CONFEDERATES - Digital Program

Feb 11 - Mar 5

REVOLT. SHE SAID. REVOLT AGAIN. Sargent Conservatory of Theatre Arts at Webster University. 2021.

Director Joanna Battles. Left to right, top: Elizabeth Atkins ’22, Ashley Schwach ’24, Giac Noelle ’23, Carmen Retzer ’23, Chloe Berek ’22. Bottom: Evie Bennett ’22, Maya Love ’23

Art Imitates Life WHAT WE DO IN OUR STUDIOS, OUR REHEARSAL ROOMS, AND ON OUR STAGES SERVES AS REHEARSAL FOR WHAT WE DO IN OUR HOMES, OUR STREETS, AND EVEN OUR HEARTS.

webster.edu/conservatory

2022–23 SEASON

4 LAND ACKNOWLEDGEMENT 7 WELCOME 9 PLAYWRIGHT'S PERMISSIONS

BY DOMINIQUE MORISSEAU

FEBRUARY 11 - MARCH 5

FOR ENGAGEMENT 11 PLAYWRIGHT'S NOTE 13 PRODUCTION 15 DIRECTOR'S NOTE 18 BIOGRAPHIES 38 LEADERSHIP 50 ABOUT THE REP 64 HONOR ROLL

THE REPERTORY THEATRE OF ST. LOUIS 130 Edgar Road St. Louis, MO 63119

ADMINISTRATION

314-968-7340

BOX OFFICE

314-968-4925

The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres, the League of St. Louis Theatres, and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. It operates independently of, but under a mutually beneficial agreement with, Webster University. The Rep operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. The Rep hires directors and choreographers who are members of the Society of Stage Directors and Choreographers and stagehands who are members of the International Alliance of Theatrical Stage Employees. Scenic artists employed by The Repertory Theatre of St. Louis are members of United Scenic Artists, Local 829, AFL-CIO. The scenic, costume, lighting and sound designers in LORT Theatres are represented by United Scenic Artists Local USA-829, IATSE. Financial assistance for this theatre has been provided in part by the Arts and Education Council of Greater St. Louis; the St. Louis Regional Arts Commission; and the Missouri Arts Council, a state agency. This project is supported in part by an award from the National Endowment for the Arts, a federal agency, which believes that a great nation deserves great art.

3

LAND ACKNOWLEDGEMENT

OUR LAND ACKNOWLEDGEMENT

It is important for us here at The Rep to acknowledge that the land beneath us owes its vitality to generations who have come before us in the spirit of making erased and silenced histories visible. We acknowledge that we are standing on the ancestral and occupied lands of many Native tribes that stewarded and cared for this land for centuries. The Illini, Osage, and Missouria tribes are just a few of the peoples that we pay our respects to. Please take a moment to consider the many legacies of violence, displacement, migration and settlement that bring us together here today and join us in uncovering such truths at any and all public in-person and virtual events.

WHY DO WE DO THIS

We honor and pay respects to the people that cultivated the land and then were forcibly removed from it. Our society is increasingly becoming more aware of the complexities of colonization, and those complexities come with us as we gather into spaces like The Rep. Acknowledging the land honors Indigenous communities, but more broadly it acknowledges he histories that brought us where we are today as a community. We are often fascinated by architectural history of a building; this gives us the opportunity to go further than a building and think about the history of a people that existed before buildings were erected. In addition to honoring donors and sponsors for financial gifts that they freely give, we believe it is critically important to honor those who lived and worked the land centuries before we arrived and still live here today.

About 80,000 people living in Missouri are a part of the Indigenous community. A land acknowledgment is a great starting point in honoring their history and legacy, and to make space for them in their own home.

4

Th e Reper tory Theatr e of S t. L ou is

Age of Armor: Treasures from the Higgins Armory Collection at the Worcester Art Museum Opens February 18

Monet/Mitchell: Painting the French Landscape Opens March 25

Action/Abstraction Redefined: Modern Native Art, 1940s–1970s Opens June 24

The Culture: Hip Hop and Contemporary Art in the 21st Century Opens August 26

A world of art within reach Connect with us! @stlartmuseum | slam.org

Pompeo della Cesa; Field Armor from a Garniture (detail), about 1595; steel, iron, brass, gold, silver, leather, fabric; weight: 47 pounds 15 ounces; Worcester Art Museum, The John Woodman Higgins Armory Collection 2014.112; Image © 2021 Worcester Art Museum, all rights reserved Claude Monet, French, 1840–1926; Wisteria (detail), 1919-20; oil on canvas; 39 3/8 x 118 1/8 inches; Musee Marmottan Monet, Paris 2023.100; © Musee Marmottan Monet, Academie des beaux-arts, Paris Henry “Hank” Delano Gobin, (Kwi Tlum Kadim), Tulalip/Snohomish, 1941–2013; Northwest Design (detail), 1966; casein, tissue paper, ink pen on paper; 18 x 22 inches; Institute of American Indian Arts / Museum of Contemporary Native Arts Collection (SNH-6), Honors Collection; © Henry "Hank" Delano Gobin Jean-Michel Basquiat, American, 1960–1988; With Strings Two (detail), 1983; acrylic, and oilstick on canvas; 96 x 60 inches; The Broad Art Foundation, Los Angeles; © The Estate of Jean-Michel Basquiat, Licensed by Artestar, New York

5

February 28 - March 12

March 21 - April 2

• Coming Attractions • FINAL FANTASY 35th Anniversary Distant Worlds: music from FINAL FANTASY Coral • February 18 TRIXIE AND KATYA LIVE • February 20 ST. LOUIS TEEN TALENT COMPETITION FINAL April 8 WICKED • April 12 - May 7 JESUS CHRIST SUPERSTAR • May 9-21 STEVE MARTIN & MARTIN SHORT • June 3 BLUEY’S BIG PLAY • June 17-18 KANSAS • July 29

For more information: FabulousFox.com MetroTix.com • 314-534-1 1 1 1

WELCOME

“I trust you to find the laughter, the profundity, the rage, and the heart.

Let's make art and get free…”

-Dominique Morisseau Dear Rep Family, It is truly a gift to introduce the brilliance of MacArthur Genius Award-Winner and two-time Tony Award nominee Dominique Morrissaeu to The Rep Stage.

Morisseau is undoubtedly one of her generation's most prolific and important dramatists, with a gift of bringing our humanity sharply into focus through well-crafted stories that tautly weave drama, laughter, and soul-bearing truth. It is with great pride that we bring you Dominique Morrissaeu's masterful and transformative new play, Confederates.

Confederates brilliantly guides us through the intersecting lives of Sandra, a professor at an Ivy League private university, and Sarah, an enslaved woman yearning for rebellion. Though separated by hundreds of years in the time-space continuum, each of these women bears the weight of external entitlement, expectation, and misalignment while striving to be seen, heard, and ultimately free.

7

BIOGRAPHIES WELCOME

This piece beautifully explores the cost of progress, at times through the clenched teeth of laughter and unflinching pain. It dares us to grapple with the often unspoken questions: the price of pouring support into others before ourselves, the consequences and challenges of our own success, and the power of claiming our full humanity.

The Rep is one of only three theatres given the distinguished privilege of premiering this play, which will undoubtedly become a staple of the American Theatre.

It is my great joy to welcome you to the midwest premiere of Confederates.

Hana S. Sharif AUGUSTIN FAMILY ARTISTIC DIRECTOR

8

Th e Reper tory Theatr e of S t. L ou is

PLAYWRIGHT'S PERMISSIONS FOR ENGAGEMENT letters from the playwright

Consider this an invitation to be your full and un-restricted selves. But I also want you to know that the theatre normative will be disrupted in this space for the duration of this show. And that means some thangs…

It means you are allowed to laugh audibly and give all the “um hmmms”and “uhn uhnnns” you feel inspired to give.

The subject matter might make you think that there is no room for humor. That is a lie. The humanity of both the folk in the present and in the past during times of enslavement mean that they are full and complex. They are not simply downtrodden or in a perpetual state of abuse.

9

Th e Reper tory Theatr e of S t. L ou is

9

PLAYWRIGHT'S PERMISSION FOR ENGAGEMENT

Just like in the present, the enslaved are multi-faceted. We all carry snark and sarcasm. We are all expert navigators of the systemic fuckeries. And sometimes, navigating that shit is painful. And sometimes, navigating that shit is funny. As always, the theatre can be church for some of us, and testifying is allowed.

Please be an audience member that joins with the village, either silently or vocally, in support of the journey we will take collectively. Exhale together. Laugh together. Say “oh hell no” or “amen” should you need to.

This is community. Let’s dismantle and let’s go.

Peace and Love

10

T h e R eper tory Theatr e o f S t. L ou is

PLAYWRIGHT'S NOTE

A NOTE FROM THE PLAYWRIGHT I never know how anything I write is going to go over. For me, theatre is supposed to be a liberation sport. As of late, with visibility and multiple productions comes great opportunity and great scrutiny. Gazes exist everywhere.

Toni Morrison talks about the “white gaze,” under which Black writers are constantly restricted and whose stories become qualified by a metrics system outside of the cultural experience from which they write.

I, too, have felt the lash of writing in a continuum that honors this gaze, even when I personally do not hold space for it in my own aesthetic. But there are other gazes as well. As a woman writer, I have also felt the male gaze.

As a radical writer, I have felt the gaze of respectability politics. And as a Black writer, I have felt the gaze of Blackness that sometimes is only qualified as one myopic thing, rather than expansive and global as Blacknesss truly is. No matter the gaze, they all feel like one collective thing to me as an artist: oppression.

11

BIOGRAPHIES PLAYWRIGHT'S NOTE

I believe fervently in freedom. Everyone’s freedom.

For me, freedom is not something that comes on the back of other people’s oppression. Real freedom is contagious. In liberating yourself, you liberate others.

You inspire acceptance with oneself. You do not seek to restrict anyone else’s existence so that yours can be more comfortable. Freedom is not comfort. Freedom is healthy disruption and positive growth.

It is my desire as a playwright, and our desire as a company, to “get free” in this production.

Hope it’s contagious…

Dominique Morisseau Playwright

12

T h e R eper tory Theatr e o f S t. L ou is

PRODUCTION

THE REPERTORY THEATRE OF ST. LOUIS augustin family artistic director Hana S. Sharif

managing director Danny Williams presents

playwright DOMINIQUE MORISSEAU scenic Designer Nina Ball

Costume Designer Ricky German

director Elizabeth Carter Lighting Designer Xavier Pierce

composer/sound designer T. Carlis Roberts

projection designer Micah Stieglitz

Fight Choreographer U. JONATHAN TOPPO

intimacy director Kaja Amado Dunn

dialect coach Rachel Finley

Assistant Lighting Designer AMINA ALEXANDER

Associate Director Raiyon Hunter

Production Stage Manager Molly Norris*

assistant stage manager Dawn Marie Kelley*

Production Assistant Sarah Holland

casting director Becca McCracken

associate casting director CELESTE M. COOPER

SEASON CO-SPONSOR

THE REPERTORY THEATRE OF ST. LOUIS BOARD OF DIRECTORS

This production is produced in association with Oregon Shakespeare Festival.

