DANCE NATION Program

DANCE NATION

WINE | BEER | REFRESHMENTS Open 6:30 - Midnight on show nights 100 Jackson Street | Drinks after drama.

CONTENTS WELCOME STATEMENT 4 PLAYWRIGHT’S PERSPECTIVE 6 IN REHEARSAL 10 BIOGRAPHIES 15 SUPPORTERS 22 GENERAL INFORMATION 23

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WELCOME TO REC ROOM WELCOME BACK Since we’ve last seen each other at Rec Room, I have spent the greater part of the two years exploring the effects of theatre on communities through a psychological and social lense, and more specifically, what Rec Room offers the Houston community. Without any plays to produce, direct, or see, I have been driven by the central question: “what good is theatre?”

Theatre does not get much credit for its significant contributions to the overall wellbeing of theatregoers (largely because it is difficult to prove what would happen in the absence of going to a play). However, there are a handful of studies that have found that the performing arts promote physical, psychological, social, and cultural wellbeing for those who attend.

More than ever before there is a need to acknowledge that, despite complex logistics and the risk of presenting shows in the midst of an unforgiving pandemic that seeks to remove our ability to gather, delivering effective performing arts programs is critical for our wellbeing.

Drama is a demonstration of the necessary balance between a dialectic understanding of ourselves. The act of drama brings us together to share experiences in real-time while also giving us the opportunity to observe through distance and perspective. Through the power of empathy, theatre enables us to feel powerfully with, and to know ourselves in others, and others in ourselves. In his book The Master and His Emissary, psychiatrist and literary scholar Iain McGilchrist writes:

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“What we feel arises out of what I feel for what you feel for what I feel about your feelings about me - and about many other things besides: it arises from the betweenness, and in this way feeling binds us together, and, more than that, actually unites us, since the feelings are shared.”

Carl Jung wrote that the main source of sickness is a loss of connection to the instincts and a lack of meaning. I am confident in my belief that theatre is one of the most powerfully effective ways to tap into our instincts and create meaning out of existence.

Through the beginnings of analytic philosophy and drama, the Ancient Greeks began the process of standing back and pondering the philosophy of our existence. However, today, many Houstonians are experiencing an overwhelming amount of obstacles that attempt to keep us away from pondering existence through drama. Sure, the pandemic is a significant deterrent, but additionally, our lives are becoming saturated with supplementary tasks and ways of living that are pulling us away from ourselves. For instance, digital communication has made superficial connections the primary means of communication. Emails, texts, Zooms, TicTocs, and Insta-stories seem to have gained sovereignty over our lives. What once used to take days to achieve now can be completed in seconds thanks to technology. However, the price of technological efficiency is taking its toll.

Parkinson’s Law states that “the work expands to fill the time available for its completion.” In other words, the efficiency provided by technology has led to more things to do and process. Therefore, we are spending less time on the things we truly value such as our friends, family, and selves. Attending the theatre is an investment in ourselves. Theatre takes deliberate time and forces us to pause.

Yet, for many of us, our modern lives are telling us that we have no time to pause for ourselves. I believe our lack of time is a threat to the performing arts, and therefore, detrimental to our wellbeing. Is theatre at risk of being deposed by work, obligations, and TicToc? Just before writing this note, I caught the designer run of Dance Nation. The play hit me hard. Not only are the performances top-notch, but I cannot think of a better play to restart our trajectory to become the theatre heartbeat of our city. Dance Nation is about the challenges presented to pre-teen girls, but it is also a play about resilience when the going gets tough.

Dance Nation shows us the importance of connecting with others through art, even when things are falling apart all around us.

Do we give up, or do we pick ourselves up off the dance floor and carry on?

I am thrilled that you are with us this evening, and excited for you to have the opportunity to explore the metaphoric nature of existence.

Onwards!

Matt Hune Artistic Director Rec Room Arts | 5

Playwright’s Perspective

by Clare Barron

This essay first appeared in Playwrights Horizons’ subscriber bulletin for DANCE NATION in 2018 It can be kind of paralyzing to make work about gender in a moment like this. And worse to have to talk about it. But I’m going to try.

Sometimes I think that the subtitle of my professional and my personal life could be “Clare Barron Makes Mediocre Men Feel Good About Themselves.”

This is a play about thirteen-year-old girls.

It’s also a play about women, ambition, and desire. I wanted to write this play because I wanted to present a different picture of teenage girls onstage. One where trauma wasn’t the central narrative. One where “being the best” was.

That’s something I have to change. And I want to be clear that I think that all of this is as much about the world’s expectation that I be palatable to other people, wellbehaved, sweet, helpless, and unassuming, as it is about my own failure to take real responsibility for myself as an agent for change in the world - as each of us are.

