Steppenwolf Theatre Presents American Buffalo

steppenwolf

american buffalo

written by David Mamet directed by ensemble member Amy Morton December 3, 2009 – February 7, 2010

GIVE THE GIFT

YOU’D WANT

YOURSELF THE 2009-10 STEPPENWOLF PASS

Treat those on your holiday list this year to the Steppenwolf Pass — World Class Theatre that fits into their schedule.

Get 3 tickets to one show or 1 ticket to three shows, the Pass is the most flexible way to experience our season. With quantities limited, don’t miss out on the easiest way to enjoy any of these exciting plays. Tickets subject to availability.

American Buffalo December 3, 2009 – February 7, 2010

The Brother/Sister Plays January 21 – May 23, 2010

Endgame April 1 – June 6, 2010

A Parallelogram July 1 – August 29, 2010

Order online at steppenwolf.org or call 312-335-1650.

steppenwolf

SOME SAY TRAVEL IS NOT WHAT IT USED TO BE WE LOOK FORWARD TO PROVING OTHERWISE

Once, hotels were synonymous with a style of life as it should be lived.

Today, one of these landmarks stands at the corner of Rush and Walton, carrying with it 188 expansive guest suites, a EuropeanÄĽstyle courtyard,

two distinctive restaurants and an incomparable spa and health club.

And a hotel stay is once again remarkļ able. To arrange a stay at Chicago’ s newest hotel, kindly contact us or your travel professional.

EAST WALTON CHICAGO T

E LY S I A N H O T E LS C O M

It’s a place kids love to be Want to know more?

Call us!

(312) 582-6060 • WWW.LATINSCHOOL.ORG

CONTENTS PROGRAM STAFF Editors David Rosenberg Simone Martin-Newberry

4 Letter from Artistic Director Martha Lavey

Artistic Features Polly Carl Kevin Depinet Martha Lavey David New Rebecca Stevens

16 The Currency of a Classic

Contributors Vince Amatuzzi Mark Campbell Adrienne Day Julia Dossett Eric Evenskaas Evan Hatfield George Martin Suzanne Miller Hilary Odom-Kline David Schmitz

22 Big Shoulders, Small Change;

Director Amy Morton and Tracy Letts discuss American Buffalo with David New

American Buffalo in Chicago

by Artistic Apprentice Rebecca Stevens

Design Luis A. Ibarra

28 Designer’s Notebook ADVERTISING

by Set Designer Kevin Depinet

To advertise in the program contact:

smARTMagazines smARTSponsorships Bryan Dowling 773-463-0980 bryan@media8midwest.com

30 Unfreezing the Play

by Director of Artistic Development Polly Carl

PRINTING Envision Printing

32 What’s on at Steppenwolf 34 Online @ steppenwolf.org

On the cover: ensemble members Tracy Letts and Francis Guinan Photo by: Callie Lipkin

This program is printed with 50% post-consumer waste paper and printed with soy inks.

Letter from Artistic Director Martha Lavey

American Buffalo, David Mamet's 1975 play, set in Chicago, is the second production in our season of belief. Amy Morton, our director, has long been interested in directing the play. Her history with Mamet's work includes her performance in our production of The Cryptogram and her direction of Steppenwolf's production of Glengarry Glen Ross. Like Mamet, Amy is deeply informed by the culture and voice of Chicago—the characters of his plays, their conversational rhythms and the vocabulary of their expression are well known to her, life-long Chicagoan that she is.

4

Re-reading American Buffalo through the prism of our season's theme, I was alert to how fundamentally the play turns on the question of belief. The play is a kind of Rashoman tale: each of the characters has a different narrative for the events of the play and as we receive the angle of vision of each, our perception of events shifts and turns. The central event of the play, the pursuit of the American buffalo nickel, is resonant with meaning. Money is the great quest in the play and the particular currency of that quest is an image of America's past, picturing, as it does, the Native American and a native animal made nearly extinct by the invasion of new Americans. Inscribed at the heart of the play is the story of America's history as a narrative of conquest, of invasion, of the coin of the realm.

Donny, Teach and Bobby are American men of three generations. Donny, owner of the junkshop in which the play is set, is the keeper of the past—the store is the repository for objects shed and forgotten. The youngest, Bobby, is gullible, dependent, sweetnatured, trusting. The middle generation, the man of the world, is Teach. He comes in from the outside, he activates the play with his ambition and plans, he disrupts the pact between Donny and Bobby, he takes over. Teach (his name is significant) comes into the play to instruct Donny into the way things are. It is a costly education.

