Issuu

SEPT 30 - OCT 25

“Welcome to our 53rd season”

Welcome to our 53rd season. In each play this year, there is a character or characters who are searching for the TRUTH. Each play is about what we think we know and what we believe— and how those may change because of what we learn from an unexpected source. Arcadia is one of my favorite plays: part steamy romance, part mystery, part philosophical debate about the mathematical structures that organize our world. Tom Stoppard, its playwright, leaps across time and space so that we, the audience, live in multiple worlds at once as we contemplate the complexity of the universe and interpersonal relationships. Arcadia is about a passion for ideas and the heat of desire. The pure range of ideas in this play is breathtaking. It is messy, it is complicated, it is human. Like the work of Shakespeare, Stoppard’s Arcadia is a play 2

you can watch over and over, finding different connections, different resonances, different storylines that you missed on first viewing. Today, our world seems about as far as you can get from the rational, understandable Newtonian “laws of nature” Septimus describes in the play. As we hurtle through each day, it seems impossible that anyone anywhere could have experienced the level of chaos present in today’s world. But then historians start describing the past, and you realize: the world has been here before. In the play, as the truths of 1809 seep into the present, I am reminded how much of what we think about today might well have been experienced and thought about by those who came before us. Who knows what philosophies have been dreamt of and forgotten, what Indigenous teachings could explain the mysteries of the universe, or what child discovered ideas that could have changed the world? Tom Stoppard gives us much to unpack in Arcadia. If you’d like to learn more about the topics he covers—from chaos theory to Lord Byron and the shift from classicism to romanticism—you can check out our PlayNotes resource guide online or available in hard copy in the lobby.

Anita Stewart, Artistic Director 3

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Arcadia

WRITTEN BY TOM STOPPARD

ON STAGE • SEPT 30 - OCT 25 SETTING

1809 and the present in Derbyshire, England This theater operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of professional Actors and Stage Managers in the United States. *Members of the Actors’ Equity Association, the Union of professional Actors and Stage Managers in the United States. **The Scenic, Costume, Lighting, and Sound Designers in LORT are represented by United Scenic Artists Local USA-829, IATSE. ***The Stage Directors and Choreographers Society is the theatrical union that unites, empowers, & protects professional Stage Directors and Choreographers throughout the United States. The video and/or audio recording of this live production by any means whatsoever are strictly prohibited.

Special Thanks: Adam Thibodeau

CAST

Thomasina Coverly.....................................Rebecca Whitney Klein* Septimus Hodge...................................................... Parker Drown* Lady Croom/Hannah Jarvis .....................................Casey Killoran* Captain Brice/Bernard Nightingale.... Nicholas Mongiardo-Cooper* Ezra Chater/Valentine Coverly............................... Alex Brightwell* Jellaby/Richard Noakes..............................................George Sopko Augustus Coverly/Gus Coverly......................... Nathaniel Cummons Chloë Coverly.............................................................. Kat Moraros

ARTISTIC & PRODUCTION

Director......................................................Christopher Grabowski Scenic Designer...................................................... Anita Stewart** Costume Designer............................................Jacqueline Firkins** Lighting Designer.................................................... Mary Lana Rice Sound Designer...................................................... Seth Asa Sengel Stage Manager....................................................... Myles C. Hatch* Costume Technician......................................... Cheslye Ventimiglia Casting Director........................................................ Jenn Haltman Assistant Director & Dramaturg..................... Veda Arndt-Schreiber Production Assistant................................................ Mikayla Burse Lighting & Sound Operator................................... Sidney Kronbach Wardrobe............................... Finn Mercury Thornton, Kate Varner Swing Crew.... Jessie Flam, Abby Bettencourt, Veda Arndt-Schreiber

Arcadia is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com.

PLAYWRIGHT

Tom Stoppard (1937-2025)

Stoppard’s most recent play, Leopoldstadt, opened at Wyndham’s Theatre in 2020 and transferred to Broadway in 2022. It won multiple awards, including an Olivier Award and Tony Award for Best Play. He wrote his first play, Enter a Free Man, whilst working as a journalist in Bristol. His plays include Rosencrantz and Guildenstern Are Dead, The Real Inspector Hound, After Magritte, Jumpers, Travesties, Every Good Boy Deserves Favour (a play for actors and orchestra written with André Previn), Night and Day, The Real Thing, Hapgood, Arcadia, Indian Ink, The Invention of Love, The Coast of Utopia, Rock ’n’ Roll, Dogg’s Our Pett, New-Found Land, Dogg’s Hamlet, Cahoot’s Macbeth, and The Hard Problem. Adaptations include Tango, Undiscovered Country, On the Razzle, Rough Crossing, and Dalliance. Translations include The Seagull, Henry IV, Ivanov, The Cherry Orchard, The House of Bernarda Alba, and Largo Desolato. He wrote eight Evening Standard Award–winning plays, and five of his plays won Tony Awards. Tom Stoppard was a CBE and was knighted in 1997.