The girls are played by women ranging from their twenties to their sixties because I was tired of the casting convention of hiring petite twenty-five-year-olds to play thirteen. I didn’t want the characters in the play to look like what you think teenage girls should look like - because teenagee girls don’t really look like that! Also, because the play is really about how we carry what happens to us when we’re thirteen through the rest of our lives.

I, for one, am still struggling with a lot of the same things. For example: I remember standing in a press line to talk about a play I had written. The journalist asked me if I was an actor. I said, “No. I wrote the play.” He gasped in surprise. “All by yourself?” Instead of rolling my eyes or telling him off, I laughed, shyly, and smiled back at him: “Oh, well, you know. I had lots and lots of help.”

In that moment, making him feel comfortable with his actions, with his words and his perspective - making sure that he didn’t think he had done anything wrong - was more important to me than standing up for myself and my work. And I do think that that is a pattern that has haunted me.

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And also, in my case, something that “helplessness” or seeming helplessness has enabled me to work within the system and succeed.

We participate in corrupt currencies all the time.

I feel a lot of shame when I receive any kind of recognition. In part, because I’m not comfortable taking up too much space.

In part, because I’m aware that I’ve had it relatively easy. That there’s something precarious about being palatable to gatekeepers in a world that is so deeply unfair.

That’s the tricky thing about rewarding excellence: How can we celebrate a few when there are so many without the platform, without the access and who are met with deep institutional bias?

Or even, something more psychological: I remember when I first started out in playwriting, my playwright guy friends would get really angry when they applied for something (a residency, a writer’s group)

“I wanted to present a different picture of teenage girls onstage. One where trauma wasn’t the central narrative.

One where ‘being the best’ was.” and didn’t get it. I was confused - I didn’t feel angry. Then I realized the difference: they thought they deserved it; I had convinced myself I didn’t.

The girls in the play are dealing with all these questions of who’s the best, who deserves to be recognized, what to do when the system (aka Dance Teacher Pat) is unfair, how to be friends and compete at the same time, how to stand up for yourself when you’ve been trained not to. . .

The difference is they’re only thirteen.

The difference is they’re still a little naïve.

They still think anything is possible.

In the play, the girls audition for a “special part” in one of their competition dances.

After the audition, one of the girls, Amina, runs up to her best friend, Zuzu. They both congratulate each other on their auditions, ignoring the fact that one of them will inevitably be disappointed. Then Amina gets an idea: “Maybe we’ll both just get it!”

Zuzu lights up. The thought hadn’t occurred to her. “Oh my god! That would be perfect!”

Why not.

-Clare Barron Playwright

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REC ROOM ARTS 2022 Season “One of Houston’s finest theatre companies.” -Houston Chronicle “A Houston local business you should support.” -Thrillest “One of Houston’s most innovative and surprising companies.” -CultureMap “Shows that resonate with us as modern audiences...Shows that are often just better than what we see elsewhere.” -Houston Press

Your ticket to Dance Nation gives you access to $90 Season Subscriptions DANCE NATION written by Clare Barron directed by Sophia Watt Starts January 20

HURRICANE DIANE written by Madeleine George directed by Lily Wolf Starts May 5

IS GOD IS

written by Aleshea Harris directed by Destyne Miller Starts July 14

PUT YOUR HOUSE IN ORDER written by Ike Holter directed by Matt Hune Starts October 20

Order at the box office after the performance

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UP NEXT|Starts May 5 “SMART AND BOISTEROUSLY FUNNY…ON MULTIPLE LEVELS, THIS IS THE PLAY WE NEED RIGHT NOW.” -Boston Globe

HURRICANE DIANE written by

Madeline George directed by

Lily Wolff Pulitzer Prize finalist Madeleine George pens a hilarious evisceration of the blind eye we all turn to climate change and the bacchanalian catharsis that awaits us, even in our own backyards.

IN REHEARSAL Photography by Gerardo Velasquez

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REC ROOM ARTS SALUTES THE SPONSORS OF DANCE NATION

The City of Houston through Houston Arts Alliance

Dedicated to removing the stigma of mental illness through art, education and community engagement.

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Matt Hune Artistic Director

Stefan Azizi Executive Director

Sophia Watt Associate Artistic Director

Rec Room Arts presents

Winner of the Susan Smith Blackburn Prize Finalist of the Pulitzer Prize for Drama

DANCE NATION

by CLARE BARRON directed by SOPHIA WATT† Featuring

CALLINA ANDERSON, ELIZABETH MARSHALL BLACK, GREG COTE LISA FAIRCHILD*, ELIZABETH KEEL, AVERY VONN KENYATTA, ANJANA MENON, SOPHIA MOBBS, and SHANNON UPHOLD

PRODUCTION

Scenic and Lighting Design STEFAN AZIZI† Costume Design JUAN SARACAY Sound Design GAGE BAKER Choreographer and Intimacy Director SKYE BRONFENBRENNER Assistant Lighting Designer NICOLAS LAM Assistant Sound Designer BRANDON CHO Assistant Costume Designer SAMANTHA GARDECKI Photography TASHA GOREL, SAMUEL HERRERA, GERARDO VELASQUEZ Assistant Stage Manager BETH DOWD Production Stage Manager MADISON SUTTON DANCE NATION received its UK premiere at the Almeida Theatre, London, September 2018.

