Portland Presents | Sweet Goats & Blueberry Señoritas

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

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

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

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 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

Portland presents...

Welcome to Portland Presents.

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

Photo © Darren Setlow

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PSO

Long Story Shorts

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Meet the Instruments

PSO Masterclass

Classical

MAY 2023

MOZART & BRAHMS

TUESDAY, MAY 23 | 7:30 PM

Eckart Preu, Music Director

Alon Goldstein, piano

Brian NABORS: Pulse

W.A. MOZART: Piano Concerto No. 24 in C minor

Johannes BRAHMS: Symphony No. 4 in E minor

FEB 2023

THE ROMANTICS:

RACHMANINOFF & SCHUMANN

TUESDAY, FEBRUDAY 14 | 7:30 PM

Eckart Preu, Music Director

George Li, piano

Fanny Mendelssohn HENSEL: Overture in C major

Sergei RACHMANINOFF: Rhapsody on a Theme of Paganini

Robert SCHUMANN: Symphony No. 4 in D minor

ECKART CONDUCTS MÁRQUEZ †

SUNDAY, APRIL 2 | 2:30 PM

TUESDAY, APRIL 4 | 7:30 PM

WATCH ON DEMAND: WED, APR 12–FRI, MAY 12

Eckart Preu, Music Director

Ina Zdorovetchi, Principal harp

Enrico CHAPELA: Rotor

Arturo MÁRQUEZ: Máscaras Concerto for Harp & Orchestra

Ana LARA: Angels of Fire and Ice

This concert will

Goldstein

Discovery Concerts

Enjoy an unforgettable afternoon out with classical concerts conducted for children of all ages. For only $10 a ticket, it’s the fun, affordable way to spark your kids’ lifelong interest in the magic of live symphony music.

JOIN US AT AN UPCOMING EVENT

Once Upon a Time

SUNDAY, FEBRUARY 19 | 2:30 PM

Michelle di Russo, guest conductor Angelica Michelle, vocalist & actor

Spend an afternoon with your PSO traveling through beloved fairy tales and daring adventures! Special guests Mirabel from Encanto and Anna from Frozen will join us on our exciting journey!

Around the World with the Portland Youth Symphony Orchestra (Side-by-side)

SUNDAY, MARCH 26 | 2:30 PM

Eckart Preu, Music Director Portland Youth Symphony Orchestra

Led by Robert Lehmann Buckle your seatbelt and put your tray table in the upright position as the PSO and the Portland Youth Symphony Orchestra take you around the world!

Peter and the Wolf

SUNDAY, MAY 14 | 2:30 PM

Michelle Merrill, guest conductor Matt Laberge, narrator Enjoy this timeless classic and hear the sounds of the countryside as Peter defeats the fiendish wolf!

ACTIVITIES

Podium Hero!

Ever wondered what it would be like to conduct your own symphony orchestra? Find out at this pre-concert event that features two real PSO musicians along with the conductor! Learn how to use a baton and beat a pattern that the musicians will follow.

The Instrument Petting Zoo!

This is an opportunity for children to touch, play, and hear instruments with demonstrations by real professional PSO musicians. About 600 people experience the petting zoo during each of Discovery Concert. What instruments? Violin, Viola, Bass, Harp, and assorted Percussion instruments.

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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.

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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.

Playwrights

Richard Blanco (photo by Craig Dilger) & Vanessa Garcia and their play Sweet Goats & Blueberry Señoritas.

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. 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).

Written by Richard Blanco & Vanessa Garcia

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 students enjoying an 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 Sherlock Holmes: The Final Adventure, by Steven Dietz, based on the original 1899 play by William Gillette and Sir Arthur Conan Doyle

Top Feature: Ezra Barnes (AEA), Brian Lee Huynh (AEA), & Isabelle Van Fleet (AEA)

Above: Ezra Barnes (AEA) & Tom Ford (AEA)

Side: Nicholas Mongiardo-Cooper (AEA)

Photos by NoUmbrella Media

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ABOUT US

Portland Ovations is a nonprofit cultural organization based in Southern Maine dedicated to gathering communities to share in the power of live performance. Ovations connects artists and audiences both onstage and off — making the arts an integral part of community life.

