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Twelve Angry Men by Reginald Rose
ONEAMERICA MAINSTAGE SEPTEMBER 4 - SEPTEMBER 29
And So We Walked
An Artistâ€™s Journey Along the Trail of Tears created & performed by
UPPERSTAGE OCTOBER 15 - NOVEMBER 10
IRTLIVE.COM | 317.635.5252
Original artwork by Kyle Ragsdale
Origami model by Brian K. Webb
PROUD SPONSOR OF THE IRT SINCE 1997
At Printing Partners, we look at the bigger picture. To us, print is more than simply putting ink on paper. It’s the act of transforming your thoughts, feelings and hard work into something tangible. Similarly, organizations like the Indiana Repertory Theatre aren’t just organizations, but educational journeys to a broadened mindset and an open heart.
And we’re proud to support it.
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APPLAUSE TO A TRUE COMMUNITY CHAMPION ONEAMERICA | 2019-2020 SEASON SPONSOR
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 2019-2020 season.
—Scott Davison, OneAmerica chairman, president and CEO
OUR MISSION & VISION
MISSION Live theatre connects us to meaningful issues in our lives and has the power to shape the human experience. The mission of the Indiana Repertory Theatre is to produce top-quality, professional theatre and related activities, providing experiences that will engage, surprise, challenge, and entertain people throughout their lifetimes, helping us build a vital and vibrant community.
3.................................................Mission & Values 5..................................................................Profile 6......................................................... Leadership 10 ������������������������������������������������������������������Staff 12............................................ Board of Directors 20...........................................Twelve Angry Men 25.............................................Company bios for Twelve Angry Men 36..........................................And So We Walked 44............................................Company bios for And So We Walked 48............................... Interview: DeLanna Studi 56................................................... Donor Listing
VISION The Indiana Repertory Theatre will be a life-long destination of choice for an everexpanding audience of all ages and backgrounds seeking enjoyable and meaningful experiences. Using theatre as a springboard for both personal reflection and community discussion, our productions and programs will inspire our neighbors to learn about themselves and others. As an arts leader in the state of Indiana, the IRT's goal is to make Indiana a dynamic home of cultural expression, economic vitality, and a diverse, informed, and engaged citizenry.
AS AN INSTITUTION, WE VALUE... SUSTAINING A PROFESSIONAL, CREATIVE ATMOSPHERE The professional production of plays that provide insight and celebrate human relationships through the unique vision of the playwright • Professional artists of the highest quality working on our stages in an environment that allows them to grow and thrive • Our leadership role in fostering a creative environment where arts, education, corporate, civic, and cultural organizations collaborate to benefit our community. PRUDENT STEWARDSHIP OF OUR RESOURCES Our public-benefit status, where the focus is on artistic integrity, affordable ticket prices that allow all segments of our community to attend, and community service • Fiscal responsibility and financial security based on achieving a balanced budget • Growing our endowment fund as a resource for future development and to ensure institutional longevity. INCLUSIVENESS The production of plays from a broad range of dramatic literature addressing diverse communities • The involvement of all segments of our community in our activities • Using theatre arts as a primary tool to bring meaning into the lives of our youth, making creativity a component of their education • The employment of artists and staff that celebrates the diversity of the United States.
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CONTACT US IRTLIVE.COM TICKET OFFICE: 317.635.5252 ADMIN OFFICES: 317.635.5277 140 W. Washington Street Indianapolis, IN 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.
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.
SAVE THE DATE
FRIDAY, FEBRUARY 7, 2019 THE CITY'S MOST HILARIOUS FUNDRAISING EVENT!
The cast of IRTâ€™s 2019 Radio Show. Photo by Alexis Morin.
FOR MORE INFO VISIT: IRTLIVE.COM/RADIOSHOW
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 100,000 live professional theatre experiences for its audience last season. These experiences included 35,000 students and teachers from 55 of Indiana’s 92 counties, making the IRT one of the most youthoriented professional theatres in the country. A staff of more than 100 seasonal and year-round employees creates nine productions exclusively for Indiana audiences. Actors, directors, and designers are members of professional stage unions. The IRT’s history has been enacted in two historic downtown theatres. The Athenaeum Turners Building housed the company’s first eight seasons. Since 1980 the IRT has occupied the 1927 Indiana Theatre, which was renovated to contain three performance spaces (OneAmerica Mainstage, Upperstage, and Cabaret) and work spaces, reviving this historic downtown entertainment site. To keep ticket prices and services affordable for the entire community, the IRT operates as a not-for-profit organization, deriving more than 50% of its operating income from contributions. The theatre is generously supported by foundations, corporations, and individuals, an investment which recognizes the IRT’s mission-based commitment to serving Central Indiana with top-quality theatrical fare.
PROGRAMS The OneAmerica Season includes nine productions from classical to contemporary, including the INclusion Series, which has lead support from the Margot L. Eccles Arts & Culture Fund. 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 The Little Choo-Choo That Thinks She Can, A Christmas Carol, and The Watsons Go to Birmingham—1963 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 317.916.4841 for further information.
Among the memorable productions she has directed on the IRT’s stages are The Glass Menagerie (1999), Ah! Wilderness (2002), The Drawer Boy (2004), James Still’s The House That Jack Built (2012), To Kill a Mockingbird (2016), Looking Over the President’s Shoulder (2008 & 2017), and The Diary of Anne Frank (2011 & 2018). This season she directs Morning After Grace.
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 programmatic and 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 22 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.
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 2013-2014 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 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, the Gathering, and Congregation Beth-El Zedeck. She serves on the board of Summit Performance, a fledging professional theatre company that produces work by and about women. 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!
Miranda Troutt and Rob Johansen in IRT’s 2019 production of The Diary of Anne Frank. Photo by Zach Rosing.
LEADERSHIP: SUZANNE SWEENEY Managing Director
Suzanne is a 21-year veteran of the IRT and is proud to work alongside her mentor and friend, Janet Allen, as co-CEO of the Theatre. Suzanne oversees all of the administrative functions of the organization, including marketing, fundraising, ticket office, house management, finance, human resources, information technology, and building operations. During her tenure, the Theatre has secured a long-term lease for the building with the City of Indianapolis, raised funds for our Front and Center campaign that we expect will culminate in excess of the $18.5 million goal by June 2020, and most recently renovated the Upperstage Lobby and restrooms. (While we know our patrons will miss the “early elementary school” vibe to the former restrooms, we are pleased to have increased the number of facilities to improve audience amenities. We think you will like the changes!)
In 2016, Suzanne was honored to serve as a panelist for Shakespeare in American Communities in cooperation with Arts Midwest. Suzanne is active in the community, having been the treasurer of Irish Fest for nine years, a member of the board of directors and treasurer of the Day Nursery Association (now Early Learning Indiana) for seven years, and a past treasurer of IndyFringe. Suzanne is a graduate of the College of William & Mary (undergraduate) and Indiana University (M.B.A.). She started her career as a CPA; prior to coming to Indianapolis, she worked in finance for more than 10 years, living in such varied locales as Washington, DC; Dallas, Texas; Frankfurt, Germany; Honolulu, Hawaii; and even working for three months in Auckland, New Zealand (where, yes, she went bungee jumping). She is a proud alum of the Stanley K. Lacy Leadership Program (Class XXXI). Suzanne lives in the Old Northside with her 16-year-old son, Jackson, and their foxhound rescue dog, Gertie, and spends some of her downtime in Palatine, Illinois, with her partner, Todd Wiencek.
Top: Tracy Michelle Arnold and Kim Staunton in IRT’s 2019 production of A Doll’s House, Part 2. Bottom: Cole Taylor and Renika Williams in IRT’s 2018 production of Pipeline. Photos by Zach Rosing.
AS PART OF THE FRONT AND CENTER CAMPAIGN, SARAH & JOHN LECHLEITER HAVE GIVEN A GIFT TO THE IRT IN HONOR OF JAMES STILL’S LONG-TIME RELATIONSHIP WITH THE IRT, CREATING THE JAMES STILL PLAYWRIGHT-IN-RESIDENCE FUND, WHICH WILL PROVIDE FUTURE SUPPORT FOR THE PLAYWRIGHT-IN-RESIDENCE AS WELL AS THE CREATION OF NEW WORK FOR THE IRT.
LEADERSHIP: JAMES STILL Playwright-in-Residence
Pulitzer Prize, and have been developed and workshopped at Robert Redford’s Sundance, the New Harmony Project, Eugene O’Neill Playwrights Conference, Seven Devils 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.
During his 22 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; two productions of Amber Waves; and all three plays in his trilogy made up 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, and The Secret History of the Future. James has 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, 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 the premiere of The Little Choo-Choo That Thinks She Can, and James directs Twelve Angry Men.
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 threatres, universities, and high schools.
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
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.
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 work includes an adaptation of the classic Black Beauty commissioned by Seattle Children’s Theatre where it premieres this season, as well as new plays (A) New World and Dinosaur(s) and several secret new projects.
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. In all of his myriad roles, Ben is guided by the belief that access to high-quality theatre helps build creative, empathetic people and healthy communities. Ben is thrilled to begin his third season at Indiana Repertory Theatre, where he has directed A Christmas Carol, Elephant & Piggie’s “We Are in a Play!”, and The Town Mouse and the Country Mouse; this season he directs The Little Choo-Choo That Thinks She Can and A Christmas Carol. As associate artistic director, Ben manages casting both locally and nationally, helps guide education and community programming, and connects IRT to new artists and ideas. Dedicated to actively breaking down historical barriers of access to the theatre, he is excited about IRT’s work to create thoughtful, sustainable Equity, Diversity, and Inclusion initiatives. 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 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.
Carlos Medina Maldonado and Devan Mathias in IRT’s 2019 production of Elephant & Piggie’s “We Are in a Play!”. Photo by Zach Rosing.
