MOBY DICK - Digital Program

feb 7 – feb 25 LORETTO-HILTON CENTER

MAJOR PRODUCTION SPONSOR

Green Day’s AMERICAN IDIOT. Webster University’s Sargent Conservatory of Theatre Arts. Fall 2022.

Directed by Lara Teeter. Featuring Bryn Player Smith ’23 and ensemble. Photo by Phillip Hamer.

Art Imitates Life WHAT WE DO IN OUR STUDIOS, IN 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

2023–2024 SEASON

5 WELCOME 8 PRODUCTION 9 DIRECTOR’S NOTE 11 DRAMATURGY 19 BIOGRAPHIES 33 LEADERSHIP 43 ABOUT THE REP

FEBRUARY 6 – FEBRUARY 25 THE REPERTORY THEATRE OF ST. LOUIS 130 Edgar Road St. Louis, MO 63119

ADMINISTRATION 314-968-7340

BOX OFFICE 314-968-4925

WWW.REPSTL.ORG

The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres (LORT), the Non-Profit Theatre Collation, Greater St. Louis Inc., 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 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.

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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.

To learn more visit repstl.org/about/land-acknowledgement

Cast, Follies

WELCOME Ahoy there!

Get ready to embark on a nautical journey like no other, as we prepare to set sail on the high seas of an epic adventure that promises to be nothing short of extraordinary. As we navigate the uncharted territories of MOBY DICK, we extend a warm welcome aboard and express our heartfelt gratitude for being an integral part of our cherished theatre community.

Brace yourself for a spellbinding tale that seamlessly weaves the timeless allure of the original story with the thrilling visionary approach from the award-winning director, David Catlin. This production, brought to life by our talented cast and crew, stands as a testament to the remarkable impact of breathing new life into a classic text. The riveting physical work in MOBY DICK is a true triumph of dedication, time, and nerves of steel, resulting in a visual masterpiece that has truly left us in awe. Witnessing the scenes through physicality and aerial work is like glimpsing into the very essence of MOBY DICK come to life, as the performers bring an awe-inspiring dimension to the narrative through their mesmerizing movements.

This captivating production of MOBY DICK traces its origins to the cutting-edge Lookingglass Theatre Company in Chicago, a nationwide leader in pioneering and presenting innovative theatrical works. Perhaps you fondly recall Mary Zimmerman’s Tony Award-winning METAMORPHOSIS during

BIOGRAPHIES the 2003–2004 season here at The Rep, a production that had its world premiere at the Lookingglass Theatre Company. It fills our hearts with joy to bring this dynamic cultural gem to St. Louis, showcasing the boundless creativity that pushes the boundaries of traditional storytelling.

It’s time to gear up for an immersive experience in this one-ofa-kind adaptation of Herman Melville’s enduring masterpiece.

On behalf of everyone at The Rep, we extend heartfelt thanks for your steadfast support and unwavering commitment to keeping live theatre alive.

Wishing you smooth sailing on this enchanting voyage,

Becks Redman & Reggie D. White

ASSOCIATE ARTISTIC DIRECTORS AT THE REP

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• COMING ATTRACTIONS •

February 27 - March 10

April 9 - 14

DISNEY PRINCESS - THE CONCERT • March 16 BILL BURR LIVE • March 21 - 22 NIKKI GLASER - THE GOOD GIRL TOUR • April 27 MOULIN ROUGE! THE MUSICAL • April 30 - May 12 BRETT GOLDSTEIN The Second Best Night of Your Life • May 17 - 18 RAIN - A TRIBUTE TO THE BEATLES • May 19 MJ • May 28 - June 9 NATE BARGATZE - THE BE FUNNY TOUR • June 21 - 23 BLUEY’S BIG PLAY • July 20 - 21

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

THE REPERTORY THEATRE OF ST. LOUIS presents

david catlin from the book by herman melville

adapted and directed by

company

Kevin Aoussou* Raymond Fox*

Walter Owen Briggs* Felipe Carrasco* christopher donahue* Micah Figueroa* Julian Hester* Maggie Kettering* ayana strutz* Bethany Thomas*

scenic Courtney O’Neill costumes Carolyn “Sully” Ratke lighting William C. Kirkham Sound Designer Rick Sims and Composer Designer Designer Designer assistant Catalina Niño Associate Stephanie Cluggish Assistant Madeleine Reid Associate Forrest Gregor Scenic Designer Costumes Designer Lighting Designer Sound Designer Acrobatic Sylvia Hernandez-DiStasi Rigging Isaac Schoepp Production Sarah Holland Choreographer Designer assistant Stage Jaci Entwisle* Assistant Helen Lattyak* Manager Stage Manager Associate becks redman Artistic Director

managing director

Associate reggie d. white Artistic Director

DANNY WILLIAMS

MAJOR PRODUCTION SPONSOR MOBY DICK is produced by special arrangement with BRET ADAMS, LTD., 448 West 44th Street, New York, NY 10036. www.bretadamsltd.net “Originally produced by Lookingglass Theatre Company in association with Actors Gymnasium in Chicago, June 2015” *Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

DIRECTOR’S NOTE Call me Ishmael.

So begins this big, weird, and epic adventure. Ishmael, the outcast, the self-titled “isolatoe.” He is uncontented, unconnected, and without purpose. He is unmoored and rudderless. And so, Ishmael is drawn to the water’s edge.

We too are drawn to the sea from whence we came. Her rolling billows overwhelm us. Her reflected technicolor sunsets stir us. Beneath her silvery surface monsters, real and metaphoric, lurk and swim—and so, unsettle us.

We feel small against her vastness. Like Ishmael, we are lonely “isolatoes”…outcasts, all.

Enter Queequeg from the other side of Ishmael’s world.

The son of a dying king. He too seeks the other side of his own world. He too is unmoored and rudderless, like Ishmael.

Enter Ahab, wounded and vengeful. Filled with purpose… with volition. Ahab asksus to dive deeper, to find a single massive and malicious creature—a creature that is evil incarnate. A most wicked fish that has smashed many whale boats, killed many men, and reaped away Ahab’s leg just as a mower reaps away a blade of grass. This task heaps Ahab and jams him on—it consumes him.

Don’t we understand this desire to be so consumed?

With so much crowding us for our attention—work and emails and deadlines and social media and a million, million things to do on our to-do lists—don’t we want to be swept away, consumed by something?

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DIRECTOR’S BIOGRAPHIESNOTE But this passion can lead to obsession. It can knock us down, tip us beyond righting—capsize and founder us.

Enter Starbuck, brave, yet reasoned he wants to “kill whales for his living, not be killed by them for theirs.”

We need the ballast of his prudence. We need the balance of his demeanor to deliver us home. Can Starbuck swerve Ahab?

Can Starbuck bring us back to port with a ship full of precious light-bringing oil? Can Starbuck bring us back to our loved ones before we too are sea-swallowed by Moby Dick, before we too find ourselves in the belly of the whale, like Jonah? What course has the Fates set out for us?

David Catlin, Adaptor and Director of MOBY DICK

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DRAMATURGY

We have believed that stage rigging has a profound and long nautical tradition. “ Stage rigging techniques draw largely from ship rigging. That origin is most obvious with hemp rigging, which uses closely related technology and terminology. To this day, the stage is referred to as a deck in the manner of a ship’s deck. Other expressions and technology that overlap the nautical and theatrical rigging worlds include: batten, belay, block, bo’sun, cleat, clew, crew, hitch, lanyard, pinrail, purchase, trapeze, and trim.” Wikipedia, November 2014

I do not wish to single out Wikipedia. The online Encyclopedia Britannica tells us the same story. Books published as recently as this year also repeat the myth.

Yes. The myth. “A traditional story, especially one concerning the early history of a people or explaining a natural or social phenomenon, …”

Online Oxford Dictionaries, 2014.

Stage rigging does not find its origin in ship’s rigging, as the above-cited extract would cause one to infer. Any nautical tradition that we might have is recent; if we can call 160 years ago recent. But given that modern theatre scenic practice is 400 years old, 160 years ago is recent. Modern theatre starts with Teatro Farnese in 1618. Farnese was the first theatre with a proscenium arch.

When we point to a small number of things and make a conclusion, we use inductive reasoning; the opposite of Holmes’ deductive reasoning.

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BIOGRAPHIES DRAMATURGY To look back to Wikipedia, the use of the word ‘deck’ is suggested to be evidence of a nautical heritage. But let’s look at the origins of the word itself. “ late Middle English: from Middle Dutch dec ‘covering, roof, cloak,’ dekken ‘to cover.’ Originally denoting canvas used to make a covering (especially on a ship), the term came to mean the covering itself, later denoting a solid surface serving as roof and floor.”

