Portland Presents | A Tuna Christmas

written by Ed Howard, Joe Sears, & Jaston Williams

We are proud to support the talented artists and the people behind the scenes who make Portland a regional leader in the performing arts.

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Portland presents...

Located at: Administrative Office: For Tickets: 120 Exchange Street (207) 773-3150 PortTIX Portland, ME 04101 20 Myrtle Street Portland, ME 04101 (207) 842-0800 e-mail: info@portlandovations.org TTY:(207) 842-0812 Order online at: www.PortlandOvations.org www.PortTIX.com

Administrative Office: For Tickets: 120 Exchange Street (207) 773-3150 PortTIX Portland, ME 04101 20 Myrtle Street Portland, ME 04101 (207) 842-0800 e-mail: info@portlandovations.org TTY:(207) 842-0812 Order online at: www.PortlandOvations.org www.PortTIX.com

Located at:

Located at: Administrative Office: For Tickets: 25A Forest Avenue (207) 774-1043 25A Forest Avenue Portland, ME 04101 Portland, ME 04101 Fax: (207) 774-0576 (207) 774-0465

Located at: Administrative Office: For Tickets: 25A Forest Avenue (207) 774-1043 25A Forest Avenue Portland, ME 04101 Portland, ME 04101 Fax: (207) 774-0576 (207) 774-0465 e-mail: boxoffice@portlandstage.org Order online at: www.portlandstage.org

e-mail: boxoffice@portlandstage.org Order online at: www.portlandstage.org

Located at: Administrative Office: For Tickets: 85 Exchange Street (207) 773-6128 PortTIX 4th Floor 20 Myrtle Street Portland, ME 04101 Fax: (207) 773-6089 Portland, ME 04101 (207) 842-0800 e-mail: psobox@portlandsymphony.org TTY:(207) 842-0812 Order online at: www.PortlandSymphony.org www.PortTIX.com

Located at: Administrative Office: For Tickets: 85 Exchange Street (207) 773-6128 PortTIX 4th Floor 20 Myrtle Street Portland, ME 04101 Fax: (207) 773-6089 Portland, ME 04101 (207) 842-0800 e-mail: psobox@portlandsymphony.org TTY:(207) 842-0812 Order online at: www.PortlandSymphony.org www.PortTIX.com

Located at:

Administrative Office: For Tickets: 20 Myrtle Street 212 Canco Road PortTIX Portland, ME 04101 Portland, ME 04101 20 Myrtle Street (207) 808-5400 Portland, ME 04101 (207) 842-0800

Located at:

Administrative Office: For Tickets: 20 Myrtle Street 212 Canco Road PortTIX Portland, ME 04101 Portland, ME 04101 20 Myrtle Street (207) 808-5400 Portland, ME 04101 (207) 842-0800 Information: www.portlandevents.com TTY:(207) 842-0812 www.PortTIX.com

Information: www.portlandevents.com TTY:(207) 842-0812 www.PortTIX.com

Program & Cover Design by Jennifer Roe, Wild Olive Multimedia

Aimée M. Petrin, Executive Director

Anita Stewart, Executive & Artistic Director

A cooperative effort by Portland Ovations, Portland Stage, Portland Symphony Orchestra and Merrill Auditorium Concert Events. great performances since 1931

Eckart

Program & Cover Design by Jennifer Roe, Wild Olive Multimedia

Aimée M. Petrin, Executive

Anita Stewart, Executive & Artistic Director

Portland presents...

Welcome to Portland Presents.

The program book for Northern New England’s premier arts and entertainment organizations.

Portland Presents wishes to thank our advertisers for the 2022-23 season. Visit our website at www.portlandpresents.org for direct links to our advertiser’s websites.

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If you or your business would like to advertise with Portland Presents, please contact any of the above organizations or check out our website at www.portlandpresents.org.

A cooperative effort by Portland Ovations, Portland Stage, Portland Symphony Orchestra and Merrill Auditorium Concert Events.

Photo © Darren Setlow

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Additional Maine Offices: 23 Main Street, Camden | 4A Tracy Road, Northeast Harbor

PSO

Long Story Shorts

KinderKonzerts

Meet the Instruments

PSO Masterclass

CONCERT SAFETY: Please visit portlandsymphony.org for the latest COVID-19 safety protocols .

