For many years, OneAmerica ® has been proud to support the Indiana Repertory Theatre. The arts contribute to overall well-being, and so does sound financial planning.
Our legacy began in the heart of Indy 145 years ago — and it lives on in the hearts of our associates and the people we’re committed to serving.
A vibrant community is a healthy community. OneAmerica is proud our sponsorship ranks among the longest-running in community theater nationwide. As a legacy supporter of Indiana Repertory Theatre, OneAmerica celebrates IRT as a champion of imagination and inspiration. We hope you enjoy the 2023-2024 season.
—Scott Davison Chairman, President and CEO OneAmerica,2023-2024seasonsponsor
Through its community outreach efforts, the Navient Community Fund supports organizations and programs that address the root causes which limit financial success for all Americans. The Navient Community Fund is proud to support the Indiana Repertory Theatre as the Education Partner for the 2023-2024 Season.
Navient is a leading provider of asset management and business processing solutions to education, healthcare, and government clients at the federal, state, and local levels. Millions of Americans rely on financial support to further their education and improve their lives. We work hard each day to help our customers navigate financial challenges and achieve their goals.
We at Navient have a deep appreciation for the arts and for the hard work, passion, and emotion that go into them, as well as the positive influences the arts have on individuals and their communities. Our employees in central Indiana are proud to support our community through amazing programs like those offered by IRT.
Enjoy the show.
Rooted in the heart of Indiana, Indiana Repertory Theatre is committed to building a vital, vibrant, and informed community through the transformational power of live theatre. The Indiana Repertory Theatre produces inclusive, top-quality, professional theatre and community programming to engage, surprise, challenge, and entertain members of the whole community.
The Indiana Repertory Theatre will welcome the whole community, becoming a place of belonging for an ever-expanding audience of all ages and backgrounds seeking meaningful and enjoyable 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 the largest nonprofit theatre in the state of Indiana, IRT’s goal is to help make Indiana a dynamic home of cultural expression, economic vitality, and a diverse and engaged citizenry.
• Producing diverse plays, we strive to provide insight and celebrate human relationships through the unique vision of the playwright.
• Employing professional artists of the highest quality, we nurture an environment that allows them to grow and thrive on our stages and in our communities.
• We foster a creative environment where arts, education, corporate, civic, and cultural organizations collaborate to benefit our community
• Our community thrives when diverse voices and peoples gather to make, watch, and support theatre.
• It is our responsibility as a community resource to open our doors wide, welcoming all to our high-quality, relevant art.
• We acknowledge our history of privilege as a predominantly White institution as an initial and necessary step toward effectively supporting the dismantling of systems of oppression.
• To be an anti-racist organization we must seek knowledge and understanding to identify discriminatory practices and increase cultural awareness in collaboration with, and learning directly from, BIPOC, Lesbian, Gay, Bisexual, Transgender, Queer, Intersex (LGBTQI+), functionally diverse, and other historically excluded communities.
• As a public-benefit organization, we focus on community service, artistic integrity, and creating a range of ticket prices that allow all segments of our community to attend.
• Fiscal responsibility and financial security fuel our institutional sustainability.
• To ensure institutional longevity, we continue to grow our endowment fund as a resource for future development.
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.
Every community owes its existence and vitality to generations from around the world who contributed their hopes, dreams, and energy to making the history that led to this moment. Some were brought here or removed from here against their will, some were drawn to leave their distant homes in hope of a better life, and some have lived on this land for more generations than can be counted. Acknowledgment of the land which the IRT now occupies is critical to building mutual respect and connection across all barriers of heritage.
We want to acknowledge that what we now call Indiana is on the ancestral lands of many indigenous peoples including the Miami, Piankashaw, Wea, Potawatomi, Kickapoo, Delaware, and Shawnee. We pay respects to their elders past and present. Please take a moment to consider the many legacies of displacement, migration, violence, and settlement that bring us together here today.
This land acknowledgment was created in collaboration with Scott Shoemaker, PhD (Miami Tribe of Oklahoma). Portions of this acknowledgment come from the U.S. Department of Arts and Culture (usdac.us).
The Indiana Repertory Theatre moved to its current site on Washington Street in 1980, renovating and reopening a building that had been shuttered for nearly a decade.
The historic Indiana Theatre was built in 1927, a time when the shameful practice of racial segregation was the standard in movie theatres and public buildings across the United States. The Indiana Theatre building was originally segregated and at some point in its history this practice ceased. Many Indiana residents and their families’ heritage stories recall being treated as less than equal citizens in this building, with some even being barred from entering. We cannot erase this history.
We honor and respect all those who have faced discrimination and harm in this building. We strive every day to make the IRT a place that welcomes all people.
The Indiana Repertory Theatre was founded in 1972 by Ben Mordecai, Greg Poggi, and Ed Stern. Since then, 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-for-profit theatre in the state, providing 100,000 live professional theatre experiences for its audience in a typical season. The Theatre regularly serves thousands of students from more than half of Indiana’s 92 counties, making the IRT one of the most youth-oriented professional theatres in the country. A staff of year-round employees creates seven 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 Stage, 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
The OneAmerica Season includes five productions from classical to contemporary.
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. Please email Jacob Lang, House Manager, at jlang@irtlive.comor call 317.916.4872 for more information.
Opportunities The IRT depends on the generous donation of time and energy by volunteer ushers; please email Jacob Lang, House Manager, at jlang@irtlive.comor call 317.916.4872 to learn how you can become involved.
Meet the Artists Regularly scheduled pre-show chats and post-show discussions offer audiences unique insights into each production.
Student Matinees The IRT continues a long-time commitment to student audiences with live school-day student matinee performances of all IRT productions. These performances are augmented with educational activities and curriculum support materials.
Educational Programs Auxiliary services offered include workshops on demand, study guides, pre- and post-show discussions, and detailed discussions with artistic staff and community leaders.
Classes The IRT offers classes inspired by the works we see to continue learning for a wide variety of ages, including our IRT Theatre Camp. Email education@irtlive.com or call 317.635.4841 for further information.
Explore the Indiana Writers Center’s Spotlight Partnership with the Indiana Repertory Theatre for Mary Shelley’s Frankenstein, a vibrant collaboration that echoes IWC’s commitment to advancing inclusion, diversity, equity, and access for new and established writers. Through this partnership, the IWC continues to champion storytellers from diverse backgrounds, illuminating the transformative potential of words and fostering an inclusive artistic community in Indiana.
We strive to celebrate and serve the diverse people and cultures that make up our whole community. The IRT is committed to creating and maintaining an antiracist theatre that is inclusive, safe, respectful, and accessible.
Whether you have been coming for years or are here for the first time—welcome to your Theatre!
• Our community thrives when diverse voices and peoples gather to make, watch, and support theatre.
• It is our responsibility as a community resource to open our doors wide, welcoming all to our high-quality, relevant art.
• We must acknowledge our history of privilege as a Predominantly White Institution in order to effectively support dismantling systems of oppression.
• In order to be an antiracist and inclusive organization we must seek knowledge and understanding to identify discriminatory practices and increase cultural awareness in collaboration with, and learning directly from, BIPOC, Lesbian, Gay, Bisexual, Transgender, Queer, Intersex (LGBTQI+), functionally diverse, and other historically excluded communities.
• We will represent and engage the diverse people, cultures, and communities of central Indiana.
• We will employ more people of color, with a goal of 40% of all new hires being BIPOC, and foster an inclusive culture of artists, staff, board, and vendors.
• We will continue and deepen our Inclusion, Diversity, Equity, and Access (IDEA) training for all board and staff.
• We will be accessible to all audiences inviting those who have been unheard or unseen in the past, including functionally diverse people, BIPOC, LGBTQI+, and under-resourced communities.
If you would like to read more about our Inclusion, Diversity, Equity, and Access (IDEA) work, go to irtlive.com/about/idea.
Margot Lacy Eccles Artistic Director
Ben is thrilled to embark on his first season as IRT’s Margot Lacy Eccles Artistic Director, following six years as the company’s Associate Artistic Director. At IRT he has directed Clue, Fahrenheit 451, The Book Club Play, A Christmas Carol, and Elephant & Piggie’s “We Are in a Play!,” among others. This season he looks forward to directing our first musical in a decade: Little Shop of Horrors.
As a director, educator, and community engagement specialist, Ben is guided by the belief that access to high-quality theatre helps build creative, empathetic people and healthy communities. Across his career, he has focused on building the next generation of artists and audiences by creating and advocating for multigenerational, multicultural, and family-oriented programming. Prior to his role at IRT, he spent five years at Berkeley Repertory Theatre and directed shows at the Bay Area Children’s Theatre. In his native Minnesota, he served on the education staff of Penumbra Theatre Company and was an artistic associate at Children’s Theatre Company. He is the recipient of the prestigious Theatre Communications Group Leadership University Award funded by the Andrew W. Mellon Foundation and is a recent graduate of the Stanley K. Lacy Leadership Program—Class XLVI.
Ben holds a degree in theatre arts from the University of Minnesota Twin Cities. He fell in love with telling stories at the age of eleven at the Prairie Wind Players community theatre in rural Minnesota, and he continues to create for his favorite audience: his five nieces and nephews.
MARGOT LACY ECCLES WAS A LEADING PHILANTHROPIC SUPPORTER OF THE ARTS AND HUMANITIES. THE INDIANA REPERTORY THEATRE CHERISHES ITS HISTORY WITH MRS. ECCLES AS A SUBSCRIBER, BOARD MEMBER, DONOR, AND CHAMPION OF OUR ORGANIZATION IN BOTH ITS EDUCATIONAL AND ARTISTIC LEADERSHIP. IN RECOGNITION OF MRS. ECCLES’S LEGACY AS BENEFACTOR AND ADVISOR, THE INDIANA REPERTORY THEATRE IS PROUD TO HAVE NAMED ITS ARTISTIC DIRECTOR POSITION THE MARGOT LACY ECCLES ARTISTIC DIRECTOR.
Suzanne is a 25-year veteran of the IRT and is excited to work with Benjamin Hanna as co-CEO of the company, where she oversees its administrative functions. During her tenure, the IRT has secured a long-term lease for the building with the City of Indianapolis, renovated the Upperstage Lobby and restrooms, and raised $20 million for its Front and Center campaign.
Suzanne was elected Treasurer of the national League of Resident Theatres, where she serves as a board member. She has been a panelist for Shakespeare in American Communities in cooperation with Arts Midwest. She was 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 three years, and treasurer of Indy Fringe.