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

PRODUCTION

CAST Jade/Luanne Abner/Malik Missy Sue/Candice Sara Sandra

Celeste M. Cooper* Xavier Scott Evans*

Tracey Greenwood* Tiffany Oglesby*

Tatiana Williams*

This production runs for 1 hour 45 Minutes, with no intermission. *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States

DIRECTOR'S NOTE

A Letter from the Director of Confederates How do we liberate ourselves from the forces that would take us piece by piece? How do we as Black women get free?

Coming from an academic household and living in

America, I thought “I feel seen!” when I first read this play, like I was watching myself, my mentors, and all the Black women I admired.

Dominique Morriseau brilliantly writes about the

intersection of race, sex and class embedded in our

roots as a nation. It is a play by a Black woman for Black women. It is also funny. Because one way to unearth

how precarious the lived existence of Black women is, is to expose what our ancestors knew, this is some “peculiar shit”.

15

DIRECTOR'S NOTE

Slavery was a distorted funhouse mirror and today

is a looking glass. The foundation is tainted, the very soil

our institutions are built upon bears the legacy of American Slavery. That legacy has seeped into the fabric of our

relationships with one another. The past is the present.

Two worlds mirroring each other.

So what can we do? Laugh/cry/rage at the absurdity of the continual recycling of scenarios that racism, sexism and

classism throw at Black women. Can we laugh and dismantle the master's house? Even when the master’s house now confers Masters?

This is an invitation into the funhouse mirror.

Elizabeth Carter,

Director

MOTHERS’ MILK: SLAVERY, WET-NURSING, AND BLACK AND WHITE WOMEN IN THE ANTEBELLUM SOUTH This excerpt is taken from Emily West , R. J. Knight Journal of Southern HistoryThe Southern Historical Association Volume 83, Number 1 WET-NURSING IS A UNIQUELY GENDERED KIND OF EXPLOITATION, AND under slavery it represented the point at which the exploitation of enslaved women as workers and as reproducers literally intersected.

Feeding another woman’s child with one’s own milk constituted a form of labor, but it was work that could only be undertaken by lactating women who had borne their own children. As a form of exploitation specific to slave mothers, enforced wet-nursing constituted a distinct aspect of enslaved women’s commodification. The evocative image of an enslaved wet nurse, carefully holding a white child to her breast in order to provide sustenance through her own milk, therefore holds much resonance for historians interested in gender, slavery, and relationships between black and white women in the antebellum South. Wet-nursing bound women together across the racial divide, and white women also sometimes wet-nursed enslaved infants. Yet ultimately, white women used wet-nursing as a tool to manipulate enslaved women’s motherhood for slaveholders’ own ends.

This article evaluates patterns of wet-nursing in the antebellum South by locating the practice along a spectrum of gendered exploitation where enforced wet-nursing sits at one end, women’s paid employment of “professional” wet nurses exists somewhere in the middle, and informal networks of support where women shared their breast milk lie at the other. Women in the antebellum South practiced forms of wet-nursing across this spectrum. Inextricably linked with ideologies of race, ethnicity, and class, historical patterns of exploitative wet-nursing have shaped contemporary distaste for the practice within the medical profession and elsewhere, even though informal networks of shared breast-feeding (for which little evidence survives) have probably been more common than has hitherto been recognized. [End Page 37] West, E., & Knight, R.J. (2017). Mothers’ Milk: Slavery, Wet-Nursing, and Black and White Women in the Antebellum South. Journal of Southern History 83(1), 37-68. doi:10.1353/soh.2017.0001.

Additional Resources

www.thegriotmuseum.com georgevashonmuseum.org civilrightsmuseum.org nmaahc.si.edu everydayfeminism.com 17

BIOGRAPHIES

CAST

CELESTE M. COOPER (Jade/Luanne) is a Chicago

based actor, producer, community builder, educator, and casting associate. She was invited into Steppenwolf Theatre’s ensemble in 2018. Theatre: BLKS, Doppelgänger, Familiar, A Doll’s House, Part 2, Duchess! Duchess! Duchess!, & Miz Martha (Steppenwolf), Blues for an Alabama Sky (Court Theatre), Measure for Measure (Goodman Theatre), Stick Fly (Windy City Playhouse), Ruined (Eclipse Theatre).

Regional: For Colored Girls… (Kansas City Repertory), Building The Wall (Curious Theatre in Denver), Mrs. Harrison (Indiana Repertory), What I Learned in Paris (South Coast Repertory). TV: Chicago PD (recurring), 4400 (guest star), & Sense8. Film: Spike Lee’s Chiraq and Range Runners. Awards: Most Promising Actress (Black Theater Alliance), Best Actress - Range Runners (Twister Alley), NewCity Stage magazine listed her as “people who really perform for Chicago” in 2020 & 2023. Training: Acting degrees from Tennessee State University and The Theatre School at DePaul University. She is represented

by Paonessa Talent Agency.

18

T h e R eper tory Theatr e o f S t. L ou is

XAVIER SCOTT EVANS (Abner/Malik) recent

work includes HBOMax Love Life, FBI, Paradise Highway (w/Morgan Freeman, Juliette Binoche) and a lead in Bottom of the 9th. Theatre: Sweet Chariot directed by Shariffa Ali in the UTR Festival (The Public Theater), NYTW’s On Sugarland (Lortel nominated) by Helen Merrill & Obie winning Aleshea Harris, directed by Lilly & Obie winning Whitney White, Atlantic's world premiere of Ngozi Anyanwu's The Last of the Love Letters directed by Patricia McGregor w/Tony Nominated Daniel J. Watts.

TRACEY GREENWOOD (Missy Sue/Candice)

is excited and grateful to make her Rep debut!

Theatre: Mrs. Warren's Profession (Joseph Jefferson Award nomination: Performer in a Principal Role - Promethean Theatre Ensemble), Oxy, Ohio (The Side Project Theatre Co), Twilight Bowl (u/s - Goodman Theatre), Why Torture is Wrong, and The People Who Love Them(Eclipse Theatre Co), and The Tall Girls (Shattered Globe Theatre). Training: Northwestern University & the Actors Theatre of Louisville Professional Training Company (2015-16 season). TV: Night Sky (AMAZON), Chicago Fire, Chicago Med (NBC) and Soundtrack (NETFLIX). Tracey is a proud member of SAG-AFTRA and is represented by Grossman & Jack Talent. She is also a writer and content creator; her original work can be viewed on her website.

Visit: traceygreenwood.org 19

BIOGRAPHIES

TIFFANY OGLESBY (Sara) is happy to make her

debut at The Rep! Originally from Atlanta, Georgia, she currently resides in Los Angeles.

Theatre: Byhalia, Mississippi (B Street Theatre), Flyin’ West (American Blues Theatre), The Light (Original Cast - Black Theatre Alliance Award for Best Actress - New Colony Theatre), Significant Other (Theater Wit), and An Octoroon (Definition Theatre Company).

TV: The Neighborhood, The Chi, Chicago Med, Empire and has an upcoming recurring role on season four of Tyler Perry’s Ruthless. Training: The Savannah College of Art and Design, BFA in Performing Arts, The Theatre School at DePaul University, MFA in Acting.

TATIANA WILLIAMS (Sandra) Rep debut. Recent

Credits: The Legend of Georgia McBride (Florida Studio Theatre), White Noise (Studio Theatre), BLKS (Wooly Mammoth), Smart People (Denver Center), The Royal Family, A Christmas Carol (Guthrie Theater), Katori Hall’s Pussy Valley (Mixed Blood Theatre), Girl Shakes Loose (Penumbra Theater), BLKS reading (Ojai Playwrights Festival), and Prometheus Bound (Getty Villa Malibu). She has appeared in various commercials, including for Hilton, RING doorbell, and Best Buy. Training: CalArts, BFA in Acting, The Royal Scottish Conservatoire, Interlochen Arts Academy. Visit: tatianasimonewilliams.com Social: @simonesunrise1

20

T h e R eper tory Theatr e o f S t. L ou is

DIRECTION & DESIGN

DOMINIQUE MORISSEAU (Playwright ) is the author

of The Detroit Project (A 3-Play Cycle): Skeleton Crew (Atlantic Theater Company/ Broadway), Paradise Blue (Signature Theatre), and Detroit ’67 (Public Theater, Classical Theatre of Harlem and NBT). Additional plays include: Confederates (Signature Theatre), Pipeline (Lincoln Center Theatre), Sunset Baby (LAByrinth Theatre), Blood at the Root (National Black Theatre), and Follow Me To Nellie’s (Premiere Stages). Her Broadway production of Skeleton Crew (Manhattan Theatre Club) is TONY nominated for best play and she is also the TONY nominated book writer on the Broadway musical Ain’t Too Proud – The Life and Times of the Temptations (Imperial Theatre). TV/Film: She has served as Co-Producer on the Showtime series “Shameless.”

She’s currently developing projects with Netflix and ABC Signature, and wrote the film adaptation of the documentary STEP for Fox Searchlight, as well as done rewrites on Terms of Endearment (Lee Daniels / Paramount), What’s Goin’ On (Mad Chance / Warner Bros), and is currently consulting on the Netflix animated feature, Tunga. Awards: Spirit of Detroit Award, PoNY Fellowship, Sky-Cooper Prize, TEER Trailblazer Award, Steinberg Playwright Award, Audelco Awards, NBFT

21

BIOGRAPHIES

August Wilson Playwriting Award, Edward M. Kennedy Prize for Drama, OBIE Award (2), and the Ford Foundation Art of Change Fellowship, named one of Variety’s Women of Impact for 2017-18 and a recipient of the 2018 MacArthur Genius Grant. In 2022, Dominque was awarded the keys to the city by the Mayor of Detroit.

ELIZABETH CARTER (Director) is thrilled to be

working with The Rep for the first time. Her regional directing credits include the upcoming Steel Magnolias (TheatreWorks Silicon Valley) and Sweat (Center Rep), and past productions of Every 28 Hours Plays and A Place To Belong (A.C.T Conservatory), Stoop Stories (Aurora Theatre Co.), associate director on the ripple, the wave that carried me home (Berkeley Rep/Goodman Theatre) and assistant director for How I Learned What I Learned (Oregon Shakespeare Festival). She directed the ground breaking 2020 virtual King Lear (SF Shakespeare Festival), Feel the Spirit (Shotgun Players/Colt Couer NYC). Her directorial film debut Bottled Spirits will be released this spring. She is a recipient of the Bridging the Gap Grant and is a 2019 alum of Directors Lab West. Elizabeth is the inaugural SDCF Lloyd Richards New Futures Resident Director at the Oregon Shakespeare Festival.