OPENING NIGHT: DANCE†

TUES, SEPT 20, 2022 | 7:30 PM

Eckart Preu, Music Director

Inbal Segev, cello

VIOLINS OF HOPE: VERDI’S REQUIEM†

SUN, OCT 23, 2022 | 2:30 PM

TUES, OCT 25, 2022 | 7:30 PM

Eckart Preu, Music Director

Sein Lee, Principal cello

Charles Dimmick, Concertmaster

ChoralArt Masterworks

Summer Hassan, soprano

Leann Sandel-Pantaleo, mezzo soprano

Raúl Melo, tenor Mark Walters, bass

THOMAS WILKINS

CONDUCTS YOUR PSO

SUN, NOV 20, 2022 | 2:30 PM

Thomas Wilkins, guest conductor

THE RITE OF SPRING†

SUN, JAN 29, 2023 | 2:30 PM

MON, JAN 30, 2023 | 7:30 PM

Eckart Preu, Music Director Pepe Romero, classical guitar

THE ROMANTICS: RACHMANINOFF & SCHUMANN

TUES, FEB 14, 2023 | 7:30 PM

Eckart Preu, Music Director George Li, piano

RAVEL’S BOLÉRO

CLASSICAL POPS! DIGITAL

SUN, MAR 12, 2023 | 2:30 PM

Nir Kabaretti, guest conductor Gilles Apap, violin

ECKART CONDUCTS MÁRQUEZ†‡

SUN, APR 2, 2023 | 2:30 PM

TUES, APR 4, 2023 | 7:30 PM

Eckart Preu, Music Director

Ina Zdorovetchi, Principal harp

MOZART & BRAHMS

TUES, MAY 23, 2023 | 7:30 PM

Eckart Preu, Music Director

Alon Goldstein, piano

*Box office hours subject to change

†Available on demand.

‡This concert will be professionally recorded to promote the works of living Mexican composers.

In order to ensure the health and safety of our community during the COVID-19 pandemic, dates, programs, and offerings may be subject to change.

THE MUSIC OF QUEEN

SAT, OCT 15, 2022 | 7:30 PM

SUN, OCT 16, 2022 | 2:30 PM

Brent Havens, guest conductor MiG Ayesa, vocals

GET HAPPY! A JUDY GARLAND CELEBRATION

SAT, NOV 5, 2022 | 7:30 PM

SUN, NOV 6, 2022 | 2:30 PM

Michael Berkowitz, guest conductor Joan Ellison, vocals

LOUIS ARMSTRONG & FRIENDS

SAT, MAR 18, 2023 | 7:30 PM

SUN, MAR 19, 2023 | 2:30 PM Byron Stripling, guest conductor & trumpet Carmen Bradford, vocals

THE NAT KING COLE SONGBOOK

SAT, APR 15, 2023 | 7:30 PM

SUN, APR 16, 2023 | 2:30 PM

Eckart Preu, Music Director Denzal Sinclaire, vocals

LIGHTS! CAMERA! POPS!

SAT, MAY 6, 2023 | 7:30 PM SUN, MAY 7, 2023 | 2:30 PM

Bob Bernhardt, guest conductor

OPENING NIGHT: DANCE

WED, SEPT 28–FRI, OCT 28, 2022

VIOLINS OF HOPE: VERDI’S REQUIEM

WED, NOV 2–FRI, DEC 2, 2022

THE RITE OF SPRING

WED, FEB 8–FRI, MAR 10, 2023

ECKART CONDUCTS MÁRQUEZ‡

WED, APR 12–FRI, MAY 12, 2023

Violins of Hope

Violins of Hope is a collection of restored instruments played by Jewish musicians during the Holocaust.

Remembering the Holocaust, the PSO seeks to build connections in our community, strengthen long-treasured relationships, and create meaningful ways for people to reflect and to unite through music. The PSO’s Violins of Hope Maine (October 2022) will commemorate the 80 th anniversary of the resistance of the Terezín prisoners, the soaring inspiration of Verdi, and the preservation of beloved traditions through musical instruments.

Violins of Hope Maine will include a month-long residency with Violins of Hope, and it will include education and community events coordinated in partnership with the following community partners: ChoralArt, Holocaust & Human Rights Center of Maine, Maine Jewish Museum, Maine Jewish Film Festival, and the Jewish Community Alliance of Southern Maine.

OCT 2022

SUNDAY 23 2:30 PM TUESDAY

7:30 PM

VIOLINS OF HOPE: VERDI’S REQUIEM

The Violins of Hope residency will culminate in two performances of Verdi's Requiem, with PSO musicians performing on Violins of Hope instruments.

Eckart Preu, Music Director Sein Lee, Principal cello Charles Dimmick, Concertmaster ChoralArt Masterworks Summer Hassan, soprano Leann Sandel-Pantaleo, mezzo soprano Raúl Melo, tenor Mark Walters, bass

Max BRUCH: Kol Nidrei

Working in harmony with

needs.

And when the show’s over, we welcome the chance to help our local Maine neighbors tend to their real-world needs. That includes providing the coverage that can protect your business from all major exposures. Because we believe the best place for drama is on the stage.

Welcome  to  Merrill  Auditorium,  Portland’s  Premier  Performing Arts Venue

Welcome to Merrill Auditorium, Portland’s Premier Performing Arts Venue

Home  to  Prime  Tenants Portland  Symphony  Orchestra,  Portland  Ovations  and The Friends  of  the Kotzschmar  Organ.