Online Oxford Dictionaries, 2014.

So the roots of the word ‘deck’ mean ‘to cover’ something.

As in ‘deck the halls’. And ‘all decked out’.

If we visit the catalogue of JR Clancy for 1899-1900 we find the product category of ‘stage carpeting’.

For the next 30 years Clancy will offer various products to cover the stage floor – to deck them.

I offer the word ‘deck’ as a stage covering, not as proof; it isn’t proof. But perhaps it is the thin edge of the wedge of examination.

If the pin rail is proof of nautical roots of rigging we should find pin rails in the oldest of theatres that featured rigging. We don’t. We find cleat rails. We should find pin rails in not so old theatres. We do not. We find cleat rails. We should find pin rails in theatres all over Europe – the birthplace of the modern theatre. We do not. We find cleat rails.

The Hall Stage catalogue of 1966 does not offer belaying pins and pin rails. It offers cleats of various sizes. In fact, to this very day, cleat rails continue to be installed in the UK. Not pin rails.

But we might argue that cleats are nautical, too. It is a point with merit. But cleat rails are not nautical. Pin rails are nautical.

For nautical use, cleats were used horizontally and singly, not vertically, and not in multiples in the form of cleat rails.

John H. Green wrote his thesis in 1954 for the University of Denver. It was titled: The History of Stage Rigging in the United States: 1766 to 1893.

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Green’s work is inspiring. He has a reference to a cleat rail that appears in a letter from Earnest Woodrow, writing in 1893, in which he is describing the ‘flies’ of the second Park Theatre built in 1821 in New York. “ The fly rail is generally a deep lattice or trussed girder running from the back to the front, it need be very strong for upon it are fixed all the “cleats” to which the ropes holding the scenery are secured.”

Woodrow was an architect with a profound understanding of theatres and their machinery, whom Green, writing in 1954, goes on to correct by saying “This, of course, is the twentieth century pin rail…”

No. Woodrow had it right. When Woodrow wrote cleat, he meant cleat. And he was very specific in the way he described ‘upon it are fixed all the cleats’. Were it to have been a pin rail the phrase would be more like ‘into it are inserted all…’ etc. Green, 60 years later, seems to have had no understanding of the existence of a cleat rail. But, to be fair to Green, three weeks before writing this, neither did I. So filtered is our perception of history that we sometimes miss the obvious. Since my identification of the cleat rail, I see it in theatres constantly – in Europe, but not in the United States.

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BIOGRAPHIES DRAMATURGY By 1886, we find a belaying pin available in the first Clancy catalogue. The Sosman & Landis catalogue of 1889 offers a belaying pin. Neither offers a lashing cleat for stage rigging.1 The Crump Theatre in Columbus, Indiana is delivered with a pin rail in 1889. Sometime between 1821 – when the cleat rail was installed in the Park – and 1886, the pin rail made the move to land and dis-placed the cleat rail. To split the difference be-tween the two years, the pin rail moves to the stage in 1850, making it 164 years old. It would be of great use to determine when the pin rail was actually adopted by the stage.

No writing that encountered by this author from the 19th century, whether European or North American, refers to rigging. It all refers to machinery. The machinery used to fly soft goods was called ‘upper machinery’. The machinery used below deck was called ‘under machinery’.

The person charged with designing, making and in-stalling the machinery was the ‘stage machinist’. There appears to be no rigging and no riggers before the 20th century.

The use of the word rigging is recent. A date for the beginning of the use of the word has not been determined. It doesn’t appear in a Clancy catalogue until 1904 on page 14 where it offers “Curtain Rigging”.

It was pointed out to me that the tambour of the age of the wooden machinery bears a striking resemblance to a ship’s wheel – the implication being that the former was descended from the latter. Yet, “the ship’s wheel did not appear until the 18th century”. 2 Some argue that the ship’s wheel was introduced in 1703-4. Others offer 1711 as the year. Torelli had introduced the tambour as early as 1641. Perhaps there was techno-logical movement in the opposite direction to what we have supposed; perhaps theatre provided an important technology to the nautical world.

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Susan Stockbridge submitted her master’s thesis at Stanford University in 1961. The title was The Development of Methods for Flying Scenery on the English Stage: 1800 – 1960. On page 50 there is a footnoted quote. The quote is from The English Theatre (London: Thomas Nelson and Sons Ltd., 1936), page 146

by Allardyce Nicoll. Nicoll taught at Yale Drama School from 1933 until just before the US entered the war. He was head of the School for part of the time.

The English stage had:‘blocks, wheels, and ropes crossing each other in every direction … (that) it had very much the appearance of a ship’s deck’.

It is this author’s interpretation that Nicoll is using metaphor to establish an image in the mind of the reader.

It is not the impression that, with these words, he is being literal.

But in the very next paragraph Stockbridge goes on to write: “ The reference to the appearance of a ship’s deck is particularly applicable to the nineteenth century fly gallery since the rope system of flying scenery involved the tying off of the ropes to belaying pins on the rail, an almost exact counterpart of the rail of a frigate.

The wooden pins slipped into holes in the rail and the ropes were wound around them in such a way that they could be easily released by pulling the pin from the hole.”

Stockbridge stops short of saying that the technology of the stage is based upon the nautical tradition. But she comes close enough to allow the reader to infer it.

Stockbridge does not foot-note the second paragraph.

This is her, instructing the reader. Is she instructing based upon that with which she is familiar as common practice on stage … in 1961?

Furthermore, Stockbridge makes the same mistake as Green. Nicoll is writing about the English stage. She transplants the pin rail – which is ubiquitous in the United States starting in the mid-nineteenth century – to England – where it is all but unused. Nicoll does not mention a rail at all, let alone say that it is a pin rail. And, to add to the confusion, Stockbridge, later in her paper writes of both pin rails and cleat rails, but does not distinguish between 15

BIOGRAPHIES the two. She mentions them in passing on to other points.

Is Nicoll ground zero of the nautical myth, despite that he did not at all say that? And Stock-bridge pushed it along by implication? And then we picked it up as fact?

And, if further discussion is needed; ‘Au cour’ and ‘au jardin’ are terms used by technicians in the Paris Opera House to distinguish between the sides of the stage. “Au cour’ was the side of the stage with court palace on that side of the theatre building. ‘Au jardin’ was the side with a garden on that side of the building.

The English of the 19th century had P. and O.P. – prompt and opposite prompt for right and left of the stage. And in North America we have stage right and stage left.

If we had a profound nautical tradition, why didn’t we use ‘port’ and ‘starboard’ in our nomenclature?

Furthermore, most of the sailors – from the beginnings of seafaring until after the Napoleonic wars – perished at sea.

The twin scourges of scurvy and the rigor of the nautical life took an extremely high toll. William Manchester, in his book A World Lit Only By Fire, reminds us that only 18 of 237 original crew survived Magellan’s circumnavigation of the globe. That is a 7.6% survival rate. And in To Rule The Waves: How the British Navy Shaped the Modern World Arthur L. Herman tells us that Nelson’s numbers, three hundred years later, were equally dismal. The brave sailors that defeated Napolean’s navy at Trafalgar were left to perish from injuries, disease and hunger on the wharfs of Southampton. A sorry story not much repeated.

The point is that sailors did not retire to a happy life aloft in the theatre. Statistically, they did not retire at all.

Statistically, they died at sea. Only after the British Navy matured, in the mid 19th century, did any expectation of retirement develop.

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And, of course, neither Magellan nor Nelson survived their nautical careers.

One can well imagine that sailors left the ships at the beginning of the steam era and that some – perhaps many – found a new life aloft in the theatre. But it seems that they were latecomers. And, although they brought with them some improved technologies and some jargon, they did not lay the foundations of stage rigging practice.

A myth is not a lie. A myth is a necessary untruth. Myths grow up where we need to fill in a part of history for which we have no facts. The myth of the sailor stagehand has been useful. But perhaps it is time to put it into its proper place in history.

This is important, for without this under-standing it is difficult to see how counterweight rigging developed. The heavy use of hemp rigging and adoption of the pin rail was an American development. The counterweight rigging system was an Austrian development. They are not related except by application. But, even if we agree that they are related, they are – at best – second cousins.