(***Member of SDC)

DIRECTOR

Christopher Grabowski Portland Stage has been an artistic home for Chris since 1997, where he most recently directed The Laugh Track, Disgraced, The Importance of Being Earnest, and Tribes. Chris’ work as a stage director has also been seen at New York Theatre Workshop, Yale Repertory Theatre, The Hangar Theatre, Shakespeare Santa Cruz, The Denver Center Theatre Company, and The Northern Stage Co. Additionally, he has directed projects for The Juilliard School, NYU Tisch School of the Arts, The Academy for Classical Acting, the Stella Adler School, Dartmouth College, and UC Santa Cruz. Chris was the Associate Artistic Director of New York Theatre Workshop. He graduated from the Yale School of Drama, MFA in Directing, where he was Co-Artistic Director of the Yale Cabaret and the Yale Summer Cabaret. He received a BA in Theater Arts from the University of California, Santa Cruz.

(***Member of SDC)

C A S T

B I O G R A P H I E S Rebecca Whitney Klein* Thomasina Coverly

Rebecca (she/they) is a Brooklyn-based actor, writer devisor, and creative producer who is passionate about the creation of new works, queer stories, and socially responsive theater that intersects art with community care and direct action. She is thrilled to be making her debut with Portland Stage! Performing credits include Joy and Pandemic (Huntington Theatre Co, dir. Loretta Greco), Br’er Cotton (Endstation Theatre Co, dir. Whitney White), Women on Fire (Royal Family Productions, dir. Chris Henry, chor. Lorna Ventura), Brundibar (Central Square Theater, dir. Scott Edmiston), Love Letters (Mindelact Festival, Cape Verde), Revolt. She Said. Revolt Again. (JMU), and The School for Scandal (JMU). Rebecca is a current company member with the physical theater collective Blessed Unrest. Training includes James Madison University, Stella Adler Studio of Acting, and the Heidi Marshall Studio. @rebeccawhitneyklein / www.rebeccawhitneyklein.com Parker Drown* Septimus Hodge Portland Stage Company debut! International: Natasha, Pierre and the Great Comet of 1812 (Shanghai). NYC/Off-Broadway: The Lightning Thief, Cabaret, The Good Swimmer, Carmen, Cock. Regional: Hay Fever, Bye Bye Birdie, Dot, The Thanksgiving Play, Buyer and Cellar; All is Calm, Kid Victory (World Premiere), The 25th Annual Putnam County Spelling Bee, Hairspray, Spring Awakening, A Chorus Line, Speech and Debate, Bloody Bloody Andrew Jackson, Rent (Helen Hayes Award). TV/Film: FBI (CBS), The Hunting Party (NBC). Repped by CLAPartners.

(*Member of AEA)

C A S T

B I O G R A P H I E S Casey Killoran * Lady Croom/Hannah Jarvis

Casey Killoran is so happy to be back at Portland Stage after last season’s world premiere of The Laugh Track. A proud dual US/Irish citizen, Casey has performed at the FAC in Colorado Springs, The Apollo Theater, Lincoln Center, Berkshire Theatre, and the Duke on 42nd Street. She has appeared on New Amsterdam, FBI: Most Wanted, Shades of Blue, and Sex and The City. With a passion for independent cinema, Casey has starred in films including Viral Beauty, Motherhood, and The Woman From Hamburg. Her self-produced projects have been Official Selections at 25+ film festivals, so keep an eye out next year for Rum-Com, a romantic comedy about recovery and relapse. She received her MFA from NYU Tisch Graduate Acting Program. caseykilloran.com. @caseykill Nicholas Mongiardo-Cooper* Captain Brice/Bernard Nightingale Off-Broadway: Rothschild & Sons, Lonesome Traveler, Julius Caesar. Regional: Every Brilliant Thing (ETC); Sweeney Todd, Fiddler on the Roof (La Mirada); A Wicked Soul in Cherry Hill (Geffen); Waitress (Moonlight); The Tempest (ASF); The Play That Goes Wrong, Sherlock Holmes: The Final Adventure (Portland Stage); Once (Geva); Rounding Third (FST); House of Dreams (SDRep); Oliver!, Matilda (5Star); Sweeney Todd, Once, Shakespeare in Love (SCR); King Lear (Rubicon); A Gentleman’s Guide…, Holmes and Watson, Harvey (Laguna); Side Show (La Jolla); Of Mice and Men, Laughter on the 23rd Floor, Sherlock Holmes, Side By Side By Sondheim, Words By (North Coast Rep). TV: Law & Order: SVU (NBC), Dying For Sex (FX), Ghosts (CBS), The Conners (ABC), Fairly Oddparents (Paramount+), Danger Force (Nickelodeon), Fuller House (Netflix), Superstore (NBC), Casual (Hulu). Independent Film: Let It Stay Here, Diamond Bar, Goodbye Canarsie, 0s & 1s, Sin and Tonic.