Teach works his persuasion through insinuation. He disabuses Donny of his innocence, insisting repeatedly on the difference between loyalty and business: “All I mean, a guy can be too loyal, Don. Don't be dense on this. What are we saying here? Business.”

Ironically, it is Donny who, earlier in the play, attempts to educate Bobby on survival: “...there's business and there's friendship, Bobby...there are many things, and when you walk around you hear a lot of things, and what you got to do is keep clear who your friends are, else the rest is garbage [...]. Things are not always what they seem to be.”

This tension between loyalty and friendship and business is a central theme of the play.

And what is the business in the play? Sales in a junkshop, betting in a card game,

re-selling the coins from the heist: the circulation of small sums among people who have very little and are scrambling for more. These guys will never be part of a larger economy—they are two-bit gamblers and hoods—they are men left out of the commerce of a larger world. All they have is friendship. What we witness in the play is the cost of valuing the commerce of which they will never be a part over the one thing they have, hidden in plain sight: their loyalty and friendship. Like the American buffalo nickel, the value of their history and friendship is overlooked until it’s gone.

Mamet is telling the story of these men—these men who represent three generations and so constitute a family structure—in the service of a larger story about America.

Placing the American buffalo at the center of the play as the object overlooked and then desired, Mamet is able to draw in the spectre of our past and its extinction, and the great overtaking power of money. The irony is that Mamet sets this within a social milieu of men who are outside of the real game, men who will never get beyond their financial circumstance and will, in fact, always suffer at the hands of society's real players. The question of value and values is acute in the play.

This is where the play turns on the question of belief. When the nickel sat in Donny’s shop, unnoticed, he was untroubled by it—he believed it was worth no more than its face value. Once he is alerted to the buyer’s interest in the coin, he constructs an entire scenario about the buyer’s intention, about the value of the coin, about how to retrieve it along with what he imagines is an entire coin collection. He believes himself entitled to the coin and he believes himself made prosperous by retrieving it. The old coin will be his passport to future wealth. I believe that Mamet is asking us to look at that transaction—the conversion of this old coin, an image of America’s past, to a new wealth made possible only by the heist—as an expression of values. What will we trade in for the acquisition of wealth? What becomes extinct in the quest for prosperity?

The larger irony of the play is that these guys themselves are on the verge of extinction.

In Mamet’s characteristically irreverent way, he introduces the social forces rife in mid1970s America that will dethrone the white man from the top of the social heap.

Repeated reference is made to Grace and Ruthie, a lesbian couple who are better gamblers and more successful businesswomen than Teach. Ethnic slurs are invoked in the descriptions of people who have invaded what Teach considers his turf. The forces of feminism and multiculturalism are given presence in the play through these references and always as a threat to what Teach feels is his world.

Today we find ourselves in an especially resonant cultural moment that can help us shed more light on Mamet’s American Buffalo. The financial crisis has thrown into high relief the question of values and value. We are collectively questioning what we have paid for the American obsession with wealth and we are witnessing the stratification of wealth—the winners and losers—when the game falls apart. American Buffalo has much to offer in the way of a cautionary tale. That it offers its wisdom in a story beautifully told and deeply felt is a testimony to Mamet’s gift.

steppenwolf

a b

steppenwolf

american buffalo written by David Mamet directed by ensemble member Amy Morton

featuring Patrick Andrews* Francis Guinan†* Tracy Letts†*

Scenic Design Kevin Depinet+

Costume Design Nan Cibula-Jenkins+ Lighting Design Pat Collins+ Original Music and Sound Design Rob Milburn+ and Michael Bodeen+ Fight Choreographer Rick Sordelet Dialect Coach Cecilie O’Reilly Stage Manager Malcolm Ewen* Assistant Stage Manager Christine D. Freeburg*

Corporate Production Sponsor of American Buffalo:

Individual Production Sponsors of American Buffalo: Nancy L. Wald Production Endowment Fund, Philip and Janice Beck and The Negaunee Foundation.

Additional support for American Buffalo provided by the Elizabeth F. Cheney Foundation.

ComEd is the 2009-2010 season lighting sponsor.

AT&T is the Corporate Sponsor of Post-Show Discussions.