Boychuk, R. W. (Rick). (2014, December). (Chapter 3: The Myth of the Sailor Stagehand from book The History of Counterweight Rigging). Northern Boundary News Article 3. https://www.stolaf.edu//nbs/NBS_Dec_14/Article1/Article1.html

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EXPERIENCE TIMELESS TALES, EPIC ADVENTURES, LEGENDARY STORIES BIOGRAPHIES

MAR 19 - APR 7

performed at the loretto-hilton center puss in boots

by Jennifer Roberts music and lyrics by Nathan A. Roberts

Everyone’s favorite feline fable is here to charm and beguile! The miller’s son is not finding life easy, with barely a penny to his name and no inheritance from his father, save for a useless cat and a pair of too-small boots. But this cat hides a secret: She can talk! And sing! And she has a plan to take them from the poor house to a princely castle. But how long can this extraordinary kitty keep up the ruse before the cat is out of the bag? Bring the whole family and share the legend of Puss in Boots.

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@repstl

@repstl

BIOGRAPHIES CAST Kevin Aoussou* (Queequeg) is an actor, producer, and activist living in Chicago, IL. Regional: Ada and the Engine (Cardinal Stage Company), Akeelah and The Bee (Children’s Theatre of Charlotte), Game of Love and Chance (Hedgerow Theatre), Moby Dick (Hedgerow Theatre). Recent credits include: Genly Ai in The Left Hand Of Darkness (The Rogue), Routes (Remy Bumppo), Marisol (Northwestern University), The Light (NU), Sandblasted (NU), and Exit Strategy (NU). Training: Northwestern University’s MFA Acting 2022, NTI: Moscow Art Theatre 2016, Winthrop University 2018 and the Arnold Warner Studios-Inaugural Teacher Training Lab 2021. Kevin is represented by Gray Talent Group. Socials: Follow Kevin and his organization on Instagram at @ayokev247 and @thelocallab_co Walter Owen Briggs* (Ishmael) is thrilled to be making his debut at The Rep. He is an Ensemble member of Lookingglass Theatre Company and has appeared in their productions of Mary Shelley’s Frankenstein, Act(s) of God, 20,000 Leagues Under the Seas, Moby Dick, Bengal Tiger at the Baghdad Zoo, and The North China Lover.

Regional: McCarter Theatre Center, American Repertory Theater, Arena Stage, South Coast Repertory, Alliance Theatre, and The Getty Villa. Chicago: Credits include Sucker Punch (Victory Gardens Theater), Hit The Wall (The Inconvenience/ Steppenwolf Theatre Company), All Our Tragic (The Hypocrites), The Glass Menagerie (Mary-Arrchie Theatre Co.), and A Red Orchid Theatre. TV/Film: Credits include 61st street, Chicago Fire, Chicago Med, Kappa Force, Jessica, I Don’t Care, A Good Person, Ballad, and Older Children.

Education: He is a graduate of the Chicago College of Performing Arts at Roosevelt University.

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BIOGRAPHIES Felipe Carrasco* (Starbuck) Recent credits include: St. Louis Shakespeare Festival (Twelfth Night), Northlight Theatre (Dial M for Murder), Goodman Theatre (The Cherry Orchard, Sweat), Teatro Vista (The Madres), 16th Street Theater (Harbur Gate), Dallas Theatre Center (A Christmas Carol), Theatre Three (Who’s Afraid of Virginia Woolf). TV credits: Chicago Fire. Felipe is represented by Grossman and Jack Talent.

Christopher Donahue* (Captain Ahab) has performed at theatres across the country. Regional: Productions at the Alliance Theatre, American Repertory Theatre, Arden Theatre Company, Arena Stage, Berkeley Repertory Theater, Boston Lyric Opera, Chicago Opera Theater, Chicago Shakespeare Theater, Circle in the Square, Court Theatre, City Theatre of Pittsburgh, Classic Stage Company, Goodman Theatre, Hartford Stage, Huntington Theatre Company, La Jolla Playhouse, Lincoln Center’s Serious Fun! Festival, Lookingglass Theatre Company, Manhattan Theatre Club, McCarter Theatre, Milwaukee Repertory Theatre, New York Shakespeare Festival, The Old Globe, Oregon Shakespeare Festival, The Public Theater, Seattle Repertory Theater, Second Stage, Shakespeare Theatre (DC), The Smith Center (Las Vegas), South Coast Repertory Theatre, Two River Theatre Company, Weston Playhouse, and Yale Repertory Theatre.

Micah Figueroa* (Cabaco, Captain of New Bedford Whaleship) is a Chicago actor, director, and teaching artist specializing in physical theatre, circus, stage combat, and intimacy. He’s over the moon to be making his Repertory Theatre of St. Louis debut with Moby Dick! Chicago credits include: Lookingglass Alice, 20,000 Leagues Under the Seas, and Moby Dick (Lookingglass Theatre); Lucha Teotl (Goodman Theatre); DREAM! (Chicago Shakespeare Theater); The Very Hungry Caterpillar (Chicago Children’s Theatre); Circus Quixotic (Actor’s Gymnasium); and Tall Girl and the Lightning Parade (Walkabout Theater).

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BIOGRAPHIES Regional: In The Beginning and Henry IV (Dallas Theatre Center); Titus Andronicus (Kitchen Dog Theater); Wild Oats (Theatre Three); Cyrano de Bergerac, Coriolanus, and Macbeth (Shakespeare Dallas). Training: He holds a degree in Directing and Playwriting from Southern Methodist University.

Raymond Fox* (Stubb, Captain Boomer, Captain Gardiner) is pleased to make his debut with The Repertory Theatre of St. Louis. Raymond is an Ensemble Member with Lookingglass Theatre, where he has acted in numerous productions since 1989. Chicago: Credits include work with Remy Bumppo Theatre Company, The House Theatre of Chicago, Court Theatre, First Folio Theatre, and TimeLine Theatre (Blood and Gifts, 2013 Equity Jeff Award for Supporting Actor). Off-Broadway/Broadway: Metamorphoses (Second Stage Theatre, Circle in the Square Theatre). Regional: Seattle Rep, Guthrie Theater, Martha’s Vineyard Playhouse, Berkeley Repertory Theatre, Arena Stage, Arden Theatre, South Coast Repertory Theatre, Route 66 Theatre, Hartford Stage, American Repertory Theatre, Indiana Repertory Theatre, Alliance Theatre, Meadow Brook Theatre, Mark Taper Forum, McCarter Theatre, Kansas City Repertory Theatre, and Canada’s Stratford Festival. Education: Northwestern University and the A.R.T. Institute for Advanced Theatre Training at Harvard University.

Julian Hester* (Bulkington) is an Equity Jeff nominated and SAG Award winning actor and director in Chicago.

Recent credits include: Productions at Chicago Shakespeare Theater, Windy City Playhouse, Writers Theatre, Theater Wit, and The Artistic Home Ensemble – company member there with credits including Witch, The Late Henry Moss, The Seagull and Stoppard’s Rock N Roll.

Directing: The Pavilion and Malapert Love at the Den Theatre.

TV: Dr. Kendall Murray on Power Book IV and Sorenstein on Chicago Fire/Med/PD. Film: Amazon’s King Rat and Trial of the Chicago 7. He’s a recent Pro-Trainer Conservatory clown/ 22

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trapeze graduate at The Actors Gymnasium. Represented

by Paonessa Talent Agency. maggie kettering* (Fate #2, Sea Fate, Cetologist) is thrilled to be part of the company of Moby Dick. Recent credits include: Six seasons with Great Lakes Theater/ Idaho Shakespeare Festival in Sense & Sensibility, The 39 Steps, Romeo & Juliet, Taming of the Shrew, A Christmas Carol, Love’s Labour’s Lost, And Then There Were None, Blithe Spirit, and more. Additionally, she worked with Peninsula Players, Milwaukee Repertory Theatre, House Theatre, Shakespeare Theatre Company, TimeLine Theatre, and Northlight Theatre. Directorial credits: The Lean Ensemble, where she directed Educating Rita and The Thanksgiving Play. Maggie is a resident of Chicago and an Ironman finisher. Education: She has a BA, an MFA, and is working on an MS to become an CCC-SLP. One day she hopes to have all the letters of the alphabet. ayana strutz* (Fate #3, Mary Starbuck, St. Elmo’s Fire) is a Japan-born and Hawaii-raised dancer and circus artist currently residing in Chicago. Tour: Broadway’s The SpongeBob Musical. Chicago: credits include: The Who’s Tommy, The Music Man (Goodman Theatre), Gypsy, Big Fish, A Christmas Story (Marriott Theatre), Charlie and The Chocolate Factory (Paramount Theatre), The King and I, Holiday Inn (Drury Lane Theatre), A Chorus Line (Porchlight Theatre), Priscilla (Mercury Theater). Regional: Charlotte in Charlotte’s Web (Arden Theatre Company), Pippin (Skylight Music Theatre), A Chorus Line (Short North Stage). TV: NBC’s Frogger and various commercial work.