Our unique array of live performances for the public and school audiences are curated to delight, inspire and educate. Venues used throughout greater Portland include historic and modern theaters, clubs, galleries, and classrooms — chosen carefully to ensure the best possible experience for both audiences and artists.

Join us for a season of performances that span the traditional to the contemporary, the intimate to the spectacular, the popular to the unexpected.

OUR VISION

To inspire a curious and imaginative community where the experience of the performing arts is a vital part of every day life.

OUR MISSION

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

Dancing with Garba360 at Deering Oaks Park

Ovations Offstage

Ovations Offstage (O2) creates interactive programming for audiences of all ages. From workshops, masterclasses, and lectures with artists and scholars to community events and School-Time Performances, O2 provides experiences for our communities to deeply engage with the artists, and art, creating those magical moments when audiences and artists connect.

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 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.

AUDIENCES WITH ARTISTS AUDIENCES WITH ARTISTS

Executive & Artistic Director

Aimée M. Petrin

Office Administrator

Mary Campbell

Director of Marketing & Development

Casey Oakes

Bookkeeper

Marlene Dye

STAFF

Development Manager

Jamie Barilone

Marketing Manager

Katie Day

Director of Community Programs & Partnerships Katelyn Manfre

House Manager

Zoe Pancic

Production Manager

Eric Hager

Director of School & Family Programs

Liz Schildkret

BOARD OF DIRECTORS

President

Mary Allen Lindemann

Secretary Carolyn Hughes Rachael Alfond Michael A. Boyson Maile Buker Luisa Deprez Ken Grady

Vice Presidents

Peter Genova James T. Morgan Sayad Moudachirou

James Isaacson Jack Lufkin

Nyamuon Nguany Machar Susan Morris Mary K. Noyes

FOUNDER’S COUNCIL

Treasurer Michael F. Stillings

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

92 YEARS OF PERFORMING ARTS

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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.

Anita Stewart, Artistic Director

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.

Portland Stage Mission Board of

Trustees

Darrell Pardy, President

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 one-time 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: Ezra Barnes (AEA) from the 2022-23 Portland Stage production of Sherlock Holmes: The Final Adventure by Steven Dietz, based on the original 1989 play by William Gillette and Sir Arthur Conan Doyle

Pictured: (front row) Elleon Dobias, April Lee Uzarski (AEA), Larry Tobias (AEA), (back row) Andrew Crowe (AEA), & Daniel Emond (AEA) from the 2022-23 Portland Stage and Maine State Music Theatre co-production of Smoke on the Mountain • Book by Connie Ray, Conceived by Alan Bailey, and Musical Arrangements by Mike Craver & Mark Hardwick Crav

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.

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To address safety concerns, WH Demmons updated our HVAC system to utilize bipolar ionization technology to deactivate harmful substances like bacteria, mold, allergens, and viruses.

What is it that makes you smile and remember someone or something you love? The call of a bird, the smell of freshly baked bread, the heart-shaped rock or photo that sits on your dresser? Sweet Goats & Blueberry Señoritas by Richard Blanco and Vanessa Garcia invites us to discover the poignancy that can be found in the everyday small things. We follow Bea and her friends and family through a short window of time on the cusp of spring in the heart of Maine. As we watch, the mundane events of a small town meld together to create a communal embrace of forgiveness and connection—a mourning for what has been lost and a hope for the future.

“I’m convinced that if we all took time to share a simple memory or idea with one another, the world might feel less scary ”

Seeing this play, I am reminded that small things matter. The call to your mom, the smile you offer a person you pass on the street, taking the time to talk with a coworker— for through these everyday connections our lives become richer.

