Profile Theatre presents The Baltimore Waltz by Paula Vogel, directed by Josh Hecht

FROM THE ARTISTIC DIRECTOR JOSH HECHT

Welcome to the first production of our 2019-2020 Season: GENERATIONS! Profile Theatre is one of only three theaters in the country to dedicate their season to an in-depth exploration of a playwright’s vision, using that unique vision as a lens on our shared world. Now, in an innovation that deploys Profile’s unique vision to special effect, we present GENERATIONS. Spread over two years, GENERATIONS will dive deep into the works of three playwrights of three different generations who have had a profound impact on each other and on the culture at large. In the next two seasons, you’ll see three full productions by each of these master artists, in addition to concert stagings, our signature Community Profile engagement program, readings, workshops and residencies for a truly immersive experience.

The first season will focus largely on Vogel and Nottage, with two full productions of each. The work of Jacobs-Jenkins will be introduced through a concert staging and other supplemental programming. The second year will focus more on Branden Jacobs-Jenkins with three productions of his alongside one each of Vogel and Nottage. This clustering is meant to enhance the experience of going in-depth into a playwright’s body of work.

By the end of this one-of-a-kind experience, we will have had our perspectives broadened and our hearts opened, and will have explored the meaning of artistic lineage.

, Artistic Director 2

PLAYWRIGHT PROFILE PAULA VOGEL

FROM THE DIRECTOR JOSH HECHT

Pulitzer Prize-winner, Tony nominee, and American Theatre Hall of Fame inductee Paula Vogel is one of the most prolific and honored writers working today.

The Baltimore Waltz is one of those plays that has sat on my bookshelf since college some twenty years ago. As a young artist, its stylistic bio wowed me with its mix of sly humor, broad characterization and deep feeling. Now, as an adult fully in the stream of my life, I’m more familiar with the sense of loss lurking around the play’s edges.

A native of the DC - Baltimore area, Vogel has been writing plays since the late 1970s. Her early work was developed and produced at the legendary Circle Repertory Theatre in New York. The Baltimore Waltz first brought her national prominence when it won the Obie Award for Best New Play in 1991. That production, directed by Anne Bogart, starred a young Joe Mantello and Cherry Jones, who went on to be a long-time collaborator on plays like Desdamona and And Baby Makes Seven.

Throughout the 1990s, Vogel made a name for herself with strongly feminist wide-ranging work like Hot ’n Throbbing and The Mineola Twins. Her 1997 play How I Learned to Drive won the Pulitzer Prize for Drama, launched the career of actor Mary Louise Parker, and has received hundreds of productions the world over.

Ever an experimenter with form and style, the 2000s saw adventurous works like A Civil War Christmas, The Long Christmas Ride Home and Don Juan Returns from Iraq. But it is her most recent play Indecent that has re-established Vogel as a master artist at the height of her career. Commissioned by the Oregon Shakespeare Festival’s American Revolutions project, the play transferred to Broadway in 2017 where it earned a Tony nomination for Best Play. Over the last two years, it has had productions in every major market in the country.

Profile Theatre will produce Indecent in a co-production with Artists Repertory Theatre later this season.

A gifted teacher and mentor, Vogel has trained a generation of prominent playwrights, including Adam Bock, Edwige Danticat, Nilo Cruz, and past Profile Featured Writers: Sarah Ruhl, Quiara Alegria Hudes and Lynn Nottage, with whom she shares this special double-season.

“In every play,” Vogel writes, “there are a couple of places where I send a message to my late brother Carl [who died of AIDS in 1989 and who appears as a character in The Baltimore Waltz].

Just a little something in the atmosphere of every play to try and change the homophobia in our world.”

Paula wrote the play as a tribute to her brother, who died of AIDS in 1988. The real Carl invited Paula to join him on a trip to Europe. Not knowing how sick he was or how little time she had left to enjoy him, she declined.

One of the great solaces artists have is the ability to turn their pain into a work of love that opens the hearts of those who witness it.

In my own life, art has made me feel less lonely, by making me feel seen, and connected to others who similarly feel seen by a work’s particular truthfulness.