Home to Prime Tenants - Portland Symphony Orchestra, Portland Ovations and The Friends of the Kotzschmar Organ.

Each  year  we  host a  variety  of  concerts,  dance  performances, children’s  programming,  comedy  shows, corporate  meetings and  non profit  events  with  over  150,000  patrons  in  attendance annually! Thank  you  for  being  a  guest  at  our  theater,  please  enjoy  the  show! Merrill  Auditorium  is  managed  by  the  City  of  Portland  Pub lic  Assembly  Facilities  Division 212  Canco  Rd  Portland  Maine PHONE:  207.808.5400    WEB:    PortlandEvents.com

Each year we host a variety of concerts, dance performances, children’s programming, comedy shows, corporate meetings and non-profit events with over 150,000 patrons in attendance annually!

Thank you for being a guest at our theater, please enjoy the show!

Merrill Auditorium is managed by the City of Portland Public Assembly Facilities Division Andrew J Downs, Director

Premier  Performing Arts Venue

Home  to  Prime  Tenants Portland  Symphony  Orchestra,  Portland  Ovations  and The Friends  of  the Kotzschmar  Organ.

Each  year  we  host a  variety  of  concerts,  dance  performances, children’s  programming,  comedy  shows, corporate  meetings and  non profit  events  with  over  150,000  patrons  in  attendance annually! Thank  you  for  being  a  guest  at our  theater,  please  enjoy  the  show!

Merrill  Auditorium  is  managed  by  the  City  of  Portland  Pub lic  Assembly  Facilities  Division 212  Canco  Rd  Portland  Maine PHONE:  207.808.5400    WEB:    PortlandEvents.com

A Different Way of Looking at Things

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Fogg’s Water Taxi & Charters

Providing a variety of options — from private charters on our small boat fleet that can accommodate up to six passengers, to our two larger vessels that can hold up to 49 passengers, we also offer daily public cruises aboard our 49 passenger Joseph S. Kennedy. The perfect way to see Casco Bay. Give us a call to book your next charter.

FOSTERING EXPERIMENTATION & ARTISTIC RISK

NEW WORK

Portland Stage is known for its role in cultivating new voices in theater and for creating a significant body of theatrical work that has gone on to success beyond our stage. By incubating new work and supporting writers, Portland Stage has established Maine as a place to launch original and compelling plays.

Since its debut in 1990, the Little Festival of the Unexpected (LFU) has established a tradition of nurturing artists, invigorating audiences, and exploring new voices, visions, and forms of theater. Past LFU scripts, include Almost, Maine (LFU 2003) and Papermaker (LFU 2014).

Playwrights

Richard Blanco (photo by Craig Dilger) & Vanessa Garcia and their play Sweet Goats and Blueberry Señoritas, soon to be a Mainstage production this season.

The play was selected to be a part of the 2022 Little Festival of the Unexpected, where it was performed virtually over Zoom for audiences.

Written by Richard Blanco & Vanessa Garcia

INSPIRING LITERACY, CULTURAL AWARENESS, COLLABORATION, & CREATIVITY

EDUCATION

Education is central to Portland Stage’s mission. Vital education programs are offered in schools for students from pre-K through high school, and to children ages 4-18 through classes in our Susie Konkel Theater for Kids storefront space. Portland Stage’s Education Programs provide over 14,000 student experiences each year.

PLAY ME A STORY presented by Portland Stage Theater for Kids allows participants to enjoy dramatic readings of picture books, then participate in an interactive acting workshop with professional theater artists.

Top Feature: Elementary student enjoying a in-school workshop.

Above: Actor Nolan Ellsworth and students during an interactive theater experience at the Portland Stage Theater for Kids.

HANDCRAFTED THEATER MADE IN MAINE

MAINSTAGE

With a season of six Mainstage shows, Portland Stage brings a wide range of performances to Maine. Every Mainstage show is handcrafted in our historic building in the Portland Arts District. Over one season, Portland Stage creates over two hundred live performances and serves 50,000 people from around the state and beyond.

Photos from the 2022 production of Last Ship to Proxima Centauri by Greg Lam

Top Feature: Kennedy Kanagawa (AEA) & Jamal James (AEA)

Above: Marcy McGuigan (AEA) & Tom Ford (AEA)

Side: Octavia Chavez-Richmond (AEA)

