IRT Program: "A Christmas Carol"

Page 1

2019-2020 SEASON



IRTLIVE.COM | 317.635.5252

Original artwork by Kyle Ragsdale

Origami model by Brian K. Webb


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

And we’re proud to support it.

Offset & Digital Printing • Packaging • Games & Puzzles • Plastic Substrate Printing Mailing Services • Publishing • Signage • Promotional Products • Apparel • Marketing


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

Through its community outreach efforts, the Navient Foundation supports organizations and programs that address the root causes which limit financial success for all Americans. This season, the Navient Foundation is proud to support the Indiana Repertory Theatre as the Student Matinee Sponsor of The Watsons Go to Birmingham—1963 and the Production Partner for Murder on the Orient Express. 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.



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 26............................................ A Christmas Carol 36............................................Company bios for A Christmas Carol 44..................................Interview: Linda Pisano 52.................................................... Donor Listing

VISION The Indiana Repertory Theatre will be a life-long destination of choice for an ever-expanding audience of all ages and backgrounds seeking enjoyable and meaningful experiences. Using theatre as a springboard for both personal reflection and community discussion, our productions and programs will inspire our neighbors to learn about themselves and others. As an arts leader in the state of Indiana, the IRT's goal is to make Indiana a dynamic home of cultural expression, economic vitality, and a diverse, informed, and engaged citizenry.




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.

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.




The cast of the IRT’s 2019 Celebrity Radio Show. Photo by Alexis Morin.


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 & 2019). 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 the IRT’s 2019 production of The Diary of Anne Frank. Photo by Zach Rosing.


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 the IRT’s 2019 production of A Doll’s House, Part 2. Bottom: Cole Taylor and Renika Williams in the IRT’s 2018 production of Pipeline. Photos by Zach Rosing.



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 theatres, 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 the IRT’s 2019 production of Elephant & Piggie’s “We Are in a Play!”. Photo by Zach Rosing.



Janet Allen


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

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

Carpenters Ariana Sarmiento Fielding David Sherrill Monica Tran 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

Erica Anderson

Properties Carpenter Madelaine Foster

Costumers Christi Parker Judith Skyles


Production Assistants Rebecca Roeber Jalen Jones

Technical Director Chris Fretts

Young Actor Supervisor Rae Baumgartner

Magdalena Tortoriello

Wardrobe Supervisor Bailey Lewis






Teaching Artists Chelsea Anderson Jo Bennett Frankie Bolda Ann Marie Elliott Shawnté Gaston Tom Horan Josiah McCruiston Kathi Ridley-Merriweather Beverly Roche Milicent Wright

Electricians Amanda Blevins Lee Edmundson Luke Hoefer Jessica Hughes

Scenic Painter Lee Edmundson

Spot Operators Lee Edmundson Katie Johnston


Carpenter Lee Edmundson COSTUMES

Wardrobe Aaron Wardwell Crystal Johnson



Suzanne Sweeney

Director of Finance Greg Perkins

Teleservices Representatives Margaret Freeman Matt Kennicutt Krystina Valentine


Assistant Controller Danette Alles


Receptionist / Administrative Assistant Seema Juneja Executive Assistant Randy Talley Administrative Support Specialist Suzanne Spradlin Beinart

Payroll & Benefits Specialist Jennifer Carpenter INFORMATION SYSTEMS

Manager of Public Operations Margaret Lehtinen House Manager Julia McCarty Tessitura Administrator Molly Wible Sweets


Director of Information Systems Dan Bradburn

Director of Development Jennifer Turner


Ticket Office Manager Kim Reeves

Director of Marketing & Sales Danielle M. Dove

Assistant Ticket Office Manager Eric Wilburn

Associate Director of Marketing Elizabeth Petermann

Gift Shop Manager & Customer Service Representative Jessie Streeval

Individual Giving Manager Kay Swank-Herzog Institutional Giving Manager Eric J. Olson Donor Relations Manager Nora Dietz-Kilen Development Systems Brady Clark

Marketing Communications Manager Kerry Barmann Graphic Designer Alexis Morin


Multimedia Coordinator Heather Zalewski

Education Manager Sarah Geis


Youth Program Coordinator Kristen M. Carter


External Auditors Crowe Horwath LLP Legal Counsel Heather Moore PATRON SERVICES

Assistant House Managers Meg Barton Pat Bebee Terri Bradburn Nancy Carlson Tim Cocagne Kyla Decker Stephen Denney Dieter Finn

Group Sales & Teleservices Manager Doug Sims

Customer Service Representatives Geneva Denney-Moore Erin Elliott Hannah Janowicz Bailey Lynch Building Services Dameon Cooper David Dunnaway Dave Melton Jerry Porter

Assistant Teleservices Manager Jeff Pigeon

Rene Fox Scot Greenwell Marilyn Hatcher Bill Imel Sarah James Norma Johnson Michelle Kennedy-Coenen Sherry McCoy Gail McDermott-Bowler Dianna Mosedale Deborah Provisor Phoebe Rodgers Kathy Sax Karen Sipes Katherine Stinnett Aidan Sturgeon Brenda Thien Rudy Thien Maggie Ward

Bartenders Sheryl Conner Aaron Henze Sandra Hester-Steele Nancy Hiser Barbara Janiak Susan Korbin Tina Weaver ASL Interpreters Tara Parchman Robin Reid Audio Describer Lisa Eagleson-Roever


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




Nadine Givens PNC Wealth Management Mark Shaffer KPMG LLP

Tammara D. Avant Taft Stettinius & Hollister LLP


Tom Froehle* Faegre Baker Daniels

Andrew Michie OneAmerica Financial Partners, Inc.

MEMBERS 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 Global, 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

Bruce Glor J.P. Morgan Ricardo L. Guimarães Corteva Agriscience, Retired Julian Harrell Faegre Baker Daniels 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 the IRT’s 2019 production of The Diary of Anne Frank. Photo by Zach Rosing.


Contact Kay Swank-Herzog, Individual Giving Manager: | 317.916.4830

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 Š2019 The National Bank of Indianapolis

Member FDIC

Inspired by Indy’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 Indy’s future with cleaner waterways. Just one more way that Citizens supports the Arts in our community.

#DigIndy @DigIndy

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



Original artwork by Kyle Ragsdale


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. 1. INCLUSION SERIES—Select the 2 remaining productions from the series plus 1 additional production from our season. 2. BUILD YOUR OWN 3 (BYO3)—Choose any 3 productions and receive 1 ticket to each production.