She would like to thank Sylvia and the Actors Gymnasium for teaching her how to fly. Love and thanks to Jon, always!

Visit: www.ayanastrutz.com

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BIOGRAPHIES Bethany Thomas* (Fate #1, Innkeeper) is an award-winning Chicago-based actress, singer and songwriter. Recent credits: Northlight Theatre as Sister Rosetta Tharpe in Marie and Rosetta; and as Judy Garland, Patsy Cline, Edith Piaf, Billie Holiday and Maria Callas in the one-woman show Songs For Nobodies. Regional: A Christmas Carol (Goodman Theatre); Once, Into the Woods, A Moon for the Misbegotten (Writers Theatre); Hedwig and the Angry Inch, Ragtime, The Color Purple (Milwaukee Rep); The Tempest (Chicago Shakespeare); Marry Me a Little (Porchlight Music Theatre); and Porgy and Bess (Court Theatre) and a season as Madame Z in Teatro Zinzanni Chicago. She’s also frequently entangled with Second City, Steppenwolf, The Neo Futurists, Grelley Duvall, Jon Langford, The Fly Honeys, The Paper Machete, and The Hideout. Music: Bethany’s original music is available on Apple Music, Bandcamp, Spotify, and everywhere else. Socials: @bethanyt80 CREATIVE TEAM

David Catlin (Adaptor and Director) is a founding member of Chicago’s Lookingglass Theatre Company.

Other writing and/or directing credits include Circus Quixotic, Lookingglass Alice, Moby Dick, Midsummer Night’s Daydream, The Little Prince, Icarus, and the idiot.

Regional: Credits include Indianapolis Repertory, Cleveland Play House, Northlight Theatre, Alliance Theatre, Alliance Theatre, South Coast Repertory, Arena Stage, Actors Theatre of Louisville, Center Stage, Denver Center for The Performing Arts, Arden Theatre Company, Syracuse Stage, Getty Villa, and Adrienne Arsht Center. David is also an Artistic Associate with Actors Gymnasium and serves as Head of Undergraduate Acting at Northwestern University.

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IT’S TIME TO RALLY!

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Help preserve the arts in St. Louis by donating today! Together, we can ensure the longevity of this beloved institution and its impact on our community.

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25 John Goodman | Rally For The Rep: Holiday Benefit | Photography by Jon Gitchoff

BIOGRAPHIES Courtney O’Neill (Scenic Designer) is thrilled to reimagine Moby Dick for St. Louis audiences after productions in Chicago, Atlanta, Washington DC, and Southern California.

Regional: Her designs have been seen at Lookingglass Theatre Company, Goodman Theatre, Steppenwolf Theatre Company, Kansas City Repertory Theatre, Denver Center, Baltimore Center Stage, The Apollo Theater, Court Theatre, Idaho Shakespeare Festival, Great Lakes Theatre, Victory Gardens, Writers Theatre, Cleveland Play House, Mosaic Theater Company, Dallas Theatre Center, Children’s Theatre Company, Marin Theatre Company, Round House Theatre, South Coast Repertory, Milwaukee Repertory Theater, among others. Courtney is a member of United Scenic Artists, USA829. Training: Courtney holds an MFA from Northwestern University and a BFA from DePaul University. Awards: She has received multiple awards, including the Joseph Jefferson Award, USITT Scene Design Award, and Michael Maggio Emerging Designer Award. She lives in France with her husband, Kirby, and loves to spend her time cycling through the mountainside. Visit: www.courtneyoneill.com Carolyn “Sully” Ratke (Costumes Designer) is a Chicago-based theatre maker. Her costume work has been nominated for awards in Chicago, Atlanta, St. Louis, and LA. She writes, creates, and designs for theatre in Chicago while teaching at various institutions including the University of Chicago, Northwestern, DePaul, and Columbia College. Social: Follow her work @sully.ratke Visit: www.sullyratke.com

William C. Kirkham (Lighting Designer) Regional: Alliance Theatre, Arena Stage, Arizona Theatre Company, ArtsWest Playhouse, Chicago Shakespeare Theater, Chicago Children’s Theatre, Childsplay, Cincinnati Playhouse in the Park, Contemporary American Theater Festival, The Hypocrites, The House Theatre, McCarter Theatre, Phoenix Theatre, Portland Center Stage, Sideshow Theatre Company, Steppenwolf Theatre Company, South Coast Repertory, and the Utah Shakespeare Festival. Awards: His work has received Jeff and Suzi Bass 26

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LONDON CALLING! get ready for a trip of a lifetime on the rep’s 25th annual london theatre tour!

MAY 25 — JUNE 2, 2024 Immerse yourself in all that London has to offer this summer with The Rep’s own Danny Williams. Tour highlights include: • Excursions to the beautiful English countryside • Insider conversations with leading scholars, artists, critics and more • Hotel accommodations For nearly three decades, the Annual London Theatre Tour has been a beloved chance to build community and create memories with fellow lovers of The Rep. Don’t miss out!

REGISTER TODAY! ONLY 8 SPOTS REMAINING.

FOR MORE INFORMATION CONTACT US VIA email

phone

website

londontrip@repstl.org | 314-687-4028 | repstl.org/support/londontrip 27

BIOGRAPHIES Awards. William is a Senior Designer with Available Light working with lighting in architecture and museum displays.

Visit: www.wckirkham.com Rick Sims (Sound Designer and Composer) is a Chicago-based composer and sound designer with countless Chicago, national, and regional credits. Recent credits include: Music composed for The Thanksgiving Play at 2nd Stage Theater on Broadway. Sims is an award-winning artistic affiliate of Lookingglass Theatre Co. Isaac Schoepp (Rigging Designer) is so pleased to once again be working on Moby Dick. Isaac specializes in safely and creatively flying people and things. He serves as the Arena Manager and Head Rigger for Circus Juventas, in St. Paul, Minnesota, the largest youth performing arts circus in North America. Regional: Isaac has provided aerial rigging design and consultation for Lookingglass Theatre, The Alliance Theatre, Arena Stage, South Coast Repertory, The McCarter Theatre Center, Steppenwolf Theatre, and Chicago Shakespeare Theater. Isaac is a proud Associate Artist with The Actors Gymnasium in Evanston, IL. Visit: www.circusjuventas.org

Catalina Niño (Assistant Scenic Designer) Recent credits include: Designs for Es una vida Maravillosa, Shakespeare Napa Valley; The Mousetrap, Citadel Theater Co.; Dot and The Kangaroo, Bravo Performing Arts; St. Sebastian, Refracted Theatre Co.; and Water By The Spoonful, San Francisco Playhouse.

Regional: Work includes Fiddler On The Roof, The Berkeley Playhouse; In A Word, San Francisco Playhouse; Emperor Jones, New City Company at the Cyclone Warehouse; The Fantastic, Los Altos Stage Co.; and Pirates Of Penzance, San José Children’s Musical Theater, among others. Catalina grew up in Bogotá, Colombia. Training: She did her BA in Visual Arts in France, then relocated to the Bay Area where she received her MFA in Set Design before moving to the Chicago area. Visit: www.catalinanino.com 28

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Stephanie Cluggish (Associate Costumes Designer) is pleased to be working with The Rep for the first time. A Chicago – based designer, she specializes in theatre and opera. Chicago credits: Haymarket Opera Company, Chicago Fringe Opera, Steppenwolf, A Red Orchid, The Gift, Northlight Theatre, and many more. Regional: Theatreworks Colorado, Wolf Trap Opera, Charlottesville Opera, Theatre Raleigh, and the Music Academy of the West. She is a Clinical Assistant Professor of costume design and technology at the University of Illinois Chicago and a proud member of USA829.

Madeleine Reid (Assistant Lighting Designer) is a Chicago – based Lighting Designer of theatre, opera, dance, and live events.

