HOUSE OF JOY - Digital Program

Aug 26 - Sept 18

2022–23 SEASON

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LAND ACKNOWLEDGEMENT WELCOME INTERVIEW WITH PLAYWRIGHT DIRECTOR’S NOTE BIOGRAPHIES LEADERSHIP ABOUT THE REP HONOR ROLL

AUGUST 28 - SEPTEMBER 18 THE REPERTORY THEATRE OF ST. LOUIS 130 Edgar Road St. Louis, MO 63119

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314-968-7340

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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.

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LAND ACKNOWLEDGEMENT 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 the 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.

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.

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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 5

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WELCOME

Photo by Cheshire Isaacs

Dear Rep Family,

It is my great joy to welcome you to the 56th season at the Repertory Theatre of St. Louis.

Inspired by the spirit of reinvestment, reemergence, and renewal: we are committed to reinvesting in the art and the vitality of our community with civic and cultural partnerships for every show. We are reemerging with joyful, entertaining, and compelling art, from treasured classics to bold, new works from the most prolific voices of the contemporary American Theatre—one of whose work you will experience tonight. And finally, we are renewing our commitment to each of you with a joyful season full of drama, thrills, and laughs at The Rep. I cannot think of a better way to embark on the journey of our 2022-2023 season than with a new play that captures all the love, magic, adventure and beauty that only great theatre can deliver.

Madhuri Shekar’s House of Joy is a profound exploration of freedom, love, loyalty, and liberation. Set against the beautiful backdrop of the Mughal Empire in South Asia, House of Joy transports us to a fictional, mystical world filled with beauty, a glittering land predominantly populated by women, ruled by an Emperor (obsessed with bearing a son) and protected by a fierce femme guard of warriors. With a deftness of language from our playwright and the masterful hand of our director,

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it is easy to be swept away by the lush utopia, where even the house is a breathing being.

House of Joy is also a treatise on love and identity, delving into its forms, beauty, and complexities. How do you interface in a world that has not made space for you? What do you do when your relationships are misaligned with your heart? While the rules of this magnificent world may at first blush seem strange, the familiar structures of how society can imprison, even with velvet handcuffs, quickly unfurls. Through her storytelling, Madhuri uses magic to fracture the utopian surface, shattering our illusions and helping us confront the ties that bind and the love that liberates us in our lives.

Buckle up for this swashbuckling story, which promises to overturn all our conceits on love, power, and privilege.

Hana S. Sharif AUGUSTIN FAMILY ARTISTIC DIRECTOR

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INTERVIEW DRAMATURGY WITH THE PLAYWRIGHT

To go beyond what is usually covered in traditional program notes, House Of Joy’s playwright (MADHURI SHEKAR) and the production’s dramaturg (SALMA ZOHDI) decided to have a conversation that captures the spirit of program notes, and imagine what would’ve been said in a postshow discussion. In this conversation, MADHURI and SALMA talk about how this play, its characters, its world, the house, and those who live by it and roam in it all came to life.

SALMA ZOHDI: You are an extremely imaginative playwright who roots many of her works in fantasy world-building with a playful intersection with history… what drew you to build this world of House Of Joy and how did it all start?

MADHURI SHEKAR: It started from multiple different places. It started with an urge to write something that was set in a land and a time far

away from modern-day America. I always loved studying the Mughal Empire, and all of the characters who existed at that time. And I wanted to write a play inspired by that for a long time, but I couldn’t find a way in until I randomly saw an article on the internet that talked about the female guards in the harem. And even though I had studied Indian history in college, I’d 9

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never actually known that there were female guards— highly trained female guards - who were protecting the royal women in the harem.

That became my entry point into this world.

These are the people I want to write about.

I wanted to take inspiration from that world - the culture, the hierarchies, the aesthetics - but then write a story that was truly exciting for me, one that I would want to see on stage. One not necessarily bound by the limitations of history or physics. So that’s where it all came from.

House Of Joy had a life in 2019 where it had a run in California Shakespeare Theater. The version we are seeing at The Repertory Theatre of St. Louis today is a different iteration from 10

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the 2019 narrative. Can you tell us a bit more of the past versions of this play and what compelled you to rewrite it? But also, when did you first start writing it?

I feel like I’ve been working on this for an embarrassingly long time.

But luckily, I still really enjoy the world and the characters, so I’m not tired of it yet. I started writing this play during MADHURI SHEKAR playwright

SALMA ZOHDI dramaturg

the winter of 2016– for very obvious reasons I wanted to get far away from our contemporary time. It went through many workshops and development processes.

And then we had a wonderful world premiere, at Cal Shakes (California Shakespeare Theatre), and then a wonderful second production at San Diego Rep (San Diego Repertory Theatre). That version of the script still exists. But for this new production in St. Louis, I really wanted to see if I could take a stab at rewriting the whole play after taking stock of what I learned in those two productions. It took seeing the play onstage, working with the actors, and rehearsing with them to realize that some things in the play dramaturgically just were not working.

Character arcs were not quite believable, and thematically it wasn’t what I wanted it to be.

So I’ve rewritten it now with a love story at the center that’s driving most of the action, and the change. I find that much more fun to write about, much more soul nourishing to write about, and something that just feels a lot more human.

Like, why do people make radical change in their lives for the better? Most of the time it’s because of love. So that’s what I wanted to write about.

This is a new version that’s going up for the first time in St. Louis.

This is exciting! So is this House Of Joy 2.0 or 3.0?

This is 2.0! The first script is quite different. And with characters that don’t exist

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in this, and vice versa.

It took me a while to figure out what I actually want to say with this.

Was it easy letting go of some of the characters?

It was really easy! Which was why I could tell that it was the right choice. I feel really bad because some wonderful actors portrayed those characters, but it’s no reflection on them. It was just me realizing: ‘Oh, I don’t really need them, to tell the story I need to tell.’

On the subject of history that you’ve mentioned earlier, this was majorly inspired by real times, people, and events and the seed of it all was planted because of the women harem guards during the Mughal Empire. So, it’s deeply rooted in and highly informed by 12

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history. Yet, you have made decisive choices that distinguish the world of House Of Joy from known historical practices. Namely religion, where this world doesn’t have a religion. How did you arrive at this choice?

Honestly, when I read the histories of the women of the Mughal Empire, their religiosity is so important and so much at the forefront.

And it’s not necessarily something they would consider as religiosity in the way we would now.

It’s just culture, it’s life, it’s practice, it’s how you live! But I’m not Muslim, and I didn’t want to speak on that. I don’t have the necessary authority or the language to really inhabit that, and to see the world from the point of view that these women saw back in the Mughal Empire.

What’s much more interesting to me is how systems around the world are set up and often justified through religion. But many times those systems are strikingly similar. So what happens when we remove, for instance, a religious justification for a harem? Because there’s something else underneath that, much more primal, that leads to such a system being set up. What happens if we remove the religious justification for absolute power and absolute rule? There’s something underneath that, that still exists. That is what I’m interested in - what is that underlying urge? So this is a world in which religion may exist, but none of the characters talk about it. Instead,

what they talk about is what they want and need in the moment. That’s how we approached the story.

But I encourage people to actually read about the real women of the Mughal Empire, because they’re fascinating. And it’s quite beautiful to learn about all of the customs that they preserved and carried out across their lives.

Here’s a question that just came to mind. We never see any men physically on stage, yet, their presence is still very loud and clear in this world. How did you navigate portraying this present absence?

I went to an all-girls college in India, and even though we were all women inside, the mere fact that we had a bunch of rules and regulations and were constrained

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in various ways was all due to the fact that men existed outside those walls. Even as we were living our lives inside, so many of our choices had been shaped long before we were born simply because of the existence of the patriarchy. But the simple answer is, when it came to this play, I just wrote about the characters I was interested in, and they just all happened to not be men.

Well, speaking of this and the amazing women that you’ve created… the way you write women in your work, and this work in specific, captures deep nuances where none of them are tokenized or essentialized, and they’re all deeply complex in their flaws…

When you’re describing it

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like that, I really hope that when I write men, I also write them as complex, multifaceted, interesting and flawed! Because that’s the job of a writer, to write characters who are all of that. It’s just doing the work to imagine who these people are, absolutely and fully. One of the things that’s very important is to note that no matter how difficult times are, or no matter how difficult situations are, people always find a way to laugh. People always find a way to find community, people always find a way to love. It’s just the truth, and to ignore that part of life, to reduce women and non-binary and trans people to the sum of their oppression, just feels like such a missed opportunity…

How do you depict

these women within the existing power structure of the world of House Of Joy? Because the house is run by women, guarded and protected by women, but operates within a structure that is actually governed by men.