American Buffalo is presented by special arrangement with Samuel French, Inc. Steppenwolf Theatre Company is a constituent of Theatre Communications Group (TCG), the national organization for nonprofit professional theater. † member of the Steppenwolf Theatre Company ensemble.

* member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. + member of United Scenic Artists, Local 829 of the IATSE.

CAST/CONTRIBUTORS CAST in order of appearance †

FRANCIS GUINAN * Don PATRICK ANDREWS* Bob †

TRACY LETTS * Teach

SETTING The Scene Don’s Resale Shop. A junkshop.

The Time One Friday in the Mid 70s.

Act I takes place in the morning. Act II starts around 11:00 that night.

There will be one 15-minute intermission.

There will be a post-show discussion immediately following the performance.

UNDERSTUDIES Kurt Ehrmann* Don, Teach Josh Schecter Bob

ADDITIONAL STAFF Erica Daniels Casting Director Jamie Abelson Assistant Director Stephen Sorenson Assistant Lighting Designer Joann White Charge Scenic Artist Melissa Rutherfoord Assistant Charge Artist Andrew Berg Carpentry Overhire Rachelle Moore Properties Overhire Karyn Labbe Stage Management Apprentice

† member of the Steppenwolf Theatre Company ensemble.

* member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.

PATRICK ANDREWS (Bob) Chicago credits include: Cabaret (Drury Lane Theatre); Stupid Kids, The Laramie Project and The Laramie Project: 10 Years Later (About Face Theatre); The Snow Queen (Victory Gardens Theater); The People’s Temple and Speech and Debate (American Theatre Company); The Actor (Goodman Theatre); Willy Wonka (Chicago Shakespeare Theater); Into the Woods and Oliver (Marriott Theatre); collaboratively created and performed in Dorian (Bailiwick Theatre); and The Sparrow (The House Theatre). Regional and tour credits include: West Side Story (Walnut Street Theatre, Pennsylvania) and Fosse (National Tour). Patrick is an ensemble member of American Theatre Company, studies at Black Box Acting Studio and works with About Face’s GLBTQA Youth Ensemble.

FRANCIS GUINAN (Don) has been an ensemble member since 1979. He most recently appeared in Fake, Art, The Seafarer, Kafka on the Shore and August: Osage County (also Broadway). Other Steppenwolf appearances include The

Crucible, The Diary of Anne Frank, Love Song, Cherry Orchard, Mizlansky/Zilinsky or Schmucks, The Libertine, Skylight, The Grapes of Wrath (also Broadway) and many others. Mr. Guinan has also appeared at Northlight Theatre in Inherit the Wind. He is the inventor of overlapping dialogue. For Kate, always.

TRACY LETTS (Teach) joined the ensemble in 2002. Previous Steppenwolf productions: Betrayal, The Pillowman, Last of the Boys, The Pain and the Itch, The Dresser, Homebody/Kabul, The Dazzle, Glengarry Glen Ross (also Dublin and Toronto), Three Days of Rain, many others. Other productions include: Orson’s Shadow (Barrow Street Theatre, NY); Who’s Afraid of Virginia Woolf?

(Alliance, Atlanta); The Caine Mutiny Court-Martial (A Red Orchid Theatre); Conquest of the South Pole (Famous Door); Bouncers (the Next Lab).TV and film: Guinevere, U.S. Marshals, Profiler, Prison Break, Seinfeld, Home Improvement, many others. As a playwright, he is the author of Killer Joe, Bug (also screenplay), Man from Nebraska (Pulitzer finalist), August: Osage County (Pulitzer Prize, Tony® Award for Best Play) and Superior Donuts.

KURT EHRMANN (u/s Don, Teach) returns to Steppenwolf after appearing in the Steppenwolf for Young Adults

10

production of The Elephant Man. Most recently, Kurt has been seen in The Hundred Dresses (Chicago Children’s Theatre); The Hairy Ape (The Hypocrites production at Goodman Theatre); and Edward II (Chicago Shakespeare Theater), which received Jeff Nominations for Best Production and Best Ensemble. A company member with The Hypocrites, Kurt has appeared in many of their productions including: The Threepenny Opera (Steppenwolf Garage), The Bald Soprano, Death of a Salesman, Angels in America, Equus, Rhinoceros, Balm in Gilead and The Cherry Orchard. A veteran of off-loop theater, Kurt has also had the honor of working with Defiant Theatre, Lifeline Theatre, The House Theatre of Chicago, Apple Tree Theatre and Timeline Theatre. Thank you for supporting theater in Chicago.