Photos by Mical Hutson

BOARD OF DIRECTORS

President

Mary Allen Lindemann

Vice President

Peter Genova

James T. Morgan

Sayad Moudachirou

Rachael Alfond Michael A. Boyson James Isaacson

Secretary

Carolyn Hughes

Treasurer

Michael F. Stillings

Jack Lufkin

Susan Morris Mary K. Noyes

Daniel Nuzzi

Tania Powers Olivier te Boekhorst April Ylvisaker

Judith W. Adam

Kimberly Block

Janet M. Bowne

Bruce Brown

Maria Chambers

Catherine H. Cloudman

Madeline G. Corson

Daniel N. Crewe

Charles W. Dibner

Francis A. Ferland

Robert H. Gardner

Phyllis Givertz

Philip H. Gleason

Judith Halpert

Heidi N. Hansen

Kendall Harnett

Tracy Hawkins

Elizabeth T. High

Daniel P. Hunter

J. Spencer Jones

Felicia Knight Gary Koocher

Robert Ludwig

Jeff McKinnon

Elizabeth A. McLellan

Peter Milliken

Marcia G. Minter

Nicholas S. Nadzo

Thomas R. Newman

Bob Nielsen

Jean K. Nishiyama

Jane A. Parker Stephen Poulos Patti Roderick

Monroe Scharff

Sigmund D. Schutz

Jaimie Schwartz

Lynn Shaffer

John D. Tewhey

Louise Thomas

June Vail

Alison Vanderhoof Sarah A. Verville Margaret A. Wilkis

Portland Ovations propels the artistic, social, educational and economic wellbeing of communities through the power of the performing arts.

Conversations

Join Ovations Offstage for community dialogues, inspired by our live performances, bring visiting artists together with Maine’s thought leaders and community members across all disciplines to share knowledge, deeper insight and context.

Masterclasses

Work with and learn from exceptional artists through our masterclasses. Over a season we offer an array of masterclasses –for the general public or for students studying a specific art form.

Pre-Performance Lectures

An in-depth look at an art form, artist, or performance theme, these presentations contextualize the performance and bring new meaning to the main event.

School-Time Performances

Energize and engage your students with the performing arts and artists through onstage school-time matinees, digital offerings and offstage theater activities. Experiences are aligned with Common Core standards and are supported by educator resources and learning guides.

Cultivating Curiosity

Cultivating Curiosity helps grow young people’s love of books by pairing reading opportunities with School-Time Performances, by providing each child who attends the performance a free book inspired from its title.

Gatherings

From a processional performance to shared meals to a walking tour of Portland’s Freedom Trail, Ovations Offstage gathers communities to connect more deeply and locally with the art, artists, and ideas onstage.

WITH

ARTISTS

AUDIENCES WITH ARTISTS

portlandovations.org or email offstage@portlandovations.org

email offstage@portlandovations.org

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INDEPENDENT LIVING AT THE ATRIUM is luxurious and carefree, focused on wellness and personal growth, and filled with activity and friends. From farm-to-table dining to the saltwater pool, we give you the time to truly enjoy all Portland, Maine has to offer. Schedule your personal visit today! 640 Ocean Avenue, Portland, Maine (207) 221-7100 | thecedarsportland.org

We’re a proud supporter of the arts and other nonprofits that make our community a better place to live and work.

What kind of school knows that learning should spark joy?

Hands-on learning personalized to each student’s passions and potential. Small class sizes filled with diverse perspectives. Teachers and friends they trust.

At Waynflete, our students love to learn. The joy of painting their self-portrait as an astronaut and building Mars rovers from recyclables in Lower School becomes, over time, the thrill of solving complex equations alongside working NASA scientists to measure and name real asteroids in Upper School.

Visit waynflete.org/more to learn how Waynflete will make sure every student gets the most out of this school year.

“Experience Handcrafted Theater!”

This season is full of stories that come from the heart. Stories of family and friends, of caring, of finding new ways forward with humor and grace. You will meet a 5’5” Chinese basketball player intent on making the team; a Cuban American transplant to Maine making new friends and learning more about her roots in the process (a first play by poet Richard Blanco); a Black playwright, spinning stories and bringing to light a life in the theater; a baker concocting sweet ways to resurrect her marriage and make peace with another; Dr. Watson as he remembers the final adventure with his best friend Sherlock; and the entire town of Tuna, Texas.It will be fun, it will be moving, it will make you remember what it means to come together and share.

We thank you for joining us for this performance, whether this is your first show or you are a returning subscriber.

Stewart, Artistic Director

Anita

As the leading professional theater in Northern New England, Portland Stage is committed to creating great art, passionate about using the theater to educate, and dedicated to enriching our community.

Stage Mission Board of Trustees

Darrell Pardy, President

Benefits Comparison

Choose the best plan for you!

1 Misplaced or forgotten tickets can be easily reprinted at the Box Office on the day of the show.

2 Per-ticket price is lower than average single ticket prices and you only pay a onetime handling fee for each subscription package in your purchase.

3 Get access to reservations, exchanges, and additional tickets before shows go on sale to the general public.

4 The first exchange for each show is at no extra charge for a performance of the same price (i.e., evening to evening).

Pictured: Raymond McAnally (AEA) & Samantha Rosentrater (AEA) from the 2019-20 Portland Stage production of John Cariani’s Almost, Maine.