22

T h e R eper tory Theatr e o f S t. L ou is

NINA BALL (Scenic Designer) Theatre:

How I Learned What I Learned, Confederates, Hairspray (Oregon Shakespeare Festival), The Birthday Party, Men on Boats, Chester Bailey, Underneath the Lintel (American Conservatory Theater), Blasted, Hamlet, Who’s Afraid of Virginia Woolf?, Caught (Shotgun Players), War of the Roses, As You Like It, Othello, A Midsummer Night’s Dream, Twelfth Night (California Shakespeare Theater), Phèdre (The Cutting Ball Theater), The Baltimore Waltz (Magic Theatre), Leni, The Real Thing, Little Erik, Metamorphoses (Aurora Theatre Company), Mary Poppins, The Roommate, The Nether, Tree (San Francisco Playhouse), The Diary of Anne Frank, Baskerville (Center REPeretory Company), many others.

Film/TV: Pushing Dead, A Blank Slate, With Every Death, The Big 4-0, others. Awards: Five Bay Area Critics Circle Awards for scenic and costume design, Two Theatre Bay Area Awards; Shelley, Broadway World and Arty Awards for scenic design, others. Affiliations: Stanford University– Scenic Design Faculty; United Scenic Artists Local USA 829. Company member, Shotgun Players.

Visit: ninaball.com

23

BIOGRAPHIES

RICKY GERMAN (Costume Designer) is a

freelance costume and fashion designer. His designs are fueled by the sociological and anthropological study of fashion and craftsmanship. He seeks to expose these visual nuances to his audiences in garments that are satisfying and significant. Theatre: Reparations, Citizen: An American Lyric (Sound Theatre Company), Bulrusher (Intiman Theatre), Witch (upcoming), Pass Over (A Contemporary Theatre), John , Lady Day at Emerson’s Bar and Grill, Hedwig and the Angry Inch (ArtsWest), B (Washington Ensemble Theatre), Macbeth, Twelfth Night (Seattle Shakespeare Company), The Chinese Question: The Tacoma Method (empathos company), 365 Plays/365 Days, Water by the Spoonful, Anon (UW Tacoma), Polaroid Stories, Uncle Vanya, The Memorandum, Cloud 9, The Drowsy Chaperone, Into the Woods (Saint Martin’s University), The Full Monty, Hello, Dolly! (Capital Playhouse). Film: Baba Yaga. Other: Cutter, draper, stitcher, dresser: Skeleton Crew, An Octoroon (ArtsWest), A Previous Man (Kin of Kins Cinema), A Midsummer Night’s Dream (Saint Martin’s University); The Grind Show (UW Tacoma). Training: University of Puget Sound, BA Theatre Arts, Tailoring Apprenticeship, Jason Machlochlainn, Bespoke Tailor.

XAVIER PIERCE (Lighting Designer) Professional Credits:

Public Theatre (NYC), Steppenwolf Theatre (Chicago,IL), Oregon Shakespeare Festival (Ashland, OR), Guthrie Theatre (Minneapolis, MN), McCarter Theatre Center 24

T h e R eper tory Theatr e o f S t. L ou is

(Princeton, NJ), Long Wharf Theatre (New Haven, CT), St. Louis Repertory Theatre ( St. Louis, MO), Seattle Repertory Theatre ( Seattle, Washington), Arena Stage (Washington, DC), California Shakespeare Theatre (Orinda, Ca), Cincinnati Playhouse (Cincinatti,OH), Indiana Rep (Indianapolis,IN), Arden Theatre (Philadelphia, PA), Playmakers Rep (Chapel Hill, NC), Westport Country Playhouse (Westport, CT), George Street Playhouse (New Brunswick, NJ), Syracuse Stage (Syracuse, NY), Two River Theatre Company (Red Bank, NJ), Olney Theatre Center (Olney, MD), Intiman Theatre (Seattle, WA), Arizona Theatre Company (Phoenix, AZ), Florida Studio Theatre, Arkansas Shakespeare Theatre, Triad Stage (Greensboro, NC & Winston Salem, NC), Charlotte Children's Theatre (Charlotte, NC), Crossroads Theatre (New Brunswick, NJ), Portland Center Stage. Training: New York University Tisch School of the Arts, MFA in Design Stage and Film.

T. CARLIS ROBERTS (Composer/Sound Designer)

is an artist and scholar who engages sound as a tool for transformation and liberation. His professional work has straddled theatre, film, television, dance, performance art, music, and education. As a composer, sound designer, and music director, T has worked around the U.S. at theaters including Steppenwolf Theatre Company, Woolly Mammoth Theatre Company, About Face Theatre, San Jose Repertory Theater, California Shakespeare Theatre, La Jolla Playhouse, and Oregon Shakespeare Festival. As

25

BIOGRAPHIES

a songwriter and performer, T appeared on the Grammynominated album The Love by Alphabet Rockers, wrote original music for the Starz series Vida, and toured the country in A Queer Story of the Boy Band, a theatrical concert he co-created with QTPOC boy band The Singing Bois. T is co-founder of the Spiritual Technologies Project, a research and performance consortium that explores the metaphysical dimensions of African diasporic music, and author of multiple books and articles on music, identity, and cultural politics. T is also a teacher, most recently serving as Associate Professor of Ethnomusicology at UC Berkeley.

MICAH STIEGLITZ (Projections Designer), is the

Video Supervisor and Creative Technology Lead at the Oregon Shakespeare Festival.

Micah’s designs at the Oregon Shakespeare Festival include Confederates, MacBeth, Hairspray, Snow in Midsummer, and Hannah and the Dread Gazebo. Previous to OSF, Micah was a designer based in the San Francisco Bay Area, where he designed several shows including Head of Passes at Berkely Rep, Bauer Off-Broadway, and Assistant Projection Design for The Pee-Wee Herman Show on Broadway. He worked as part of the crew and one of the lead editors for OSF’s Cymbeline Project. Micah won the San Francisco Bay Area Theatre Critics Circle Excellence in Theatre Award for his Projection Design for Camelot, and was acknowledged by the Live Design Institute as a Young 26

T h e R eper tory Theatr e o f S t. L ou is

Designer to Watch. Training: Arizona State University, MFA in Theatre Performance Design. Western Michigan University, BA in Design and Technical Theatre Production.

U. JONATHAN TOPPO (Fight Director) Broadway:

Sweat (Studio 54) New York: Sweat, White Noise (The Public Theatre), Julius Caesar (Theatre for a New Audience, Brooklyn NY).

Regional: Henry IV, Part I (Folger Theatre, Washington DC), West Side Story (The Guthrie Theatre, Minneapolis MN), Angels in America, (Berkeley Repertory, Berkeley CA), Sweat (Dallas Theatre Center) The Play That Goes Wrong (Oregon Cabaret Theater), Pirates of Penzance (Portland Opera, Portland OR), Resident Fight Director at Oregon Shakespeare Festival since 2008.

Awards: 2016 Drama Desk Award for Fight Choreography (Winner) for Sweat, 2019 Drama Desk Award for Fight Choreography (Nominee) for Julius Caesar, 2019 Helen Hayes Award for Fight Choreography (Nominee) for Henry IV, Part I. He is an Adjunct Faculty member at Southern Oregon University, Instructor Dueling Arts International, Certified Level 1 Krav Maga Instructor and 3rd Degree Blackbelt Aikido.Training: University of Connecticut, BFA, London Academy of Music and Dramatic Arts.

27

BIOGRAPHIES

KAJA AMADO DUNN (Intimacy Director)

is an intimacy professional, diversity consultant, and associate faculty at Theatrical Intimacy Education. Kaja is a member of SAG-AFTRA and an actor, director, and activist with performances in over 40 productions in 5 countries including Theatrical Outfit, Playmakers Rep, Moxie Theatre and others. Current favorite intimacy work includes American Prophet (Arena Stage), Choir Boy (Denver Center and ACT Seattle), Harlem (Amazon), Strange Loop (Broadway, associate Intimacy Director), The Best Man, The Final Chapter (Peacock). She is a recipient of the Kennedy Center’s National Medallion for her work on theatre and race. She has published in several journals about race and theatre, intimacy and co-authored a chapter in Arden Research Companion to Shakespeare and Contemporary Performance. She has presented on issues of Equity and Diversity and theatre for theatre's and universities, Actor’s Equity Association as their racial consultant, The Women’s Theatre Festival, Blumenthal Performing Arts, MICHA, North Carolina Theatre Association (Keynote Panelist), Children’s Theatre Charlotte, Anti-Racism and Decolonization at University of London Goldsmiths, SETC and SETC Theatre Symposium, KCATF and The Association of Theatre in Higher Education, among other places. She is on the Executive Board of the Black Theatre Network and a

28

T h e R eper tory Theatr e o f S t. L ou is

former executive member of Black Theatre Association.

She was recently interviewed in American Theatre Magazine around issues of Race and Theatre education.

Visit: kajadunn.com

RACHEL FINLEY (Dialect Coach)is an accent

coach, intimacy coordinator, actor, director, and Arizona State University professor. She is certified in Fitzmaurice Voicework and Knight Thompson Speechwork, a member of the Intimacy Coordinators of Color’s board of directors, Director of Curriculum for The Blueprint, POC-centric actor training organization, and the Director of Programing for the Global Majority Intimacy Conference.

Finley’s creative work includes film, theatre, performance art, voice-over, motion capture, and other forms.

AMINA ALEXANDER (Assistant Lighting Designer)

is a freelance lighting designer/assistant based in NYC. Her designs focus in areas of theatre, dance and live events. Recipient of the Black Theatre Coalition fellowship 2021/2022. OffBroadway designs include Alex Edelman’s Just For Us, Colin Quinn’s The Last Best Hope, Superhero at The Sheen Center. Other designs include Stick Fly at The Repertory Theatre of St. Louis, Bov Water and Northern Stages and other Broadway assistant credits. Amina is thrilled to be a part of this production with an amazing cast and creative team.

29

BIOGRAPHIES

BECCA MCCRACKEN (Casting ) returns to The Rep

as Casting Director, having last worked on House of Joy. She has spent 17 years casting in Chicago, covering the Midwest Market a decade of that at Simon Casting where she worked on countless tv/film, commercial and theatre projects and is the casting director at the 2022 Regional Tony Award Winning theatre, Court Theatre. Favorite Projects: Million Dollar Quartet (Apollo & Tour), 1776( Asolo), Dee Snyder’s Rock ‘n Roll Christmas Tale & Working (Broadway in Chicago), Sound of Music, Showboat, Fiddler On The Roof (Lyric Opera), Nat. Tours, Sister Act & How To Train Your Dragon, Two Trains Running & Adventures of Augie March (Court). TV/Film: HBO’s Somebody Somewhere, Divergent, Contagion, The Watchmen, Justice League, Empire, Chicago Fire, Chicago PD, Prison Break. Becca is an Artios Award winner and proud member of the Casting Society of America.