INDIANA REPERTORY THEATRE STAFF EXECUTIVE ARTISTIC DIRECTOR
Associate Artistic Director Benjamin Hanna General Manager Jane Robison Production Manager Brian S. Newman Resident Dramaturg Richard J Roberts Company Manager Hillary Martin Playwright-in-Residence James Still COSTUME SHOP
Costume Shop Manager Guy Clark Draper Magdalena Tortoriello Costumers Christi Parker Judith Skyles Wardrobe Supervisor Bailey Lewis
Shop Assistant Jason Gill
Assistant Technical Director John Bennett
Shop Foreman Kyle Baker
Master Electrician Beth A. Nuzum Assistant Master Electrician Kayla Brown Electrician Victoria McWilliams PAINT SHOP
Charge Scenic Artist Claire Dana Scenic Artists Jim Schumacher Zahra Hakki PROPERTIES SHOP
Properties Manager Geoffrey Ehrendreich Properties Artisan Rachelle Martin Properties Carpenter Madelaine Foster SCENE SHOP
Carpenters Kurt Fenster Ariana Sarmiento Fielding David Sherrill Stage Operations Supervisor Hayley Wenk SOUND & VIDEO
Resident Sound Designer Todd Mack Reischman Audio Engineers Brittany Hayth Claudia Escobar STAGE MANAGEMENT
Production Stage Manager Nathan Garrison Stage Manager Joel Grynheim Production Assistants Rebecca Roeber Jalen Jones
Technical Director Chris Fretts
PART-TIME STAFF & ASSOCIATES ARTISTIC
Teaching Artists Chelsea Anderson Jo Bennett Frankie Bolda Ann Marie Elliott ShawntÃ© Gaston Tom Horan Josiah McCruiston Kathi Ridley-Merriweather Beverly Roche Milicent Wright
Dramaturgy Interns Mark Judge Felicity Kline
Scenic Painters Lee Edmundson
Electricians Amanda Blevins Lee Edmundson Luke Hoefer Jessica Hughes
Assistant Controller Danette Alles
Payroll & Benefits Specialist Jennifer Carpenter
Receptionist / Administrative Assistant Seema Juneja
Executive Assistant Randy Talley
Director of Information Systems Dan Bradburn
Administrative Support Specialist Suzanne Spradlin Beinart
Director of Development Jennifer Turner Individual Giving Manager Kay Swank-Herzog Institutional Giving Manager Eric J. Olson Donor Relations Manager Nora Dietz-Kilen Development Systems Brady Clark EDUCATION
Education Manager Sarah Geis FINANCE
Director of Finance Greg Perkins
External Auditors Crowe Horwath LLP Legal Counsel Heather Moore PATRON SERVICES
Assistant House Managers Pat Bebee Terri Bradburn Nancy Carlson Kyla Decker
Director of Marketing & Sales Danielle M. Dove Marketing Communications Manager Kerry Barmann Audience Development Manager Elizabeth Petermann Graphic Designer Alexis Morin Multimedia Coordinator Heather Zalewski OUTREACH
Group Sales & Teleservices Manager Doug Sims
Matt Kennicutt Maleah Robertson Krystina Valentine PATRON SERVICES
Manager of Public Operations Margaret Lehtinen House Manager Heather Uuk Tessitura Administrator Molly Wible Sweets Ticket Office Manager Kim Reeves Assistant Ticket Office Manager Eric Wilburn Gift Shop Manager & Customer Service Representative Jessie Streeval Customer Service Representatives Erin Elliott Hannah Janowicz Building Services Dameon Cooper Dave Melton
Assistant Teleservices Manager Jeff Pigeon Teleservices Representatives Gabrielle Carter Margaret Freeman
Stephen Denney Dieter Finn Rene Fox Scot Greenwell Marilyn Hatcher Bill Imel Sarah James Norma Johnson Julia Kaser Michelle Kennedy-Coenen Sherry McCoy Gail McDermott-Bowler Dianna Mosedale Deborah Provisor Phoebe Rodgers
Kathy Sax Karen Sipes Aidan Sturgeon Brenda Thien Rudy Thien Maggie Ward
Bartenders Sheryl Conner Aaron Henze Sandra Hester-Steele Nancy Hiser Barbara Janiak Susan Korbin Tina Weaver 11
BOARD OF DIRECTORS Welcome to the Indiana Repertory Theatre! This season we have a marvelous mixture of popular classics and wonderful new works to offer you. We’re particularly excited about our new INclusion Series, offering three plays by three women about Native American, African American, and Chinese American experiences. We are committed to broadening diversity in all areas of the IRT, not only in the stories we tell, but also in our staff and artists and the communities we serve. We’re also turning our eyes to the future as we near the goal of our $18.5 million Front and Center campaign. Now more than ever the IRT needs your financial support to expand programming to better serve both adult and youth audiences, to enhance equipment and technology, and to ensure the IRT’s robust future for generations to come. Thank you for your patronage and support.
–Nadine Givens, IRT Board Chair OFFICERS CHAIR
VICE CHAIR & CHAIR ELECT
Nadine Givens PNC Wealth Management Mark Shaffer KPMG LLP
Tammara D. Avant Taft Stettinius & Hollister LLP
IMMEDIATE PAST CHAIR
Tom Froehle* Faegre Baker Daniels
Andrew Michie OneAmerica Financial Partners, Inc.
MEMBERS 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 Butler University 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 Ricardo L. Guimarães Corteva Agriscience, Retired Michael N. Heaton Katz Sapper & Miller Holt Hedrick Calumet Specialty Products Partners L.P. Rebecca Hutton Leadership Indianapolis Elisha Modisett Kemp Corteva Agriscience Sarah Lechleiter Community Volunteer 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 Lauren Petersen TechPoint
Peter Racher Plews Shadley Racher & Braun LLP Peter N. Reist Oxford Financial Group Susan O. Ringo Community Volunteer Myra C. Selby Ice Miller LLP Mike Simmons Jupiter Peak, LLC Susan L. Smith Community Volunteer Amy Waggoner Salesforce L. Alan Whaley Ice Miller LLP, Retired David Whitman* PricewaterhouseCoopers LLP, Retired Heather Wilson Frost Brown Todd LLC
BOARD EMERITUS Robert Anker* Rollin Dick Berkley Duck* Dale Duncan* Michael Lee Gradison* (in memoriam) Margie Herald
David Klapper David Kleiman* E. Kirk McKinney Jr. (in memoriam) Richard Morris*(in memoriam) Jane Schlegel* Wayne Schmidt
Jerry Semler* Jack Shaw* William E. Smith III* Eugene R. Tempel* * Past Board Chairs
THE REPERTORY SOCIETY Exclusive Access for Unparalleled Support
An Indiana child’s awe-inspiring first live theatre experience. An evening filled with laughter, family and friends. A ride-home debate sparked by a new perspective presented onstage.
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! Hannah Ruwe and Miranda Troutt in IRT’s 2019 production of The Diary of Anne Frank. Photo by Zach Rosing.
FOR MORE INFORMATION OR TO JOIN THE REPERTORY SOCIETY
Contact Kay Swank-Herzog, Individual Giving Manager: email@example.com | 317.916.4830
Inspired by Indyâ€™s Waterways In Indy, inspiration runs deep. For Citizens Energy Group, it runs 250 feet deep through the DigIndy Tunnel System. Upon completion, DigIndy will be a 28-mile network of tunnels that will eliminate sewer overflows almost entirely from local waterways. The DigIndy Art Project is a Citizens partnership with Big Car Collaborative to highlight the major changes taking place under our city. Local artists will bring their art to manhole covers across Downtown, Garfield Park and Broad Ripple with paintings inspired by Indyâ€™s future with cleaner waterways. Just one more way that Citizens supports the Arts in our community.
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Wabash. Shouldnâ€™t we be on your list? www.wabash.edu
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ILJ PHOTO CREDIT (SET ONLY):
ONEAMERICA MAINSTAGE | SEPTEMBER 4 - 29
SCENIC DESIGNER: Junghyun Georgia Lee LIGHTING DESIGNER: Michelle Habeck
Director_________________________ JAMES STILL Scenic & Costume Designer____________ JUNGHYUN GEORGIA LEE Lighting Designer______________________ MICHELLE HABECK Sound Designer___________________ TODD MACK REISCHMAN Dramaturg__________________________ RICHARD J ROBERTS Stage Manager_______________________NATHAN GARRISON* Casting_____________________________ CLAIRE SIMON CSA CO-PRODUCED WITH SYRACUSE STAGE
Artistic Director_________________________ ROBERT M. HUPP Managing Director______________________ JILL A. ANDERSON
SEASON 2019 - 2020 SUPPORTER
Executive Artistic Director
SUZANNE SWEENEY Managing Director
THE COMPANY Juror One_________________ SETH ANDREW BRIDGES* Juror Two_____________________ SCOT GREENWELL* Juror Three______________________ CRAIG SPIDLE* Juror Four____________________ HENRY WORONICZ* Juror Five_____________________ DEMETRIOS TROY* Juror Six______________________ CASEY HOEKSTRA* Juror Seven_______________ MICHAEL STEWART ALLEN* Juror Eight________________________ CHRIS AMOS* Juror Nine____________________ MARK GOETZINGER* Juror Ten______________________ ROBERT IERARDI* Juror Eleven_____________________ PATRICK CLEAR* Juror Twelve_____________________ CHARLES GOAD* Guard_________________________ ADAM O. CROWE
SETTING The jury room of a New York court of law. 1957 There will be no intermission.
ACKNOWLEDGEMENTS Twelve Angry Men is presented by special arrangement with Samuel French, Inc. Voice of the Judge: Judge David J. Dreyer Dialect Coach: Allison Moody Fight Consultant: Seth Andrew Bridges Understudies: Adam O. Crowe & John Michael Goodson *Actors and stage managers in this production who are members of Actorsâ€™ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. The scenic, 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.
BY JANET ALLEN, EXECUTIVE ARTISTIC DIRECTOR Welcome to the IRT’s 48th season! We are delighted to welcome back our season ticket holders, and if you are here on a ticket to a single show, we are pleased that you have joined us. We endeavor to make art that is thought-provoking, discussionworthy, and entertaining, while achieving national-level quality in our production elements.
Twelve Angry Men has simmered in the American zeitgeist for more than 60 years, in part because it pulls the curtain back on something that is a secretive process: the deliberations that go on in a sequestered jury room. Wherever we sit on the political spectrum, we share a basic respect for the US trial by jury system, one that has been the envy of many other countries because it posits that a person is presumed innocent until proven guilty by a jury of peers. Within that sentence is contained many ideas that are contentious in our current time and have been throughout our country’s history. Is a trial by jury ever fair, or is it subject to the competitive skills of trial lawyers and the impressionability of juries? Are juries stacked against the presumption of innocence by wily litigators? Is the fairness of the US trial system threatened by economic disparity? And in a country still divided by race and color, can a person of color receive due process? All these questions and more are packed into Reginald Rose’s courtroom-adjacent drama. The play also casts a particularly penetrating eye on various American viewpoints, exposing the differences that education, economics, age, immigration status, and exposure to diversity have on the forming of those viewpoints.
But on another level, Twelve Angry Men is really good, oldfashioned playmaking. Taking place in real time, it feels like many a skillfully written play, where the craft of the writer takes a backseat to the sense that they might simply have been there, recording what could happen on a hot day in New York—or any court around our country—when twelve men speak as men do only when they are not in the presence of women or others they think might judge them. As a consequence, it’s gripping entertainment and a remarkable opportunity to enjoy great acting. The actors don’t leave the stage; we watch them continuously in every moment, as they vie to be heard, to ask questions, to vent their views, to cover their anger, to defend and attack. Some want to find the truth; others just want to get home or get on with it or get out. We open our season with this American classic to invite your thinking and discussion about the provocations of the play, and to revel in how art can make issues come alive in vibrant, headand heart-rattling ways. This play begins us on a journey through the six plays of our season ticket package, taking us through many expressions of thought and emotional life, all of them asking us to revitalize our humanity through laughter, discourse, tears, and reflection, and maybe even some commitment to activity. Welcome to IRT season 48. The ride is ahead.
Above & opposite: From the 1957 film of Twelve Angry Men.
POINTS OF VIEW BY JAMES STILL, DIRECTOR
More than 60 years after its early versions (first as a one-hour live television drama, then as a feature-length Hollywood film), Reginald Rose’s Twelve Angry Men continues to make its case for relevance because it is at once simple and straight-forward while also complex and high-stakes. In contemporary popular culture, we see endless stories about the justice system, but almost exclusively through the lenses of lawyers and judges. I’m interested in the ways that twelve citizens who were previously unknown to one another are expected to work through their biases and heated disagreements and come to a unanimous decision based on the facts available to them. Of course, it turns out that “facts” may be subjective, which is one of the many layers of misunderstandings explored in the play. But the idea that twelve citizens (angry or not) can put aside differences to fulfill their civic duty—that is democracy at its most idealistic and personal. It’s also a profound reminder about ways that the American experiment is flawed, rigorous, and steeped in responsibility. Empathetically, the play offers us an opportunity to experience the messy process of being on a jury, which can arguably be a microcosm of a community (or country) in deep disagreement about … everything. The exploration of point of view is one of the things that draws me to this play. There are twelve points of view, and they are mostly at odds with one another. Alliances shift, votes are changed, and maybe even some minds are changed in the process. In my collaboration with the design team, I wanted to find a way to feature point of view as both metaphor and function. That idea will, I hope, make more sense after you’ve seen our production and experienced how point of view can also change visually from wherever you’re sitting in the theatre.
Something else that I’m thinking about as director of this play is the word “angry.” The title of the play isn’t Twelve Anguished Men or Twelve Irritated Men or even Twelve Vengeful Men. So what are these twelve jurors angry about? And does “angry” mean the same thing in 2019 as it did in 1957? Perhaps the feeling is the same, but the many ways we talk about it now, the range of ways anger is expressed—that feels different. The anger of 1957 seems less direct but strangely more obvious. There is a kind of code to some of the anger explored and expressed in the play. This is one of the ways that makes the play firmly of its time, of its period. Looking at this play in 2019, there’s opportunity for us to experience the many ways class and race can so easily divide a group of people. The conversations we have today may be different in terms of the language we use and a growing consciousness about the legacy of injustice, but there are versions of the play’s many heated conversations still happening today, every day. There have been essays and articles written (even by fans of the play and movie) that the jury in Twelve Angry Men gets it wrong. That’s a conversation that interests me, too. But in the end I find myself most satisfied by watching how the play examines process rather than outcome. The ending, when it comes, comes quickly. The twelve jurors leave, their civic duty completed. They leave never knowing each other’s names. But in some ways these jurors might profoundly know more about one another than some of the people they call friends.