Because each contribution is an investment to the arts Tax-deductible contributions keep Portland Stage a living, breathing, thriving theater, and ultimately ensure the fulfillment of our mission and the enrichment of our community. The generosity of individual donors, corporations, and foundations enables us to surround the work on our Mainstage with Education Programs, New Work Development Initiatives, and Community Engagement events that deepen and broaden the impact of the shows themselves.

from the 2019-20 Portland Stage and Maine State Music Theatre co-production of Richard Maltby, Jr. and Murray Horwitz’s Ain’t Misbehavin’.

Educational Camps & Classes

Theater for Kids is made possible by the support & vision of Susie Konkel.

Theater for Kids is made possible by the support & vision of Susie Konkel.

Written by Ed Howard, Joe Sears, & Jaston Williams

I am fascinated by A Tuna Christmas in the way I used to love shaking a plastic snow globe that showed up at this time of year on my aunt’s coffee table. As Tom Ford and Nathaniel Claridad shape shift their way through a community of misfits, it is impossible not to laugh at the absurdity and to wonder at the insanity of the world this play presents.

Written by Ed Howard, Joe Sears, and Jaston Williams, A Tuna Christmas is a biting satire of the Moral Majority rising to power in Texas in the ’80s. Just as the fool is the only subject in the kingdom

“If we see similarities and find a way to keep talking, there is hope that we can find ways to shift hearts and minds”

able to speak truth to power, A Tuna Christmas uses humor to broach taboo subjects. It is not meant to solve problems but to point out the absurdity of the situation we live in and choose to laugh at our troubles.

Looking at headlines from across the country today, it is clear that the issues this play lambasts have only grown. The smut snatchers are alive and well on school boards in the state of Maine; at businesses like Didi’s used gun emporium, sales flourish as gun violence becomes a national addiction; and religion and morality have been wielded in the Supreme Court in a way that we never imagined possible. It’s not just Tuna, Texas anymore—but Tuna, Florida; Tuna, Arizona; and Tuna, Maine—thousands of Tuna snow globes erupting in blizzards when shaken.

The snow globe on my aunt’s coffee table was silly and fun. The results of our current political divide are anything but that. Yet apart from making fun of the sad state of our current society, this play gives us pause to think. Seeing the disjointed lives of the inhabitants of Tuna stuck in their plastic world, I realize that down deep they are looking for happiness and a way to connect to others just the way I am. If we see similarities and find a way to keep talking, there is hope that we can find ways to shift hearts and minds.

So, at this holiday time of the year, find a way to communicate with that annoying uncle, neighbor, or the woman in line at the checkout counter. They will be there year after year. In the snow globe of Tuna, America, perhaps our best bet is to invite folks in, show them our humanity, and be willing to look for theirs.

To searching for ways to connect,

Stewart, Artistic Director

Anita

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

Nathaniel P. Claridad* Tom Ford* ARTISTIC/PRODUCTION Director

Julia Gibson Scenic Designer

SeifAllah Salotto-Cristobal Sound Designer

Seth Asa Sengel Stage Manager

Myles C. Hatch* Fight Choreographer

Michael Dix Thomas Wig Artist..................................................................... Lindsay Olivia Taylor Scenic Artist

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

NOVEMBER 30 - DECEMBER 24, 2022 Christmas Eve in Tuna, Texas

ED HOWARD, JOE SEARS, JASTON WILLIAMS, PLAYWRIGHTS

Ed Howard, Joe Sears, and Jaston Williams met in Austin, Texas, in 1980 through the formation of a theater company called Trans/Act, which quickly dissolved. Unemployed, Sears and Williams acted in a series of politically-inspired party skits that turned into Greater Tuna, with Howard helping finalize the script, direct, and produce the show. Since then the Tuna franchise has dominated their careers: Sears and Williams have performed Greater Tuna some 4,000 times, and the three have extended the town’s legacy through A Tuna Christmas (1994); Red, White, and Tuna (1998); and Tuna Does Vegas (2008). However, the men’s careers also go beyond the fictional small town. Williams has had critically acclaimed performances in such shows as Larry Shue’s The Foreigner, Eugene Ionesco’s The Chairs, and Jay Presson Allen’s Tru. Sears’s acting career encompasses musicals, dramas, Shakespeare, television, and film appearances. Howard also co-authored Splendora, based on the novel by Edward Swift, and book and lyrics of the musicals The Body Snatchers and Boy Problems.

