The Eastside Scene, March 27, 2015

the E A S T S I D E

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Arts and Entertainment

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April 2015

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STAGE Behind the scenes of Village Theatre’s new musical, No Way To Treat A Lady PAGE 9

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Queen of costumes

What’s Inside

In the Pacific Northwest, some of the people who create the boldest stage magic are not the ones we actually see on stage. Meet Teatro ZinZanni’s “Contessa DeLuxe,” Louise DiLenge. DiLenge oversees the dinner theater’s stunning costumes — a unique challenge, considering that the audience sits mere inches away from the singers, aerialists, dancers, drag queens and actors who star in the show. DiLenge talked about her love affair with rhinestones, her more than 40 years in the theater world and everything she’s learned from drag queens.

Behind the scenes of No Way to Treat a Lady The Eastside Scene goes behind the scenes of Village Theatre’s latest musical comedy, based on the Boston Strangler murders.

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EATING WELL

Just in time for Easter, Sizzleworks’ Carol Dearth provides a recipe for roasted asparagus and poached eggs.

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BEAUTIFUL VIEW

In the first of a new series of columns on the arts, John Haynes argues for the indispensability of arts programs in the community.

PLUS:

The Don’t-Miss List.............................................................................Page 4 A look at the Mercer Island Center for the Arts.......................Page 8 Conversations with Funny People.............................................Page 10

the E A S T S I D E

ON THE COVER: Actors Nick DeSantis and Bobbi Kotula.

Photo by Mark Kitaoka.

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Finish this sentence: All Teatro ZinZanni costumes have ...?

Big personalities; the devil is in the details. Also, they all typically have at least half a dozen hours of work behind them.

If it were a normal theater setting, we’d still make our costumes big and bold, but they wouldn’t necessarily require that extra layer. I have an affinity for lace, fine fabrics, rhinestones and jewels.

From ballerinas to drag queens, what are the considerations that go into working with different body types and abilities?

I always say that costume design is part psychology, part skill. When I meet a person, it doesn’t matter what shape they are. What matters is getting to know them on the inside.

Let’s talk about drag queens -- specifically, ZinZanni’s incredibly genderbending Kevin Kent.

For our current show, Kevin decided it was time to size up, so we had to build him some new bosoms. I like to joke that Kevin’s body was engineered by Boeing; there’s definitely a secret construction that goes on.

Walk me through the process of what you do to prepare for a performance.

It depends on who’s in the cast; what the storyline is. I work from what I call clues: “What’s this person’s character? Are they going to somehow transform onstage? Is this character smart or funny?

scene

What’s the most personal thing in your office?

Definitely my two French bulldogs, who are currently snoring under my desk.

What’s a typical day for you at work?

There is no typical day for me. Today, I cleaned my desk, then started planning for the next show. During a build, I typically do a lot of crafting; sometimes I’ll take an old head piece and reinvent it. Sometimes I stay home and sketch.

Sometimes I go shopping; which sounds like it might be easy, but shopping for fabrics can be really exhausting.

Sounds like a nice variety.

I couldn’t this job for so long, or again and again if it wasn’t fun; the variety is definitely what keeps it fresh.

For more information about Teatro ZinZanni and upcoming shows like Big Top Rock: Dream On, go to zinzanni. com/seattle.

Gabrielle Nomura is a freelance writer.

She lives in Seattle.

Publisher William Shaw Production Designer Diana Nelson Contributing Writers Carol Dearth Katie Metzger Daniel Nash Gabrielle Nomura Matt Phelps

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The Don’t-Miss List

APRIL

WATCH | Arabesque, presented by Northwest Bellydance

This month, the Meydenbauer Center will host Spokane’s Northwest Bellydance Company for a night of theatrical belly dance and tribal fusion. Arabesque will present a showcase of performances in the Middle Eastern dance form that emphasizes sensual movement of the torso and hips, and will use the medium as a means to tell stories.

Founded in 2001 as Mystik Dream, the Northwest Bellydance Company began a low-cost academy near the end of the ‘00s, soon becoming the largest dance studio of its kind in the inland northwest. The company performs weekly in Spokane.

Tickets for Arabesque are $12-$18 and available at arabesque.brownpapertickets.com.

When: 6 p.m. April 4 Where: The Theatre at Meydenbauer, 11100 N.E. Sixth St., Bellevue

PLAY | Tabletop Day Party

Did you know that April 11 is International Tabletop Day? The celebration was founded three years ago by the web video channel Geek & Sundry to bring people together for all forms of analog gaming, be they complex fantasy competitions like Dungeons & Dragons and Warhammer or classic fare like poker and checkers.