In his critique of the play’s New York revival in 2004, Ben Brantley questioned the play’s relevance now that an HIV diagnosis is no longer a death-sentence. Let it be known that, in 2019 AIDS is not “over.” Though most Americans — those with access to quality healthcare — will not die of AIDS, 1.1 million Americans live with HIV, and will do so for the rest of their lives, or until there is a cure. And there is the generation of LGBTQidentified people who have come of age with shadow of the trauma of the 1980s and ‘90s looming over us, and with the profound loss of mentorship and guidance and intergenerational transmission that every community needs.

This year our Community Profile Program will use the practice of writing to create a space of reflection, sharing, and community among those living with HIV, in Paula and her brother Carl’s honor.

A friend of mine recently told me he thought life was about learning to let go. We let go of our childhood, we let go of our parents, we let go of our children when they are ready to venture into the world. As life goes on we let go of those who pass on. Eventually we let go of life itself. What strikes me, as I watch The Baltimore Waltz now, is the way we continue to keep our loved ones near, the peculiar quality of wistful joy that infuses our memories of those who’ve left us, and the way our internal landscapes are indelibly changed by those whose hearts we share.

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Profile Theatre Presents

THE BALTIMORE WALTZ

BY PAULA VOGEL DIRECTED BY JOSH HECHT^ CAST

Jen Rowe................................................................................................................................. Anna Dan Kitrosser........................................................................................................................... Carl Joshua J. Weinstein*...........................................................................................The Third Man

DESIGNERS & PRODUCTION

Daniel Meeker†................................................................................ Scenic & Lighting Design Alex Pletcher.............................................................................................. Co-Costume Design Sarah Gahagan.......................................................................................... Co-Costume Design Matt Wiens.............................................................................Sound Design & Original Music Alan Cline...................................................................................................... Projections Design Danny Gray............................................................................................................. Props Design Karen M. Hill*......................................................................................................Stage Manager Jamie M. Rea.........................................................................................................Line Producer Alex Meyer................................................................................................Production Assistant Breydon Little..........................................................................................Production Assistant Robi Acre.........................................................................................Movement Choreographer Devon Roberts.............................................................................................. Assistant Director

PRODUCER’S CIRCLE FOR THIS PRODUCTION Thomas Bruner, Bruner Strategies, Executive Producer David Liss and the Liss-Brewster Family Philanthropic Fund, Producer Anne Smith Sehdev, Associate Producer Run time is approximately 80 minutes with no intermission.

THE BALTIMORE WALTZ is presented by special arrangement with Dramatists Play Services, Inc., New York.

PHOTOS, VIDEO OR AUDIO RECORDING OF THIS PERFORMANCE IS STRICTLY PROHIBITED.

SEASON SPONSOR:

RONNI LACROUTE

WINE SPONSOR:

THIS SEASON IS FUNDED IN PART BY: ^ Profile Theatre is a member of Theatre Communications Group (TCG), the national organization for the American theatre. *Appearing through an Agreement between Profile Theatre and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

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† Represented by United Scenic Artists - Local USA 829 of the International Alliance of Theatrical Stage Employees.

FROM THE PLAYWRIGHT PAULA VOGEL In 1986, my brother Carl invited me to join him in a joint excursion to Europe. Due to pressures of time and money, I declined, never dreaming that he was HIV positive. This is a letter he wrote me after his first bout of pneumonia at John Hopkins Hospital in Baltimore, Maryland. He died on January 9, 1988.

March 1987 Dear Paula, I thought I would jot down some of my thoughts about the (shall we say) production values of my ceremony. Oh God—I can hear you groaning—everybody wants to direct. Well, I want a good show, even though my role has been reduced involuntarily from player to prop.

First, concerning the choice between a religious ceremony and a memorial service. I know the family considers Anglican observances as irrelevant as Shinto. However, I wish prayers in some recognizably traditional form to be said, prayers that give thanks to the Creator for the gift of life and the hope of reunion.

As for the piece of me I leave behind, here are your options: 1. Open casket, full drag.