JOSH SCHECTER (u/s Bob) couldn’t be more excited to work with Steppenwolf for the first time. His recent Chicago credits include: History Boys (Timeline Theatre); understudy for Stupid Kids (About Face Theatre); On the Shore of the Wide World (Griffin Theatre); Flesh and Blood and Cloud 9 (Northwestern University). A graduate of Northwestern University, he studied theatre and history. He was also a proud member of WAVE Productions, a student theatre production company on campus. Many thanks to friends and family for their support.

AMY MORTON (Director) has been an ensemble member since 1997 and has appeared in over 30 Steppenwolf productions. She most recently appeared in August: Osage County at Steppenwolf,

the National Theatre in London and on Broadway, where she received a Tony® nomination. Steppenwolf directing credits include Dublin Carol, The Pillowman, Love-Lies-Bleeding (which traveled to the Kennedy Center’s Terrace Theater), Men of Tortuga, Topdog/Underdog (which traveled to the Alley Theatre in Houston, Dallas Theater Center and Hartford Stage Company), We All Went Down to Amsterdam, Glengarry Glen Ross (which appeared at the 2002 Dublin International Theatre Festival and at the 2003 du Maurier World Stage Festival in Toronto), The Weir and Mizlansky/Zilinsky. Other directing credits: Dublin Carol at Trinity Rep and Who’s Afraid of Virginia Woolf? at The Alliance Theatre. Before joining Steppenwolf, she was a member of the Remains Theatre Ensemble for 15 years. She can be seen in the films 8MM, Rookie of the Year, Falling Down and the soon to be released Up in the Air. DAVID MAMET (Playwright) is the author of the plays: Romance, Boston Marriage, Faustus, Oleanna, Glengarry Glen Ross (1984 Pulitzer Prize and New York Drama Critics Circle Award), American Buffalo, The Old Neighborhood, A Life in the Theatre, Speed-the-Plow, Edmond, Lakeboat, The Water Engine, The Woods, Sexual Perversity in Chicago, Reunion and The Cryptogram (1995 Obie Award). His translations and adaptations include: Faustus and Red River by Pierre Laville; and The Cherry Orchard, Three Sisters and Uncle Vanya by Anton Chekov. His films include: The Postman Always Rings Twice, The Verdict, The Untouchables, House of Games (writer/director),

Mark Campbell

American Buffalo in rehearsal

Mark Campbell

Director Amy Morton with Tracy Letts, Francis Guinan and Patrick Andrews

Patrick Andrews with Francis Guinan

KEVIN DEPINET (Set Design) is delighted to be working at Steppenwolf once again!

Recent Steppenwolf credits include: Dublin Carol, First Look Repertory of New Work (2008 and 2009) and August: Osage County (Associate Designer). Other Chicago credits include: The Crowd You’re In With and High Holidays (Goodman Theatre); What The Butler Saw (Court Theatre); Oh, Coward! (Writers’ Theatre); Miss Saigon and Thoroughly Modern Millie (Drury Lane). Other regional credits include: Comedy of Errors (American Players Theatre). He recently finished working on Michael Mann’s film Public Enemies. He is also an adjunct professor of design at DePaul University and studied at Illinois State University and the Yale School of Drama.

NAN CIBULA-JENKINS (Costume Design) has designed costumes for over 16 productions at Steppenwolf including: Good Boys and True, Love-Lies-Bleeding, Mark Campbell

12

Oleanna (writer/director), Homicide (writer/director), The Spanish Prisoner (writer/ director), Heist (writer/director) and Spartan (writer/director). Mr. Mamet is also the author of: Warm and Cold, a book for children with drawings by Donald Sultan, and two other children’s books, Passover and The Duck and the Goat; Writing in Restaurants, Some Freaks, and Make-Believe Town, three volumes of essays; The Hero Pony and The China Man, a book of poems; Three Children’s Plays, On Directing Film, The Cabin, and the novels The Village, The Old Religion and Wilson. His most recent books include the acting books, True & False and Three Uses of the Knife. Glengarry Glen Ross was awarded the Tony® Award for Best Revival of a Play in 2005 and his latest play November also appeared on Broadway. In the fall of 2009, Mr. Mamet will be represented on Broadway by the world premiere of his new play Race as well as a revival of Oleanna.