Uncle’s Games in Crossroads will host an all-day party with prizes, promotions, grub and local game designers like Battletech’s Jordan Weisman and Magic: The Gathering’s Mike Elliott. If you’re nice, maybe they’ll even give you some tips on how to dominate the competition.

When: 10 a.m. to 10 p.m. April 11 Where: Uncle’s Games, 15600 N.E. Eighth St., Bellevue

LISTEN | Best of the Blues Award Show

The Washington Blues Society presents its annual “BB” awards to musicians and artists in 31 categories and inducts new members into its hall of fame.

Leading nominees this year include Brian Lee and the Orbiters, the Rafael Tranquilino Band and the CD Woodbury Band.

When: 3 p.m. April 12 Where: Kirkland Performance Center, 350 Kirkland Ave., Kirkland

LAUGH | Moshe Kasher

GTON N PRESENTS WASHIN COMMISSIO F E E STATE B

LY’S K E E TLE W T A E S

Moshe Kasher is a cohost of The Champs podcast and the author of Kasher in the Rye: The True Tale of a White Boy from Oakland Who Became a Drug Addict, Criminal, Mental Patient, and Then Turned 16. He’s also one of the funniest contemporary stand-ups you can hope to see live. At one time, Kasher considered becoming a professor of Jewish studies, but a chance encounter with former grade school classmate and comic Chelsea Peretti at an open mic night brought him to his true calling. Eight years later, in 2009, the success of his album Everyone You Know Is Going to Die, and Then You Are! prompted iTunes to name him “Best New Comic.”

When: April 16-18; times at laughscomedy.com Where: Laughs Comedy Spot, 12099 124th Ave. N.E., Kirkland

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Eating Well

Spring Asparagus Fresh spring asparagus is in the market! Oh, so many options to prepare it. I love the simple presentation of a bundle of roasted asparagus, topped with a freshly poached egg, and garnished with sea salt, black pepper and a bit or freshly slivered Parmesan cheese. This is a versatile dish, which can serve as a brunch entrée or an elegant appetizer for dinner.

Choose asparagus that is spring green, firm and heavy for its size, no wrinkles or brown spots. And the tips should be firm with the buds closed. Either thin or thick stalks are good, which ever you prefer. You may want to pare thick stalks to make them more tender.

To store asparagus, trim about an inch from the bottom and stand the bunch in a glass of cold water. Cover with the plastic produce bag and refrigerate for up to a couple of days.

When it’s time to cook, snap the bottom of each stalk off and discard (this is the woody part). Trim up the edge and you’re ready to go.

I think poached eggs are often overlooked, and can provide a very elegant appetizer, or brunch entrée, when they top roasted asparagus. It is a showcase for spring, the beautiful bright green of the vegetable, and the yellow or the silky, rich egg yolk.

Roasted Asparagus with Poached Eggs

Bringing it all together:

What you’ll need:

Top each asparagus bundle with a poached egg; garnish with Parmesan and black pepper.

Serve warm.

Serves 6 to 8.

1 pound fresh asparagus, trimmed 1 tablespoon olive oil 1⁄2 teaspoon sea salt 6 to 8 eggs at room temperature, as fresh as possible 1 tablespoon white vinegar freshly grated or slivered Parmesan, for garnish freshly ground black pepper

About the author

Carol Dearth is the owner of Sizzleworks cooking school in Bellevue.

A Le Cordon Bleu graduate, Dearth is a Certified Culinary Professional as designated by the International Association of Culinary Professionals. She has taught culinary theory and practice across the country. She is the author of Cooking Class and the co-host of KCTS Cooks on KCTS-9 Seattle.

Dearth offers free recipes and tips at sizzleworks.com/blog.

Preparing the asparagus:

Preheat the oven to 450°F. Spread asparagus on a sheet pan; toss with the olive oil.

Sprinkle with sea salt. Roast until asparagus is bright green and blisters begin to appear on the sides of the stalks. Remove from the oven and arrange in bundles on warm serving plates; one bundle for each of the eggs. Keep warm.

Preparing the eggs*:

Fill a large sauté pan with water to a depth of about 1-1/2 inches. Add the vinegar to help firm the white; heat water to simmer, maintain over low heat. (Simmer temperature is 180°F, a few bubbles, but NOT a rolling boil.)