(*Member of AEA)

C A S T

B I O G R A P H I E S Alex Brightwell* Ezra Chater/Valentine Coverly

Alex is thrilled to be making his Portland Stage debut! Selected theater: A Christmas Carol (McCarter Theatre, 4 seasons); Dial M for Murder (Peterborough Players); The Tempest (Alabama Shakespeare Festival); Three Sisters (Two River Theater); Every Brilliant Thing (Cleveland Play House); Chicken & Biscuits (Bristol Riverside Theatre); Touch (The Tank); A Midsummer Night’s Dream; One Man, Two Guvnors; As You Like It; An Octoroon; Untitled Russia Play (Chautauqua Theater Company); Golden Age (Guthrie Theater). Education: BFA: University of Minnesota/Guthrie Theater; MFA: Case Western Reserve University/Cleveland Play House. George Sopko Jellaby/Richard Noakes George is very pleased to be making his debut performance with Portland Stage and to be part of the company’s production of Tom Stoppard’s iconic play, Arcadia. Just a few weeks ago he was seen playing the role of Mr. Aslaksen in Ibsen’s An Enemy of the People with the Portland Theater Festival, and earlier in the summer was in Maine State Music Theatre’s production of 1776 portraying Andrew McNair. This past winter he played the part of Mr. Hanratty in Tracy Letts’ The Minutes with Mad Horse Theatre and last summer did the roles of Sam/Clay in the Portland Theater Festival’s production of Primary Trust (Broadway World Best Supporting Performer nomination). Additional recent credits include the Maine Playwrights Festival and portraying Judge Turpin in a NYC production of Sweeney Todd. Past credits include national tours, dinner theater, and summer stock. Sincere thanks to Portland Stage and the audiences supporting its terrific and important work, and to his very supportive and talented wife, Marcine.

(*Member of AEA)

C A S T

B I O G R A P H I E S Nathaniel Cummons Augustus Coverly/Gus Coverly

Nathaniel is thrilled to make his Portland Stage Company debut with this role! Credits include: Jeremy Potts in Chitty Chitty Bang Bang Jr. (Twin City Theater Academy), Colin Craven in Secret Garden (City Theater), Charlie Bucket in Willy Wonka Jr. (Maine State Music Theatre TYA), Michael Banks in Mary Poppins (Portland Players), and Kurt von Trapp in Sound of Music (Ogunquit Playhouse). Huge thank you to Ann Guiney and Michele! IG: @nathaniel.j.acts Kat Moraros Chloë Coverly Kat Moraros (she/they) is a queer multihyphenate theater artist who is proud to call Maine home again after a few years performing extensively in Chicago and the Midwest. Kat is thrilled to return to Portland Stage, last seen in Tribes and Directors Lab educational tours. Recent credits include work with Good Theater, Out There Theater Company, DRC, Fenix, Children’s Museum and Theatre of Maine, and Mad Horse. Kat serves as the Associate Artistic Director of Fenix Theatre Company, is on the board of Dramatic Repertory Company, and is a member of The Murder Mystery Company New England Troupe. Directing: As You Like It (Fenix). Training: Bates College, London Dramatic Academy, Black Box Academy, Theatrical Intimacy Education. Thanks to Chris, this magnificent cast, crew, and production team – and to YOU for supporting local theater. katmoraros.com

(*Member of AEA)

LAND & SLAVERY ACKNOWLEDGMENT We are creating theater on land that has been cared for by the Wabanaki. We honor their community and invite you to go to the Wabanaki Reach website to learn more about the Wabanaki culture, as well as about restorative justice and truth-telling that is necessary for healing. We encourage you to learn more about the peoples who cared for the land that you now reside on whether you’re from here in Portland or are visiting from away. For more information about the Wabanaki Confederacy, visit mainewabanakireach.org, and to find out whose land you are on, visit native-land.ca. We also want to acknowledge that the history of Maine is deeply connected to the institution of slavery in the United States, and that residents of Maine participated in both slavery and the transatlantic slave trade even after slavery was outlawed in the District of Maine. While it may be easy to think of Maine and more specifically Portland as a very White place, we recognize that this is simply not the case and we are working to dismantle these harmful ideas. We encourage our audiences to visit the Abyssinian Meeting House (learn more at abyssinianmeetinghouse.org) or the Eastern Cemetery here in Portland, and to explore scholarship on the subject, like Lives of Consequence by Patricia Q. Wall, to learn more about this oft-neglected part of Maine’s history. We recognize that the American Theater has also exploited, misrepresented, and excluded communities of Latine, Asian, Indigenous, and Middle Eastern descent for centuries. Portland Stage is recommitting to telling authentic stories from diverse backgrounds that all of our audiences can experience and enjoy.