Lighting Design credits include: I & You (Elgin Community College); POTUS (Stages Houston); Hurricane Diane (Rec Room); The Chinese Lady (Kitchen Theatre, Geva Theatre Center). Assistant Lighting Design credits include: Twisted Melodies, Mlima’s Tale, Thanksgiving Play (Repertory Theatre St. Louis); The Murder of Roger Akroyd, The Servant of Two Masters, Sherlock and the Case of the Jersey Lily (Alley Theatre); Lucy and Charlie’s Honeymoon (Lookingglass Theatre); Antonio’s Song, A Christmas Carol, The Notebooks of Leonardo Da Vinci (Goodman Theatre); King John (Oregon Shakespeare Festival); Trouble In Mind, The Sound of Music, Clue (Utah Shakespeare Festival); Cinderella (Alabama Shakespeare Festival); Rigoletto, Hansel + Gretel, Das Rheingold, Cosi Fan Tutte (The Dallas Opera). Education: She received her BFA in Lighting Design, minor in Business from The Sargent Conservatory of Theatre Arts at Webster University. Visit: www.madeleinegreid.com Forrest Gregor (Associate Sound Designer) is a Chicago – based sound designer and composer. Recent design credits include: What the Constitution Means to Me (Paramount Theatre); What the Constitution Means to Me, Campaigns Inc., The Chinese Lady (TimeLine Theatre); Andy Warhol in Iran (Northlight Theatre); Tiger Style! (Writers Theatre); Little Voice (The Gift Theatre); Frida Libre (Northwestern University); 29

BIOGRAPHIES Indecent, Eurydice, Peerless (DePaul University). Associate/ Assistant credits: Emmet Otter’s Jug-Band Christmas (Studebaker); Charlie & the Chocolate Factory (Paramount); Ring of Fire (Drury Lane); Forrest is also the current Audio Supervisor at Music Theatre Works. Education: Forrest received his BFA in Sound Design from The Theatre School at DePaul University. Visit: forrestgregor.com Sylvia Hernandez-DiStasi (Acrobatic Choreographer) is a co-founder and Artistic Director of The Actors Gymnasium in Evanston, IL. She also serves as Master Teacher, choreographer, and director of the Professional Training Program. Sylvia is an Ensemble Member of the Tony Award – winning Lookingglass Theatre Company. She has worked on over 20 productions with the company including the acclaimed Baron in the Trees (Joseph Jefferson Award, Choreography), Hard Times ( Joseph Jefferson Award, Choreography), Lookingglass Alice (Joseph Jefferson Award, Special Achievement in Circus Choreography), Icarus (Joseph Jefferson Nominee, Choreography), Moby Dick (Joseph Jefferson Award, Best Production), Mary Shelley’s Frankenstein, and Steadfast Tin Soldier. Chicago credits: The Goodman Theatre, Steppenwolf Theatre, Chicago Shakespeare Theater, Lyric Opera of Chicago, and Marriott Theatre. Regional: The Old Globe, San Diego, CA; Shakespeare Theatre, Washington, DC; and Alliance Theatre, Atlanta, GA. Awards: Sylvia received The 3Arts Award for Design (2014) and the Award of Honor for Outstanding Contributions by The Illinois Theatre Association.

Jaci Entwisle* (Stage Manager) makes her debut in St. Louis with Moby Dick. Chicago credits: Stage management credits include Lookingglass Alice (Lookingglass Theatre); Blue Man Group Chicago; Layalina (Goodman Theatre); Charlie and the Chocolate Factory, Dreamgirls (Paramount Theatre); Elf (Drury Lane Theatre); She the People, #DateMe, and the 108th and 109th Mainstage revues (Second City); Travesties, Our Class (Remy Bumppo Theatre). Regional: Jersey Boys (Gateway Playhouse), Certain Woman of an Age (Just for Laughs), 30

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Nothing to Lose (But Our Chains), and She the People (Woolly Mammoth Theatre).

Helen Lattyak* (Assistant Stage Manager) Regional: Lookingglass Alice with Lookingglass Theatre; Mr. Dickens’ Hat with Northlight Theatre; Every Brilliant Thing and Noises Off with Windy City Playhouse; Significant Other, The Secretaries, and Le Switch with About Face Theatre; PICNIC at American Theatre Company; Sucker Punch, SAMSARA and Failure: A Love Story at Victory Gardens Theater; Christmas at Christine’s, Ultra American, Muthaland and The Hundred Flowers Project at Silk Road Rising. Helen is a company member at TUTA Theatre and a member of the Actors Equity Association. Training: She is a graduate of Loyola University Chicago.

Sarah Holland (Production Assistant) is excited to be returning as a Production Assistant at The Rep! Education: Sarah is a proud recent graduate of the Sargent Conservatory of Theatre Arts at Webster University with a B.F.A. in Stage Management.

She has had the pleasure of working for incredible STL companies. Recent credits include: Confederates (PA) at The Rep STL, Beautiful: the Carole King Musical (PA), West Side Story (PA), Sister Act (PA) at The Muny, and Eddie & Vinnie (PSM) at Metro Theater Company.

Lookingglass Theatre Company Founded in 1988 by graduates of Northwestern University, Lookingglass Theatre Company is a nationwide leader in the creation and presentation of new, cutting-edge theatrical works and in sharing its ensemblebased theatrical techniques with Chicago-area students and teachers through Education and Community Programs.

Guided by an artistic vision centered on the core values of collaboration, transformation, and invention, Lookingglass seeks to capture audiences’ imaginations leaving them changed, charged, and empowered.

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BIOGRAPHIES Recipient of the 2011 Tony Award for Outstanding Regional Theatre, Lookingglass has built a national reputation for artistic excellence and ensemble-based theatrical innovation.

Notable world premieres include Mary Zimmerman’s Tony Award-winning Metamorphoses, The Arabian Nights, and The Odyssey, David Schwimmer’s adaptation of Upton Sinclair’s The Jungle and Studs Terkel’s Race: How Blacks and Whites Think and Feel about the American Obsession, and David Catlin’s circus tribute to Lewis Carroll, Lookingglass Alice.

Lookingglass’ work has been produced in more than a dozen US cities.

Actors Gymnasium Founded in 1995, the Actors Gymnasium is one of the nation’s premier circus and performing arts training centers. Known for its original and daring circus-theatre productions, AG teaches 1,000 + students and has its works seen by tens of thousands yearly.

Actors Gym partners with theaters nationwide and is proud to be a part of many of the nation’s best physical productions every year. AG’s Professional Circus Training Program creates a robust pipeline for career circus/theatre artists who go on to grace stages and circus rings in Chicago and across the world.

AG provides award-winning entertainment for corporate and other special events and serves as the exclusive provider of circus performing arts training for Lookingglass Theatre.

Led by legendary Circus-Ring-of-Fame artist Sylvia HernandezDistasi, the Gym is committed to minimizing barriers to circus arts and aspires to operate from an anti-racist perspective to ensure diversity, equity, inclusion, and a sense of belonging.

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LEADERSHIP 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 served in various roles beginning in 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 Off-Broadway productions of Here Lies Love, Into the Woods, Twelfth Night, As You Like It, White Noise, and Rock Bottom. Danny 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.

BECKS REDMAN (Associate Artistic Director) has been at The Rep for the past four seasons, where she has line produced the Mainstage and Studio productions.

Prior to her time at The Rep, Becks held producing and casting positions in the Artistic departments at Actors Theatre of Louisville and Baltimore Center Stage. Last season, she made her Rep directing debut with Gruesome Playground Injuries.

Becks received her BFA from The University of the Arts and the London Academy of Music and Dramatic Arts.

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LEADERSHIP REGGIE D. WHITE (Associate Artistic Director) joined The Rep in 2022. Before joining The Rep, he served as the Artistic Director for the Atlantic Acting School from 2017-2022. Reggie’s award-winning international career as a multi-hyphenate artist, educator, and arts leader spans almost two decades. Acting credits include: Broadway: The Inheritance (4x Tony Award winner, including Best Play).

Off-Broadway: Lessons In Suvival: 1971 (Vineyard Theatre), And She Would Stand Like This (The Movement Theatre Company), Frontieres Sans Frontieres (Bushwick Starr), I and You (59E59), Hundred Days (New York Theatre Workshop).

Regional: People’s Light, La Jolla Playhouse, American Repertory Theatre, Arden Theatre, Berkeley Rep and others.

Directing credits include Atlantic Theater Company, The Public, Bay Street Theater, The Williams Project, and PlayGroundSF. Reggie co-conceived Lessons in Survival: 1971, based on the iconic conversation between Nikki Giovanni and James Baldwin at Vineyard Theatre (NYT Critic’s Pick). He also co-conceived and appeared in the digital anthology series of the same title (NYT Best Theatre of 2020). His most recent play, Fremont Ave., was developed with support from The Ground Floor at Berkeley Repertory Theatre. His play In Case You Haven’t Heard received its world premiere at Bay Street Theatre, and he is currently co-writing a play with Lauren Gunderson (America’s Most-Produced Living Playwright). Reggie is a resident artist at Vineyard Theatre, a founding member of the multi–generational theatre collective, The Commissary, and a founding company member and sitting board member with The Williams Project, a living-wage theatre company. As an educator, Reggie has taught, delivered, and developed arts curricula across the country for artists of all ages. Since 2015, he has has been a member of the faculty at Atlantic Acting School (an NYU Partner Studio). Reggie is a recipient of the Colman Domingo Award, The TCG Fox Fellowship, the TBA Titan Award, and the RHE Artistic Fellowship and is an NAACP Theatre Award nominee.