Playwrights Horizons, Inc., New York City, produced the World Premiere of DANCE NATION in 2018 with support from an award by the National Endowment of the Arts, and a generous gift from Scott M. Delman.

Special thanks to the Herold and Mimi Steinberg Trust for supporting new plays at Playwrights Horizons, and special thanks to the Time Warner Foundation for its leadership support of New Works Lab at Playwrights Horizons.

DANCE NATION was developed at the Perry-Mansfield New Works Festival, June 2015, with the Atlantic Theatre Company, and presented as part of the Contemporary American Voices Festival at Long Wharf Theatre, September 2016.

DANCE NATION was written, in part, in residence at SPACE on Ryder Farm, and received extensive workshop time and space as part of New Dramatists’ Jerry A. Tishman Playwrights Creativity Fund.

DANCE NATION is presented by special arrangement with Concord Theatricals Company on behalf of Samuel French. *member of Actors’ Equity Association, the union of professional actors and stage managers † member of the Rec Room Arts company Rec Room Arts | 13

COMPANY CAST

(in alphabetical order)

Zuzu Dance Mom Dance Teacher Pat Sofia Mave Luke Connie Amina Ashlee

CALLINA ANDERSON ELIZABETH MARSHALL BLACK GREG COTE LISA FAIRCHILD* ELIZABETH KEEL AVERY VONN KENYATTA ANJANA MENON SOPHIA MOBBS SHANNON UPHOLD

This play will be presented without an intermission.

Entry and re-entry to the theater after the performance begins is not guaranteed.

As a courtesy to everyone in the theater, please silence all electronics.

To help mitigate the risk of COVID-19 spread, all patrons are required to wear a face mask that covers their face and mouth at all times.

Rec Room Arts and the production team of DANCE NATION would like to acknowledge and thank the School of Theatre and Dance at University of Houston.

Rec Room Arts is a constituent of Theatre Communications Group (TCG), the national organization for nonprofit professional theatre. *member of Actors’ Equity Association, the union of professional actors and stage managers 14 | DANCE NATION

BIOGRAPHIES

Callina Anderson

Elizabeth Marshall Black

Greg Cote

Lisa Fairchild

Elizabeth Keel

Avery Vonn Kenyatta

Anjana Menon

Sophia Mobbs

Shannon Uphold

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BIOGRAPHIES CALLINA ANDERSON (Zuzu) is thrilled to make her Rec Room debut! Ms. Anderson’s previous onstage credits include:The Revolutionists, Grand Concourse, The Hard Problem (Main Street Theater), To Kill A Mockingbird (A.D. Players), The Return of Sherlock Holmes (Classical Theater Company), Ma Rainey’s Black Bottom, Freeda Peoples, Platanos y Collard Greens (The Ensemble Theater); Come and Go, Well, Dollface (Mildred’s Umbrella), The Judgment of Fools, The Sonic Life of a Giant Tortoise… (Horse Head Theater); The Landing Theater: Gambrels of the Sky (Dog); The Effect (Houston Equity Festival). Ms. Anderson holds a B.A. in Theater from the University of Houston.

ELIZABETH MARSHALL BLACK (Dance Mom) is happy to be making her debut at Rec Room. Other local acting credits include A.D. Players: Guess Who’s Coming to Dinner (Christina Drayton), Harvey (Betty Chumley), You Can’t Take it With You (Gay Wellington), The Miracle Worker (Kate Keller) and O Little Town of Bagels, Teacakes and Hamburger Buns (Inez); Catastrophic Theatre: Tragedy, A Tragedy (Constance at the Home), Trevor (Morgan Fairchild), The Blackest Shore (Mel); Main Street Theatre: Private Lives (Amanda), The Secretary (Janelle), The Book of Will (Elizabeth/Emilia/Anne), Silent Sky (Annie Cannon), Peace in Our Time (Lyia), Fallen Angels (Saunders), Heartbreak House (Lady Utterword); Mildred’s Umbrella: The Hunchback of Seville (Queen Isabella), Becky’s New Car (Ginger), Carnival ‘Round The Central Figure (Becky); Celebration Theatre: The Divine Sister (Sister Acacius), The Beebo Brinker Chronicles (Beebo Brinker); Classical Theatre Company: The Government Inspector (Luka/Merchant); Ensemble Theatre: By the Way, Meet Vera Stark (Gloria Mitchell). Elizabeth holds a B.S. and M.B.A. from the University of Texas at Austin and also studied acting at SUNY Purchase.