Ages 4-10 Saturday Mornings

PLAY ME A STORY

October - March, 10:30 - 12:00

Performance & Acting Workshop

CENTERSPREAD TOPICS

ARCADIA 101: A BRIEF SURVEY OF THE LITERATURE, SCIENCE, AND MATHEMATICS OF THE PLAY By Skyler Brianna, Directing and Dramaturgy Apprentice 2025-2026 The plot and major themes of Tom Stoppard’s Arcadia incorporate several philosophical, scientific, and social theories. Classicism versus Romanticism Throughout the play, there is a discussion of Classical and Romantic aesthetic movements that were informed by social attitudes of their respective times. Classicism, rooted in the art and ideals of ancient Greece and Rome, is characterized by restraint, proportion, harmony, and balance. In art, it focuses on form and purports to produce an idealized version of the human figure. Romanticism, of the 18th-19th centuries, was in some ways a reaction to Classicism and the preceding structure of the Enlightenment. Romanticism was an intellectual and creative movement that praised the emotional, imaginative, and individual. It often centered on subjects such as the genius of the bohemian, nature, the supernatural, and folk culture. Free Will versus Determinism Free will is the idea that individuals are in complete control of their own actions and behaviors. Determinism, on the other hand, dictates that all events in the world (including human behavior) are determined by a mix of prior events, natural laws, and sometimes the influence of a higher power —choices are merely the predetermined outcome of previous occurrences. There are two types of forces influencing our behavior according to determinism: internal and external. External determinism credits forces outside of the individual: parental influences, education, and the media. Internal determinism suggests that biological factors like genes, hormones, and brain chemistry determine behavior. Laws of Motion, Thermodynamics, and Entropy Sir Isaac Newton developed three laws to describe the motion of objects on Earth. The law of inertia says that an object at rest stays at rest, while an object in motion will continue moving until acted upon by an external force. Newton’s second law explains that the acceleration of an object depends on the net force acting upon it and the object’s mass—more force creates more acceleration, and more mass creates less acceleration. The third law states that every action has an equal and opposite reaction and that the universe requires balance. Meanwhile, the second law of thermodynamics, or the law of increased entropy, describes how energy and matter behave. Entropy is a measure of the randomness or disorder of a given system. The second law states that heat always flows from hotter to colder areas of matter, and when heat is converted into action, some of it must be lost. When energy changes form or matter moves freely, entropy will increase. In an attempt to reach a standard temperature, matter becomes more random and disorganized.

Read more in the Portland Stage PlayNotes, available for free online, or to purchase in the Lobby or Box Office!

CHAOS IN ARCADIA

By Max Lerin, Directing and Dramaturgy Apprentice 2025-2026

Chaos theory is an interdisciplinary area of scientific study and a branch of mathematics that centers on systems with three properties: sensitivity to initial conditions, self-similarity at all stages of magnification, and deterministic mathematics. Chaos theory posits that within seemingly random, irregular, or unpredictable complex systems, there are nevertheless underlying patterns, interconnections, constant feedback loops, repetition, self-similarity, fractals, and self-organization. This is reflected in the structure of Arcadia; seemingly random events and details are strewn throughout the story that eventually coalesce to connect past and present. There are underlying patterns between character foils, iterated concepts such as the second law of thermodynamics, and self-similarity. The desire to make sense of geometry in nature dates back to Ancient Greek mathematicians like Pythagoras and Euclid, who studied the golden ratio that appears in nature. This is also related to the Fibonacci sequence, which is a specific series of numbers that goes on forever in which each subsequent number is the sum of the two numbers that precede it. By taking two consecutive numbers in the Fibonacci sequence and dividing the larger number by the smaller one, the ratio between them gets closer to the golden ratio. Examples of these concepts can be observed in many forms of nature, including pinecones, the arrangement of some flower petals, and even hurricanes. Chaos theory can also be understood through the famous example of the butterfly effect. Edward Norton Lorenz, a professor at MIT, was testing a computer model designed to simulate weather patterns. During his tests, Lorenz repeated a simulation, but rounded a value from 0.506127 to 0.506. This tiny alteration in the initial conditions of his data produced a vastly different outcome. In 1972, he gave a talk titled “Predictability: Does the Flap of a Butterfly’s Wings in Brazil Set Off a Tornado in Texas?” to explain the phenomenon. The title led to Lorenz’s idea being called the “butterfly effect.” Another way of explaining chaos theory is through its modeled behavior. For example, while the behavior of a pendulum adheres to a predictable pattern, a chaotic system does not due to its nonlinear processes. Examples of chaotic systems include the behavior of a waft of smoke or ocean turbulence. Chaotic systems can also be modeled through fractal geometry. Fractals are irregular, but display repeated self-similarity at all scales. Examples of fractal geometry found in nature include ferns, cauliflower, broccoli, and snowflakes. Read more in the Portland Stage PlayNotes, available for free online, or to purchase in the Lobby or Box Office!