I mean, we navigate power structures all the time in our daily lives, constantly. It just happens that right now these are the power structures we live with, but they were different 50 years ago, they will be different 50 years from now. And we all just find a way to survive. And that’s what these women are doing.

They are surviving.

I wholeheartedly agree.

So, who is this play for and who would you consider to be its ideal audience?

Anyone who loves swashbuckling romantic adventure stories, come see the play!

Joy is in the title of the play. How much do you consider joy to be in the DNA of this world and what is the significance of it to the house and those who live in it?

Well, it’s very joyful to write this play. So there’s that! Even though the play can get very dark at times, I find a tremendous amount of joy in following these characters and seeing how they thrive in really difficult situations, and seeing the choices that they make. I think a community of women can be a really joyful place, and I’ve experienced that in my life. But also, of course, as you will see in the play, the title is slightly

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ironic as well. Is the joy really because of the house? Or is it because of something else? And where can we find it?

Well that’s an intriguing food for thought and it doesn’t give away our plot. In the rehearsal room you have described more than once that the house is a romantic, and in the play you’ve described it in ways to represent its liveliness, and that it breathes and sees. How else would you describe this house?

It’s a trickster! Like Loki, it’s a trickster god. You don’t really know how to predict which way this god will act.

It doesn’t have rules?

It doesn’t have rules! It is capricious, it’s playful. It likes to poke things just to

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see what will happen. But it is alive and it is reacting to everything that’s happening inside of it. So it’s really an institution that is quite literally shaped by the people within it.

Has it always been alive in previous versions?

No. When was the moment that you decided it needs to come to life, have its own agency, and become a character of its own?

I think in previous drafts I tried a little bit to abide by certain realities of history and realities of our world. But this is theater! And if my whole opinion, like I said, that it is an institution that is shaped by the people who live by it, then why not just see that happen on stage in a literal way?

Sometimes the walls in this house are not the physical walls, they’re invisible. And it’s not just a metaphor, they’re actually invisible. It’s really fun to have a magical building on stage, absolutely.

But also, it’s just a way of taking the metaphor and making it literal.

I would even say it’s joyous to have a magical house on stage.

It’s fun! It keeps you slightly disoriented in a fun way. But it also gives you agency because if things are constantly changing, then maybe you realize - I have the power to change them too. Maybe there’s a way I can get around this. It doesn’t feel as static and as permanent and as immutable as an ordinary building might feel. It feels more like the idea

of an institution itself.

As you’ve mentioned, you started writing this in 2016 when you wanted to write a story that’s far away from modernday America. On the subject of agency and how that, right now, in 2022 we are living in a particularly tense moment in this country where women’s rights are on the line, and their agencies over their own bodies– that have been gained after decades of fighting for– are revoked.

How do you think your play, right now, speaks to this reality, if at all?

When did we ever have full agency? If it can be taken away this easily, then we never really had it to begin with. People with power have always had more agency than people without power - and 17

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those nuances exist within marginalized groups as well. Yeah, some women have had their rights absolutely demolished, but other women will be fine. Because that’s how our world works. So I don’t necessarily think this play is speaking to that different reality. And I know I sound super bleak.

I get what you mean, as a person who’s not from this country, I get it.

It’s like, obvious… it’s obvious. And I feel the same way.

That it can’t all be taken for granted?

Yeah. There are things that are taken for granted by a certain segment of the population, which have never been universal!

Most women of color in this country have never had full rights over their 18

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bodies and their agencies for most of the history of this modern country.

So yeah, it’s just that things are bad. They’ve been bad for a while.

But things can change, we could change them!

And that’s why we do theatre and keep telling these stories.

Do you have any final thoughts that you want the audience to have in their minds as they are about to experience the world of House Of Joy? Just enjoy the incredible production put together by our brilliant team.

Enjoy the beauty of the sets, the costumes, the props, lights, projections, and sound. And enjoy the absolute virtuosity of our actors. Enjoy what Lavina (our director) has done.

Just have fun! I hope you have a lot of fun, that’s all.

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

managing director Danny Williams

presents

Author Madhuri shekar director lavina jadhwani

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BIOGRAPHIES

Scenic Designer Associate Scenic Designer Costume Designer Lighting Designer sound designer & Original Composition Projections Designer Fight/Intimacy Director Choreographer Dramaturg Associate director assistant Scenic Designer Associate lighting designer assistant sound designer Associate Projections Designer Projections Programmer Projections Animator/Illustrator stage Manager Assistant Stage Manager Production Assistant

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Dahlia Al-Habieli Natalie Rose Mabry Oona Natesan Sarah Hughey Pornchanok (Nok) Kanchanabanca Stefania Bulbarella Gaby Labotka Aparna Kalyanaraman Salma S. Zohdi Karina Patel Chen-Wei Liao Vianey Salazar Daniel Etti-Williams Brian Pacelli Devin Kinch Joaquin Dagnino Emilee Buchheit* Lorraine Fiore* Shavante Brogley

CAST Shape Shifter gulal Mariyam Roshni

Regina A. Fernandez*

Miriam A. Laube* Emily Marso*

Tina Muñoz Pandya*

NOORAH

Aila Ayilam Peck*

Salima

Omer Abbas Salem*

Hamida

Sumi Yu*

The play will be presented with one intermission.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States World premiere produced by California Shakespeare Theatre Artistic Director EricTing

House Of Joy was originally workshopped and developed in the 2018 Pacific Playwrights Festival at the South Coast Repertory The play was developed with the support of New York Stage And Film’s 2018 winter season

The play was developed at the 2018 Bay Area Playwrights Festival, a program of the Playwrights Foundation, Amy L. Mueller, Artistic Director.

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BIOGRAPHIESNOTE DIRECTOR’S

the First Day of Rehearsal: A Note From the Director As I was checking out at the Trader Joe’s on Friday, I started chatting with the cashier about working at The Rep. When I told them the title of our show, they asked me, “Is it really joyous? Or is the title ironic?”

Though I’ve seen this script through multiple iterations – and though as I write this, I do not know how exactly it will end – I was thrilled to be able to say, with certainty, that the play is joyous. In Madhuri Shekar’s imaginative play, women dare to dream out loud, speak truth to power, and imagine change that will rattle the world.

I’ve described this process multiple times as “jumping onboard a moving train” which is honestly one of my favorite tropes in Bollywood movies – when the hero extends their hand to the heroine to help them climb aboard. Our work can be dangerous, and I’m so honored to have some of my oldest friends and most trusted collaborators here to help prioritize everyone’s health and safety. We will take good care of each other and though I don’t know exactly where the finish line is right now, I can guarantee you that we will have a joyous time crossing it together.

It is a joy to make art here at The Rep, in the inimitable Hana S. Sharif’s house; Hana is a leader and visionary whose ethic and aesthetic I’ve admired for over a decade and it’s an honor and a privilege to be bringing a company of incredibly talented artists from around the world together to make art here, in the Gateway to the West.

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BIOGRAPHIES CAST REGINA FERNANDEZ (Bibi/Khadija/Mehr/ Shapeshifter) is thrilled to be making her Rep debut! Regina is a proud Filipina-American actress, choreographer,and singer based out of Los Angeles. Select regional credits include Bumbrake/Teacher in Peter and the Starcatcher at the Oregon Shakespeare Festival, Ayah in The Secret Garden at the Denver Center for the Performing Arts, Charmian in Antony and Cleopatra for Theatreworks, Marianne Dashwood in Sense and Sensibility, Ann Deever in All My Sons, and Emilie in The Moors at the Arvada Center for the Arts and Humanities. TV/Film credits include NBCUniversal’s Good Girls, Nickelodeon’s Side Hustle, and WatchEye Studios’ OTISE. Movement design credits include Shakespeare: Call and Response directed by Patricia McGregor for the Old Globe, El Borracho directed by Edward Torres for The Old Globe, and Around the World in 80 Days directed by Lavina Jadhwani for Theatreworks. Proud member of AEA and SAG-AFTRA. Warm thanks to Todd, ATB Talent, Harry, my family, Becks, Hana, and Lavina!