In our world, news breaks every second. Weather events change landscapes in the blink of an eye; pandemics, political upheaval, and prices all impact our personal lives. As we witness calamity after calamity, it is hard not to feel overwhelmed and alone.

In the description of the stage, Richard and Vanessa imagine the frames, or the islands we each inhabit. So what happens when we make time to connect? It may not feel as big as events in the news, but I’m convinced that if we all took time to share a simple memory or idea with one another, the world might feel less scary.

The making of this play has been a labor of love. An impromptu and theatrical poetry reading by Richard in 2016 prompted me to ask if he had ever considered writing a play. The seed was planted and a commission for a play about Maine followed a few years later. In the midst of COVID and shifting sands, Vanessa Garcia added her voice to the writing process. Then with a three-hour script in hand, Sally Wood, our literary team, and numerous actors entered. We added a pinch of this and cut a cup of that to come up with the “Made in Maine” play you see today. Much gratitude to all the voices who have joined in the creative process that helped bring Sweet Goats & Blueberry Señoritas to life.

At the end of the performance today, I invite you to join your fellow travelers here in the theater to share a memory, or a story you carry with you. Listen to one, and share one. Perhaps you could even share with someone you don’t know as we all relearn how to connect.

Anita Stewart, Artistic Director

Written by Richard Blanco & Vanessa Garcia

RICHARD BLANCO, PLAYWRIGHT

Richard was born in Madrid; his family had recently arrived as exiles from Cuba. Forty-five days later, the family immigrated once more to New York City, and eventually settled in Miami. Only a few weeks old, Blanco already belonged to three countries, a foreshadowing of the negotiations of cultural identity, community, and belonging that would shape his life and continue to inform his work. As a poet, memoirist, and essayist, Blanco is a sought-after speaker who captivates audiences around the nation and the world with his dynamic storytelling and powerful readings. Advocating for diversity, LGBTQ rights, immigration, arts education, cultural exchange, and other important issues of our time, Blanco routinely speaks at a variety of venues and functions, including fundraisers and galas, professional development conferences, middle and high schools, universities, commencement ceremonies, writing conferences, and literary festivals. In 2013, Blanco was selected by President Obama as the fifth inaugural poet in US history. He stands as the first Latino, immigrant, and gay person to serve in such a role. His latest book of poems, How to Love a Country (Beacon Press, 2019), both interrogates the American narrative, past and present, and celebrates the still unkept promise of its ideals.

The Academy of American Poets chose Blanco to serve as its first Education Ambassador. He has also served as artist-inresidence at Colby College, and has taught at Georgetown University, Wesleyan University, American University, and many literary centers throughout the country. A builder of cities as well as poems, Blanco holds degrees in civil engineering and creative writing from Florida International University. In addition, he has received honorary doctorates from Macalester College, the University of Rhode Island, the University of Southern Maine, and Colby College.

photo by Craig Dilger

VANESSA GARCIA, PLAYWRIGHT

Vanessa Garcia is a Cuban American multidisciplinary writer—screenwriter, playwright, novelist, journalist and essayist— who has written and worked for Sesame Street, Caillou, We Are Family, and Dora the Explorer. She’s the author of the novel, White Light, which won an International Latino Book Award and was one of NPRs best books of 2015. Her first picture book for children, What the Bread Says, was published in 2022. Theatrically, her work has been produced around the world. She’s the author of The Amparo Experience, an immersive hit that People en Español called “Miami’s Hottest Ticket.” Other plays include Carbonell-nominated The Cuban Spring ; Ich Bin Ein Berliner, a radio play about the fall of the Berlin Wall; and #Graced (which premieres this May at Zoetic Stage in Miami). Her journalism, essays, and thought pieces have appeared in The LA Times, The Guardian, The Washington Post, National Review, ESPN, The Hill, Catapult, Boston Globe, Narratively, and numerous other publications.

