IRT Program: "The Mousetrap"

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The OneAmerica Mainstage APRIL 26 - MAY 22

Original artwork by Kyle Ragsdale.

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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.


OUR VISION The Indiana Repertory Theatre will be a life-long destination of choice for people 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 invites collaborations with other top-quality community institutions, with the goal of making Indiana a vibrant home of cultural expression, economic vitality, and a diverse, informed, and engaged citizenry.

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AS AN INSTITUTION, WE VALUE: SUSTAINING A PROFESSIONAL, CREATIVE ATMOSPHERE The professional production of plays that provide insight and celebrate human relationships through the unique vision of the playwright • Professional artists of the highest quality working on our stages in an environment that allows them to grow and thrive • Our leadership role in fostering a creative environment where arts, education, corporate, civic, and cultural organizations collaborate to benefit our community. PRUDENT STEWARDSHIP OF OUR RESOURCES Our public-benefit status, where the focus is on artistic integrity, affordable ticket prices that allow all segments of our community to attend, and community service • Fiscal responsibility and financial security based on achieving a balanced budget • Growing our endowment fund as a resource for future development and to ensure institutional longevity. INCLUSIVENESS The production of plays from a broad range of dramatic literature addressing diverse communities • The involvement of all segments of our community in our activities • Using theatre arts as a primary tool to bring meaning into the lives of our youth, making creativity a component of their education • The employment of artists and staff that celebrates the diversity of the United States. HERITAGE AND TRADITION Our role as Indiana’s premiere theatre for more than 40 years, recognized by the 107th Indiana General Assembly in 1991 as“Indiana’s Theatre Laureate.”• The historic Indiana Theatre as our home, as a cultural landmark, and as a significant contributor to a vital downtown • Our national, state, and local reputation for 40+ years of quality creative work and educational programming • Our board, staff, volunteers, artists, audiences, and donors as essential partners in fulfilling our mission.

Mission & Values

6 Profile 8 Leadership

14 Board of Directors 16 The Mousetrap 24 Company bios for The Mousetrap 30 Interview with Courtney Sale 44 Donor Listing


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PROFILE: THE INDIANA REPERTORY THEATRE 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-for-profit theatre in the state, providing 110,000 live professional theatre experiences for its audience last season. These experiences included 40,000 students and teachers from 54 of Indiana’s 92 counties, making the IRT one of the most youth-oriented 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 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-forprofit organization, deriving more than 45% 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 diverse productions from classical and contemporary repertoires, including Eli Lilly and Company presents: A Christmas Carol and the world premiere of Bingham Greenebaum Doll presents James Still's: April 4, 1968: Before We Forgot How to Dream. • New Play Development The IRT offers Write Now, a prestigious national workshop for adult playwrights writing for young audiences; and Young Playwrights in Process (YPiP), a playwriting contest and workshop for Indiana high school and junior high students. • Community Gathering Place Located in a beautiful historic landmark, the IRT offers a wide variety of unique and adaptable spaces for family, business, and community gatherings of all types. Call the front desk at 317.635.4805 for more information. • Volunteer Opportunities The IRT depends on the generous donation of time and energy by volunteers; call 317.916.4848 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 Eli Lilly and Company presents: A Christmas Carol; Peter Rabbit and Me; and To Kill a Mockingbird offer extensive opportunities for student attendance. • Educational Programs Auxiliary services offered include visiting artists in the classroom, study guides, pre- and post-show discussions, and guided tours of the IRT’s facilities. • Classes From creative dramatics to audition workshops to Shakespeare seminars, the IRT offers a wide array of personal learning opportunities for all ages, including our Summer Conservatory for Youth. Call 317.916.4842 for further information.





LEADERSHIP: JANET ALLEN EXECUTIVE ARTISTIC DIRECTOR Creating world-class professional theatre for Central Indiana audiences of all ages has remained a career-long passion for Janet Allen. She began at the IRT in 1980 as the theatre’s first literary manager–dramaturg. After four years in New York City, she returned to serve ten years as associate artistic director under mentors Tom Haas and Libby Appel. She was named the IRT’s fourth artistic director in 1996, and is celebrating her 20th season in that role. In 2013, she was named the IRT's executive artistic director. During Janet’s tenure, the IRT has significantly diversified its education services to both adults and children, expanded its new play development programs, solidified its reputation as a top-flight regional theatre dedicated to diverse programming and production quality, and established the IRT as a generous content partner with organizations throughout central Indiana. Janet’s passion for nurturing playwrights has led to a fruitful relationship with James Still, the IRT’s playwright in residence for 18 years, and the creation and production of 13 new works, the Indiana Series, that examine Hoosier and Midwestern sensibilities (six of them by James Still). Her collaboration with playwrights has brought the theatre prestigious grants from the Pew Charitable Trusts, a Joyce Foundation Award, and a Doris Duke Foundation grant, as well as numerous grants from the National Endowment for the Arts and Shakespeare for a New Generation. Among the memorable productions she has directed on the IRT’s stages are The Glass Menagerie (1999), Ah! Wilderness (2002), The Drawer Boy (2004), Looking over the President’s Shoulder (2008), The Diary of Anne Frank (2011), and James Still's The House That Jack Built (2012). Celebrating the IRT's 44-year legacy this season, she directs To Kill a Mockingbird. Janet studied theatre at Illinois State University, Indiana University, and Exeter College, Oxford. As a classical theatre specialist, she has published and taught theatre history and dramaturgy at IUPUI and Butler University. Janet’s leadership skills and community service have been recognized by Indianapolis Business Journal’s “40 Under 40”Award, the Network of Women in Business–IBJ’s “Influential Women in Business”Award, Safeco’s Beacon of Light in Our Community Award, a Distinguished Hoosier Award conferred by Governor Frank O’Bannon, Girls Inc.’s Touchstone Award for Arts Leadership, and the Indiana Commission on Women’s “Keeper of the Light”Torchbearer Award. She is a proud alum of the Stanley K. Lacy Leadership program (Class XIX) and the Shannon Leadership Institute in Minneapolis, Minnesota and is a 2013-14 Arts Council of Indianapolis Creative Renewal Arts Fellow. In April 2015 Janet was inducted into the College of Fellows of the AmericanTheatre at the John F. Kennedy Center for the Performing Arts and received a Medallion Award for significant national contributions from the Children'sTheatre Foundation of America. Janet is a member of the Indianapolis Woman’s Club and Congregation Beth-El Zedeck. She lives in the historic downtown Chatham Arch neighborhood with her husband, Joel Grynheim, their two daughters, and two lovely mutts. 8

Henry Woronicz in last season's production of Red. Photo by Zach Rosing.

LEADERSHIP: SUZANNE SWEENEY MANAGING DIRECTOR & CHIEF OPERATING OFFICER Suzanne is a 17-year veteran of the IRT, and has managed every administrative area within the theatre at one time or another during that period. Serving as the managing director is the capstone to her career here. Her main responsibility had been to serve as the chief financial officer of the theatre, running the business office, human resources, and information technology functions. As the CFO, she helped to steer the organization thorough 15 years of balanced budgets (and 15 audits!). She also served as the interim managing director for 18 months in 2004-2005. Suzanne is continuing the work of helping to implement a structured and inclusive fundraising effort, including moving the theatre more proactively into planned giving, as well as expanding its marketing efforts and creativity. She is excited to be moving into year three of this leadership role of the organization she loves. Suzanne is active in the community, having been the treasurer of Irish Fest for nine years and a member of the board of directors and treasurer of the Day Nursery Association for seven years and a past treasurer of Indy Fringe. Suzanne is a graduate of the College of William and Mary (undergraduate), and Indiana University (M.B.A.). She started her career as a CPA; prior to coming to Indianapolis, Suzanne 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). Suzanne is an alum of the Stanley K. Lacy Leadership Program (Class XXXI). Suzanne lives in the Old Northside, with her twelve-year-old son, Jackson, and their foxhound rescue dog, Gertie.

Ryan Artzberger in last season's The Two Gentlemen of Verona. Photo by Zach Rosing.


LEADERSHIP: JAMES STILL PLAYWRIGHT-IN-RESIDENCE During James’s 18 years as playwright-in-residence, IRT audiences have seen his plays The House That Jack Built, I Love to Eat: Cooking with James Beard, The Velveteen Rabbit, The Heavens Are Hung in Black, Interpreting William, Iron Kisses, Looking over the President’s Shoulder (twice), The Gentleman from Indiana, Searching for Eden, He Held Me Grand, And Then They Came for Me: Remembering the World of Anne Frank (thrice), Amber Waves, and The Secret History of the Future. He has also directed many productions at the IRT, including 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. This season the IRT produces the world premiere of his play April 4, 1968: Before We Forgot How to Dream and he directs The Mystery of Irma Vep. 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 three times for the Pulitzer Prize, and have been developed and workshopped at Robert Redford’s Sundance, the New Harmony Project, Eugene O’Neill Playwrights Conference, 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, 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, and Australia. 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 Stage, the Station, the Asolo, Company of Fools, the Children’s Theater Company of Minneapolis, Metro Theater Company, B-Street Theatre, Tricklock, Vermont Stage Company, the Round House, American Blues, Illusion Theater, and the Mark Taper Forum. Premieres last season included the Denver CenterTheatre production of Appoggiatura which was a nominee for Outstanding New Play for the Henry Awards at the ColoradoTheatre Guild. Appoggiatura is the second play in the family trilogy that began with the award-winning The House That Jack Built. The final play in the trilogy is Miranda and is commissioned by Illusion Theater in Minneapolis. Also premiering last season was The Widow Lincoln at Ford'sTheatre in Washington, DC. James's play When Miss Lydia Hinkley Gives a Bird the Bird is a current finalist for the Heideman Award from ActorsTheatre of Louisville. 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 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. 10

Tyler Ostrander & Mitchell Wray in last season’s The Velveteen Rabbit., adapted by James Still. Photo by Zach Rosing.

LEADERSHIP: COURTNEY SALE ASSOCIATE ARTISTIC DIRECTOR This is Courtney’s third season as the IRT’s associate artistic director. Courtney works closely with Janet Allen on all aspects of the artistic process, with particular emphasis on casting, education outreach programming, line producing, script selection, and new artistic projects. Additionally, she directs one or two productions a year. Past IRT productions include Jackie and Me, And Then They Came for Me: Remembering the World of Anne Frank, The Mountaintop, A Christmas Carol and The Giver; in the 2015-2016 season, she directs April 4, 1968: Before We Forgot How to Dream, A Christmas Carol, and The Mousetrap. Courtney is a director with a strong interest in new plays and devised work. Selected directing credits include Mario and the Comet that Stopped the World at NYU/Provincetown Playhouse; uncertain terms (Northwest Playwrights Alliance at Seattle Repertory Theatre); The There There (New Harmony Project, Denver Center Theatre), Zen Prayers and Songs written & performed by Kirk Lynn (Fusebox Festival), The Zoo Story (Secondhand Theatre), Plays for Horses (Performance Studies International at Stanford University), the world premiere of Steven Dietz’s 360 (round dance) (UT Austin), Emergency Prom (UT Austin), Dream of Perfect Sleep (UT Austin), The Tides of Aberdeen (UT Austin), Aloha, Say the Pretty Girls (The Management), The Chalk Boy (The Management), and A Bright Room Called Day (Strike Anywhere Productions). As co-artistic director of The Duplicates, she has co-created/directed The Poison Squad (2013 Austin Critics Award), The Fictional Life of Historical Oddities, Static (2012 Austin Critics Nominee), september play, The Man with the Dancing Eyes, and Expo 2054. Her production of Kristen Kosmas’s The Scandal! was nominated for the New York Innovative Theater Award and featured in American Theatre Magazine. Additionally, her work has been recognized in the Austin Chronicle, Dramatist Magazine, UT Know, and The Daily Texan. In 2001, she was one of fourteen emerging directors to participate in Peter Brook’s workshop in conjunction with his tour of Hamlet. Courtney was awarded a prestigious continuing fellowship through the Graduate School at UT. She has taught at the University of Texas at Austin, Seattle Children’s Museum, Summer at Cornish, Cornish College of the Arts, Booker T. Washington High School of Performing Arts (Dallas), and at Temple College. Courtney has a B.F.A. from Cornish College of the Arts, and an M.F.A. from the University of Texas at Austin. Courtney lives in Indianapolis with her husband, Sean, and their son, Finn.