PERSPECTIVES JUNGHYUN GEORGIA LEE | SCENIC & COSTUME DESIGNER The design for Twelve Angry Men started with a basic question: what do we want to see the most in this play? It is clearly the story that unfolds around the table and the exchanges among the 12 different characters. We want to look at the discussion and the clashes from different perspectives and give every character an opportunity to be shown and heard from every angle, up close. I started with the table, then built around that the world of the jury room inside the courthouse in downtown Manhattan.
The clothes came naturally after studying the characters. These 12 men come from different paths of life. We never learn their names. But the play provides me with a full story for each man, their daily lives and the choices they make. What surprises me most is that I understand even the most biased characters in the play. It is an amazing opportunity to create both scenery and costumes for this American classic. I hope the designs elevate the story as much as the play inspires me.
THE COMPANY MICHAEL STEWART ALLEN | JUROR SEVEN Michael has spent 2019 playing Iago in Othello for the Acting Company in NYC and King Louis XIII in Ken Ludwig’s The Three Musketeers at the Shakespeare Theatre of New Jersey. Other credits include the first Broadway national and international tours of War Horse with the National Theatre of Great Britain. He spent two seasons as a company member at the Old Globe in King Lear, The Madness of King George, The Taming of the Shrew, The Tempest, Amadeus, and Much Ado about Nothing. He has been a company member at the Shakespeare Theatre of New Jersey for the last 20 years and has performed in theatres in New York and all across the country including the Acting Company, Arkansas Rep, Delaware Rep, the Folger, Playmakers Rep, Florida Studio Theatre, Shaker Bridge Theatre, and the Pennsylvania and North Carolina Shakespeare festivals. Film and TV credits include The Blacklist, Admiral Rickover, and Cold Mountain. Michael is a graduate of the University of North Carolina at Chapel Hill and a proud member of Actor’s Equity and SAG/AFTRA unions.
CHRIS AMOS | JUROR EIGHT Chris is honored to make his IRT debut. Based in Chicago, his credits include Remy Bumppo, Northlight, BoHo, American Theatre Company, Provision Theatre, Chicago Shakespeare, Redtwist, and Broadway in Chicago. His regional credits include Peter and the Starcatcher, Twelfth Night, A Midsummer Night’s Dream, and The Tempest at the Illinois Shakespeare Festival, and The Comedy of Errors, Scapin, and Peter and the Starcatcher at the Utah Shakespeare Festival. Television appearances include Empire, The Chi, Chicago PD, Chicago Med, and Chicago Fire. He holds an M.F.A. in acting from Roosevelt University in Chicago, and B.A.s in both music and theatre from Oklahoma State University. “Always grateful for a chance to tell stories with friends. Much love to Pamela.”
SETH ANDREW BRIDGES | JUROR ONE Seth is an NYC based actor and stuntman and is thrilled to be making his IRT debut! Regional theatre credits include The Three Musketeers (Alley Theatre); Alabama Story (Pioneer Theatre Company, world premiere); Noises Off, The Three Musketeers, Great Expectations (Syracuse Stage); A Christmas Carol, The Tempest, Sherlock Holmes, Bear Country, Twelfth Night (Alabama Shakespeare Festival); Peter and the Starcatcher (Arkansas Repertory Theatre/TheatreSquared); Proof, One Man Two Guvnors (TheatreSquared); Hay Fever, The Dingdong (Florida Repertory Theatre); and The Liar (Gulfshore Playhouse). TV credits include FBI (CBS) and Modern Love (Amazon). As a stuntman, his credits include Elementary (CBS), The Godfather of Harlem (Starz), Manifest and The Blacklist (NBC), Gotham (Fox), more than 30 feature films, and the video game Red Dead Redemption II. Seth holds a B.F.A. from NYU. “For #tinybae.” Follow @sethandrewb
Opposite: Preliminary sketches by scenic & costume designer Junghyun Georgia Lee.
THE COMPANY PATRICK CLEAR | JUROR ELEVEN At the IRT, Patrick has been seen in Love Letters, The Heavens Are Hung in Black, and Plaza Suite. He has appeared in more than sixty Chicago-area productions, including major roles in Race, The Goat or Who is Sylvia?, The Clean House, Arcadia (Goodman Theatre); Mary Stuart, The Madness of George III, King Lear (Chicago Shakespeare); Pride and Prejudice (Northlight); Native Gardens (Victory Gardens); and Port Authority (Writers Theatre). He appeared on Broadway in Noises Off and Hollywood Arms. His regional theatre credits include Hartford Stage, Asolo Repertory Theatre, Maltz Jupiter Theatre, Cleveland Play House, Arena Stage, Center Stage, Guthrie Theater, Huntington Theatre, and Cincinnati Playhouse. Film and television credits include The Dark Knight, Losing Isaiah, Chicago Med, Proven Innocent, Empire, Chicago PD, and Boss.
ADAM O. CROWE | GUARD Adam’s IRT appearances have included The Velveteen Rabbit, The Crucible, A Midsummer Night’s Dream, The Heavens Are Hung in Black, and Inherit the Wind. A graduate of Wabash College, Adam has performed on Central Indiana stages for almost 30 years, with appearances at Beef & Boards Dinner Theatre, Actors Theatre of Indiana, Phoenix Theatre, Indy Shakes, Jewish Theatre of Bloomington, and Cardinal Stage, to name a few. “My deepest thanks to audiences for supporting local professional theatre!”
CHARLES GOAD | JUROR TWELVE Chuck’s IRT credits include A Christmas Carol, The Three Musketeers, The Great Gatsby, Hamlet, Romeo and Juliet, Othello, Driving Miss Daisy, Our Town, Pygmalion, Blithe Spirit, All My Sons, To Kill a Mockingbird, and The Fantasticks. He is a founding member of the Phoenix Theatre and appeared there last season in Bright Star, The Christians, and The Children. Other Phoenix favorites include Vanya and Sonia and Masha and Spike, August: Osage County, Gross Indecency: The Three Trials of Oscar Wilde, November, Shipwrecked, and The Mystery of Irma Vep. Additionally, he is a collaborator with the new Fonseca Theatre in River West. Other local credits include Indianapolis Shakespeare Company, Actors Theatre of Indiana, Beef & Boards, Eclipse, Summer Stock Stage, Bobdirex, ShadowApe, Brown County Playhouse, and Cardinal Stage. Regionally he has worked at Cincinnati Playhouse, Missouri Rep, and Syracuse Stage.
MARK GOETZINGER | JUROR NINE This is Mark’s 37th season at the IRT, with roles in more than 90 productions. Some of his favorites include Yogi Berra in Nobody Don’t Like Yogi, the title role of The Drawer Boy, Atticus Finch in To Kill a Mockingbird (2009), Dr. Watson in Sherlock Holmes: The Final Adventure, Hucklebee in The Fantasticks, Dr. Gibbs in Our Town, Charley in Death of a Salesman, Old Tom Martin in The Gentleman from Indiana, Albany in King Lear, Rev. Brown in Inherit the Wind, Mr. Bennet in Pride and Prejudice, Milton Perry in The Immigrant, Uncle Sid in Ah, Wilderness!, Heck Tate in To Kill a Mockingbird (1997), and Luther Billis in South Pacific, as well as dozens of Cabarets.
SCOT GREENWELL | JUROR TWO Scot has appeared at IRT in You Can’t Take It With You, The Two Gentlemen of Verona, The Three Musketeers, A Midsummer Night’s Dream, and A Christmas Carol. He is a member of Indianapolis Shakespeare Company and has played in their productions of Hamlet, Coriolanus, and The Tempest, among others. Other credits include Bloody Bloody Andrew Jackson, An Act of God, Buyer and Cellar (Phoenix Theatre); Little Shop of Horrors, The Grapes of Wrath, The Santaland Diaries (Cardinal Stage Company); and Unnecessary Farce (Actors Theatre of Indiana). Scot is a native Hoosier, a University of Evansville alumnus, and he shares a home with his partner Zack and their dog Minnie.
CASEY HOEKSTRA | JUROR SIX Casey is thrilled to return to IRT after making his debut in Appoggiatura. He splits his time between American Players Theatre in Wisconsin and Chicago, where he recently danced in Moby Dick at the Harris Opera and appeared in Twelfth Night at Writers Theatre. Other credits include And Then There Were None (Drury Lane); Exit the King, Twelfth Night, A View from the Bridge, Death of a Salesman, A Midsummer Night’s Dream, Arcadia (American Players Theatre); Blood at the Root (Next Act); The Jungle Book (Children’s Theatre of Minneapolis); Juno and the Paycock (Guthrie Theater); and Romeo and Juliet (Montana Shakespeare). He’s an avid reader, board game enthusiast, and amateur illustrator.
ROBERT IERARDI | JUROR TEN Robert played Lt. Schrank in the West End in the 2008 Olivier nominated London production of West Side Story at Sadler’s Wells Theatre. His favorite roles include The Groundling at AXIS Theatre in NYC and Lombardi, Michael Novack in God of Carnage, and Harry Brock in Born Yesterday at Ocean State Theatre Company. At Arkansas Rep he played Ross in Macbeth, Sgt. Carlino in Wait until Dark, and Russ/Dan in Clybourne Park. He played Harbison in South Pacific at the Ogunquit Playhouse. Other credits include Woyzeck, Eddie Carbone in A View from the Bridge, Agamemnon, and Serge in Art. He was a proud member of the Jean Cocteau Repertory. He has performed with Anne Jackson, Kim Hunter, Alvin Epstein, Tammy Grimes, Sandy Duncan, Laurence Luckinbill, Max von Essen, and Christian Borle.
THE COMPANY CRAIG SPIDLE | JUROR THREE Craig has previously appeared at the IRT in Guess Who’s Coming to Dinner and Sister Carrie. His Chicago credits include The Tempest, As I Lay Dying, and Libra at Steppenwolf; Passion Play, Oedipus Complex, Pericles, Black Star Line, and As You Like It at the Goodman; Life’s a Dream, The Little Foxes, Nora, Desire under the Elms, and The Cherry Orchard at Court; The Brothers Karamazov at Lookingglass; and A Christmas Carol, Ten Little Indians, Fiddler on the Roof, and The Man Who Came to Dinner at Drury Lane Oakbrook. Regional credits include Arizona Theatre Company, Huntington Theatre in Boston, Freedom Theatre in Philadelphia, Public Theatre in Pittsburgh, American Players Theatre in Wisconsin, and Cherry Lane Theatre in New York. Craig has been seen on television in Early Edition and America’s Most Wanted and on film in Public Enemies, Road to Perdition, The Untouchables, and The Color of Money. He has done voice-overs, commercials, and industrials, and currently teaches at Columbia College in Chicago.
DEMETRIOS TROY | JUROR FIVE Demetrios makes his IRT debut. His Chicago credits include 2666, A Christmas Carol, The Seagull and The Good Negro at Goodman Theatre; The Wheel at Steppenwolf Theatre Company; Charles III, Henry V, Julius Caesar, Timon of Athens, Richard III, and Romeo and Juliet at Chicago Shakespeare Theater; Treasure Island at Lookingglass Theatre Company; Inana, Blood and Gifts, and Danny Casolaro Died for You at TimeLine Theatre Company, where he is an artistic associate; and Awake and Sing at Northlight Theatre. His regional credits include Junk at Milwaukee Repertory Theatre; The Boys Next Door at Syracuse Stage; Julius Caesar at Utah Shakespeare Festival; and Julius Caesar, A Midsummer Night’s Dream, and Twelfth Night, at Door Shakespeare. Television and film credits include Chicago Fire and Mob Doctor. He holds a B.A. from DePaul University/Barat College and an M.F.A. from the University of South Carolina.