CELESTE M. COOPER (Casting Associate) was a

casting associate for Eclipse Theatre Company from 2016- 2017. She was a casting associate for their 2016 Stephen Adly Guirgis and 2017 Kia Corthron season. She also offered some casting support with their 2018 William Inge and 2019 Christopher Durang’s season. On March 13, 2017, she co- produced the Unified General Auditions with Erica Sartini, Rachael Jimenez, Emjoy Gavino, Laura Durham, Stephanie Diaz, Charlie Hano, and Elana Elyce.

30

T h e R eper tory Theatr e o f S t. L ou is

In 2022, Celeste was hired as a casting associate for McCracken Casting. She helped cast The Lyric Opera’s West Side Story and Court Theatre’s Spotlight Reading Series.

MOLLY NORRIS (Production Stage Manager)

Repertory Theatre of St. Louis Debut.

Regional: 9 seasons with the Oregon Shakespeare Festival as Production Stage Manager (Confederates, Bring Down the House, Part I, How to Catch Creation), Assistant Stage Manager (Bring Down the House, Part II, Othello, Manahatta, Julius Caesar, Hannah and the Dread Gazebo, The Yeomen of the Guard, The Wiz, and many more. Production Stage Manager: Othello (American Repertory Theater). Stage Manager: Men On Boats (Tantrum Theatre). Stage Manager, Extreme Home Makeover (Theatre Exile), Assistant Stage Manager, Personality: The Lloyd Price Musical (Peoples’ Light). During the height of Covid-19, Molly worked as a labor organizer supporting essential workers in Western Connecticut. Proud member of Actors’ Equity Association.

DAWN MARIE KELLEY (Assistant Stage Manager)

grew up in Baltimore, MD. She graduated from Towson University with a Bachelor of Science in Theatrical Studies (with a minor in creative writing and film production). Since graduation she has worked as an Stage Manager, Assistant Stage Manager, Production Assistant, and backstage theatrical crew member. Dawn has worked with a number of theater 31

BIOGRAPHIES

companies and festivals, including but not limited to Iron Crow Theatre (Baltimore), Single Carrot Theatre (Baltimore), Baltimore Shakespeare Factory, Flying V Theatre (DC), Capital Fringe (DC), Chesapeake Shakespeare Company (Baltimore), Oakland Theater Project, Bay Area Children’s Theater (Berkeley), Shotgun Players (Berkeley), and Oregon Shakespeare Festival. She has also worked in theatrical education positions with Berkeley Rep School of Theater and University of Maryland Baltimore County. She is excited to be working for the first time with the Repertory Theatre of St. Louis.

RAIYON HUNTER (Associate Director) is an actress,

director, producer, and arts administrator from New Orleans, Louisiana. She is currently employed at the Alliance Theatre as a Spelman Leadership Fellow and has worked on a multitude of shows in various capacities ranging from Casting Associate to Director on productions such as Do You Love the Dark, Darlin Cory, Bina’s Six Apples, and Good Bad People. She has a passion and deep desire to create community and opportunities for BIPOC Women through theater. She is a proud member of Women of Color in the Arts and Delta Sigma Theta Sorority, Inc. Raiyon would like to dedicate her work on this production to Arissa Jones and Jamal Baker.

32

T h e R eper tory Theatr e o f S t. L ou is

SARAH HOLLAND (Production Assistant ) Sarah is

currently a senior at the Sargent Conservatory of Theatre Arts at Webster University. She is pursuing a BFA in Stage Management and is very excited to be a PA for the Rep for the first time. Some of Sarah's credits include SM intern for the 104th season of the Muny, Sound Script intern for the 103rd season of the Muny and PSM for Burial at Thebes at The Sargent Conservatory of Theatre Arts.

Stanton Nash, Private Lives Photography By Jon Gitchoff

33

Stanton Nash, Private Lives

34

T h e R eper tory Theatr e o f S t. L ou is

Mazel Tov on your

Get St. Louis Magazine’s latest arts and culture coverage in your inbox!

2022-23 Season

Stay up-to-date on the worlds of visual arts, theater, music, and literature with SLM ’s Culture newsletter. Receive news, updates, and recommendations from the local arts scene.

...

SCAN THE QR CODE OR VISIT STLMAG.COM/NEWSLETTERS TO SUB SCRIBE.

stay informed. stay connected. it’s easy with our printed newspaper and email newsletters

SCAN BELOW TO SIGN UP FOR ONE.. or all of our

FREE

SUBSCRIPTIONS

www.stljewishlight.org 35

BIOGRAPHIES

mar 17-apr 5 loretto-hilton center

directed by hana s. sharif

apr 14-may 7 KPAC

By Rajiv Joseph

36

directed by becks redman

T h e R eper tory Theatr e o f S t. L ou is

GET YOUR TICKETS TODAY!

imaginary theatre company james and the giant peach Adaptation for the stage by David Wood From the book by Roald Dahl

directed by adam flores

Sail away to uncharted lands with James and friends abroad a mystical giant peach. As James embarks on a magical adventure He learns about courage, teamwork and friendship with an animated group of oversized insects. Experience the enchanting Roald Dahl’s classic story as it comes to life in David Wood’s musical adaption of this family favorite.

the miraculous journey of edward tulane Adapted by Dwayne Hartford From the book by Kate DiCamillo

Adapted by tford Dwayne Har k From the boo amillo

by Kate DiC

directed by adena varner

Hitch a ride along the miraculous journey of Edward Tulane. Accidentally thrown overboard while at sea, Edward begins a mystical voyage in which he learns what it means to love, the pain of love lost, and the courage it takes to love again. This beautiful theatrical adaptation of Kate DiCamillo’s award-winning tale is storytelling at its best.

Social icon

Circle

@repstl

Only use blue and/or white.

For more details check out our Brand Guidelines.

@repstl

@repstl

37

BIOGRAPHIES LEADERSHIP

HANA S. SHARIF (Augustin Family Artistic

Director) has enjoyed a multi-faceted theatre career, including roles as an artistic leader, director, playwright and producer with a specialty in strategic and cross-functional leadership. She served for five years as Associate Artistic Director at Baltimore Center Stage, where she oversaw the day-to-day execution of all of the mainstage and studio productions, and was the architect of the innovative CS Digital program: a platform that pushes the boundaries of traditional theatre and looks at the nexus point between art and technology.

Her other achievements at Baltimore Center Stage include prototyping the Mobile Unit, strengthening community engagement, producing multiple world and regional premieres and helping to guide the theatre through a multimillion dollar building renovation and rebranding effort. In 2012, Hana served as the inaugural Program Manager of the ArtsEmerson Ambassador Program and launched ArtsEmerson Artist-In-Residency program featuring playwright Daniel Beaty. In addition to her work at ArtsEmerson, Hana leveraged her regional theatre experience to freelance produce for smaller theatre companies, looking to expand and restructure their administrative teams. Hana served as developmental producer and program manager for Progress Theatre in Houston, where she consulted with the Artistic Director on

38

T h e R eper tory Theatr e o f S t. L ou is

redefining the artistic vision and subsequent recasting of the ensemble company and lead strategic organizational planning focused on LORT market entry. During her decade-long tenure at Hartford Stage, Hana served as the Associate Artistic Director, Director of New Play Development, and Artistic Producer. Hana launched the new play development program, expanded the community engagement and civic discourse initiatives, and developed and produced Tony, Grammy, Pulitzer and Obie Awardwinning shows. From 1997–2003, Hana served as the co-founder and Artistic Director of Nasir Productions, a theatre dedicated to underrepresented voices to challenge traditional structure. Her guest lecturer credits include Spelman College, Sewanee University, UT Austin, UCSD, Prairie View A&M, Emerson College, Maggie Flanigan Studio, Towson University, UMD, UConn, UMass and University of Hartford, among others. Additionally, Hana has directed acclaimed productions of Porgy & Bess, The Who & The What, Fun Home, Sense and Sensibility, The Christians, Les Liaisons Dangereuses, Pride and Prejudice (DCArts: Best Director/Best New Play), The Whipping Man, Gem of the Ocean (six CCC nominations), Gee’s Bend (CCC Award Best Ensemble, two nominations), Next Stop Africa, Cassie, The Drum and IFdentity. Her plays include All the Women I Used to Be, The Rise and Fall of Day and The Sprott Cycle Trilogy. Hana holds a BA from Spelman

Cast Follies

39

LEADERSHIP

College and an MFA from the University of Houston.

She is the recipient of the 2009–10 Aetna New Voices Fellowship, EMC Arts Working Open Fellowship, Theatre Communications Group (TCG) New Generations Fellowship, and is a founding member of The Black Theatre Commons (BTC). She serves on the board of directors for the TCG, BTC, and the Sprott Foundation.

40

T h e R eper tory Theatr e o f S t. L ou is

DANNY WILLIAMS (Managing Director) became

The Rep’s Managing Director in January 2022.

An experienced arts administrator, Danny has expertise in nonprofit accounting, senior management and organizational development.

Prior to joining The Rep, Danny worked at The Public Theater in New York, where he has served in various roles since 2006. Most recently, as Senior Director, Finance and Administration, he managed the daily and strategic financial operations of this $50 million nonprofit organization, successfully launched an organization-wide intranet, partnered with the development team to achieve fundraising goals, and collaborated on long-term financial planning and analysis, including cash investment strategies, budget analysis and project management. Noteworthy and favorite productions include Broadway productions of Fun Home, Eclipsed, Hamilton and Hair along with OffBroadway productions of Here Lies Love, Into the Woods, Twelfth Night, As You Like It, White Noise and Rock Bottom.

Williams has also held roles with Musical Theatre International, Warren Miller Performing Arts Center and Manhattan Theatre Club and has served as an adjunct professor in the performing arts management master of fine arts program at Brooklyn College. He earned a bachelor of science degree in marketing and theater from Fairfield University and spent a semester abroad studying at Regents University in the United Kingdom.

41

BIOGRAPHIES LEADERSHIP

DATE NIGHT FRIENDS NIGHT OR SOLO NIGHT

Take part in Club Rep on the selected nights and become an adventurous theatregoer!

REPSTL.ORG BOX OFFICE: 314.968.4925 Social icon

Circle Only use blue and/or white.

@repstl

For more details check out our Brand Guidelines.