Suzanne is a graduate of the College of William & Mary and Indiana University. She has worked in finance in Washington DC, Texas, Germany, Hawaii, and New Zealand. She is an alum of the Stanley K. Lacy Leadership Program (Class XXXI). She lives in Lockerbie with her son, Jackson, and spends some of her downtime in Palatine, Illinois, with her partner, Todd Wiencek.
This is James’s final season as the IRT’s Playwright in Residence: an unprecedented relationship between an artist, a theatre, and audience that has seen 17 of James’s plays in 23 productions, as well as the more than 20 additional productions he has directed on both of the IRT stages. His work has been produced throughout the United States, Canada, China, Japan, Europe, South Africa, Australia, and New Zealand.
James is a 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 Eugene and Marilyn Glick Indiana Authors Award for drama, the Todd McNerney New Play Prize from the Spoleto Festival, and the William Inge Festival’s Otis Guernsey New Voices Award. Three of his plays have received the Distinguished Play Award from the American Alliance for Theatre & Education, and his plays have been nominated four times for the Pulitzer Prize.
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. James grew up in Kansas and lives in Los Angeles.
2017, SARAH & JOHN LECHLEITER CREATED THE JAMES STILL PLAYWRIGHT-IN-RESIDENCE FUND, PROVIDING SUPPORT FOR THE PLAYWRIGHT-IN-RESIDENCE AS WELL AS THE CREATION OF NEW WORK FOR THE IRT.
Ismael is a Mexican director, artistic leader, educator, and community organizer hailing from the Gulf Coast of Texas. In recent years, his work has focused on bridging the gap between institutions and the Latiné community.
Ismael has directed and developed plays in collaboration with Goodman Theatre, Cleveland Play House, the Story Theatre, Paramount Theatre, A Red Orchid Theatre, National Museum of Mexican Art, Cleveland Public Theatre, Rec Room Arts, Creede Repertory Theater, the Lark, and National Queer Theatre. He is a recipient of Northwestern University’s Aurand Harris Award, a Drama League Directing Fellowship, Northlight Theatre’s Artistic Fellowship, Milwaukee Repertory Theater’s Emerging Directing Fellowship, and an SDC Observership, and was a participant in the Center for International Theatre Development’s Linkages: Hungary program. He has served as a Co-Artistic Director of the Hangar Lab Company, and as a producer with the National Museum of Mexican Art in collaboration with Nancy García Loza, the Joyce Foundation, and National Endowment for the Arts; and he worked within the education department at Cleveland Play House to bring basic needs and arts programming to the Latiné community. Ismael has been an adjunct faculty member at Lake Forest College and Northwestern University. He earned his M.F.A. in Directing at Northwestern.
Eric Wilburn
Benjamin Hanna
Margot Lacy Eccles Artistic Director
Suzanne Sweeney
Managing Director
Ariana Fisher
Office Administrator
Malia Argüello
Production Manager
Ismael Lara, Jr.
Associate Artistic Director
Hillary Martin
Company Manager
Richard J Roberts
Resident Dramaturg
Jane Robison
General Manager
James Still
Playwright-in-Residence
Erica Bascom
Costume Shop Manager
Lane Fiorini
Wardrobe Supervisor
Heather Hirvela
Draper
Niamh Langfitt
First Hand
Brady Clark
Development Systems
Eric J. Olson
Institutional Giving Manager
Steven MacPherson Stolen
Director of Development
Kay Swank-Herzog
Individual Giving Manager
Paully Hawthorn
Electrician
Beth A. Nuzum
Lighting Manager
Megan Stockreef Electrician
Jeffrey Bledsoe
Director of Finance
Jen Carpenter
Payroll & Benefits Specialist
Amanda Keen
Business Manager
Devon Ginn
Director of Inclusion & Community Partnerships
Kerry Barmann
Associate Director of Marketing
Geneva Denney-Moore
Design & Communications Manager
Danielle M. Dove
Director of Marketing & Sales
Megan Ebbeskotte
Audience Development Manager
Noelani Langille
Multimedia & Design Manager
Claire Dana
Charge Scenic Artist
Jim Schumacher
Scenic Artist
Dameon Cooper
Building Manager
Housekeeping
Roger Cunningham
Tonika Miller
Jacob Lang
Assistant Ticket Office Manager
Chelsea Senibaldi
Customer Service Representative
Molly Wible Sweets
Tessitura Administrator
Madelaine Foster
Assistant Properties Shop Manager
Rachelle Martin
Properties Shop Manager
Nick Chamberlain
Stage Operations Supervisor
WonJun Brendon Choi
Operations Carpenter
Chris Fretts
Technical Director
Nick Kilgore
Automation Supervisor/Carpenter
Samantha-Rae Oliver
Carpenter
David Sherrill
Master Carpenter
Brittany Hayth
Lead Audio Engineer
Todd Mack Reischman
Head of Audio and Video
Stage Managers
Nathan Garrison
Erin Robson-Smith
Janine Vanderhoff
Assistant Stage Managers
Becky Roeber
Production Assistants
Isabella Garza
Emma Littau
Natalie Stigall
Anna E. Barnett
Education Manager
House & Events Manager
Courtney Plummer
Ticket Office Manager
Doug Sims
Group Sales & Teleservices Manager
Randolph Nicolai
Tara Parchman
Kirsten Povolny
Paul Drew
John Simmons
Claire Wilcher
Education Assistant
Crowe Horwath
External Auditors
Faegre Drinker
Legal Counsel
Assistant House Managers
Grace Branam
Stacy Brown
Preston Dildine
Dieter Finn
Christine Gordon
Marilyn Hatcher
Lexi Hudson
Sarah James
Bartender
Tina Weaver
Claire Martin
Alicia McClendon
Phoebe Rodgers
Kathy Sax
Karen Sipes
Sam Stucky
Katy Thompson
Customer Service Representatives
Melody Lidner
Owen Louden
Cara Wilson
Jen Blue Hands
Ben Dobbler
Lee Edmundson
Louie Kaufman
Emma Littau
Jacob Spence
Jackie Walburn
Welcome to the Indiana Repertory Theatre. As we move into our 51st season, we are delighted to welcome Ben Hanna in his new position as Margot Lacy Eccles Artistic Director.
In this busy world, with so many demands on our time and our dollars, we appreciate not only your presence and your participation, but also your continuing financial support, which makes our work possible. On behalf of the Board of Directors, thank you for choosing the IRT.
Your contribution is a vital part of our success. If you enjoy this production, please encourage your friends to come see it. If you do not already have a season ticket or a smaller ticket package, why not join the family? Consider a membership in the Repertory Society, too.
Great art doesn’t just happen. It takes committed patrons such as yourself in tandem with talented artisans. Enjoy the show!
–AndrewMichie,IRTBoardChairAndrew Michie
OneAmerica
Financial Partners, Inc.
VICE CHAIR & CHAIR ELECT
Jill Lacy
The Lacy Foundation
Kathryn Beiser
Eli Lilly & Company
Michael P. Dinius
Joy Kleinmaier
American Specialty Health
Julian Harrell Faegre Drinker
Mark Shaffer*
KPMG LLP
Noble Consulting Services, Inc.
Laurie Dippold
KAR Auction Services, Inc.
Dan Emerson*
Indianapolis Colts
Troy D. Farmer
FORVIS
Tom Froehle*
Faegre Drinker
Ashley Garry
Viatris Inc.
Ron Gifford
RDG Strategies LLC
Ricardo L. Guimarães
Indiana University
Kelley School of Business
Robert Anker* (in memoriam)
Rollin Dick
Berkley Duck*
Dale Duncan*
James W. Freeman
Nadine Givens*
Michael N. Heaton
Katz Sapper & Miller, Retired
Brenda Horn
Ice Miller LLP, Retired
Lauren James
Mitch Daniels Leadership Foundation
Elisha Modisett Kemp
Corteva Agriscience
Alan Mills
Barnes & Thornburg LLP
Nicholas C. Pappas
Frost Brown Todd
Rita Patel
Ascension St. Vincent PMCH
Brian Payne
Central Indiana Community Foundation | The Indianapolis Foundation, Retired
Tammara D. Porter
American Electric Power
Peter Racher
Plews Shadley
Racher & Braun LLP
Peter N. Reist
Oxford Financial Group, Ltd.
Susan O. Ringo
Community Volunteer
Myra C. Selby
Ice Miller LLP
Darshan Shah
BioCrossroads
Shelly Smith
Ernst & Young LLP
Sue Smith
Community Volunteer
Michael Lee Gradison* (in memoriam)
Mike Harrington*
Margie Herald (in memoriam)
David Klapper
David Kleiman*
Sarah Lechleiter
E. Kirk McKinney Jr. (in memoriam)
Michael Moriarty
Richard O. Morris* (in memoriam)
Jane Schlegel*
Wayne Schmidt
Jerry Semler* (in memoriam)
Jack Shaw*
Mike Simmons
William E. Smith III*
Eugene R. Tempel*
David Whitman*
Rising from humble roots as the daughter of a Mississippi sharecropper, Fannie Lou Hamer became a leader in the struggle for voting rights at a time when Civil Rights were far from secure. Her grit and determination to keep fighting, through bad times as well as good, shows what it means to be a true revolutionary. You’ll be clapping and crying and singing along with a show that is part theatre, part gospel revival, and all inspiration.
It feels strange to introduce myself after these wonderful six years as your Associate Artistic Director, but to those I have not met, welcome! I look forward to meeting you. And to those who have called this Theatre home for decades, welcome back!
I am honored to follow the legacy of my mentor, Janet Allen, in the role of IRT’s Margot Lacy Eccles Artistic Director. Like Janet, I am committed to creating a space that represents and shares stories with the beautiful tapestry of Indianapolis and its people. And while Janet and I shared many values and ideals, some longtime supporters are asking me: how will IRT change under your leadership?
Change is a word that has been on our minds a lot as we enter this exciting new time at the theatre. Change brings a mix of great opportunity, a healthy dose of nostalgia celebrating our history, and a collective and courageous deep-chested breath as we launch into our bright future. Theatre has been around for a long time, and can be an awesome chameleon: changing and adapting with people and culture as they grow. What the change will be for certain I do not know, but what I can tell folks is that we will transform and grow together. And that is comforting to me—that we can all agree that tomorrow will be different than today and we face the challenges of tomorrow hand-in-hand.