GREG COTE (Dance Teacher Pat) is a puppet maker, puppeteer, actor, musician, artist and proud citizen of Houston, TX. He has worked with The Catastrophic Theatre, Thunderclap Productions, Horse Head Theatre Co.

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(RIP), Classical Theatre Company, Houston Shakespeare Festival, Main Street Theatre, Rec Room, Unity Theatre, Cape Rep., The Queens Theatre, The Landing Theatre Co., Wordsmyth Theatre, and has participated in other various readings, workshops and collaborations around Houston and is also a regular Voice Actor with Sentai Filmworks. Greg is the founder and Primary Maker of Stuff for lo-fi puppets. Follow them on Instagram @lofipuppets or go to lofipuppets.com.

LISA FAIRCHILD (Sofia) is a critically acclaimed actor in the North Texas area. She is thrilled to have the opportunity to work with Rec Room in Houston!! She has recently performed in two festivals since theatres began to re-open.

She appeared in Close to Home at Amphibian Stage’s Sparkfest and Tennessee Williams’ Suddenly Last Summer for the Fort Worth Fringe Festival. Pre-pandemic she performed as Hazel in The Children at Stage West, Siobhan in Curious Incident of the Dog in the Night-Time at Oklahoma CityRep, Caroline in Luna Gale at Circle Theatre, A in Precious Little at Echo Theatre and Marmee in Little Women for Stolen Shakespeare Guild. Lisa received her BFA in Theatre Performance from Otterbein University and completed her acting apprenticeship at Actors Theatre of Louisville. www.lisafairchild. net ELIZABETH KEEL (Mave) is a Houstonian actress, director, teacher, novelist, and playwright. She is a proud member of the Rec Room Writers Group, the Resident Playwright and Literary Manager for Mildred’s Umbrella Theatre Company, the Artistic & Community Engagement Administrator at Stages, a teaching artist at Grackle & Grackle, and a two-time almuna of the University of Houston School of Theatre & Dance. Thank you to Sophia Watt, Rec Room, Greg Cote, and the dear cast and crew, for bringing Dance back into her life. Upcoming projects may be found at www.elizabethamkeel. com

BIOGRAPHIES AVERY VONN KENYATTA (Luke) is a Houston based actor and Intimacy Director. Select acting credits include Teresa Rebeck’s The Nest (Barry), Titus Andronicus (Aaron the Moor), The Colored Museum (Miss Roj), Angels in America (Belize), and The Crucible (Danforth). He has a passion for actor advocacy and is extremely grateful to use his gift of storytelling in multiple ways. He is a certified Actor Combatant with the Society of American Fight Directors and has studied with Intimacy Directors and Coordinators. He holds a BFA from Western Michigan University and an MFA from the University of Houston’s Professional Actor Training Program. Avery is delighted to be making his Rec Room debut!

are in store for her in the years to come.

SHANNON UPHOLD (Ashlee) is delighted to be making her Rec Room debut. She is a classically trained actor that has worked in theaters regionally and off-Broadway. Favorite theater roles include Horatio/Ophelia in Hamlet (Houston Shakespeare Festival), David Turner in ART HEIST (Right Angle Entertainment) and Katherine in Taming of the Shrew (NSE, Shakespeare Theater of New Jersey). She received her MFA from the University of Houston PATP in 2020. Shannon is represented by Boysen Talent Agency.

ANJANA MENON (Connie) is thrilled to bits to be back performing in the Houston area after a two year hiatus on the East Coast. Her most recent theatre credits in the city include dramatized readings We, the Invisibles (#6), Queen (Sanam Shah), Shiv (Shiv) and Open Carry (Omelette) at Next Iteration Theatre Company; Talk Radio (Denise) with Dirt Dogs Theatre Co. She began her Houston career with Shunya Theatre’s The Prophet and the Poet (Narrator). She also served as assistant director for their critically acclaimed production of Art and hit children’s musical The Adventures of Hanuman. An architect by training, Anjana got her start in theatre in Chennai, India with the company Masquerade, where she stayed on as a core member from 2009-2011.

During this time she co-scripted and performed the monologue Incestuous Bastard, and wrote Sitayana, a play for elementary school students.

SOPHIA WATT (Director/Associate Artistic Director) is the associate artistic director at Rec Room Arts and a freelance director in Houston, Texas. Directing credits include: Revolt. She Said. Revolt Again. (Hangar Theatre/ Wedge), Jack and the Beanstalk (Hangar Theater), The Diaries of Adam and Eve (Unity Theatre), The Nest (University of Houston- Guest Artist), The Effect (MATCH), Oleanna, The Visit and Creatures of Habit (The Landing Theatre Company), Hedda Gabler (part of Rec Room’s artist residency), Three Sisters (University of Houston- Guest Artist). She has assistant directed for Theresa Rebeck at the Alley Theatre as well as James Bohnen and Bill Brown at the University of Houston. She is an alumni of Barn Arts Residency, the Lincoln Center Director’s Lab and SDCF observership class 2016-2018.