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Cast, The Lehman Trilogy | Photo Credit: Jon Gitchoff

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BIOGRAPHIES

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Anonymous (3) Trish & Michael Abbene  Bill Aitken Joseph & Trish Alexandre Joseph & Lauren Allen  Wendi Alper-Pressman & Norman Pressman ✠ Susan & Robert Appleton Dr. Patricia Martens Balke Amy Bantle Anthony Bassett Mr. & Mrs. Jason Battaglia Patti Bauer  Dr. Martin Bell Kathy Berg  Nancy Berg  Maureen Bergstrom Mark D. Bernstein ✠ Matt Blakely & Novid Parsi Marian & John Bleeke Susan Block Ruth Blundell  Lary & Lynn Bozzay  Michael & Arlue Briggs ✠ John & Elizabeth Brightman Sandra Brody Ann Bronsing John & Kathy Brugere Robert L. Bullock, Jr. Susanna Bullock Spencer & Phoebe Burke  Samuel Burstein & Cheryl Boyd Mr. and Mrs. Steven Bush Tim & Jan Cerny Patty & Kent Chapin ✠ Kelley & Tim Ciampoli  Sal & Terri Ciccolella  Elizabeth & Don Cobin  Edward M. Coffield  Elizabeth & Anthony Cook Melissa Cook Dan & Mary Cordes Bob & Becky Courtney  Mary K. Cullen & Daniel Goldberg The Preeti Dalawari & John Vandover Charitable Fund  Kirk Damman

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

Jean Daniel-Gentry Mike & Sue Darcy C.R. Davis  Theodore & Deborah Dearing Terry J. Dessent Jim Donnelly & Tracey Temanson  Michael Donovan Margie Doolen Bill & Jane Doub Robert & Jamie Driver Mr. and Mrs. Henry Dubinsky  Alison & Tom Durphy Mary Alice Dwyer-Dobbin David & Carla Eilering Rosemary & Robert Emnett  Dottie & Matt Englis Barbara Enneking Denise & James Eschenbrenner Heather & Len Essig Greg Etling The Fabulous Fox Theatre  Jeffrey & Veronica Fernhoff Bruce & Audrey Fleissig George & Helen Floros Annette & John Frank James & Susan Gamble James & Darla Gavin Bonnie Gibbs  Deborah & Michael Gibbs John Goodman ✠ Mr. Leslie Goodman, Jr. Sue Greenberg Jennifer Greer Linda S. Griffith Michelle Hand Jack and Joann Hannaford Glenda Hares Barbara Harris  Pauline Hawkins Carol A. Hemphill Michelle & Thomas Hennessey Linda & John Hensley Donn & LeaAnn Herring Anne W. Hetlage Laurie Hiler  Marian & Maurice Hirsch 

Gary Hirshberg Mark & Peggy Holly  Ven & Cynthia Houts  Joanne & Joel Iskiwitch  Mike Isaacson & Joe Ortmeyer  Antonnette M. Jackson  Dr. Theresa & Zulfikar Jeevanjee  Dennis Johnson  Richard & Sandra Johnson Sally Johnston  Scott & Mary-Kay Kirchner Gerry Kowarsky Stephen Kraft Claudia and Mark Krasnoff Dr. Katherine Kreusser & Dr. Robert Young Sally Lemkemeier  Dr. and Mrs. Alan Levi Line Hardware Mr. James Lopata ✠ Luisa M. Loredo  Dr. Louise Losos Cindy & Gregg Lueder Laura & David Margolis Bill & Donna Maxson Laura McCullough David & Ginny McDonald Lesley McIntire Barbara & Lee Meyer Gwen & Paul Middeke  Charlotte & Jim Mielziner Bill & Shirley Miller Liz & Brian Mischel John Moore Susan Nall Mary Neal Betty A. O’Dea Beverly Odell Joel & Monica Perlmutter Dr. Joe Pfeffer Jerry & Judy Potthoff Cynthia A. Prost Mike & Barb Quinn  Derek & Emily Rapp Susan & John Rava  John & Lynn Rawlings Rep-aholic Carole Ries Jane & Bruce Robert  Leon Robison Tom & Kathy Ryan Lauren & Darryl Sagel Peggy Samuels Jackie Schirn Paul & Cindy Schnabel  Terry & Sally Schnuck ✠ Bevis & Patience Schock Carol Schreiner Kathy & Doug Schroeder Susie & Bob Schulte Pat & Ken Schutte  Ann Cady Scott  Christine Secorsky & Greg Sacho

Janice & Steve Seele ✠ Thomas Sehr & Margaret A. Wayne  James Seidel Hana S. Sharif Silver Fox Stables Kathy & William Sitzer Michael & Frances Slusher John & Nancy Solodar  LuAnn Spencer-Steele Charles Stone Mr. & Mrs. R. Stover Mary Strauss ✠ Ann & Jack Straw ✠ Drs. Beth and Paul Stroble  Jeanine Suchecki Katherine Sundararaman Stuart & Cindy Sweet Cecelia Tatom Irene Thalden Terry Thornton Joan Tiemann  Steve Tillery  Jason & Janeen Turk Don Ulrich John & Dea Vallina Paul & Linda Vandivort  The Repertory Theatre of St. Louis Volunteer Board ✠ Mrs. Gillian Waltman Michael Ward Kate Warne Margaret Wehrenberg David P. Weiss Mei Chen Welland  James White & Cindy Payant Miriam Wilhelm & Eric Friedman Mike & Barbara Willock  Richard Wilt Lynn & Darrell Yearwood 

Gifts received 6/1/2023 - 1/5/2024 For more information about the Rally For The Rep campaign, please visit rallyfortherep.org or contact the Development Department at (314) 687-4030

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

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STAFF Danny Williams Managing Director

ARTISTIC

PRODUCTION

ASSOCIATE ARTISTIC DIRECTOR ASSOCIATE ARTISTIC DIRECTOR ARTISTIC ASSOCIATE

Becks Redman Reggie D. White Matthew Cox

learning & COMMUNITY engagement LEARNING PROGRAMS MANAGER TEACHING & ENGAGEMENT MANAGER LACE PROGRAM ASSISTANT TEACHING ARTISTS

Brian Coats Britney Daniels Claire Himstedt Brea Rollston Colin McLaughlin Michelle Dillard Zahria Moore Zellie Laury

GENERAL MANAGEMENT GENERAL MANAGER COMPANY MANAGER MANAGEMENT ASSISTANT ATTORNEY

Dan Schultz Michael Ward Alex Ray Sara Robertson, Polsinelli PC

DEVELOPMENT DIRECTOR OF DEVELOPMENT INSTITUTIONAL GIVING MANAGER DEVELOPMENT MANAGER MANAGER OF PARTNERSHIPS AND EVENTS

Stephanie Boyd Laurel Considine Rob Kapeller Bailey Pashia

MARKETING & COMMUNICATIONS MARKETING DIRECTOR MARKETING MANAGER PUBLIC RELATIONS DIGITAL MARKETING ASSOCIATE GRAPHIC DESIGNER

Ashton Beck Angel Azzarra Frances White Ash Moon Thompson Delores Eddington

FINANCE & ADMINISTRATION SENIOR MANAGER, ADMINISTRATION ACCOUNTING ASSOCIATE ACCOUNTING ASSISTANT

Laura Wandersee Suzanne Bodenstein Marsha Whitler

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

LEAD HOUSE MANAGER ASSOCIATE HOUSE MANAGER ASSISTANT HOUSE MANAGERS

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Ricki Marking-Camuto Kristy Kannapell Michael Dorn Christian Hoffman Dan Ladd Carl Wickman Taylor Kelly Carol Hodson Julie George Deanna Danger Hope Harbour Mo Moellering B. Young Alex Godefroid