Break one egg carefully into a 1⁄2 cup dry measuring cup, or a tea cup. Gently slide the egg from the cup into the simmering water. Never let the water get hot enough to jiggle the eggs, but keep it at a simmer, 180°F. Cook the egg for 3 minutes. The white should be set and the yolk still soft to the touch.

Cook longer for harder yolks. Remove with a slotted spoon, drain. Trim any white tails.

Whirlpools: Not just for key parties If you’re only poaching one or two eggs at a time, stir the water and vinegar in your pot in one direction until a small whirlpool forms.

Immediately crack your eggs into the center of the whirlpool. The centrifugal motion of the water will prevent the egg white from spreading out.

Look, don’t touch There are times when its best to step back and just let things run their course. Poking and prodding your eggs while they cook will only compromise the integrity of the whites and yolk. Leave well enough alone.

Ice, ice baby Generally, you’ll want to serve poached eggs fresh. But to keep them for later, immediately transfer them from the pot to an ice bath.

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Beautiful View

The indispensable arts

I’m

honored to serve as the inaugural author for a column about the arts on the Eastside. Over the coming months arts leaders will write in this space about their work and their challenges, and I hope that, together, we can shine a light on the developing cultural life of our beautiful and energetic region. Watch this space!

I expect that some of us will talk about the great programs we’re creating for you and your families, and about the importance of arts education, or the unique role the arts play in a community as diverse as ours. And sometimes we’ll talk about the hard work of funding our programs, or tell you about the positive economic impacts our organizations are making. But before we get to the specifics, before we tell you about our museums and theatres and dance companies and galleries, and our economic impact, and the number of kids we serve - before any of that - I want to start with a fundamental, enduring truth that’s too often lost in the details.

First thing first: The arts are indispensable.

The overriding value of the arts won’t be found in economic impact or municipal pride. Nor even in arts education or cool performances and exhibitions. The arts don’t just leverage a range of virtuous outcomes. The arts are inherently good. Arts are humanity’s oldest invention and they’re still the best evidence of our shared humanity. Cave paintings came before the wheel, after all.

The arts can provide us as individuals with everything from light entertainment to an unforgettable, transcendent … even spiritual experience. They provide

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Guest column by John Haynes

us collectively with the means to reach across language, nationality, religion, class, age, race, and every other factor that might separate us, toward those things that are common and human and beautiful in all of us. As my old friend, Ben Cameron at the Doris Duke Foundation, said, “our plays and poetry, our music and dance are the family photos of the human race, the thing we grab as we run out of a burning house.” This truth is central to our work: the arts matter in human lives. Like religion, their value isn’t merely utilitarian.

And like the Earth we live upon, the arts are both our shared inheritance and the legacy we will leave our children. It’s up to all of us to support and enjoy and advance them. Although my arts colleagues, writing here in weeks to come, work in a variety of disciplines, we’re all in the same business. Not the Concert Business, or the Museum Business, or the Dance Business. We’re all in the Civilization Business. A great community needs good jobs, to be sure, and schools, health care, transportation, and housing, but unless we also ensure a vibrant and accessible cultural life, we risk providing a comfortable existence that leaves our hard-won humanity in the dust.

John Haynes is Executive Director and CEO of Performing Arts Center Eastside/ Tateuchi Center, a 2,000-seat, regional project being developed in downtown Bellevue. He served previously as President of the California Center for the Arts, Director of Performing Arts at the University of Notre Dame, and President of the Western Alliance of Arts Administrators.

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A concept drawing of a farmers market outside the planned Mercer Island Center for the Arts, expected to break ground in 2016 and open in 2018.

Credit: Image provided by atelierjones, llc

Mercer Island’s coming Center for the Arts A planned Center for the Arts on Mercer Island will be a gathering space for the community to celebrate its past, present and future.

MICA is projecting ground breaking in 2016 and a grand opening in 2018. Companies led by Islanders Lesley Bain and Owen Richards were hired to design the 23,000-square-foot venue.

Both come packaged with considerable resumes: Richards has worked on Chihuly Garden and Glass at Seattle Center, the Evergreen State College Recital Hall, SIFF Film Center, and art installation design at the Olympic Sculpture Park. Before founding ORA, Richards was a principal at LMN Architects, serving as lead project architect on McCaw Hall, Mercer Arts Arena, Wenatchee Performing Arts Center and many other major cultural facilities.