@repstl

@repstl

join club rep! agatha Christie's murder on the orient express

Gruesome playground injuries

MAR 30 APR 27 42

T h e R eper tory Theatr e o f S t. L ou is

42 42

BOARD OF DIRECTORS

BOARD OF DIRECTORS PRESIDENT

SECRETARY

the todd organization

community volunteer

Gwen Middeke*

Judi Scissors*

VICE PRESIDENT

TREASURER

prolog ventures

ernst & young

Brian Clevinger*

Ven Houts*

VICE PRESIDENT

VICE PRESIDENT, VOLUNTEERS

cigna

community volunteer

Susan Stith*

Ann Harris Straw*

MEMBERS:

Wendi Alper-Pressman lathrop & gage, llp

Margaret Augustin* community volunteer

Patrick Aydt

merrill lynch | vice president

Lauren Smith Blair

u.s. bancorp community development corporation | vice president

Dedric A. Carter*

Dan Jay*

christner architects | principal of counsel

Gwen Middeke*

the todd organization of st. louis | partner

Ronald L. Roberts

ridge graves, llc | managing partner

Lauren Sagel

community volunteer

Pat Schutte*

community volunteer

washington university | vice chancellor for operations and technology transfer

Judi Scissors*

prolog ventures | managing director

community volunteer

Brian Clevinger* Brandon Evans*

community volunteer

Ann Cady Scott*

ernst & young | partner

Susan Stith*

skyline public strategies, inc. | principal

Ann Harris Straw*

cgb enterprise inc. | project manager

Elizabeth J. Stroble

Frank Hamsher* Laurie Hiler

Gina Hoagland

collaborative strategies, inc. chairman and principal

Ven Houts*

ernst & young | community volunteer

cigna | vp dei, civic affairs & foundation community volunteer / vice president, volunteers

webster university | chancellor

Susan D. Tuteur community volunteer

*executive committee

43

VOLUNTEER BOARD

VOLUNTEER BOARD One of the most treasured and dedicated resources, The Rep’s Volunteer Board provides amazing support each season with donations of time, talent and skill throughout all facets of the organization. We are so grateful to the Volunteer Board for their continued dedication as integral members of The Rep family.

If you are interested in serving on The Rep Volunteer Board, please contact call the Development Department at (314) 687-4030.

PRESIDENT Ann Harris Straw VICE PRESIDENT Trish Alexandre SECRETARY Ann Bronsing

TREASURER Carol Schreiner IMMEDIATE PAST PRESIDENT Laurie Hiler

SENIOR MEMBERS Susan Barley Barbara Mennell

MEMBERS: Trish Alexandre Ann Bronsing

Michaeleen Cradock Dorothy Diehl

Denise Eschenbrenner Karen Fairbank Glenda Hares Vicki Helling Laurie Hiler

Marcia King

Margie Knapp

44

T h e R eper tory Theatr e o f S t. L ou is

Linda Lowry

Karen Miller

Shirley Raitzsch Colleen Ritchie Rocky Rosen

Helen Sandifer

Cindy Schnabel Carol Schreiner

Ann Harris Straw Linda Vandivort Lynn Yearwood

LONDON CALLING you’re invited to experience the drama, the thrills and the laughs across the pond on our 24th annual london theatre tour!

a fabulous tour of london’s thrilling theatre scene, rich history and vibrant culture awaits you.

MAY 27 - JUNE 4 DEADLINE: MARCH 15, 2023

Immerse yourself in all that London has to offer next summer.

As a member of The Rep’s travel party, you’ll see and discuss a wide range of London’s best theatre on the West End and beyond with The Rep’s very own Hana S. Sharif and Danny Williams!

Other highlights include: • Luxury hotel accommodations • Fine dining experiences • Insider conversations with leading scholars, artists, critics and other experts • Excursions to the beautiful English countryside For nearly three decades, the Annual London Tour has been a beloved chance to build community and create memories with fellow lovers of The Rep. Don’t miss out!

JOIN US!

Email londontrip@repstl.org or call the Development Department at (314) 687-4030 to learn more!

45

heARRANGED R eper tory Theatr of S t. L ouLONDON is THIS45TRIP TIS

BY THEe PREMIER TOUR COMPANY, LONDON ARTS DISCOVERY. 45

STAFF Hana S. Sharif

Augustin Family Artistic Director

Danny Williams Managing Director

ARTISTIC ASSOCIATE ARTISTIC DIRECTOR / DIRECTOR OF NEW PLAY DEVELOPMENT ASSOCIATE ARTISTIC DIRECTOR EXECUTIVE ASSISTANT TO THE ARTISTIC AND MANAGING DIRECTOR

Becks Redman Reggie D. White Nathanael McClure

learning & COMMUNITY engagement

DIRECTOR OF LEARNING AND COMMUNITY ENGAGEMENT LEARNING PROGRAMS MANAGER TEACHING AND ENGAGEMENT MANAGER TEACHING ARTIST

ADMINISTRATION GENERAL MANAGER COMPANY MANAGER SPECIAL EVENTS MANAGER SENIOR MANAGER, ADMINISTRATION ATTORNEY

Adena Varner Brian Coats Britney Daniels Brea Rollston Claire Himstedt Clifford Hannon Michael Ward Bailey Pashia Laura Wandersee Sara Robertson, Polsinelli PC

DEVELOPMENT MAJOR GIFTS OFFICER DEVELOPMENT ASSOCIATE

Tasha Kaminsky Rob Kapeller

MARKETING & COMMUNICATIONS MARKETING DIRECTOR MARKETING MANAGER COMMUNICATIONS MANAGER MARKETING ASSOCIATE GRAPHIC DESIGNER

Ashton Beck Mike De Pope Cameron Wulfert Michael Thanh Tran Delores Eddington

FINANCE ACCOUNTING ASSOCIATE ACCOUNTING ASSISTANT

Suzanne Bodenstein Marsha Whitler

AUDIENCE SERVICES DIRECTOR OF AUDIENCE SERVICES BOX OFFICE MANAGER ASSISTANT BOX OFFICE MANAGER DATABASE ADMINISTRATOR BOX OFFICE ASSOCIATES BOX OFFICE REPRESENTATIVES

LEAD HOUSE MANAGER ASSOCIATE HOUSE MANAGER ASSISTANT HOUSE MANAGERS

46

T h e R eper tory Theatr e o f S t. L ou is

Ricki Marking-Camuto Kristy Kannapell Lin Joyce Dan Ladd Michael Dorn Christian Hoffman Taylor Kelly Carl Wickman Brittni Brown LaTonya Shepherd Deanna Danger Hope Harbour Jessica Barnes Marrissa Spinks Mo Moellering

PRODUCTION DIRECTOR OF PRODUCTION STAGE MANAGERS PRODUCTION ASSOCIATE

scenic

TECHNICAL DIRECTOR ASSOCIATE TECHNICAL DIRECTOR CHARGE SCENIC ARTIST SCENIC ARTISTS SCENIC SHOP FOREMAN SCENIC CARPENTERS PROPERTIES MANAGER PROPS CARPENTER

costumes

COSTUME SHOP MANAGER ASSOCIATE COSTUME SHOP MANAGER HEAD DRAPER DRAPER FIRST HANDS HEAD CRAFTS ARTISAN WIG AND MAKEUP SUPERVISOR

lighting

LIGHTING AND PROJECTIONS SUPERVISOR MAINSTAGE HEAD ELECTRICIAN ELECTRICIAN

sound

MAINSTAGE SOUND ENGINEER SOUND ENGINEER

Catherine Campbell Emilee Buchheit Lorraine Fiore Shannon B. Sturgis Jacob Cange Michael Strickland Emilie WeilbacherMcMullan Scott Loebl Stephen Pollihan, James Van Well Dave McCarthy Dan Roach, Jr. Danny McCarthy Eric William Barnes Ralph Wilke Kristie Osi Erica Jo Lloyd Robert Trump Elizabeth Eisloeffel Sandra Kabuye Michelle Bentley John Inchiostro Dennis Bensie Michael Jarvis Connor Meers Casey Morris III Joshua Riggs Sean Wilhite

crew WARDROBE SUPERVISOR IATSE WARDROBE WIGS DECK CREW PROJECTIONS PROGRAMMER SPOT OPERATOR

Calyn Roth Jacob Goodwin Genevieve Rose Wylie Godleski Abby Schmidt Drew Fisher Bryson Sands Reece McAbe Anthony Storniolo Aahron Young

47

Your seat is waiting The Little Dancer: Moments in Time | DEC 8–11 The Wolves | MAR 24–26 COCAwrites Festival: Student Voices | MAR 26 TRIumphant | MAY 5–7 Improv Troupe | MAY 12 Vocal Company | MAY 18–19 Pippin | JUL 20–23

Tickets on sale now

48

T h e R eper tory Theatr e o f S t. L ou is

ABOUT BIOGRAPHIES THE REP

The Rep produces work in three spaces from September through April, all sharing the same high production values and commitment to presenting exciting live professional theatre.

MAINSTAGE

The work presented in the Mainstage series is eclectic, ranging from modern to classics to musicals, and benefits from the large space afforded by the Browning and Berges Theatres. Performances are given in both the Virginia Jackson Browning Theatre at the Loretto-Hilton Center and the Catherine B. Berges Theatre at COCA.

50

T h e R eper tory Theatr e o f S t. L ou is

STEVE WOOLF STUDIO SERIES

Longtime Rep Artistic Director Steve Woolf was a champion of producing innovative and provocative plays in an intimate setting. The Rep continues his legacy with the STEVE WOOLF STUDIO SERIES and invites you to a stunning new location to experience this exciting work.

The Kirkwood Performing Arts Center (KPAC) is St. Louis’ newest performance space and houses the beautiful Strauss Black Box Theatre. This season enjoy: Gruesome Playground Injuries | by Rajiv Joseph Doug and Kayleen meet as eight-year-olds in the school infirmary. (He tried to ride his bike off the roof. She has a stomachache that her mother blames on “bad thoughts.”)

Their lives intersect for the next three decades as they return to each other, alternately revealing and concealing their injuries — both physical and psychological — as they struggle with attraction, vulnerability and love. Pulitzer Prize finalist Rajiv Joseph creates a hilarious and heartbreaking love story that the Washington Post calls, “Mystical, arresting and quirkily amusing.”

By Rajiv Joseph 51

FOR YOUR INFORMATION

HOUSE POLICIES

Late Seating: Latecomers will be seated at an appropriate moment in the performance.

Electronic Devices: Please silence all electronic devices while in the theatre.

Inclement Weather Policy: In the event of inclement weather, please check our website, social media pages, or call the Box Office for current information. If a cancellation occurs, please call the Box Office starting the day after the inclement weather occurred to exchange your seats for another performance of the same production.

TICKET EXCHANGE POLICY

Exchanges are an exclusive subscriber benefit. Exchanges may be made within the run of each production. Tickets may be exchanged up to two hours prior to show time.

If you choose to exchange into a higher-priced area, you will be charged the difference. No refunds are made for exchanges to lower-priced tickets.