JANUARY 14 - FEBRUARY 9 comedy with heart

FEBRUARY 1 - MARCH 1 a family rooted in love

FEBRUARY 18 - MARCH 1 the magic of make-believe

MARCH 3 - MARCH 29 the ultimate whodunit

MARCH 25 - APRIL 19 a surreal journey through past & present

APRIL 14 - MAY 10 beloved romance




Share your review on social using #IRTLIVE or by sending to REVIEWS@IRTLIVE.COM






Director_____________________ BENJAMIN HANNA Scenic Designer________________________ RUSSELL METHENY Costume Designer_________________________LINDA PISANO Lighting Designer______________________ MICHAEL LINCOLN Sound Designer___________________ TODD MACK REISCHMAN Composer ___________________________ ANDREW HOPSON Choreographer________________________ MARIEL GREENLEE Musical Director_________________________ BRENT E. MARTY Dramaturg__________________________ RICHARD J ROBERTS Stage Manager_______________________NATHAN GARRISON* Assistant Stage Manager_________________ BRIAN S. NEWMAN*






Executive Artistic Director

SUZANNE SWEENEY Managing Director


Narrators____________________ THE COMPANY Ebenezer Scrooge___________ RYAN ARTZBERGER* Bob Cratchit________________ JESSE BHAMRAH* Fred_______________________ AARON KIRBY* Felicity_______________________ IVY MOODY Ladies of Charity___________JENNIFER JOHANSEN* STEPHENIE SOOHYUN PARK* Mrs. Cratchit________________ ASHLEY DILLARD* Belinda Cratchit_____________ VIVIAN ABDALLA or JOCYLON EVANS Peter Cratchit__________________IAN LYNAM or JACOB BREWER Tiny Tim____________________ EVIE BERRY or AUDREY GUAY Waitress_________________ EMMA ROSENTHAL* Marley’s Ghost_______________ ROB JOHANSEN*


Ghost___________________ EMMA ROSENTHAL* Schoolmaster_____________ELYAKEEM AVRAHAM* Adult Fan_____________________ IVY MOODY Fezziwig___________________ ROB JOHANSEN* Young Scrooge_______________ SCOTT VAN WYE Young Marley_________________ AARON KIRBY* Mrs. Fezziwig_____________JENNIFER JOHANSEN* Millworkers__________________ THE COMPANY Belle______________STEPHENIE SOOHYUN PARK* Belle’s Husband___________ELYAKEEM AVRAHAM*


Ghost___________________ MILICENT WRIGHT* Henry Cratchit________________ TOBIN SEIPLE or QUINTIN GILDON JR. Betsy Cratchit_______________MARNIE MOORE or SADIE COHEN Martha Cratchit__________________ IVY MOODY Lamplighter______________JENNIFER JOHANSEN* Penelope_________________ EMMA ROSENTHAL* Prudence____________STEPHENIE SOOHYUN PARK* Nutley____________________ SCOTT VAN WYE Topper_________________ELYAKEEM AVRAHAM*


Ghost_____________________ ROB JOHANSEN* Brokers_____________________ AARON KIRBY* SCOTT VAN WYE Pawnbroker______________JENNIFER JOHANSEN* Charwoman_______________ MILICENT WRIGHT* Laundress___________STEPHENIE SOOHYUN PARK* Undertaker______________ELYAKEEM AVRAHAM*


Poulterer___________________ SCOTT VAN WYE Londoners___________________ THE COMPANY

SETTING England. The Eve of the Industrial Revolution. The performance will last 90 minutes with no intermission.

ACKNOWLEDGMENTS Dance Captain: Emma Rosenthal Choral Leader: Ashley Dillard Understudy for Scrooge: Rob Johansen

Swings: Daniel Martin & Devan Mathias Lighting Design Assistants: Emma Hvarnek & Piper Kirchhofer

* Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. 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.


REAWAKENING EMPATHY Welcome to the IRT and to our production of Dickens’ A Christmas Carol ! Whether this is your twentieth viewing of our production or your first, we are delighted that you are with us, enriching your holiday season with this timeless tale. We welcome people from all walks of life, from all cultures, from all backgrounds. And while Dickens’ story springs from a specific culture and time, we believe that we tell it in a way that expands its impact beyond the confines of Victorian England and into our 21st century lives, no matter our background. Holidays offer us the opportunity to define and explore our traditions—as a culture and as individual families. We hope that what you experience at the IRT today may become a part of your family’s tradition, as well as provide you with many things to discuss and think about as you engage with your other family traditions throughout the holiday season. 28

At its heart, Dickens was trying to reawaken our empathy and our hearts with this ghost story, asking us to take the blinders off and see those around us: those who are struggling, those who are isolated, those to whom we may have closed our hearts for reasons we can no longer clearly remember. By following Scrooge on his journey of reawakening, and experiencing how he consistently resists listening to the better parts of himself, we see ourselves—how we have each been too much like Scrooge and not enough like the characters in the story who keep hope and generosity alive, such as Fred and the Fezziwigs and Bob Cratchit. Dickens’ story resonates with circumstances of our own times on many levels. Scrooge’s obsession with accumulating wealth at any cost, even when it causes him to lose relationships, is an all


too familiar contemporary trope. His isolation, his judgement of others, his inability to be moved by the plight of those around him—all feel eerily contemporary. It proves so hard for him to see the consequences of his negative actions that it takes four ghosts and a stark vision of his own lonely death to turn his vision outward, and to take tentative steps to reconnect with his family, with his employee, and with his own humanity.

Our company—our actors, administrators, and artisans—wish you a heartwarming season of human experiences, engagement, and joy. Above: The cast of the IRT’s 2018 production of A Christmas Carol. Photo by Zach Rosing.

Dickens’ story is meant as a cautionary tale—just as Scrooge is warned, Dickens is warning us: See the error of Scrooge’s ways in our own lives. Develop generosity. See fellow humans for their goodness, their best intentions. Reach across the things that divide us. Reconnect. Reunite. Art has the power to restore our best intentions. 29

STRONGER TOGETHER Today will likely not be your first encounter with Ebenezer Scrooge. The haunting ghost story of a crooked, isolated miser turned celebrated humanitarian and philanthropist has been told across the globe for more than 170 years. Perhaps you were introduced by Kermit in the Muppet’s retelling, or a shadowy black and white movie from your youth, or maybe you were lucky enough to have a loved one read Charles Dickens’s incredible tale to you, nestled by a fire. Or perhaps you’re among the many folks who return to the IRT year after year to see A Christmas Carol—both to celebrate a beloved holiday tradition and to see what new little surprises and tweaks we’ve added this year.