Jaston Williams

Joe Sears

JULIA GIBSON, DIRECTOR

Julia Gibson is very happy to return to Portland Stage. Last year she directed Searching for Mr. Moon, and several years ago…Greater Tuna. She has directed with Rattlestick, Barrow Street, Origin Theatre, Manhattan Theatre Source, and Epic Theatre Company in New York City; and at Chautauqua Theater Company, Gulfshore Playhouse, New London Barn, Juilliard, NYU Graduate Acting, SMU in Dallas, The Actors’ Center Conservatory, A.C.T. Conservatory in San Francisco, Stony Brook University, and Stella Adler Conservatory. She was Associate Director of the revival of Angels in America at the Signature Theatre. As an actor she has performed on and off Broadway and at major theaters across the US, as well as on TV and film. She is currently Co-Head of the Graduate Acting Program at UNC Chapel Hill where she also serves as a company member of PlayMakers Repertory Company. She received her MFA in Acting from New York University and is a founding member of The Actors’ Center in New York City as well as the National Alliance for Acting Teachers; she is a Fox Fellowship recipient and has narrated over 160 audio books. Julia recently received a Carolina Women’s Center Faculty Scholarship grant to create a theater piece about women and aging.

CAST BIOGRAPHIES

Nathaniel P. Claridad Off-Broadway/NYC include: Here Lies Love (The Public Theater), Taylor Mac’s 24-Decade History… (St. Ann’s Warehouse). Regional credits include work at the Kennedy Center, PlayMakers Repertory Company, Folger Theatre, Shakespeare Theatre Company, Two River Theater, Cape Fear Regional Theatre, Imagination Stage, Hangar Theatre, Barrington Stage Company, Florida Studio Theatre. International credits include work at the Brisbane Festival and the Sydney Opera House with Dead Puppet Society. TV: New Amsterdam, Harlem. As a director, credits include work at Weathervane Theatre, Imagination Stage, Southern Rep, and Out of the Box Theatrics, as well as being named a Drama League Resident in 2019 and 2016. MFA: University of North Carolina, Chapel Hill.

CAST BIOGRAPHIES

Tom Ford

Portland Stage: Sherlock Holmes: The Final Adventure, Last Ship to Proxima Centauri, A Christmas Carol, Read to Me, Greater Tuna, Bach at Leipzig, The Mystery of Irma Vep, I Am My Own Wife, The Snow Queen, Iron Kisses, The Woman in Black, Lend Me a Tenor, Art, and Gaslight. Boise Contemporary Theater: The Show on the Roof (world premiere of a new musical, book by Tom Ford, music and lyrics by Alex Syiek), Lewiston, Tru, and This Wonderful Life. Northern Stage: It’s a Wonderful Life: A Radio Play and Miss Trunchbull in Matilda. Idaho Shakespeare and Great Lakes Theater: Henry Higgins in My Fair Lady, Frollo in The Hunchback of Notre Dame, Wargrave in And Then There Were None, the Fool in King Lear, Sidney Bruhl in Deathtrap, Sweeney in Sweeney Todd, Thenardier in Les Miserables, Argan in The Imaginary Invalid, Mr. Paravicini in The Mousetrap, Baker in Into the Woods, Pseudolus in A Funny Thing Happened..., and the title role in You’re a Good Man, Charlie Brown. New London Barn Playhouse: The Odd Couple, The Man Who Came to Dinner, The Drowsy Chaperone, A Funny Thing Happened..., Hairspray, Harvey, The Pirates of Penzance, The Producers, and She Loves Me. Broadway: By Jeeves. tomfordactor. com

ARTISTIC & PRODUCTION BIOGRAPHIES

Randall Parsons (Scenic Designer) is delighted to work again with director Julia Gibson, on a show that does not begin with a “B.” Previous projects with Julia include Blue Window and Bliss in New York and Boeing Boeing at Gulfshore Playhouse in Naples, FL. As a Resident Designer for the Berkshire Theatre Group, recent productions include Nina Simone: Four Women and Songs for a New World, dir.: Gerry McIntyre; Edward Albee’s Seascape, dir.: Eric Hill; and White Christmas, dir.: Gregg Edelman. Randall also served as scenic designer for Godspell, dir.: Alan Filderman, at BTG in the summer of 2020, the first Actors’ Equity-approved musical to open after the onset of the COVID-19 pandemic. At Theatre Three, Port Jefferson, NY (Resident Production Designer since 2000), he has designed well over a hundred shows, counting Gypsy, Sweeney Todd, Big River, Les Miserables, and Urinetown among favorites. Recent work in NYC: Just for Us by Alex Edelman at the Greenwich House Theater. Art Direction: The Late Show with David Letterman and Tim Gunn’s Guide to Style (season 2). Randall received his MFA in design from NYU’s Tisch School of the Arts, and is a proud member of USA Local 829, IATSE.

