018-2019 Season