Henry Cooper and Matthew Brumlow in last season’s A Christmas Carol, directed by Courtney Sale. Photo by Zach Rosing.



Janet Allen

ARTISTIC Associate Artistic Director Courtney Sale General Manager Jane Robison Production Manager Brian S. Newman Resident Dramaturg Richard J Roberts Company Manager Hillary Martin Manager of Outreach Programs Milicent Wright Playwright-in-Residence James Still COSTUME SHOP Costume Shop Manager Guy Clark Cutter-Draper Jessica Hayes Costumers Francisnelli Bailoni dos Santos Julianne Johnson Wardrobe Supervisor Rich Taylor

ELECTRICS Master Electrician Beth A. Nuzum Assistant Master Electrician Elizabeth Smith Electrician Matt Griffin

Master Carpenter Betty Rupp

PAINT SHOP Charge Scenic Artist Claire Dana Assistant Charge Scenic Artist Jim Schumacher

SOUND Resident Sound Designer Todd Mack Reischman Lead Sound Engineer Maggie Hall Sound Engineer Jason Tuttle

PROPERTIES SHOP Properties Manager Geoffrey Ehrendreich Properties Carpenter Christina Buerosse Properties Artisan Rachelle Martin Wilburn

Carpenters Catharine Kerr David Sherrill Deck Manager Matt Shives

STAGE MANAGEMENT Production Stage Manager Nathan Garrison Production Assistants Brittany Cowgill

SCENE SHOP Technical Director Chris Fretts Assistant Technical Director John Bennett Shop Foreman Kyle Baker


Kathi Ridley-Merriweather Beverly Roche Milicent Wright

Teaching Artists Chelsea Anderson Andrew Black Iris Dauterman Karaline Feller Callie Burk Hartz Christina Howard Tom Horan Ronn Johnstone

ELECTRICS Electricians Lee Edmundson Kate Smith


PAINT SHOP Scenic Painters Lee Edmundson Jason J. Gill

Patricia Money Michael Bell SCENE SHOP Carpenters Lee Edmundson Richard Landon Colin Shay Amanda Greene


Suzanne Sweeney

ADMINISTRATION Receptionist / Administrative Assistant Seema Juneja Administrative Support Specialist Suzanne Spradlin Beinart DEVELOPMENT Director of Development Adam L. Clevenger Associate Director of Development Jennifer Turner Individual Gifts Officer Lindsey Horan Foundations Officer Elisabeth Lesem Development Systems Brady Clark EDUCATION Manager of Education Randy D. Pease Assistant Manager of Education Ann Marie Elliott FINANCE Director of Finance Greg Perkins

Controller Brenda Chappell Payroll & Benefits Specialist Jennifer Carpenter INFORMATION SYSTEMS Director of Information Systems Dan Bradburn MARKETING Director of Marketing & Sales Brandee Bryant Marketing Communications Manager Carolyne Holcomb Season Ticket & Group Sales Manager Catherine Cardwell Graphic Designer Amber Mills Multimedia Coordinator Chelsea S. Reed OUTREACH Manager of Subscription & Development Outreach Doug Sims Assistant Manager of Subscription & Development Outreach Aaron Henze Clerical Assistant James McWilliams

MARKETING Program Advertising Manager Dave Charrlin | New Moon Advertising

PATRON SERVICES Assistant House Managers Pat Bebee

Marketing Interns Neil Whitlock Breanna Manley

Terri Bradburn Rebecca Eccles Rene Fox Marilyn Hatcher Bill Imel Sarah James Sherry McCoy Gail McDermott-Bowler Sherry Nielsen Deborah Provisor

FINANCE ASSOCIATES External Auditors Crowe Horwath LLP Legal Counsel Scott Himsel

Priority Seating Representatives Melanie Conley Todd Kemmerer Nancy McCarthy Dustin Miller Mark Vogel PATRON SERVICES Manager of Patron Services Robert Steele Ticket Office Manager Margaret Lehtinen Assistant Ticket Office Manager Thomas Cardwell Ticketing Systems Specialist Molly Wible House Manager & Special Events Coordinator Amanda Lyons Customer Service Representatives Sarah Doyle Mak Jungnickel Jacob Peterman Katie Phelan Kimberly Reeves Jessie Streeval Building Services Dameon Cooper Gaylord Gaulden Dave Melton

Pheobe Rodgers Kathy Sax Karen Sipes Sheila Smith Maggie Ward Heather Welling Stacy Zehringer Bartenders Gayle Durcholz Sandra Hester-Steele Nancy Hiser Susan Korbin Tina Weaver


THE BOARD: MICHAEL J. HARRINGTON INDIANA REPERTORY THEATRE BOARD CHAIR Welcome to the IRT! On behalf of the IRT’s Board of Directors and staff, I want to thank you for joining us for another world-class performance created right here at Indiana's leading fully professional theatre. Whether you’ve been part of the IRT family for years or you are here for the first time, we’re glad to see you! As we close our 44th season, we also want to thank you for continuing to support the IRT’s service to the people of Indiana. Your attendance, your gifts, and your good will are crucial components in our ongoing stability. With your participation, the IRT can continue its longtime role as a pillar of the state’s performing arts scene, an important downtown magnet, and a valuable community partner. Enjoy the show!

– Michael J. Harrington




Sharon R. Barner -Cummins, Inc. Frank Basile -Community Volunteer

Sarah Lechleiter -Community Volunteer

Mark Shaffer -KPMG LLP

Jeff MacKay -Indianapolis Power & Light Co.

Jacqueline Simmons -Indiana University

Gerald Berg -Wells Fargo Advisors

Lawren K. Mills -Ice Miller LLP

Jennifer Vigran -Second Helpings, Inc.

Carl W. Butler -Angie’s List, Inc.

Charlie Morgan -Emmis Communications

Amy Waggoner -Salesforce

Ann Colussi Dee -Duke Realty

Michael Moriarty -Frost Brown Todd

L. Alan Whaley -Ice Miller LLP

Amy Griman

Gary Denney -Eli Lilly and Company, Retired

Timothy W. Oliver -JP Morgan Chase Bank, NA

David Whitman* -Community Volunteer


Michael P. Dinius -Noble Consulting Services, Inc.

Brian Payne -Central Indiana Community Foundation

William O. Williams II -UnitedHealthcare

Becca Polak -KAR Auction Services, Inc.


Michael J. Harrington -Eli Lilly and Company


Thomas C. Froehle Jr. -Faegre Baker Daniels


Nadine Givens -PNC Wealth Management TREASURER

-Fifth Third Bank

Daniel C. Emerson -Indianapolis Colts

Frank Esposito -Washington & Scoville LLC Richard D. Feldman -Franciscan St. Francis Health James W. Freeman -OneAmerica Financial Partners, Inc.


Tammara D. Porter -Taft Stettinius & Hollister LLP James Reed -Bingham Greenebaum Doll LLP

Ron Gifford -Jump IN for Healthy Kids

Peter N. Reist -Oxford Financial Group

Michael N. Heaton -Katz Sapper & Miller

Susan O. Ringo -Community Volunteer

Brenda Horn -Ice Miller LLP

Wayne Schmidt -Schmidt Associates

Jill Lacy -The Lacy Foundation

Michael Semler -Cushman & Wakefield

Robert Anker* Rollin Dick Berkley Duck* Dale Duncan* Michael Lee Gradison* Margie Herald David Klapper David Kleiman* E. Kirk McKinney Jr. (in memoriam) Richard Morris* (in memoriam) Jane Schlegel* Jerry Semler* Jack Shaw* William E. Smith III* Eugene R. Tempel* * Past Board Chairs



We’re all citizens. Just like you. Whether she’s playing guitar or making sure computer programs are in sync, Julie knows the audience wants excellence. That’s no small challenge when your audience is 400,000 customers in and around Indianapolis. People who depend on Julie, and others like her for the water that brews coffee and fills dog dishes. So every day she makes sure her performance is the best it can be, because Julie doesn’t just work for Citizens Energy Group. She lives here, too.

Visit to learn more.





Director________________ COURTNEY SALE Scenic Designer______________ ROBERT M. KOHARCHIK Costume Designer____________________ALISON HERYER Lighting Designer_________________MICHELLE HABECK Sound Designer________________ TODD MACK REISCHMAN Composer_____________________________DAVID DABBON Dramaturg________________________RICHARD J ROBERTS Stage Manager_________________ NATHAN GARRISON Casting________________________CLAIRE SIMON CASTING

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THE CAST Mollie Ralston_______________ CASSANDRA BISSELL Giles Ralston__________________ RYAN ARTZBERGER Christopher Wren____________________JÜRGEN HOOPER Mrs. Boyle_______________________ JAN LUCAS Major Metcalf_______________________ ROBERT NEAL Miss Casewell________________ JENNIFER JOHANSEN Mr. Paravicini___________________HENRY WORONICZ Detective Sergeant Trotter_________CHARLES PASTERNAK

THE SETTING Monkswell Manor, near an English village The early 1950s The performance will last approximately two hours and 30 minutes with one intermission.

ACKNOWLEDGEMENTS The Mousetrap is produced by special arrangement with Samuel French, Inc. Assistant Sound Designer: Jason Tuttle The cast and stage manager are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. 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.



to detail, and has drawn, as you will see, from the design team, some very big statements that ground the production in a style, place, time period, and that most ephemeral of all design elements, an environment of fear and suspicion! Thanks, Courtney, for this wonderful production, and for all the wonderful productions you’ve made for IRT audiences of all ages.