Cole McCarty (Costume Designer) is a New York City–based costume designer originally from Texas. Some of his costume design credits include: Read to Me (Portland Stage), Twelfth Night (Two River Theater), Circle Jerk (Fake Friends), Kiss (Yale Rep), This American Wife (Fake Friends), Romeo and Juliet (Two River Theater), American Dream (Teatro LATEA). Film: Rolling on the Floor Laughing (Sundance Film Festival), Vuka. BFA: University of Evansville, MFA: Yale School of Drama. Faculty: Fashion Institute of Technology. SeifAllah Salotto-Cristobal (Lighting Designer) is excited to be back with Portland Stage Company to work on this project. He has been telling stories using light and video for the past 17 years. His career has taken him across the country and has allowed him to design for theater, opera, dance, musical concerts, and events. He has had the privilege to work on projects with many companies, including Portland Stage Company (Portland, ME), Brown/Trinity Rep MFA Program (Providence, RI), Opera Colorado (Denver, CO),

Palm Beach Opera (Palm Beach, FL), Tulsa Opera (Tulsa, OK), Boston Conservatory at Berklee (Boston, MA), Umbrella Stage Company (Concord, MA), Unicorn Theatre (Kansas City, MO), Wagon Wheel Center for the Arts (Warsaw, IN), and Theater at Monmouth (Monmouth, ME). He holds a Master of Fine Arts in Design from the University of Missouri-Kansas City with a focus on Lighting and Projection Design and is the Assistant Professor of Lighting Design at the University of Southern Maine where he brings his knowledge and experience to help shape the next generation of theater professionals, focusing on developing complete storytelling. www.seif.design

Jacob Marley’s Christmas Carol, Changing Channels, and Sweat; and with Cortland Repertory Theatre for Murder on the Orient Express, The Complete Works of William Shakespeare ( Abridged ), and A Midsummer Night’s Dream. Seth loves creating with Portland Stage, where he has designed Last Ship to Proxima Centauri, Where We Stand, A Christmas Carol (2020), Talley’s Folly, Native Gardens, The Last Five Years, The HalfLight, The Importance of Being Earnest, Sex and Other Disturbances, The Haunting Hour, Buyer & Cellar, Dancing at Lughnasa, Souvenir, The Savannah Disputation, Tribes, Words By, Wittenberg, A Song at Twilight, Heroes, and Collected Stories. For more info about Seth, please visit www.sethasa.com. Please be good to yourself, and to each other, and let people know that you love them. Much Love to Mary Lana, Hazel, and Boo.

Myles C. Hatch (Stage Manager) is pleased to be working in Tuna, TX, with all these characters. Historically, 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. In his free time, Myles is a weaver. Myles is a proud member of Actors’ Equity Association.

LAND & SLAVERY ACKNOWLEDGMENT

We are gathered on the unceded land of the Aucocisco and Abenaki peoples of the Wabanaki Confederacy. Portland Stage asks you to join us in acknowledging the Wabanaki community, their elders both past and present, as well as future generations. Portland Stage also acknowledges that it was founded upon exclusions and erasures of many Indigenous peoples, including those on whose land this institution is located. This acknowledgment demonstrates a commitment to beginning the process of working to dismantle the ongoing legacies of settler colonialism through our work at Portland Stage.

We encourage you to learn more about the peoples who stewarded 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 oftneglected 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.

CENTERSPREAD TOPICS

“SMUT SNATCHING” N’ BOOK BANNING: THEN AND NOW

By Rachel Ropella

In A Tuna Christmas, characters Vera Carp and Bertha Bumiller are portrayed as “holier-than-thou” church ladies and members of the Smut Snatchers of the New Order. When concern is raised over how A Christmas Carol could be inappropriate, Bertha responds, “Smut Snatchers are here for everyone’s protection. Censorship is as American as apple pie, so shut up.” While the Smut Snatchers is a fictional organization played for laughs in A Tuna Christmas, it was inspired by real organizations in the 1980s who used the same rhetoric.

It’s easy to think that book banning is a problem only happening far away, but is also happening close to home, right here in Maine. In the past few months, multiple Maine school boards have had contentious debates with the community over books parents have wanted to ban. The books in question?

Gender Queer: A Memoir by Maia Kobabe and Beyond Magenta: Transgender Teens Speak Out by Susan Kuklin. This August, Gender Queer was removed from the library of Dirigo High School in Dixfield by a school board vote of 7-2, while Bonny Eagle School Board in Standish voted to not ban it just this past October. Meanwhile, the Woolwich Central School library in Woolwich currently has a parent trying to appeal a decision to keep Beyond Magenta on the shelves right now in November.

POLITICS AND SATIRE

By Audrey Erickson

As long as politics has existed, so has its mockery. Satire uses humor and exaggeration to comment on and ridicule current events or public figures, often pointing out hypocrisy, stupidity, or logical fallacies. Over human history, the making, distribution, and reception of satirical works have reflected the state of the world and the government’s relationship to the public. To an extent, satire is inherently incendiary, as it seeks to explore often divisive topics and pushes the boundaries of acceptability in order to make a statement in an attention-grabbing and entertaining way. “We see satire emerge when political discourse is in crisis and when it becomes important to use satirical comedy to put political pressure on misinformation, folly, and the abuse of power,” says Sophia McClennen, professor of international affairs at Penn State. That being said, the public reception to satirical works has varied wildly over time, with our collective barometer for what is going “too far” shifting depending on the larger context of what is going on in the world.