Vanessa also hosts a podcast about family with her own sister and mother called Never the Empty Nest, available anywhere you listen to podcasts. She holds a PhD from the University of California Irvine in Creative Nonfiction. Her dissertation focused on Cuba. For more: www.vanessagarcia.org. Instagram: @vanessagarciawriter

Special Thanks from the Playwrights

We’d like to thank Portland Stage for this beautiful experience, our magical cast and crew, Sally Wood for helping us deliver this baby, and to Anita for believing in the play.

From Richard Blanco: “Thank you, Vanessa, for your genius and for holding my hand on this incredible journey through the magical world of playwriting.”

From Vanessa Garcia: “My thanks to Richard for inviting me to play. I’d also like to give a special nod to the Pedro Pan kids who have shared their stories with me over the years.”

SALLY WOOD, DIRECTOR

Thank you so much for supporting live theater. When not directing, Sally is an actor, fight choreographer, teaching artist, theater professor, and builder of sheds. In Maine, Sally’s directing credits include AIRE Theater, Bates and Bowdoin Colleges, The University of New England, The Theater at Monmouth, Fenix Theater Company, Good Theater, Dramatic Rep, and Portland Stage Company. Sally has been lucky to work on several premieres over the years, and some favorites include Veils, Papermaker, Last Gas, Love/Sick, and The Half-Light. Massive thanks to Vanessa and Richard for this beautiful play. Humongous gratitude to the marvelous cast and production team. It has been a magical time bursting with goodwill and lots of laughter. Much love to Matt, Tucker, and Charley for loaning me out.

INTERVIEW WITH THE PLAYWRIGHTS & DIRECTOR

By Audrey Erickson

Audrey Erickson: What is the most exciting part of watching a play change so much?

Vanessa Garcia: I love being in the room, I love making changes live. I never start in a place of preciousness because it’s the closest thing to life we have and that’s ever changing anyway. Where do things have to go? What has to get lifted, what has to be there in the first round, so that it’s sort of echoing, as a sort of pentimento later. That tapestry is the best thing ever. I just think it’s so fun .

Richard Blanco: For me, as a first-time playwright, it was great to see how much the actors bring to it. Understanding the play from their perspective, it’s just so cool. Nobody asks me what they need from my poem. Getting in their head and realizing, oh, my god, another piece of the collaboration, that’s so essential. I think that in some ways, it is like poetry in the sense that you’re trying to find out, what is the bare bones with this? Do I need 40 lines? Can I do it in 15? And if I’m gonna do the 15, it’s usually a better piece.

Sally Wood: I’ve never seen more gracious, grateful, egoless [writers]. You can say anything about [the play] and they’re like, “Do I think that? Yeah, I think that,” or “No, that’s not what I’m trying to say.” I haven’t had to hold anything back. Every thought comes right out. And I think that’s a really special, safe play place. The actors [are] so excited, too, because they’re being listened to in a way that actors typically are not; they don’t [usually] get this kind of input. And so they’re seeing like, “Oh, I said this about my character. And now Vanessa and Richard have written this in,” and you can just see the actor like, “Oh, that’s right. I’m a real part of this process now.”

AE: How do your past creative experiences (as poets and novelists, etc.) influence how each of you go about writing a play?

VG: I kind of think everything is [collaborative], even novel writing because you end up working with an editor. You’re never really alone, you’re alone for a little while, when you’re

Vanessa Garcia, Playwright

Sally Wood, Director

Richard Blanco, Playwright

Photo by Craig Dilger

getting the stuff out. But then eventually, I gotta get it into the world, so there’s always some kind of a process. I don’t know if the vehicle finds the theme or the theme finds the vehicle, when you write in different mediums, but I mean, [ Sweet Goats ] very much feels like a play.

RB: I’ve always liked theater, and I was historically a very poor reader because we didn’t speak English in the house. We had no books in the house except books on how to learn English. So I would always do my book reports on plays because I thought, “I can get through it.” And so initially when I got asked to write the play, I was like, “Yeah!” But it is the most challenging genre I’ve ever attempted. And now [that] I’ve seen the beauty of it, it’s actually affecting how I write poetry in the sense of less is more. I find myself writing shorter poems and trusting almost the poem itself as an actor, that the poem will do the work that it needs to do and I don’t have to superimpose or overwrite it. And that’s been a great sort of “aha”!