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

DIRECTOR OF PRODUCTION PRODUCTION MANAGER STAGE MANAGERS PRODUCTION ASSOCIATE

Phil Baranski Jayson Lawshee Emilee Buchheit Shannon B. Sturgis Taijha Silas

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

Michael Strickland Emilie WeilbacherMcMullan Scott Loebl Stephen Pollihan, James Van Well Dave McCarthy Dan Roach, Jr. Danny McCarthy Scott DeBroux Eric William Barnes Abigail Stuckey Ralph Wilke

costumes COSTUME SHOP MANAGER ASSISTANT COSTUME SHOP MANAGER HEAD DRAPER DRAPER FIRST HANDS WARDROBE SUPERVISOR WARDROBE CREW

Kristie Osi Rachel Seabaugh Robert Trump Elizabeth Eisloeffel Carrisa Sexton Wes Wyman Kelsi Washington Zach Stefaniak Beverly Joy Goh Elijah Paruzynski

lighting MAINSTAGE HEAD ELECTRICIAN ELECTRICIAN

Connor Meers Casey Morris III

sound MAINSTAGE SOUND ENGINEER SOUND ENGINEER

Joshua Riggs Sean Wilhite

crew DECK CREW Jeff Berry Jacob Goodwin Curtis Williams REHEARSAL RIGGER

Scott Dare

BIOGBOARD OF DIRECTORS BOARD OF DIRECTORS PRESIDENT

SECRETARY

prolog ventures

community volunteer

Brian Clevinger*

Judi Scissors*

VICE PRESIDENT

TREASURER

community volunteer

armstrong teasdale llp

Ann Cady Scott*

Wendi Alper-Pressman*

VICE PRESIDENT

VICE PRESIDENT, VOLUNTEERS

community volunteer

community volunteer

Susan Stith*

Ann Harris Straw*

MEMBERS: Wendi Alper-Pressman*

Dan Jay*

David Alpers

Toni Jackson

Margaret Augustin*

John S. Kingston

armstrong teasdale llp washington university community volunteer

Patrick Aydt

merrill lynch | vice president

Amy Bantle

washington university school of medicine in st. louis | chief brand and marketing officer

Lauren Smith Blair

u.s. bancorp community development corporation | vice president

community volunteer community volunteer thompson coburn, llp

Gwen Middeke*

community volunteer

Jane Robert*

community volunteer

Ronald L. Roberts

ridge graves, llc | managing partner

Lauren Sagel

community volunteer

Jana Broadie

Julian Z. Schuster

Brian Clevinger*

Pat Schutte*

Brandon Evans

Judi Scissors*

community volunteer prolog ventures | managing director ernst & young | partner

David Frey Caleres

Frank Hamsher*

skyline public strategies, inc. | principal

Laurie Hiler*

cgb enterprise inc. | project manager

Ven Houts

ernst & young | community volunteer

webster university | president community volunteer community volunteer

Ann Cady Scott*

community volunteer

Susan Stith*

community volunteer

Ann Harris Straw*

community volunteer

Susan D. Tuteur

community volunteer

*executive committee

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VOLUNTEER BIOGRAPHIESBOARD VOLUNTEER BOARD Our 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 call the Development Department at (314) 687- 4030.

PRESIDENT

TREASURER

VICE PRESIDENT

IMMEDIATE PAST PRESIDENT

Ann Harris Straw Trish Alexandre

Cindy Schnabel Laurie Hiler

SECRETARY

Ann Bronsing MEMBERS: Trish Alexandre Susan Barley Ann Bronsing Elizabeth Cobin Dorothy Diehl Denise Eschenbrenner Karen Fairbank Glenda Hares Vicki Helling Laurie Hiler Marcia King Margie Knapp

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Linda Lowry Barbara Mennell Karen Miller Shirley Raitzsch Rocky Rosen Helen Sandifer Cindy Schnabel Carol Schreiner Ann Harris Straw Linda Vandivort Lynn Yearwood

Thoughtful Design that Matters Center of Creative Arts Renovation and Expansion 2017 AIA St. Louis Design Award Winner

Talent deserves an audience.

We are proud to partner with organizations like the Repertory Theatre that seek to shine a spotlight T on the unique voices and diverse perspectives that bring art to life.

edwardjones.com/purposeinaction CEA-12038C-A-A2 EXP 31 JUL 2024 © 2023 EDWARD D. JONES & CO., L.P. ALL RIGHTS RESERVED. AECSPAD. Member SIPC

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GATHER AROUND Private Dining with O+O Hospitality Group

216 WEST LOCKWOOD AVENUE WEBSTER GROVES, MISSOURI EVENTS@OLIVEANDOAKSTL.COM 314.764.4184

February 17–May 12 Experience the first exhibition to explore the influence of the sea in Henri Matisse’s career! slam.org/Matisse The exhibition is organized by the

Funding for this exhibition is provided by the Edward L. Bakewell Jr. Endowment for Special Exhibitions.

In-kind support is provided by Christie’s.

Produced with the support of the FRench American Museum Exchange (FRAME).

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Henri Matisse, French, 1869–1954; Blue Nude I, 1947; gouache, painted paper cut-outs on canvas; 41 7/8 x 30 11/16 inches; Foundation Beyeler Collection, Inv.60.1; © 2024 Succession H. Matisse / Artists Rights Society (ARS), New York

ABOUT THE REP

The Repertory Theatre of St. Louis is the region’s premier theatre for compelling, award-winning theatrical experiences that entertain, engage and illuminate audiences’ shared humanity. As a dedicated partner with arts organizations in St. Louis and across the country, The Rep aims to expand audiences’ appreciation and understanding of the world through 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 Theatre. Performances are given at the Virginia Jackson Browning Theatre at the Loretto-Hilton Center.

STEVE WOOLF STUDIO SERIES Longtime Rep Artistic Director Steve Woolf was a champion of producing innovative and provocative plays in an intimate setting.

IMAGINARY THEATRE COMPANY Imaginary Theatre Company is The Rep’s touring ensemble for children. Bringing theatre for young audiences to schools and community centers throughout the bistate area, ITC’s productions value a well-told story while supporting state learning standards and nurturing a respect and love for the arts.

This season, ITC performances are available virtually to both schools and families.

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by Arthur Miller

SPECIAL THANKS GRIFFIN DISTASI MADDIE DOPPELT GABRIELA FURTADO COUTINHO

Jewish Community Center Arts & Education Building 2 Millstone Campus Dr. St. Louis, MO 63146

March 21 – April 7, 2024 newjewishtheatre.org Tickets on Sale Now!

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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 and 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.

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FOR YOUR INFORMATION 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

AUDIENCE CODE OF CONDUCT Everyone deserves respect and dignity.

Everyone deserves safe environments.

Everyone benefits from collective learning.

To learn more visit repstl.org/about/audiencecodeofconduct

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

ACCESSIBILITY ssistive Listening: Free assistive listening devices using A an FM system are available at Audience Services prior to all performances. pen Captioning: We offer open captioning, O an electronic text display which shows what the actors are saying or singing, at the last Sunday show for all performances. udio Description: The Rep partners with MindsEye A to offer live audio description for the final Thursday performance of each production. obility Accommodations: The Rep offers services for M 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. merican Sign Language: We offer ASL-interpreted A performances on the final Saturday matinee of each production. Interpreters are placed inside the theatre and sign for the audience what the actors are saying and expressing.

ASL

MOBY DICK SHOW CALENDAR

S

M feb.

T

R

4 PM 2PM 2PM

11

12

18

19

25

26

7PM

7PM 7PM

6

13 20

27

W 7PM 7PM 2 PM

7 14 21 28

T 7PM 7PM 7PM

F

8

7PM

15 22 29

7PM 7PM

9 16 23

S 4PM

4PM 7PM

10 17 24

preview

opening

post-show talkback

asl interpreted

open captioning

audio described

BIOGRAPHIES

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

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+

The Berges Family Foundation The Shubert Foundation Inc.