PLAYNOTES PERSPECTIVES AN INTERVIEW WITH THE DIRECTOR: CHRIS GRABOWSKI By Veda Arndt-Schriber Veda Arndt-Schreiber (VAS): You have directed this play before, and Portland Stage has done this play before. What do you think is your approach to presenting this play to a contemporary audience? Chris Grabowski (CG): One of the things we’ve been talking about in rehearsal, and I’ll give Nick [Mongiardo-Cooper] credit for articulating this: It is true that suddenly there are a lot of revivals of this play, and I think it’s because we’re at another technological moment—there’s a lot of uncertainty surrounding AI threatening what we believe to be true about our own importance and humanity. The play is written kind of at the beginning of the age of communication—computer communication, anyway, the digital world, and now we’re looking at the AI world. I think that’s the lens through which to kind of think about the play. I did the play 15 years ago, and I think Portland Stage did it 20 years ago, which was closer to when the play was conceived. We were still wrestling with what it meant to have instant communication and research, as opposed to this play where they are compelled to interact with each other, to go to the source. So this relationship between the past and the present is more of a kind of whodunit, right? As opposed to what research is like now. Using the dramaturg as a kind of example, we used to spend a lot of time in the library when we did a play. And now we have someone that’s really good with Google sitting in the room, instantly answering questions, which is also a trap, right? Because you could jump to it too soon. Part of the delight of going to a library or going to an archive is you stumble upon things because it’s the book next to the book that you wanted, or the loose piece of paper tucked into the book that is exciting. In the way we do research now, mostly they offer you an AI place to go first, and often it’s easy to settle for that first answer.

VAS: So when you did this play before, did you have a dramaturg who was in the library digging through physical media? CG: I mean, the internet was a thing by the time I did it, but we still had a lot of books. We had all the poetry. We had all of that on the rehearsal table, and people spent a lot of time paging through it and getting to know more about Byron, and we had a lot of maps, and we did have a lot more physical evidence while working on the play. It was a very different production because we did none of the [double casting]. And that doubling that we’re doing in this production actually adds resonance to the play: that the characters are going through something similar to what their other counterpart was doing, which has given us no end of confusion in rehearsal. But it adds a dimension to the play, which I think is exciting.

Pictured: Christopher Grabowski, Photo by Aressa Goodrich.

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A R T I S T I C

P R O D U C T I O N

B I O S

Anita Stewart** (Scenic Designer) has worked as a set and costume designer at leading theaters across the country, including the Guthrie, Seattle Rep, Canadian Opera Company, Minnesota Opera, A.R.T., Steppenwolf, Hartford Stage, Dallas Theater Center, Long Wharf Theatre, New York Theatre Workshop, Boise Contemporary Theater, New Jersey Shakespeare, and Portland Stage. Anita’s desire to play a meaningful role as an artist in a specific community brought her to Portland Stage as Artistic Director, a company for which she had previously done significant freelance design. Anita holds an MFA in Design from the Yale School of Drama. Jacqueline Firkins** (Costume Designer) is thrilled to return to Portland Stage after two years as resident costume designer in 2001–2003. Other design work includes the Court Theatre, Victory Gardens, TimeLine Theatre, House Theatre of Chicago, Marin Theatre Company, Hartford Stage, Dallas Theater Center, Portland Center Stage, Goodman Theatre, Shakespeare Festival of St. Louis, Idaho Shakespeare Festival, Virginia Stage Company, Westport Playhouse, Shakespeare & Company, Shakespeare Festival of Tulane, Ensemble Studio Theatre, Yale Repertory Theatre, Shakespeare Theatre of New Jersey, Brave New Repertory, About Face Theatre, Northlight Theatre, Yale School of Drama, and more. Jacqueline is also an author of joyful, romantic coming-of-age novels and teaches design at the University of British Columbia. Mary Lana Rice (Lighting Designer) is a recent transplant to Maine after many years working around the country as a Lighting Designer and Electrician. She is thrilled to have joined the Portland Stage family and is grateful to all of her fellow collaborators! Her design work was last seen at Portland Stage in one of her favorite design pieces to date, Like Flies. Some of her other design credits include Clyde’s, Murder for Two, Murder on the Links, and Lend Me a Tenor (Portland Stage); The Thin Place, Sanctuary City, Dry Land, Wolf Play, and Make Believe (Portland Theater Festival); Born Yesterday and Murder for Two (Cortland Repertory Theatre, NY); Wait Until Dark, I Am My Own Wife, and Five Guys Named Moe (Fulton Theatre, PA). All my love to Seth, Hazel, and Logan!

24 (**Member of USA)