We begin this new artistic adventure with beautiful works inspired by two literary geniuses, Mary Shelley and Charles Dickens. Both artists were cultural sparks that changed the world. Shelley followed her mother’s footsteps as a renowned feminist and refused to let society dictate her life, her lovers, or her writing. With her big, messy questions—questions that are perhaps even more relevant today than they were when she asked them 200 years ago—Shelley demands in Frankenstein that we examine our responsibility to our
creations. Dickens put a spotlight on the horrendous practices of child labor and poverty, as well as the dangers of lack of education, and he rejuvenated many of our holiday traditions with his novella A Christmas Carol. I think of him as Father Christmas, really. He inspired us—and still inspires us—to share our abundance with others and live with a community spirit.
At the helm of these magical pieces are two former Associate Artistic Directors, beloved artists Risa Brainin and Priscilla Lindsay. Risa has directed 15 past productions at IRT, and Priscilla holds the record for the most Carols ever staged at IRT (this year makes 13!). After decades, these fierce artists have come home once again to share their excellence with our community.
I hope these productions are just the beginning of your journey with us this season. But please know that our doors are always open, and there is always a place for you here in our Theatre. A place to dream, a place to connect with your neighbors, and a place either to escape or to examine the world outside of these walls.
You’re invited to the party, and we hope you’ll bring friends! Here’s to changing and growing together.
In community,
BENJAMIN HANNA, MARGOT LACY ECCLES ARTISTIC DIRECTOR
Credit: Visit Indy.
Celebrating how the arts connect and enrich our community.
Citizens Energy Group is a proud partner of the Indiana Repertory Theatre. This ad was not paid for by customer rates.
SEPTEMBER 20 – OCTOBER 14
Director________________________ RISA BRAININ
Scenic Designer__________________________ CAREY WONG
Costume Designer_______________________ DEVON PAINTER
Lighting Designer______________________ MICHAEL KLAERS
Original Music & Sound Design____________ MELANIE CHEN COLE
Projections Design_______________________ MIKO SIMMONS
Movement__________________________ MARIEL GREENLEE
Fight Direction & Intimacy ______________ LERALDO ANZALDUA
Dramaturg_________________________ RICHARD J ROBERTS
Stage Manager_______________________ NATHAN GARRISON
Assistant Stage Manager___________________ BECKY ROEBER
Casting____________________________ CLAIRE SIMON CSA
Share your review on social media by tagging us at @IRTLIVE, using #IRTLIVE or by emailing REVIEWS@IRTLIVE.COM
SCENIC DESIGNER: Carey Wong
LIGHTING DESIGNER: Michael Klaers
SEASON 2023-2024
Percy Bysshe Shelley, Victor Frankenstein, & Others____________________________ TY FANNING
Lord Byron, the Creature, & Others____________________________________ NATE SANTANA
Claire Clairmont, Mother, & Others________________________________ ANDREA SAN MIGUEL
Mary Godwin, Elizabeth, & Others________________________________ REBECCA MARIE HURD
John Polidori, Henry, & Others_________________________________________ TERRY BELL
The Villa Diodati, Lake Geneva, Switzerland. Summer 1816
APPROXIMATE RUN TIME: 2 hours and 20 minutes, with a 20-minute intermission.
Mary Shelley’s Frankenstein premiered at Lookingglass Theatre Company in Chicago, May 2019. The play is produced by special arrangement with Bret Adams, Ltd., 448 West 44th Street, New York, NY, 10036. bretadamsltd.net
Dialect Coach: D’Arcy Smith
Assistant to the Director: Erin Donahue
Associate Projection Designer & Programmer: Jackson Cobb
Understudies: Kirsten Høj & Kerrington Shorter
Actors and stage managers 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. Scenic, costume, and lighting designers are represented by United Scenic Artists Local 829, IATSE.
Photography and recording are forbidden in the Theatre. The videotaping of this production is a violation of United States
Copyright Law and an actionable Federal Offense.
Thanks to the Alan and Linda Cohen Education Fund, students all across Indiana are able to attend IRT performances. Help us continue to give students, teachers, and their schools experiences they deserve by donating to the Cohen Education Fund today.
“Love that the IRT has secured subsidies for our school (from our free/reduced status). It makes it much easier to allow ALL of my students to attend. The resources you include for teachers reduces my work! The Oedipus guide was very thorough and packed with info! Thanks for everything!”
Anonymous educator after seeing IRT’s 2023 production of Oedipus with class
It is an honor to be directing the opening production of Ben Hanna’s inaugural season as the IRT’s Margot Lacy Eccles Artistic Director! And what a prescient moment to be in conversation with this great masterpiece. I am so grateful to Ben for the opportunity to share this story with you.
Many first time readers of Mary Shelley’s novel Frankenstein are surprised to learn that “Frankenstein” is not the monster. Victor Frankenstein is actually the scientist who brings to life what he calls “the Creature.” In fact, the Creature, outside of his appearance, is not actually born a “monster” at all. Rather, he is like a newborn baby learning to be human. What I love about this story is that the Creature becomes more human, and the creator, who ruthlessly abandons his creation, becomes more monstrous. One of the central questions of the story is this: What is one’s responsibility to one’s creation—and its life thereafter? With the growing use of artificial intelligence, that question could not be any more pressing than it is right now. The innovations of today will affect everything about tomorrow. So, what is our responsibility to the future?
Shelley’s novel tells the story from the point of view of a bystander, Captain Walton. Writing letters to his sister, he shares Victor Frankenstein’s account of making the Creature, and the tragic aftermath of this narcissistic act followed by abandonment. David Catlin’s unique adaptation tells the story from Shelley the writer’s point of view. Her inspiration for writing Frankenstein was in response to a dare. In 1816, Mary and her soon-to-be husband, Percy Bysshe Shelley, along with the famous poet Lord Byron, Mary’s step-sister Claire, and their friend Dr. Polidori, gathered for a sensual, raucous, rule-breaking evening in the Villa Diodati on Lake Geneva in Switzerland. As a contest, Byron invited each person in the group to try their hand at a ghost story. Mary was very much up to the challenge. In interweaving the true story of that night in Geneva and Victor Frankenstein’s tale, Catlin makes these existential questions about responsibility quite personal. What starts as a spirited, fun evening with friends and lovers, grows deeper and more reflective as the story unfolds. I think the novel’s richness comes alive in Catlin’s inventive telling of the story. We hope you enjoy the ride!
Matthew Harrington and Frederick Farrar in the IRT’s 1987 production of Frankenstein, adapted by Tom Haas and Robert Gross.
Mary Shelley conceived her novel Frankenstein while spending the summer of 1816 at Lake Geneva, Switzerland, with some other extraordinary writers. In David Catlin’s stage adaptation, these five real-life friends act out Mary’s novel together.
MARY WOLLSTONECRAFT GODWIN SHELLEY (1797–1851) wrote the Gothic novel Frankenstein; or, The Modern Prometheus—perhaps the earliest example of science fiction—as well as five other novels, two travel books, and hundreds of encyclopedia articles and short stories. With her husband, Percy Bysshe Shelley, she had four children, only one of whom lived past the age of three. She spent much of her life editing and promoting her husband’s work: “I am to make him beloved to all posterity.” In her own work, she used the historical novel to comment on gender relations, introducing women into traditionally masculine genres and questioning established theological and political institutions. She set the male’s compulsive greed for conquest in opposition to female alternatives: reason and sensibility, promoting the values of friendship, domesticity, and equality. In Frankenstein, she criticized the individualism and egotism of traditional Romanticism—including the work of her own husband. She died at 53 of a suspected brain tumor. Today scholars consider Mary Shelley to be a major Romantic figure, significant for her literary achievement and her political voice as a woman and a liberal.
PERCY BYSSHE SHELLEY (1792–1822) was a major English Romantic poet, acclaimed for the sweeping momentum of his poetic imagery. Among his best-known works are “Ozymandias,” “Ode to the West Wind,” “To a Skylark,” “The Necessity of Atheism” (written with T. J. Hogg), “The Mask of Anarchy,” and his masterpiece, Prometheus Unbound. A radical in his political and social views as well as his poetry, he advocated the expansion of voting rights, an end to aristocratic and clerical privilege, a more equal distribution of income and wealth, atheism, vegetarianism, and free love. He drowned in a boating accident at age 29. Although he was not famous in his lifetime, he was influential on generations of poets such as Browning, Swinburne, Hardy, and Yeats. Critic Harold Bloom describes him as “a superb craftsman, a lyric poet without rival, and surely one of the most advanced skeptical intellects ever to write a poem.”
GEORGE GORDON, LORD BYRON (1788–1824) is considered among the greatest of English poets. His best-known works include Childe Harold’s Pilgrimage (which made him wildly famous overnight), “She Walks in Beauty,” “The Prisoner of Chillon,” and Don Juan. In the midst of several sexual and financial scandals—his own wife called him “mad, bad, and dangerous to know”—he left England in 1816, never to return. After living in Italy for several years, he died of a fever at the age of 36 while fighting in the Greek War of Independence. His only legitimate child, Ada Lovelace, was a founding figure in the field of computer programming. His own life, as well as the characters he created, inspired the so-called Byronic hero: an idealized but flawed persona whose attributes include great talent, violent passion, a distaste for society and social institutions, a lack of respect for rank and privilege (although possessing both), thwarted love, rebellion, exile, an unsavory secret past, arrogance, a cruel streak, and a self-destructive nature.
DR. JOHN POLIDORI (1795-1821) became a doctor at the age of 19. Two years later, he traveled briefly with Lord Byron as his personal physician; scholars have suggested that there may have been a sexual relationship between the two. Inspired by an abandoned story of Byron’s, Polidori wrote The Vampyre, transforming the traditional folklore village vampire into the figure that we recognize today: an aristocratic fiend who preys among high society. Polidori modeled his antagonist on Byron himself: handsome and charming, but also arrogant, cruel, and sexually voracious. The Vampyre has been very influential on subsequent vampire literature, including Bram Stoker’s 1897 Dracula. Dismissed by Byron, Polidori returned to England, unhappily practicing medicine while continuing to write. There is evidence that he committed suicide by drinking prussic acid before driving his carriage into a tree; but when he died several days later, the coroner’s report stated natural causes. He was 25 years old.