2. Open casket, bum up (you’ll know where to place the calla lilies, won’t you?)

3. Closed casket, interment with the grandparents.

4. Cremation and burial of my ashes.

5. Cremation and dispersion of my ashes in some sylvan spot.

I would really like good music. My tastes in these matters run to the highbrow: Faure’s “Pie Jusu” from his Requiem, Gluck’s “Dance of the Blessed Spirits” from Orfeo, “La Vergine degli Angeli” from Verdi’s Forza. But my favorite song is “I Dream of Jeannie,” and I wouldn’t mind a spiritual like “Steal Away.” Also perhaps “Nearer My God to Thee.” Didn’t Jeannette MacDonald sing that di-vinely in San Francisco?

Finally, would you read or have read A.E. Houseman’s “Loveliest of Trees”?

Well, my dear, that’s that. Should I be lain with Grandma and Papa Ben, do stop by for a visit from year to year. And feel free to chat. You’ll find me a good listener.

Love, Brother

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CAST & CREATIVE TEAM JEN ROWE Anna Jen is excited to return to Profile after being seen last season in The Secretaries. Her previous acting work includes performances at Portland Center Stage, Artists Rep, Portland Playhouse, Third Rail, Milagro Theater, Oregon Children’s Theater, BoomArts. Jen is a freelance director and recently returned from working at Denver Center Theater. She is Founder and Artistic Director of Quick + Dirty Productions through which she produced/directed Chicago last season. She has performed in sketch shows, a couple bands, NBC’s “Grimm”, TNT’s “The Librarians”. Look for her new venture as CoArtistic Director of The Theatre Company, launching in 2020.

Hellojenrowe.com DAN KITROSSER Carl Dan Kitrosser is a writer, teacher and performer, and is thrilled to be making his Profile debut as Carl in The Baltimore Waltz.

His plays include Tar Baby, Third Person, Dead Special Crabs and The Mumblings. As a screenwriter he co-wrote the screenplay for “We The Animals” which premiered at Sundance Film Festival 2018, winning the NEXT: Innovator Award, Best Narrative at OutFest 2018 and was nominated for 5 Independent Spirit Awards and a GLAAD Award. He is currently working on the screen adaptation of Anne Tyler’s novel Searching for Caleb. A proud member of LineStorm Playwrights, Dan lives in Portland with his fabulous husband Jordan and under the oppressive scrutiny of their dog, Daisy.

JOSHUA J. WEINSTEIN The Third Man Josh is excited and grateful to make his Profile debut. Recent Portland Credits: Beirut (Shoebox Theatre), Major Barbara (Portland Center Stage), Magellanica (Artists Repertory Theatre), Tender Napalm (Shoebox

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Theatre).

Resident Artist, Artists Repertory Theatre. Portland Playhouse Apprenticeship Alumnus, 2011-2012.

Proud member, AEA.

DANIEL MEEKER Scenic Design Previously for Profile; Scenery for In The Wake and 26 Miles and during the Jane Unger years, lighting for The Young Man From Atlanta, and scenery and lighting for Great Falls, Chesapeake, Fortinbras, and At Home At The Zoo. Other Local design credits include shows for Portland Playhouse, Portland Opera, Portland Center Stage, Oregon Children’s Theater, and Artists Repertory Theater. Outside of theater, Daniel is the lighting director for the Pickathon festival and the principal designer of The American Art Fair and The Winter Antiques Show. Daniel is a graduate of Ithaca College and The Yale School of Drama, and a member of United Scenic Artists.

ALEX PLETCHER Co-Costume Design Alex is an SF Bay Area Native and has since lived/worked in The Netherlands, Brazil, Los Angeles, and most recently Portland. This is her 2nd season designing for Profile Theatre. Alex holds a BA in Theatre Design and Production from the UCLA School of Theatre, Film, and Television. As a scenic and costume designer, she is fortunate enough to have collaborated with critically-acclaimed producers such as the LA Phil, Opera Omaha, Pacific Musicworks, The Geffen Playhouse, Brimmer Street Theatre Co., Artists Rep, Profile Theatre, Edinburgh Fringe, Los Angeles Theatre Ensemble, Gray Oak Productions, NBC, ABC, 20th Century Fox, HBO, and others. www.pletchdesigns.com SARAH GAHAGAN Co-Costume Design Sarah Gahagan is a costume designer and instructor. She is a resident costume designer at Portland Community College and Artist Repertory Theatre. Sarah has received five Drammy Awards, Portland’s annual recognition of excellence by a consortium of theatre critics, for her costume design work on Eurydice, James and The Giant Peach, Trojan Women, El Quijote, and A Year With Frog and Toad.