Sophia is a 2019 Drama League Directing Fellow. BFA : The Hartt School. MFA: University of Houston. Sophiawatt.com

SOPHIA MOBBS (Amina) feels very lucky to be a part of Rec Room’s opening play for the season. This past summer she was an acting apprentice at Theatre at Monmouth in Maine where she played Jerusha Abbott in the musical Daddy Long Legs and Queen Isabel in the world premiere of Sofonisba. Sophia also apprenticed at the Houston Shakespeare Festival in 2020.

Sophia attends the University of Houston where she is an acting major. Her favorite role thus far at the University of Houston was Electra in The Oresteia. She is excited to see what opportunities

CLARE BARRON (Playwright) is a New York based playwright. Her play Dance Nation was a finalist for the 2019 Pulitzer Prize, the recipient of the 2017 Susan Smith Blackburn award, and previously received the inaugural Relentless Award (2015); the play received its world premiere at Playwrights Horizons in 2018 and ran at the Almeida Theatre in London.

Barron’s play You Got Older (2015 Obie award for Playwriting; nominee for 2015 Drama Desk Award for Outstanding New Play; finalist for the 2015 Susan Smith Blackburn Prize) received its

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BIOGRAPHIES world premiere through P73 under the direction of Anne Kauffman and recently ran at Steppenwolf.

Her play Baby Screams Miracle was recently produced at Woolly Mammoth Theatre, after having premiered as part of Clubbed Thumb’s 2013 SummerWorks Festival. Her play I’ll Never Love Again was produced at the Bushwick Starr in 2016 and was a New York Times Critics’ Pick.

She is the recipient of the 2014-2015 Paula Vogel Playwriting Award (Vineyard Theater), the 2014 P73 Playwriting Fellowship; she has received Sloan commissions from MTC and EST, and is also under commission to Lincoln Center Theater, and Playwrights Horizons. She was recently staffed on Maria Semple’s upcoming show on HBO, Today Will Be Different, starring Julia Roberts, and is currently developing a project with Gran Via Productions attached for AMC. STEFAN AZIZI (Scenic/Lighting Design and Managing Director) is the Managing Director for Rec Room Arts. Previous Rec Room designs include: The Children, Woyzeck, The Royale, On the Exhale, Hansel and Gretel, Exit Strategy, and Sender. He has worked professionally in positions ranging from Technical Director to Associate Scenic Designer for the MUNY, the Repertory Theatre of St. Louis, Opera Theatre of St. Louis, New Jewish Theatre, St. Louis Shakespeare Festival, Shawnee Summer Theatre, and Variety Children’s Theatre. After leaving St. Louis, he became the Technical Director at Casa Mañana in Fort Worth as well as designing Big Fish and Godspell for them. He graduated with departmental honors in Scene Design and Technical Direction from the Conservatory of Theatre Arts at Webster University. He is currently a freelance designer based and Project Manager for Caspian Enterprises based in Houston. @stefan_azizi GAGE BAKER (Sound Design) is a sound designer and mixer from Houston. An alum of UH, he is currently pursuing an MFA in Sound Design at Boston University. Credits include Alley Theatre, Stages, and Rec Room. gagebaker.com

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JUAN SARACAY (Costume Design) is a Houston home grown Costume Designer/ Cutter Draper.

Juan received his MFA in costume design from the University of Houston. Aside from creating fabulous costumes for local productions, Juan is an art teacher, working on training the next generation artists. Juan would like to thank his friends, family and other BIPOC artist for their constant support and inspiration.

SKYE BRONFENBRENNER (Choreographer/ Intimacy Direction) is thrilled to be working with this amazing team! She has an MFA in Acting from the Professional Actor Training Program at the University of Houston and has been fight directing, intimacy directing, and choreographing in Houston since graduating. Recent credits include A Midsummer Night’s Dream (Assistant Fight and Intimacy director) with the Alley Theatre, Picnic (Fight Director, Intimacy Director, and Choreographer) and The Carrier (Fight Director) both at the University of Houston, and She Kills Monsters (Fight Director) at Summer Creek High School. She taught Movement/Stage combat to the advanced students at the High School for the Visual and Performing Arts and currently teaches at Rice University where she is choreographing The 25th Annual Putnam County Spelling Bee. A huge thank you to the incredible team of artists on this production and to Adam Noble, Sophia Watt, and Matt Hune for trusting me with such wonderful opportunities!