Francis Guinan with Director Amy Morton

The Dresser, Topdog/Underdog, Glengarry Glen Ross, Molly Sweeney and Death and the Maiden. In Chicago, her work is seen regularly at Goodman Theatre, Court Theatre and Chicago Shakespeare Theatre. Regional costume design credits include: Oregon Shakespeare Festival, Seattle Repertory Theatre, Arena Stage, McCarter Theatre, Kansas City Repertory Theatre, Alliance Theatre, Hartford Stage Company, Dallas Theatre Center, the Alley in Houston, Texas, American Repertory Theatre, Public Theatre, ACT Seattle, Manhattan Theatre Club and The Kennedy Center. She was the original costume designer for the American premiere of Glengarry Glen Ross at the Goodman Theatre and also designed the original Broadway and tour productions of Glengarry Glen Ross and Speed-the-Plow.

Film credits include: House of Games, Things Change and Homicide. Ms. CibulaJenkins is a recipient of the Michael Merritt Award for Design and Collaboration, and she has been a recipient of the Hollywood Dramalogue Critics Award and the Joseph Jefferson Award for Costume Design. She is the head of the Costume Design program at The Theatre School at DePaul University in Chicago.

Rose’s Dilemma, Burn This, Occupant, A Woman in Mind, From Up Here and others.

London theater credits include: Ain’t Misbehavin’, The Illusion, Into the Woods, Dancing on Dangerous Ground and Holy Mothers. Opera credits include: The Ring Cycle, Januffa, La Calisto (Royal Opera House), Rienzi, Mazeppa, Simone Boccanegra and The Plumber’s Gift (English National Opera). Other credits include productions for such companies as: The Metropolitan Opera, Houston Grand Opera, San Francisco Opera, The Glyndebourne Festival, The Minnesota Opera, The Florida Grand Opera, The Santa Fe Opera, Flemish Opera, Netherlands Opera, The Bayerische Staatsopera (Munich), The Paris Opera at the Garnier, Theater an der Wien and others. Regional theater credits include design for such companies as: The Hartford Stage Company, The McCarter Theater, The Goodman Theater, Steppenwolf, Manhattan Theater Company, Lincoln Center, The Mark Taper Forum, The Alley Theater (Houston), Ford’s Theater and The Old Globe Theater.

ROB MILBURN and MICHAEL BODEEN (Original Music and Sound Design) Broadway music composition and sound PAT COLLINS (Lighting Design) New York credits include: One Flew Over the Cuckoo’s Nest, The Speed of Darkness, Broadway credits include: Sight Unseen, Doubt, Proof, A Moon for the Misbegotten, My Thing of Love, Superior Donuts, A Year with Frog and Toad, Ma Rainey’s Black Once Upon a Mattress, An American Daughter, The Heidi Chronicles, A Delicate Bottom, Hollywood Arms, King Hedley II, Balance, The Sisters Rosensweig, I’m Not Buried Child, The Song of Jacob Zulu and The Grapes of Wrath. Off BroadRappaport, Execution of Justice, Ain’t way music and sound credits include: Misbehavin’, Death and the King’s Inked Baby, After Ashley, Boy Gets Horseman, The Threepenny Opera, Ten Girl, Red, Space, The Notebooks of Unknowns and others. Off-Broadway Leonardo da Vinci, Marvin’s Room, Eyes credits include: A Life in the Theater,

14

for Consuela and Ruined. Recent original music and sound credits include: The Bluest Eye (Hartford Stage, Long Wharf Theatre); The Crucible, Good Boys and True and The Pillowman (Steppenwolf); Mrs. Packard (McCarter Theatre, Kennedy Center); Cyrano de Bergerac (Alley Theatre in Houston, Texas); Mirror of the Invisible World and Vigils (Goodman Theatre); Mrs. Warren’s Profession (Alliance Theatre in Atlanta); and A Big Blue Nail (Victory Gardens Theater). Recent sound credits include: Dublin Carol, Superior Donuts and The Diary of Anne Frank (Steppenwolf); Amadeus (Chicago Shakespeare Theater); The Pain and the Itch (Playwrights Horizons in New York City); The Birthday Party (McCarter Theatre); and Maurice Sendak and Tony Kushner’s Comedy on the Bridge & Brundibar. Original music, music direction and sound credits include: How Shakespeare Won the West (Huntington Theatre Company); and The Caucasian Chalk Circle and Life is a Dream (South Coast Repertory). They have created music and sound at many of America’s resident theatres including: Goodman Theatre, Steppenwolf Theatre, Comedy Theatre (London’s West End), The Barbican Center, National Theatre (London), Cameri Theatre (Tel Aviv), Subaru Acting Company (Japan) and festivals in Toronto, Dublin, Galway, Perth and Sydney. They recently composed music and designed sound for the opening ceremonies of the Amateur International Boxing Association at the Chicago Theatre.