She has long been involved with the project, offering design assistance from the beginning. Meanwhile, Bain has done design and planning work for the Seattle Center, Cornish College of the Arts, City of Seattle Office of Arts and Culture, and the City of Cambridge, Massachusetts.

Conceptual drawings were recent-

ly released, with one including plans for how a Japanese roof structure recycled from a recently demolished Mercer Island mansion called the Coval house - will be installed in MICA’s grand lobby.

“MICA is honored and so excited to be able to keep a unique part of Mercer Island history for the community and retain its beauty and integrity now and for years to come,” said MICA Executive Director Louise Kincaid.

Kincaid previously worked for Issaquah’s highly successful Village Theatre. She, with a 15-member Board of Directors, will lead fundraising efforts for the center, which requires $20 million for operation.

More than $4 million has been raised so far.

Other drawings focus on how the venue will be integrated “with the surrounding green and open space and supplementing city activities such as the farmers market, Summer Celebration! and the Mostly Music in the Park,” Kincaid said.

There are three major gathering places within the structure. Beyond the lobby-reception area, there is a 350-seat mainstage and a smaller 100-seat ‘black box’ theater.

MICA will be located on city-

owned land adjacent to the northwest corner of Mercerdale Park. It will open out to the park, bringing year-round energy and activity and confirming Mercerdale as a focal point for the town center.

“We feel that this is one of those once in a lifetime opportunity,” said John Gordon Hill, MICA president.

“It (MICA) will define cultural life here for decades. We feel we can make a difference with this.”

The idea to have a space for the arts in the Town Center was spurred on by the closure of Youth Theatre Northwest’s old location to make room for a new elementary school.

YTN is no longer taking the lead on the project but is expected to be a major tenant and user of the new facility.

“MICA will transform the Mercerdale Park into a year-round community asset, bring new vibrancy to its surroundings and the life of the Island,” the release states. “The integration of the park and the welcoming interior spaces is critical to the project success, creating places where people will share community celebrations, all kinds of cultural activities and quiet conversations.”

- Katie Metzger

What its creators say the MICA will be: • A multi-theater venue for plays, dance, concerts, recitals, lectures, films, and all forms of performing art.

• A home for Youth Theatre Northwest and the thousands of children it serves.

• A place for making, exhibiting, and celebrating the visual arts.

• A cultural gathering place for Mercer Island and the region.

• A key amenity not just for children and families, but for seniors and all adults as well.

• A focal point and economic driver for the Town Center.

Source: www.mercerislandarts.org

From left, Bobbi Kotula, Nick DeSantis, Jessica Skerritt and Dane Stokinger perform “The First Move,” in No Way To Treat A Lady.

Credit: Tracy Martin for the Village Theatre

A crewman watches a scene from stage right, waiting for the next transition cue via headset.

Credit: Daniel Nash

Behind the scenes of No Way To Treat A Lady If you’re reading this magazine, chances are you’ve taken in at least one live show over the course of your lifetime.

Many theater-appreciators can appreciate the final product with something resembling an insider’s knowledge--noting the pitch with which an actor sings a beloved musical number, the seamlessness of a transition or the craftsmanship of a set.

But few can comprehend the clockwork universe that powers the success--or failure--of a play.

It’s the day of final rehearsal on Village Theatre’s No Way To Treat A Lady--two days from curtains up--and Master Stage Carpenter Stacey Garrett is showing me the light screen that anchors the set together. Garrett’s a young woman, but already someone who could be referred to as a lifer: She’s been involved with theater since she was 9 and her resume includes President Obama’s 2008 inaugural ball.

“I was a high energy kid and it made for a good outlet,” she says.

She’s showing me the light screen and it’s two stories high and about as wide, curving almost seamlessly into the floor.

The screen was a set feature that had been touted by Village Theatre’s communications manager when we had spoken the prior week. On our tour, Garrett downplayed it as a straightforward method of turning lighting into a setpiece but acknowledged that it had been a feat to set the fabric smoothly for even distribution of light. As she described the mounting process I found myself looking agape at this blank behemoth, looking up-up-up to where it hanged. Nestled in front of it were layers upon layers of backdrops ready to descend upon the stage at a moment’s notice. Similar foreground setpieces--vertigo-inducing and cartoonish forced perspective designs

by Bill Forrester--laid in wait to the sides, mounted on rails that were themselves connected to a single desktop off stage left, their movement speed and final position meticulously preprogrammed to

Director Steve Tomkins’ blocking directions so that they could be moved by an operator’s button push on cue.