Dickensian life seems so far from the world we live in today. After all our advances in socio-political reform, healthcare, research, and technology, it is hard to imagine how incredibly comparable the worlds are that we inhabit, particularly in relation to wealth. For some 30 years in America we have seen the gap between the rich and everyone else growing markedly by every major statistical measure, the bulk of wealth amassed in the hands of just 1% of the population. We continue to suffer from the fantasy of the self-made person; one who picks themselves up by their own


The cast of the IRT’s 2018 production of A Christmas Carol. Photo by Zach Rosing.


bootstraps and succeeds without the help of others. The reality is that each of us have been dealt a very specific hand in life, and the contents of that dealing, without aid from those who can spare it, can and does strongly influence our trajectory.

gender, ability, religion, sexuality, culture—need the ghosts of past, present, and future to guide us. These specters help us celebrate the fact that with each new breath we are given the opportunity to change.

Now more than ever, A Christmas Carol is a story we need. We live in a polarized time, unable to see the humanity of our neighbors beyond their political viewpoints. Increasingly, we find it difficult to empathize with those in need, to listen deeply to the stories of new Americans, and to open our hearts to those who are different from us. Our communities—diverse in age, race, ethnicity,

Every year in the longest, darkest, most frigid days of our calendars, we gather in the Theatre to study our own hearts in hopes of doing better for each other and growing stronger together. We hope you leave filled with the spirit of the season and a renewed sense of joy in sharing your blessings!


“OF ALL THE GOOD DAYS IN THE YEAR, ON CHRISTMAS EVE” RUSSELL METHENY | SCENIC DESIGNER It’s ironic, but as a scenic designer the thing I love most is great performances. I love creating an empty space in which great performances happen. That’s what this set is all about: an empty

field of snow in which wonderful actors tell a wonderful story. When I see something on stage that is not what it is and looks like something else—that to me is great theatre.

MICHAEL LINCOLN | LIGHTING DESIGNER Well of course, the first thing is the snow. That enormous field of white offers a technical challenge to a lighting designer. It’s harder to create isolated lighting effects; everything just bounces all over the place. But I also have unique opportunities, such as creating silhouettes against the snow. In terms of design, the snow functions very much like a sky drop—it’s a blank canvas on which I can paint any color. This production does not rely on theatrical “effects.” It’s all about the magic created between the actors and the audience. There are always new discoveries to make in the snow. It’s an unnerving yet exhilarating process.

LINDA PISANO | COSTUME DESIGNER This is a story that audiences know well. I re-read the novel to focus on character descriptions. Dickens’s work sheds light on issues of poverty, family, loneliness, and compassion. He writes about the industrial grime and soot of London in his day. The distressing of the costumes and the overall feel of the Cratchit family reflect these conditions. Class division is clear. Mrs. Cratchit is poor, getting fabric from the rag pickers of the streets. She is probably quite skilled in sewing and may even use pin tucks, embroidery, and other surprising details to liven up her family’s

meager clothes. Our ghosts align closely with the descriptions in the novel. I also found great influence in John Leech’s original illustrations. The story presents a series of emotional experiences for Scrooge: Fezziwig’s party is a warm, jovial memory of the country, while Fred’s more urban and sophisticated party is something Scrooge has never attended. Both occasions hit home, demonstrating that for Scrooge to have a happier future, he must first deal with the issues and problems of his past and present.

ANDREW HOPSON | COMPOSER The pipe organ has the distinction of being associated with three diverse concepts: religion, theatre, and phantoms. Using an organ as one of the main instruments in A Christmas Carol was an obvious choice. For ghostly sound effects, I ended up using four metal instruments: for Marley, I used a waterphone

(an instrument invented—I think—for the movie Aliens); for Christmas Past, I used wind chimes: for Christmas Present, I experimented with harp strings; for Christmas Future, I played a cymbal with a violin bow, and dragged a chain inside a piano.

Left: Preliminary sketch by scenic designer Russell Metheny for Scrooge’s office. Opposite & Above: Renderings by costume designer Linda Pisano for Christmas Past, Christmas Present, Marley’s Ghost, and Ebenezer Scrooge.

THE COMPANY RYAN ARTZBERGER | EBENEZER SCROOGE Ryan’s IRT credits include The Diary of Anne Frank, A Christmas Carol, Holmes and Watson, Noises Off, Romeo and Juliet, The Three Musketeers, To Kill a Mockingbird, The Crucible, A Midsummer Night’s Dream, Dr. Jekyll and Mr. Hyde, God of Carnage, Julius Caesar, Fire in the Garden, Rabbit Hole, Iron Kisses, Death of a Salesman, and Macbeth. Ryan is a member of Indianapolis Shakespeare Company, where he has directed Hamlet and As You Like It and appeared in Coriolanus, The Winter’s Tale, Twelfth Night, The Tempest, The Taming of the Shrew, and Othello. At the Phoenix Theatre he performed in Reasons to Be Pretty. Regional credits include the Seattle Children’s Theatre, the Shakespeare Theatre and the Studio Theatre in Washington DC, Shakespeare Santa Cruz, the Goodman Theatre, Berkeley Rep, Kansas City Rep, Lookingglass, and Great Lakes Theater Festival. Ryan is a graduate of Ohio University and the Juilliard School.


Elyakeem makes his IRT debut. His theatrical credits include Steppenwolf Theatre Company and Alliance Theatre. His film and TV credits include Sunday’s Best on BET and Meet Mister Mom on NBC. He earned his B.F.A. from the University of Michigan. “This is for every person fighting to be a better version of themselves.” @ElyakeemAvraham

JESSE BHAMRAH | BOB CRATCHIT, ET AL. Jesse is delighted to be making his IRT debut. Regional credits include As You Like It at the Guthrie Theater, An Enemy of the People at the Goodman Theatre, and work with Chicago Children’s Theatre, Milwaukee Repertory Theater, NextStop Theatre Company, Milwaukee Chamber Theatre, and Illinois Shakespeare Festival. “I would like to thank the folks at Stewart Talent and Erin.”