MADISON SUTTON (Production Stage Manager) is a recent graduate of the University of Houston’s BFA Stage Management program and the current Production Manager for ROCO. Some of her favorite credits include The Quarantine Series, From White Plains (Thunderclap Productions) The Nest (Quintero), Twitch (Canteen Series), the Ten Minute Play Festival (2019 & 2020) She would like to thank her roommates, father, sisters, and cats for their continual love and support.

BRANDON CHO (Assistant Sound Design) is a junior at UH currently working towards his Bachelor’s Degree in Fine Arts. He specializes

BIOGRAPHIES in sound and has recently worked on shows around Houston such as: Pipeline, School Girls, and Picnic.

Foundation for Advancement in the Arts award for Theatre. He is a member of SDC (Stage Directors and Choreographers Society).

JUAN SARACAY (Costume Design) is a Houston home grown Costume Designer/ Cutter Draper.

Juan received his MFA in costume design from the University of Houston. Aside from creating fabulous costumes for local productions, Juan is an art teacher, working on training the next generation artists. Juan would like to thank his friends, family and other BIPOC artist for their constant support and inspiration.

MATT HUNE (Artistic Director) is co-founder and Artistic Director of Rec Room Arts where he is dedicated to energizing a new generation of theatre artists and audiences. In Rec Room’s short history, Hune and staff have produced plays, opera, dance, and concerts. Before cofounding Rec Room, Hune developed the Living Room Series, where he converted a Montrose living room into a 22-seat black box theater.

In addition to Rec Room Arts, he has been involved in the founding of The Inconvenience in Chicago and Loring Theatre in Minneapolis.

As a director, his original works or adaptations include: Woyzeck, Hansel and Gretel, The Rite of Spring, The Bald Soprano, Dead Rock Star, Not Mad, Inherited, and Accidental Death of an Anarchist. Other directing credits include: Ike Holter’s Exit Strategy, Put Your House in Order at the Alley Theatre’s All New Festival, Hansel and Gretel, Blackbird, The Lesson, Three Sisters, and Tis Pity She’s a Whore, among others. As an actor, he made his professional debut in the regional premiere of Edward Albee’s The Goat or Who is Sylvia at the Alley Theatre. Other acting credits include Hamlet, Macbeth, Who’s Afraid of Virginia Woolf, This is Our Youth, Dead Man Walking, American Buffalo, Good Worker, Merchant of Venice, and A Number. He currently is a faculty member in the acting program at HSPVA. He also teaches acting in the graduate Opera Studies program at the Shepherd School of Music at Rice University. He is an alumnus of The Theatre School at DePaul University in Chicago and a recipient of the National

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SUMMER|Starts July 14 “A RICH, FUNNY, UNNERVING, EXHILARATING GOLD MINE.” -New York Magazine

IS GOD IS

written by

Aleshea Harris directed by

Destyne Miller

A modern myth about twin sisters who sojourn from the Dirty South to the California desert to exact righeous revenge. This Obie Award winning play collides the ancient, the modern, the tragic, the Spaghetti Western, and Afropunk in this darkly funny and unapologetic Houston premiere play.

FALL|Starts October 20 “A COMBINATION OF THE JORDAN PEELE MOVIE GET OUT AND THE DELICIOUSLY DYSTOPIAN DANISH DRAMA SERIES KNOWN AS THE RAIN.” -Chicago Tribune

PUT YOUR HOUSE IN ORDER

written by

Ike Holter directed by

Matt Hune

A romantic-comedy/horror/thriller about a first date that spirals into a race against an invading force. This Houston premiere from playwright Ike Holter (Exit Strategy, Sender) explores new beginnings at the end of the world.

SUPPORTERS SUPPORTERS $10,000+ City of Houston through Houston Arts Alliance $5,000-$9,000 Dr. Robert Card & Karol Kreymer Vince & Jackie Foster Annette McBride $1,000-4,999 Courtney & Colin Brokaw Julia Fox & Alex Brewer JS Greene Memorial Foundation Caroline & Perryn Leech Mesh by Alex Terrylin Neale Ostdiek Family Salners Family Foundation Suzanne Skie-Azizi Kim Titus Vreni von Arx Watt & Jerry Watt Evan Wildstein & Huda Alsheikh $500-$999 Barbara Bennett Stephanie Carroll Catherine Holste Jillian Jopling Aaron Kohlhepp Chesley Krohn Nan Lefforge & Joe Evans Dena & David Linda Shahin Naghavi Nora Nickel Singleton Family Joyce Baier Steensrud Martha Stein Steven Wachs What It’s Like Project Aimee Woodall Mark & Nancy Wozny $150-$499 Desiree Alejandro R. Scott Allen Sandra Barrash Susan Baum Jared Berry Deborah Best 22 | DANCE NATION

Supporter list updated January 2022.

Every effort is made to keep it accurate and up to date. If you notice any discrepancies, please contact info@recroomhtx.com or our box office.