The prop set pieces--the chairs, desks, tables and the like which the actors actually interact with--would require good old-fashioned muscle. During a live show or A-to-Z runthrough, crew have to load the furniture onto sleds in ready position for the scene. Some of these items (as in the case of one couch made by the props department just for this show) weigh hundreds of pounds. Once mounted and adjusted just so, they’re zoomed out to center stage by a rope and pulley system known as the fly rail. Unseen by the audience, these ropes line an entire wall off stage right.

Garrett estimates she spends “99.9 percent of the show” standing at the fly rail.

She spends so much of her time pushing, pulling and bending that she wears wrist braces to prevent an injury.

“I had a baby eight months ago and now all the extra weight is gone. Gone, just from work,” she says. “It’s a fun job, it’s challenging to your body and your mind, and you make the best friends of your life.”

The crew are preparing to begin tech tweaks--last minute tuneups to the show’s transitions, lighting, props and the like--and soon Garrett hands me off to Iveson, the theater’s associate production manager. Today, Production Manager Jay Markham is out and Iveson’s filling in, overseeing prep and standing by to answer questions or solve problems. She’s worked in her current position for two years and began with Village two years before that, working her way up from the box office.

On stage, actors Nick DeSantis and Bobbi Kotula are working through one of their many murder scenes together in the show (Kotula plays all of the victims of DeSantis’ serial killer Kit Gill). They’re both wearing their street clothes, but DeSantis’ character seems to be masquer-

ading as a Latin dancer, Ramon, to gain trust for the kill.

“OK, guys, I want to work on Ramon’s entrance,” Tomkins shouts as he stands up from his seat in the theater. “Right now it’s too quick and I want you to draw it out. More like: ‘Good evening...’ stepstep-step inside, ‘...I am…’ then Bobbi shuts the door, then Nick you finish with ‘...Ramon!’ It punctuates the joke.”

Iveson explains that she’s keeping an eye on the run sheet. She says a production’s crew live and die by this form that breaks down every entrance, scene change, prop movement or other action in the show minute-by-minute. Backstage, Garrett had shown me how she kept hers in a holster on her hip.

The production team is also keeping close contact with stage play author Douglas J. Cohen, who has been in Issaquah periodically throughout preproduction. Cohen published the show book--an adaptation of the movie, which was itself an adaptation of the William Goldman novel, itself inspired by the Boston Strangler murders--in the late 1980s, but in the long-development world of the stage it’s still considered a “new” show. Iveson says the production team has already reached out to Cohen once about rewriting a small portion of the show to make the segment work better on their stage.

Like Garrett, Iveson says the job is equal parts exhausting and rewarding.

As an example, she points to the ritual of tech notes after a show has finished for the night.

“They make for my favorite moments of a production,” she says. “We’re all exhausted, we’ve been here 14 or 12 hours already and we have to be here at 11:30 at night to figure out what needs to be changed. What didn’t quite work tonight?”

The actors are taking a quick break and Tomkins has taken someone from props aside to talk about what type of lighter might work better for a gag late in the

show. He wonders aloud if butane might make the joke work better.

The actors return, and this time heroic lead Dane Stokinger, love interest Jessica Skerritt, DeSantis and Kotula are all gathered for the musical number “The First Move.” More specifically, they’re gathered so Stokinger and DeSantis can repeat one line of one verse of the song while the lighting team tests different color transitions.

They go on, again. Blue light. And again. More yellow. And again. Darker blue. Soon they move on to another bitesized portion of another song, somewhere else entirely in the show.

It suddenly strikes me what it really is that separates the theater layman from the theater professional: Time.

Any average joe can memorize a script cover-to-cover given enough time, as long as they only have to move from beginning to end.

But theater professionals, actors and crew alike, have to memorize a show so completely that the order of time becomes irrelevant--so that they can jump to any individual moment in any order without missing a beat, as if they’re living a version of the story played out in the style of Slaughterhouse Five. And even then, each player only really knows their own part, trusting that each individual piece will come together to form the whole. Every person like a blindfolded soldier, dissembling, cleaning and reassembling their service pistol without the benefit of sight.

I share my thought with Iveson and she agrees.

“That’s an interesting way of thinking about it, but I guess that’s true,” she says.

“The crew, especially. They’re back there every night, making sure the show runs smoothly and everything’s hitting their cue. Their job is to make the show, but they’ll never see it from the audience’s perspective.”