HENRY WORONICZ | JUROR FOUR At the IRT, Henry has acted in A Doll’s House Part 2, Holmes and Watson, The Originalist, The Mousetrap, Red, An Iliad, A Midsummer Night’s Dream, Young Lady from Rwanda, and King Lear; he has also directed The Three Musketeers and Romeo and Juliet. Regional acting and directing credits include Actors Theatre of Louisville, American Conservatory Theatre, American Players Theatre, Arden Theatre Company, Berkeley Repertory Theatre, Boston Shakespeare Company, Center Stage, Delaware Theatre Company, Hong Kong Repertory Company, La Jolla Playhouse, Meadow Brook Theatre, Syracuse Stage, the Shakespeare Theatre, and the Alabama, Illinois, New Jersey, Pennsylvania, and Utah Shakespeare festivals. He was seen on Broadway in Julius Caesar with Denzel Washington. Television credits include Seinfeld, Cheers, Third Rock from the Sun, Star Trek, and Law & Order. At the Oregon Shakespeare Festival, he was a resident actor/director from 1984 to 1991 and artistic director from 1991 to 1995. Henry also served as executive producer at Lake Tahoe Shakespeare Festival from 2008 to 2009, the head of M.F.A. Acting at Illinois State University from 2009 to 2012, and a visiting professor in the Department of Theatre at IU Bloomington from 2014 to 2017.
REGINALD ROSE | PLAYWRIGHT
Reginald Rose (1920–2002) was a film and television writer best known for his work in the early years of live television. Rose often focused on controversial social and political issues in realistic slice-of-life dramas. He is best known for Twelve Angry Men, which he originally wrote in 1954 for the CBS anthology series Studio One. Rose received an Emmy for his one-hour teleplay and an Oscar nomination for its 1957 full-length film adaptation. In 1961 he created The Defenders, a weekly courtroom drama spun off from one of his episodes of Studio One; he won two more Emmys writing for the series. There have been several stage and television versions of Twelve Angry Men over the years; Rose’s own stage adaptation premiered in London in 1964 but did not appear on Broadway until 2004.
JAMES STILL | DIRECTOR This is James’s 22nd season as the IRT’s playwright-in-residence; the company next produces his play The Little Choo-Choo That Thinks She Can. James has 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 (2000), and Looking Over the President’s Shoulder (2001). (complete bio on page 8)
JUNGHYUN GEORGIA LEE | SCENIC & COSTUME DESIGNER Junghyun has designed scenery for Pipeline and costumes for The Unexpected Guest at the IRT. She is a Korean-born New York– based scenic and costume designer. She has designed for Ma-Yi, Soho Rep, the Play Company, the Guthrie Theater, Hartford Stage, Huntington Theatre Company, Cincinnati Playhouse in the Park, and Playmakers Rep. She is a member of New Neighborhood, a theatre/TV/music company. She earned her M.F.A. at the Yale School of Drama. junghyunleedesign.com
MICHELLE HABECK | LIGHTING DESIGNER At the IRT, Michelle has designed lighting for A Doll’s House Part 2, Looking Over the President’s Shoulder, Dial “M” for Murder, The Mousetrap, and Amber Waves (2000), 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.
TODD MACK REISCHMAN | SOUND DESIGNER This is Todd’s 18th season as resident sound designer at IRT, and his eighth season with Indianapolis Shakespeare Company as sound designer/composer. His work has been heard at Syracuse Stage, Geva Theatre Center, San Diego Rep, St. Louis Black Rep, Actors Theatre of Louisville, and Lake Tahoe Shakespeare Festival, among others. Todd stays involved in a variety of music projects around town. After 25 years in professional audio he can both create and describe the ruckus.
THE COMPANY RICHARD J ROBERTS | DRAMATURG This is Richard’s 30th season with the IRT, and his 22nd 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, A Christmas Carol, The Night Watcher, Neat, Pretty Fire, The Giver, The Power of One, and Twelfth Night. This season he directs Cabaret at the University of Indianapolis and Sweeney Todd for Actors Theatre of Indiana and the Carmel Symphony Orchestra. Other directing credits include the Phoenix Theatre, Edyvean Repertory Theatre, Indianapolis Civic Theatre, Indianapolis Chamber Orchestra, IndyShakes/Wisdom Tooth, Butler University, and Anderson University. Richard studied music at DePauw University and theatre at Indiana University and has been awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis.
NATHAN GARRISON | STAGE MANAGER This is Nathan’s 24th 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.
CLAIRE SIMON CSA | CASTING Based in Chicago, Claire Simon CSA has worked with the IRT for the past 23 years on casting more than 40 productions, including You Can’t Take It With You, Holmes and Watson, Noises Off, Appoggiatura, Romeo and Juliet, The Originalist, The Curious Incident of the Dog in the Night-Time, Guess Who’s Coming to Dinner, Finding Home, The Great Gatsby, and many more. Other regional credits include Syracuse Stage, Asolo Theatre, Lyric Opera, Milwaukee Rep, New Theatre, Paramount, Writers Theatre, Broadway in Chicago’s Working, and the Tony Award–winning Million Dollar Quartet. TV credits include Empire, Easy, Sense8, Chicago Fire, Chicago PD, Crisis, Betrayal, Detroit 1-8-7, Boss, Mob Doctor, and Chicago Code. Film credits include Divergent, Contagion, Unexpected, Man of Steel, Save the Last Dance, and High Fidelity. Claire has won Artios Awards for casting the pilot of Empire and for Season 1 of Fox’s Prison Break.
OUR CO-PRODUCING PARTNER: SYRACUSE STAGE Syracuse Stage is Central New York’s premier professional theatre. Founded in 1974 and in its 47th season, Stage has produced more than 300 plays including a number of world, American, and East Coast premieres. Led by artistic director Bob Hupp and managing director Jill Anderson, 70,000 patrons each season enjoy an adventurous mix of new plays and bold interpretations of classics and musicals featuring the finest theatre artists. In addition, Stage maintains a vital educational outreach program that annually serves more than 20,000 students throughout Central New York. Syracuse Stage is a member of the League of Resident Theatres (LORT), the largest professional theatre association in the country.
For 48 seasons the IRT has created a tradition of live professional theatre that continues to give back to Central Indiana.
THE FRONT AND CENTER CAMPAIGN WILL - Support artistic innovation, onstage and behind the scenes
- Help us better serve new and diverse segments of our community
- Ensure the sustainability of the Theatre for future generations
- Make capital improvements to our historic building, including the renovation of the Upperstage Lobby
Your support creates great theatre today and ensures the sustainability for future generations. For more information, contact Jennifer Turner, Director of Development, firstname.lastname@example.org | 317.916.4835 David Alan Anderson and Marcus Naylor in IRTâ€™s 2016 production of Fences. Photo by Zach Rosing.
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Above: Peggy Gailey and Ginny Emerson. Photo by Kerry Barmann.
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FILL IN THE NUMBER OF PACKAGES YOU WOULD LIKE TO ORDER _____________________________ BUILD YOUR OWN 3 PACKAGE(S) TOTAL: $______________________________________________________ INCLUSION SERIES PACKAGE Celebrate diverse storytelling with our new series featuring work by female playwrights on the Native American, African American, and Chinese American experience. The full series consists of And So We Walked: An Artist’s Journey Along the Trail of Tears, The Watsons Go to Birmingham—1963 and The Paper Dreams of Harry Chin, and includes two purchase options for $135.
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ILJ PHOTO CREDIT (SET ONLY):
UPPERSTAGE | OCTOBER 15 - NOVEMBER 10
SCENIC DESIGNER: John Coyne LIGHTING & PROJECTIONS DESIGNER: Norman Coates
Director_______________________ COREY MADDEN Scenic Designer____________________________JOHN COYNE Costume Designer______________________ ANDJA BUDINCICH Lighting & Projections Designer_______________ NORMAN COATES Sound Designer & Original Music___________ BRUNO LOUCHOUARN WITH JOHN-JOHN GRANT & SARAH ELIZABETH BURKEY Associate Sound Designer_______________ AIMEE LYNN PHILLIPS Dramaturg__________________________ RICHARD J ROBERTS Stage Manager__________________________JOEL GRYNHEIM And So We Walked is produced in association with the Thomas S. Kenan Institute for the Arts and Octopus Theatricals and has been developed with the support of the Thomas S. Kenan Institute for the Arts.
SEASON 2019 - 2020 INCLUSION SERIES TITLE SPONSOR
INCLUSION SERIES LEAD SPONSOR
SIMMONS FAMILY FOUNDATION ASSOCIATE PARTNER
Executive Artistic Director
SUZANNE SWEENEY Managing Director
THE COMPANY Creator & Performer_________________DELANNA STUDI
SETTING The play moves between the past (1830s, 1980s) and the present, the dream world and the waking world, fantasy and reality.
ACKNOWLEDGEMENTS for Octopus Theatricals: Executive/Creative Producer: Mara Isaacs Producer: Ronee Penoi Production Coordinator: Bryan Hunt And So We Walked Production Manager: Rus Snelling for Walrus Arts Management: Principal: Andre Bouchard The script of And So We Walked: An Artist’s Journey Along the Trail of Tears was developed in close collaboration with individuals and institutions within the Eastern Band of Cherokee and Cherokee Nation as well as with the support of Native Voices Theatre and the American Indian Center and Process Series at UNC–Chapel Hill. Major support was provided through the Arts and Society Initiative of the Thomas S. Kenan Institute for the Arts.
And So We Walked is co-represented by Octopus Theatricals and Walrus Arts Management and Consulting. The actor and stage manager 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, 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.
SHARING A PERSONAL JOURNEY BY JANET ALLEN, EXECUTIVE ARTISTIC DIRECTOR
DeLanna Studi in And So We Walked at Triad Stage. Photo by Bert VanderVeen Photographers.
And So We Walked: An Artist’s Journey Along the Trail of Tears holds the distinction of being the first production in our new INclusion Series, which we have conceived as a multi-year exploration of untold American stories. The series will celebrate writers of color telling stories of their communities: stories that will surprise us and engage connections between us. This adventuresome new endeavor is, in part, designed to introduce our audiences to exciting American writers, while also inviting Central Indiana communities of color to the IRT, perhaps for the first time. This year’s INclusion Series brings us the work of three dynamic women of color—DeLanna Studi, Cheryl West, and Jessica Huang—with work dramatizing stories of three unique American journeys. We discovered And So We Walked through its writer and performer, DeLanna Studi, who we have had the privilege of hosting on IRT stages twice in the past. For those of you newer to the IRT, DeLanna performed in our epic Finding Home: Indiana at 200 in 2016, bringing her special brand of intense performance and rich exploration to many Hoosier characters. For those of you who have been season ticket holders for a while, DeLanna first appeared at the IRT in our 2009 production of James Still’s Interpreting William, where she played Mekinges, William Conner’s Lenape wife and mother of his six children. This play was James’s dramatization of another historic journey: the one that sent the Lenape of Central Indiana on their own Trails of Tears, and led to the founding of what is now Conner Prairie. DeLanna is Cherokee on her father’s side and German-Irish on her mother’s. She speaks vividly about this mixture of cultures and language in her upbringing—a circumstance that is a uniquely American story. She grew up in Oklahoma, the place where the Cherokee were forcibly resettled from their homelands in North Carolina, as a result of Andrew Jackson’s Indian Removal Act of 1830. The play came about as DeLanna developed the idea of taking her father to revisit this journey: in part to connect deeply with him about his roots, in part to create some kind of public document of what they experienced so that others could learn from it, and in part to explore her own identity as a modern Cherokee woman with tremendous zeal to experience more of her culture, her language, and her place in tribal affairs.