Social Media @MabuhayItsRegina EMILY MARSO (Mariyam) is making her Rep debut.

A Chicago-based actor, her theatre credits include work with Goodman, Northlight, Writers, TimeLine, The Gift, Silk Road Rising, and more. If you like her acting but not how live it is, television credits include a recurring role on 24

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Chicago Med and Chicago Fire (NBC), and film credits include An Exquisite Meal; Swipe Up, Vivian!; and The Last Stand of Bobby Coe. If you prefer animation, her video game credits include performance capture for Kitana in the Mortal Kombat franchise (NetherRealm Studios) and motion capture for the Call of Duty franchise (Raven Software). And if you long for an audioonly experience, you can hear Emily narrate multiple titles as the voice of Disney/Pixar’s Turning Red audiobooks. Emily graduated with a BA degree in theatre, political science, and Chinese from Northwestern University. She’s represented by Paonessa Talent.

For more information, visit: emilymarso.com., Social Media @missmarso MIRIAM LAUBE (Gulal) In 16 seasons at the Oregon Shakespeare Festival: Cleopatra, Olivia, Hermione, Rosalind and Julia, The Witch in Into the Woods and Vasantasena in The Clay Cart. She is proud to have originated the roles of Gynecia in Head Over Heels, Maruca in Party People, and Cleo in Family Album. She was in the original Broadway cast of Bombay Dreams and has worked regionally at Berkeley Rep, Dallas Theater Center, Milwaukee Rep, Baltimore Center Stage, and The Guthrie Theater. She received a Henry Award for Best Supporting Actress for her work in the original production of The Book of Will at Denver Center. She is honored to be both a Fox Fellow and a Lunt-Fontanne 25

BIOGRAPHIES

Fellow. Directing: The Tempest, Santa Cruz Shakespeare; Pirates of Penzance and Oklahoma (Associate Director) Oregon Shakespeare Festival.

Producing: Senior Producer for The Play On Podcast Series for Next Chapter Podcasts; The Daedalus Project – Oregon Shakespeare Festival. Board: She serves on the boards of Play On Shakespeare and the Ashland New Plays Festival.

TINA MUÑOZ PANDYA (Roshni) is an actor, musician, and teaching artist based in Chicago, where her credits include: The Secretaries (First Floor Theater); Mr. Burns, a Post-Electric Play (Theater Wit); The Mousetrap (Court Theatre); X-Marks the Spot (Chicago Children’s Theatre); The Aristophanesathon (The Hypocrites); Pinocchio and The Great and Terrible Wizard of Oz (The House Theatre of Chicago); The Tall Girls (Shattered Globe Theatre); and Octagon (Jackalope Theatre). Touring credits include: The Merry Wives of Windsor and Henry IV Pt 1 (Montana Shakespeare in the Parks); HMS Pinafore, The Pirates of Penzance, and The Mikado (The Hypocrites); and A Midsummer Night’s Dream, Julius Caesar, and A Tale of Two Cities (National Players). You can also hear her on the Chicago-based audio drama The Vanishing Act. She is an ensemble member at Sideshow Theatre and Shattered Globe, a proud graduate of the University of Michigan and the School at Steppenwolf, and is represented by Gray Talent Group.

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AILA AYILAM PECK (Noorah) is a Chicago based actor and teaching artist. Chicago theatre credits include: Shakuntala (Goodman Future Labs), This Wide Night, Five Mile Lake (Shattered Globe), Birdland (Steep), Macbeth (Chicago Shakespeare Theatre), The Royal Society of Antarctica (The Gift), Miss Bennet: Christmas at Pemberley (Northlight), 1984 (Steppenwolf for Young Adults). Regional credits include: Brahman/i: a One Hijra Stand Up Show, Proof (Kitchen Theatre), The Who and the What (Huntington Theatre), A Doll’s House, Twelfth Night, Macbeth (American Player’s Theatre), Cyrano de Bergerac, Macbeth, You Never Can Tell (Montana Shakespeare in the Parks). Aila holds a BFA from North Carolina School of the Arts and is a proud alumna of School at Steppenwolf class of 2016. She is represented by Gray Talent Group.

OMER ABBAS SALEM (Salima) is an actor and playwright. His favorite acting credits include Light Falls, Linda, and Earthquakes in London (Steep Theater), INVASION! (Silk Road Rising), Pinocchio (The House Theatre), Princess Mary (Bailiwick), You Across from Me and A Christmas Carol (Actors Theatre of Louisville), Eddie and Dave (The Atlantic Theater), and We’re Going to Change the World (Roundabout Theater). His writing has been produced

by Steppenwolf Theatre, The Goodman Theater, The Theater School of DePaul, Actors Theatre of Louisville, Jackalope Theater, Definition Theatre, The New Coordinates, National Queer Theater, and About Face.

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BIOGRAPHIES

His new play Mosque4Mosque will receive its World Premiere with About Face in the Fall of 2022. He is a proud ensemble member of Steep Theater, Jackalope Theater, First Floor Theater, and The New Coordinates. He is a graduate of the University of Illinois Urbana Champaign and the University of Chicago. He is represented by The Gersh Agency and DDO Artists Agency.

For more information, visit www.omerabbassalem. com SUMI YU (Hamida) is thrilled to be back on stage after a long pandemic! TV: Nozomi in Heels (STARZ), Rise (NBC). OffBroadway: Greater Clements (Lincoln Center Theater), Call Me Madam (Encores!

New York City Center). Favorite regional credits: Hannah in Freaky Friday (La Jolla Playhouse, Cleveland Playhouse, Alley Theatre), Marcy in The 25th Annual Putnam County Spelling Bee (Bucks County Playhouse, ACT of CT), Laurey in Oklahoma!

(Theatreworks Colorado Springs). Education: Elon University Music Theatre ‘15. Representation: SAKS& and The Mine.

For more information, visit www.sumiyu.com Social Media @sumireyu

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DIRECTION & DESIGN MADHURI SHEKAR (Playwright) Madhuri Shekar’s plays include House of Joy, Queen, A Nice Indian Boy, In Love and Warcraft, Antigone Presented By The Girls of St. Catherine’s, Bucket of Blessings and The Incredible Book Eating Boy - all of which have been produced around the country. Madhuri’s audio drama, Evil Eye, debuted at #5 on Audible’s bestseller list, and won a 2020 Audie Award from the Audio Publishers Association for Best Original Work. She wrote the film adaptation starring Sarita Chaudhury, which is available to stream on Amazon Prime. In other TV & Film work, Madhuri was a staff writer on HBO’s The Nevers, wrote the screenplay for the upcoming Sister Act 3, and is staffed on a new Netflix project from David Benioff & D.B. Weiss.

Madhuri is a Resident Playwright at New Dramatists and an alumnus of the Lila Acheson Wallace American Playwrights Program at Julliard. She is a recipient of the Lanford Wilson Playwriting Award and the Steinberg Playwriting Award. She has an MFA in Dramatic Writing from USC.

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BIOGRAPHIES

LAVINA JADHWANI (Director) is a Chicago-based director, adaptor, and activist. Directing credits include Asolo Rep, the Guthrie, Mixed Blood, Oregon Shakespeare Festival, Teatro Vista, and Rasaka Theatre Company, where she served as Artistic Director for seven years.

Adaptations include A Christmas Carol (Guthrie Theater), The Sitayana (East West Players/Hypokrit Productions/EnActe Arts), Shakuntala (Goodman Theatre - FutureLabs) and four Chekhov plays.

Lavina serves on the board of the National New Play Network and the Chicago Inclusion Project and volunteers with Unlock Her Potential, a national mentorship program for women of color. She is a proud alum of the Illinois Mathematics and Science Academy, where she received the show choir’s Bob Fosse Choreography Award and the drama club’s “Lifetime Achievement” award. BFA/MA, Carnegie Mellon; MFA, DePaul University.

DAHLIA AL-HABIELI (Scenic Designer) recent and upcoming credits include designs for the Dallas Theatre Center, the Goodman, Trinity Rep, Virginia Stage Company, Fordham University, and Harvard University. Dahlia is currently a Special Visiting faculty member at the Carnegie Mellon University School of Drama, and has given guest lectures and workshops for NYU, Wellesley College, University of Texas-Austin, Binghamton University and many others.