ASHLEY DILLARD | MRS. CRATCHIT, ET AL. Ashley has been seen at the IRT in A Christmas Carol, Noises Off, and Romeo and Juliet. Credits include Bright Star and Vanya and Sonia and Masha and Spike at the Phoenix Theatre; Love’s Labor’s Lost, Persuasion, A Midsummer Night’s Dream, and Sense and Sensibility at IU Summer Theatre; Garfield: The Musical and Brighton Beach Memoirs at Cardinal Stage Company; Home—A New Musical and Apropos of Nothing at Bloomington Playwrights Project; Rent, A Wrinkle in Time, Godspell, Crimes of the Heart, You’re a Good Man Charlie Brown, A Doll’s House, and Moon over Buffalo at Crossroads Repertory; Lend Me a Tenor at Gilmore Creek Repertory; and Pump Boys and Dinettes at Chenango River Theatre. You can also catch Ashley co-hosting WTIU’s Journey Indiana, a television show exploring the distinctive culture, history, people, and artistry that shape the Hoosier state— available on PBS in every county in Indiana. Ashley holds an M.F.A. in acting from Indiana University and a B.A. in theatre from Indiana State University.


JENNIFER JOHANSEN LADY OF CHARITY, MRS. FEZZIWIG, LAMPLIGHTER, PAWNBROKER, ET AL. Jen happily returns to IRT’s A Christmas Carol for the ninth time. Other appearances include Holmes and Watson, The Mousetrap, The Game’s Afoot, A Midsummer Night’s Dream, The Syringa Tree, Julius Caesar, The Ladies Man, Macbeth, and Twelfth Night. She is honored to be a new company member of the Indianapolis Shakespeare Company, where she has performed in Hamlet and Coriolanus. Phoenix Theatre favorites include The Pill, The Christians, Hir, On Clover Road, and Mr. Burns, a postelectric play. Jen has also performed with Chicago Shakespeare Theater, Ensemble Theatre Cincinnati, and the Human Race Theatre, where she will next portray Gloria Steinem in Gloria: A Life. Proud member of Actors Equity. Proud wife of Rob Johansen.

ROB JOHANSEN | MARLEY, FEZZIWIG, CHRISTMAS FUTURE, ET AL. “The first time I performed on the IRT Mainstage was for A Christmas Carol. During that show, I decided to make Indy my home. Years later, I still thrill to celebrate the holidays with this great city. And to tell this story alongside my wife and best friend Jen is a dream come true. I am happy to have Murder on the Orient Express to look forward to in the spring! And I am thrilled and honored to be a new company member with Indy Shakes, where I have performed in A Winter’s Tale and choreographed fights for Hamlet. I dedicate this Carol to our sweet girl, Lil, and her brother, Rog.”

AARON KIRBY | FRED, YOUNG MARLEY, BROKER, ET AL. Aaron is elated to return to his home away from home IRT, where he has appeared in You Can’t Take It with You, A Christmas Carol, Romeo and Juliet, and Finding Home. Recent theatre credits include The Miss Firecracker Contest at Tipping Point; Birds of a Feather at the Greenhouse; Red and Geezers (both Jeff Nominations for Actor in a Leading Role) as well as Good People, The Drawer Boy, The American Clock, and The Beautiful Dark at Redtwist Theatre; Dark Play or Stories for Boys (Jeff Award for Actor in a Supporting Role) at Collaboraction; and productions at Drury Lane Oakbrook, Route 66, the Goodman, Two Lights, the House, and Trinity Shakespeare. TV appearances include Chicago Fire, Shameless, and Chicago Med. Aaron earned his M.F.A. at Wayne State University. “Much love to my wife Emma, Stewart Talent, friends, and family!”

IVY MOODY | FELICITY, ADULT FAN, MARTHA, ET AL. Ivy is a Cincinnati native who earned her B.F.A in musical theatre at Ball State University. Some favorite past roles include Medium Alison in Fun Home at the Phoenix Theatre; Aphrodite in Tales of Olympus at the Lilly Theatre; and Pepper in the Broadway National Tour of Annie. “I am honored to be a part of this Indianapolis Christmas tradition, making my IRT stage debut!”


THE COMPANY STEPHENIE SOOHYUN PARK LADY OF CHARITY, BELLE, PRUDENCE, LAUNDRESS, ET AL. Stephenie made her IRT debut in last year’s A Christmas Carol. She has worked at Steppenwolf Theatre, Guthrie Theater, Goodman Theatre, the Old Globe, Kirk Douglas Theatre, Chicago Dramatists, Silk Road Rising, and Drury Lane Oakbrook. Her TV and film credits include Chicago Med, Patriot, Boss, Chicago Fire, and Empire. In addition to being an actor, she is an attorney, consultant, founding board member of Token Theatre in Chicago (, and mother of two.

EMMA ROSENTHAL | WAITRESS, CHRISTMAS PAST, PENELOPE, ET AL. Emma makes her IRT debut. Based in Chicago, her Windy City credits include Molly Aster in Peter and the Starcatcher (BroadwayWorld Award: Best Actress in a Play), Beauty and the Beast, West Side Story, Les Miserables, Charlotte’s Web (Drury Lane Oakbrook); Brigadoon, Candide (Goodman Theatre); The Tempest (Steppenwolf); The Fantasticks (Porchlight Music Theatre); and Shrew’d (First Folio, world premiere). Off Broadway: Polly Peachum in The Threepenny Opera (Marvell Rep); Emma Lazarus in Liberty (42West/Theatre80, world premiere). Regional: Candide (Huntington Theatre, Shakespeare Theatre of DC); Peter and the Starcatcher, Lord Arthur Savile’s Crime, George Washington’s Teeth, The Actuary (Peninsula Players); Peter Pan (Cardinal Stage Company); Our Town, The Corn is Green, Camp Monster (Williamstown Theatre Festival); Fiddler on the Roof (Weston Playhouse); Master Class (Music Theatre of Connecticut). She is a proud graduate of Northwestern University. “Endless thanks to IRT, the Christmas Carol team, Mom, and my husband Aaron.”

SCOTT VAN WYE | YOUNG SCROOGE, NUTLEY, BROKER, POULTERER, ET AL. Scott is an Indianapolis native who is happy to be making his debut on the IRT stage. In the past year, he’s been seen as Lumiere in Cardinal Stage’s Beauty and the Beast and as Sketch in Beef & Boards’ Hairspray, as well as appearing in the Phoenix Theatre’s Hotel Nepenthe. Scott is excited to round out his 2019 by sharing the holiday spirit with his hometown. He will be moving to New York City in 2020. “Thanks go out to Mom, Dad, Colin, JS, FM, and CRS. Happy Holidays and Merry Christmas!”