CLAIRE CLAIRMONT (1798-1879) was the stepsister of Mary Shelley. For many years she lived with Mary and Mary’s husband, Percy Bysshe Shelley. She had a brief, unhappy affair with Lord Byron and bore his daughter, who died in a convent school at the age of five. Although Claire spent much of her life surrounded by writers, she made few literary attempts of her own: “In our family, if you cannot write an epic or novel that by its originality knocks all other novels on the head, you are a despicable creature, not worth acknowledging.” After parting from the Shelleys, she lived in various places around Europe, working as a companion, governess, housekeeper, and music teacher. She died at the age of 80. The Aspern Papers by Henry James is based on the letters that Percy Bysshe Shelley wrote to Claire, which she saved until her death.
TERRY BELL | John Polidori, Henry, & Others Terry is from Chicago, Illinois, and attended Western Michigan University. He appeared on Broadway in The Skin of Our Teeth at Lincoln Center Theater. Regional credits include Sweat (Guthrie Theater); We Are Proud to Present..., The Curious Incident oftheDogintheNighttime (Steppenwolf); AChristmasCarol (Goodman Theatre); Routes,Howard’s End (Remy Bumppo Theatre). TV credits include Elementary, Chicago Fire, The Chi, Utopia. Terry is an ensemble member at Remy Bumppo Theatre and is proudly represented by Gray Talent Group and Blue Ridge Entertainment. @Commen_Terry (IG)
TY FANNING | Percy Bysshe Shelley, Victor Frankenstein, & Others Ty is a New York–based actor by way of Chicago, originally from Oklahoma. This summer he played Romeo in Romeo and Juliet and Demetrius in Midsummer at the Utah Shakespeare Festival. In five seasons at American Players Theatre his work has included An Iliad, Hamlet, She Stoops to Conquer, and many more. Other credits: Boswell (Off-Broadway), Lindiwe (world premiere, Steppenwolf), Teenage Dick (Chicago premiere, Theater Wit), multiple productions at Chicago Shakespeare Theater, and two seasons at the Utah Shakespeare Festival. TV/Film Credits: Chicago Med (NBC), Search Party (HBO MAX), Hot Mess Holiday (COMEDY CENTRAL), Hollis (AMAZON). “Love to Cailen and Laverne.”
REBECCA MARIE HURD | Mary Godwin, Elizabeth, & Others Rebecca is delighted to make her IRT debut. Off-Broadway: Boswell (59E59 Theaters). Chicago credits: Relentless (TimeLine/GoodmanTheatre); An EnemyofthePeople (Goodman Theatre); Hello,Dolly!,SomethingRotten! (Marriott Theatre); Mamma Mia! (Drury Lane Theatre); The Importance of Being Earnest (Writers Theatre); and Short Shakes! TwelfthNight(Chicago Shakespeare Theatre). Regionally, Rebecca has worked with the Guthrie Theater, Milwaukee Repertory Theatre, American Players Theatre, and Peninsula Players, among others. TV credits: Next and ChicagoP.D. She is a graduate of the University of Minnesota/Guthrie Theater and is a private acting coach for teens and young adults. @thehurdstudio
ANDREA SAN MIGUEL | Claire Clairmont, Mother, & Others This is Andrea’s fourth production with IRT. Past productions include Clue, The Book Club Play, and James Still’s Appoggiatura. Regional credits include Mary Zimmerman’s The Notebooks of Leonardo da Vinci (Goodman, Shakespeare Theatre Company in DC, and the Old Globe), As You Like It (Guthrie), and Alias Grace (Cincinnati Playhouse). Andrea has worked at Chicago Shakespeare Theater, Syracuse Stage, Writers Theatre, Victory Gardens, Northlight, American Players Theatre, and Montana Shakespeare in the Parks, to name a few. Andrea is represented by Paonessa Talent. Next up, Margaret Atwood’s ThePenelopiad directed by Susan V. Booth at the Goodman. @A_San_Miguel, AndreSanMiguel.com
NATE SANTANA | Lord Byron, The Creature, & Others Nate made his IRT debut in Sense and Sensibility.He has worked with various theatres throughout Chicago including Chicago Shakespeare Theater, Northlight Theatre, Steppenwolf, TimeLine Theatre Company, First Folio, Griffin Theatre, and BoHo Theatre. He is an ensemble member with Teatro Vista and Shattered Globe Theatre. He has also worked at the Phoenix Theatre in Indianapolis. On screen, he’s worked on Chicago Med, Chicago PD, The Exorcist, and Suits. His favorite role, though, happened this year when he became a father to sweet baby Vincent.
DAVID CATLIN | Playwright David Catlin is a founding Ensemble Member, actor, writer, director, and former Artistic Director of Lookingglass Theatre Company in Chicago, where he adapted and directed LookingglassAlice,MaryShelley’sFrankenstein, and MobyDick. Other Lookingglass writing credits include Icarus, Her Name Was Danger, and The Idiot (Jeff Award for Adaptation). Additional Lookingglass directing credits include The Little Prince, Metamorphosis, and West. Lookingglass acting credits include: Hard Times, The Arabian Nights, Our Town, Argonautika, Manuscript at Sarragossa, La Luna Muda, The Odyssey, and The Jungle. David is an artistic associate with Actors Gymnasium and serves on the acting faculty at Northwestern University.
RISA BRAININ | Director Risa was IRT’s associate artistic director from 1997 to 2000. Her IRT credits include Murder on the Orient Express, Holmes and Watson, The Curious Incident of the Dog in the Night-Time,Dr.JekyllandMr.Hyde, and many more. Risa was artistic director of Shakespeare Santa Cruz, associate artistic director for Kansas City Rep, and associate company director and resident director for the Guthrie Theater. Some of Risa’s other directing credits include Pittsburgh Public Theater, Denver Center Theatre Company, Alabama Shakespeare Festival, Cincinnati Playhouse in the Park, and Actors Theatre of Louisville. Risa is artistic director of LAUNCH PAD at UC Santa Barbara. She is a graduate of Carnegie-Mellon.
CAREY WONG | Scenic Designer Carey designed IRT’s Oedipus. Other theatre credits include the Seattle Repertory Theatre, Berkeley Repertory Theatre, Portland Center Stage, Arizona Theatre Company, Center Stage Baltimore, Syracuse Stage, Alliance Theatre, Seattle Children’s Theatre, Village Theatre, Mixed Blood, Prince Music Theater, Theatre under the Stars, and Spain’s Nearco Producciones. He has been resident designer for Portland Opera, Opera Memphis, and Wildwood Park. Other opera credits include Seattle Opera, Spoleto Festival USA, New York’s Valhalla Wagnerfest, Pittsburgh Opera, and the Beijing and Macao Music Festivals. Carey is a graduate of Yale College and attended the Yale School of Drama.
DEVON PAINTER | Costume Designer Devon’s IRT designs include Murder on the Orient Express, Holmes and Watson, The Curious Incident of the Dog in the Night-Time, The Three Musketeers, Dr. Jekyll and Mr. Hyde, and many more. Regional design credits include the Oregon Shakespeare Festival, Guthrie Theater, Milwaukee Rep, Denver Center, Geva Theatre Center, Kansas City Rep, Shakespeare Festival of St. Louis, Actors Theatre, Great Lakes Theatre Festival, Folger Theatre, Utah Shakespearean Festival, and American Players Theatre. New York credits include the Pearl Theatre, Juilliard, and other Off-Broadway venues, and associate work on Broadway with Desmond Heeley. Devon is a member of United Scenic Artists.
MICHAEL KLAERS | Lighting Designer This is Michael’s 16th production at IRT, including Murder on the Orient Express, Holmes and Watson, The Curious Incident of the Dog in the Nighttime, and Dr. JeckyllandMr.Hyde.Other regional theater credits include the Guthrie Theater, Cincinnati Playhouse in the Park, Seattle Children’s Theatre, Syracuse Stage, Pittsburgh Public Theatre, Repertory Theatre of St. Louis, Idaho Shakespeare Festival, Great Lakes Theater, Milwaukee Rep,Pacific Conservatory Theatre, and Ensemble Theater Company.
MELANIE CHEN COLE | Original Music & Sound Design IRT credits: Mrs. Harrison and Tuesdays with Morrie. Regional theatre credits include work at Alabama Shakespeare Festival, Alley Theatre, Alliance Theatre, Cincinnati Playhouse in the Park, Cleveland Play House, Dallas Theater Center, Denver Center for the Performing Arts, Geffen Playhouse, Goodman Theatre, Huntington Theatre Company, La Jolla Playhouse, Milwaukee Rep, Northern Stage, the Old Globe, PlayMakers Rep, South Coast Rep, Studio Theatre, and the Utah Shakespeare Festival. Education: M.F.A. in Theatre and Dance from UC San Diego. melaniesound.com@melaniechencole
MIKO SIMMONS | Projections Designer Miko has designed for theatres across the globe, including recently at Nashville Symphony Opera, Theatre WorksPaloAlto, Alliance/Seattle Children’s Theater, Guthrie Theater, the Ordway, Penumbra Theatre, History Theatre, New Dawn Theatre, Old Log Theatre, Park Square Theatre, Mixed Blood Theatre, Theater Mu, Minnesota Opera, and in South Korea. He has also worked with the Earth, Wind, and Fire international tour; the MLK sculpture inauguration ceremony on the national mall in DC; EMK Korea; and others, including international museums and institutes. Miko was recently a Jerome Foundation innovation lab fellow (2021/22) and a Northern Spark Festival artist fellow (2015-2020).
MARIEL GREENLEE | Movement IRT: Oedipus, The Curious Incident of the Dog in the Night-Time, and more. Mariel was a dancer with Dance Kaleidoscope for 15 years; she teaches ballet and modern dance locally. She has set dance works for Dance Kaleidoscope, Indianapolis Ballet, Phoenix Rising Dance Company, and Relevations. Theater credits: Pittsburgh Public Theater, Phoenix Theatre, and more. Mariel received the Individual Artist Grant from the Indiana Arts Commission in 2007. She was awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis and was an OnRamp cohort with the Indiana Arts Commission. She is the founder and artistic director of the Indy Dance Council and Indy Dance Festival.