Satire’s reliance on comically emphasizing foolishness becomes difficult as political news becomes inherently absurd. As writer and director Zach Bornstein—who has worked for Saturday Night Live, Jimmy Kimmel Live, Netflix, and more—puts it, “I could write jokes for 800 years and I’d never think of something funnier than Trump booking the Four Seasons for his big comeback presser, and it turning out to be the Four Seasons Total Landscaping parking lot between a [sex store] and a crematorium.” Other writers are interrogating what it means to make humor around such a harmful figure. Former head writer of The Tonight Show Starring Jimmy Fallon, Rebecca Drysdale, stated in 2020, “The project of…doing material about Trump, has led to divided creative teams, anxiety, tears, and pain. I can’t decide the outcome of this election, but I can make the choice for myself, to vote him out of my creative life.” The question remains then: can we adapt satirical formats of the past to reflect today’s climate, or can satire only belong in the present?

CENTERSPREAD TOPICS

INTERVIEW WITH THE DIRECTOR: JULIA GIBSON

By Moira O’Sullivan

Moira O’Sullivan: How has it been returning to Tuna ten years after directing Greater Tuna here in Portland back in the 2012-2013 season?

Julia Gibson: I was here at Portland Stage just last year directing Searching for Mr. Moon and I always really enjoy being here; the company and staff are all really kind and accessible and really, really good at what they do. As for returning to the Tuna series, ten years is a long time. It’s sort of amazing both how much I remember about that production and how much I’ve completely forgotten. But this year we have Tom Ford in it again and then we have an actor that was not in the other one. The show is a tour de force for two actors. It’s really all about the two of them, who each play 11 characters. I think it’s safe to say that the character of Bertha is at the center of this play, and perhaps even Greater Tuna ten years ago, so having Tom come back and be that centerpiece, there is something that feels solid and familiar about it. And yet Nathaniel is this brand new spirit in the world of this play, so it’s both reminiscent and brand new. Also, the world around us has changed a lot in ten years, so it’ll be interesting to see how the audience responds, if it feels different to the audience than it did ten years ago.

MO: Though it’s set at Christmas, this isn’t a typical Christmas show. How does satire set this one apart?

JG: I think that with the traditional Christmas plays like It’s A Wonderful Life or A Christmas Carol we expect them to be warm and fuzzy and maybe kind of sentimental and feel-good. But both Christmas Carol and It’s a Wonderful Life are pretty dark; the characters sort of struggle through their circumstances to get to the warm and fuzzy. I think that’s actually the same with this play, but in a different way. It being a satire, it is very silly, very ridiculous. And yet I think there’s something warm and fuzzy about laughing, and laughing in community with other people, which, of course, is what live theater is all about. [Also,] there’s the expectation of one’s life and the expectation of

Christmas itself versus reality and there’s a lot of disappointment and heartbreak in there. [But] when the expectation loosens up a little, that’s when the hope shines through. That’s definitely present in A Tuna Christmas .

MO: What are you hoping the audience will take away from the show?

JG: I think it is the hope and the heart. I also think there’s a reminder to have a sense of humor. We’re in a very serious time right now, and it’s hard to find a sense of humor sometimes. I think it’s the heart and the hope and the humanity at the center of even the most ridiculous stuff.

DISCOVER MORE!

Created by the Portland Stage Literary Department, these extensive guides present a broad spectrum of information and perspectives on each play in our Mainstage season.

THANK YOU TO OUR SPONSORS

WRIGHT-RYAN is known for their commitment to building high-quality homes throughout Maine. Just like building a fine home, bringing a play to life requires the imagination and skills of a dedicated team, from the playwright who puts pen to paper, to the designers who envision the set, lighting and costumes, to the carpenters, painters, seamstresses, actors and artists who make it a reality.

Thanks to the longstanding support of Wright-Ryan, Portland Stage is able to bring A Tuna Christmas to life on our Mainstage.

W.H. DEMMONS: TAKE A BREATH SPONSOR SUPPORTING AIR PURIFICATION AND AIR QUALITY

A very special thank you to W.H. Demmons for supporting our public safety! The HVAC system installed by W.H. Demmons utilizes bipolar ionization technology, which releases charged atoms that attach to and deactivate harmful substances like bacteria, mold, allergens, and viruses by pulling the hydrogen atom away, causing the harmful substances to die. Testing of the building’s system for effectiveness against the COVID-19 virus by two different independent laboratories, Analytical Lab Group and Innovative Bioanalysis, revealed that the level of the virus would be cut by 90% within 60 minutes.

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 Beth Given, Development Director, at 207.774.1043 x109.

A Tuna Christmas is funded in part by a grant from the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts. Generous support also provided by the National Endowment for the Arts, the Maine Theater Fund/Maine Community Foundation, and the Shubert Foundation.

Christmas at Victoria Mansion

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