WAYS TO SAVE

For parties of 10 people or more, please contact us at (314) 968-9489 or email groupsales@repstl.org to discuss group sales discounts.

For seniors, students, military, first responders or educators please visit repstl.org/events/ways-to-save or call (314) 968-4925 for additional information.

52

T h e R eper tory Theatr e o f S t. L ou is

SUBSCRIBER DISCOUNTS

Subscribers can save two ways on additional ticket purchases. Advance purchases receive a 10% discount.

Last-minute purchases (beginning 48 hours prior to a show) are discounted 50%! Prior sales are excluded.

Please note: there are no refunds or exchanges on single ticket purchases.

YOUR BENEFITS

• Free Parking • 100% Flexibility • Special Discounts • Exclusive Communications • Early access to upcoming promotions and events • Subscription Pass Boost

53

BIOGRAPHIES

The Imaginary Theatre Company (ITC) focuses on theatre for young people and their families. Through the use of literature, folk tales, fairy tales and new adaptations of classic works– ITC is committed to bringing the very finest in theatre to youth where they live and learn.

2022-2023 SEASON ITC PROGRAMS

TOURING FEB 1 - MAR 31, 2023

GIAC NOELLE Old Man, Miss Spider, Rhinoceros

CHRISTINA YANCY Aunt Spiker, Ladybird, Mrs. Trotter

DANIEL MCRATH James Trotter

JANNA LINAE Aunt Sponge, Centipede, Mr. Trotter

THOMAS PATRICK RILEY Old Green Grasshopper, voice of Earthworm, TV Reporter

MO MOELLERING The understudy/swing

THIS YEAR WE ARE EXCITED TO BRING YOU TWO BELOVED ADAPTATIONS OF CLASSIC CHILDREN’S LITERATURE– WITH THEMES OF FRIENDSHIP, BRAVERY, ADVENTURE, AND WHIMSY THAT ARE PERFECT FOR STUDENTS IN GRADES K-8.

BOTH PERFORMANCES HAVE AN ESTIMATED RUNTIME OF 60 MINUTES.

MO MOELLERING Amos, Lolly, Jack, The Watchman, Neal, Old Doll

CHRISTINA YANCY Traveler, Pellegrina, Martin, Old Lady, Marlene, Lucius

DANIEL MCRATH Edward

JANNA LINAE Woman, Abilene, Nellie, Lucy, Sarah, Shopper, Hobo

THOMAS PATRICK RILEY Man, Abilene’s Father, Lawrence, Bull, Bryce, Hobo

GIAC NOELLE understudy/Swing

54

T h e R eper tory Theatr e o f S t. L ou is

In Pain?

Start Here.

Request a Free Assessment * at Any Athletico Location!

Official Provider of Physical Therapy

*Per federal guidelines, beneficiaries of plans such as Medicare, Medicaid, Tricare, VHA and other federally funded plans are not eligible for free assessments.

Thoughtful design that matters.

55

ACCESSIBILITY

ACCESSIBILITY Hearing: Free assistive listening devices using an FM system are available at Audience Services prior to all performances.

Open Captioning: We offer open captioning, an electronic text display which shows what the actors are saying or singing, at the last Sunday show for all Mainstage performances.

Vision: The Rep partners with MindsEye to offer live audio description for the final Thursday performance of each all productions.

ASL

Mobility: The Rep offers services for patrons who utilize mobility aids in all of our theatre spaces.

Please discuss seating requirements with the Box Office when purchasing tickets or visit Audience Services when you arrive at the theatre.

American Sign Language: We offer ASL interpreted performances on the final Saturday matinee for all shows this season. Interpreters will be placed inside the theatre and sign what actors are saying and expressing for the audience.

Masking: We offer masking-required performances for audience members with health conditions that put them at high risk for airborne illness. One-time use surgical masks will be available for patrons who need them. For details on masking requirements, visit repstl.org/safety.

56

T h e R eper tory Theatr e o f S t. L ou is

CALENDAR S

M

W

R

13

2PM 19 7 PM

20

26

27

2PM 2 PM

7PM 7 PM 7 PM

14

7 PM

15

21 2PM 22 7 PM

28

MAR.

12

7 PM

T

8

FEB.

T

9 8PM 8PM

2PM 1 7PM 8

S

F 16 23 2

8PM 8PM 8PM 8PM

10 17 24 3

8 PM 4PM 4PM

11 18 25

2 PM 4 8PM

5

preview opening asl interpreted audio described open captioning masked performance

57

LEARNING AND COMMUNITY ENGAGEMENT LEARNING AND COMMUNITY ENGAGEMENT

Essence Tyler, Puss In Boots Photo by The Repertory Theatre of St. Louis

ITC

The Imaginary Theatre Company (ITC) focuses on theatre for young people and their families. Through the use of literature, folk tales, fairy tales and new adaptations of classic works, ITC is committed to bringing the very finest in theatre to youth where they live and learn.

For more information visit repstl.org/itc

STUDY GUIDE/CURRICULUM CONNECTIONS

Digital study guides include information on the play and production, as well as activities and worksheets that educators can modify to meet the needs of their students.

INTERVIEWS WITH THE ARTISTS

Hear from the actors who bring ITC to life as they discuss their work on the shows and their artistry.

SHOW INFORMATION: 58

James and the Giant Peach The Miraculous Journey of Edward Tulane

T h e R eper tory Theatr e o f S t. L ou is

STUDENT MATINEES

The Rep’s student matinee program is designed to cultivate a love for theatre in young audiences. Schools pay $10 per ticket and bring eager students to the theatre for a performance and post-show discussion with cast members. Teachers receive a free, multi-disciplinary Study Guide containing information about the play, the playwright and the production, as well as useful background articles and suggested classroom activities.

For more information visit repstl.org/student

STORY 2 STAGE

The Rep’s new Story 2 Stage program unlocks the power of storytelling by way of mining lived experiences, imaginations and aspirations. Through our 9-session residency program, schools receive an innovative, worldbuilding curriculum, designed for learners of all ages that leads youth and community members to create their own 10-minute plays. At the end of the residency, students may submit their work to the Story 2 Stage Festival for a chance to have their play professionally produced.

Additionally, all Missouri students may submit a play to the festival for consideration.

For more information about our residencies and festivals at story2stage.org

59

LEARNING AND COMMUNITY ENGAGEMENT

REPRESENT STL

This free conversation series takes a creative approach to building community through dialogue. Throughout the year, The Rep hosts thought-provoking public forums intended to provide a safe space for the free exchange of ideas, explore the intersectionality of art and civic life with experts and thought leaders and rigorously yet artfully discuss the issues that matter most to our community, all while actively discovering the subtle truths that unite our human experiences.

For more information, visit repstl.org/representstl

THE SNOWY DAY: A GLOWY SNOWY EXPERIENCE

The Rep is proud to present the 3rd annual The Snowy Day: A Glowy Snowy Experience from January 6 - January 9 2023! This wintertime drive-through spectacle is filled with giant, illuminated puppets, glow-in-the-dark scenery and a podcast that tells the story of a young boy playing outside with his friends during the season’s first snow. This free, family-friendly experience is based on the beloved children’s book, The Snowy Day, by Ezra Jack Keats,.

For more information, visit repstl.org/snow Produced in partnership with StoneLion Puppet Theatre and the Missouri History Museum.

60

T h e R eper tory Theatr e o f S t. L ou is

BIOGRAPHIES

LEARNING AND COMMUNITY ENGAGEMENT

CAMP REP

Each summer, The Rep is pleased to offer Camp Rep for youth in 2nd through 8th grade. Campers receive engaging instruction from some of the region’s leading teaching artists in Broadway Dance, Acting, Music, Creative Storytelling, Puppetry and more. This 2-week artistic immersion culminates in a creative showcase for families and friends.

For more information, visit repstl.org/camp

HONOR ROLL

The Leading Ladies are honored to continue their legacy of playing a major role in benefiting The Rep each season. We are grateful to the following donors, who pledged their support for the 2022-2023 season. We invite you to join our amazing group of Leading Ladies!

LYNN NOTTAGE $10,000+

Anonymous Ann P. Augustin & Margaret Augustin

JULIE TAYMOR $7,500-9,999 IDINA MENZEL $5,000-7,499

Juanita H. Hinshaw

SUZAN-LORI PARKS $2,500-4,999 Pamela Wing Dern Hannah Langsam Pat Schute Judi Scissors

MARIANNE ELLIOTT $1,000-$2,499 Crystal Beuerlein Suzan Kelsey Brooks Dotti Fischer Nancy Kranzberg Judith Weiss Levy Jane M. Robert Ann Scheuer Lois Schultz Pat Schutte Judi Scissors Ann Scott Diane Sher Linda Lewin Stark Susan Tuteur Helen D. Ziercher

64

T h e R eper tory Theatr e o f S t. L ou is

PAULA VOGEL $500-$999 Trish Abbene Wendi Alper-Pressman Christy Beckmann Pamela Belloli Cindy Belmont Terri Ciccolella Samantha Davidson Carolyn Gold Sara Kessler Merritt McCarthy Elizabeth Meteer Karen Miller Lucy Schreiber Lisa Easton Silverberg Ann H. Straw Susan Warshaw Mei Chen Welland Kathleen Wood Lynn Yearwood

ANIKA NONI ROSE $250-$499 Bette L. Bude Elaine Coe Dorothy Diehl Joan D. Dougherty Roberta S. Frank Barbara Gervais Laura Greenberg Julie & David Hohman Joanne Iskiwitch Susan Kilo Susan Knight Sylvia Manewith Judith Smart Terry L. Thornton Linda Vandivort

PHILLIPA SOO $100-$249 Trish Alexandre Penny Bari Nancy Berg 65

BIOGRAPHIES HONOR ROLL

Ilene Brooks

Sally Rice Markland

Kelley Ciampoli

Monica McFee

Myra Crandall

Susan Miller

Rose Mary Dieckhaus

Suzie Nall

Dorothy Diehl

Susan A. Oefelein

Michelle Drabin

Marilyn Raphael

Denise Eschenbrenner

Lynn Rawlings

Karen L. Fairbank

Marcia Roentz

Ann Franke

Melanie Ryterski

Judy Garfinkel

Carol Schreiner

Shirley Haake

Janice Seele

Glenda Hares

Arlene Spector

Vicki Helling

Trish Williams

Mary Beth Hennessy

Lisa Zarin

Linda Hensley Jan Hermann Carolyn Hileman Laurie Hiler Jeane Jae Mx. Rob Kapeller Margie Knapp Suzanne Levin Dorothy Lovelace Linda Lowry 66

T h e R eper tory Theatr e o f S t. L ou is

Gifts received 6/1/2021 – 2/7/2023 For more information or to join Leading Ladies, please contact the Development Department at (314) 687-4030.