DeLanna told us about this piece several years ago as she was working on it, and we’ve watched with great enthusiasm and interest as she premiered it in North Carolina, and then began to put it out into regional theatres to take its own journey. We are delighted that we’ve been able to find the right moment for her to bring it to Indiana (as DeLanna frequently notes, “the land of the Indians”). The play itself is a remarkable admixture of DeLanna’s own life as an actor, a woman deeply connected to her family while deeply conflicted about conformity and expectations, a woman in search of love and meaning. A woman, like many women, struggling to connect the dots of her place in the cross-cultural world, yearning to connect to her ancestors while also living her own life fully and independently. While many of these attributes may feel familiar to us, DeLanna’s place is thoroughly unique, thoroughly hers. We learn much about American cultural politics while accompanying her on her journey, a journey that brings us greater understanding, in a deeply personal way, about what was taken from the Indigenous Peoples to make way for what the European forefathers believed was progress. DeLanna’s form of political activism helps us see these issues through an entirely personal lens: we are brought out from behind the history textbook to savor with her the sights and smells and sounds of the journey as they surprised her, delighted her, and made her heart heavy. She leads us into empathy as she travels with her dad along the 900-mile trek her great-great grandparents took, alongside 17,000 other members of their nation. As many as 6,000 Cherokee perished along the way. “We sat on the ground where they walked,” Studi says of the experience. “And in some cases, walked on the ground where they died. I thought I would need Dad to lift me up. But just by having my father there, I was a lot stronger than I would have been.” We take great pride in connecting Indiana audiences to DeLanna Studi’s journey, knowing that we will be enriched and moved as we come out of this powerful and passionate experience. We are so grateful to her for sharing her remarkable journey with us.
DELANNA’S AUDACIOUS IDEA BY COREY MADDEN, DIRECTOR
As a creative producer and director of new plays for 30 years, I often ask artists about what fascinates or irritates or activates them. These informal pitch sessions (often conducted over a meal) are how folks in the creative professions conduct business, but it’s rare that a 900-mile, five-year journey begins because of a single conversation. “What is your dream project?” I asked DeLanna Studi casually one night at dinner following rehearsals for a play I directed and co-wrote in 2013. Without hesitation she declared “I want to walk the Trail of Tears with my father and make a play about it.” The audacity of DeLanna’s answer impressed me, but I had no idea how to respond at the time. “Well good luck with that,” was the best I could manage that night. While I wasn’t certain whether I could help make DeLanna’s dream a reality, I never forgot her powerful vision. As fate would have it, six months later I moved to North Carolina to lead the Kenan Institute for the Arts at University of North Carolina School of the Arts. In my new role and new home, I had
my own moment of creative reckoning: What was my dream project? Not long after, I invited DeLanna to visit Cherokee, North Carolina, home to the Eastern Band of Cherokee Indians. What DeLanna learned that day about her family’s history inspired both of us for the next five years. Since 2013, the audacious idea that came to be known as And So We Walked: An Artist’s Journey Along the Trail of Tears has received generous support from many individuals and tribal organizations, as well as renowned theatres, museums, universities, and philanthropies. We are deeply grateful to each person who was brave enough to say “yes” and help the project move forward on its path. In particular I want to give thanks to two men—DeLanna’s father, Thomas Studie, and my late husband, Bruno Louchouarn—for their unstinting belief in their warrior women. The rest of this story is DeLanna’s to tell, but I am forever grateful to her for sharing her dream and inviting me to collaborate with her on this remarkable dramatic story.
DeLanna Studi in And So We Walked at Triad Stage. Photo by Owens Daniel Photography.
BY DELANNA STUDI, CREATOR & PERFORMER This is a story about a journey. Perhaps that is a statement of the obvious, since you are here to see a play about “an artist’s journey along the Trail of Tears.” But it is more than that. It isn’t just my story about my journey. It is a Cherokee story, one that transcends my own personal identity and experiences. It belongs to the Cherokee people, past and present; to the Cherokee Nation in Oklahoma and the Eastern Band of Cherokee in North Carolina; and to the dozens of people across the country who helped me complete this project. The Cherokee have a word, gadugi, which describes the tradition of coming together as a community to promote, support, and celebrate each other. Gadugi is a reflection of the tribal mentality and the awareness of our ancestors that we are stronger together. By helping one another, we help the collective. While the word is often connected to communal work (such as barn raising), it also has a more spiritual meaning. Benny Smith, a Cherokee elder from Oklahoma, once said that gadugi ensures that “no one is left alone to climb out of a life endeavor.”
DeLanna Studi in And So We Walked at Triad Stage. Photo by Bert VanderVeen Photographers.
The thought of standing alone on stage, performing a piece that has consumed so much of my heart and soul (not to mention my days and nights) for the past four years is my current “life endeavor,” and if I am being completely honest, it is a bit intimidating. What calms me is my knowledge that I am not really alone. I am joined by all the wonderful, beautiful, complicated characters who I will tell you about over the next two hours. I am joined in spirit by my ancestors, particularly my grannies, who have spoken to me so clearly throughout my life. And I am joined by you, the audience. This play is a testament to the spirit of gadugi. My dream of traveling the Trail of Tears with my father was a “life endeavor” of monumental proportions, and so many generous people helped along the way to make it possible. In particular, I could not have done this project without the support and love of my incredible family, director Corey Madden, and the staff at the Kenan Institute for the Arts. To all of them, and to all of you, I say WaDo—thank you—for coming along with me on this journey.
ALONG THE TRAIL …
JOHN COYNE | SCENIC DESIGNER As the set designer I was interested in creating a sacred-feeling space for DeLanna and the spirits she conjures in her story. One of the pivotal moments of DeLanna’s journey is her description of attending a Stomp Dance in the woods of the Appalachian Mountains. We wanted to create a similar sense for the audience of walking into the woods and gathering at a Cherokee Council House around the fire. Cherokee meeting houses traditionally
are made of seven sides—one for each Cherokee clan. In an abstracted way, we decided to use the sacred geometry of the heptagon along with a sense of movement to delineate the space in which the stories are told. Cherokee pottery and basket weaving were also inspirations for the screen-like element surrounding the space in a floating and mystical way.
NORMAN COATES | LIGHTING & PROJECTIONS DESIGNER The process of designing And So We Walked has been an expedition to greater understanding, not only of DeLanna’s personal odyssey along the Trail of Tears, but also the journey of the Cherokee Nation. This amazing play moves over both natural and emotional landscapes, and from diverse physical locations to internal spaces. This expansive landscape is a delight and
challenge to express in light, as traveling along with DeLanna has led to an ever-expanding world of color and texture. I’m very fortunate to have been invited along on this unique theatrical voyage, and I’m happy to help present the project here at IRT.
DeLanna Studi in And So We Walked at Triad Stage. Photo by Owens Daniel Photography. Scenic design by John Coyne; costume design by Andja Budincich; lighting and projections design by Norman Coates.
A BRIEF HISTORY OF THE CHEROKEE TRAIL OF TEARS According to tribal history, Cherokee people have lived in the southeastern portion of our continent for millennia. Migration from this original Cherokee Nation began in the early 1800s. Some Cherokees, wary of white encroachment, moved west on their own and settled in other areas of the country. A group known as the Old Settlers voluntarily moved in 1817 to lands given them in Arkansas, where they established a government and a peaceful way of life. Later, however, they were forced to migrate to Indian Territory (what is today Oklahoma). White resentment of the Cherokee had been building and reached a pinnacle following the discovery of gold in northern Georgia in 1828. Possessed by “gold fever” and a thirst for expansion, many white communities turned on their Cherokee neighbors. The U.S. government ultimately decided it was time for the Cherokees to be “removed,” leaving behind their farms, their land, and their homes. President Andrew Jackson’s military command and almost certainly his life had been saved thanks to the aid of 500 Cherokee allies at the Battle of Horseshoe Bend in 1814. Unbelievably, following the recommendation of President James Monroe in his final address to Congress in 1825, it was Jackson who authorized the Indian Removal Act of 1830. Jackson, as president, sanctioned an attitude that had persisted for many years among many white immigrants. Even Thomas Jefferson, who often cited the Great Law of Peace of the Iroquois Confederacy as the model for the U.S. Constitution, supported Indian Removal as early as 1802. The displacement of Native people was not wanting for eloquent opposition. Senators Daniel Webster and Henry Clay spoke out against removal. The Reverend Samuel Worcester, missionary to the Cherokees, challenged Georgia’s attempt to extinguish Indian title to land in the state, actually winning his case before the Supreme Court.
Cherokee Nation v. Georgia (1831) and Worcester v. Georgia (1832) are considered the two most influential legal decisions in Indian law. The U.S. Supreme Court ruled for Georgia in the 1831 case, but in Worcester v. Georgia, the court affirmed Cherokee sovereignty. President Jackson arrogantly defied the decision of the court and ordered the removal, an act that established the U.S. government’s precedent for the future removal of many Native Americans from their ancestral homelands.
The Treaty of New Echota in 1835, signed by about 100 Cherokees known as the Treaty Party, relinquished all lands east of the Mississippi River in exchange for land in Indian Territory and the promise of money, livestock, various provisions, tools, and other benefits. When these pro-removal Cherokee leaders signed the Treaty of New Echota, they also signed their own death warrants, since the Cherokee Nation Council had earlier passed a law calling for the death of anyone agreeing to give up tribal land. The signing and the removal led to bitter factionalism and ultimately to the deaths of most of the Treaty Party leaders once the Cherokee arrived in Indian Territory. Opposition to the removal was led by Chief John Ross, a mixedblood of Scottish and one-eighth Cherokee descent. The Ross party and most Cherokees opposed the New Echota Treaty, but Georgia and the U.S. government prevailed and used it as justification to force almost all of the 17,000 Cherokees from their southeastern homeland. Under orders from President Jackson, the U.S. Army began enforcement of the Removal Act. The Cherokee were rounded up in the summer of 1838 and loaded onto boats that traveled the Tennessee, Ohio, Mississippi, and Arkansas rivers into Indian Territory. Many were held in prison camps awaiting their fate. An estimated 4,000 died from hunger, exposure and disease. The journey became a cultural memory as the “trail where they cried” for the Cherokees and other removed tribes. Today it is widely remembered by the general public as the “Trail of Tears.” Many tribes were expelled from their lands and forced to travel the Trail of Tears, including the Choctaw, Chickasaw, Creek, and Seminole, as well as the Cherokee. And many other Nations, far beyond those forced to travel the routes known as the Trail of Tears, were also displaced or otherwise directly impacted by the Indian Removal Act. The Oklahoma chapter of the Trail of Tears Association has begun the task of marking the graves of Trail survivors with bronze memorials.
—Our thanks to the Cherokee Nation Cultural Resource Center for this information. 43
THE COMPANY DELANNA STUDI | CREATOR & PERFORMER DeLanna has appeared at the IRT in Finding Home and Interpreting William. Originally from Liberty, Oklahoma, she is a proud citizen of Cherokee Nation. Her theatre credits include the first national tour of the Tony Award– and Pulitzer Prize–winning August: Osage County, and Off-Broadway’s Gloria: A Life and Informed Consent. Regional theatre credits include Oregon Shakespeare Festival, Portland Center Stage, Cornerstone Theatre Company, and others. DeLanna has originated roles in more than 18 world premieres, including 14 Native productions. She has done more than 800 performances of the Encompass “Compassion Play” KICK, a one-person show written by Peter Howard that explores the power of images, stereotypes, and Native American mascots. Her roles in the Hallmark/ABC mini-series Dreamkeeper and Chris Eyre’s Edge of America have won her numerous awards. DeLanna’s other television credits include Shameless, Z Nation, General Hospital, and a recurring role on this season’s Goliath opposite Billy Bob Thornton. She is an ensemble member of America’s only Equity Native American theater company, Native Voices at the Autry. DeLanna serves as chair of SAG-AFTRA’s National Native Committee, which has, under her leadership, produced an award-winning film about American Indians in the entertainment industry and created a “Business of Acting” workshop that tours Indian Country. DeLanna was the winner of the 2016 Butcher Scholar Award from the Autry Museum of the American West. She mentors for the Mentor Artist Playwright Program, Young Native Playwrights, and American Indian Film Institute’s Tribal Touring Program. Her artist-in-residencies include the University of North Carolina, Chapel Hill, the University of Wisconsin (where she co-taught “Native American Oral Histories and Storytelling” and “American Indians in Film”), and Brown University. And So We Walked is her first play.