A R T I S T I C

P R O D U C T I O N

B I O S

Seth Asa Sengel (Sound Designer) is a listener and tinkerer from the rural backwoods of Parsonsfeld, and has spent decades making theater with creative souls all over our United States. Seth began his Sound Design journey at Portland Stage many years ago and has since collaborated on dozens of wonderful productions. Favorites include The Laugh Track, Sherlock Holmes: The Final Adventure, The Importance of Being Earnest, Tribes, and Collected Stories. For more information on Seth, visit www.sethasa.com. Please be kind to others, and to yourself, and tell people you love them. Much Love to Mary Lana. Myles C. Hatch* (Stage Manager) most recently stage-managed Baskerville: A Sherlock Holmes Mystery and the world premiere of A Danger to Yourself and Others by Colette Mazunik with the Peterborough Players. Myles has worked with such diverse theaters as the Hangar Theatre, Theatre By The Sea, The Freeport Shakespeare Festival, Maine State Music Theatre, The Theater at Monmouth, Arden Theatre Company, Baltimore Shakespeare Festival, Everyman Theatre, Rep Stage, Horse Cave Theatre, New Stage Theatre, Round House Theatre, Source Theatre Company, Washington Stage Guild, Washington Jewish Theatre, Asolo Theatre Company, Westport Country Playhouse, and the YALE Summer Cabaret. Thank you to the entire staff and apprentice company for all your great work on this show! Myles is a proud member of Actors’ Equity Association. Jenn Haltman (Casting Director) (she/her) is a freelance theater, film, and new media casting director, and she’s thrilled to be returning for her ninth season. Previous PSC shows include The Laugh Track, The Play That Goes Wrong, and Saint Dad. Regional theaters include Pig Iron Theatre Company, Savage Wonder Theater, Hartford Stage, Penguin Rep, and Sharon Playhouse. Films include Boy Meets Girl, the award-winning shorts Behind the Wall and Someone Will Assist You Shortly, and the 2017 Sundance selection Madeline’s Madeline (Josephine Decker). As Co-Producing Artistic Director of Between Two Boroughs Productions, Jenn has cast and directed Cannibal Galaxy: A Love Story, Summertime, The Understudy, and the awardwinning solo show Trich. Previously, Jenn was the Casting Associate at New York Theatre Workshop. She is a proud graduate of Muhlenberg College. www.jennhaltman.com

(*Member of AEA)

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THANK YOU TO OUR SPONSORS PRATT ABBOTT: IN-KIND SEASON SPONSOR Maine’s most experienced dry cleaner, Pratt Abbott has been keeping Portland Stage performers looking sharp for over two decades. Pratt Abbott offers 100% eco-friendly dry cleaning, wash and fold laundry service, wedding garment care, and more. Thanks to the longstanding support of Pratt Abbott, Portland Stage is able to bring Arcadia to life on our Mainstage.

Our corporate partners help us to enrich our community while positioning their companies as cultural leaders. Want to learn more about how a corporate partnership can benefit both your business and the theater you love? Contact Covey Crolius, Development Director, at 207.774.1043 x109. Arcadia by Tom Stoppard is funded in part by generous support from the Fisher Charitable Foundation, the Libra Foundation, the Maine Arts Commission, the Maine Community Foundation, the Morton-Kelly Charitable Trust, and the Shubert Foundation.

ANNUAL FUND SUPPORTERS Executive Producer ($50,000+) Anonymous Brooks Family Foundation Susie Konkel The Shubert Foundation Anna Marie and John E. Thron Fund of the Maine Community Foundation Producer ($25,000 - $49,999) Anonymous Fair Winds and Following Seas Fund Executive Director ($15,000 - $24,999) Anonymous Jane G. Briggs Sam L. Cohen Foundation The Harold and Betty Cottle Family Fund Libra Foundation The Moser Family Foundation The Onion Foundation The Seed Moon Foundation Managing Director ($10,000 - $14,999) Maine Arts Commission Migis Hotel Group Morton-Kelly Charitable Trust Wright-Ryan Director ($5,000 - $9,999) Anonymous (2) Americans For The Arts Bernstein Shur Elaine Bennett Darwin Austin and Eileen Farrar Fisher Charitable Foundation Rosanna Gabriele and Ryan Burke Mabel Gerquest Jan and Ed Gerry George and Cheryl Higgins

Roy A. Hunt Foundation Lissa Hunter and Kirby Pilcher Tom Lawton Charitable Gift Fund L.L.Bean Daniel Marra and Barbara Leonard Leonard and Nancy Nemon Carole Ann Palmer The Rines Thompson Fund Kenneth Spirer and Joan Leitzer Vectorworks W. H. Demmons, Inc. Anne Wade and Gil Hagan Production Manager ($2,500 - $4,999) Ellen Alderman and William Harwood Gunard Erik Bergman Mauria Brough and Bryon Winn Margaret E. Burnham Charitable Trust Susan Carter CIEE Patricia A. Clark Kris and Ken Conant Peter Fitz Agnes M. Lindsay Trust Peter Milliken and Susanna Weld Dean and John Paterson Pierce Atwood Portland Mattress Makers John Ryan and Jenny Scheu Nina and Robert Trowbridge Meg Thompson Villarreal Ashley Wernher-Collins and Scott D. Collins Backer ($1,000 - $2,499) Anonymous (3) John and Judy Adelman Diana and Tom Allen Apple Lane Foundation Elizabeth Astor Newell and Tenney Augur

Mary G. Barthelman Bennett Law Firm Wendy and Peter Bennett Norman and Emily Rand Breitner Catherine Casey-Flavin and Dr. David Flavin Tim Cloudman and Lori Garon Jana and Jon Coffin Debra L. Coyman Doug and Carolyn Davis Beth L. De Tine Barbara and Gil Dichter Elizabeth Ehrenfeld Freye Family Foundation Charlotte Fullam Stephen and Wendy Gaal Leslie T. Gibbons Granite Pointe Foundation Helaine and D. Brock Hornby Stephen and Suzanne Irish Jebediah Foundation Stephen and Carolyn Jenks Douglas and Cheryl Jones David and Lynn Jourdan Nancy K. Kaye Cornelia Kittredge Candice Lee Harvey and Pamela Lodish Martin Lodish and Kristin Schardt Maine Humanities Council Irv Meeker Tom and Marti Meyers Marta Morse Moriah Moser and Dan Morgenstern, MD Old Port Wine and Cigars Allison and Lincoln Paine Richard and Carolyn Peterson Harry and Anne Pringle R.M. Davis Hilary Rapkin and William Stiles Charles W. and Melissa G. Redman Kenneth Remitz Dixon and Susan Myer Riley