Scan the QR Code to hear the full interview with Vanessa, Richard, and Sally on the PlayNotes podcast!

BIOGRAPHIES

Ashley Alvarez* (Beatriz) is a Cuban American actress, writer, and producer. Favorite theater credits include Anna in the Tropics (Colorado Springs Fine Arts Center), The Cubans (Miami New Drama), Peter and the Starcatcher (original workshop at Williamstown Theatre Festival), and the virtual immersive experience Carla’s Quince (Drama League Nomination). TV/film acting credits include Search Party, Law & Order: SVU, Law & Order, and the upcoming short film Ties. She co-wrote and stars in the short film Crabs in a Barrel, which won the HBO Latinx Short Film Competition and is now streaming on HBOMax. She’s a 2022 Sundance Screenwriting Fellow and recipient of the Sundance Comedy and Latine Fellowship. She received her BFA in Theater from Florida International University and graduated from The Atlantic Theater School in NYC. Sending all her love to her creative partner and life partner, Michael Leon. www.ashleyalvarez.com

JL Rey* (Tío Eme) is thrilled to make his Portland Stage Company debut in a world premiere. NY Theater: Ybor City the Musical, The Disappearing Man, This Boy Cometh to the Mountain, The Life of Juanita Castro, Kitchenette, Ghost Dancer, 167 Tongues, and Alice - A New

Musical. Regional theater credits include Miss You Like Hell, Christmas Contigo, In the Heights, Lend Me a Tenor, The Frogs, Waiting for Godot, Evita, Anna in the Tropics, Man of La Mancha, Hamlet, Love’s Labour’s Lost, and Romeo and Juliet. Television: Law & Order: SVU, 30 Rock, Billions, FBI, The First Wives Club, The Blacklist: Redemption, and The Bodega (web series). Film: The God Committee, Pan American, The Midnight Offer, The X Job. Directing credits include Christmas Contigo, The Lady from Havana, Sueño, Anna in the Tropics, 4 Guys Named Jose y Una Mujer Named Maria, In the Time of the Butterflies, 5 Lesbians Eating a Quiche, The Laramie Project, In the Heights, Godspell, and 9 Parts of Desire. Grateful for a life in art – “We few, we happy few...”

(*Member of AEA)

Jezabel Montero* (Marilyn) began as a child actor. She has been a professional bilingual actor for over thirty years. She is a cum laude graduate of UCLA with a BA in Theater. Theater credits: Christmas Contigo (Oregon Cabaret Theatre), The Cubans (Miami New Drama/ The Colony Theatre), Dinner for Two (Puerto Rican Traveling Theater, NYC), Yo Soy Latina! (Crossroads Theatre Company, NJ), LobsterFace (INTAR, NYC), The Giants Have Us in Their Books (INTAR, NYC), Chewing Mother’s Bones (Kismet Theatre Company, NJ), La Gringa (Spanish Repertory Theatre, NYC), Blood Wedding (Spanish Repertory Theatre, NYC). Film/TV credits: Cassanova Was a Woman (Amazon Prime), Unlawful Justice (Amazon Prime), Wassup en LA (sitcom pilot), Dangerous Relationships (NBCUniversal), Far From Heaven (Sarah Jane Prods.). Ms. Montero has been the recipient of several ACE and HOLA awards. When she is not in front of the camera or on stage, she is busy writing, directing, and producing. She is currently developing an LGBTQ, Latinx cartoon series and a feature film about her childhood called The Duke and Duchess of Queens. For more info on Jezabel’s company and filmmaking career, go to www.fuacatafilms.com.

Karen Ball (Georgette) is an actor and teacher. She earned her BFA at the Royal Birmingham Conservatoire of Acting and Music in Birmingham, UK. Some of her acting credits include Hamlet, Titania, and Lady Macbeth.