COREY MADDEN | DIRECTOR Corey is an award-winning writer and director, executive director of the Kenan Institute for the Arts, and a faculty member at the University of North Carolina School of the Arts. She has worked on And So We Walked since its inception six years ago, supporting DeLanna Studi’s research and writing, as well as directing the play at Portland Center Stage, Triad Stage, Trinity Repertory, Native Voices Theatre, and the Process Series at UNC Chapel Hill. At the Kenan Institute for the Arts Madden directs strategic initiatives that creatively blend the arts, enterprise, and innovative practice to positively impact the lives and careers of artists across the Southeast. Prior to moving to North Carolina she founded L’Atelier Arts to produce her original works and collaborations with her late husband, Bruno Louchouarn, including Sol Path and Rain after Ash commissioned by Fulcrum Arts’ AxS Festival; Tales of the Old West for the Autry Museum; Rock Paper Scissors for Childsplay Theatre (Best Production, Arizona Theatre Awards); and Day for Night presented at GLOW in Santa Monica and restaged in Poland for the Transatlantyk Film and Music Festival. Madden was the associate artistic director of the Mark Taper Forum in Los Angeles from 1993 to 2007 and began her career at Actors Theatre of Louisville. Over her 28 years as a creative producer she has identified, developed, and produced more than 300 new plays and productions by artists such as Tony Kushner, Anna Deavere Smith, Robert Le Page, Anthony Minghella, Emma Thompson, George C. Wolfe, Lisa Loomer, Luis Alfaro, Danny Hoch, Jose Cruz Gonzalez, and many more.
JOHN COYNE | SCENIC DESIGNER John’s credits include Hamlet and Macbeth for the Shakespeare Theatre Company; By the Way, Meet Vera Stark for Alliance Theatre; Romeo and Juliet, Colossal, Les Miserables, Henry IV, Of Mice and Men, and Tartuffe for Dallas Theater Center; Charley’s Aunt for Guthrie Theater; Rough Crossing for the Old Globe; and Hamlet for the Public Theater; as well as designs at Goodspeed Musicals, Yale Repertory Theatre, Asolo Repertory Theatre, the Olney Theatre Center, Triad Stage, Ford’s Theatre, California Shakespeare Theater, Center Stage, Geva Theatre Center, Portland Center Stage, the Julliard School, and Chautauqua Theater Company, among others. Opera credits include San Francisco Opera, San Diego Opera, Washington National Opera, New York City Opera, Fletcher Opera Theater, Opera Festival of New Jersey, Merola Opera Program, and San Francisco Opera Center. John is the director of scenic design at the University of North Carolina School of the Arts and has an M.F.A. in scenic design from Yale University.
ANDJA BUDINCICH | COSTUME DESIGNER
Andja is honored to continue to be a part of this important show, which she has previously designed at Triad Stage and Portland Center Stage. Other credits include Hollow at Dixon Place in New York City; The Marvelous Wonderettes at Palace Theatre; West Side Story, A Raisin in the Sun, and The Drowsy Chaperone at Summer Repertory Theatre; Vrooommm! A NASComedy at Triad Stage; Flor to Somewhere and Lost and Found at Peppercorn Theatre; born bad at Paper Lantern Theatre; A Midsummer Night’s Dream for the North Carolina Symphony; Misalliance at North Carolina School for the Arts; A Year with Frog and Toad at Southwestern University; and Moon over Buffalo at Spring Theatre. Andja earned her B.A. at Southwestern University and her M.F.A. at North Carolina School for the Arts. andjabudincich.com
THE COMPANY NORMAN COATES | LIGHTING & PROJECTIONS DESIGNER Norman has designed more than 300 productions on five continents. His credits include The News and Prince of Central Park on Broadway as well as Off-Broadway productions at the Roundabout Theatre, Circle in the Square, the Lion Theatre, Westbeth Theatre, Provincetown Playhouse, and Equity Library Theatre. National and international tours include The Who’s Tommy, Guys and Dolls, Camelot, and Encounter 500. Norman’s regional theatre credits include Triad Stage, the Great Lakes Theatre Festival, Idaho Shakespeare Festival, American Stage Festival, North Carolina Shakespeare Festival, PlayMakers Repertory, Burt Reynolds Jupiter Theatre, and the North Carolina Theatre. His opera credits include work for the Princeton Festival, Piedmont Opera Theatre, Greensboro Opera, Opera Carolina, North Carolina Opera, Virginia Opera, Fort Worth Opera, and Opera Pacific.
BRUNO LOUCHOUARN (1958-2018) | SOUND DESIGN & ORIGINAL MUSIC Bruno was the sound designer and co-composer for And So We Walked at Portland Center Stage and at Triad Stage. Other credits include The Cake and Disgraced at Playmakers Repertory Theater; Wrestling Jerusalem at 59E59 NYC, Guthrie Theater, Mosaic Theater DC, Hangar Theatre, Cleveland Public Theatre, and Playmakers; The River Bride at Oregon Shakespeare Festival; Agamemnon featuring Tyne Daly and Mojada: A Medea in Los Angeles at the Getty Villa; El Henry at La Jolla Playhouse and San Diego Repertory Theatre; A Weekend with Pablo Picasso at San Diego Rep, Alley Theatre, Los Angeles Theatre Center, Centre Repertory Company, Denver Center, and Arizona Theater Company; Eurydice at South Coast Repertory; and Shekinah at La MaMa NYC. Dance credits include Cubicle, Passengers, and Humachina for Diavolo Dance (world tour); Metallurgy choreographed by Susan Jaffe for America Ballet Theater Studio at Lincoln Center; and Little Sisters choreographed by Rosanna Gamson for REDCAT in Disney Hall, Los Angeles.
JOHN-JOHN GRANT | ORIGINAL MUSIC
A member of the Eastern Band of Cherokee Indians, John-John comes from a family of accomplished traditional artists. His own interest in Native American music began when he was a young teenager and heard a drum group from Lamedeer, Montana. At the age of 18, while on tour in France, Grant took up the Cherokee flute for the first time. He taught himself to play, and has since become a prolific composer and performer, even touring with the North Carolina Symphony. He is also a singer, performing both traditional Cherokee and contemporary Northern-style Native American songs. He is a member of the drum group Birdtown Crossing, as well as the dance group Warriors of Ani-Kituwah.
SARAH ELIZABETH BURKEY | ORIGINAL MUSIC
Sarah is a recording artist, songcatcher, and storyteller whose work has been featured on more than 17 albums including Door of the Moon, When the Redbuds Bloom, Don’t Die Yet, and Honeysuckle Vine. She has toured 19 countries and earned an international reputation as an authentic voice for roots music and heritage arts. She is deeply committed to the continuity of traditional knowledge and the vital role it plays in health, healing, and well-being. She calls the Qualla Boundary Cherokee Indian Reservation home.
AIMEE LYNN PHILLIPS | ASSOCIATE SOUND DESIGNER Aimee graduated with a Bachelor of Arts degree from Brigham Young University–Idaho and a Master of Fine Arts degree from University of North Carolina School of the Arts. She has worked on the sound design and audio engineering teams for several theatre companies, including New York Stage and Film, Triad Stage, and the Peppercorn Children’s Theatre. She currently specializes in audio system design and integration for theme parks, museums, and immersive entertainment spaces. “I’m forever grateful to Bruno Louchouarn for not only teaching and mentoring me during grad school, but for trusting me to see that his work carries on with And So We Walked.”
RICHARD J ROBERTS | DRAMATURG This is Richard’s 30th season with the IRT, and his 22nd 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, A Christmas Carol, The Night Watcher, Neat, Pretty Fire, The Giver, The Power of One, and Twelfth Night. This season he directs Cabaret at the University of Indianapolis and Sweeney Todd for Actors Theatre of Indiana and the Carmel Symphony Orchestra. Other directing credits include the Phoenix Theatre, Edyvean Repertory Theatre, Indianapolis Civic Theatre, Indianapolis Chamber Orchestra, IndyShakes/Wisdom Tooth, Butler University, and Anderson University. Richard studied music at DePauw University and theatre at Indiana University and has been awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis.
JOEL GRYNHEIM | STAGE MANAGER
This is the 98th production Joel has stage managed over 30 years at the IRT. He resides in an historic home in downtown Indianapolis, sharing that home and his life with Janet Allen.
Octopus Theatricals was founded by creative producer Mara Isaacs and is dedicated to producing and consulting in the performing arts. From experimental to commercial, the company collaborates with artists and organizations to foster an expansive range of compelling theatrical works for local, national, and international audiences. The company eschews boundaries—aesthetic, geopolitical, institutional—and thrives on a nimble and rigorous practice. Current projects include Hadestown by Anaïs Mitchell (on Broadway and at London’s National Theatre); Iphigenia, a new opera by Wayne Shorter and Esperanza Spalding; Theatre for One; Minefield by Lola Arias; An Iliad by Denis O’Hare and Lisa Peterson; Falling Out by Phantom Limb Company; Haruki Murakami’s Sleep by Ripe Time; and Project Springboard: Developing Dance Musicals. Octopus Theatricals is also proud to work with Baryshnikov Arts Center, CalArts Center for New Performance, Princeton University, and more. octopustheatricals.com
THOMAS S. KENAN INSTITUTE
The Thomas S. Kenan Institute for the Arts is a creative catalyst that encourages and supports the exploration and development of new knowledge to transform the way artists, organizations, and communities approach creative challenges. The Kenan Institute believes that artists can contribute their creative ideas, visionary leadership, and novel strategies to strengthen our culture, build businesses, and generate innovative ideas.
WALRUS ARTS MANAGEMENT AND CONSULTING
Walrus Arts Management and Consulting brings the rich cultural content emerging from contemporary Native America to stages across the world. WAMC’s roster features award-winning artists in dance, music, and theatre who hail from Indigenous Nations across Turtle Island. WAMC also provides Native consulting services including curation, evaluation, program design and management, feasibility studies, fundraising, and education. WAMC has served consulting clients such as the Association of Performing Arts Presenters, Western Arts Alliance, Indigenous Performing Arts Alliance, Dartmouth College, and more. WAMC was the primary visionary behind the Advancing Indigenous Performance Program housed at the Western Arts Alliance, among other programs.
DELANNA STUDI CREATOR & PERFORMER
DELANNA STUDI HAS PERFORMED AT THE IRT IN INTERPRETING WILLIAM AND FINDING HOME. SHE APPEARED IN THE NATIONAL TOUR OF AUGUST: OSAGE COUNTY AND RECENTLY APPEARED IN THE OFF-BROADWAY HIT GLORIA: A LIFE. HER TV CREDITS INCLUDE DREAMKEEPER AND EDGE OF AMERICA. AND SO WE WALKED IS THE FIRST PLAY SHE HAS WRITTEN.
HOW DID YOU FIRST DISCOVER THEATRE? I was born and raised in Liberty, Oklahoma, a tiny little community. When I was in the first grade, I got a speaking part in the Christmas pageant. My parents encouraged me to be active in theatre because I was terribly shy, and they were trying to find some way for me to cope. When I could be someone other than myself, it made me more sociable, and I was able to make friends.
In high school my father made me take debate, and speech and drama. That year I qualified for the state competition in one category. So my parents saved up money for me to go to speech and debate camp, and the following year I qualified in all the categories I could. In fact, I think to this day I still hold my high school’s record for most categories at regionals. I was an overachieving child. It was my outlet. I had such a hard time being myself, so once I discovered that freedom, I wasn’t going to let it go. DeLanna Studi. Photo by Bert VanderVeen Photographers.