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NATALIE ROSE MABRY (Associate Scenic Designer) is a Scenic & Projections Designer from Dallas, TX. Natalie is the recipient of The Bill and Gene Eckhart Award for excellence in stage design and, the Taubman Scholarship for excellence in stage design. Natalie has designed sets, video, costumes, lights, and/or stage managed over one hundred theatre, opera, dance and music productions mostly calling Texas Theatres and particularly Dallas, home. This is their first opportunity to work with The Rep of STL and have designed for other theatres such as the Dallas Theater Center, Shakespeare Dallas, Stage West Theatre, Dallas Childrens Theater, Theatre Three, WaterTower Theatre,Circle Theatre, The Bob Hope Theatre, The Greer Garson, And Margo Jones Theatres At SMU Meadows, The Point Theatre, and Lake Dillon Theatre among many others. Natalie is a Trans-Queer Designer focusing on stories for a new and modern audience.

OONA NATESAN (Costume Designer) is an Indian American multidisciplinary designer, with experience in costume,fashion and graphic design. Theater credits include: Little Red (PSF), The Jungle Book (Enacte Arts), Into the Woods (Phillip Chosky Theatre), Tughlaq ( The MadrasPlayers). Upcoming Projects include: The Night Diary ( Children’s Theatre of Charlotte). Her fashion debut collection in the USA was at the Pittsburgh Fashion Week (2018). Prior to her move to the East 31

BIOGRAPHIES

coast , to pursue her MFA in Costume Design at Carnegie Mellon, she assisted Couture and Bollywood designer Manish Malhotra and Indian Film designer Deepali Noor. She recently just launched her Ready to Wear/ Pret Brand “Oona Atelier”, that focuses on using sustainable and ethically sourced fabric directly from Indian Weavers in contemporary fashion.

SARAH HUGHEY (Lighting Designer) is pleased to make her Rep debut. She has designed lighting at Oregon Shakespeare Festival, Portland Center Stage, The Guthrie, Asolo Rep, Kansas City Rep, City Theatre, Steppenwolf Theatre, Lookingglass Theatre Company, Writers Theatre, Victory Gardens, Court Theatre, and many others in Chicago. She has taught lighting design at Northwestern University, Columbia College Chicago, and Willamette University. She holds an MFA from Northwestern. Originally from Joplin, Missouri, she spent many years in Chicago before settling in Portland, Oregon.

NOK - PORNCHANOK KANCHANABANCA (Sound Designer & Original Composition) is a Thai artist, sound designer, musician, and composer. Recent productions include Sweat (Huntington Theatre Company), Skylight (McCarter Theater), The Seagull, Choirboy, The Great Leap (Steppenwolf), As you Like it (OSF), Be Here Now (Cincinnati Playhouse). Nok has worked with theatre 32

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

companies across the United States including Lincoln Center, Rattlestick Theatre, Actors Theatre, Geva Theatre, Everyman Theatre, Montana Shakespeare, and Milwaukee Repertory Theater, among many others.

She has also collaborated with performing groups and theatre companies in Thailand including B-Floor Theatre, Babymime, Crescent Moon and Democrazy Theatre Studio since 2008. Nok graduated from the Yale School of Drama and is a member of the Theatrical Sound Designers and Composers Associate (TSDCA) and a member of USA Local 829.

For more information, visit www.wishnok-music.com STEFANIA BULBARELLA (Projections Designer) is a Video and Projections Designer from Buenos Aires, Argentina based in Brooklyn, NY. Off Broadway credits include: Space Dogs (MCC), Semblance (New York Theatre Workshop), The Watering Hole (Signature Theatre), Will You Come With Me? (The Play Company), Turtle on a Fence Post (Theatre 555), Eva Luna (Repertorio Español). Nominations: Drama Desk and Outer Critics Circle Awards for Outstanding Video/Projection Design for Space Dogs.

For more information, visit www.stefaniabulbarella.com GABY LABOTKA (Fight/Intimacy Director)

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BIOGRAPHIES

is a Chicago-based, multi-disciplinary theatre artist who works as an actor, director, intimacy director, fight director, and choreographer across the country. She is a fierce advocate for respect, empathy, representation, inclusion, and safety in the theatre, and they are dedicated to making art that reflects that.

Selected: Paradise Square (Broadway, Intimacy Director); Revenge Song (Oregon Shakespeare Festival, Asst. Director/Asst. Fight Director); La Ruta (Steppenwolf, Fight Director); [Trans]formation (The Living Canvas, Director/Deviser/Choreographer); The First Deep Breath (Victory Gardens, Fight/Intimacy Director); Kinky Boots (Paramount, Intimacy Director); WHITE (Definition Theatre, Intimacy/Fight Director); A Story Told in Seven Fights (Neo-Futurists, Fight Director); Romeo and Juliet + The Family Crest (Jacaranda Collective, Prince/Fight Director); and Hamlet (Repertory Theatre St. Louis, Asst. Fight Director). Training: Intimacy Directors & Coordinators, Society of American Fight Directors, Royal Academy of Dramatic Arts (RADA), Pig Iron Advanced Performer Training, Illinois State University (BA, Acting and Directing with Exceptional Merit in the Arts).

Representation: 3Arts Talent Agency.

For more information, visit www.gabylabotka.com Social Media @Theatre_Warrior. Keep Smiling!

APARNA KALYANARAMAN (Choreographer)

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is a mother, artist and arts educator. She has been teaching and choreographing dance in studios, schools, workshops and festivals for almost 20 years, including Festival of Nations, COCA, and the St. Louis Art Museum, and as a full-time dance teacher with St. Louis Public schools for 8 years. She has performed with dance companies Grupo Atlántico, Dances of India, and Afriky Lolo. She is certified to teach dance K-12 and has her BA and MAT in dance; however, her real dance education has come from communities of color and her students. In addition to completing her graduation in Bharatanatyam, she studies dances of the African diaspora and Indian folk dance. Aparna’s current work centers on unlearning the harmful effects of colonization on our bodies, expression and art.

For more information, visit www. daughtersofthemountain.com SALMA S. ZOHDI (Dramaturg) is an Egyptian Dramaturg based in New York City. Salma is the Associate Director of Development & Communications at Noor Theatre Company, an Adjunct Professor at NYU’s Department of Dramatic Writing, and was the New Work Specialist at The Public Theater. Salma’s theatre credits in the U.S. include The Mecca Tales, The Yacoubian Building, Operating Systems, Mix & Match, The Conversationalists, Pilgrims Musa & Sheri in the New World, Global Forms Theatre Festival (GFTF), Google It’s Complicated!, Silueta, Once Upon A Time 35

BIOGRAPHIES

Called Now, and Drowning in Cairo. Salma aspires to create spaces where we can generously and inclusively examine art, culture, community building, and the necessary global and social justice conversations.

MA: AUC - English & Comparative Literature.

MFA: Columbia University - Theatre (Dramaturgy).

For more information, visit zohdiscriptconsultancy.com KARINA PATEL (Associate Director) is a theatre maker born in London, based in Chicago, and raised everywhere else. Most recently, she directed at The 24 Hour Plays: Nationals and assistant directed LOOKINGGLASS ALICE at Lookingglass Theatre Company. She is a graduate of Northwestern University, where she studied theatre, history and service design and discovered a love for stories that remind us the real world is full of magic. When not in rehearsal, you can find Karina doing puzzles, reading historical fiction novels, and making excuses to get bubble tea for the third time that week.

CHEN-WEI LIAO (Assistant Scenic Designer) is a New York City based scenic designer originating from Taipei, Taiwan. She has diverse experiences in theater, film and exhibition both in Taiwan and the United States. Growing up in a bilingual and multicultural environment, she is interested in observing and creating the connection between people, stories and 36

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

space. One of her meditation topics is the relativity between Freedom - Rights - Responsibility. And she is interested in psychology, neuron science, social studies and animal behavior studies. She is a proud alumni of National Taiwan University and Carnegie Mellon University.

Her upcoming project includes the The Skin Of Our Teeth and The Importance Of Being Earnest with the Phoenix Ensemble; Jersey Boys with the Maltz Jupiter Theatre. Other selected New York City theatre credits include NYT critic’s picks A Girl Is A Half-Formed Thing with the Irish Rep; the world premiere of Islands Of Contentment, produced by The Tank and The Hypokrit Theatre Company and more.