2025-2026 Maxine Sclar and Robert J. Yamartino The Alfred M. Senter Fund Melanie and Nathan Shmalo and Family Robert and Valerie Slater Martha Slocum Darwin and Kathleen Stanley Anita Stewart and Ron Botting Karen and Charles Sumner Daniel and Lucy Tucker Dustin Tucker and Peter Marro Peregrine Whittlesey Steve Witkin Tom and Willo Wright Investor ($500 - $999) Anonymous (3) Paul Ainsworth and Cheryl Berg Ingrid Avery Todd Brian Backus and Dr. Stephen Engel Sally and Ron Bancroft Marie Barbieri Michael and Connie Beck Don and Diane Bessey Susan Bruce and Rick Hauck Tracey Burton and Ken Moller Donald and Patricia Carter John and Linda Coleman Scott and Qamar Cowger Mark and Joanne Crepeau Richard and Judy Curtis Custom Float Services Carol De Tine and Roger F. Woodman, Jr. Helen Dickey and David G. Fitz Gary E. Duford and Thomas L. Hinkle Karen and Fred Farber James Gertmenian and Susan King Cameron Goodwin Peter Haynes

ANNUAL FUND SUPPORTERS Karen Herold and Mark Isaacson Mollie Heron Roz and Steve Hershfield Sharyn and Douglas Howell Mary Hulbert and Anne Morehouse William Jenks Charles Johnson and Jean Appleby Johnson C. David Keith and Stephen Simpson Brigitte and Hal Kingsbury Marilyn Lalumiere and Ed Reed Peter and Lynn LaMontagne Greg Lanou and Tracy Skillin-Lanou Richard and Nancy Lemieux Kathleen Leslie Christine Linnehan and David Finkelhor Emily and Dick MacKenzie Sally Walker Madore Jerry and Liz Mansfield Theresa McCarthy MF Poole Group LCC Bruce Moore and Jan Chapman Michael and Lucretia Nelson Todd and Gloria Nicholson Victoria Nolan and Clark Crolius Amy Nolan Osborn Parkhill Family Fund James and Diane Paterson Perfetti Family Fund Phillips-Green Foundation Malcolm and Patti Poole Portland Theater Festival Megan and Tony San Antonio Curt and Nina Scribner Jack Shea and Sallyanne Ryan Rick and Celeste Shinay Hugh and Mary Smith Mary Snell and Irwin Novak Joseph and Susan Spagnola Anne and Jack Spiegel Cathy Stankard and Gregg Palmer

Heidi and Eric Steinert Frank C. and Carrie C. Strasburger Fund The Eric and Wendy Suehrstedt Charitable Fund Karen and Robert Suva Courtney Thorpe Nelson and Lisa Toner Cheslye and John Ventimiglia Brit and Yasmin Vitalius Mike and Shelby Wintle Monica Wood and Dan Abbott Amy Yasko Supporter ($250 - $499) Anonymous (2) Alice M. Abbott Robert and Linda Ayotte Ben and Judy Bertram Jim Bowie and Sarah Downs John E. Brandt Betty Bricker-Small and David Small Gregory and Mary Caron Anita L. Chandler Pamela Cleghorn Andrew and Judith Coburn Jacqueline F. Cohen Susan and James Cook Nancy Crowell Patricia Daniels Tom DeMarco John and Sandra Donnelly Mary C. Doughty John and Julia Fay Herbert and Alice Ferran Rol and Averil Fessenden David Fluharty and Linda Hjortland Terry and Mandy Garmey Bernard and Phyllis Givertz Margaret Groban and Larry Fischman Richard Hanks and Virginia Mackey

Nancy Harding Ann Havener and Richard Estabrook Alison Hildreth Kathleen and Herb Janick Hugh and Lois Judge Bud and Wendy Kellett Dennis and Sandra King David and Linda Kirstein Steven and Katie Knapp Burke and Judith Long John and Jane Lunt Jane Makela and John Vogt John and June McClean Rick and Debbie Molander Susan V. Morris Jeremy Moser and Laura Kittle Leonard and Merle Nelson Larry Nicks Erin and Jonathan Nitschke Catherine O’Connor and John Kelly Richard O’Meara and Christine Bulsa-O’Meara Janet O’Toole Kathleen Pacella and Matthew Taylor Richard and Carole Palmer Carole A. Pope Frank and Sharon Reilly Jacqueline Robinov Joe and Rachel Rosenfield Sue and Donald J. Rudalevige Gwen and Jim Sartoris Bonnie Nelson Schwartz B. Scribner and C. Julian Kathy Silvia Elaine and Brian Sipe John Stewart David and Kathleen Stuchiner Adam Thibodeau Patricia Vantuyl Patricia Vigilante and Robert Candela David and Elise Wilson Judy and Norman Wilson Sam and Tracy Zager