Bob Singleton & Joe Boyd John Bradshaw Elissa Brown Gwyneth Campbell Jan Cohen Margaret Culbertson Brad Dalton Kelly Dean John Eymann Joyce Fadem Sylvia Fink Marris Goldberg Dana Harrell Pamela Hoffer Catherine Holste Kristina Hulten Janis & Paul Jarosz Abby Koenig Leigh Mohney Leslie The Linda Family Henry Liu Marcie Lou Brannon Lloyd Kathy & Gary Marks Sue and John Marsh Jenny Marshall Nicole Kenley-Miller Beverly Parker Eric Bradley & Wanderson Rezende Marti and Billy Rosenberg Jay Solomon Rima & Ryan Soroka Sommer Stash Marty & Bob Stein Leslie & Ten Eyck Swackhamer Todd Waldman Eileen & Richard Westerman $50-$149 Afsaneh Aayani Natasha Azizi Deborah Best Linda Boyko Harriet Choice Carolyn Codwell Alene Coggin Jan Cohen Cook Family Nancy I. Cook

Marc Corman Nancy Douthey Perry Edwards John Eymann Karl Floyd Cece Fowler Elizabeth & Michael Gonzalez Carleen Graham Kara Greenberg and Adam Gross Harold Hardaway Joe Hinojosa Steve Hoffman Mike Jadick Matthew Jamison Thomas Janowski Kenny Kelley Karin Knapp David Lake Sherry LeBlanc-Dehan Casey & Ginger Lucas Jenny Marshall Amy Miller James A. Miller Leigh Mohoney-Leslie Todd Molesky Consuelo Oyervidez Ginger Travis Page Donna Palmer Kendall Toarmina Pang Beverly Parker Stephen Patlan Cynthia Pawlick Lynette Pebernat Janet Phillips Sandra Ramsey Marcia Richards Kathryn Ritcheske Sallie Gordon and Ken Schwenke Bryan Scrivner Cathy Selber David Senior Shawn Sinclair Claudia Soroka Lee Strickland Shelby Strudler Lyndsay Sweeney Emily Todd Jennifer Touchet Brandon Weinbrenner Alice Youngbar

GENERAL INFORMATION Rec Room 100 Jackson Street Houston, TX 77002 Box Office | 713-344-1291 info@recroomhtx.com www.recroomarts.org BOX OFFICE HOURS Box office opens one hour before showtime on performance days.

Non-show days, please email info@recroomhtx.com ACCOMMODATIONS Rec Room provides a range of accommodations to ensure the safety, comfort, and enjoyment of our events and facilities for all audience members.

If you have specific questions, please contact our Administrative Offices at info@recroomhtx.com or call our box office at 713-344-1291.

ACCESSIBLE SEATING Accessible seating is available in the front two rows of the Main Stage Theater. If you need additional assistance or would like to reserve an accessible seat, email info@recroomhtx.com.

CYCLING You may lock your bike on the gate outside Rec Room’s front doors at your own risk. You may also bring your bike inside and a staff member will store your bike indoors depending on availability.

EATING AND DRINKING There is a bar located in the Rec Room lobby that serves a selection of local beer and wine. Patrons are encouraged to arrive early and stay after the performances to take advantage of the bar. Drinks are allowed into the theater.

Food is allowed in the bar and lobby. No food is allowed inside the theater space. There are a range of restaurants in the downtown area for you to choose.

Here are some Rec Room favorites: FRANKS PIZZA | $

MKT BAR | $$

IRMA’S ORIGINAL | $$

NINFA’S | $$

417 Travis Street 713-225-5656

22 N Chenevert Street 713-222-0767

1001 Austin Street 832-360-2222

2704 Navigation Blvd 713-228-1175

JACKSON STREET BBQ | $$ OSSO KRISTALLA | $$ 209 Jackson Street 713-224-2400

1515 Texas Avenue 713-221-6666

WHEELCHAIR STORAGE For guests who wish to transfer to a seat from their wheelchair, we will store your wheelchair in our lobby during the performance. The House Manager will make arrangements to return the wheelchair to you at the end of the performance or any other time of your choosing.

KULTURE | $$

TOUT SUITE | $$

LOCAL FOODS | $$

XOCHI | $$$

PARKING Street parking after 6:00 pm is free. There are paid lots surrounding our building and are open to the public for a fee. Rates vary between lots. Please allow extra time to park during Astros home games.

GREEN ROOM BAR HOURS The lounge is open for your enjoyment on performance days 6:30pm -midnight.

TRANSPORTATION Lyft, Uber, and taxis are always good choices if you plan to drink.

METRORail lines are reasonably close.

RED LINE (12 min walk / 0.6 mile): Use the Preston stop. Walk northeast on Main St. towards Congress Ave. Turn right onto Congress Ave. Turn left (NE) onto Jackson St. Rec Room will be on your left at Franklin St.