VIANEY SALAZAR (Associate Lighting Designer) is making her Rep debut! Other credits include Fires in the Mirror (Assistant Lighting Designer, co-production with Baltimore Center Stage and Long Wharf Theatre), The Half-Light (Assistant Lighting Designer, Portland Stage Company), Sing Me a Story (Lighting Designer, Portland Stage Theater for Kids), and Sans Merci (Lighting Designer, Not Your Average Ingenue Theatre Company). She graduated from Illinois Wesleyan University with a BFA in Theatre Design & Technology.

DANIEL ETTI-WILLIAMS (Assistant Sound Designer)

37

BIOGRAPHIES

is an up-and-coming Sound Designer and Engineer local to Chicago. After Studying Acting at Oklahoma City University, they moved to Chicago to participate in Steppenwolf Theatre Company’s Apprenticeship Program. Since then, they have had the opportunity to work all over Chicago making theatre and telling stories and expressing their passion through design.

Chicago design credits include Run The Beast Down (Strawdog Theatre Company); Hershel and the Hanukkah Goblins (Strawdog Theatre Company); Beatrix Potter’s Holiday Tea Party (Chicago Children’s Theatre); Haus of Atreus (Mudlark Theater); Peerless (Northwestern University Graduate Directing Program); On The Greenbelt (Strawdog Theatre Company); At The Vanishing Point (The Gift Theatre); Paris (Steep Theatre); Light Falls (Steep Theatre).

BRIAN PACELLI (Associate Projections Designer) is a Manhattan-based theatre designer.

Selected designs include The Adult in the Room (Victory Gardens Theater), Farragut North (Hudson Guild), Tumbleweed (Dixon Place), Dutchman (Secret Theater), SubUrbia (Hudson Guild). Selected associate design credits include Broadway: Mr. Saturday Night, Harry Connick Jr…., Derren Brown: Secret. Off-Broadway: Bella Bella, The Revolving Cycles…

Other: Mr. Holland’s Opus (Ogunquit Playhouse), Tristan und Isolde (Santa Fe Opera), M. Butterfly (Santa 38

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

Fe Opera), The Scarlet Pimpernel (Lincoln Center), Rags (NYU Steinhardt), Footloose (Norwegian Cruise Line), Your Best One (Capital Repertory Theatre), Emojiland (NYMF). He holds a certificate in Technical Design & Production from Yale School of Drama.

For more information, visit www.pacellistudios.com Social Media @pacellistudios.

DEVIN KINCH (Projections Programmer) Currently serves as an Associate Designer for The Virtual Design Collective and is the Projections Coordinator for The Clarice Performing Arts Center. Recent work includes Machinal (Media and Media Systems Design), Sense and Sensibility (Video Director), The Lady From the Village of Falling Flowers (Video Director).

EMILEE BUCHHEIT (Stage Manager) is very excited to be returning to The Rep for her twelfth season! During the 2021-2022 season, Emilee stage managed “The 39 Steps.” Other stage management credits include Shakespeare Festival St. Louis, The Arrow Rock Lyceum Theatre, Alabama Shakespeare Festival, Variety Theatre, The New Jewish Theatre, The Foolish Theatre Company (NY), and Little Theatre on the Square. Emilee is a proud graduate of the Sargent Conservatory of Theatre Arts at Webster University with a degree in Stage Management.

LORRAINE FIORE (Assistant Stage Manager) is a proud Equity Stage Manager with 39

BIOGRAPHIES

a BFA and MFA from Webster University. Lorraine is extremely excited to be making theatre magic! Some of Lorraine’s favorite Rep credits include The 39 Steps, Peter and the Starcatcher, To Kill a Mockingbird, Evita, Oslo, Follies and Pride and Prejudice. Lorraine has also worked as an Assistant Stage Manager at The Muny for the past 15 years. Most recently having worked on Sweeney Todd.

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

DATE NIGHT FRIENDS NIGHT OR SOLO NIGHT Take part in Club Rep on the selected nights and become an adventurous theatregoer!

WWW.REPSTL.ORG

BOX OFFICE: 314.968.4925

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join club rep! private lives

charle dickens’ a christmas carol

Putting it together: a musical review

confederates

agatha christies’ murder on the orient express

Gruesome plaground injuries

SEPT 8 OCT 13 DEC 1 FEB 9 FEB 23 MAR 30 APR 27 41

LEADERSHIP

HANA 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 crossfunctional 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 multi-million dollar building renovation and rebranding effort. In 2012, Hana served as the inaugural Program Manager of the ArtsEmerson Ambassador Program and launched ArtsEmerson Artist-InResidency 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 redefining the artistic vision and subsequent recasting of the ensemble company and lead strategic organizational planning focused on LORT market

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

LEADERSHIP

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 Award-winning 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 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.

Cast Follies

43

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 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 Off-Broadway 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.

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LONDON CALLING LEADERSHIP

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.

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!

SAVE THE DATE

MAY 27 THROUGH JUNE 4, 2023

JOIN US!

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

THIS TRIP IS ARRANGED BY THE PREMIER LONDON TOUR COMPANY,

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ARTS DISCOVERY. T hLONDON e R eper tory Theatr e o f S t. L ou is

45

DIRECTOR’S BOARD BOARD OF DIRECTORS PRESIDENT Gwen Middeke*

SECRETARY Judi Scissors*

VICE PRESIDENT Brian Clevinger*

TREASURER Ven Houts*

VICE PRESIDENT Susan Stith*

VICE PRESIDENT, VOLUNTEERS Ann Harris Straw*

the todd organization

prolog ventures

cigna

community volunteer

ernst & young

community volunteer

MEMBERS: Wendi Alper-Pressman

Dan Jay*

Margaret Augustin*

the todd organization of st. louis | partner

christner architects | principal of counsel

lathrop & gage, llp

Gwen Middeke*

community volunteer

Ronald L. Roberts

merrill lynch | vice fresident

Lauren Sagel

u.s. bancorp community development corporation | vice president

Ann Scheuer

Patrick Aydt

Lauren Smith Blair Dedric A. Carter*

washington university | vice-chancellor for operations and technology transfer

Brian Clevinger*

prolog ventures | managing director

Brandon Evans*

ernst and young | partner

ridge graves, llc | managing partner community volunteer community volunteer

Pat Schutte*

community volunteer

Judi Scissors* community volunteer

Ann Cady Scott* community volunteer

Lisa Silverberg*

Frank Hamsher*

community volunteer

Laurie Hiler

cigna | vp dei, civic affairs & foundation

skyline public strategies, inc. | principal cgb enterprise inc. | project manager

Gina Hoagland

collaborative strategies, inc. chairman and principal

Ven Houts*

ernst & young | community volunteer

Susan Stith*

Ann Harris Straw*

community volunteer / vice president, volunteers

Elizabeth J. Stroble

webster university | chancellor

Susan D. Tuteur community volunteer

*executive committee 46

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

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 Merritt McCarthy at 314-687-4030 or mmccarthy@repstl.org.

PRESIDENT Ann Straw VICE PRESIDENT Trish Alexandre SECRETARY Ann Bronsing

IMMEDIATE PAST PRESIDENT Laurie Hiler SENIOR MEMBERS Susan Barley Barbara Mennell

TREASURER Carol Schreiner MEMBERS: Trish Alexandre Ann Bronsing Michaeleen Cradock Dorothy Diehl Denise Eschenbrenner Karen Fairbank Vi Farmer Bonnie Gibbs Glenda Hares Vicki Helling Laurie Hiler Marcia King

Margie Knapp Linda Lowry Karen Miller Shirley Raitzsch Colleen Ritchie Helen Sandifer Cindy Schnabel Carol Schreiner Barbara Sprick Ann Straw Linda Vandivort Lynn Yearwood 47

Mazel Tov on your

2022-23 Season

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STAFF

Hana S. Sharif

Augustin Family Artistic Director

ARTISTIC

costumes

artistic producer and director of new play work

Becks Redman

company manager

Michael Ward

associate company manager

J. Ching

executive assistant to the artistic and managing directors

Amy Huffman

learning & COMMUNITY engagement

director of learning and community engagement Adena Varner learning programs associate Brian Coats teaching associate Britney Walker-Merritte

PRODUCTION director of production stage managers

scenic technical director associate technical director charge scenic artist scenic artists

scenic shop foreman scenic carpenters interim properties manager props carpenter

Danny Williams

Managing Director

Catherine Campbell Emilee Buchheit Lorraine Fiore Shannon B. Sturgis

Michael Strickland Emilie WeilbacherMcMullan

Scott Loebl Stephen Pollihan, James Van Well

Dave McCarthy Dan Roach, Jr. Rick Shetley

costume shop manager Kristie Osi head draper Robert W. Trump draper Elizabeth Eisloeffel interim draper first hands interim first hand