Perhaps the grandest part of the production of The Mousetrap that you are about to see is the amazing artists making it. There are many wonderful collaborations and immense talents at work on this production. If that idea surprises you, given the popularity of the form, it speaks to our purpose: not only do we make a variety of work across many different styles and genres in a given season, but we craft each production with exquisite care and finesse, beginning with who’s making it. Leading the charge on The Mousetrap is our amazing associate artistic director, Courtney Sale. This is Courtney’s last directing project in that role, as she moves on to become the artistic director of Seattle Children’s Theatre this summer. Courtney’s directing work here at the IRT has spanned across many genres. This season she has so far helmed April 4, 1968 (a new play) and A Christmas Carol (our most populist production); in past seasons she has done work for our youth audience (The Giver, And Then They Came for Me) as well as the reality-expanding The Mountaintop. So she brings a wide cross-section of experience to this beloved Agatha Christie murder mystery. She also brings laser-like focus 18

We are especially proud of the acting ensemble we have gathered for this production, from both coasts and lots of places in between! It takes a particular kind of exploration of nuance to do this work, and an enthusiasm for finding mystery in characters, things that create disquiet but not confusion, suspicion but not guilt, possibility but not confirmation. Actors must be very specific in their gestural language, because an audience is reading meaning into every flick of a newspaper, every turn of a head, every eye movement. One of Agatha Christie’s greatest achievements, and a big part of her enduring stage popularity, is the great palette she created for actors to explore. We are lucky to have brought prodigious power into this acting company, with actors bringing their best chops to this mysterious romp. As we end IRT’s 44th season, and look ahead to its 45th, we want to thank all of you gathered here: the makers, the viewers, the facilitators, the critics, the enthusiasts, the newcomers, and the practiced. It is the collision of all those human forces in a room that makes a piece of living art spring to life: there’s nothing virtual, it’s all real, and it’s made for you!

The original 1952 cast of The Mousetrap at the Ambassadors Theatre in London’s West End.


What draws us in to the murder mystery? There is something primal yet modern about the circumstances and the settings of Agatha Christie’s stories. We take for granted the pervasiveness of the tropes of the murder mystery, while perhaps subconsciously allowing them to wedge their way deep into our psyche. The detective story is not quite 175 years old. Early stories drew their inspiration from real people and real cases of elusive solutions to ghastly crimes. The root of Agatha Christie’s work is found in the awakening of progressive ideas of the nineteenth century. The detective arose during this time as the “scientist” of crime; deductive reasoning based on collective evidence eventually led to modern criminology. The British public was drawn to these stories of murder in the broadsheets. In speaking of the detective or “enigma” stories of his day, Henry James said, “they dealt with those most mysterious mysteries, the mysteries that are at our own doors … the terrors of the cheerful country house.” Such secrets up until this time would have been singularly undisclosed, covered

Agatha Christie.

up. Perhaps the people of England understood the uncovered side of crimes as they did their own secrets. Sigmund Freud’s work in psychology enriched Arthur Conan Doyle’s creation Sherlock Holmes, adding to the murder mystery not only brilliantly deduced evidence, but assessment of the suspects based on deeper and darker motives. All of these antecedents influence our dear Agatha Christie, who continued working with these themes throughout her career, including The Mousetrap. The typical Agatha Christie story brings a group of suspects to a far-flung or unreachable location for mundane reasons. The audience is brought together in a similar way. We are live witnesses to the actions, at least temporarily disconnected from our modern distractions. We will not leave until the case has been solved. Of course, The Mousetrap is also great fun and a delicious mystery. Join us in our snowbound country home, and bask in the mystery.




Inspired by research of English manor houses and Downton Abbey, this design was created to capture the essence of the great halls in those historic homes, supplying as much detail and grandeur as possible. A Gothic style, complete with stone walls and dark heavy wood tones, was chosen both to reference the history of Monkswell Manor when it was an abbey and to help establish a foreboding atmosphere for the play.

Lighting for performance and place requires an invisible intuition into the nature of the human experience. We must see light where there is emotion. We must craft shadow from conflict, and we must make epic the mundane. We shape, we carve, we reveal, and we hide. We give glimpse to matter. We give meaning to that which is present before us. We create a reality that simultaneously is both true and false. The Mousetrap offers a stealthily enigmatic and heart-quickening midwinter adventure. You never know what you might see, what you might hear, or who exactly you are in the company of. All those who love a great mystery know that attentions must be kept. Enjoy.





Let's play a game! How does the music in the show make you feel? Does it guide you to be scared? confused? suspicious? to laugh? There is something thrilling about the combination of comedy and suspense. They are a pair I would not have put together, but that I thoroughly enjoy seeing. Both in film and on stage, music guides how we as an audience should or would want to feel. As you go on the adventure of this show, notice the emotional roller-coaster we take you on. There is a theme that Agatha suggests in the script that I use in different ways. How is it used as part of the action, verses underscoring for a scene? How does the music in the show make you feel?



Agatha Christie gives us so many great characters in The Mousetrap. In this production, the way the characters wear their clothing becomes just as important as the individual garments themselves. For this reason we looked at lots of photographs from the period to try to find each character’s real life counterpart. While everyone’s clothing draws on 1950s British fashion, we wanted to find styling choices that celebrate individual quirks and eccentricities. We also developed a backstory for each character. Imagining a history that can be told in the clothing and styling of each look adds a layer of authenticity to the design. Left: Scenic drawing by designer Robert M. Koharchik. Right: Renderings for Mollie and Detective Sergeant Trotter by costume designer Alison Heryer.



Agatha Mary Clarissa Miller was born in 1890 in Torquay, Devonshire, England. Her father was American, her mother English. As a child Agatha never attended school. Shy and unable to express her feelings, she first turned to music as a means of expression and, later in life, to writing. Her father taught her arithmetic, but her mother believed education destroyed the brain and ruined the eyes. She taught Agatha history and what she called “general knowledge.”The house was filled with books and newspapers, and Agatha and her older brother and sister were encouraged to read and write. When Agatha was 11, her father died. Despite financial difficulties, Agatha’s mother maintained the family’s genteel facade and continued Agatha’s eclectic education. She took Swedish exercise classes and studied the piano, singing, and dancing. At 16, she began two years of finishing school in Paris, where she learned French and German and took gymnastics and tennis lessons. Her


mother wanted Agatha to be a concert pianist or an opera singer, but stage fright and shyness prevented her from pursuing a career in music. Agatha’s mother developed health problems and decided that a warmer climate might be beneficial. When Agatha returned from France, her mother took her to Egypt for three months. There was a small English colony there, and Agatha could make her social debut more cheaply than in London. Thus began Agatha’s lifelong fascination with the Middle East. Upon returning to England, Agatha met Lieutenant Archibald Christie of the Royal Field Artillery. After a two-year engagement, Agatha and Archie were married in 1914. During World War I, the new Mrs. Christie signed on as a nurse at a Red Cross hospital near her mother in Torquay. Promoted to the dispensary, she trained for the apothecaries’ exam, learning all about drugs and poisons.

This newly acquired knowledge inspired her to try her hand at a murder mystery.

series; these were to be kept in her publisher’s vault and not to be published until after her death.

In 1919, Christie gave birth to her only child, Rosalind, named after Shakespeare’s heroine. In 1920 her first book, The Mysterious Affair at Styles, was published. This was the world’s first introduction to Christie’s Belgian detective, Hercule Poirot. In 1922 Christie published her second book, beginning a book-a-year pattern. Her name appeared on the best-seller lists the rest of her life.

After the war, Christie and Max continued to travel together. She gained further success on the stage and in the cinema. The Mousetrap opened in London in 1952; it is still running today, 64 years later, making it the longest running play in the world. Witness for the Prosecution opened in London in 1953; Billy Wilder adapted and directed the 1957 film starring Charles Laughton and Marlene Dietrich.

In 1926 Christie published what some consider her masterpiece, The Murder of Roger Ackroyd. That same year, her mother died after a severe illness. While still mourning, Christie found out that her husband was having an affair with a younger woman. Shortly thereafter, Christie disappeared for eleven days. When found, she claimed amnesia, and the mystery remains unsolved. Christie divorced her husband and went to southern Iraq to join an archaeological dig. There she met Max Mallowan, an archaeological assistant who would eventually become one of the most prominent archaeologists of his generation. The two were completely unlike in background, education, profession, and age—she was 40, he was 26—but they recognized that they complemented each other, and they married in 1930. That same year, Christie published her first Miss Marple novel, The Murder at the Vicarage; and she premiered her first play, Black Coffee, at the Embassy Theatre in London’s West End.

Christie was named a Dame Commander of the British Empire in 1971. In 1972, she broke her leg and experienced heart trouble that required considerable bed rest. She continued writing, producing new mysteries regularly every year to 1973. Her last public appearance was in 1974 at the opening of the movie version of her novel Murder on the Orient Express. The success of that film prompted her to release the final Poirot book she had written 30 years earlier, Curtains. Dame Agatha died peacefully in Wallingford in 1976. She was buried in the country churchyard of Cholsey Parish near her home. A few months later, Sleeping Murder, the final Miss Marple novel, was published. The author had always claimed she was not very fond of Hercule Poirot, and she had killed him off in his final book; but Miss Marple lived on.

Throughout the 1930s, Agatha accompanied Max on his archaeological digs, taking her portable typewriter along. She told reporters: “An archaeologist is the best husband any woman can have. The older she gets, the more interested he is in her.” Christie always made use of her travels in her novels, such as Murder on the Orient Express (1934) and Death on the Nile (1937). In 1939 she published her most popular book, Ten Little Indians (also known as And Then There Were None). During World War II, Christie lived in London, serving as a dispenser at University College Hospital. Between 1940 and 1945, she published ten new novels and adapted two earlier novels for the stage, including Ten Little Indians. She also wrote “final” books for the Poirot and Miss Marple



Ryan’s IRT credits include To Kill a Mockingbird, A Christmas Carol, The Great Gatsby, On Golden Pond, The Two Gentlemen of Verona, Who Am I This Time?, The Crucible, A Midsummer Night’s Dream, Jackie and Me, Dr. Jekyll and Mr. Hyde, God of Carnage, Julius Caesar, Fire in the Garden, Romeo and Juliet, The Heavens Are Hung in Black, Rabbit Hole, Iron Kisses, Tuesdays with Morrie, Our Town, Death of a Salesman, He Held Me Grand, Macbeth, and The Herbal Bed. Ryan is a member of Heartland Actors Repertory Theatre, where he has appeared in Twelfth Night, The Tempest, The Taming of the Shrew, Othello, The Two Gentlemen of Verona, The Merchant of Venice, and In a Dark Dark House. At the Phoenix Theatre he performed in Reasons to Be Pretty. Regional credits include the Shakespeare Theatre and the Studio Theatre in Washington, DC, Shakespeare Santa Cruz, the Goodman Theatre, Berkeley Rep, Kansas City Rep, the Lookingglass, Great Lakes Theater Festival, the Denver Center, New Jersey Shakespeare, and Playmakers Rep. Ryan is a graduate of Ohio University and the Juilliard School.


Cassandra is tickled to wed her IRT debut with her first foray into the murder mystery genre. Her professional theatre life began in high school with Les Liaisons Dangereuses at the Irish Classical Theatre Company of Buffalo, New York, and she was last seen in Sense & Sensibility at People’s Light in Malvern, Pennsylvania. The intervening 20 years include work at Actors Theatre of Louisville, Chicago Shakespeare Theater, Cleveland Play House, Company of Fools, Court Theatre, freeFall Theatre, the Goodman, Great Lakes Theater, Idaho Shakespeare Festival, Lookingglass, Milwaukee Repertory, Next Theatre, Northlight Theatre, Peninsula Players, Renaissance Theaterworks, Rivendell Theatre Ensemble, Shakespeare on the Green, Shakespeare Project of Chicago, Steppenwolf, and the Utah Shakespeare Festival. Cassandra holds a B.A. in gender studies from the University of Chicago.