Her design work has been seen at Prague Quadrennial as well as in issues of both American Theatre and Theatre for Young Audiences Today. Sarah attended The University of Oregon, where she received a BS in Theatrical Production Design and a BFA in Textiles.

MATT WIENS Sound Design & Original Music Matt is a Portland-based composer and sound designer and he is delighted to be collaborating with Profile Theater again.

Recent work includes The Bakkhai with Shaking The Tree Theater, MALA with CoHo Theater, Crowns with Portland Playhouse, and Profile Theater’s Well and Let Me Down Easy. Matt holds a BA in Theater from Goshen College and a Masters in Music Technology from NYU. ALAN CLINE Projections Design Alan is a video designer and technician living and working in Portland. His work has been seen with Oregon Children’s Theatre, Third Rail Rep, Artist’s Rep, and Theatre Vertigo. He is delighted to be a part of this production, his first as a designer with Profile.

DANNY GRAY Props Design Danny is an artist, designer, puppeteer, and playwright. He co-founded the theatre company Rutabaga Story Co. in 2017, and designed puppets, costumes, and props for their first two original plays by Eve Johnstone, An Interlude in Birdsong (2018) and Fire and Meat (2019). He is currently working on a life-sized walrus puppet for Trash Diggers, a new play by Stephanie Woods set to premiere this December at Shaking the Tree. After receiving his BFA in ceramics, sculpture, and theatre at Alfred University, he continued training as an actor with master clown teacher Philippe Gaulier in France.

KAREN M. HILL Stage Manager Karen is overjoyed to be doing another show with Profile. Her previous Profile credits include Well/ Let Me Down Easy, In The Wake, and Fires In The Mirror. Karen also works as a Production Manager and Stage Manager with Portland Shakespeare Project, Artists Repertory Theater, and the

CAST & CREATIVE TEAM CON’D Portland Opera. She is grateful everyday that she gets to create beautiful art, and she is grateful to her husband, Mike, for supporting this crazy lifestyle.

DEVON ROBERTS Assistant Director Devon Roberts is a graduate of Portland State University and an alumn of the Orchard Project’s Core Company. Devon was most recently seen as Assistant Director for Crossing Minosoe at PCS, and Bootycandy at Fuse Theatre Ensemble.

He has also directed full productions for the Edinburgh Fringe and Portland State University. Devon is a current member of Theatre Vertigo and the Drammy Committee.

JOSH HECHT Director Josh is the Artistic Director of Profile Theatre where he recently directed the rotating repertory productions of Lisa Kron’s Well and Anna Deavere Smith’s Let Me Down Easy, Lisa Kron’s In The Wake,

the concert staging of Anna Deavere Smith’s Twilight: Los Angeles, 1992 and the rotating repertory productions of Quiara Alegría Hudes’ Water by the Spoonful and The Happiest Song Plays Last. Other Portland productions include Teenage Dick at Artists Repertory Theatre and the upcoming Indecent, a co-production between Artists Rep and Profile. He is a Drama Desk Award-winning director whose productions have been seen in New York at MCC Theater, The Cherry Lane, The Duke on 42nd Street, New World Stages, Culture Project, regionally at The Guthrie Theater, the Berkshire Theatre Group, the Humana Festival at Actors Theatre of Louisville, Signature Theatre (DC) and internationally at the Dublin Arts Festival and the Edinburgh Festival Fringe and elsewhere. His collaboration with Ping Chong and Company was commissioned by and premiered at The Kennedy Center before touring the northeast. His writing has received the support of the Jerome Foundation. He is formerly the Director of Playwright Development at MCC Theater

and the Director of New Play Development at WET. He’s served on the faculty of the New School for Drama MFA Directing program, the Fordham University MFA Playwriting program, Purchase College SUNY’s BFA Dramatic Writing program and has been a guest artist at The Juilliard School, NYU’s Dramatic Writing MFA, Carnegie Mellon’s MFA Playwriting, University of Minnesota’s BFA Acting program and others.