MILICENT WRIGHT | CHRISTMAS PRESENT, CHARWOMAN, ET AL. This is Milicent’s 13th Carol. Other IRT appearances include You Can’t Take It with You, Romeo and Juliet, Bridge & Tunnel, The Night Watcher, Julius Caesar, Neat, Pretty Fire, The Power of One, As You Like It, and Hard Times. Other credits include Building the Wall for the Fonseca Theatre Company, where she is a company member; As You Like It for Indianapolis Shakespeare Company, where she is a new company member; Fairfield, Human Rites, and Dontrell Who Kissed the Sea at the Phoenix on Park Avenue; Doubt at Cardinal Stage; and the Human Race Theatre. Milicent enjoyed 17 years as manager of outreach programs at the IRT, where she is currently a teaching artist. She has done youth programming for the Asante Children’s Theatre and Young Audiences of Indiana and taught adult classes for Indianapolis Civic Theatre. Milicent was a 2011 Arts Council of Indianapolis Creative Renewal Fellowship recipient and a 2015 award recipient from the Center for Leadership and Development.


BENJAMIN HANNA | DIRECTOR Ben is in his third year as associate artistic director at Indiana Repertory Theatre. He is a director, new play developer, educator, and community engagement specialist whose passion for multigenerational theatre has influenced his work across the country with companies such as Berkeley Repertory Theatre, Children’s Theatre Company, Penumbra Theatre, Seattle Children’s Theatre, Steppingstone Theatre, and the Bay Area Children’s Theatre. In all of his myriad roles, Ben is guided by the belief that access to high-quality theatre helps build creative, empathetic people and healthy communities. At the IRT, Ben has directed The Little Choo-Choo That Thinks She Can, Elephant & Piggie’s “We Are in a Play!,” A Christmas Carol, and The Town Mouse and the Country Mouse. (see full bio on page 9)

RUSSELL METHENY | SCENIC DESIGNER Russell has designed more than 50 IRT productions, including The Curious Incident of the Dog in the Night-Time; April 4, 1968; The Game’s Afoot; Who Am I This Time?; A Little Night Music; The House That Jack Built; Dr. Jekyll and Mr. Hyde; God of Carnage; The Heavens Are Hung in Black; Sherlock Holmes: The Final Adventure; Iron Kisses; The Unexpected Guest; The Gentleman from Indiana; Old Wicked Songs; Searching for Eden; Plaza Suite; Arcadia; The Immigrant; Ah, Wilderness!; and Looking Over the President’s Shoulder (2001). 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, Actors Theatre of Kansas City, the Goodman Theatre, Syracuse Stage, Buffalo Studio Arena, Portland Stage, and Goodspeed Musicals.

LINDA PISANO | COSTUME DESIGNER Linda designs for theatre, dance, musical theatre, ballet, and opera throughout the United States; her ballet designs have toured the UK and Canada. This is her 15th design collaboration with IRT. Her work has been selected twice to represent the United States in the Quadrennial World Design Expo in Prague and twice for the World Stage Design exhibition. She is a three-time winner in performance design at the National Stage Expo, and a four-time recipient of the Peggy Ezekiel Award for Excellence in Design. Her work was selected from top designers in the United States to be 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 and directs the Theatre and Drama study abroad program in London. Recent opera includes Candide for the Des Moines Metro Opera, Florencia en el Amazonas at the San Diego Opera, and Salome at Opera San Antonio. For the IU Jacobs School of Music she recently designed Wagner’s Parsifal and will design a new Nutcracker in 2021.

MICHAEL LINCOLN | LIGHTING DESIGNER Michael has designed more than 40 productions at the IRT, including You Can’t Take It with You; Noises Off; Finding Home; April 4, 1968; Who Am I This Time?; A Little Night Music; The House That Jack Built; The 39 Steps; This Wonderful Life; Old Wicked Songs; The Immigrant; Ah, Wilderness!; and The Glass Menagerie. Highlights of his career include the Broadway productions of Copenhagen, More to Love, and Skylight, as well as off-Broadway designs including Mr. Goldwyn, The Bubbly Black Girl Sheds Her Chameleon Skin, Defying Gravity, Bunny Bunny, and Swingtime Canteen. In addition to the IRT, Michael has had long associations with the Alley Theatre, Cleveland Play House, Studio Theatre DC, Santa Fe Opera, and Los Angeles Ballet. He is director of the Ohio University School of Theater and artistic director of its professional company, Tantrum Theater.


THE COMPANY 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.

ANDREW HOPSON | COMPOSER Andrew is an associate professor of sound design in the Department of Theatre, Drama, and Contemporary Dance at Indiana University. He has designed or written the scores for shows at such theatres as the Oregon Shakespeare Festival, Utah Shakespearean Festival, Actors Theatre of Louisville, American Repertory Theatre, American Players Theatre, Cincinnati Playhouse, Pioneer Playhouse, Seattle Children’s Theatre, Cleveland Play House, Victory Gardens, Harvard University, and the Indiana Repertory Theatre, where he was resident sound designer for five years. In 2004 his New York debut, Trying, was rated one of the best offBroadway shows of the year. In film, he has scored the documentaries Birth of Legends, The Battle of Comm Avenue, Hockey’s Greatest Era 1942-1967, The Frozen Four, and Utah’s Olympic Legacy. He has produced, engineered, or performed on more than 40 CDs, ranging from stories for children to collections of modern American piano works. He is a member of United Scenic Artists, local 829, and the United States Institute of Theatre Technology.

MARIEL GREENLEE | CHOREOGRAPHER At the IRT, Mariel has worked on You Can’t Take It with You, A Christmas Carol, and The Curious Incident of the Dog in the NightTime, among others. Originally from Vestal, New York, Mariel received her B.A. in dance from Point Park University. She has been a dancer with Dance Kaleidoscope here in Indianapolis for twelve years, and she teaches ballet and modern dance locally. She has set work for IRT, Dance Kaleidoscope, Phoenix Theatre, Indy Summer Stock Stage, the University of Indianapolis, Marian University, Zach Rosing Productions, Phoenix Rising Dance Company, Storefront Theatre, and Pittsburgh Public Theatre, as well as various music videos, competitions, and galas. She was recently chosen as a project choreographer for a Regional Dance America program called the National Choreographers Initiative. Mariel received the Individual Artist Grant from the Indiana Arts Commission in 2007, and in 2010 she was awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis. “I thank IRT for their continued faith and opportunities to grow, my mentor David Hochoy for his guidance, and my husband Virgil Lungu for his love and support.”