RICK SORDELET (Fight Choreographer) has 49 Broadway credits including The Lion King, Beauty and the Beast, Superior Donuts, The Royal Family and Oleanna.

Rick has 48 first class international fight direction credits including: Cyrano the Opera starring Placido Domingo at the Met, The Royal Opera House and La Scala in Milan; Ben Hur Live (currently on tour in Europe); Sam Mendes’s Bridge Project (New York City, European tour and London). Film and television credits include: The Game Plan, Dan in Real Life and Hamlet. Rick received the Edith Oliver Award for Sustained Excellence by the Lucille Lortel Foundation. He is a board member for the Shakespeare Theater of New Jersey and an instructor at the Yale School of Drama, the New School University, and the Neighborhood Playhouse.

MALCOLM EWEN (Stage Manager) first stage managed for Steppenwolf in 1987 with Frank Galati’s production of Born Yesterday. Since that time he has worked for Steppenwolf on four continents and has taken three Steppenwolf shows to Broadway, including the Tony® Awardwinning The Grapes of Wrath. In recent Steppenwolf seasons he stage managed: The Tempest, Kafka on the Shore, The Diary of Anne Frank, after the quake and Man From Nebraska. On Broadway, he was the Production Stage Manager of Paul Simon’s musical The Capeman.

A graduate of Amherst College, he returns every summer to the Green Mountains of Vermont to direct at the Weston Playhouse.

CHRISTINE D. FREEBURG (Assistant Stage Manager) Steppenwolf credits include: The House on Mango Street, The Tempest, The Seafarer, Dead Man’s Cell Phone, Good Boys and True, The Diary of Anne Frank, Sonia Flew, Love-LiesBleeding, after the quake and Cherry Orchard. Other Chicago credits include: The Vanishing Twin, In the Eye of the Beholder, Arabian Nights (Lookingglass Theatre); Hamlet, Fraulein Else, Scapin (Court Theatre); Once on this Island, Madame Butterfly, Old Wicked Songs and Violet (Apple Tree Theater). Christine also spent eight summers stage managing at the Weston Playhouse in Weston, Vermont.

Love to Thom and Joanie.

School of Communication at Northwestern and is board president of TCG. She is a recipient of the Sarah Siddons Award and an Alumni Merit Award from Northwestern University.

DAVID HAWKANSON (Executive Director) prior to Steppenwolf was the Managing Director of the Guthrie Theater in Minneapolis, Minnesota, under the artistic leadership of Joe Dowling. Before the Guthrie, he served for eight years as the Managing Director of Hartford Stage Company in Connecticut with Artistic Director Mark Lamos. Earlier in his career, he was Managing Director of the Arizona Theater Company and a Guest Administrator at San Francisco’s American Conservatory Theatre. He was a former MARTHA LAVEY (Artistic Director) has senior staff member at the National been an ensemble member since 1995.

Endowment for the Arts and subsequently She has appeared at Steppenwolf in Up, Good Boys and True, Love-Lies-Bleeding, chairman of its Theater Program. He has Lost Land, I Never Sang for My Father, The also had an active career as an arts consultant and trustee for such national House of Lily, Valparaiso, The Memory of Water, The Designated Mourner, Supple organizations as the Kennedy Center Fund for New American Plays, the Ford Foundain Combat, Time of My Life, A Clockwork tion’s Working Capitol Fund, National Arts Orange, Talking Heads, SLAVS!, Picasso Stabilization Fund, the League of Resident at the Lapin Agile, Ghost in the Machine, Theatres, Theatre Trustees of America, A Summer Remembered, Love Letters, Theatre Communications Group, and Aunt Dan and Lemon and Savages. the American Arts Alliance. He currently Elsewhere in Chicago she has performed serves as a trustee of Door County’s at the Goodman, Victory Gardens, NorthPeninsula Players and the League of light and Remains Theaters and in New Chicago Theatres and is Chairman of the York at the Women’s Project and Illinois Arts Alliance.