LERALDO ANZALDUA | Fight Direction & Intimacy Leraldo has directed fights for IRT’s Clue, Oedipus, Sense and Sensibility, and You Can’t Take It With You. Other Indianapolis credits include Phoenix Theatre and Fonseca Theatre. Other companies include Alley Theatre, Houston Grand Opera, Colorado Shakespeare Festival, and Lake Tahoe Shakespeare Festival. Leraldo has been a motion capture performer and fight director with Sony Pictures in Tokyo, Japan, and for video games in Sweden. He received a Master’s Degree in Acting from the University of Houston. He is currently an Assistant Professor of Movement and Stage Combat with the Department of Theatre, Drama, & Contemporary Dance at Indiana University.
RICHARD J ROBERTS | Dramaturg This is Richard’s 34th season with the IRT, and his 26th 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 A Christmas Carol, The Cay, Bridge & Tunnel, The Night Watcher, Neat, Pretty Fire, The Giver, The Power of One, and Twelfth Night. Other directing credits include Actors Theatre of Indiana, the Phoenix, Indianapolis Chamber Orchestra, and the Edyvean. Richard studied music at DePauw and theatre at IU and was awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis.
NATHAN GARRISON | Stage Manager This is Nathan’s 28th 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.
BECKY ROEBER | Assistant Stage Manager Becky is now an Indianapolis local and is a proud member of Actor’s Equity Association. This is their seventh season working at Indiana Repertory Theatre. They also serve as Production Manager for Summer Stock Stage and as Production Stage Manager for Summer Stock Stage’s young professionals branch, Eclipse. “I am proud to be a part of the Indianapolis theatre community and grateful to continue to produce theatre with the team at IRT.”
CLAIRE SIMON CSA | Casting Based in Chicago, Claire Simon CSA has worked with the IRT for the past 24 years on casting more than 40 productions, including Clue, Oedipus, Sense and Sensibility, Murder on the Orient Express, Twelve Angry Men, You Can’t Take It With You, Holmes and Watson, Noises Off, Appoggiatura, and many more. Other regional credits include Syracuse Stage, Asolo Theatre, Lyric Opera, Milwaukee Rep, and the Tony Award–winning Million Dollar Quartet. TV credits include Empire, Easy, Sense8, Chicago Fire, Chicago PD, Crisis, and Betrayal. Film credits include Divergent, Contagion, Unexpected, and Man of Steel. Claire has won two Artios Awards.
“The world to me was a secret, which I desired to discover.”
- Mary Shelley
In this, IRT’s 51st Season, we look forward with optimism and energy to the opportunities and adventures that come with new creative leadership. At the same time, we honor the long tenure of Janet Allen, IRT Artistic Director Emerita.
In June, 2023, the IRT announced that the Upperstage Theatre would be renamed in honor of Janet and her indelible impact on the community and the Theatre’s leadership presenting a dazzling variety of creative work, innovative ideas, and unswerving commitment to quality and the Theatre’s audience and staff.
Since 2021, the BACK TO THE FUTURE CAMPAIGN has received support from the generous supporters listed below. These friends and contributors have made gifts and commitments to honor Janet and the important work that continues at the IRT. More specifically:
The creation of dedicated resources to attract and retain creative, artisan, and production talent so deeply impacted by the pandemic since 2020. You know well how important these talented professionals are to our commitment to world-class theatre here in Indiana.
Additional resources to invest in and bolster productionrelated elements with particular focus on the Upperstage Theatre to reduce physical limitations that have now grown outdated and inefficient. With that bolstering of production elements, the IRT can improve the already world-class production quality you enjoy, and build capacity to broaden our program opportunities.
Focusing on the opportunities supporters have to consider the IRT in their planned and estate giving strategies, we encourage you right now to become a member of the Ovation Society. Ovation Society gifts/pledges make it possible to look into the future with potential program and endowed dollars. These gifts strengthen the IRT’s sustainability and honor those individuals and households who have been integral to the theatre’s success, continuing to impact the IRT’s work and community into in the future. You can make a meaningful gift that will support the theatre and honor you and your family forever.
Finally, all of our Back to the Future Campaign supporters can be included in the recognition related to the anticipated renaming of the Upperstage Theatre. Your gift to the Back to the Future effort helps endow the recognition that honors Janet in perpetuity! With your help, we can wrap up the Back to the Future Campaign by early March, in time for the opening of Frida…A Self Portrait, and include you in the plans to celebrate Janet and the Upperstage’s new identity!
You can be part of both the future and the great history of Janet Allen’s impact by joining in our Back to the Future Campaign.
ONEAMERICA MAINSTAGE
NOVEMBER 18 – DECEMBER 24
Director_____________________ PRISCILLA LINDSAY
Scenic Designer_______________________ RUSSELL METHENY
Costume Designer________________________ LINDA PISANO
Lighting Designer______________________ MICHAEL LINCOLN
Associate Lighting Designer___________________ MOLLY TIEDE
Composer_____________________________ MICHAEL KECK
Choreographer______________________ NICHOLAS A. OWENS
Musical Director________________________ BRENT E. MARTY
Dramaturg_________________________ RICHARD J ROBERTS
Stage Manager_____________________ ERIN ROBSON-SMITH*
Assistant Stage Manager___________________ BECKY ROEBER*
Casting____________________________ CLAIRE SIMON CSA
Share your review on social media by tagging us at @IRTLIVE, using #IRTLIVE or by emailing REVIEWS@IRTLIVE.COM
SCENIC DESIGNER: Russell Methany
LIGHTING DESIGNER: Michael Lincoln
SEASON 2023-2024
CHRISTMAS EVE
Narrators________________________ THE COMPANY
Ebenezer Scrooge_________________ ROB JOHANSEN*
Bob Cratchit ___________________ RYAN ARTZBERGER*
Fred_________________________ NATHAN KARNIK*
Felicity_________________________ KAYLA CARTER*
Marley’s Ghost_________________ RYAN ARTZBERGER*
CHRISTMAS PAST
Ghost__________________ MARIA ARGENTINA SOUZA*
Child Scrooge_ NOAH GRINGAUZ or JUNIPER O’MEARA-GAINES
Fezziwig_________________________ SEAN BLAKE*
Young Scrooge__________________ NATHAN KARNIK*
Mrs. Fezziwig _________________ JENNIFER JOHANSEN*
Belle__________________________ KAYLA CARTER*
Millworkers_______________________ THE COMPANY
CHRISTMAS PRESENT
Ghost___________________________ SEAN BLAKE *
Mrs. Cratchit__________________ JENNIFER JOHANSEN*
Tiny Tim____ NOAH GRINGAUZ or JUNIPER O’MEARA-GAINES
Penelope_________________ MARIA ARGENTINA SOUZA*
Prudence____________________ JENNIFER JOHANSEN*
Topper______________________ RYAN ARTZBERGER*
England. The Eve of the Industrial Revolution.
CHRISTMAS FUTURE
Ghost_________________________NATHAN KARNIK*
Pawn Broker_______________________SEAN BLAKE*
Charwoman_______________ MARIA ARGENTINA SOUZA*
Laundress_______________________ KAYLA CARTER*
CHRISTMAS DAY
Londoners_______________________ THE COMPANY*
APPROXIMATE RUN TIME: 2 hours, with a 20-minute intermission.
Understudy for Scrooge: Ryan Artzberger Swings: Devan Mathias & Kerrington Shorter
Lighting Design Assistant: Tobby Tao
*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union. The scenic, costume, and lighting designers are represented by United Scenic Artists Local 829, IATSE.
Photography and recording are forbidden in the Theatre. The videotaping of this production is a violation of United States Copyright Law and an actionable Federal Offense.
Catharsis: the releasing of emotions, hitherto pent-up, through art….
Back in the Middle Ages, everyone in the towns and villages gathered in the square, or in a place of worship, to witness the re-telling of well-known stories, stories that taught life lessons, that witnessed to good and evil, that held up charity, mercy, forbearance as worthy goals. It wasn’t that the audience didn’t know how the story was going to end—they did—they surely did! It was in the telling of the story, the how, the journey itself that mattered. Who was going to play Everyman this year? Who was going to personify Death? Wisdom? The Messenger? Beauty? Strength? Good Deeds? Knowledge? Ah … that part is the same this year, but this part is different! New costumes? New actors! New spin on a favorite scene…. What I love about AChristmasCarolis the chance to re-visit old friends: to boo the miser, to cheer for Tiny Tim, and to dread the coming of the Future. I want to see a world in which the hearts of the prosperous and powerful open freely towards the poor and powerless.
We, each of us, if we live long enough, end up with some regrets about how things turned out … how things could have been different if only…. And sometimes, if we’re lucky, we actually can effect change in our lives or someone else’s. And if we’re really lucky, we have been the recipients of someone else’s change of heart, someone else’s healing, someone else’s “seeing the light,” “coming to their senses”, someone else’s kindness. So we tell this story for ourselves, for those we love and those we don’t, and we share it especially with our children. They are the ones who can, if they so desire, find new, positive paths for this old world. And the rest of us can try to focus on kind, forgiving, charitable, pleasant times, all year long. If Scrooge can change, maybe so can we.
The works of the great English novelist Charles Dickens are not only great literature, they are also cracking good reads, with one-of-a-kind characters and stories that both tug at the heartstrings and leave readers breathless with excitement. But the author’s purpose went beyond mere entertainment; his books were almost always designed to alert his readers to the wretched conditions of England’s poor and destitute. Born in 1812, Dickens suffered an impoverished childhood that provided plenty of grist for tales of debtors’ prison and rat-infested factories. Yet despite this poverty and his lack of formal education, he rose from legal clerk to newspaper columnist to best-selling author by the age of 24. During his lifetime, his books—OliverTwist,GreatExpectations,DavidCopperfield,and many more—were wildly popular, not only in England but also around the world; most are still in print. When A Christmas Carol was published in 1843, the holiday was not widely celebrated in England; the book inspired such a revival that the author became known as Father Christmas. In his later years, Dickens made almost a second career of public readings of this beloved novel. Long before he died in 1870, he was hailed everywhere as the greatest writer of his age.
Tom Haas was artistic director of the IRT from 1980 until his untimely death in 1991. Prior to his association with the IRT, he was artistic director of PlayMakers Repertory Company in Chapel Hill, North Carolina. He was associate director at Yale Repertory Theatre and head of the Acting-Directing Program at Yale University, where his students included Henry Winkler, Sigourney Weaver, and Meryl Streep. At the IRT, Tom directed 40 productions, including memorable renditions of AMidsummerNight’sDream,MourningBecomesElectra,TheSkinofOurTeeth,TheCocktailParty,SixCharactersinSearch ofanAuthor,and, of course, AChristmasCarol.IRT audiences also saw his stage adaptations of Frankenstein,Dracula,and The Three Musketeers, as well as the musical Operetta, My Dear Watson and dozens of Cabaret shows. Tom’s adaptation of A Christmas Carol was produced at the IRT annually from 1980 through 1984. The play returned in 1996 and has been a welcome holiday tradition ever since.