BRENT E. MARTY | MUSICAL DIRECTOR Brent has been actively involved in the Indianapolis arts community for more than 20 years, working with several local organizations as a director, musical director, performer, instructor, and accompanist. He currently serves as director of music and education for Booth Tarkington Civic Theatre, where he has music directed and supervised more than 70 productions and administers 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 attended the Music Directing Intensive at the Goodspeed Opera House in Connecticut as part of his fellowship. He is a proud graduate of the Ball State University Department of Theatre. “I am thrilled to be a part of the Carol team at IRT this season, and I wish everyone a very Happy Holiday.”


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. He recently directed Cabaret at the University of Indianapolis; in February he directs Sweeney Todd for Actors Theatre of Indiana and the Carmel Symphony Orchestra. Other directing credits include the Phoenix Theatre, Indianapolis Chamber Orchestra, Edyvean Repertory Theatre, Indianapolis Civic Theatre, IndyShakes/Wisdom Tooth, Butler University, and Anderson University. Richard studied music at DePauw University and theatre at Indiana University and has been awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis.


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.


Brian is the IRT’s production manager; he also stage managed The Mountaintop on the Upperstage. Prior to joining the IRT, he was the general stage manager for Cirque du Soleil’s Zaia in Macau, China, for four years. He was previously the production manager for Ringling Bros. and Barnum & Bailey, where he managed three different tours over a four-year period. He has stage managed professionally all over the United States and has been a member of Actors Equity Association, the union of professional actors and stage managers, since 2002. Brian earned his M.F.A. in stage management from the Professional Theatre Training Program at the University of Delaware and his bachelor’s degree from Louisiana State University.




























TINY TIM et al.



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 ratinfested 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—Oliver Twist, Great Expectations, David Copperfield, 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 A Midsummer Night’s Dream, Mourning Becomes Electra, The Skin of Our Teeth, The Cocktail Party, Six Characters in Search of an Author, and, of course, A Christmas Carol. 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.



HOW DID YOU FIRST BECOME INTERESTED IN THEATRE? I was born in northern Utah, up in the height of the Rocky Mountains. We had a children’s theatre in town, and I remember seeing a production about a doll house. And the doll house they created was designed after my parents’ 22-room Queen Anne— my parents were antique dealers and had restored this house. So I remember watching the show and thinking, that’s my house on stage, and I was so intrigued with how my house had joined this story. But what got me actively engaged with theatre was drama therapy. I didn’t really speak as a child. My mother met the woman who ran this children’s theatre, who was a drama therapist. I took a class, and sure enough I got involved, and that became my life. Eventually I earned my B.F.A. in acting from 44

Utah State University, and I started to earn my Equity weeks at smaller regional companies. Then I decided that I really wanted to research, so I got an M.A. in theatre theory and criticism at Utah State on my way to getting a Ph.D. But while I was doing that master’s, one of my friends who was doing an independent project said, “Hey Linda, you dress really well. Do you want to design costumes for me?” I’ve always loved clothing. So I did the research and the renderings and I found that it was really amazingly fun. It was everything I loved about the theatre. I was doing character analysis, studying the play, the time period, doing the dramaturgical work. And yet I was also drawing and bringing things to life and working with the director to build the world. I loved being able to immerse myself in the history, the biography of clothing.

So then I changed courses and I went to the Ohio State University for an M.F.A. in costuming. And while there I was able to take some Ph.D. courses, and it was exciting to learn to think about theatre from that direction as well. So I wasn’t just a practitioner, but I was also researching. And that’s where I was introduced to ballet, and started designing for the Ballet Met, and that was amazing.

WHAT WAS YOUR ROUTE FROM THERE TO INDIANA UNIVERSITY AND THE IRT? I started working professionally in my third year of grad school, getting professional contracts for ballet and musicals and contemporary dance. In the year after graduation I think I did 14 jobs in 12 months. I was 26 and I just dived in and started working and working and working, and at that time I had the freedom to do it. But then I also knew that I was interested in higher education. I have always loved being a teacher and I love academia. So I spent two years teaching at Kenyon College in Ohio, and three years at Iowa State, and then I came to Indiana in 2002. Janet Allen hired me to do a Romeo and Juliet that Priscilla Lindsay was directing—and then I found out that I was pregnant. So I delivered my son by C-section, and five days later I was released from the hospital, and four days later my son and I came up to the IRT for final fittings. Priscilla stood in all of the fittings and held my son while I did my job. She said, “Nope, he’s too new, no one else can hold him, only me.” It was great!

WHAT IS IT ABOUT DESIGNING COSTUMES THAT FULFILLS YOU? I love people. I love meeting people, I love hearing about people’s lives. I have good instincts about it, but also I just love diving into how a person thinks, how a character thinks. And so when I read a playwright’s words to describe a character, and then I listen to the director talking about the world of the play, I wonder: when they put this on, what is that person thinking? I guess it’s me living vicariously through the characters, through the analysis of both the world and the individual. And one thing that I love about opera and ballet or a show like A Christmas Carol is creating these big pictures with a lot of people on stage. It’s like you’re creating a canvas of color and texture. I think there’s a great challenge in trying to serve a character and a story and to help the artistic team and the director tell that story. I’m fascinated by how even though people may not know much about clothing, everyone takes it very personally because it’s the one thing that you put on every day. Everyone has an opinion about clothing.

WHAT’S IT LIKE DESIGNING NEW COSTUMES FOR A SHOW THAT’S BEEN RUNNING FOR 29 YEARS? One, it’s daunting. There are so many people who know this production so well because they’ve grown up with it—they’ve seen it all their lives. To change something that’s a tradition for so many people—they’ve got expectations, and you want to meet their expectations of excitement, but at the same time you want to introduce them to a new way of looking at the story. So that is daunting. Two, I’m very humbled to be entrusted with such an important event. IRT clearly values this play because they realize that the community values it, and so I’m really humbled to be asked to participate in it. Three, it’s a challenge because it is such a big undertaking. The show is so big, it will take two or three years to phase in the entire vision completely. So it is going to be a little thrilling each year. I’ve re-designed many things—Nutcrackers and operas and ballets—but to have it phased in over three years is new for me, and kind of exciting. I’m excited to watch it, see how it works, and then go into the next phase next year.