Cast, The 39 Steps Photo by Jon Gitchoff

SUPPORT THE ARTS why your donation matters ARTISTIC EXCELLENCE

Your gift empowers a wide spectrum of artists, from local artisans and craftspeople to our administrative and leadership teams, to dream and innovate in new ways to continue to bring magic to our stages.

LEARNING AND COMMUNITY ENGAGEMENT PROGRAMS

Your gift brings the power of live theatre to thousands of youth each year.

These young learners gain an understanding of the literary value and the making of theatre while simultaneously developing skills in communication, teamwork and leadership.

REEMERGING TOGETHER

Your gift to The Rep helps overcome the financial challenges of the past two years and secures the longevity of our theatre for decades to come.

BIOGRAPHIES

BENEFITS OF BEING A DONOR Benefits are based on giving levels. Please visit www.repstl.org for more details and full benefits for all giving levels available.

Dive deeper into your theatrical journey with Rep Reads, our monthly play reading and discussion group (minimum gift of $100 or more).

Celebrate the season with us at the Annual Spotlight Society End-of-Season Celebration (minimum gift of $1,500 or more).

Join in exclusive conversations with our Augustin Family Artistic Director, Hana S. Sharif and other artists in deep conversation around the artistry of productions and the impact of our work on the local community as part of our Artistic Director's Circle (minimum gift of $20,000 or more).

HOW TO MAKE YOUR GIFT: ONLINE Visit repstl.org/support

PHONE Call the Development Department at (314) 687-4030.

MAIL Send a check to The Repertory Theatre of St. Louis, Attn: Development Department, 130 Edgar Road, St. Louis, MO 63119

HONOR ROLL

CORPORATE & FOUNDATION PARTNERS As a nonprofit organization, The Repertory Theatre of St. Louis relies upon the support of corporate and foundation partners. The Rep gratefully acknowledges the following corporations and foundations whose generous support helps us to create the highest caliber of professional theatre for St. Louis, engage the next generation of theatregoers and provide opportunities for diverse artists. For information about how your business or organization can support The Rep, contact the Development Department at (314) 687-4030.

$100,000+

Doris Duke Charitable Foundation

The Andrew W. Mellon Foundation The Shubert Foundation Inc. Berges Family Foundation

$25,000-$49,999

Mary Ranken Jordan and Ettie A. Jordan Charitable Foundation PNC Arts Alive Edward Jones

69

BIOGRAPHIES HONOR ROLL

$10,000-$24,999

Louis D. Beaumont Fund No. 1 of the St. Louis Community Foundation The Trio Foundation of St. Louis

$5,000 - $9,999

Enterprise Holdings Foundation

Edward Chase Garvey Memorial Foundation Dewitt and Caroline Van Evera Foundation

$2,500 - $4,999

Employees Community Fund of Boeing Graybar Foundation Sign of the Arrow/St. Louis Alumnae Club of Pi Beta Phi

$1,000 - $2,499

DCA Family Foundation Joy Waltke Fisher Fund of the St. Louis Community Foundation Lathrop & Gage LLP Polsinelli

UNDER $1000

Commerce Bancshares Foundation

70

T h e R eper tory Theatr e o f S t. L ou is

Cast, A Christmas Carol Photography By T Charles Erickson

71

HONOR ROLL

The Spotlight Society is an organization of donors who provide outstanding annual support to The Repertory Theatre of St. Louis. In appreciation, donors enjoy a host of special benefits, including Circle Drive parking, an invitation to the Spotlight Society Cabaret Dinner and much more. The Repertory Theatre of St. Louis gratefully acknowledges members of the Spotlight Society for their commitment to sustaining and promoting the highest quality professional theatre at The Rep.

ARTISTIC DIRECTOR’S CIRCLE $20,000+

Robert 

Anonymous 

Susan & Peter Tuteur 

James G. & Elizabeth Mannen Berges  Juanita H. Hinshaw  Ven & Cynthia Houts  Gwen & Paul Middeke Jane & Bruce

72

T h e R eper tory Theatr e o f S t. L ou is

Pat & Ken Schutte  Ann Cady Scott 

SPOTLIGHT ANGEL $10,000-$19,999 Ted & Robbie Beaty  A. Brenner  Dr. Stuart Kornfeld 

BIOGRAPHIES

SPOTLIGHT IMPRESARIO $7,500-$9,999 SPOTLIGHT BENEFACTOR $5,000-$7,499 Barbara & Ernest Adelman✠ Joseph & Lauren Allen David & Melanie Alpers  Susan Barley  Kathy Berg  Leona Lee Bohm*  Vicki & Brian Clevinger ✠ Steve & Linda Finerty  Anne Carol Goldberg & Ronald Levin ✠ Sally Johnston  Mr. Howard Landon Mr. & Mrs. Lawrence Langsam  Mark & Patty Mantovani ✠ Cindy Maritz ✠ Karen Miller 

Stephanie A. Schnuck  Terry & Sally Schnuck ✠

SPOTLIGHT SUSTAINER $2,500-$4,999 Trish & Michael Abbene  ATA Truesdale LP  Patrick Aydt Costas & Assimo Azariadis  P.E. Belloli & Dave Shimek  Mark D. Bernstein ✠ Sam C. Bertolet & Helen D. Ziercher  Lauren Smith Blair Mrs. H. Pharr Brightman ✠ Patty & Kent Chapin ✠ Elaine Coe ✠ Dr. Kevin & Lisa Coleman  Michael Dern ✠ Larry Essmann  Brandon & Lucy Evans Judith Gall ✠ 73

HONOR ROLL

Dan & Chris Goodenberger  Lee & Gina Hoagland  Joanne & Joel Iskiwitch ✠ Dr. Theresa & Zulfikar Jeevanjee  Nancy & Kenneth Kranzberg ✠ Kent A. Lewis  McCallum Family Charitable Fund  Andrew & Lori O'Brien  Mike & Barb Quinn 

Mike & Barbara Willock  Lynn & Darrell Yearwood 

SPOTLIGHT PATRON $1,500-$2,499 Mary Jo Abrahamson Wendi Alper-Pressman & Norman Pressman  Ann P. Augustin  Margaret Augustin  Catherine S. Bollinger  Nancy Berg

Freda & Harry Rich ✠

Holly & Marc Bernstein

Ann Scheuer

Michael & Arlue Briggs ✠

Mary Schoolman 

Sara Burke

Judi Scissors & Sam Broh  Janice & Steve Seele  Amy & Ben Smith  Dr. John Sopuch  Bill & Jarona Stevens  Gretchen Straub 

Eileen Clarke & William Dodd  Elizabeth & Don Cobin Bob & Becky Courtney  The Preeti Dalawari & John Vandover Charitable Fun Dr. Debbie A. Depew  Pamela Wing Dern 

74

T h e R eper tory Theatr e o f S t. L ou is

Mr. and Mrs. Henry Dubinsky Rosemary & Robert Emnett  Richard Engelsmann & Diane Buhr Engelsmann  Mr. & Mrs. Greg Evans 

Mark & Peggy Holly  Sam and Pat Hopmeier Charitable Fund at Youthbridge Community Fund  Mike Isaacson & Joe Ortmeyer 

Sam & Marilyn Fox Foundation ✠

Daniel G. Jay & Mary Ann Lazarus 

Mr. & Mrs. Ronald Fromm 

Jeanne & Aron Katzman 

Mr. & Mrs. David P. Gast  Ed & Julie Glotzbach  E.L. Green ✠ Laura & Ted Greenberg  Frank Hamsher Reginald & Stephanie Harwell Kathleen Locklar Heimann Margaret & Michael Heinz  Bill & Linda Hentchel Brad & Phyllis Hershey  Laurie Hiler  Marian & Maurice Hirsch 

Mr. & Mrs. Ronald Kessler  Sally Lemkemeier ✠ Judith Weiss Levy ✠ C. Arden Mennell  Barbara & Lee Meyer Mrs. Rena Murphy ✠ Ellen Nahlik, Simons Family Charitable Trust Kim & Rick Nast  Mr. & Mrs. Raymond W. Peters  Colleen Ritchie  Paul & Cindy Schnabel  75

HONOR ROLL

Steve & Marlene Schumm  Margot Schwab Julian & Helen Seeherman, The Seeherman Charitable Fund  Joan & Paul Shaver  Lisa & Allan Silverberg ✠

LIFETIME GIVING LEVELS $250,000+ $100,000 - $249,999 ✠$50,000 - $99,999 $25,000 - $49,999 $10,000 - $24,999

Dr. Raymond Slavin  Ann & Jack Straw 

*In memoriam

Paul & Beth Stroble 

Gifts received 6/1/2021 – 2/7/2023

Deane* & Fancine Thompson  Joan Tiemann  Selden Y. Trimble, In Memory of Joyce Price Trimble  Lynne & Jim Turley Bill & Linda Welborn  B. Craig Weldon & Terri Monk  Mei Chen Welland  Susan & Stuart Zimmerman  76

T h e R eper tory Theatr e o f S t. L ou is

For more information or to join our Spotlight Society, please contact the Development Department at (314) 687-4030

77

HONOR ROLL

Throughout our 56 years, The Rep has worked to make theatre accessible to all. From providing free and lowcost educational programs to young people to bringing locally-produced theatre to life for the people of St. Louis, the support of The Rep Backers has a crucial impact each season. Every year we look to people like you - individuals who value the amazing, unexpected art of theatre—to lend a hand and bring our mission to life!