Jürgen returns to the IRT after appearing in The Game’s Afoot. His credits include Brighton Beach Memoirs on Broadway. His regional appearances include The Game’s Afoot at New Theatre, Wanamaker’s Pursuit at the Arden, and The Cherry Orchard at Milwaukee Rep. In Chicago he has been seen in Life & Limb and Huck Finn at Steppenwolf; Rabbit Hole at the Goodman; The Comedy of Errors, Amadeus, and Short Shakespeare! Romeo & Juliet at Chicago Shakespeare; Isaac’s Eye and The Chosen at Writers Theatre; The Dark at the Top of the Stairs at American Theatre Co; Paradise Lost at TimeLine Theatre Co; and What’s Wrong with Angry? at Circle Theatre (for which he received a Non-Equity Jeff Award for Best Principle Actor in a Play). His film and TV credits include Game Day, Crisis, Chicago Fire (NBC), and Suits (USA). Jürgen is married to actress Blair Robertson.



Jen’s recent IRT appearances include A Christmas Carol, The Game’s Afoot, And Then They Came for Me, A Midsummer Night’s Dream, The Syringa Tree, and Jackie and Me. Others include Julius Caesar, Macbeth, Twelfth Night, Holes, The Giver (2009), and The Ladies Man. Recent productions at the Phoenix Theatre include the rolling world premiere of On Clover Road; Mr. Burns, a post-electric play; Clark Gable Slept Here; and Vanya and Sonia and Masha and Spike. Jen reprised the role of Masha in Vanya ... at the Human Race Theatre in Dayton, where she’s also appeared in God of Carnage, Romeo and Juliet, and A Christmas Carol. Her performance in Time Stands Still earned her a Leading Actress Award with Ensemble Theatre of Cincinnati. She has appeared on TV’s Chicago Fire. Jen is a Creative Renewal Fellow, and has trained with Anne Bogart and the SITI Company and at the Royal Academy of Dramatic Art in London. A proud member of Actors Equity, she is represented by Paonessa Talent in Chicago. Jen will make her Chicago stage debut this winter in a new play at Chicago Shakespeare Theater.


Jan has previously been seen on the IRT stage in To Kill a Mockingbird, A Christmas Carol, The Gentleman from Indiana, Inherit the Wind, He Held Me Grand, Sister Carrie, Dinner with Friends, and Amber Waves. Other regional credits include the Phoenix in Indianapolis and the Goodman, Steppenwolf, and Remy Bumpo in Chicago. She has been seen in countless TV commercials. She tours with her husband Tim Grimm, performing Americana roots music all over the United States and throughout most of western Europe. Every year, along with touring their own music, they lead music-focused tours to Ireland and to the Netherlands.


This is Robert’s fifteenth season with the IRT, where he has performed in more than 30 productions. He recently played Lennie in Cardinal Stage Company’s Of Mice and Men. He is a company member of Heartland Actors Repertory Theatre, where he was last seen as Sir Toby Belch in Twelfth Night in HART’s Shakespeare on the Canal series at White River State Park. This summer he will direct The Winter’s Tale for HART. Other local theatres include ShadowApe Theatre Company, Prairie Ditch Productions in the Indy Fringe, and the Phoenix Theatre; he has also performed with the Indianapolis Symphony Orchestra and the Indianapolis Early Music Festival. In 2012 he reprised his role as James Beard in James Still’s I Love to Eat for the James Beard Foundation Awards at Lincoln Center in New York City. Regional theatre credits include Syracuse Stage, the Blackstone Theatre, the Bailiwick Repertory Theatre, American Players Theatre, Pennsylvania Center Stage, the Oklahoma and Kentucky Shakespeare festivals, and the Brown County Playhouse, as well as the English American Theatre Festival in Dusseldorf, Germany. Television credits include NBC’s Chicago Fire. Robert’s training is from Penn State (M.F.A.) and the London Academy of Music and Dramatic Art.


Charles made his IRT debut in The Two Gentlemen of Verona. His regional credits include Titus Andronicus at Clarence Brown Theatre; the title role in Macbeth at Sierra Repertory Theatre; two seasons with Shakespeare Festival St. Louis, where his roles included Hotspur and Octavius; Much Ado about Nothing at Shakespeare Theatre New Jersey; four seasons with Shakespeare Santa Cruz, where his roles included Romeo and Henry V; Romeo and Juliet and The Three Musketeers at the Denver Center; Creditors at Ensemble Theatre Santa Barbara; and The Merchant of Venice and Romeo and Juliet at Shakespeare Center Los Angeles. Charles is artistic director of the Los Angeles-based Porters of Hellsgate Theatre Company.



Henry returns to the IRT after appearing in Red, An Iliad, A Midsummer Night’s Dream, … Young Lady from Rwanda, and King Lear. Regional acting and directing credits include Actors Theatre of Louisville, American Conservatory Theatre, American Players Theatre, Arden Theatre Company, Berkeley Repertory Theatre, Boston Shakespeare Company, Center Stage, Delaware Theatre Company, Hong Kong Repertory Company, La Jolla Playhouse, Meadow Brook Theatre, Syracuse Stage, the Shakespeare Theatre, and the Alabama, Illinois, New Jersey, Pennsylvania, and Utah Shakespeare festivals. He was seen on Broadway in Julius Caesar with Denzel Washington. Television credits include Seinfeld, Cheers, Third Rock from the Sun, Star Trek, and Law & Order. At the Oregon Shakespeare Festival, he was a resident actor/director from 1984 to 1991 and artistic director from 1991 to 1995. Henry also served as executive producer at Lake Tahoe Shakespeare Festival from 2008 to 2009, the head of M.F.A. Acting at Illinois State University from 2009 to 2012, and is currently a visiting professor in the Department of Theatre at IU Bloomington.


The IRT’s associate artistic director, Courtney has directed April 4, 1968; A Christmas Carol; The Giver; The Mountaintop; And Then They Came for Me; and Jackie and Me at the IRT. Recent work includes Steven Dietz's On Clover Road and Mr. Burns, a post electric play at the Phoenix; Twelfth Night and The Tempest for HART; uncertain terms for Northwest Playwrights Alliance at Seattle Rep; Sagittarius Ponderosa and The There There for the New Harmony Project, TheatreWorks, and Denver Center; Mario and the Comet That Stopped the World for NYU/ Provincetown Playhouse; Plays for Horses created with William Davis for Performance Studies International at Stanford University; Steven Dietz’s 360 (round dance) at UT Austin; and Aloha, Say the Pretty Girls for the Management. As co-artistic director of the Duplicates, she has co-created and/or directed The Poison Squad (2013 Austin Critics Award), The Fictional Life of Historical Oddities, and september play. Courtney has taught at Seattle Children’s Museum, Summer at Cornish, and Temple College. She earned her B.F.A. at Cornish College of the Arts and her M.F.A. at University of Texas at Austin. (complete bio on page 11, interview on page 30)


Rob has designed more than 30 productions for the IRT, including all four Going Solo Festivals and such shows as On Golden Pond, The Mountaintop, Jackie and Me, The Miracle Worker (2012 and 2000), Holes, Crime and Punishment, To Kill a Mockingbird (2009), Looking Over the President’s Shoulder (2008), Hamlet, Twelfth Night, Pride and Prejudice, Romeo and Juliet (2004), The Turn of the Screw, The Lion in Winter, Cyrano, Art, Blithe Spirit, and James Still’s And Then They Came for Me (1996), which he subsequently designed for George Street Playhouse in New Jersey and again for Geva Theatre in Rochester, New York. Robert works locally with the Indianapolis Civic Theatre and the Lilly Theatre at the Children’s Museum; and his regional credits include Repertory Theatre of St. Louis, Cleveland Play House, Cincinnati Playhouse in the Park, Weston Playhouse, Geva Theatre, and American Players Theatre. A 2000 & 2011 Arts Council–Lilly Endowment Creative Renewal Fellow, Robert holds an M.F.A. in set design from Boston University and a B.S. in theatre from Ball State. He teaches theatre design at Butler University.


Alison designed Jackie and Me at the IRT. She is an interdisciplinary artist whose work combines costume, installation, performance, and community engagement. Her work as a costume designer includes productions at Steppenwolf, the New Victory Theatre, Portland Center Stage, Kansas City Repertory Theatre, ZACH Theatre, Redmoon Theatre, and La MaMa. She has exhibited work at the 808 Gallery, the Nelson Atkins Museum of Art, and Prague Quadrennial of Design and Space. Recent awards include the Austin Critics Table Award for Costume Design and the ArtsKC Inspiration Grant. Upcoming productions include Eugene Onegin with Portland Opera, Mary Poppins at ZACH Theater in Austin, and The Oregon Trail at Portland Center Stage. Alison holds an M.F.A. in theatrical design from the University of Texas at Austin and is a member of United Scenic Artists. She is the assistant professor of costume design in the School ofTheater + Film at Portland State University. 26


At the IRT, Michelle has designed lighting for Amber Waves and scenery for An Almost Holy Picture. Her Broadway credits include slide artist on Thoroughly Modern Millie (also London and tour); associate lighting designer for The Boy from Oz and King Hedley II; and assistant lighting designer for Movin’ Out and Thoroughly Modern Millie. Opera credits include The Masked Ball and The Elixir of Love for Austin Opera, and associate for Julie Taymor’s Grendel. Off Broadway Michelle designed Fifty Words. Select regional credits include A Raisin in the Sun and Gem of the Ocean at the Guthrie; Love Song at Steppenwolf; Marley, Amadeus, The Dance of the Holy Ghosts, An Enemy of the People, and The Whipping Man at Center Stage; and James and the Giant Peach at Seattle Children’s Theatre. Michelle’s lighting has been seen at many of the nation’s leading regional theatres, including the Goodman, the Alliance, Children’s Theatre Company, and many others. She was awarded the prestigious NEA/TCG Career Development Grant for Design. Michelle is head of lighting design at the University of Texas at Austin in the


During the last 14 seasons as resident sound designer Todd has created effects and music for many IRT productions. He has worked in theatres all around the country, both on stage and off, since the age of 10. Away from the theatre Todd works with a variety of musical collaborators recording and performing around town. Hobbies include crafting custom umbrellas for garden gnomes, molecular photography, tree wrestling, and piloting paper airplanes, and he was recently honored as the premiere bicycle spoke polisher in Indiana.


David makes his IRT debut. His Broadway credits include dance arranger for Disaster! and additional orchestrations for Sondheim on Sondheim. Other New York credits include the Flea Theater’s The Mysteries (composer), Amy Freed’s Restoration Comedy (composer/music director), and These Seven Sicknesses (arranger/music director); NYTW’s The Events (music supervisor) and Love and Information (music director); and Playwrights Horizons’The Christians (music supervisor) and Stage Kiss (arranger). He composed Surface for Dallas Black Dance Theater. Regionally he was conductor/additional dance arranger on The Unsinkable Molly Brown directed and choreographed by Kathleen Marshall at DCPA, and dance arranger for Marvin Hamlisch and Rupert Holmes’s The Nutty Professor. Films include Six by Sondheim (arranger) and All God’s Creatures (composer). Album credits include Audra McDonald's Go Back Home (orchestrator) and Sweet Bye and Bye (music director). David earned his M.M. in choral conducting at Carnegie Mellon University and his B.M. in music direction at Hartt School of Music.