Hairan Zuhelli Michelle Bentley, Sandra Kabuye Lisa Drewel

head crafts artisan

John Inchiostro

wig and makeup supervisor

Dennis Bensie

lighting lighting and projections supervisor interim mainstage head electrician electrician

sound sound supervisor mainstage sound engineer sound engineer

crew a2 wardrobe supervisor content creator deck crew

Michael Jarvis Connor Meers Toby Beck Rusty Wandall Joshua Riggs Sean Wilhite Virginia Parkinson Calyn Roth Joaquin Dagnino Demarcion Little Dereis Lambert

Meg Brinkley Ralph Wilke

49

STAFF

ADMINISTRATION general Manager Clifford Hannon senior manager, administration

Laura L. Wandersee attorney Sara Robertson, Polsinelli PC

DEVELOPMENT individual gifts manager Merritt McCarthy institutional gifts manager Kevin Ginty development associate Rob Kapeller

MARKETING & COMMUNICATIONS marketing director Ashton Beck marketing manager Mike De Pope marketing and communications assistant Michael Thanh Tran graphic designer Delores Eddington

FINANCE finance director Kevin Blansit accounting associate Suzanne Bodenstein accounting assistant Marsha Whitler AUDIENCE SERVICES Ricki Marking-Camuto box office manager Kristy Kannapell assistant box office manager Lyn Joyce database administrator Daniel J. Ladd box office associates Michael Dorn Christian Hoffman box office representatives Taylor Kelly Carl Wickman Brittni Brown LaTonya Shepherd lead house manager

Deanna Danger associate house manager

Marrissa Spinks assistant house managers Jessica Barnes Mo Moellering Hope Harbour director of audience services

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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

live music is

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

Before or after the show, the perfect place for dinner, drinks and dessert!

Happy Hour Weekdays 4 - 6 pm Sunday Brunch 11am - 3pm

magic

Single Tickets on Sale Now A Little Sondheim Music In partnership with The Muny

Oct 2

Pictures at an Exhibition Oct 7-8 Jurassic Park Nov 4-6 The Planets Nov 18-20

Mon, Wed-Thurs 11am-9:30pm Fri & Sat 11am-11pm Sun 11am-9pm (314) 963-3232 • www.cyranos.com 603 E. Lockwood Ave Webster Groves, MO 63119

In Concert Jurassic Park is a trademark and copyright of Universal Studios. Licensed by Universal Studios.

All Rights Reserved

slso.org 314-534-1700 51

BIOGRAPHIES ABOUT THE REP

The Rep produces work in three series 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.

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STUDIO THEATRE

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.”

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FOR YOUR INFORMATION BIOGRAPHIES

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 on 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.

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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 https://www.repstl.org/ events/ways-to-save or call (314) 968-4925 for additional 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 • Subscription Pass Boost

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ACCESSIBILTY

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 displaywhich 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.

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 ASL shows this season. Interpreters will be placed inside the theatre and sign what actors are saying and expressing for the audience.

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HEALTH AND SAFETY

The Rep is committed to providing a theatrical experience that is inclusive, welcoming and safe as possible for our patrons, artists and staff. Please visit www.repstl.org to view our current Health and Safety policies.

CALENDAR M

W

R

7 PM

28

2PM 4 7 PM 2PM 2PM

11 18

29 5 12

7PM 7PM 7 PM

30 6

8PM

T

24

AUG.

T

31

2PM 7 7 PM

13 2PM 14 7 PM

preview opening

8

1

8 PM

8PM

S

F 25

SEPT.

S

8 15

8PM 8PM 8PM 8PM

26 2 9

8 PM 4PM 4PM

27 3 10

16 2 PM 17 8PM

asl interpreted audio described open captioning

57

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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.

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: Coming soon

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LEARNING AND COMMUNITY ENGAGEMENT

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 www.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, world-building 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.

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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 additional information visit www.repstl.org/ representstl

THE GLOWY SNOWY DAY

The Rep is proud to present the 3rd annual The Glowy Snowy Day in January 2023! This wintertime drivethrough 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, familyfriendly experience is based on the beloved children’s book, The Snowy Day, by Ezra Jack Keats,.

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

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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.

Learn more at www.repstl.org/camp

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HONOR ROLL

CELEBRATING AND ELEVATING WOMEN IN THEATRE

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+

Ann P. Augustin & Margaret Augustin

JULIE TAYMOR $7,500-9,999 Pat Schutte

IDINA MENZEL $5,000-7,499

Juanita H. Hinshaw

MARIANNE ELLIOTT $1,000-$2,499 Crystal Beuerlein Dotti Fischer

Nancy Kranzberg

Judith Weiss Levy Jane M. Robert Ann Scheuer Lois Schultz

Judi Scissors

Ann Cady Scott

SUZAN-LORI PARKS $2,500-4,999

Diane Sher

Hannah Langsam

Helen D. Ziercher

Pamela Wing Dern

Linda Lewin Stark Susan Tuteur

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HONOR ROLL

PAULA VOGEL $500-$999

Roberta S. Frank

Trish Abbene

Laura Greenberg

Wendi Alper-Pressman Christy Beckmann Pamela Belloli

Cindy Belmont Terri Ciccolella Carolyn Gold Sara Kessler

Merritt McCarthy

Elizabeth Meteer Karen Miller

Lucy Schreiber

Lisa Easton Silverberg Ann H. Straw

Susan Warshaw Kathleen Wood

ANIKA NONI ROSE $250-$499 Bette L. Bude Elaine Coe

Joan D. Dougherty 64

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Barbara Gervais

Julie & David Hohman Joanne Iskiwitch Susan Kilo

Susan Knight

Sylvia Manewith Judith Smart

Terry L. Thornton Linda Vandivort

PHILLIPA SOO $100-$249 Penny Bari

Nancy Berg

Myra Crandall

Rose Mary Dieckhaus Dorothy Diehl

Michelle Drabin

Denise Eschenbrenner Ann Franke

Judy Garfinkel Shirley Haake

Glenda Hares Vicki Helling

Mary Beth Hennessy Linda Hensley Jan Hermann

Carolyn Hileman Jeane Jae

Arlene Spector Lisa Zarin

RISING STAR

Claire Ryterski Ray Ryterski

Mx. Rob Kapeller

Gifts received 6/1/2021 – 8/8/2022

Dorothy Lovelace

For more information or to join Leading Ladies, please contact Merritt McCarthy at 314-687-4030 or mmccarthy@repstl.org.

Suzanne Levin Linda Lowry

Sally Rice Markland Monica McFee Susan Miller Suzie Nall

Susan A. Oefelein Marilyn Raphael Lynn Rawlings

Marcia Roentz

Melanie Ryterski Carol Schreiner Janice Seele

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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 Kevin Ginty, Institutional Gifts Manager at (314) 687-4029.

$100,000+ Doris Duke Charitable Foundation The Andrew W. Mellon Foundation The Shubert Foundation Inc.

$25,000-$49,999 Mary Ranken Jordan and Ettie A. Jordan Charitable Foundation PNC: Arts Alive Edward Jones

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$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 Actors’ Equity Foundation

HONOR BIOGRAPHIES ROLL

TRIBUTE FUND A tribute gift is a meaningful way to honor a special person or remember a loved one and support The Rep. To make a tribute gift, call the Donor Relations office at (314) 687-4030 or visit repstl.org.