$50,000-$99,999

Doris Duke Charitable Foundation

$25,000-$49,999

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

$10,000-$24,999

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

$2,500 - $4,999

Employees Community Fund of Boeing Graybar Foundation Sign of the Arrow/St. Louis Alumnae Club of Pi Beta Phi Dewitt and Caroline Van Evera Foundation

$1,000 - $2,499

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

UNDER $1000

Actor’s Equity Foundation Caravus Commerce Bancshares Foundation

$5,000 - $9,999

Enterprise Holdings Foundation Edward Chase Garvey Memorial Foundation

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BIOGRAPHIES

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 2023–2024 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

Pamela Wing Dern ✠

SUZAN-LORI PARKS $2,500-4,999 Pat Schutte  Judi Scissors 

MARIANNE ELLIOTT $1,000-$2,499

Suzan Kelsey Brooks  Hannah Langsam  Lois Schultz  Ann Scott  Diane Sher Susan Tuteur  Helen D. Ziercher

PAULA VOGEL $500-$999

Trish Abbene  Wendi Alper-Pressman ✠ Christy Beckmann Terri Ciccolella  Samantha Davidson Dorothy Diehl Joan D. Dougherty Barbara Gervais Peggy Holly  Sara Kessler David Kodner Personal Jewelers Merritt McCarthy Elizabeth Meteer

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Karen Miller  Lucy Schreiber  Lisa Easton Silverberg ✠ Ann H. Straw ✠ Susan Warshaw  Mei Chen Welland  Kathleen Wood Lynn Yearwood 

Marcia Roentz Melanie Ryterski Carol Schreiner Arlene Spector Trish Williams Lisa Zarin

ANIKA NONI ROSE $250-$499

Anonymous Kathleen Ferrell Ann Bronsing Ilene Brooks Michael Brooks & Nhi Nguyen Terry Coleman Jan Congdon Judy Guerrero Barbara Harris  Toni Jackson  Martha LaFata Cheryl Martin Kris Rinne Linda Lewin Stark ✠

Trish Alexandre Roberta S. Frank Shirley Haake Julie & David Hohman Joanne Iskiwitch  Susan Kilo Susan B. Knight Judith Smart  Terry L. Thornton Linda Vandivort 

PHILLIPA SOO $100-$249

Nancy Berg  Bette L. Bude Kelley Ciampoli  Myra Crandall ✠ Denise Eschenbrenner Karen L. Fairbank Dotti Fischer  Ann Franke Glenda Hares Vicki Helling Mary Beth Hennessy Linda Hensley Jan Hermann Laurie Hiler  Jeane Jae Margie Knapp Michele Lommel Dorothy Lovelace Suzie Nall Susan A. Oefelein Marilyn Raphael Lynn Rawlings

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

CONDOLA RASHAD $50 - $99

RISING STAR $1 - $49

Beth Friedman Karen T. Levine *In memoriam Gifts received 6/1/2023 - 1/5/2024 For more information or to join Leading Ladies, please contact the Development Department at (314) 687-4030.

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

BIOGRAPHIES

Cast, The Lehman Trilogy | Photo Credit: Jon Gitchoff

BOOK CLUB JUST GOT DRAMATIC You’re invited to join Rep Reads, our fan-favorite monthly play reading club (Requires a minimum gift of $100).

Each month, we independently read a script and come together to discuss its themes, characters, and impact. Rep Readers gain a deeper appreciation of dramatic literature while building community connections with fellow theatre lovers at The Rep. Tues & Wed, FEBRUARY 13—14

In The Blood–Suzan-Lori Parks Tues & Wed, MARCH 12—13

Fat Ham–James Ijames

Tues & Wed, APRIL 9—10

Gary: A Sequel to Titus Andronicus– Taylor Mac

To sign up, get books, and learn more about Rep Reads, visit repstl.org/support/rep-reads or 51email T hRob e Repat e r development@repstl.org. tory Theatr e of St. L ou is

2 PM & 7 PM ON TUESDAY 2 PM ON WEDNESDAY

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, invitations to exclusive events 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+ Anonymous  James & Elizabeth Mannen Berges Ven & Cynthia Houts  Gwen & Paul Middeke  Jane & Bruce Robert  Pat & Ken Schutte  Ann Cady Scott  Susan & Peter Tuteur  SPOTLIGHT ANGEL $10,000-$19,999 David & Melanie Alpers  Ted & Robbie Beaty  Mark & Teri Brenner QZE Dr. Stuart Kornfeld  SPOTLIGHT BENEFACTOR $5,000-$9,999 Barbara & Ernest Adelman  Joseph & Lauren Allen  Patrick Aydt Susan Barley  Patty & Kent Chapin ✠ Vicki & Brian Clevinger ✠ Pamela Wing Dern ✠ David Frey Anne Carol Goldberg & Ronald Levin ✠ Sally Johnston  Mr. & Mrs. Lawrence Langsam  Kent A. Lewis  SPOTLIGHT SUSTAINER $2,500-$4,999 Costas & Assimo Azariadis  P.E. Belloli & Dave Shimek  Kathy Berg  Mark D. Bernstein ✠ Sam C. Bertolet & Helen D. Ziercher  Lauren Smith Blair Mrs. H. Pharr Brightman ✠ Elaine Coe ✠ Dr. Kevin & Lisa Coleman  Myra & Gene Crandall ✠ Michael Dern ✠ Larry Essmann  Brandon & Lucy Evans Judith Gall ✠ Lee & Gina Hoagland  Joanne & Joel Iskiwitch  Dr. Theresa & Zulfikar Jeevanjee  Nancy & Kenneth Kranzberg ✠ Andrew & Lori O’Brien  Ann Scheuer 

52

Mary Schoolman  Judi Scissors & Sam Broh*  Janice & Steve Seele ✠ Dr. John Sopuch  Bill & Jarona Stevens  Mei Chen Welland  Mike & Barbara Willock  Lynn & Darrell Yearwood  SPOTLIGHT PATRON $1,500-$2,499 Trish & Michael Abbene  Wendi Alper-Pressman & Norman Pressman ✠ Ann P. Augustin Margaret Augustin  Darla & Brad Baker Nancy Berg  Holly & Marc Bernstein Catherine S. Bollinger  Jana Broadie Linda & Jack Bryant Eileen Clarke & William Dodd  Elizabeth & Don Cobin  The Preeti Dalawari & John Vandover Charitable Fund  Mike & Sue Darcy Dr. Debbie A. Depew  Jim Donnelly & Tracey Temanson  Richard Engelsmann & Diane Buhr Engelsmann  Sam & Marilyn Fox Foundation ✠ Mr. & Mrs. Ronald Fromm  E.L. Green ✠ Laura & Ted Greenberg  Frank Hamsher Kathleen Locklar Heimann Margaret & Michael Heinz  Bill & Linda Hentchel Laurie Hiler  Marian & Maurice Hirsch  Mark & Peggy Holly  W. F. Samuel Hopmeier  Mike Isaacson & Joe Ortmeyer  Daniel G Jay & Mary Ann Lazarus  Jeanne & Aron Katzman  Mr. & Mrs. Ronald Kessler  John S. Kingston Sally Lemkemeier  Judith Weiss Levy ✠ C. Arden Mennell  Barbara & Lee Meyer Mrs. Rena Murphy ✠

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

Ellen Nahlik, Simons Family Charitable Trust Mr. & Mrs. Raymond W. Peters  Mike & Barb Quinn  Colleen Ritchie  Paul & Cindy Schnabel  Margot Schwab  Julian & Helen Seeherman, The Seeherman Charitable Fund  Susan & Drexel Stith Ann & Jack Straw ✠ Drs. Beth & Paul Stroble  Joan Tiemann  Selden Y. Trimble, in memory of Joyce Price Trimble  Lynne & Jim Turley Drs. Craig & Terri Weldon 

*In memoriam Gifts received 6/1/2023 - 1/5/2024 For more information or to join our Spotlight Society, please contact the Development Department at (314) 687-4030

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

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BIOGRAPHIES HONOR ROLL

Honor In honor of Sterling K. Brown & Ms. Judy Mitchell Miller Jennifer Allen In honor of Jonathan Frank & Courtney Barrett John & Annette Frank In honor of Jim Morrell Anonymous In honor of Ken and Pat Schutte Tim & Kathi Eby In honor of Ann Cady Scott Elise Cady Margaret Cady Larry & Karen Kotner In honor of Marilyn Turner Anonymous

Memorial In memory of Theodore Bronson Judith A. Conoyer, Ph. D. In memory of Jean Lange Gretchen Straub In memory of Leah O. Margarita Rochow

Gratitude With gratitude for Diane & Rick Guevara Patty & Kent Chapin

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

Cast, Follies | Photo Credit: Jerry Naunheim, Jr.

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23 24 144th Season

We’re saving We’ a seat for you. you.

Experience the transformative power of music with unique and meaningful performances this spring.

From films with live scores to dance collaborations and a rock-classical fusion, SLSO concerts promise to surprise and delight.

Feb 24

Steve Hackman

SLSO

Encanto in Concert

Brahms X Radiohead

Mar 9–10

Encanto in Concert

Mar 16–17

Romeo and Juliet

Mar 22–23

Beethoven’s Emperor Piano Concerto slso.org

314-534-1700 Groups save! groups@slso.org

ENCANTO Presentation licensed by Disney Concerts. © All rights reserved.

Big Muddy Dance Company Tom Borrow