RYAN ARTZBERGER | Bob Cratchit, Marley, Topper, & Ensemble Ryan’s IRT credits include Clue, Oedipus, A Christmas Carol, Cyrano, Tuesdays with Morrie, The Diary of Anne Frank, Noises Off, Romeo and Juliet, The Three Musketeers, To Kill a Mockingbird, The Crucible, A Midsummer Night’s Dream,GodofCarnage,RabbitHole,IronKisses, and Death of a Salesman. Ryan is executive artistic director of the Indianapolis Shakespeare Company. Regional credits include the Shakespeare Theatre Company in DC, the Studio Theatre, Shakespeare Santa Cruz, the Goodman Theatre, Berkeley Rep, the Lookingglass, and Great Lakes. Ryan graduated from Ohio University and Juilliard. “Love to Marita, Will, and Clara.”
SEAN BLAKE | Fezziwig, Christmas Present, Pawnbroker, & Ensemble Sean made his IRT debut in last season’s A Christmas Carol. Broadway/National Tour: Hal Prince and Susan Strohman’s Show Boat. Regional credits: the Goodman Theatre, the Court Theatre, Chicago Shakespeare Theater, the Kennedy Center, Seattle Rep, Asolo Rep, Alabama Shakespeare Theatre, Pasadena Playhouse, and many more. Sean can be heard on the original cast recording of Hal Prince and Stephen Sondheim’s Bounce. Television credits: Empire (FOX), Chicago P.D. (NBC), and Mixtape (Netflix). Sean is a proud member of AEA and SAG, and is represented by Gray Talent. “Enjoy.”
KAYLA CARTER | Felicity, Belle, Laundress, & Ensemble Kayla is very excited to be in her first ever A Christmas Carol. Hurrah! Chicago credits include Roe, How to Catch Creation (Goodman Theatre); The Last Match, Smart People (Writers Theatre); Mansfield Park (Northlight Theatre); and work with the Shakespeare Project of Chicago. Recent regional credits include Eurydice, As You Like It (American Shakespeare Center); The Moors (American Players Theater). Film/TV: Knives and Skin (IFC Films), neXt (Fox), Chicago Med (NBC) and APB (Fox). Kayla is a graduate of University of North Carolina School of the Arts. Instagram: @kaylacrater. “For the ancestors, forever.”
NOAH GRINGAUZ | Child Scrooge, Tiny Tim, & Ensemble Noah is thrilled to be part of this year’s Carol. He is 11 years old and a resident of Zionsville. Noah has performed at the Rock & Roll Hall of Fame, the Cat in Carmel, and Booth Tarkington Civic Theatre. He has been the lead singer of The Rockets band for the past 5 years through Carmel Music Academy. Noah also plays the violin for Zionsville Middle School Orchestra and has learned to play the piano, drums, and ukulele through CMA. In addition to theatre, Noah enjoys cross country running, computer coding, traveling, and spending time with his family.
JENNIFER JOHANSEN | Mrs. Fezziwig, Mrs. Cratchit, Prudence, & Ensemble Among Jen’s IRT appearances are The House That Jack Built, The Game’s Afoot, and The Syringa Tree Phoenix Theatre favorites include WildHorses,ThePill,Hir,and TheChristians.With the Human Race Theatre, favorites include Gloria: A Life and God of Carnage. Jen is a member of Indianapolis Shakespeare Company where she most recently performed in Love’s Labor’s Lost Jen proudly serves on the boards of American Lives Theatre and Summer Stock Stage. Proud spouse of Rob Johansen. Jen is a Lunt-Fontanne Fellow. “Dedicated to Bob-O, and to our Puds.”
ROB JOHANSEN | Scrooge This is Rob’s 16th Carol and his 52nd show at the IRT. Among his other IRT favorites are three one-person shows—This Wonderful Life, Underneath the Lintel, and After Paul McCartney—as well as The Grapes of Wrath, The Game’s Afoot, The 39 Steps, Cyrano (2002), and The Mystery of Irma Vep. Rob is a passionate worker at the Humane Society of Indianapolis, and asks people to consider getting their fur babies there. Shelter pups make the best pets! “This one’s for Puds.”
NATHAN KARNIK | Fred, Young Scrooge, Christmas Future, & Ensemble
Nathan is honored to be making his IRT debut in A Christmas Carol. Favorite regional credits include Anthony in Sweeney Todd (Hangar Theatre), Prince Eric in The Little Mermaid (Music Theatre Works), U/S Beast and Gaston in Beauty and the Beast (Chicago Shakespeare Theatre), and Neville Landless in Drood (Blank Theatre Company). Nathan graduated from Northwestern University, where he studied Music Theatre, Performance Studies, and Economics. He is a Chicago-based performer and a proud Atlanta native. “Thanks to my family, friends and mentors for your support.” nathankarnik.com
JUNIPER O’MEARA-GAINES | Child Scrooge, Tiny Tim, & Ensemble
Juniper is elated to make her acting debut at IRT! She is a third grader from Brownsburg who has been training in dance and acting for four years. When she is not playing with her five siblings and four dogs, she loves creating art or trying a new sport. “I thank God, my family, my school, and everyone at IRT for believing in me. I hope this story will inspire you to care for your lonely or hungry neighbors all year round.” In loving memory of Travis O’Meara (1976-2023).
MARIA ARGENTINA SOUZA | Christmas Past, Penelope, Charwoman, & Ensemble
This is Maria’s third IRT Carol. In addition to IRT, Maria’s Indiana credits include work with Phoenix Theatre Cultural Centre, Indianapolis Shakespeare Company, Summit Performance Indianapolis, and others. She also appeared Off-Broadway and with other Regional Theatres around the country. Maria received her M.F.A. from the Actors Studio Drama School. “Thank you for supporting the arts. May your holiday season be filled with things that bring you joy!”
PRISCILLA LINDSAY | Director Priscilla has appeared in more than 60 productions at the IRT, including Sense and Sensibility, The Game’s Afoot, Shirley Valentine, Doubt, Death of a Salesman, DrivingMissDaisy,TheGrapesofWrath,and TheGlassMenagerie. She directed IRT productions of To Kill a Mockingbird, Romeo and Juliet, The Miracle Worker, and many editions of A Christmas Carol. From 2010 to 2021, Priscilla was Chair of the Department of Theatre and Drama at the University of Michigan, Ann Arbor (her alma mater). In 2018 at Michigan she appeared as Linda Loman with Alec Baldwin in Death of a Salesman
RUSSELL METHENY | Scenic Designer Russell has designed 75 IRT productions, including A Christmas Carol, The House That Jack Built, Cyrano, The Curious Incident of the Dog in the NightTime, The Game’s Afoot, Who Am I This Time?, A Little Night Music, Dr. Jekyll and Mr. Hyde, God of Carnage,TheHeavensAreHunginBlack,IronKisses,TheGentlemanfromIndiana,Arcadia, and Ah, Wilderness. He has also designed for the Studio Theatre, the Great Lakes and Idaho Shakespeare festivals, Asolo Theatre, Maltz Jupiter Theatre, Weston Playhouse, Dallas Theatre Center, the Old Globe Theatre, Geffen Playhouse, Missouri Rep, the Goodman Theatre, and Goodspeed Musicals.
LINDA PISANO | Costume Designer This is Linda’s 19th design collaboration with IRT. Her work has been selected twice for the Quadrennial World Design Expo in Prague and twice for the World Stage Design exhibition. She is a three-time winner at the National Stage Expo, and a four-time recipient of the Peggy Ezekiel Award. Her work was featured in a world design exhibition with the Bakhrushin Museum in Moscow and the China Institute of Stage Design in Beijing. She serves as Chair of the Department of Theatre, Drama, and Contemporary Dance at Indiana University in Bloomington, where she is professor of costume design.
MICHAEL LINCOLN | Lighting Designer Michael has designed 57 productions at the IRT, including Finding Home, You Can’t Take It with You, Noises Off, Who Am I This Time?, A Little Night Music, and The 39 Steps. Highlights of his career include the Broadway productions of Copenhagen and Skylight and off-Broadway designs including Mr. Goldwyn, The Bubbly Black Girl Sheds Her Chameleon Skin, Defying Gravity, Bunny Bunny, and Swingtime Canteen. Michael has had long associations with the Alley Theatre, Cleveland Play House, Studio Theatre DC, Santa Fe Opera, and Los Angeles Ballet. He is artistic director of Tantrum Theater, the professional theatre of Ohio University. michaellincoln.net
MOLLY TIEDE | Associate Lighting Designer Molly’s NYC/regional credits include DirectorFest (ART NY), AViewfromtheBridge,(Gerald Lynch Theater), Anthem(Sheen Center), WhatWasLost,Shades ofBlue (Abingdon Theater), LaTraviata (VAO), CavalleriaRusticana (BLO), IandYou (Portland Stage) Josephine, After Live (Opera Colorado), Light and Dark (Dayton Ballet). As associate/assistant: The Heiress(Walter Kerr), HereThereAreBlueberries(La Jolla Playhouse and STC, DC), TooMuchSun,Can You Forgive Her, This Day Forward (Vineyard), The Lady from Dubuque, Wakey Wakey (Signature), Love, Love, Love (Roundabout); LAByrinth, George Street Playhouse, Cleveland Play House, Alley Theater, Old Globe San Diego; Opera: Juilliard, Santa Fe, Gotham Chamber, Opera Colorado.
MICHAEL KECK | Composer At the IRT, Michael has composed for Sense and Sensibility; Cyrano; Murder on the Orient Express; Looking Over the President’s Shoulder; April 4, 1968 (in which he also acted); and many others. His music has accompanied productions at Syracuse Stage, Guthrie Theatre, Oregon Shakespeare Festival, Milwaukee Rep, The Alliance, Rep St. Louis, Mark Taper Forum, and many others. His international credits include the Market Theatre Johannesburg South Africa, the Barbican Theatre Center, and Bristol Old Vic. He is a member of AEA, SAG–AFTRA, and ASCAP.