Richard has been resident dramaturg for 18 of his 26 seasons with the IRT. He has also been a dramaturg for the New Harmony Project and Write Now. He has directed the IRT’s productions of Bridge & Tunnel, The Night Watcher, Neat, Pretty Fire, The Giver (2009), The Power of One, and Twelfth Night, as well as four editions of A Christmas Carol. Other directing credits include Actors Theatre of Indiana (where he recently directed Sweeney Todd), the Phoenix Theatre, Edyvean Repertory Theatre, Indianapolis Civic Theatre, IndyShakes/Wisdom Tooth, Butler University, and Anderson University. Richard studied music at DePauw University and theatre at Indiana University. In 2003 he was awarded a Creative Renewal Arts Fellowship from the Arts Council of Indianapolis.


This is Nathan’s 20th season at the IRT. He has also worked with Center Stage in Baltimore, Utah Shakespeare Festival, Brown County Playhouse, and Heartland Actors Repertory (HART).


Based in Chicago, Claire Simon, C.S.A., has worked with the IRT on casting more than 30 productions, including The Great Gatsby, The Two Gentlemen of Verona, The Game’s Afoot, The Mountaintop, The Crucible, A Midsummer Night’s Dream, The House That Jack Built, Dr. Jekyll and Mr. Hyde, Fallen Angels, The Diary of Anne Frank, Romeo and Juliet, The Heavens Are Hung in Black, Our Town, Inherit the Wind, Pride and Prejudice, and many more. Other regional credits include Syracuse Stage, Indiana Festival Theatre, Lyric Opera, Milwaukee Rep, New Theatre, Paramount, Writers Theatre, Broadway in Chicago’s Working, and the Tony Award–winning Million Dollar Quartet. TV credits include Empire, Sense8, Chicago Fire, Chicago PD, Crisis, Betrayal, Detroit 1-8-7, Boss, Mob Doctor, and Chicago Code. Film credits include Divergent, Contagion, Unexpected, and Man of Steel. Claire won an Artios Award for casting Season 1 of Fox’s Prison Break. 27




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TELL US ABOUT SEATTLE CHILDREN’S THEATRE AND WHAT YOUR JOB WILL BE. SCT was founded in 1975. They have a great reputation for high quality performances for young people and families, including many new plays and commissions. SCT also offers an enormous range of educative programming, including its summer drama school that serves nearly 2,500 students. SCT is similar in size and budget to IRT, with two theatres: one that seats around 500 and one that seats 275. The company is located in the heart of Seattle Center, with stateof-the-art paint, costume, scenic, and puppetry shops. SCT’s massively distracting rehearsal rooms face Elliot Bay, and on a clear day you can see the Olympic Mountains. I will miss the beauty and history of IRT’s building, though I am thankful for the natural landscape that will buoy me in moments of homesickness. As SCT’s artistic director, my charge will be to ensure the quality of the artistic programming remains excellent, and to further develop SCT audiences and programming. My infrastructure heart leaps at the opportunity to be able to build both short-term and long-term mission-aligned goals for SCT. I am building on the extraordinary legacy of founding artistic director Linda Hartzell, who is a luminary in the world of theatre for young audiences. She has pioneered a canon of work for young people and wooed to the light many an artist who didn’t think of themselves as makers for young people. In theatre making, one always knows that you stand on the shoulders of those that paved the way ahead of you. And Linda is certainly that for me, just as Janet Allen has been that for me at IRT. I am rich in 30

mentors in my life. And I feel fortunate to be able to have worked for, with, and alongside some of them. WHAT HAVE YOU LEARNED AT THE IRT THAT YOU WILL TAKE TO SEATTLE? When I came to IRT I was mentorship hungry, and I found that in ways that still continue to reveal themselves in the form of Janet Allen. Janet leads the IRT with intellect and heart and vision and tenacity and the best dose of common sense around. In the days, months, and seasons ahead, I know that I’ll be calling on her, literally—but also calling on her in unspoken ways. She is a dynamic leader who places the needs of the organization as her prime motivator. It is easy for me to envision myself in my new role asking myself, “what would Janet do?” I also think that what has set IRT apart from peer theatres around the country is our unique and deep relationship with a playwright in residence. James Still’s contribution and artistry at IRT sends an incredible signal to the field. In a moment where so many playwrights cannot find

Christina D. Harper, Tracey N. Bonner, Nick Vidal, and Nia Simmons in IRT's 2015 production of April 4, 1968: Before We Forgot How to Dream. Photo by Zach Rosing.

home for their work, IRT has made significant meaning by standing behind this prolific writer. And while I don’t envision replicating that exact structure at SCT, I do think I’ve learned what it means to galvanize around an artist and to invest in a body of work versus a single play, as well as the many returns of having a playwright in residence as part of the artistic staff. I promise not to steal James! But I also promise that I will need his artistry in my new endeavor! As with all hindsight moments, once I am in my new role I suspect I will discover more ways that the IRT has shaped who I am as an artist and leader. I feel profoundly grateful to know this community and theatre. IRT will forever hold a special space in my heart. I will always look to this time as one filled with joy and meaningful relationships. WHAT HAVE BEEN SOME OF YOUR MOST MEMORABLE MOMENTS AT THE IRT? There are many. Truly. They are big, small, loud, quiet, heated, and calm. So much life and thought and heart

go into making this work. I leave feeling an incredible abundance: fantastic artists, trusted colleagues, an engaged board, and thoughtful audiences are all memories I will keep close as I transition. I am so proud of the art I made while at IRT. Reflecting on these collaborations, they bubble up in surprising ways. There’s opening night of James Still’s April 4, 1968: Before We Forgot How to Dream, which my son deemed the best show Mom has ever directed. Watching young actors in And Then They Came for Me and The Giver take the story for their own and bloom throughout the run of the show. Marveling as David Alan Anderson took on Dr. King in The Mountaintop with compassion and fervor. Rediscovering both the joy and the darkest moments in Ryan Artzberger’s Scrooge. The rigor, provocation, and profound belief Janet has shared in all of my projects. All the hundreds of designers and actors and production staff that I’ve been fortunate to share with in collaboration. And this moment, right now. Theatre is the art field that magnifies the present. We ask audiences to stop their lives outside the room and give over to art we consider worthy of their attention. I will always remember this moment. I am giving it my deepest attention: the moment where I say goodbye, and every member of the IRT community sends me off with good wishes and congratulations, and I am bolstered by their profound belief in me. This is the moment that will keep me honest. This is the moment that will keep me paying it forward. This is the moment Seattle Children's Theatre will feel the most benefit from—because it will infuse everything I do for the service of the next audience.

Top: Courtney Sale. Photo by Amber Mills. Bottom: David Alan Anderson & Grayson Molin in IRT's The Giver. Photo by Zach Rosing.






R E I M A G I N I N G H I S T O R I C S T R U C T U R E S A N D D E S I G N I N G N E W S I N C E 19 76 .

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Our community outreach programs, sponsored by the Navient Foundation, support 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 a sponsor for the student matinee for To Kill a Mockingbird and a sponsor for the production support of Fences. As the nation's leading loan management, servicing and asset recovery company, Navient helps customers navigate the path to financial success. The company supports the educational and economic achievements of more than 12 million Americans. A growing number of public and private sector government clients rely on Navient for proven solutions to meet their financial goals. In this year’s presentation of Fences, Troy, like many in America, struggles to make sufficient money to provide for his family or save for the future. Today, many Americans rely on financial support to further their education and improve their chances of financial success. We work hard every day to educate our clients and customers to help them through financial challenges so they can achieve their desired financial results. We at Navient share an affinity for the arts and an appreciation for the hard work, passion and emotion that goes into it, as well as the positive influence it can have on people’s lives. Navient and its over 1,500 employees in the Central Indiana area are dedicated to giving back to and supporting our community through amazing programs like those offered by IRT.



Share your vision for the future of Central Indiana at

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When the show is over, you can still get your fix of arts and cultural programming on WFYI Public Media. Whether you’re looking for the best in local arts, or music, theater, dance and art from around the world, we have you covered. Visit for a list of television and radio programming highlights and to access our on-demand streaming library. WFYI.ORG PUBLIC MEDIA




Post-show discussions and complimentary tea and cookies. Discussion speakers include cast, crew, and special guests. Following our 2nd Sunday performances (2:00 pm performances)

Food trucks, complimentary Sun King brews andNew Day mead. Half-priced bar throughout the performance. Tuesdays, starting at 5:30 pm (6:30 pm performances)



Free Vanilla Bean Bakery cookies, coffee and tea served in the lobby during intermission. Thursday 2:00 pm performances

Celebrate with the cast and enjoy complimentary champagne, hors d’oeuvres and a tour of the stage after the performance. Opening Night performances


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YOU + IRT = AMAZING ART As we come to the end of our 44th Season, we have been delighted to share so many great theatre moments with you from The Great Gatsby, to the world premiere of April 4, 1968, to the laughter in The Mystery of Irma Vep, to the classic To Kill a Mockingbird and so much more. Each of these plays came alive on our stages thanks to the work of many people and key amongst those people is you – our audience and supporters. You make this work possible. This year, your gifts have created amazing art, including: • Young Playwrights in Process, • The dresses in The Great Gatsby a statewide competition for middle • The commission and production of and high school students a new play about Indiana • Providing opportunities for over • The creative team that brought 40,000 children, ages 3-high school, The Mystery of Irma Vep to life and had to experience the transformative us laughing from the first entrance power of a professional production • The music—performed live on stage— at the IRT in To Kill a Mockingbird • And so much more… • The beautiful set of The Mousetrap Every gift to the IRT matters! Thank you to everyone who has donated to us this season for making each play and program possible. If you haven’t considered making a gift to the IRT, we hope you will. Each season, with every conversation, we think of you, our audience. And we strive to make each performance, each play, each interaction better so every time you, your friends, colleagues and neighbors come to the theatre you know that you will be enjoying a top quality theatre production that will engage, surprise, challenge and entertain. With your partnership, we make great art! We can’t wait to see you again next season!

The IRT Development Department For more information about giving to the IRT, call 317.916.4833 or visit IRTLIVE.COM/SUPPORT. 40

From top to bottom: Teagan Rose in The Great Gatsby. Tracey N. Bonner and James T. Alfred in April 4, 1968: Before We Forgot How to Dream. Rob Johansen and Marcus Truschinski in The Mystery of Irma Vep. Tim Grimm, Lauren Briggeman, and Christopher Walz in To Kill a Mockingbird.

Barnes & Thornburg is proud to support the Indiana Repertory Theatre. Your commitment to the arts has left us speechless.

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Foster Creativity. Inspire Excellence. The Christel DeHaan Family Foundation is proud to support the Indiana Repertory Theatre. Our support is also provided in honor of the children and families of Christel House.

We proudly support the Indiana Repertory Theatre in their mission to deliver engaging experiences and compelling performances. Bravo!

201 North Illinois Street | Suite 1900 | Indianapolis | 317.237.3800

Indiana | Kentucky | Ohio | Tennessee | Texas | Virginia | West Virginia. THIS IS AN ADVERTISEMENT. ©2015 Frost Brown Todd LLC. All rights reserved.