WHAT’S IT LIKE WORKING AT THE IRT? I enjoy working with the IRT costume shop because there’s real skill. I love to collaborate with the makers, and if I ask them for something special, it’s always, oh that would be fun. I’ll never forget Julius Caesar when Brenda Taylor was so excited to make all these embroidered Caesar patches and logos. She was so proud of them, and it was terrific to work with her. The shop takes pride in their work, and they really embrace opportunities to do the detail work that designers ask for because they know it’ll pay off with a beautiful product. And I love that IRT puts up those costumes around the mezzanine. I think it demonstrates a real respect for that shop and those makers and what they do. This might sound superficial, but because I’ve done so many shows here, I do feel a sense of belonging, a sense of professional family here. I love that I’m always introduced to someone new, whether it’s a new actor, a new director, another member of the design team I haven’t previously met. And it’s an opportunity to come together with some very sophisticated artisans and craftspeople. I mean, I love working with Michael Lincoln. What a treasure! And this is my first time working with Ben Hanna; he’s so energetic, and that’s exciting. Yet I also love having been in all these design meetings with Janet Allen, because she has such wisdom and experience to learn from. So every experience at IRT is very different and very exciting. I work for a lot of theatres around the country, opera and ballet especially, and one thing about IRT is that it truly lives up to the mission of a regional theatre. It is clearly here to serve, and embraces that service to the community. 45


HERE ARE A FEW HOLIDAY GIFT IDEAS! FOR THOSE WHO PREFER FLEXIBILITY Build Your Own 3 (BYO3) Ticket Package Gift three productions from our exciting season. Recipients can select any of our six remaining productions including the ultimate whodunit Murder on the Orient Express and the beloved romance Sense and Sensibility.

FOR YOUNG PROFESSIONALS Offscript: IRT Young Professionals Group Gift an annual $50 membership that includes top-quality theatre, access to special events and IRT Artisans, $25 tickets and volunteer opportunities.

FOR COLLEGE STUDENTS Encore College Card College students can experience entertainment all season long. This membership allows them to see any production as many times as they want for $70.

FOR CHILDREN & FAMILIES Tickets for The Little Choo-Choo That Thinks She Can | February 18 - March 1 A perfect gift for children ages 3-8 and their families to enjoy the experience of live theatre and the creativity of play. Tickets start at $8.

FOR EVERYONE ELSE ON YOUR LIST IRT Gift Certificates Give the gift of a night out to family and friends. You choose the amount and recipients can choose the production, date and time of their performance. Above: IRT Offscript event. Photo by Heather Zalewski. Marcus Truschinski and audience member Emily Emerson Ferris in the IRT’s 2019 production of Every Brilliant Thing. Frankie Bolda and audience members in the IRT’s 2019 production of The Little Choo-Choo That Thinks She Can. Photos by Zach Rosing.

BUY NOW! | IRTLIVE.COM | 317.635.5252

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 Indiana’s great cultural institutions continues to thrive for generations to come. Have you already included the IRT in your plans? Please let us know so that we can recognize you in the Ovation Society!


Contact Jennifer Turner, Director of Development: | 317.916.4835 Milicent Wright and Robert Elliott in the IRT's 2019 production of You Can’t Take It With You. Photo by Zach Rosing.


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 - OCTOBER 13, 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 Phil & Colleen Kenney Sarah & John Lechleiter Bill & Susie Macias Jackie Nytes & Michael O’Brien Mel & Joan Perelman Sue & Bill Ringo Wayne & Susan Schmidt Simmons Family Foundation, a fund of CICF Cynthia & William Smith III David P. Whitman & Donna L. Reynolds

DIRECTOR CIRCLE $5,000 - $9,999 David & Jackie Barrett Leo Bianchi & Jill Panetta AJ & Erin Bir Susie & Joel Blum Gary Denney & Louise Bakker Rollie & Cheri Dick Bill & Nancy Hunt Steve & Bev Koepper


Dod & Laura Michael Mr. & Mrs. Kimball Morris Carl Nelson & Loui Lord Nelson Mr. Stephen Owen Sr. & Dr. Cheryl Torok Owen Ben Pecar & Leslie Thompson Noel & Mary Phillips* Drs. Eric Schultze & Marcia Kolvitz Sue & Mike Smith John & Kathy Vahle Lainie Veenstra Cheryl & Ray Waldman Dr. Christian Wolf & Elaine Holden-Wolf

ARTIST CIRCLE $3,000 - $4,999 Keith A. & Heather Bice Ann & Kenneth Dee Nadine & Alvin Givens Mary Findling & John Hurt Dick & Brenda Freije Donald & Teri Hecht Mike & Pegg Kennedy John & Susan Kline Kevin Krulewitch & Rosanne Ammirati* Daniel & Martha Lehman John & Laura Ludwig David & Robin Miner David & Leslie Morgan Bob & Dale Nagy N. Clay & Amy McConkey Robbins Jerry & Rosie Semler Mark & Gerri Shaffer Marguerite K. Shepard, M.D. 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 Alan & Linda Cohen Diane Conrad Daniel & Catherine Cunningham Dr. Gregory Dedinsky & Dr. Cherri Hobgood Dr. Brian Dillman & Erin Hedges* Laurie Dippold Paul & Glenda Drew Craig & Marsha Dunkin Drs. Richard & Rebecca Feldman Mary L. Forster, M.D. Jim & Julie Freeman Brian & Lorene Furrer Future Keys Foundation Mr. Jim Gawne Dorothea & Philip Genetos Robert Giannini Ron & Kathy Gifford Goins Family Fund, a donor-advised fund Walter & Janet Gross Ricardo & Beatriz Guimarães Michael N. Heaton Jane Herndon & Dan Kramer Rebecca Hutton The Indianapolis Fellows Fund, a fund of The Indianapolis Foundation

REPERTORY SOCIETY CONT. ANNUAL CAMPAIGN GIFTS $1,500+ | JULY 1, 2019 - OCTOBER 13, 2019 PATRON CIRCLE, CONT. $1,500 - $2,999 Daniel J. Jensen & Steven Follis Mrs. Janet Johnson Kurt & Judy Kroenke Dr. & Mrs. Alan Ladd Ed & Ann Ledford Joe & Deborah Loughrey Donald & Ruth Ann MacPherson Mike & Pat McCrory Sharon R. Merriman Douglas & Detra Mills Michael D. Moriarty Brian S. Newman & Francisnelli Bailoni dos Santos Larry & Louise Paxton The Payne Family Foundation, a fund of CICF Lauren Petersen Mr. & Mrs. Kenneth A. Peterson

Dr. & Mrs. Lee Phipps Gail & William Plater Bob & Kathi Postlethwait Phil & Joyce Probst Scott & Susan Putney Michael & Melissa Rawlings Peter & Karen Reist Ken & Debra Renkens Karen & Dick Ristine Chip & Jane Rutledge Paula F. Santa Charles & Jenny Schalliol 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 Bill & Jana Varanka Jennifer & Gary Vigran Amy Waggoner Dorothy Webb Dr. Rosalind Webb Carol Weiss Cliff & Molly Williams Ken & Peggy Williams Heather Wilson Jim Winner John & Linda Zimmermann