FOR THIS PRODUCTION ASL INTERPRETERS: Richard Hall & Jayodin Mosher GRAPHIC DESIGN: Kira Batcheller PUBLIC RELATIONS: Jen Mitas PRODUCTION SERVICES: Artists Repertory Theatre DIALECT CONSULTING: Stephanie Gaslin WALTZ CONSULTING: Jamie M. Rea BOARD OPERATOR: Bryan Ringsted

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BEYOND THE MAINSTAGE

COMMUNITY PROFILE OUR YEAR-LONG OUTREACH PROGRAM THAT USES WRITING AND THE SHARING OF STORIES TO FORM MUCH-NEEDED COMMUNITY. Community Profile is our signature engagement program. It springs directly from the heart of our unique mission to center the season on our Featured Writer. It starts with a conversation with our Featured Writer to identify the communities that have felt personally important to her life and work. Out of this conversation, we select a portion of our Portland Community to develop ongoing fellowship with, sharing our experience, strength and hope and using the practice of writing to know ourselves and each other more deeply.

INTRODUCING 2019-2020 COMMUNITY PROFILE In conjunction with our season-long exploration of Paula Vogel, we welcome our newest cohort: LGBTQIA+ individuals and those living with HIV / AIDS. Community Profile is a 100% free affinity space that provides writing mentorship with award-winning authors, breakfast and lunch, theatre tickets and community.

We’re looking for members of the LGBTQIA+ community who have a story they want to tell about: •

Living with HIV

•

The struggle to live your life on your own terms

•

Overcoming obstacles just to stand in your power

•

Or are you simply interested in exploring your own creative voice but not sure how to start?

We believe that by coming together to share stories with others who have similar life experiences, we can ease isolation, release negative emotions and frustrations, experience positive emotions more regularly and create networks of mutual support that one recent participant called “a life-changer.”

If you or someone you know would enjoy and benefit from participating in this exciting program, please contact Bobby Bermea, Director of Community Engagement at Profile Theatre at: bobbyb@profiletheatre.org or 503-242-0080.

THANK YOU TO OUR COMMUNITY PROFILE PARTNERS: 8

ABOUT PROFILE THEATRE STAFF Josh Hecht, Artistic Director Matthew Jones, Managing Director Cambria Herrera, Interim Director of Patron and Donor Relations Karl Hanover, Box Office and Administrative Coordinator

MISSION: To produce a season of first-class productions and community engagement activities centered around a single writer whose vision broadens our perspective on our world and deepens our collective compassion.

Jamie Rea, Line Producer Bobby Bermea, Director of Community Engagement

BOARD OF DIRECTORS

WHO WE ARE Founded in 1997 by Jane Unger, Profile Theatre has always centered a season around a single writer, spending much of its first fifteen years exploring the work of some of the 20th Centuries most important masters and bringing many of them to Portland to develop work. Profile’s second Artistic Director, Adriana Baer, led the theater from 2012-2015. Adriana was interested in exploring the writers we would come to think of as our “21st Century Masters,” contemporary writers investigating the most pressing concerns of our time.

Josh Hecht became Artistic Director in 2017. His commitment to new work and robust community engagement has led to two new commissions in 2018-2019 and our Community Profile Program that uses art-making as a means of community-building. Over the past twenty years Profile’s Featured Writers have won 10 Pulitzer Prizes (plus 4 finalists), 20 Tony Awards (plus 7 nominations), 18 Drama Desk Awards, 24 Obie Awards and 3 MacArthur “Genius” Awards. In 2010, Profile Theatre was awarded an inaugural “New National Theatre Company” Award from the American Theatre Wing designed to bring national attention to “the most inspiring and innovative theatre companies on our national landscape.”