NICHOLAS A. OWENS | Choreographer Nicholas is co-founder and Associate Artistic Director of Kenyettá Dance Company. Credits include Excerpts of Dreams, Signs of the Times, Speaking without Words, Groundwork Suites, Black Dance Matters, Black Box Theory, Sincerely Love, and Summer Solstice for Kenyettá Dance Company; The Color Purple and Ragtime at Booth Tarkington Civic Theatre; and AmericatheModern,LoveIs,MadforMusicals,SuperSoul, and Ray&Ella for Dance Kaleidoscope; AChristmasCarol(2022) and TheReclamationofMadisonHemingsat IRT. This is his sixth year teaching at Shortridge High School as the Director of the MYP/CP/DP Dance Program.
BRENT E. MARTY | Musical Director Brent has been actively involved in the Indianapolis arts community for 25 years, working with several local organizations as a director, musical director, performer, instructor, and accompanist. He has helmed more than 125 productions as music director and currently serves as Director of Music & Education for Booth Tarkington Civic Theatre, where he and his team administer the state’s largest classroom-based theatre education program. Brent was named a 2015 Creative Arts Renewal Fellow by the Arts Council of Indianapolis and is a proud graduate of the Ball State University Department of Theatre.
RICHARD J ROBERTS | Dramaturg This is Richard’s 34th season with the IRT, and his 26th 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 A Christmas Carol, The Cay, Bridge & Tunnel, The Night Watcher, Neat, Pretty Fire, The Giver, The Power of One, and Twelfth Night. Other directing credits include Actors Theatre of Indiana, the Phoenix, Indianapolis Chamber Orchestra, and the Edyvean. Richard studied music at DePauw and theatre at IU and was awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis.
ERIN ROBSON-SMITH | Stage Manager Since moving to Indianapolis in 2013, Erin has had the pleasure of working with IRT and its incredible staff. Favorite productions include AChristmasCarol, ThePaperDreamsofHarryChin,Pipeline, and FindingHome with IRT; TheHotelNepenthe and Love Bird with the Phoenix Theatre; The Convent with Summit Performance Indianapolis; Sometimes a Great Notion and Frost/Nixon with Portland Center Stage; and Metamorphoses and Frozen with Artists Repertory Theatre. Erin spent the summers of 2008 and 2009 working with the JAW Festival at Portland Center Stage.
BECKY ROEBER | Assistant Stage Manager Becky is now an Indianapolis local and is a proud member of Actor’s Equity Association. This is their sixth season working at Indiana Repertory Theatre. They also serve as Production Manager for Summer Stock Stage and as Production Stage Manager for Summer Stock Stage’s young professionals branch, Eclipse. “I am proud to be a part of the Indianapolis theatre community and grateful to continue to produce theatre with the team at IRT.”
CLAIRE SIMON CSA | Casting Based in Chicago, Claire Simon CSA has worked with the IRT for the past 24 years on casting more than 40 productions, including Frankenstein,Clue,Oedipus,Senseand Sensibility,MurderontheOrientExpress,TwelveAngryMen,YouCan’tTakeItWithYou,Holmesand Watson, Noises Off, Appoggiatura, and many more. Other regional credits include Syracuse Stage, Asolo Theatre, Lyric Opera, Milwaukee Rep, and the Tony Award–winning Million Dollar Quartet. TV credits include Empire, Easy, Sense8, Chicago Fire, Chicago PD, Crisis, and Betrayal. Film credits include Divergent, Contagion, Unexpected, and Man of Steel. Claire has won two Artios Awards.
Reflect upon your present blessings—of which every man has many—not on your past misfortunes, of which all men have some.
Charles Dickens
The IRT lost two beloved Emeritus Board members this summer: Bob Anker and Jerry Semler. Both served as Board chairs at significant moments in the IRT’s past, and both continued to support the IRT in the subsequent decades, lending their wisdom and compassion time and time again. Both were insurance executives and influential members of the community, and both brought their considerable networks into the arts world with their leadership and example.
December 24, 1941 - August 4, 2023
Bob Anker (Board Chair 1990-1992) led the IRT Board during the tragic death of IRT’s second Artistic Director, Tom Haas. He managed the 18-month transition and national search that brought us IRT’s third Artistic Director, Libby Appel. During that time, Anker advised Managing Director Victoria Nolan, while Janet Allen, then Associate Artistic Director, became Interim Artistic Director. Allen said: “Bob so kindly and firmly led us through that very difficult time, when we were trying to keep the Theatre running while mourning the sudden death of our mentor and friend, Tom Haas. Bob was instrumental in mentoring me, at a moment when I needed a lot of help contextualizing my own career path. He did this with such empathy and grace, and in doing so, gave me the gift of four years with my next mentor, Libby Appel, from whom I learned countless lessons in leadership. When I look back on that time, I hear Bob’s steadying influence and calm voice, always supporting, always asking the deep questions, always leading with the consideration of the art at the forefront. I am forever in his debt and stand in deep admiration for his gentle, self-effacing, and wise counsel.”
March 5, 1937 - July 24, 2023
Jerry Semler (Board Chair, 1994-1997) presided over another important IRT transition: the departure of Libby Appel in 1996, when she was offered the Artistic Directorship of the Oregon Shakespeare Festival, then the largest notfor-profit theatre in the country. Jerry oversaw the transition committee that interviewed and hired Janet Allen as the IRT’s fourth Artistic Director. He led with wise counsel the new executive team of Brian Payne (IRT Managing Director, 1993-2000) and Allen as they steadied the IRT and moved it into a new era of prosperity. Allen said: “Jerry’s vision for the IRT was very much focused on its financial sustainability: he began the process that resulted in the OneAmerica Season Sponsorship, now in its 28th season. Without Jerry’s deep belief that the arts were an integral part of community development, this long-time partnership would have been unlikely to take place. He was our springboard when we needed that next leap of growth, and the Theatre owes much to his legacy and many years of support.”
Bob & Toni Bader
David & Jackie Barrett
Scott & Lorraine Davison
Rollie & Cheri Dick
The Michael Dinius & Jeannie Regan-Dinius
Family Fund, a fund of the Indianapolis Foundation
Nancy & Berkley Duck
Craig & Betsy Dykstra
Dan & Ginny Emerson
David & Ann Frick
Tom & Jenny Froehle
Susan & Charlie Golden
Mike & Judy Harrington
Phil & Colleen Kenney
Sarah & John Lechleiter
John & Laura Ludwig
Bill & Susie Macias
Andrew & Amy Michie
David & Leslie Morgan
Jackie Nytes & Patrick O’Brien
Sue & Bill Ringo
Mary Frances Rubly & Jerry Hummer
Wayne & Susan Schmidt
Cheryl Gruber Waldman
David P. Whitman & Donna L. Reynolds
Don Anderson
Kathryn Beiser & Mick Domagala
Susie & Joel Blum
Dave & Nancy Breitweiser
Gary Denney & Louise Bakker
Drs. Cherryl & Shelly Friedman
Dr. & Mrs. Gregory Gaich
Derek & Elizabeth Hammond
Tom & Nora Hiatt
Ann Hinson
Bill & Nancy Hunt
David & Robin Miner
Mr. & Mrs. Kimball Morris
Carl Nelson & Loui Lord Nelson
Mr. Stephen Owen Sr. & Dr. Cheryl Torok Owen
Jill Panetta & Leo Bianchi
Joan Perelman
Dr. Christine & Mike Phillips
Noel & Mary Phillips*
Drs. Eric Schultze & Marcia Kolvitz
Marguerite K. Shepard, M.D.
The Michael L. and Susan L. Smith
Family Fund, a fund of Hamilton County Community Foundation
Catherine M. Turner*
John & Kathy Vahle
Lainie Veenstra
James & Linda Wesley
Dr. Christian Wolf & Elaine Holden
Charitable Fund
John Workman
Dan Bradburn & Jane Robison
Paul & Renee Cacchillo
Dick & Brenda Freije
Mr. Jim Gawne*
Kathy & Gene Gentili
Charles Goad & James Kincannon
Donald & Teri Hecht
Brenda Horn
Daniel T. Jensen & Steven Follis
Pegg & Mike Kennedy
David Kleiman & Susan Jacobs
John & Susan Kline
Kevin Krulewitch & Rosanne Ammirati*
Jill & Peter Lacy
Kellie McCarthy
Bob & Dale Nagy
Rob & Sara Norris
N. Clay & Amy McConkey Robbins
Tim & Karen Seiler
Rosie Semler
Mark & Gerri Shaffer
Joe & Jill Tanner
Gene & Mary Tempel
Jeff & Benita Thomasson
Lynne & Alex Timmermans
Carol Weiss
Bob & Dana Wilson
Frederick & Jacquelyn Winters
Walter & Janet Gross
Bill & Phyllis Groth
Chad & Kelli Grothen
Lawren Mills & Brad Rateike*
Dr. David H. Moore & Dr. Kris Beckwith
Michael D. Moriarty
A.J. Allen
Janet Allen & Joel Grynheim
Jay Allen & Cathleen Fogler-Allen
Katy & Tim Allen
Anonymous (3)
Trudy W. Banta
Sarah C. Barney
Daniel & Rita Blay
Victoria Broadie
Sheila Brown & Juan Gonzalez
Amy Burke
David & Judith Chadwick
Steve & Kim Chatham
Shaun Healy Clifford
Alan & Linda Cohen Family Foundation
Don & Dolly Craft
Sonya Cropper & Ajay Patel
Daniel & Catherine Cunningham
Frank & Norah Deane
Dr. Gregory Dedinsky & Dr. Cherri Hobgood
Fred W. Dennerline
Laurie Dippold*
Paul & Glenda Drew
Craig & Marsha Dunkin
Dr. & Mrs. John & Sheryn Ellis
Troy D. Farmer
Drs. Richard & Rebecca Feldman
Joan M. FitzGibbon
Mary L. Forster, M.D.