HONOR In honor of Mark Bernstein Marcia Bernstein Kevin Blansit Barbara Bridgewater Pamela Wing Dern Lee & Gina Hoagland In honor of Sarah Brandt Rob Kapeller In honor of Lori Moore-McMullen Barbara & Ernest Adelman Ann P. Augustin & Margaret Augustin Susan Barley James Berges & Elizabeth Mannen Kevin Blansit 68

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Ann Bronsing Phoebe Burke Patty & Kent Chapin Terri Ciccolella Eileen Clarke & William Dodd Vicki & Brian Clevinger Elaine Coe Dorothy Diehl Larry Essmann Dotti Fischer Jill Fivecoat Dave & Carol Gast Bonnie Gibbs Shirley Haake Glenda Hares Barbara Harris

Ven & Cynthia Houts

Joan Tiemann

Sally Johnston

Susan & Peter Tuteur

Dr. Stuart Kornfeld

Paul & Linda Vandivort

Sue Levin Kent Lewis

The Repertory Theatre of St. Louis Volunteer Board

Linda Lowry

JoLynn Winer

Barb & Steve Melton

Helen D. Ziercher

Barbara Mennell Gwen & Paul Middeke

MEMORIAL

Donna Moog & Leonard Landsbaum

In memory of Jean Lange Linda Mahon

Barbara Rigby Kris Rinne Jane & Bruce Robert Jackie Ruthsatz Melanie Ryterski Paul & Cindy Schnabel Carol Schreiner

In memory of Steve Woolf Dr. Joseph Lane Gifts received 3/5/2022 – 8/8/2022

Lois & Walter Schultz Marlene Schumm Judi Scissors & Sam Broh Ann Cady Scott Linda Stark Ann Straw

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THE GLOWY SNOWY DAY

The Rep is proud to present the 3rd annual The Glowy Snowy Day in January 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,.

Produced in partnership with StoneLion Puppet Theatre and the Missouri History Museum The Glowy Snowy Day returns this winter on Friday, January 6, 2023 through Monday, January 9, 2023 from 5:30 to 8:30 p.m. at the Missouri History Museum in Forest Park. There is no cost, but reservations may be required.

“ We hope families from all across the St. Louis area will join us for this magical experience that is sure to delight all ages.”

– ADENA VARNER DIRECTOR OF LEARNING & COMMUNITY ENGAGEMENT

For more information, visit www.repstl.org/snow

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+ Anonymous 

James G. Berges & Elizabeth Mannen 

SPOTLIGHT ANGEL $10,000-$19,999 Dr. Stuart Kornfeld 

SPOTLIGHT IMPRESARIO $7,500-$9,999

Juanita H. Hinshaw 

Sally Johnston 

Gwen & Paul Middeke  Jane & Bruce Robert 

SPOTLIGHT BENEFACTOR $5,000-$7,499

Ann Cady Scott 

Barbara & Ernest Adelman ✠

Ven & Cynthia Houts 

Pat & Ken Schutte 

Susan & Peter Tuteur 

Joseph & Lauren Allen

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BIOGRAPHIES HONOR ROLL

Susan Barley 

Leona Lee Bohm*

Steve & Linda Finerty 

Anne Carol Goldberg & Ronald Levin ✠ Mr. Howard Landon

Mr. & Mrs. Lawrence Langsam 

Mrs. H. Pharr Brightman ✠ Patty & Kent Chapin ✠

Vicki & Brian Clevinger  Elaine Coe ✠

Dr. Kevin & Lisa Coleman 

Mark & Patty Mantovani ✠

The Preeti Dalawari & John Vandover Charitable Fund

Karen Miller 

Larry Essmann 

Stephanie A. Schnuck 

Dan & Chris Goodenberger 

Cindy Maritz ✠

Michael Dern ✠

Terry & Sally Schnuck ✠

Judith Gall ✠

SPOTLIGHT SUSTAINER $2,500-$4,999 Trish & Michael Abbene  David & Melanie Alpers  ATA Truesdale LP  P.E. Belloli & Dave Shimek  Kathy Berg 

Mark D. Bernstein ✠

Sam C. Bertolet & Helen D. Ziercher  72

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Joanne & Joel Iskiwitch ✠ Nancy & Kenneth Kranzberg ✠ Kent A. Lewis 

McCallum Family Charitable Fund

Mike & Barb Quinn  Freda & Harry Rich ✠ Ann Scheuer 

Mary Schoolman 

Janice & Steve Seele  Amy & Ben Smith 

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Dr. John Sopuch 

Bill & Jarona Stevens  Gretchen Straub  Mike & Barbara Willock  Lynn & Darrell Yearwood 

SPOTLIGHT PATRON $1,500-$2,499

Elizabeth & Don Cobin Bob & Becky Courtney  Mike & Sue Darcy

Pamela Wing Dern  Mr. and Mrs. Henry Dubinsky

Rosemary & Robert Emnett 

Mary Jo Abrahamson

Richard Engelsmann & Diane Buhr Engelsmann 

Ann P. Augustin 

Mr. & Mrs. Greg Evans 

Wendi Alper-Pressman & Norman Pressman 

Brandon & Lucy Evans

Margaret Augustin 

Sam & Marilyn Fox Foundation ✠

Costas & Assimo Azariadis  Nancy Berg

Mr. & Mrs. Ronald Fromm 

Michael & Arlue Briggs ✠

Ed & Julie Glotzbach 

Holly & Marc Bernstein

Mr. & Mrs. David P. Gast 

Suzan Kelsey Brooks

E.L. Green ✠

Eileen Clarke & William Dodd 

Frank Hamsher

Sara Burke

Laura & Ted Greenberg 

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BIOGRAPHIES HONOR ROLL

Reginald & Stephanie Harwell

Kathleen Locklar Heimann Margaret & Michael Heinz 

Bill & Linda Hentchel

Brad & Phyllis Hershey  Laurie Hiler 

Marian & Maurice Hirsch  Lee & Gina Hoagland  Sam and Pat Hopmeier Charitable Fund at Youthbridge Community Fund  Mike Isaacson & Joe Ortmeyer 

Daniel G Jay & Mary Ann Lazarus

Jeanne & Aron Katzman  Mr. & Mrs. Ronald Kessler 

Judith Weiss Levy ✠

C. Arden Mennell  Mrs. Rena Murphy ✠

Mr. & Mrs. Raymond W. Peters  Colleen Ritchie 

Paul & Cindy Schnabel  Steve & Marlene Schumm  Judi Scissors & Sam Broh 

Julian & Helen Seeherman, The Seeherman Charitable Fund  Joan & Paul Shaver 

Lisa & Allan Silverberg ✠ Dr. Raymond Slavin  Mary Strauss ✠

Ann & Jack Straw 

Paul & Beth Stroble  Deane* & Fancine Thompson  Joan Tiemann 

In memory of Joyce Price Trimble 

Kim & Rick Nast 

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Lynne & Jim Turley

Bill & Linda Welborn 

B. Craig Weldon & Terri Monk  Mei Chen Welland  Susan & Stuart Zimmerman 

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

*In memoriam

Gifts received 6/1/2021 – 7/15/2022 For more information or to join our Spotlight Society, please contact Merritt McCarthy at 314687-4030 or mmccarthy@ repstl.org.

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BIOGRAPHIES

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HONOR ROLL

Throughout its 56-year history, The Rep has gained a reputation for producing shows of exceptional quality.

Creating productions uniquely designed for St. Louis audiences, making The Rep accessible to all and providing free or low-cost educational programs to young people cannot happen through ticket sales alone. In fact, ticket sales cover only 60% of the costs of producing our work.

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. Rep Backers play an integral role in making the show go on!

PLAYWRIGHT BACKER $1,000-$1,499

Mike Ness & J enny Voelker

Anonymous 

Joseph & Sammy Ruwitch

Donald & Marilyn Blum 

Christine Secorsky & Greg Sacho

Bill Aitken

Catherine S. Bollinger 

The Dunagan Foundation Kirk & Alice Fritsch 

Joel & Barbara Schwartz

Beverly Wagner 

Hoyt W. Wallace 

Cheryl & Keith Kowalczyk Laurence & Silvia Madeo Laura & David Margolis Dr. James A. Morrell 

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HONOR ROLL

PRODUCER BACKER $600-$999 Anonymous

Dr. E-P. Barrette 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 

Dr. & Mrs. Lester T. Reese Jim & Diane Relleke

Susan & Albert Schlueter Donna & Howard Smith Stuart & Cindy Sweet

Paul & Linda Vandivort 

David P. Weiss

DIRECTOR BACKER $300-$599 Sally & Ken Anderson Robert O. & Susan F. Appleton

Carolyn & Lynn Barnett

Beverly & Philip Barron Carolyn Becker

June R. Bierman

Joyce & David Bishop Richard M. Blaha Kevin Blansit

Ruth Blundell 

Bob & Kay Boyd

Lary & Lynn Bozzay 

DeAnne & Gordon Brown Joseph Brown

John & Kathy Brugere

John Carr & Kay Kaiser Evelyn & Louis Cohen Bernie L. Corn & Michael Danzer

Robert & Jan Dawson 78

Jay & Marsha Delano Dorothy Diehl

Mr. & Mrs. William Eckert Dorsey & Sondra* Ellis Sara Epstein

Karen Fairbank David R. Ganz Darla Gavin

Jerome & Catherine Gidlow 

Terry & Judy Gooding

Patricia D. & Gary L. Gray Barbara Harris  Bernice Heavilin

Dr. & Mrs. Jay Henis Dr. Michael & Carolyn Hesterberg

Joan Krueger & Brian Betker Dr. James Laing & Dr. Margaret Weck Nancy LeMaster JoAnne Levy & Jim Thomeczek