DID YOU STUDY THEATRE IN COLLEGE? My father was a machinist. He taught me how to draft when I was six. So I went to college to study architectural engineering. Then my last semester I took a set design class. Long story short, I was building the set for a college production and the director found out I had been acting in community theatre. He saw something in me that no one else had seen and he suggested that I go to Los Angeles. My first big break was DreamKeeper, a mini-series for Hallmark. I played a Native woman who rescued her brother when he was kidnapped. It was just one of many stories in the show, but she wasn’t the typical Disney princess Native woman we’re used to seeing, she was an empowered woman. And me being me, when they were filming the behind-the-scenes footage, I talked about how representation was important, I talked about the Native American mascot issue and the effect it has on our youth, I just gave them a lot of knowledge. So when they did the publicity tour, they sent out the two leads, and me. That was my first taste of Hollywood success, through using my tribal knowledge, and I saw that people liked that passion, they appreciated hearing that story. Even though that wasn’t my intention, that became my platform, and it helped me get other jobs. But I’ve actually ended up doing more theatre than film or television, which is ironic for someone living in Los Angeles. When I first came to LA, I teamed up with Native Voices at the Autry Museum, which is the only Equity Native theatre in the United States. My first Equity job was with a company that is now called Encompass, and that was a play about Native American mascots. And I’m still doing that show. I’ve done more than 800 performances, and I think close to half a million people have seen it. So I moved to LA to do film and TV, but I started getting all these theatre opportunities. And to me, work is work. If I get a chance to be an actor on set or on stage, I’m going to take it. I think at this time, I’ve been in 18 world premieres, and 15 of them were Native premieres, and I’ve been lucky to work at a lot of great regional theatres across the country. And then when I’m out in the regional theatres, that’s when I book the film jobs, which bring me back to LA.
make it even better, how to change the language so we’re not telling a colonized story. He was so open to working outside of most people’s comfort zones. During that process, he said, “I’m writing another play, and I want you to be in it.” Well, after just a couple years in LA, I was already a little bit jaded. So I thought, oh that’s very sweet of him to say, but…. And then I get a call, come out to Indiana. I did the workshop of Interpreting William, and we did a reading at Conner Prairie. The process was so smooth, and everyone was so welcoming and friendly. It didn’t feel like work, it felt like a bunch of artists coming together and putting something beautiful in action, something that would also educate. It was such a beautiful, moving experience for me, and then they asked me to come back and do the production. I was so excited, I called my parents and told them about it, and they drove up from Oklahoma to see it. The IRT is one of the only places I’ve gone to, as a Native person, where I don’t have to explain everything. People get it. They’re very open and inclusive, very welcoming. I’m from Oklahoma, so I’m used to a certain level of hospitality, and in Indiana it’s the same way. IRT audiences are probably the best audiences I’ve ever seen. And the people at IRT—it’s like a second family. Even though a lot of years had passed between Interpreting William and Finding Home, we were able to pick up those relationships right where we left off. It was quite beautiful. And then when I went to Portland Center Stage to do And So We Walked, my stage manager Mark Tynan turned out to be really close friends with Erin Robson-Smith, who was the assistant stage manager for Finding Home. That’s one of the things I love about the theatre world: our circles are small, and they always intersect. You never know when or where, but it’s always going to be a pleasant surprise when they do. And now Joel Grynheim, who stage managed Finding Home, is stage managing And So We Walked. I’m very lucky that I get these amazing humans to stage manage my show, these spectacular people that encourage me to be a good person just by being who they are. So that’s how I fell in love with Indiana Rep. And every time I come back, I’m reminded why. It’s the people.
HOW DID YOU GET TO THE IRT? I had been in LA for maybe a couple of years and I booked this play at Cornerstone Theater Company. It was a really great piece about all the different faiths practiced in Los Angeles. I played a Tongva woman. I loved it, and I wanted to meet the writer, who happened to be James Still. He had created this beautiful work, but then he was actually asking questions about how to
GLOSSARY ᏣᎳᎩ ᎤᏪᏘ
Tsalaqwa Wevti (zhuh•LAH•kuh•WAY•uh•tee), the Old Homeplace
Yoneg (yo•NEH•guh), white person
WaDo (wah•DOH), thank you
Ageyutsa (ah•gay•HYUECH), girl
Kituwah (kih•TOO•wuh), home town of Cherokee People; the Cherokee People
Ulisi ageyutsa (ah•gah•LEE•see•ah•gay•HYUECH), granddaughter Nanyehi (NAHN•juh•hee), Cherokee name of Nancy Wood, Beloved Woman Qualla Boundary(KWAH•luh), a land trust of the Eastern Band of Cherokee Indians, purchased by the tribe in the 1870s and placed under federal protection. Not technically a reservation. Enrolled members can buy, own, and sell land.
Tahlequah (tah•lah•KWAH;), located in Cherokee County, Oklahoma, and established in 1839 following the Indian Removal, Tahlequah is the capitol city of two Cherokee nations—the United Keetoowah Band of Cherokee Indians and the Cherokee Nation. [also: ᏔᎵ ᎡᎵᏊ tali eliquu (duh•LEE•kwaw), literally, “two is enough”]
Elyse (ay•LEE•see), grandmother
Gatiyo (gah•TEE•yo;), Stomp Dance Hiwassee (hai•WAH•see), refers to a river that flows northward from Georgia into North Carolina; it is an American-English name that may be derived from the Cherokee word Ayuhawsi, which means meadow or savanna. Tekahskeh (tuh•KUH•skuh), a Cherokee leader (English name: Hair Conrad); the son of Onai, a Cherokee woman, and Hamilton Conrad, a white man.
Original artwork by Kyle Ragsdale
2019-2020 INCLUSION SERIES INCLUSION SERIES PACKAGES ON SALE NOW! Our new INclusion Series broadens our perspectives on what it means to be an American. Celebrate diverse storytelling with this series featuring work by female playwrights on the Native American, African American, and Chinese American experience. The full series consists of And So We Walked: An Artist’s Journey Along the Trail of Tears, The Watsons Go to Birmingham—1963 and The Paper Dreams of Harry Chin, and includes two purchase options for $135. 1. Select the full series and receive one ticket to each production or 2. Select two productions from the series plus one additional production from our season (excluding A Christmas Carol)
And So We Walked
An Artist’s Journey Along the Trail of Tears created & performed by
OCTOBER 15 - NOVEMBER 10 inspiring personal quest
FEBRUARY 1 - MARCH 1 a family rooted in love
MARCH 25 - APRIL 19 a surreal journey through past & present
Join Cherokee actor and artist DeLanna Studi as she explores her personal and cultural identity while traveling the Trail of Tears with her father—and her family spirits. This one-woman play is a moving memoir of doubt and discovery.
When the Watsons load their young children into the car for the long drive from Michigan to visit family in the Deep South, they take their Green Book to help plan for the prejudice encountered by black people traveling in Jim Crow America.
Despite the US ban against Chinese immigrants, Harry Chin forged a new identity to earn precious American dollars to send home to his starving village. Now he is trapped between two families and two worlds.
SIMMONS FAMILY FOUNDATION
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OVATION SOCIETY: CREATE A PERSONAL LEGACY AT THE IRT For 48 seasons, the IRT has produced professional, world-class theatre in Indianapolis. You can play a vital role in supporting the next 48 seasons by making a legacy gift to the Theatre. From a simple bequest to charitable trusts, there are a variety of ways you can include the IRT in your estate plans. Our staff will work with you and your financial advisor, tax professional or family attorney to determine how a planned gift can help you meet your financial and charitable goals. Include the IRT in your estate plans and help ensure one of Indianaâ€™s great cultural institutions continues to thrive for generations to come. Have you already included the IRT in your plans? Please let us know so that we can recognize you in the Ovation Society!
READY TO CREATE YOUR LEGACY?
Contact Jennifer Turner, Director of Development: email@example.com | 317.916.4835 Milicent Wright and Robert Elliott in the IRT's 2019 production of You Canâ€™t Take It With You. Photo by Zach Rosing.
the arts enrich our entire community. The largest locally-owned national bank is proud to be a major supporter of the Arts.
317-261-9000 ÂŠ2019 The National Bank of Indianapolis www.nbofi.com
THE SUPPORTING CAST
INDIANA REPERTORY THEATRE DONORS WHAT IF YOU SAW ONLY HALF THE PLAY? Ticket revenue covers just half of what it costs to produce world-class professional theatre at the Indiana Repertory Theatre. The IRT gratefully acknowledges the remarkable support we receive from our generous and committed donors whose contributions ensure that the show does go on!
REPERTORY SOCIETY ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2019 - AUGUST 1, 2019 PLAYWRIGHT CIRCLE $10,000+ Bob & Toni Bader Scott & Lorraine Davison Michael Dinius & Jeannie Regan-Dinius Nancy & Berkley Duck Dan & Ginny Emerson David & Ann Frick Tom & Jenny Froehle Susan & Charlie Golden Mike & Judy Harrington Tom & Nora Hiatt David & Betty Klapper Sarah & John Lechleiter Bill & Susie Macías Jackie Nytes & Michael O’Brien Mel & Joan Perelman Sue & Bill Ringo Mike & Elizabeth Simmons Wayne & Susan Schmidt Cynthia and William Smith III David P. Whitman & Donna L. Reynolds
DIRECTOR CIRCLE $5,000 - $9,999 David & Jackie Barrett Leo Bianchi & Jill Panetta Gary Denney & Louise Bakker Susie & Joel Blum Rollie & Cheri Dick Drs. Cherryl & Shelly Friedman Ann Hinson Bill & Nancy Hunt
Steve & Bev Koepper Dod & Laura Michael Mr. & Mrs. Kimball Morris Carl Nelson & Loui Lord Nelson Noel & Mary Phillips* Drs. Eric Schultze & Marcia Kolvitz Sue & Mike Smith Cheryl & Ray Waldman Dr. Christian Wolf & Elaine Holden-Wolf
ARTIST CIRCLE $3,000 - $4,999 Ann & Kenneth Dee Mary Findling & John Hurt Donald & Teri Hecht Mike & Pegg Kennedy Kevin Krulewitch & Rosanne Ammirati* Dr. & Mrs. Dan & Martha Lehman John & Laura Ludwig David & Leslie Morgan Bob & Dale Nagy Jerry & Rosie Semler Marguerite K. Shepard, M.D. Jeff & Benita Thomasson Gene & Mary Tempel Bob & Dana Wilson
PATRON CIRCLE $1,500 - $2,999 Janet Allen & Joel Grynheim Anonymous Tammara D. Porter Avant & Jesse Avant Trudy W. Banta Sarah C. Barney
Frank & Katrina Basile Dan Bradburn & Jane Robison Sherry A. Butler David & Judith Chadwick Diane Conrad Cowan & King, LLP Frank & Noreen Deane Dr. Gregory Dedinsky & Dr. Cherri Hobgood Dr. Brian Dillman & Erin Hedges* Paul & Glenda Drew Drs. Richard & Rebecca Feldman Mary L. Forster, M.D. Brian & Lorene Furrer Mr. Jim Gawne Dorothea & Philip Genetos Robert Giannini Ron & Kathy Gifford Walter & Janet Gross Ricardo & Beatriz Guimarães Michael N. Heaton Jane Herndon & Dan Kramer Mrs. Janet Johnson Kurt & Judy Kroenke Ed & Ann Ledford Donald & Ruth Ann MacPherson Sharon R. Merriman Michael D. Moriarty Brian S. Newman & Francisnelli Bailoni dos Santos Brian & Gail Payne Mr. & Mrs. Kenneth A. Peterson Dr. & Mrs. Lee Phipps Gail & William Plater