-Daniel Nash

the eastside scene 9

Conversations with Funny People

Mick Foley: Hell to Tell Mick Foley has lost a lot of things throughout his career — like his ear, his two front teeth and, some would say, his mind.

However, the wrestling legend has gained a lifetime of stories that, in his life after the ring, he’s been able to leverage into a career in comedy.

“I move pretty slowly these days but I am cat-like on stage,” Foley joked during a phone interview from his hotel room in Ontario, Canada.

And while the World Wrestling Entertainment (WWE) Hall of Famer is known in the wrestling world as “The Hardcore Legend,” he is a multitalented individual with five New York Times best selling books to his credit and an active involvement with charitable organizations.

His first best-selling book, “Have a Nice Day: A Tale of Blood, Sweat and Socks,” was released in 1999 and brought wrestling into the mainstream in an entirely new way.

“I get lumped in with guys like The Rock, Hulk Hogan and (Rowdy Roddy) Piper when credit is given but honestly I was not as big of a star as most of the people in that crowd,” he said. “I think I get plenty of recognition for [helping to bring wrestling into the mainstream]. And I didn’t accomplish what they did.”

His current gig as a standup comic shares many of the same aspects he loved about wrestling, like being creative as an entertainer and connecting with an audience.

“It’s like being inside a ring without the obvious physical price you pay the morning after,” said Foley, who still drives from show to show and will head to San Jose after the Parlor.

“I don’t brag about them much but [my shows] will greatly exceed people’s expectations. While it is frustrating on one hand for people not to know it is going to be a good show, it is flattering when they walk out going ‘that was so much better than I expected it to be.’”

Foley said that his show this time around will be very different from the one he did more than a year ago at the

by Matt Phelps

Parlor because he has 15 months of work behind him.

“I am never at a loss for stories and I have had a chance to really work on them,” said Foley, who admits that he was one of the most unlikely WWE champions of all time, a title he held on three occasions.

He said that standup is also like wrestling in that he has to be able to read his audience.

“You have to be able to adapt to the audience in the ring and on the stage,” Foley said. “You have to be able to edit the material in your head.”

Foley has had some overzealous fans attend his shows.

He said that he doesn’t really get hecklers but fans will try to impress him by trying to finish his stories for him. Instead of firing back to try and get a laugh and unwittingly encouraging them to continue, Foley said he “calmly but firmly put them into a place so they feel bad about themselves.”

“People think they are your friend because you come into their living room once a week,” Foley said. “But you learn to accept it.

I don’t think people understand how beloved wrestlers are by their fans. It is amazing.”

He said that he hasn’t had as much of a problem with comedy club booking agents as he did in wrestling, where they are not known for being the most honest of people.

“I think I only had one time when a check bounced. This world is a lot more trustworthy,” Foley said. “It is more like working for [WWE chairman] Vince McMahon. His checks are always good.”

The man who was once best known for being thrown off a 20-foot high steel cage called “Hell in a Cell,” also has a degree in communications. When he got into wrestling he gave himself until the age of 26 to make headway in the industry.

“I think my degree gave me a good sense of how to tell a story,” Foley said.

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“You have to be able to adapt to the audience in the ring and on the stage. You have to be able to edit the material in your head.”

10 the eastside scene

Matt Phelps is the regional editor of the Kirkland Reporter and the Bothell/Kenmore Reporter..

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the eastside scene 11

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* Manufacturer’s mail-in rebate offer valid for qualifying purchases made 2/1/15 – 4/25/15 from participating dealers in the U.S. only. A qualifying purchase is defi ned as a purchase of any of the product models set forth above in the quantities set forth above. If you purchase less than the specifi ed ® ® *Manufacturer’s mail-in valid for qualifying purchases Hunter Douglas the inPowerRise or PowerGlide system made 6/14/14 9/15/14 in the only. Rebate will quantity, you will not be entitled to a rebate.

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Manufacturer’s 12 *the eastside mail-in scene rebate offer valid for qualifying purchases made 2/1/15 – 4/25/15 from participating dealers in the U.S. only. A qualifying purchase is defined as a purchase of any of the product models set forth above in the quantities set forth above. If you purchase less than the specified quantity, you will not be entitled to a rebate. Offer excludes Nantucket™ Window Shadings, a collection of Silhouette® Window Shadings. Rebate will be issued in the form of a prepaid reward card and mailed within 6 weeks of rebate claim receipt. Funds do not expire. Subject to applicable law, a $2.00 monthly fee will be assessed against card balance 7 months after card issuance and each month thereafter. Additional limitations