Kevin O’Leary* (Maynard) (he/him) is thrilled to be back on the boards with Portland Stage Company after a 34-year hiatus. KO, a resident of Portland, Maine (born and raised!), was last seen in Stephen Poliakoff’s Breaking the Silence in 1989. Prior to that, he played Wes Hurley in

CAST BIOGRAPHIES

Fifth of July during the PSC 1986–87 season. His play Mars just finished its run at The Studio Theater at 25A Forest Avenue and will be re-mounted at the UNE—Biddeford campus—in March. Anonymous: a tale of Mary Shelley, his latest work, will have its world premiere at The Studio Theater later this year. KO wishes to thank Sally Wood, Anita Stewart, and the entire PSC team for this “sweet” opportunity; and he thanks you, the folks of Portland, Maine, for participating in and lending support to— your local theater!

Dustin Tucker* (Blake) This marks Mr. Tucker’s 15th season with Portland Stage Company and he is so grateful to still be working alongside his friends and colleagues: Sally, Susan, Myles, Donald, Adam, Ted, and Anita. PSC credits include: Fully Committed, Greater Tuna, Buyer & Cellar, Bach at Leipzig, Hound of the Baskervilles, The 39 Steps, A Christmas Carol, It’s a Wonderful Life, Red Herring, Trouble is My Business, Peer Gynt, Vigil, six seasons of The Santaland Diaries, and most recently standing in for John Cariani in Almost, Maine. Other theater credits include: Roundabout (Broadway revival of The Rainmaker), Primary Stages, SoHo Rep, Williamstown, Idaho Shakespeare Festival, Lake Tahoe Shakespeare Festival, Festival Stage of Winston-Salem, Sierra Rep, Theater at Monmouth, and Great Lakes Theater. Film/TV: Spenser Confidential, Patriots Day, The Unholy, Pastor Brian on Dexter: New Blood (Showtime), and the upcoming Alexander Payne film, The Holdovers. He can also be heard reading books to you on Audible. A proud member of Actors’ Equity Association and SAG-AFTRA. All my love to Peter and Harrison. IG: dustgowithit

(*Member of AEA)

ARTISTIC & PRODUCTION BIOGRAPHIES

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.

Lily Prentice (Costume Designer) is a Portland-based costume and character designer with a special interest in devised work and arts education. Selected design credits include Portland Theater Festival’s inaugural 2022 season, Weston Theater Company, Beau Jest Moving Theatre, 52nd Street Project, Urban Arias, Ars Nova ANT Fest, The New School, NYU Playwrights Horizons, Columbia Stages, numerous projects with choreographer Stefanie Batten Bland including the world premiere Welcome (La MaMa), Dracula dir. James Ortiz / Strangemen & Co (workshop - Eugene O’Neill Center), and endeavors as a company member with North Pacific Gyre Theatre. Lily is the Costume Shop Manager at Bowdoin College. MFA Costume Design, NYU. Lilyprentice.com

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

ARTISTIC & PRODUCTION BIOGRAPHIES

(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

Seth Asa Sengel (Sound Designer) is a lifelong listener and tinkerer from South Parsonsfield, and a graduate of Waynflete School (‘93). He recently collaborated with The Fulton Theatre for the productions 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 A Tuna Christmas, Sherlock Holmes: The Final Adventure, Last Ship to Proxima Centauri, Where We Stand, A Christmas Carol (2020), Talley’s Folly, Native Gardens, The Last Five Years, The Half-Light, 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.

Meg Lydon* (Stage Manager) is thrilled to ring in the new year at Portland Stage! She has loved getting to know the fabulous theater community here in Portland; recent work has been at Fenix Theatre Company, Good Theater, Dramatic Repertory Company, and Bates and Bowdoin Colleges. She also loves to spend summers at Chester Theatre Company in the Berkshires. Meg is a proud member of AEA and is forever grateful to Darren. Many thanks to the cast and production team – here’s to a great show!