REPERTORY SOCIETY CONT. ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2019 - AUGUST 1, 2019 PATRON CIRCLE, CONT. $1,500 - $2,999 Bob & Kathi Postlethwait Phil & Joyce Probst Michael & Melissa Rawlings Peter & Karen Reist Ken & Debra Renkens Karen & Dick Ristine Chip & Jane Rutledge Jane W. Schlegel
Tom & Barbara Schoellkopf Tim & Karen Seiler Jack & Karen Shaw Michael Skehan Edward & Susann Stahl Ed & Jane Stephenson Robert & Barbara Stevens Kay Swank-Herzog & Robert Herzog Suzanne Sweeney & Todd Wiencek Jonathan T. Tempel
John & Deborah Thornburgh Jennifer C. Turner Eric van Straten & Karri Emly Amy Waggoner Dorothy Webb Carol Weiss Cliff & Molly Williams Heather Wilson John & Linda Zimmermann
DONOR GUILDS ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2019 - AUGUST 1, 2019 DRAMA GUILD $750 - $1,499 Anonymous Jesse L. & Carolynne Bobbitt Charlie & Cary Boswell Brady Clark Dr. & Mrs. John J. Coleman III Daniel P. Corrigan Derek & Elizabeth Hammond James M. McMechan Carl & Monique McMillian David H. Moore, M.D. & M. Kristine Beckwith, M.D. John & Carolyn Mutz Roger & Anna Radue Thomas & Jill Ristine Nan Schulte & Matt Russell Thomas & Teresa Sharp Karen S. Waltz Frederick & Jacquelyn Winters
THEATRE GUILD $300-$749 John & Eileen Ahrens* Anonymous Annee and Bartram Heating and Cooling Company
Walter Bartz* Constance C. Beardsley* Barbara & Christopher Bodem* Jason & Jessica Bohac* Karry Book & John Hansberry Jan & Roger Brinkman Jeff & Jeni Christoffersen Karen Dace* Fr. Clem Davis* Paul & Carol DeCoursey* Phillip & Caroline Dennis* Sarah Donaldson* Danielle M. Dove Dr. & Mrs. John & Sheryn Ellis Drs. Eric Farmer & Tate Trujillo & Christopher Scott* Margaret Ferguson* Eric & Hayley Frandsen Peter Furno & Pamela Steed Priscilla Gerde Thecla Gossett Greg Grossart Emily F. (Cramer) Hancock* Don & Carolyn Hardman Steven & Mary Koch*
Linda Lough* Lyle & Deborah Mannweiler Dr. & Mrs. Peter Marcus* Donald & P.J. McCullough Don & Kimberly Meyer R. Keith & Marion Michael Rev. Mary Ann Moman* James A. & Tammy Morris Jim & Judith Mowry Mr. Electric of Central Indiana Marcia Munshower Sharon & Dan Murphy* Mutter Marinesâ€”Jim & Carol Leigh Ann Naas Merrell & Barbara Owen Robert M. & Kelli DeMott Park Gary & Pam Pedigo* Richard & Diane Rhodes Richard & Ann Riegner River Bend Hose Specialty Inc. Richard & Christine Scales Ms. Karen Schnyder* Dr. Jill Shedd* Vicky Sherman, M.D. *Denotes sustaining members
THE SUPPORTING CAST
INDIANA REPERTORY THEATRE DONORS DONOR GUILDS CONT. ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2019 - AUGUST 1, 2019 THEATRE GUILD, CONT. $300-$749 Luke Stark* Dr. Nenetzin Stoeckle* Nela Swinehart* Steve & Barb Tegarden*
Robert & Barbetta True* Barbara S. Tully* Susan Weatherly* James & Linda Wesley Prof. Gail F. Williamson
Reba Boyd Wooden* Brant & Lorene Wright Zionsville Physical Therapy* *Denotes sustaining members
TRIBUTE GIFTS IN MEMORY OF MARY CATHERINE DOHERTY KIME With much love, Liz, Larry, Will, Emmy & Grace Anderson & Kitty Coyle Doherty
IN MEMORY OF FRED SCHLEGEL Janet Allen & Joel Grynheim Jackie Nytes & Michael O’Brien Gene & Mary Tempel
IN MEMORY OF CYNTHIA SKEHAN Michael Skehan
OVATION SOCIETY The Ovation Society is an exclusive program that recognizes donors that have made a legacy gift to the IRT. The IRT truly appreciates those individuals whose gift will ensure that the Theatre can continue to provide meaningful and inspirational experiences for future generations of Hoosiers. Gary Addison Janet Allen & Joel Grynheim Pat & Bob Anker Frank & Katrina Basile Charlie & Cary Boswell Ron & Julia Carpenter John R. Carr (in memoriam) John & Mary Challman Thomas & Sue Dapp Nancy Davis & Robert Robinson Rollie & Cheri Dick Nancy & Berkley Duck Dale & Karen Duncan Jim & Julie Freeman Meg Gammage-Tucker
David A. & Dee Garrett (in memoriam) Michael Gradison (in memoriam) Emily F. (Cramer) Hancock Bruce Hetrick & Cheri O’Neill Tom & Nora Hiatt 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, 2019 - AUGUST 1, 2019 CORPORATE
Barnes & Thornburg LLP Faegre Baker Daniels Frost Brown Todd OneAmerica Financial Partners Oxford Financial Group, Ltd. PNC Printing Partners Taft Stettinius & Hollister LLP Wells Fargo
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 Foundation, a CICF affiliate
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, 2019 - AUGUST 1, 2019 Best Chocolate in Town
Skyline Exhibits By Reitz & Associates
THE ALAN AND LINDA COHEN EDUCATION FUND Eli Lilly and Company
Offscript: IRT Young Professionals Group
Front and Center is a campaign to support the long-term sustainability of the IRT. It is with deep appreciation that we thank the individuals and organizations who have committed a gift to keep the IRT Front and Center! A.J. Allen & Kathy Maeglin Janet Allen & Joel Grynheim Dr. Patrick & Danette Alles Pat & Bob Anker Bob & Toni Bader Frank & Katrina Basile Mr. Leo Bianchi & Dr. Jill Panetta Susie & Joel Blum Sheila Barton Bosron & Bill Bosron Dan Bradburn & Jane Robison
Amy Burke Brady Clark Mary Beth Claus Allen Whitehill Clowes Charitable Foundation Alan & Linda Cohen The Cohen Family Foundation, Inc. Don & Dolly Craft Daniel & Catherine Cunningham Claire Dana & Chris Fretts Ann & Kenneth Dee
Gary Denney & Louise Bakker Tom Detmer Rollie & Cheri Dick Michael Dinius & Jeannie Regan-Dinius Danielle M. Dove Nancy & Berkley Duck Duke Realty Geoffery Ehrendreich Dan & Ginny Emerson Troy Farmer
THE SUPPORTING CAST
INDIANA REPERTORY THEATRE DONORS FRONT
and CENTER, CONT.
Front and Center is a campaign to support the long-term sustainability of the IRT. It is with deep appreciation that we thank the individuals and organizations who have committed a gift to keep the IRT Front and Center! Drs. Richard & Rebecca Feldman Jim & Julie Freeman David & Ann Frick Drs. Cherryl & Shelly Friedman Jenny & Tom Froehle David Garrett Ron & Kathy Gifford Nadine & Alvin Givens Susan & Charlie Golden Dave & Mary Lou Gotshall Mr. & Mrs. Jeff Griman Tom Haas Endowment Fund Benjamin Hanna Mike & Judy Harrington Michael N. Heaton Donald & Teri Hecht Holt Hedrick Aaron Henze Ann Hinson Lindsey & Tom Horan Brenda S. Horn Bill & Nancy Hunt Rebecca Hutton The Indianapolis Fellows Fund, a fund of The Indianapolis Foundation The Indianapolis Foundation, a CICF affiliate Johnson Grossnickle & Associates David Kleiman & Susan Jacobs John & Susan Kline Gary Knott & Colette Irwin-Knott Steve & Bev Koepper Jill & Peter Lacy Lacy Foundation Sarah & John Lechleiter Margaret Lehtinen & Dr. Lawrence Mark Elisabeth Lesem
Lilly Endowment, Inc. Linnea’s Lights, LLC John & Laura Ludwig Hillary Martin & Rudy Bustamante Andrew & Amy Michie Amber Mills Lawren Mills & Brad Rateike David & Robin Miner David & Leslie Morgan Michael D. Moriarty Carl Nelson & Loui Lord Nelson Nicholas H. Noyes, Jr. Memorial Foundation, Inc. Jackie Nytes & Michael O’Brien Eric & Suzanne Olson OneAmerica Financial Partners Brian & Gail Payne Randy Pease Ben Pecar & Leslie Thompson Mel & Joan Perelman Deb & Greg Perkins Jeff Pigeon Peter & Karen Reist George & Olive Rhodes (in memoriam) Sue & Bill Ringo Richard J Roberts Kathy Sax Maggie Barrett Schlake & Joshua Schlake Jane & Fred Schlegel Wayne & Susan Schmidt Michael & Holly Semler Mark & Gerri Shaffer Jack & Karen Shaw Simmons Family Foundation, a fund of CICF Doug Sims and Amanda Jackson Michael Skehan Sue & Mike Smith
Victoria Smith & Scott Wampler Suzanne Sweeney & Todd Wiencek Randy Talley Gene & Mary Tempel Jeff & Benita Thomasson Dr. & Mrs. James Trippi Jennifer C. Turner Jennifer & Gary Vigran Amy Waggoner Cheryl & Ray Waldman Rosalind Webb & Duard Ballard Carol Weiss Alan & Elizabeth Whaley David P. Whitman & Donna L. Reynolds Heather & Andy Wilson John & Margaret Wilson Jospeh Zielinski & Bethany Lowery
BOB STEELE | 1954-2019 BY SUZANNE SWEENEY, MANAGING DIRECTOR
Bob Steele came to work at the IRT 13 years ago after thinking he was retiring. Bob had been a firefighter for the Fire Department in Posen, Illinois, House #28, for 32 years, the last eight as chief. What he quickly learned on becoming the IRT’s operations manager was that he would continue to put out fires of a different sort for us. We were very lucky to have found Bob, and that he chose this place as his work home.
All of us at the IRT feel this loss deeply, but for his operations team, whom he built and nurtured, we know this is an even bigger hole. For all of us with whom he worked so closely, we lost more than a boss or colleague—we lost a valued friend. Bob’s wife, Sandra Hester-Steele, has been a bartender here at the IRT for many years. Our hearts go out to her along with Bob’s four daughters and nine grandchildren.
Bob fully embraced his care of the building, making sure that all maintenance and remodeling projects were completed to his standards. There were many times that he would be called in the middle of the night to investigate a fire alarm or clean up after a flood. He never once complained, but always welcomed being the “go-to” guy. There were also many times Bob would tell one of us that he couldn’t get to a project for a week or so, and then later that day, we would find the project was completed. Anyone who knew him knows that Bob absolutely could not leave anything undone.
Bob loved this building and he loved all of us in it. He was an amazing person: passionate about doing what is right, tireless in his preparation and completion of projects. He may have had a gruff exterior, but he was a generous, funny, and caring man. We will miss our colleague and dear friend, Bob Steele. But if there really are pearly gates out there somewhere, I am certain that Bob will be on the job making sure they are working perfectly for us all.
WHAT TO DO WITH YOUR OLD CAR? Donate it to the IRT. We will sell it at auction and proceeds will benefit the Theatre. You can qualify for a tax deduction for your generous act! We also accept donations of the following: Boats | Farm Equipment | Motorcycles | Motor Homes | Snow Mobiles | And More!
Original artwork by Kyle Ragsdale
MORE INFORMATION: KSWANKHERZOG@IRTLIVE.COM | 317.916.4830
JOIN US! AN ANNUAL MEMBERSHIP IS JUST $50 & LASTS 12 MONTHS FROM PURCHASE DATE! Top-Quality Theatre, Exclusive Access to Special Events & IRT Artisans, $25 Tickets, Volunteer Opportunities
MARK YOUR CALENDAR FOR THESE UPCOMING MEMBER EVENTS! MORNING AFTER GRACE: January 23, 6 PM event; 7:30 PM performance MURDER ON THE ORIENT EXPRESS: March 25, 6 PM event; 7:30 PM performance
LEARN MORE: IRTLIVE.COM/OFFSCRIPT
35,000 STUDENTS FROM 55 INDIANA COUNTIES EXPERIENCED LIVE THEATRE AT THE IRT LAST SEASON Without the Alan and Linda Cohen Education Fund, thousands of students would not be able to attend. Help us give students the experiences they deserve by donating to the Cohen Education Fund today! “A student told me he couldn’t pay for the trip because his family doesn’t have a lot of money right now. I told him that the IRT had helped cover the cost. His eyes lit up and he kept saying ‘thank you!’ throughout the day.” -An Indiana Teacher
The cast of IRT’s 2019 production of Elephant & Piggie’s “We Are in a Play!”. Photo by Zach Rosing.
FOR MORE INFORMATION ABOUT SUPPORTING STUDENT MATINEES, CONTACT: KAY SWANK-HERZOG: KSWANKHERZOG@IRTLIVE.COM | 317.916.4830
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STUDIO 2000 SALON & DAY SPA 55 MONUMENT CIRCLE Right above Starbucks
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