701 Avenida De Las Americas 713-357-9697

420 Main Street 713-227-0531

2379, 2001 Commerce St 713-227-8688

1777 Walker Street 713-400-3330

CONTENT ADVISORY We do not offer advisories about subject matter, as sensitivities vary from person to person. If you have any questions about content, age-appropriateness or stage effects (such as strobe lights or theatrical fog) that might have a bearing on patron comfort, please contact info@recroomhtx.com.

CELL PHONES Best when used outside of the theatre. Please respect our audiences and artists by silencing phones during performances.

Rec Room Arts | 23

STAFF

BOARD OF DIRECTORS Evan Wildstein, President Artistic Director.............................................MATT HUNE Abigail Koenig, Vice President Managing Director......................................STEFAN AZIZI Stephanie Wittels Wachs, Treasurer Associate Artistic Director........................SOPHIA WATT Colin Brokaw, Secretary Line Producer...........................................JAKOB HULTEN Casting Consultant....................................TASHA GOREL Casting Cooridinator....................................NATHAN SHU Artistic Assistant..............................REBECCA LEMBCKE COVID Compliance Officers.....................STEFAN AZIZI,

MATT HUNE, MADISON SUTTON Audience Services............................SAVANNAH COYNE,

ANNA GRACE HETHCOX, OLLIE GRISHABER,

ELLIE LINDE, NIARA SINGLETON Photography..............................................TASHA GOREL,

GERARDO VELASQUEZ, SAMUEL HERRERA Video Production................INDIGO DEWDROP GHONIMA Company Associate.........................RORY JAMES LEECH Special Events.............................JONATHAN FLEISSNER Comedy.....................................COMEDY HUB HOUSTON Resident Rec Room Writers..........................FI CONNORS, CHRISTIAN GILL, ARTHUR JOLLY, COMFORT KATCHY, ELIZABETH KEEL,

PHILIP KERSHAW, ALICIA MOLIVO, SHAWANNA RENEE, JELISA JAY ROBINSON BRENDAN BOURQUE-SHEIL, NICOLE ZIMMERMAN ERIC MOORE

This theatre operates under an agreement with Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

#NotInOurHouse

This theatre has adopted the Chicago Theatre Standards, a set of standards and practices for the prevention of harrassment and abuse in theatre.

FIRE NOTICE: The door out of this room will lead to the main exit door indicated by a red lighted EXIT sign. In the event of a fire or other emergency, please walk to that exit.

There is no smoking allowed inside Rec Room.

Latecomers will be seated at the discretion of the House Management.

As a courtesy to the actors and your fellow patrons, please turn off your cell phones before the performance.

GREEN ROOM BAR The theater reserves the right to refuse admission to patrons Bar Management...............................WACHS & HUNE, LLC who become a distraction to the performers and other audience Bar Manager..................................JONATHAN FLEISSNER members.

SPECIAL SERVICES Insurance..........................HOFFMAN INSURANCE GROUP Box Office....................AUDIENCEVIEW PROFESSIONAL Telephone Services.................................................OOMA Cleaning and Sanitation..............................................COIT Bond Services....................................MCQUAIN AGENCY Banking...............................................BANK OF AMERICA Building Management..........CASPIAN ENTERPRISES, INC. Graphic Design............................PANORAMA FOXTROT Printing..................................................MESH BY ALEX, COPY.COM, LITTLEFORD PRESS, THE DOCUMENT GROUP Catalogue Services..................................................ISSUU

THE VIDEOTAPING OR MAKING OF ELECTRONIC OR OTHER AUDIO AND/OR VISUAL RECORDINGS OF THIS PRODUCTION OR DISTRIBUTING RECORDINGS ON ANY MEDIUM, INCLUDING THE INTERNET, IS STRICTLY PROHIBITED, A VIOLATION OF THE AUTHOR’S RIGHTS AND ACTIONABLE UNDER UNITED STATES COPYRIGHT LAW. Rec Room Arts is a constituent of Theatre Communications Group (TCG), the national organization for nonprofit professional theatre.

Rec Room Arts is supported in part by funding from the City of Houston through Houston Arts Alliance

Arts Reach: The Association Of Arts Management, Marketing & Development Professionals

24 | DANCE NATION

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Rec Room Arts donors fuel the mission of energizing new audiences for theatre. They are super informed art lovers who support cutting-edge theatre and are among the first to learn about our performances. Rec Room Arts has been the home of some of the most innovative and popular productions in the city and our supporters are the people who are directly responsible for making those shows come to life. Join our family and help shape the future of Houston theatre.

Rec Room Arts is a registered 501(c)(3) organization (EIN 81-5035115) and all contributions are tax deductible to the fullest extent allowed by law.

a revelation of nature through the human medium