2025-2026 FRIEND ($100 - $249) Anonymous (3) Janice B. Adler Christenia Alden-Kinne Dan and Joan Amory Isabelle S. Appleton Emmy AveryWitham Ann Babbitt Peter and Lyn Ballou Lisa Bals Denny and Camilla Barrantes Judy and Jack Bauman Lynne and Chris Beasley Jane Benesch Nancy Berges Thomas and Marjorie Berman Esther Berry Nona and Doug Boyink Marion Brown Jeff Bryan Dan and Dale Bryant Deborah Buccina Constance Cardamone Elizabeth Chapman Diane Colonna Laura Connors Ann Corbey and Steve Painter Kathleen Crocker and Dennis Valade Dick and Margaret Curran Lee Dalzell George and Lynn Davenport Chris DeFilipp Barbara Denker and Doug Dery Martha Deschaines Bonnie and Jonathan Dietz Linda J. Docherty Mary Doherty Melissa and Doane Dorchester Moira Driscoll and David Pence Mary Lou Dyer David Ellenstein and Denise Young Jacqueline Ellis

ANNUAL FUND SUPPORTERS Marvin Ellison and Franklin Brooks Laura and Vince Faherty John and Elizabeth Fenwick Leslie Fitzpatrick Linda Foss Anne Fowler and Sam M. Allen Jean Foy and Richard Evans Rick and Lynne Gammon Susan Garfield and Lynda Mullen George Giese George and Martha Gilmore Mary Jane Hanneld Tiffany and Layne Harris Charlotte Hedge Jack and Marilyn Heise Janet Henry and Vernon Moore Brian and Margery Hodgkin Maria Holloway Tim and Debra Honey Woody Howard and Gib Twitchell Elizabeth and Christopher Hunt Al and Pauline Huntley Anne Hyland Laurie and Tom Hyndman Helen Ingwersen Edith Iyer-Hernandez Sandra Jensen and Samuel Susan Kirk David Kling and Kathryn Sanders Caroline Knott Ken and Jean Kriedberg Debbie Lamb and Joe Valenza Neil and Cathy Lamb Michael Leavitt Steven Leighton Pamela Lemieux John F. Leonard IV Mike and Meg LePage Calien Lewis and Martha Mickles Julia Lockwood and Marc Miller Susan and Stephen Loebs Benjamin Lund and Barbara Granville

Chris and Carson Lutes Jeannie Malia Ingeborg Marquardt David and Jeanne Mason Anne McBride Jan McCormick Sheila McGarr Susan and Frank McGinty Mary Ann McLean Tom McPheeters Sarah Meacham Joseph and Gloria Melnick Bill and Pamela Meserve Elinor Miller Jen Moffitt Bernard Mohr and Karin Wagner Alice Moisen Wendy Moore Kevin Mullen Cynthia Murray and Severin Beliveau Joanne and Paul Naso Robert and Susan Nielsen David and Jacqueline Orsmond Elizabeth Owens and Douglass Flaherty Heather Payson Delene Perley Sam Prout Hope Putnam Ted Rand and Sarah Campbell Lenore Rapkin Janice M. Rey Betsy Roadman Chris and Merriam Roberts Susan and Jock Robie Stephen Ryan and James Bishop Helen Ryder Jeff and Susan Saffer Shirley Schulz Mike and Pam Schwotzer Cathy Sengel Orrin and Linda Shane

Linda Shary and Jeffrey Logan Nancy Shaw and John Gilmour Jason and Deborah Silberstein Alan and Jonell Solander Peter and Lynn Soucy Judith Stanton Kristin G. Sweeney Vanessa and Michael Sylvester Robin Talbot Lorraine and Ralph Twombly Richard and Elsa van Bergen Peter and Elizabeth Ventre Rick and Dee Dee Wacksman Nancy R. Wade Elizabeth Walsh Maggie Waters Randall Weill and Catherine Coughlin Deena Weinstein Susan and Francis Whitten The Wilder Estate Rick and Janet Wolf Laura Young and Scott Donohue Gail and Melvyn Zarr David and Margaret Zellinger Bill and Patty Zimmerman

2025-2026 In Memory of ($25,000+) Susie Konkel in Loving Memory of Mr. Harry W. Konkel In Memory of ($250+) Meghan E. Wakefield in Memory of Peter Eastman

In Honor of ($250+) Conor Donahue in Honor of Anita Stewart and Ron Botting Julia E. Edelstein in Honor of Martin Lodish David Ellenstein and Denise Young in Honor of Anita Stewart James Marra in Honor of Dan Marra and Barbara Leonard In Honor of ($100-$249) Peter and Carin Green in Honor of Anita Stewart Nicole Stevens in Honor of Abigail Hart Robin and Les Wilkinson in Honor of Dustin Tucker

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