More recently, Profile has twice been recognized by Advanced Gender Equity in the Arts (AGE) for its leadership in equity, diversity and inclusion.

DIVERSITY AND INCLUSION STATEMENT In 2016, Profile Theatre launched its Diversity and Inclusion Initiative, committing to three consecutive seasons producing the work of women and writers of color. The Initiative was born out of a desire to correct a persistent imbalance in the diversity and complexity of lives we see reflected on our stages.

Now in 2019, the initiative has led to a lasting transformation in Profile’s Culture and Values. It is our belief that by actively working to amplify the voices of women and writers of color, we more accurately reflect the world around us, produce work of increasing relevance to our city and community, and help dream into being the dynamic and inclusive world we want.

We also believe that by continuing to program the most accomplished mid-career writers of our time, all members of our audience, whatever their background, will recognize themselves in these stories.

Pancho Savery, President Stephen Schuitevoerder, Treasurer Trish Garner, Secretary Arlena Barnes Linda Jensen Mignon Mazique Melissa Stewart Stephen Young, Director Emeritus

RESOURCE COUNCIL The Profile Theatre Resource Council is made up of individuals who generously offer their connections or specialized skill and experience to Profile staff, artists and Board. Resource Council members are our ambassadors in the community and our advisors behind the scenes.

Adriana Baer, Former Artistic Director Lue Douthit Paul Duden Erika George Leslie Johnson Mike Lindberg Kush Pathak

Actors Equity Association (AEA), founded in 1913, represents more than 50,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org

Mary Simeone Patrick Stupek George Thorn Jane Unger, Founding Artistic Director Julie Vigeland Priscilla Bernard Wieden

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SUBSCRIBE TO PROFILE The very best way to get the most out of our unique mission, and experience the breadth and depth of our Featured Writers, is to attend the full season. Subscriptions make that simple and affordable.

6 PLAY, 5 PLAY, AND 4 PLAY PACKAGES NOW AVAILABLE! 6 PLAY PACKAGE: Preview: $160 Opening: $220 Regular: $180 Student: $120

5 PLAY PACKAGE: Preview: $130 Opening: $175 Regular: $145 Student: $100

4 PLAY PACKAGE: Preview: $110 Opening: $155 Regular: $125 Student: $80

TO SUBSCRIBE: Contact our Box Office Tues – Fri, 12- 4pm 503-242-0080 boxoffice@profiletheatre.org

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THANK YOU TO OUR GENEROUS DONORS

This list acknowledges gifts given between Oct 1, 2018 and Sep 30, 2019

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NEXT ONSTAGE! Ruined

Mother Courage

BY LYNN NOTTAGE DIRECTED BY LA’TEVIN ALEXANDER

BY BERTOLT BRECHT TRANSLATED BY TONY KUSHNER DIRECTED BY JAIME M. REA

RUINED is a haunting, probing work about the resilience of the human spirit during times of war.

Set in a small mining town in Democratic Republic of Congo, this powerful play follows Mama Nadi, a shrewd businesswoman in a land torn apart by civil war. But is she protecting or profiting by the women she shelters? How far will she go to survive? Can a price be placed on a human life?

We will present RUINED alongside a concert staging of MOTHER COURAGE, which was the play’s inspiration, for one week only. The indomitable Mother Courage follows one luckless army after another across a war-torn world in her canteen wagon. She’ll do anything to hold onto her money-making wagon, even if it means the loss of her children. Brecht’s masterpiece is considered one of the defining plays of the 20th Century. Tony Kushner’s muscular translation is full of sly humor and the virtuosic language for which he is known.

December 4 - 8, 2019

IN ROTATING REPERTORY Performances at Imago Theatre 17 SE 8th Avenue For tickets visit profiletheatre.org or call Profile at 503.242.0080 Box Office Hours: Noon-4pm Tues-Fri

ADVERTISE WITH PROFILE AND SEE YOUR BUSINESS HERE! For rates and information contact Cambria Herrera, Interim Director of Donor and Patron Relations cambria@profiletheatre.org 503.242.0080