DONOR GUILDS ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2019 - OCTOBER 13, 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 Phyllis & Ed Gabovitch Derek & Elizabeth Hammond Mike & Noel Heymann

David Kleiman & Susan Jacobs Liz & JD Masur James M. McMechan Carl & Monique McMillian David H. Moore, M.D. & M. Kristine Beckwith, M.D. John & Carolyn Mutz Ann Marie L. Ogden The David and Arden Pletzer Endowment Fund, a fund of Hamilton County Community Foundation

Roger & Anna Radue Thomas & Jill Ristine Sallie Rowland Nan Schulte & Matt Russell Thomas & Teresa Sharp Karen S. Waltz Frederick & Jacquelyn Winters

*Denotes sustaining members



INDIANA REPERTORY THEATRE DONORS DONOR GUILDS CONT. ANNUAL CAMPAIGN GIFTS $300 - $1,499 | JULY 1, 2019 - OCTOBER 13, 2019 THEATRE GUILD $300-$749 John & Eileen Ahrens* Anonymous (2) 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 Bob & Chris Broughton Steve Chatham & Family Jeff & Jeni Christoffersen Karen Dace* Fr. Clem Davis* Jeffrey & Barbara Dean Paul & Carol DeCoursey* Phillip & Caroline Dennis* Sarah Donaldson* Danielle M. Dove Dr. & Mrs. John & Sheryn Ellis Jennifer Farmer Drs. Eric Farmer & Tate Trujillo & Christopher Scott* Margaret Ferguson* Bill & Jennie Forehand Eric & Hayley Frandsen

Peter Furno & Pamela Steed Priscilla Gerde Thecla Gossett Greg Grossart Emily F. (Cramer) Hancock* Elizabeth Hansen Don & Carolyn Hardman George & Dianne Kelley* Robert Larsen Andra Liepa Charitable Fund, a Donor Advised Fund of the U.S. Charitable Gift Trust Linda Lough* Jason Maddox 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 John & Beth Murphy Sharon & Dan Murphy* Mutter Marines—Jim & Carol Leigh Ann Naas Merrell & Barbara Owen Robert M. & Kelli DeMott Park

Gary & Pam Pedigo* Mike & Cheryl Rettig Richard & Diane Rhodes Richard & Ann Riegner River Bend Hose Specialty Inc. Richard & Christine Scales Scampers the Cat Ms. Karen Schnyder* Dr. Jill Shedd* Vicky Sherman, M.D. Rosemarie Springer Luke Stark* David & Lori Starr Dr. Nenetzin Stoeckle* Gregg & Judy Summerville Richard & Lois Surber Nela Swinehart* Steve & Barb Tegarden* Robert & Barbetta True* Barbara S. Tully* Susan Weatherly* James & Linda Wesley John & Susan Whitaker Prof. Gail F. Williamson Reba Boyd Wooden* Brant & Lorene Wright Zionsville Physical Therapy*

IN-KIND/TRADE GIFTS ANNUAL CAMPAIGN GIFTS $300+ | JULY 1, 2019 - OCTOBER 13, 2019 Best Chocolate in Town Candlewood Suites Hotel Tango Artisan Distillery Indiana Roof Ballroom


National Institute of Fitness & Sport Pac-Van, Inc. Saint Joseph Brewery, LLC Skyline Exhibits By Reitz & Associates

Studio 2000 West Fork Whiskey Co. WFYI

*Denotes sustaining members





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 Andra Liepa 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 W. Schlegel Michael 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 - OCTOBER 13, 2019 CORPORATE Barnes & Thornburg LLP Bingham Greenebaum Doll LLP The Cellular Connection LLC Duke Realty Faegre Baker Daniels Frost Brown Todd KAR Global Katz, Sapper & Miller, LLP Navient Foundation of the Delaware Community Foundation OneAmerica Financial Partners Oxford Financial Group, Ltd. PNC Printing Partners

Taft Stettinius & Hollister LLP Wells Fargo Foundation in cooperation with Wells Fargo Advisors

FOUNDATION The Jerry L. and Barbara J. Burris Foundation Central Indiana Community Foundation Allen Whitehill Clowes Charitable Foundation Christel DeHaan Family Foundation The Margot L. Eccles Arts & Culture Fund, a fund of CICF The Glick Family Foundation F.R. Hensel Fund for Fine Arts, Music, and Education, a fund of the Indianapolis Foundation The Indianapolis Foundation, a CICF affiliate

Lacy Foundation Lilly Endowment, Inc. Nicholas H. Noyes, Jr. Memorial Foundation, Inc. The Penrod Society The Shubert Foundation Simmons Family Foundation, a fund of CICF

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


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 Allison Barkel


Frank & Katrina Basile Leo Bianchi & 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



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! 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 Geoff Ehrendreich Dan & Ginny Emerson Troy Farmer Drs. Richard & Rebecca Feldman Jim & Julie Freeman David & Ann Frick Drs. Cherryl & Shelly Friedman Tom & Jenny Froehle David A. & Dee Garrett (in memoriam) 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 Lacy Foundation Jill & Peter Lacy Sarah & John Lechleiter Margaret Lehtinen & Dr. Lawrence Mark Elisabeth Lesem Lilly Endowment, Inc. Linnea’s Lights, LLC John & Laura Ludwig Hillary Martin & Rudy Bustamante Lauren McDaniel Andrew & Amy Michie Korea Milledge Amber Mills Lawren Mills & Brad Rateike David & Robin Miner David & Leslie Morgan Michael D. Moriarty Carol Nelson & Loui Lord Nelson Nicholas H. Noyes, Jr. Memorial Foundation, Inc. Jackie Nytes & Michael O’Brien Eric & Suzanne Olson OneAmerica Financial Partners The Payne Family Foundation, a fund of CICF Randy D. 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 W. 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 Kendra & Andrew Smith 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 Dr. Rosalind Webb Carol Weiss Alan & Elizabeth Whaley David P. Whitman & Donna L. Reynolds Heather & Andy Wilson John & Margaret Wilson Joseph Zielinski & Bethany Lowery


Proud to be associated with the Indiana Repertory Theatre since 1989

STUDIO 2000 SALON & DAY SPA 55 MONUMENT CIRCLE Right above Starbucks



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, | 317.916.4835 David Alan Anderson and Marcus Naylor in IRT’s 2016 production of Fences. Photo by Zach Rosing.


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.




Keith Little

Antonia Zunarelli

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