Proud to be IRT’s The Great Gatsby Opening Week Sponsor










THE SUPPORTING CAST INDIANA REPERTORY THEATRE DONORS WHAT IF YOU SAW ONLY HALF THE PLAY? Ticket revenue covers just half of what it costs to produce world-class professional theatre at the Indiana Repertory Theatre. The IRT gratefully acknowledges the remarkable support we receive from our generous and committed donors whose contributions ensure that the show does go on! *Denotes a sustaining member


($1500 +) | JULY 1, 2015 - MARCH 14, 2016


Bob & Toni Bader Mr. Leo Bianchi & Dr. Jill A. Panetta Michael Dinius & Jeannie Regan-Dinius Nancy & Berkley Duck Dan & Ginny Emerson Mr. & Mrs. Charles & Susan Golden Michael & Judy Harrington Sarah & John Lechleiter Alice & Kirk McKinney Jackie Nytes & Michael O'Brien Sue & Bill Ringo Simmons Family Foundation, a fund of CICF David Whitman & Donna Reynolds DIRECTOR CIRCLE $5,000 - $9,999

Susie & Joel Blum James & Kathy Cornelius Gary Denney & Louise Bakker David & Ann Frick Tom & Jenny Froehle Ann Hinson Bill & Nancy Hunt Cliff & Janet Johnson Dr. & Mrs. William Macias Carl Nelson & Loui Lord Nelson, Ph.D. Mel & Joan Perelman Wayne & Susan Schmidt Mike & Sue Smith Bill & Pam Williams Dr. Christian Wolf & Elaine Holden-Wolf ARTIST CIRCLE $3,000 - $4,999

A.J. Allen & Kathy Maeglin 44

Cheri & Rollie Dick Mary Findling & John Hurt Dick & Brenda Freije Paul & Beth Gaylo Charles Goad & James Kincannon Mr. & Mrs. Cuthbert P. Gorman Donald & Teri Hecht Richard & Elizabeth Holmes John & Liz Jenkins David Kleiman & Susan Jacobs John & Susan Kline Steve & Bev Koepper Scott & Amy Kosnoff Kevin Krulewitch & Rosanne Ammirati* Mike & Pat McCrory Charlie Morgan & Kelly Smith David & Leslie Morgan Mr. & Mrs. Kimball Morris Anne Nobles & David L. Johnson Katie & Richard Norton Dr. Christine & Michael Phillips Jonathan & Rebecca Polak James Reed & Kris Martin N. Clay & Amy McConkey Robbins Mary Frances Rubly Jane & Fred Schlegel Eric Schultze & Marcia Kolvitz Jerry & Rosie Semler Mark & Gerri Shaffer Cynthia & William Smith III Cheryl & Jim Strain Gene & Mary Tempel Jeff & Benita Thomasson Cheryl & Ray Waldman Rosalind Webb & Duard Ballard Alan & Elizabeth Whaley

PATRON CIRCLE $1,500 - $2,999

Janet Allen & Joel Grynheim Katy &Tim Allen Anonymous Katrina Basile, Realtor Gerald & Moira Berg Benjamin & Ashley Blair Dan Bradburn & Jane Robison CarlW. Butler Vince & Robyn Caponi David & Judith Chadwick Doug & Brenda Chappell Adam L. Clevenger & Jessica L.Trimble Alan & Linda Cohen Cowan & King, LLP Susan M. Cross Daniel & Catherine Cunningham Dr. & Mrs. Frank M. Deane Gregory Dedinsky MD Ann & Kenneth Dee Drs. Richard & Rebecca Feldman Barrie K. & Gary R. Fisch Jim & Julie Freeman Drs. Sheldon & Cherryl Friedman Rick Fuson Phyllis & Ed Gabovitch Mr. Jim Gawne Dorothea & Philip Genetos Robert & Jo Ann Giannini Ron & Kathy Gifford Nadine & Alvin Givens The Glick Family Foundation Mr. & Mrs. Jeff Griman Bob & Helen Haddad Caryl & Brady Hancock

REPERTORY SOCIETY, CONT. Michael N. Heaton Mary S. Held Bruce Hetrick & Cheri O'Neill Ted Hingst William & Patricia Hirsch Brenda Horn Randolph & Rebecca Horton David & Sherry Hughes Robert Hunchberger & Kathy Callahan Tom & Kathy Jenkins DanielT. Jensen & Steven Follis Denny & Judi Jones Mike & Pegg Kennedy Phil & Colleen Kenney Arthur & Jacquelyn King Gary Knott & Colette Irwin-Knott Richard & Mary Kortokrax Jane Herndon & Dan Kramer Kurt & Judy Kroenke Jill & Peter Lacy Alan P. &Tonya A. Ladd Dan & Martha Lehman Andrew & Lynn Lewis Joe & Deborah Loughrey


(1500 +) | JULY 1, 2015 - MARCH 14, 2016 John & Barbara MacDougall Donald & Ruth Ann MacPherson Sharon R. Merriman Lawren Mills & Brad Rateike Michael D. Moriarty Mr. & Mrs. Robert L. Nagy Stephen & Deanna Nash Carolyn & Blake Lee Neubauer Mr. & Mrs. John Null Tim Oliver Larry & Louise Paxton Brian & Gail Payne Ben Pecar & LeslieThompson Tammara Porter Bob & Kathi Postlethwait Phil & Joyce Probst Myrta Pulliam Peter & Karen Reist Ken & Debra Renkens Karen & Dick Ristine Mr. & Mrs. Charles O. & Jane Rutledge Charles & Jenny Schalliol Tom & Barbara Schoellkopf Tim & Karen Seiler

Michael & Holly Semler Jack & Karen Shaw Marguerite K. Shepard, M.D. Reuben & Lee Shevitz Michael & Cynthia Skehan Mark & Alice Smith Cheryl & Bob Sparks Edward & Susann Stahl Robert & Barbara Stevens Suzanne Sweeney &ToddWiencek Joe & JillTanner JonathanTempel & Barbara Bessolo John & DeborahThornburgh JenniferTurner John & KathyVahle Larry & NancyVanArendonk Jennifer & GaryVigran Dr.William C.Vladuchick & Ms. Susan M. Meloy AmyWaggoner J. Edgar & DorothyWebb CarolWeiss Emily A.West Bob & DanaWilson John & MargaretWilson

ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2015 - MARCH 14, 2016

Every dollar counts – donations of all sizes allow world-class theatre to continue on the IRT’s stages. We thank our donor guilds for giving their support to the IRT. * Denotes Sustaining Member DRAMA GUILD $650 - $1,499

Robert Alonso & Deborah Givan Robert & Patricia Anker Anonymous (2) Jesse L. & Carolynne Bobbitt Bob & Chris Broughton Craig Burke & Diane Cruz-Burke Pam & Jack Burks Brady Clark Dr. & Ms. John J. Coleman III Dr. Brian Dillman & Erin Hedges* Craig & Marsha Dunkin

Julie & Jeff Eggert Paul & Phyllis Gesellchen Chris & Sheila Gramling Robert & Melanie Haskell Marjorie & James Herald Drs. Meredith & Kathleen Hull W.M. Imel Linebarger Janin Family Fund of Central Indiana Community Foundation John & Laura Ludwig Glenn & Jane Lyon James & Kathleen McGrath Carl & Monique McMillian

Keith & Marion Michael John & Carolyn Mutz Brian S. Newman Dr. Brandon Nixon Ann Marie L. Ogden Robert M. & Kelli DeMott Park William & Ley Anne Perkins George & Christine Plews Judy Roudebush Richard & Christine Scales Owen Schaub & Donna McClearey Mark & Alice Martina Smith Ed & Jane Stephenson 45


ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2015 - MARCH 14, 2016

The Ruth E. Stilwell Endowment Fund, a fund of CICF Barbara S.Tully* Craig & KarinVeatch Mr. & Dr. Brian & CarrieWest John & Ingrid BarbroWiebke Robina Zink THEATRE GUILD $250 - $649

Louis Ackerman John & Eileen Ahrens* Anonymous (8) Jeri Ballantine Allisan Barkel Sarah C. Barney Walter Bartz Jon & Laura Baugh Mark Bear Constance C. Beardsley* Kristen Belcredi Jim & Sherri Bell Michael & Susan Bem Pamela J. Bennett Andrea Best Dan & Barb Bickel Barbara & Christopher Bodem* Ted & Peggy Boehm Joseph & Helen-Louise Boling Dr. & Mrs,. Chad E. & Chris Bonhomme MaryT. Bookwalter & Jeffery Stant Zane & Sherri Boucher Dr. Richard Brashear & Mrs. Harriet Ivey Thomas &Victoria Broadie CharlesW. Brown & LouiseTetrick Jeffery & Ketty Brown Gordon A. & Celia Bruder Chris & Charlie Brunette Bob & Brandee Bryant Thomas Buchler III David & Beverly Butler Lori A. Buzzetti Paul & Renee Cacchillo 46

William & Debra Cantwell Dr.William & Georgia Capello Clarence L. & Carol Casazza Eddie & Kim Caudill Barbra Chaplin Linda L. Claffey Robert & Jennifer Cochrane Jeff Coffee John & Ulla Connor Larry & Debbie Corbett Daniel P. Corrigan Don & Dolly Craft Martha Cronkhite* Rodney Curry Karen Dace* Daniel’sVineyard Fr. Clem Davis Ms.Victoria Deak Paul and Carol DeCoursey* Phillip & Caroline Dennis Mary & Steve DeVoe Catharine Diehr Ditech Inc. Mr. & Dr. Judy Donaldson Marc & Diana Doty Jim Eup Sherry Faris Michael & Nichole Ferguson Ferrell Cleaning Company Hank & Nanci Feuer Joan M. FitzGibbon Mr. Ed & Dr. Cheryl Fleming Erik Fosnaught Kerry & Kimberly Foster Peter Furno & Pamela Steed Christi Garcia & Mary Forster MD Theresa Garcia &Thomas Orr Bob & Bev Gardner William & Jill Ann Garvey Jennifer Gates Rhonda Gatzke Greg Gault & Jeanne Maurer-Gault Robert & Christy Gauss

Geo Metric Design Jodi Gick Mark & Susan Godley Margaret Gordon James Gorski & Laura Baker Darrell &Thecla Gossett Drs. Robert & Barbara Goulet Jason & Jodi Greenlee Robert & Nancy Gregori Walter & Janet Gross Greg Grossart Phyllis & Bill Groth Chad & Kelli Grothen Susan C. Guba Marla & Mike Guzman Rebecca A. Gwin Shirley Haflich David J. & Jeanne C. Hamernik Dick & Sherry Hamstra Emily Hancock* Alexandra & Justin Harris* Angela & Douglas Harris* Mr. & Mrs. Patrick Havens Steve & Kathy Heath Karen & Bob Hebert Mike & Noel Heymann Greg & Kathy Hill Karen Holmes Bruce & Pat Hubley Dr. Donna Hudson Alice M. Hughes Leslie Hulvershorn Robert & Marilyn Hunter John Hurlbut Indy Instrument Service, LLC Tom & Kerry Irick Greg & Patricia Jacoby Dr. & Mrs. Eric Jensen Philip & Irma Johnson Dr. & Mrs.Virgal & Jenna Johnson Ron & Shannon Jones Dave & Donna Kaiser Karen A. Kiefer

DONOR GUILDS, CONT. Jay &Wanda Kiesler Ann King Louise & Mike Kinney Joe Kirk Risa Brainin & Michael Klaers Col. A.D. Kneessy Ernest & Susan Kobets Steven & Mary Koch* Richard & Mary Kortokrax Dr. Donald & Mrs. Shirley Kreipke Jose & Margie Kreutz Dr. Loretta Kroin Mr. & Mrs. Matthew & Erica Kuchinski John Langham Ignacio M. Larrinua & MaryWolf Lisa Le Crone Celeste Jasmin Ledezma* Dr. John Lee Jim Lingenfelter & Georgia Cravey Paul Logan Jim Long & Kathy Russell Tim & Betty Lonis

ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2015 - MARCH 14, 2016 Dr. Michael Lutz Terren Magid & Julie Manning Magid Steven Mahoney Dr. & Mrs. David Mandelbaum Kevin S. Mandrell Dr. & Mrs. Peter Marcus* Patrick Marlatt* Omar & Amy Martin Randy & Rita Martin Tom & Sandy Mason JD & Liz Masur Melissa Maulding Jeffrey A. Mayes Mark McAlister Charles & Sonnie McAuley Jon Laramore & Janet McCabe Howard Knight, Jr. & Sarah McCollum-Knight Donald & P.J. McCullough Dr. Scott & Mrs. Elizabeth McDougall Donald & Elizabeth McIntire Monty & Brenda McMahan Marie McNelis

Don & Kimberly Meyer Connie Miller Milton & Margaret Miller Roger & Kim Miller Dr. Frederick & Alice Milley Douglas & Detra Mills James & Laura Miloshoff Dane & Shannon Mize Molly-Maid of Indy Rev. Mary Ann Moman* David H. Moore M.D. Mallah & Ilana Mordoh James A. &Tammy Morris Kent & Elaine Morrison* Susan & Jim Naus Dr. LeeAnne M. Nazer Steve & Leah Nellis John & Patricia Nichols Diana J. Ohman Merrell & Barbara Owen Al & Debbie Parrish* Steve & Quin Paul*

TURN YOUR OLD CAR INTO A CONTRIBUTION TO THE IRT Donate a vehicle to the IRT and we will sell it at auction. The proceeds will go to the IRT and you can qualify for a tax deduction.

WANT MORE INFORMATION? Contact Jennifer Turner 317.916.4835

Erik Hellman and Ben Tebbe in IRT's Romeo and Juliet (2010)


THE SUPPORTING CAST INDIANA REPERTORY THEATRE DONORS, CONTINUED DONOR GUILDS, CONT. Dr. & Mrs. Robert M. Pearce Joe & Peggy Pearson Sidney & Judy Pellissier David & Caroline Pentzien Robert Perry Michael & Patricia Pillar David & Dorian Poole Amy Judge-Prein & Edward Prein David Prosser & Rebecca Cook Psi Iota Xi (Gamma Nu Chapter) Scott & Susan Putney Nancy Quest Michael & Crisanta Ransom Rodney & Judy Rhoades Ann & Richard Riegner Charlotte Robertson Pat Garrett Rooney Tracy & Julie Rosa Brent & Kristen Ruder Dr. John R. Rudolph & Mrs. Brena StewartRudolph Nanette Schulte & Matthew Russell Paula F. Santa Mark & Julanne Sausser Heather Ann Scheel Anne & Rod Scheele Herb Schlotterbeck Roger Schmelzer & Lucinda Phillips Mr. & Mrs. Breck &Verna Schmidlkofer Dr. Jill Shedd*

ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2015 - MARCH 14, 2016 Stephen Shideler Julie D. Singer Michael Slavens River Bend Hose Specialty* Joyce A. Smidley Kevin & Amy Sobiski* Larry & Karen Sowinski Matt & Brandi Spaulding Marta Spence Steve & Pat Spence Ross & Rosemarie Springer Luke Stark Sarah Stelzner Alice Steppe & Patrick Murphy Amanda Stevenson-Holmes & Matt Holmes Doshia Hall Stewart Glenn E. Stewart Della Stott Dan & Diana Sullivan Richard & Lois Surber Darrell & Melanie Swartzentruber Nela Swinehart* Mary C.Tanner Fred & CarolTerzo Lynne & AlexTimmermans Donald & ShirleyTrapp Dr. James & LindaTrippi Robert & BarbettaTrue Jim & LeahTurner

Dr. & Mrs. KurtVan Scoik Steve &TeresaVincent Viva Dental David & JennyWade ElaineWagner & Family* BrendaWalker Karen S.Waltz Bill & JoanWarrick George & KarenWatkins SusanWeatherly* NatalieWeir Zoe UrenaWeiss John & PamelaWest Karen J.Weyrauch DanWheeler & SusanWakefield* Philip & ShandonWhistler JohnWhitaker Martha CorbinWhiteman JulieWhitman & Ray Stuart John & JudyWilson Patricia Johnson & MichaelWilson Frederick & JacquelynWinters Kathryn Page & PeterWitczak* Reba BoydWooden* Patrick & LaurieWootan Brant & LoreneWright Leslie AnnYoung Patrick & Rebecca Zirnheld*

OVATION SOCIETY The Ovation Society is an exclusive program that recognizes donors that have made a planned 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 Ron & Julia Carpenter John & Mary Challman Robert V. Robinson & Nancy J. Davis Nancy & Berkley Duck 48

Dale & Karen Duncan Meg Gammage-Tucker David A. & Dee Garrett Michael Gradison Emily Hancock

Bruce Hetrick & Cheri O'Neill David Kleiman & Susan Jacobs Frank & Jacqueline La Vista Stuart L. Main Michael R. & Sue Maine

OVATION SOCIETY, CONT. David & Leslie Morgan Richard & Lila Morris Deena Nystrom Marcia O'Brien

Olive & George T. Rhodes Jane & Fred Schlegel Jerry & Rosie Semler Gene & Mary Tempel

Jeff & Benita Thomasson Christopher J. Tolzmann Alan & Elizabeth Whaley John & Margaret Wilson

PLANET JANET Janet Allen may be the only Artistic Director in the country to be hired as a dramaturg, distinguished as a literary manager, work her way up through that institution’s ranks and eventually assume its artistic leadership.The IRT would like to thank those individuals who have donated in tribute of Janet’s 20th Season as Artistic Director. Janet holds the longest leadership tenure in the 44-year history of the IRT. EXECUTIVE PRODUCER $5,000+

Bob & Toni Bader Dan & Ginny Emerson Michael & Judy Harrington Sarah & John Lechleiter Sue & Bill Ringo

ASSOCIATE PRODUCER $2,500 - $4,999

Mel & Joan Perelman Dr. Christine & Michael Phillips Jane & Fred Schlegel Wayne & Susan Schmidt Alan & Elizabeth Whaley DIRECTING SPONSOR $1,000 - $2,499

Benjamin & Ashley Blair Susie & Joel Blum Cowan & King, LLP Gary Denney & Louise Bakker Mary Findling & John Hurt Tom & Jenny Froehle Donald & Teri Hecht Jane Herndon & Dan Kramer Ted Hingst Scott & Amy Kosnoff Jill & Peter Lacy

Carl Nelson & Loui Lord Nelson, Ph.D. Katie & Richard Norton Jackie Nytes & Michael O'Brien Ben Pecar & Leslie Thompson Jonathan & Rebecca Polak James Reed & Kris Martin Mark & Gerri Shaffer Simmons Family Foundation, a fund of CICF Cheryl & Jim Strain Larry & Nancy VanArendonk David Whitman & Donna Reynolds Dr. Christian Wolf & Elaine Holden-Wolf STAR SPONSOR $500 - $999

Katy & Tim Allen Katrina Basile, Realtor Adam L. Clevenger & Jessica L. Trimble Ann & Kenneth Dee Cheri & Rollie Dick Drs. Richard & Rebecca Feldman Jim & Julie Freeman Dick & Brenda Freije David & Ann Frick Michael N. Heaton Mary S. Held Brenda Horn Randolph & Rebecca Horton Bill & Nancy Hunt

Phil & Colleen Kenney Gary Knott & Colette Irwin-Knott Kevin Krulewitch & Rosanne Ammirati Andrew & Lynn Lewis Dr. & Mrs. William Macias Charlie Morgan & Kelly Smith David & Leslie Morgan Mr. & Mrs. Kimball Morris Carolyn & Blake Lee Neubauer Anne Nobles & David L. Johnson Tim Oliver Brian & Gail Payne Peter & Karen Reist Mr. & Mrs. Charles O. & Jane Rutledge Tim & Karen Seiler Marguerite K. Shepard, M.D. Joe & Jill Tanner Jonathan Tempel & Barbara Bessolo Jeff & Benita Thomasson John & Deborah Thornburgh Jennifer & Gary Vigran Amy Waggoner Cheryl & Ray Waldman Rosalind Webb & Duard Ballard Carol Weiss Jim & Joyce Winner


THE SUPPORTING CAST INDIANA REPERTORY THEATRE DONORS, CONTINUED BICENTENNIAL FUND The IRT is developing a new work for Indiana audiences to celebrate Indiana’s Bicentennial. This work will premiere in the 2016-2017 Season. Thank you to those individuals whose support is making this new work possible. Bruce Hetrick & Cheri O'Neill Brenda Horn Sarah & John Lechleiter David & Leslie Morgan Carl Nelson & Loui Lord Nelson, Ph.D. Jackie Nytes & Michael O’Brien

Janet Allen & Joel Grynheim Susie & Joel Blum Eli Lilly and Company Tom & Jenny Froehle Michael & Judy Harrington Donald & Teri Hecht

Courtney Sale & Sean Manning Jane & Fred Schlegel Simmons Family Foundation, a fund of CICF Cheryl & Jim Strain Cheryl & Ray Waldman Alan & Elizabeth Whaley


ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2015 - MARCH 14, 2016


Anthem Blue Cross Blue Shield Barnes & Thornburg LLP BASi Bingham Greenebaum Doll LLP Dow AgroSciences Eli Lilly and Company Faegre Baker Daniels Fifth Third Bank, Indiana Frost Brown Todd Indiana Farm Bureau Insurance Company Indianapolis Colts Indianapolis Power & Light Company Integrity One Technologies JPMorgan Chase Bank KPMG LLP Navient Noble Consulting Services, Inc. OneAmerica Financial Partners

IN-KIND/TRADE GIFTS 9 on Canal A Cut Above Catering Brooks Publications/Urban Times Candlewood Suites Geoff Chen Photography Coby Palmer Designs 50

Oxford Financial Group, Ltd. PNC Printing Partners Schmidt Associates, Inc. Stifel Nicolaus T2 Systems Taft Stettinius & Hollister LLP U.S. Concepts LLC

Lacy Foundation Lilly Endowment, Inc. The Margot L. and Robert S. Eccles Fund, a fund of CICF Nina Mason Pulliam Charitable Trust Pacers Foundation Myrta Pulliam



The Ackerman Foundation Allen Whitehill Clowes Charitable Foundation The Arthur Jordan Foundation Christel DeHaan Family Foundation Elba L. & Gene Portteus Branigin Foundation, Inc. F.R. Hensel Fund for Fine Arts, Music, and Education, a fund of The Indianapolis Foundation, a CICF Affiliate The Jerry L. & Barbara J. Burris Foundation

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

ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2015 - MARCH 14, 2016 Emmis Communications Corp ESG Security Grins and Giggles, LLC Hoaglin Catering IBJ Corp Indiana Roof Ballroom

IndyStar Markey's Rental & Staging MBP Distinctive Catering Midwest Parenting Publications National Institute of Fitness & Sport New Day Craft


ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2015 - MARCH 14, 2016

NUVO The Oceanaire Seafood Room Pac-Van, Inc. Pita Pit

Scotty's Brewhouse Skyline Exhibits By Reitz & Associates Studio 2000 Sun King Brewery Co.