Jenn Haltman (Casting Director) (she/her) is a freelance theater, film, and new media casting director, and is thrilled to be returning for her fifth season with Portland Stage. Previous PSC shows include Sherlock Holmes: The Final Adventure, Sabina, Perseverance, Native Gardens, Babette’s Feast, and The Last Five Years. Regional theaters include Pig Iron Theatre Company, Hartford Stage, Gloucester Stage, Virginia Stage Company, and Sharon Playhouse. Films include Boy Meets Girl (dir. Eric Schaeffer), the award-winning shorts Behind the Wall (dir. Bat-Sheva Guez) and Someone Will Assist You Shortly (dir. Jon Levenson), 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, most recently, Trich. Previously, Jenn was the Casting Associate at New York Theatre Workshop (shows include Peter and the Starcatcher, Little Foxes, Aftermath) and worked with Page 73 Productions and Soho Rep. She is a proud graduate of Muhlenberg College. www.jennhaltman.com

of AEA)

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.

PLAYNOTES PERSPECTIVES

CUBAN IMMIGRATION TO MIAMI

By Rachel Ropella

Between 1961 and 1970, over 290,000 Cubans arrived in the United States. A Cuban community had been established in Florida before this wave of immigration because of the economic and political connections between the Hispanic Caribbean and the US from sugar imports during the 19th century. However, it was not until the exodus of the Cuban exiles in 1959 and Operation Peter Pan (also known as Operación Pedro Pan) that Miami became the heart of the Cuban American community.

As the new Cuban government began to ally with the Soviet Union in 1959, an exodus began, causing tens of thousands of Cubans to leave their country. In Sweet Goats & Blueberry Señoritas, Tío Eme recalls how his immigration journey began when he and his sister were put on a plane by their parents as part of the American program Operation Peter Pan, a secret exodus led by the US State Department and the Catholic Charities of Miami as they helped over 14,000 children ages four to 18 travel unaccompanied to the United States from 1960 to 1962.

Steve Velasquez, the associate curator of the Smithsonian’s National Museum of American History, notes, “Since there was no US embassy in Cuba after the revolution, the State Department partnered with the Catholic Church to grant special visa waivers for children to come safely to the US and eventually be reunited with their parents and family members.” Though many children were reunited with their families quickly, others went into foster care and struggled as they were encouraged to assimilate and learn English while wanting to maintain their cultural identity.

MIGRATORY PATTERNS IN MAINE

By Moira O’Sullivan

While Maine is still statistically the oldest and whitest state according to the 2014 US Census, which reported a 95% Caucasian population, Maine’s immigrant population has been steadily increasing. The foreign-born population grew by 19.6% between 2000 and 2011, and by 2013, immigrants comprised 3.4% of the state’s 1.3 million residents. While immigration continues to be a hot-button issue in the United States, the numbers don’t lie: immigration is a good thing. Not only is it how most of the population ended up in this country in the first place (if you’re not of Native American heritage, you too come from a line of immigrants), but it’s what keeps our society moving forward.

There are, of course, countless things that immigrants bring to our community that cannot be measured in statistics. Portland’s exceptional restaurant and dining options, our vibrant arts scene, and our thriving city life are all due in part to the various cultures and traditions that have been brought here by others. It would be a mistake to discount their contributions, but how do we support our new neighbors going forward? A few places to start: seek out immigrant-owned businesses or donate to nonprofits helping to accommodate new arrivals. Portland is one of the fastest-growing locations for asylum seekers. Volunteering for and donating to the city’s initiatives to help the inpouring of refugees is a great way to get involved. Check out the City of Portland’s website (portlandmaine.gov) or contact the city manager’s office for information on how to make a donation toward providing housing assistance and basic human necessities to asylum seekers in the area.

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 Sweet Goats & Blueberry Señoritas 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.

Sweet Goats & Blueberry Señoritas 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.

Susie Konkel

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