Dr. & Mrs. Frederick C. Lewis, Jr.  Jerri & Bill Livingston Kay & Gerry Love Linda Lowry

Cindy & Gregg Lueder Dr. Robert Lynch & Dr. Ellen Wood

Joseph Martinich & Vicki Sauter 

Anne W. Hetlage

Dr. & Mrs. Jerald A.Maslanko

Mr. & Mrs. Jim Kaiser

David & Ginny McDonald

Dennis Johnson 

Patrick & Rosanne Mathis

Mr. Ernest H. Key

Susan & Jack Kissinger

Mary Jo Hunter & Gary Miller

Fran & Roger Koch

Nancy & Jim Murphy

Susan Knight

John & Lucy Morris

Christine & Jon Krueger

Betty A. O’Dea

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HONOR ROLL

Adrienne & David Piston

Melissa Wohlwend

Donald Prahlow

STAR BACKER $175-$299

Harriet & Philip Polster Elizabeth Pribor

Marilyn & Bob Raphael

Drs. Robert & Sheryl Ream Leon Robison

Tom & Kathy Ryan

Lauren & Darryl Sagel

Thomas & Marilyn Schultz John & Nancy Solodar  Bart & Meg Solon Gary Stansbery Laura Stanton

Mr. & Mrs. R. Stover Drs. Samer & Joni Thanavaro

James Tobin & Virginia Heagney Glen & Libby Travers John & Dea Vallina

Linda & F. Dale Whitten Miriam Wilhelm & Eric Friedman Jim Wilson 80

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Anonymous (3)

Joseph & Trish Alexandre Ken & Heather Amidon Ira & Janice Bernstein Jennifer Billhartz

Marian & John Bleeke Kenneth & Ann Bohm

Wendy & Les Borowsky Betty Bowersox & Phil Powell Linda & Jack Bryant Carol Carlson

Sal & Terri Ciccolella  Gwen Clopton

Lois F. Crampton

Mary K. Cullen & Daniel Goldberg

Conrad Damsgaard Adrienne Davis

Theodore & Deborah Dearing

Diane DiTucci

Mike Doherty & Kathy Kane

Jerome & Renee Epplin Ernst Radiology Clinic Denise & James Eschenbrenner Dr. & Mrs. Elliott Farberman

Barb & Tom Feiner Jeffrey & Veronica Fernhoff

Dr. Lewis C. Fischbein Gary & Christy Fox

Agnes & Dave Garino

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

Holly Garrett

Dr. & Mrs. Robert L. Lewis

Mrs. Joseph F. Gleason

Lonnie Link

Dr. & Mrs. Edward Geltman William Grivna

Claire Halpern & Michael Greenfield Glenda Hares

Drs. Craig & Abby Hollander

Jerry & Mary Jo Liberstein Gloria & Roy Luber Carl & Lynn Lyss Eleanor Mandel

Neil & Ricki Marglous

Ricki Marking-Camuto

Sharon & Stan McCaslin 81

HONOR ROLL

Gary & Gale McKiddy

Dr. & Mrs. L. Smith

James McMillan

Lucie & Steve Springmeyer

Stacey & Pat McMackin Susan & Bruce Miller  Dr. Mary Ann Morley James H. Myles

Joel & Sue Picus

Tim & Jodi Pierce Sue Rapp

Dr. Gary Ratkin & Marilyn Ratkin 

Susan & John Rava 

Lee & Diana Speicher Susan & Drexel Stith

Greg & Brenda Teakert Jack Walbran

Dr. & Mrs. Stephen Waltman Jeffrey Webb

Margaret Wehrenberg Paul & K. Wentzien

John & Lynn Rawlings

James White & Cindy Payant

Pam & Michael Richards

Catherine Taylor Yank

Terry & Karen Reeves

Vicky Riback Wilson

Judith M. Roach

PERFORMER BACKER $100-$174

Jenny Levis Sadow

Margaret S. Sant’Ambrogio Rick & Dottie Schainker Carol Schreiner

Kathy & Doug Schroeder Dawn Schuessler

Bill & Diane Schwab Bradley & Kay Shaw 82

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Nancy Albrecht Don Aulph

Dr. Patricia Martens Balke Ruth Ellen & Jay Barr Nancy Bengtson Kathy Borges

Mitchell & Kathryn Botney

Susan & Robert Bowman

Vicki & Larry Helling

Don Brinkman Ann Bronsing

C. Norman Jones & Barbara Fraser

Christina Carr

Lynn & Mark Kloss

Ann Coleman

Lance Loewenstein

Tim & Marianne Brady

Joyce & Robert Hillebrand

Dr. Robert Buzzell

Gerry Kettenbach

Clare L. Chapman

Nikki & Aaron Krawitz

Ms. Ann Corrigan

Todd London & Karen Hartman

Kathryn DeVoto Diana S. Dickes

Robert & Jamie Driver Debbie Fishwick Toni Gacka

Laura Geiser

Marianne Gillis

Brian Gonner & Jennifer Arp Fran Grebel

Suzy & Richard Grote Peggy Grotpeter

Myron & Carol Gruber Judy & Scott Guerrero

Tim & Jan Long

Dorothy & James McCalpin John P. McGuire

Barbara B. Mennell  Frederic J. Mohr

Jeanne Most & Nicholas Davidson Mike & Pat Mueth JoAnn Mulcahy

Charles E. & Susan Niesen

Carl & Marsha Ramey Alan Redszus

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HONOR ROLL

Melanie Ryterski Drs. Phil & Mary Schenkenberg

Benjamin Schwartz Brenda & David Skillman Rachel Slaugh

Michael & Frances Slusher

Dr. Cary & Helen Stolar

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

Russ & B. Vanderbeek Patricia & Richard Walters Richard & Mary Weinstock Patricia Wells

Ellen White 

Jean M. Wood

Kenneth Yancheck

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*In memoriam

Gifts received 6/1/2021 – 7/15/2022 For more information or to become a Backer, please contact Merritt McCarthy at 314-687-4030 or mmccarthy@repstl.org.

NEXT AT THE REP PRIVATE LIVES (SEPT 30- OCT 23)

Amanda and Elyot are enjoying a romantic honeymoon – just not with each other. A chance meeting on their adjoining hotel balconies brings this divorced duo face-toface for the first time in five years. Passions and tempers collide in this combustible romp, as the two remember why they fell in love and why they divorced in the first place. Noël Coward’s wit and sophistication is on full display in this scathing sendup of the British upper class of the 1930s.

MAINSTAGE A CHRISTMAS CAROL (NOV 18 - DEC 30)

The Rep rings in the spirit of the season with the second annual production of A Christmas Carol! At long last, the ghosts of Ebenezer Scrooge’s past, present and future have caught up with him. Now London’s most infamous miser must face down his demons, reconcile the consequences of his choices and experience the power and joy of a miraculous redemption.

MAINSTAGE THE GLOWY SNOWY DAY (JAN 6 - JAN 9)

FUN FAMILY EXPERIENCE

The Rep is proud to present the 3rd annual The Glowy Snowy Day in January 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,.

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ils elevated cockta for all

www.stlbarkeep.com @barkeep.us

stl barkeep

DID YOU KNOW? Webster Arts is a non-profit organization that promotes art in the community.

•Visit our gallery.

•See juried exhibitions.

•Take a workshop.

•Browse gifts by local artists.

•Participate in art events.

2 Summit Avenue | Webster Groves, MO 63119 (314) 279-1800 | info@webster-arts.org

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

INSIDER PREVIEW WEEKEND BEST PRICES AND EVEN BETTER SEATS. Get your Insider Preview Tickets for Private Lives. All seats $30!

SEPT. 30 - OCT. 2

For more information, visit www.repstl.org/insider 87

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