Vanilla Bean Bakery WFYI WICR


ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2015 - MARCH 14, 2016

We are enormously grateful to the Cohens for this visionary gift which directly benefits students attending all of our many student matinees this season and in future seasons as well.With the support of this fund, the IRT is able to underwrite ticketing four our young audiences. Elba L. & Gene Portteus Branigin Foundation, Inc. Eli Lilly and Company 1st Lt. Hrishikesh Gadagkar

F.R. Hensel Fund for Fine Arts, Music, and Education, a fund of The Indianapolis Foundation, a CICF Affiliate Beth Meyerson & Jill German Pacers Foundation

Craig & Linda Sherman Robert & Barbara Stevens United Way of Central Indiana Wendy Wright


ANNUAL CAMPAIGN GIFTS ($250 +) | JULY 1, 2015 - MARCH 14, 2016

Drs. Robert Baker & Paula Trzepacz

2016 CELEBRITY RADIO SHOW Thank you to the many sponsors, volunteers, donors, and staff who made the 2016 IRT Celebrity Radio Show a success. 500 Festival Inc. George Abel Alan's Catered Events All People Yoga Center Janet Allen & Joel Grynheim Anonymous Bob & Toni Bader Linden & Allison Barber BASi Katrina Basile, Realtor Abbe Bedel Bedel Financial Consulting, Inc. Suzanne Bellamy JP Benitez

Gerald & Moira Berg Travis Blessing Susie & Joel Blum Borshoff Myra Borshoff Dan Bradburn & Jane Robison David Brinkworth Vicki Burdick Craig Burke & Diane Cruz-Burke Robert & Julie Burns Business Furniture LLC Nick & Jen Carpenter Central Indiana Community Foundation Chef JJ's

Christel DeHaan Family Foundation Brady Clark Adam L. Clevenger & Jessica L. Trimble Mindy Colbert ComedySportz Andy Conner Conner Prairie Frank & Myra Cook Michael & Michelle Corne Don & Dolly Craft Crowe Horwath Cushman & Wakefield Terri Czajka Rebecca Dean 51

THE SUPPORTING CAST INDIANA REPERTORY THEATRE DONORS, CONTINUED 2016 CELEBRITY RADIO SHOW, CONT. Ann & Kenneth Dee Jody DeFord Gary Denney & Louise Bakker Brad Dewael Samantha DeWester Cheri & Rollie Dick Julia Dimick Michael Dinius & Jeannie Regan-Dinius Matthew Doye Paul & Glenda Drew Duke Realty Anthony & Jennifer Dzwonar Elaine Eckhart Eclectic Pond Theatre Company Eddie Merlot's E.R. Edwards Donna Eide & Frank Allen Eiteljorg Museum of American Indians & Western Art Eli Lilly and Company Deborah Ellis Ellis Mechanical, Inc. Dan & Ginny Emerson Joann Ingulli Fattic Drs. Richard & Rebecca Feldman Margaret Ferguson Brian Ferris Fifth Third Bank, Indiana Franciscan St. Francis Health Jim & Julie Freeman Tom & Jenny Froehle Frost Brown Todd Steve Fry Bonnie Gallivan & Philip Bayt Michael Gargano Robert & Christy Gauss David Gerstein Ron & Kathy Gifford Mr. & Mrs. Alvin Givens Glick Art Bruce J. Glor Harry Gonso 52

Geoffrey Gould Mr. & Mrs. Jeff Griman Tom Griswold GRT Hot Glass Studios Jim Hallett Monica Hammons Cathy Harms Michael & Judy Harrington Richard Hayes Steve Hazelbaker Jane Herndon & Dan Kramer Ken Herrmann Kandi Hidde Jessica Higdon Pat Corsi & Abbe Hohmann Emily & Ben Holloway Brenda Horn Katie Horton Hotel Tango Artisan Distillery Michael Hulka Humane Society of Indianapolis Matt Hunckler Ice Miller LLP Indianapolis Colts Indianapolis Power & Light Company Indianapolis Symphonic Choir Indianapolis Zoo Invoke Yoga and Pilates IUPUI Mr. & Mrs. Lawrence Jahnke Karen & Eric Jensen JPMorgan Chase Bank Lori Kaplan KAR Auction Services, Inc. Katz, Sapper & Miller, LLP Kenyon's Creations Madalyn Kinsey Arthur Kodroff Koors Heating & Cooling Scott & Amy Kosnoff KPMG LLP John Kuckelman

Howard Lacy Lacy Foundation Mary Larimore Sarah & John Lechleiter Ed & Sarah Ledford Elisabeth Lesem Randall & Helen Lewis Joe & Deborah Loughrey Amanda Lyons Warren & Lesley Mackellar Ann Carr Mackey & Andy Baase Peggy Martelly Ben Matherly R.J. & Karla McConnell Katie McGovern Andrew Michie Lawren Mills & Brad Rateike Connie Moody Danny & Marilyn Moore Michael D. Moriarty Chris & Marie Gabrielle Morrison Christina Moungey Jim & Judith Mowry Linda Neil Carl Nelson & Loui Lord Nelson, Ph.D. New Day Craft Brian S. Newman Kelly Newman Noble Consulting Services, Inc. Karen Noel Jackie Nytes & Michael O'Brien Helen O'Guinn Chuck & Judy Okenfuss OneAmerica Financial Partners Michael & Leanne O'Neil Kevin Osburn Vop & Una Osili Pacers Foundation Theresa Patterson Kendra Patrick Brian & Gail Payne Pearings

2016 CELEBRITY RADIO SHOW, CONT. Greg & Robin Pemberton David & Caroline Pentzien Amy Peterson Phoenix Theatre, Inc. The Pickled Pedaler PNC Jonathan & Rebecca Polak Lisa Price Printing Partners R bistro Kyle & Cindy Ragsdale Tommy Reddicks Reis Nichols Peter & Karen Reist Lamar & M. Jean Richcreek Sue & Bill Ringo Thomas & Jill Ristine Susan B. Rivas & Raul Rivas RJE Business Interiors Richard J. Roberts Samuel Rogers Kent Rollison Pam Rons Sally Rowland

Jennifer Russell Robert Scott The Second City Second Helpings Mark & Gerri Shaffer Yvonne Shaheen Mary Pat Sharpe Sim2k Jackie Simmons & Tom Schnellenberger Mike & Elizabeth Simmons Skyline Club Bryan & Brooke Smith Cheryl & Jim Strain Sun King Brewery Co. Suzanne Sweeney & Todd Wiencek T2 Systems Taft Stettinius & Hollister LLP Gene & Mary Tempel Janice Tucker Jennifer Turner UnitedHealthcare Alena VanArendonk Larry & Nancy VanArendonk

Jennifer & Gary Vigran Amy Waggoner Cheryl & Ray Waldman Terry Warrun Bill Wendling Wendy Franklin Art Kelly Wensing Alan & Elizabeth Whaley David Whitman & Donna Reynolds Bill & Pam Williams Cliff & Molly Williams Teresa Williams Bob & Dana Wilson John & Margaret Wilson Larry & Sue Wilson The Wine Guy WFYI WISH-TV WRTV Zeller Realty Group Sally Zweig



Dow AgroSciences has partnered with the IRT for more than 15 years to bring live performances to the main stage. We participate with countless local organizations to help improve the way the world lives. Solutions for the Growing World Trademark of The Dow Chemical Company (“Dow”) or an affiliated Company of Dow


If Music be the Food of Love

Our Continued Support_5_x4_10.18.2013.indd 1

10/18/2013 4:22:12 PM

The Baltimore Consort with IRT’s Robert Neal, Richard Roberts, and Milicent Wright Friday, June 17 at 7:30pm Indiana History Center Celebrate the Bard’s 400th in scenes with music from the first productions! The

50th Indianapolis Early Music Festival June 17 - July 10

Other performers include Dame Emma Kirkby, Rachel Barton Pine, and winners of the International Indianapolis Baroque Competition! Friday evening and Sunday afternoon concerts with sumptuous post-concert receptions at the Indiana History Center, one of the city’s finest chamber music venues. “Few early music players have more fun making music than the Baltimore six...” —the New Yorker





NOW OPEN Presented by The O’Bannon Foundation, a fund of Central Indiana Community Foundation, and Jock and Penny Fortune EUGENE AND MARILYN GLICK INDIANA HISTORY CENTER 450 WEST OHIO STREET | DOWNTOWN ON THE CANAL


FROM ALL OVER INDIANA EXPERIENCE THEATRE AT THE IRT. Without The Alan and Linda Cohen Education Fund, almost half of those students would not have been able to attend.

"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


Brady Clark 317.916.4831 Zoe Turner in IRT's And Then They Came for Me. (2014) Photo by Zach Rosing.

A CURRENT FLOWING FROM THE HEART OF INDIANAPOLIS From the pride we feel in supporting the Indiana Repertory Theatre to the joy of being involved with more than 200 organizations, giving back is always cause for celebration at IPL. Because whether we’re serving meals at a community center or fixing up Indianapolis’ parks, the people of Indianapolis truly touch our hearts.

OFFICIAL CATERERS A FINE SELECTION FOR YOUR EVENT AT THE IRT Betsy Cooprider-Bernstein | 317.396.5310 5635 East County Road 450 N., Brownsburg, IN 46219

Amy von Eiff | 317.575.9514 12955 Old Meridian Street, Suite 104, Carmel, IN 46032

Antonia Zunarelli | 317.236.1874 140 West Washington Street, Indianapolis, IN 46204

Jessica Pontius | 317.924.3389 The Stutz Business Center II 217 West 10th Street, Suite 100, Indianapolis, IN, 46202

Jaquie Hensley | 317.283.2776 9840 North Michigan Road, Carmel, IN 46032

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


SAVE $200!


*Restrictions apply, offer subject to change.



335 WEST 9TH STREET | INDIANAPOLIS, IN 46202 | 855.698.6610





Make the happen! Show your support for the arts by purchasing or renewing your Arts Trust license plate! Photos courtesy of Music for All



THANK YOUR TO OUR 2015-2016 SEASON DESIGNER DINNER PARTNER, OCEANAIRE! 30 S. Meridian St. | 317.955.2277 Free appetizer or dessert with purchase.



Complimentary glass of sparkling champagne and artisan cheese pairing.

20% off, excluding alcohol. 3 hours of complimentary parking.



339 S Delaware St. 317.870.1320

49 S Meridian St. 317.636.2550

350 W. Maryland St. 317.405.6111

110 N. Illinois St. 317.631.9500

Free appetizer *Excluding the Jumbo Combo

20% off, excluding alcohol.



Free 22oz fountain drink with purchase.

Free side with any burger purchase.

55 Monument Circle 317.423.9043

137 E. Ohio St. 317.426.5280


350 W. Maryland St. 317.405.6100


110 W. Washington St. 317.631.2007 20% off, excluding alcohol.

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49 W. Maryland St. 317.974.0400

1 N. Pennsylvania St. 317.829.7482

$10 off purchase.

Free drink & chips with purchase.



50 W. Washington St. 317.423.2400

10 N. Illinois St. 317.636.7600

20% off total purchase. (Night of performance only)

20% off, excluding alcohol.


Oxford proudly supports the Indiana Repertory Theatre.

Oxford is independent and unbiased — and always will be. We are committed to providing families generational estate planning and institutions forward-thinking investment strategies.