PLAYWRIGHT BACKER $1,000-$1,499

Laurence & Silvia Madeo

Anonymous 

Dr. James A. Morrell 

Bill Aitken

Laura & David Margolis

Gordon Alloway

Mike Ness & Jenny Voelker

Donald & Marilyn Blum 

Joseph & Sammy Ruwitch

Mike & Sue Darcy

Mrs. Peter Sargent 

The Dunagan Foundation

Joel & Barbara Schwartz

Kirk & Alice Fritsch 

Christine Secorsky & Greg Sacho

Robert & Donna Heider Cheryl & Keith Kowalczyk 78

T h e R eper tory Theatr e o f S t. L ou is

Beverly Wagner  Hoyt W. Wallace 

PRODUCER BACKER $600-$999 Anonymous Dr. E-P. Barrette Kyle Baxter & Alan Ratchford Drs. Nanci & James Bobrow Ms. Doris Drewry & Mr. Baker Cunningham Bill & Jane Doub Heather & Len Essig Jane B. Evans Terry & Marjorie Franc, Franc Family Fund of the St. Louis Community Foundation Margaret & Larry Harris Dot & Steve Larsen 

Jeanne Lewi John Muller  Drs. Bill & Betsy Powderly Dr. & Mrs. Lester T. Reese Jim & Diane Relleke Susan & Albert Schlueter Donna & Howard Smith Stuart & Cindy Sweet Mat Turner Paul & Linda Vandivort  David P. Weiss

DIRECTOR BACKER $300-$599 Anonymous (2) Sally & Ken Anderson Svan Frelick Appleton & Robert 79

HONOR ROLL

O. Appleton, Jr.

Mr. & Mrs. William Eckert

Rick & Liz Aurbach

Dorsey & Sondra* Ellis

Carolyn & Lynn Barnett

William Enyart

Beverly & Philip Barron

Sara Epstein

Carolyn Becker

Karen Fairbank

Hui Hua & Keith Bernstein

Keith & Ann Fischer

June R. Bierman

David R. Ganz

Joyce & David Bishop

Jerome & Catherine Gidlow 

Richard M. Blaha Kevin Blansit Ruth Blundell  Lary & Lynn Bozzay  Suzan Kelsey Brooks  DeAnne & Gordon Brown Joseph Brown John & Kathy Brugere John Carr & Kay Kaiser Evelyn & Louis Cohen Bernie L. Corn & Michael Danzer Kathianne & David Crane Jay & Marsha Delano Dorothy Diehl 80

T h e R eper tory Theatr e o f S t. L ou is

Terry & Judy Gooding Patricia D. & Gary L. Gray Barbara Harris  Bernice Heavilin Dr. & Mrs. Jay Henis Dr. Michael & Carolyn Hesterberg Anne W. Hetlage Mary Jo Hunter & Gary Miller Dennis Johnson  Mr. & Mrs. Jim Kaiser Mr. Ernest H. Key Susan & Jack Kissinger

Susan Knight Fran & Roger Koch Christine & Jon Krueger Joan Krueger & Brian Betker Dr. James Laing & Dr. Margaret Weck

Nancy & Jim Murphy Adrienne & David Piston Harriet & Philip Polster Mr. & Mrs. Maury B. Poscover Elizabeth Pribor

Nancy LeMaster

Marilyn & Bob Raphael

JoAnne Levy & Jim Thomeczek

Drs. Robert & Sheryl Ream

Dr. & Mrs. Frederick C. Lewis, Jr. 

Dr. and Mrs. Leon Robinson Tom & Kathy Ryan

Jerri & Bill Livingston Kay & Gerry Love Linda Lowry Cindy & Gregg Lueder Dr. Robert Lynch & Dr. Ellen Wood Joseph Martinich & Vicki Sauter 

Lauren & Darryl Sagel Thomas & Marilyn Schultz Bradley & Kay Shaw John & Nancy Solodar  Bart & Meg Solon Gary Stansbery Laura Stanton Mr. & Mrs. R. Stover

Dr. & Mrs. Jerald A. Maslanko

Tracy & Elizabeth Strevey

Patrick & Rosanne Mathis

Drs. Samer & J oni Thanavaro

Melissa J. McClain David & Ginny McDonald John & Lucy Morris

Greg & Brenda Teakert

James Tobin & Virginia Heagney 81

HONOR ROLL

Glen & Libby Travers

Gwen Clopton

John & Dea Vallina

Lois F. Crampton

Linda & F. Dale Whitten

Mary K. Cullen & Daniel Goldberg

Miriam Wilhelm & Eric Friedman

Conrad Damsgaard

Jim Wilson

Adrienne Davis

Melissa Wohlwend

Robert & Jan Dawson

STAR BACKER $175-$299

Theodore & Deborah Dearing Diane DiTucci

Anonymous (4)

Mike Doherty & Kathy Kane

Joseph & Trish Alexandre

Jerome & Renee Epplin

Ken & Heather Amidon

Ernst Radiology Clinic

Ira & Janice Bernstein

Denise & James Eschenbrenner

Jennifer Billhartz Marian & John Bleeke Kenneth & Ann Bohm Wendy & Les Borowsky Betty Bowersox & Phil Powell Bob & Kay Boyd Linda & Jack Bryant Carol Carlson Sal & Terri Ciccolella 

82

T h e R eper tory Theatr e o f S t. L ou is

Dr. & Mrs. Elliott Farberman Barb & Tom Feiner Jeffrey & Veronica Fernhoff Dr. Lewis C. Fischbein Gary & Christy Fox Agnes & Dave Garino Holly Garrett Darla Gavin

Dr. & Mrs. Edward Geltman

Joelyn Knopf Levy

Mrs. Joseph F. Gleason

Dr. & Mrs. Robert L. Lewis

Mark & Chris Greenberg

Jerry & Mary Jo Liberstein

William Grivna

Lonnie Link

Dr. Brenda Grossman & Dr. Steven Brody

Michael & Mary Alice Long

Claire Halpern & Michael Greenfield

Eleanor Mandel

Glenda Hares Pauline Hawkins Drs. Craig & Abby Hollander Michael & Heidi Hope Ms. Sydney Jumper Rob Kapeller Sheila & Ken Kleinman Margie & Steve Knapp Joanne Kohn  Dr. & Mrs. Ren Kozikowski Mr. & Mrs. Ronald Krieger Jim & Mary Lou Krueger Paul & Martha LaFata Joseph Lane Shannon Lay Dr. Edward &

Gloria & Roy Luber Neil & Ricki Marglous Ricki Marking-Camuto Dan Marshall Sharon & Stan McCaslin Gary & Gale McKiddy Stacey & Pat McMackin James McMillan Susan & Bruce Miller  Dr. Mary Ann Morley James H. Myles Betty A. O'Dea Lynn Petruska Joel & Sue Picus Tim & Jodi Pierce Sue Rapp Dr. Gary Ratkin & Marilyn Ratkin  83

BIOGRAPHIES HONOR ROLL

Susan & John Rava 

Vicky Riback Wilson

John & Lynn Rawlings

Bert & Bobbe Wunderlich

Terry & Karen Reeves

Catherine Taylor Yank

Pam & Michael Richards Judith M. Roach Jenny Levis Sadow Margaret S. Sant'Ambrogio Rick & Dottie Schainker Carol Schreiner Kathy & Doug Schroeder Dawn Schuessler Lois & Walter Schultz  Cady & Kevin Seabaugh Dr. & Mrs. L. Smith Lee & Diana Speicher Lucie & Steve Springmeyer Susan & Drexel Stith Susan Sundermeyer Jack Walbran Dr. & Mrs. Stephen Waltman Jeffrey Webb Margaret Wehrenberg Paul & K. Wentzien James White & Cindy Payant 84

T h e R eper tory Theatr e o f S t. L ou is

PERFORMER BACKER $100-$174 Nancy Albrecht Nacy Albright Don Aulph Dr. Patricia Martens Balke Ruth Ellen & Jay Barr Nancy Bengtson Deborah Bloom Kathy Borges Mitchell & Kathryn Botney Susan & Robert Bowman Tim & Marianne Brady Don Brinkman Ann Bronsing Dr. Robert Buzzell Christina Carr Gabrielle Carrera Clare L. Chapman Ann Coleman

Ms. Ann Corrigan

Lynn & Mark Kloss

Kathryn DeVoto

Elizabeth Kochlin

Diana S. Dickes

Nikki & Aaron Krawitz

Robert & Jamie Driver

Lance Loewenstein

Debbie Fishwick

Todd London & Karen Hartman

Toni Gacka Laura Geiser

Tim & Jan Long

Marianne Gillis

Carl & Lynn Lyss

Jesse Goldner & Judy Cromwell

Dorothy & James McCalpin John P. McGuire

Brian Gonner & Jennifer Arp

Barbara B. Mennell 

Fran Grebel Suzy & Richard Grote

Jeanne Most & Nicholas Davidson

Peggy Grotpeter

Mike & Pat Mueth

Myron & Carol Gruber

JoAnn Mulcahy

Judy & Scott Guerrero

Charles E. & Susan Niesen

John & Vicki Hardy

Kristin Pantanella

Colleen Heelan

Mr. & Mrs. Thomas Poelker

Vicki & Larry Helling

Donald Prahlow

Joyce & Robert Hillebrand

Carl & Marsha Ramey

C. Norman Jones & Barbara Fraser

Alan Redszus

Gerry Kettenbach

Melanie Ryterski

Frederic J. Mohr

Rep-aholic

85

BIOGRAPHIES HONOR ROLL

Drs. Phil & Mary Schenkenberg Diane & Bill Schwab Benjamin Schwartz Brenda & David Skillman Rachel Slaugh Michael & Frances Slusher Dr. Cary & Helen Stolar Russ & B. Vanderbeek Patricia & Richard Walters Richard & Mary Weinstock Patricia Wells Ellen White  Jean M. Wood Kenneth Yancheck Sandra Young *In memoriam

Gifts received 6/1/2021 – 2/7/2023 For more information or to become a Backer, please contact the Development Department at (314) 687-4030.

86

T h e R eper tory Theatr e o f S t. L ou is

LIFETIME GIVING LEVELS $250,000+ $100,000 - $249,999 ✠$50,000 - $99,999 $25,000 - $49,999 $10,000 - $24,999

NEXT AT THE REP MURDER ON THE ORIENT EXPRESS ( MAR 17-APR 9)

MAINSTAGE

It’s 1934, just after midnight, and a snowstorm has stopped the opulent Orient Express sleeper train in its tracks.

A wealthy American businessman is discovered dead, and the brilliant and beautifully mustachioed Hercule Poirot must solve the mystery before the murderer strikes again. “Agatha Christie's Murder on the Orient Express” is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. For tickets visit repstl.org

GRUESOME PLAYGROUND INJURIES (APR 14-MAY 7)

By Rajiv Joseph

MAINSTAGE

Doug and Kayleen meet as eight-yearolds in the school infirmary. (He tried to ride his bike off the roof. She has a stomachache that her mother blames on “bad thoughts.”) Their lives intersect for the next three decades as they return to each other, alternately revealing and concealing their injuries — both physical and psychological — as they struggle with attraction, vulnerability and love.

Pulitzer Prize finalist Rajiv Joseph creates a hilarious and heartbreaking love story that the Washington Post calls, “Mystical, arresting and quirkily amusing.”

For tickets visit repstl.org

87

ils elevated cockta for all

www.stlbarkeep.com @barkeep.us

stl barkeep

Investing in the Arts pays off for everyone Our ongoing commitment to The Repertory Theatre of St. Louis is an extension of our bigger purpose.

At Edward Jones, we partner for positive impact to improve the lives of our clients and colleagues, and together, better our communities and society. edwardjones.com/positiveimpact MEMBER SIPC CEA-12038A-A-A2 © 2022 EDWARD D. JONES & CO., L.P. ALL RIGHTS RESERVED.

BIOGRAPHIES

COMING SOON look out for the rep's 23/24 season announcement.

THE DRAMA. THE THRILLS. THE LAUGHS. THE REP. 89

T h e R eper tory Theatr e o f S t. L ou is

89