Daniel Fulmer & Brian Stockman
Brian & Lorene Furrer
Future Keys Foundation
Ashley & Andrea Garry
Garth & Christine Gathers
Robert & Christy Gauss
Dorothea & Philip Genetos
Phylis & Paul Gesellchen
Robert Giannini
Ron & Kathy Gifford
Bruce Glor
Marta Gross & Richard M. Barnes
Ricardo & Beatriz Guimarães
Mary & Gary Gustafson
Emily F. (Cramer) Hancock*
Benjamin Hanna
Jeffrey Harrison
Michael N. Heaton
The Hedges-Dillman Family
Holt Hedrick
Kurt & Charlene Heinzman
William & Patricia Hirsch
Richard & Elizabeth Holmes
Randy & Becky Horton
Drs. Meredith & Kathleen Hull
Rebecca Hutton
The Indianapolis Fellows Fund, a fund of theIndianapolis Foundation
Colette Irwin-Knott & Gary Knott
Lauren James
Patrick & Barbara James
Tom & Kathy Jenkins
Andrew & Brianna Johnson
Mrs. Janet Johnson
Denny & Judi Jones
Elisha Kemp
Max Kime
Joy Kleinmaier
Steve & Bev Koepper
Dr. Michael & Molly Kraus
Kurt & Judy Kroenke
Dr. Loretta Kroin PhD & Mr. Julian S. Kroin
Dr. & Mrs. Alan Ladd
Edward & Ann M. Ledford
Dan & Martha Lehman
Joe & Deborah Loughrey
Barbara MacDougall
Kathryn Maeglin
Marlene & Bob Marchesani
Kellie McCarthy
Mike & Pat McCrory
Sharon R. Merriman
Douglas and Detra Mills Giving Fund
Linda & Don Neel
Tammie L Nelson & David McCaskill
The Blake Lee and Carolyn Lytle Neubauer Charitable Fund, a fund of Hamilton County Community Foundation
Dr. & Mr. Nichols
Dr. Joseph M. Overhage & Dr. Mary R. Brunner
Nicholas & Tracy Pappas
Larry & Louise Paxton
The Payne Family Foundation, a fund of CICF
Kenneth A. & Joan C. Peterson
Dr. & Mrs. Lee Phipps
Gail & William Plater
The David and Arden Pletzer Endowment Fund, a fund of Hamilton County Community Foundation
Bob & Kathi Postlethwait
Phil & Joyce Probst
Scott & Susan Putney
Ken Qualls
Peter Racher & Sarah Binford
Roger & Anna Radue
Michael & Melissa Rawlings
Peter & Karen Reist
Ken & Debra Renkens
Karen & Dick Ristine
Chip & Jane Rutledge
Paula F. Santa
Jane W. Schlegel
Alice Schloss Donor Advised Fund, a fund of Jewish Federation of Greater Indianapolis
Tom & Barbara Schoellkopf
Darshan & Rebecca Shah
Thomas & Teresa Sharp
Jack & Karen Shaw
Lee Shevitz
Michael Skehan
George & Mary Slenski
Lily Smith & Leonid Sirotkin*
Shelly & Jeremy Smith
Edward & Susann Stahl
Ed & Jane Stephenson
Robert & Barbara Stevens
Jim & Cheryl Strain
Jeff & Janet Stroebel
Kay Swank-Herzog & Robert Herzog
Suzanne Sweeney & Todd Wiencek
Jonathan T. Tempel
John & Deborah Thornburgh
Jennifer C. Turner
Jennifer & Gary Vigran
Amy Waggoner
Mr. & Mrs. Ronald Washburn
Beverly Watkins
Dorothy Webb
Dr. Rosalind Webb
Bob & Susan Welch
Emily A. West
Alan & Elizabeth Whaley
Cliff Williams
John & Margaret Wilson
Jim Winner
William Witchger, II & Kimberly Witchger
John & Linda Zimmermann
Mark K. Bear
John Champley & Julie Keck
Brady Clark
Peter Furno & Pamela Steed
Marianne Glick & Mike Woods
Lyle & Deborah Mannweiler
John & Carolyn Mutz
Mr. & Mrs. Robert M. & Kelli DeMott Park
Bill & Shirley Daley
Fr. Clem Davis*
Tom Dorantes & Sunah C Kim Dorantes*
Drs. Eric Farmer & Tate Trujillo & Christopher Scott*
Margie and Amy Ferguson*
Hank & Nanci Feuer
Arthur Field IV
The David T. & E. Jean Fronek
Charitable Fund, a fund of Hamilton County Community Foundation
Thecla Gossett
Greg Grossart
Ron & Ellie Hackler
Don & Elizabeth Harmon
Rev. Mary Ann Moman*
Jim & Judi Mowry
Mr Electric Solar
Sharon & Dan Murphy*
Dr. LeeAnne M. Nazer
Ann Marie Ogden & Brian Murphy
Richard & Ann Riegner
Richard & Christine Scales
Doug Sims
Kimberly Sorg-Graves
Luke Stark*
Nela Swinehart*
Steve & Barb Tegarden*
Garrett & Elaine Thiel
Eric & Carolyn Tinsley
Donald & Shirley Trapp
David Andrichik
The Todd A. Andritsch Family Fund
Anonymous
Constance C. Beardsley*
Mr. & Mrs. Joseph B. Black III
Barbara & Christopher Bodem*
Vince & Robyn Caponi
Jeffrey & Jeni Christoffersen
Shane and Andrea Crouch*
Karen Dace*
Andrea Hatch & Rich Dionne
Steve & Kathy Heath
Eleanor & Joseph Hingtgen
Patricia Johnson & Michael Wilson
Michelle Korin*
Steven & Kathleen Krusie
Linda Lough*
Mark Magee*
Gayle Mayne
Mr. & Mrs. David McPherson
Robert & Barbetta True*
Barbara S. Tully*
Bill & Janet Wakefield
Paula Taylor Whitfield and Sherman L Whitfield
Reba Boyd Wooden*
Zionsville Physical Therapy*
*Denotes sustaining donors
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.
Gary Addison
Janet Allen & Joel Grynheim
Bob & Pat Anker
Bob & Toni Bader
Frank & Katrina Basile
Charlie & Cary Boswell
Ron & Julia Carpenter
John R. Carr (in memoriam)
John & Mary Challman
Sergej R. Cotton
Mr. & Mrs. Thomas E. Dapp
Nancy Davis & Robert Robinson
Rollie & Cheri Dick
Nancy & Berkley Duck
Dale & Karen Duncan
Troy Farmer
Jim & Julie Freeman
Meg Gammage-Tucker
David A. & Dee Garrett (in memoriam)
Michael Gradison (in memoriam)
Marta Gross & Richard M. Barnes
Emily F. (Cramer) Hancock*
Mike & Judy Harrington
Michael N. & Karen E. Heaton
Bruce Hetrick & Cheri O’Neill
Tom & Nora Hiatt
Brenda Horn
Bill & Nancy Hunt
David Kleiman & Susan Jacobs
Frank & Jacqueline La Vista
Andra Liepa Charitable Fund, a fund of The Indianapolis Foundation
Barbara MacDougall
Donald & Ruth Ann MacPherson
Stuart L. Main (in memoriam)
Michael R. & Sue Maine
Megan McKinney Cooper
Sharon R. Merriman
David & Leslie Morgan
Michael D. Moriarty
Richard & Lila Morris
Mutter Marines--Jim & Carol
Rob & Sara Norris
Deena J. Nystrom
Marcia O’Brien (in memoriam)
Brian & Gail Payne
George & Olive Rhodes (in memoriam)
Pat Garrett Rooney
Jane W. Schlegel
Myra C. Selby & Bruce Curry
Michael Skehan
Jeff & Janet Stroebel
Michael Suit (in memoriam)
Suzanne Sweeney & Todd Wiencek
Gene & Mary Tempel
Jeff & Benita Thomasson
Christopher J. Tolzmann
Alan & Elizabeth Whaley
John & Margaret Wilson
IN HONOR OF JANET ALLEN | Jay Allen & Cathleen Fogler-Allen | Ann & Kenneth Dee
Tom & Nora Hiatt | Gail & William Plater
IN HONOR OF MARGIE FERGUSON & AMY HOOSER | Mr. Benjamin & Dr. Robin Feinstein
Doug Cooper & Megan McKinney Cooper | Kathy Elizabeth Johnson & Richard Foran | John & Sue Kahanic | Kathy & Richard
Andrea Joy Mock | Tracy Ann Robertson | Kristina Sheeler | Stacy Thomas | Becky & Jeff Torstrick | Vicki & Tatia
IN MEMORY OF MARILYN JONES | Mary Ann Hoffman
IN MEMORY OF ROBERT EUGENE MORR, JR. | John C. & Diane L. Render | Ken & Cindy Stella
IN MEMORY OF ANN CRONIN MORRIS | Steve & Beth Sanders
IN MEMORY OF JERRY SEMLER | Michael R. Maine | Janet Allen & Joel Grynheim | Alan & Elizabeth Whaley
IN HONOR OF GENE & MARY TEMPEL | Anna Fender
IN MEMORY OF BOB ANKER | Janet Allen & Joel Grynheim | Alan & Elizabeth Whaley
Corteva Agriscience
F.A. Wilhelm Construction Co., Inc.
Navient Community Fund of the Delaware Community Foundation
OneAmerica Financial Partners
Oxford Financial Group, Ltd.
Printing Partners
Allen Whitehill Clowes
Charitable Foundation
Christel DeHaan Family Foundation
The Margot L. Eccles Arts & Culture Fund, a fund of CICF
The Glick Family Foundation
Lilly Endowment, Inc.
Nicholas H. Noyes Jr. Memorial Foundation, Inc.
The Penrod Society
Marta Gross & Richard M. Barnes
Charlie & Cary Boswell
Risa Brainin & Michael Klaers
Allen Whitehill Clowes
Charitable Foundation
Ann & Kenneth Dee
Michael Dinius & Jeannie Regan-Dinius
Troy Farmer
Jim & Julie Freeman
Mike & Judy Harrington
Michael N. & Karen E. Heaton
Bruce Hetrick & Cheri O’Neill
Brenda Horn
Michael Keck
Sarah & John Lechleiter
Rob & Sara Norris
Nicholas H. Noyes, Jr. Memorial Foundation, Inc.
Jackie Nytes & Michael O’Brien
Brian & Gail Payne
Sue & Bill Ringo
Dan & Patty Schipp
Rosie Semler
Shiel Sexton Company
Sue & Mike Smith
Jeff & Janet Stroebel
Suzanne Sweeney & Todd Wiencek
Gene & Mary Tempel
Cheryl Gruber Waldman
Alan & Elizabeth Whaley
The Dr. Christian Wolf and Elaine Holden Charitable Fund, a Donor Advised Fund of Renaissance Charitable Foundation