Productions. She has served on grants panels for the National Endowment for the Arts, The Theatre Communications Group (TCG), Three Arts, USA Artists and the City Arts panel of Chicago. Lavey holds a doctorate in Performance Studies from Northwestern University and is a member of the National Advisory Council for the

16

THE CURRENCY OF A CLASSIC Director Amy Morton and Tracy Letts discuss American Buffalo with David New David New: Amy, let’s start with you talking a little bit about your history with David Mamet—when did you first become aware of his work?

Amy Morton: I first became aware of him when I was taking acting classes at St. Nicholas Theatre. He was sort of in residence there and teaching classes—not one of mine—and also giving writing workshops. That’s where a lot of his stuff was first produced. I think I was about 18 or so when I first became aware of him— and so I’ve always been keenly interested in his work.

DN: Did you see any of his plays when they were first produced in Chicago?

AM: A number: Glengarry Glen Ross, Revenge of the Space Pandas, American Buffalo, Oleanna—as well as the Remains Theatre Ensemble’s productions of Buffalo and Speedthe-Plow.

DN: And, subsequently, you have acted in and directed his plays.

AM: I acted in The Cryptogram, here at Steppenwolf. The first time I ever worked on his stuff as a director was at Remains Theatre Ensemble. As a company member, I accepted—I don’t know why!—the job of putting in actor replacements for both Buffalo and Speed-the-Plow.

DN: You hadn’t directed the production, but you were putting in replacements?

AM: Yeah, because the director was out of town. But then the first Mamet I fully directed was Glengarry Glen Ross at Steppenwolf.

DN: Were you hooked from the start of working on his plays?

AM: Yeah. I was very into his work right from the start.

18

DN: And Tracy, had you acted in any Mamet plays prior to Glengarry at Steppenwolf?

Tracy Letts: Yeah, I had done a previous production of Glengarry, directed by Anna Shapiro at The Big Game Theatre. I played the same part—I played Williamson. I think the first time I was ever even aware of Mamet was the movie The Verdict. I think it was the first time I ever heard of him—because that’s a great screenplay. One of my favorite Mamet speeches to this day is in the screenplay for that film. Perhaps only then did I start to read his plays. Because, you know, growing up where I grew up, we didn’t get a lot of Mamet; we didn’t get a lot of access to that kind of thing.

I think the first Mamet play I ever saw was Sexual Perversity in Chicago. It’s a piece that was performed a lot by other groups because it was very easy to stage for young theatre people. The first thing I did, though, was that production of Glengarry with Anna, and then I got a chance, of course, to do it again years later with Amy.

DN: Amy, since you acted in The Cryptogram, I’ll ask both of you questions from an actor’s point of view. Much is always made about Mamet’s language—does it require a different approach in the rehearsal hall?

AM: I would think—for me anyway, and I don’t know if other actors and directors would agree—but for me there’s a technical requirement of memorizing those damn lines and being able to really rapid fire the speech. I mean, it really goes fast—it goes really, really fast—and, in my opinion, that’s the way it’s done the best.

DN: And that requires that mastery, right?

AM: Yeah, you really have to have those lines down, and that’s what can drive you insane.

TL: The trick for me is not just to be able to say it fast, it’s also to be fully invested in whatever the circumstances are and then say it fast. And then communicate all that at breakneck speed. That’s hard to do. That’s the trick, I think. Trick—I hate the word trick—it’s not a trick, it’s a—what is it? It is what you do on any other play; it’s just that the language demands a kind of clarity and alacrity. If you’re just able to learn the lines and do it fast, then you are just doing it fast. And I’ve seen those productions, and those are deadly. You want to say, “You’re just talking fast—you don’t really know what you’re talking about or care what you’re saying.”

Michael Brosilow

DN: Right, because there’s an outward rhythm that belies the interiority of these people right?

TL: Yes.

DN: And the actor has to mine what’s inside, what the shifts are inside, all the time moving through with tremendous speed.

TL: And you can say that about Shakespeare as easily as you can say it about Mamet. It’s equally true in both cases, I think.

DN: Amy, you’ve wanted to direct American Buffalo at Steppenwolf for a long time. What is it about the play that you find compelling?

AM: I just think it’s one of his best. I think it’s moving and really funny. I think it’s without cynicism, and I really like that because I think that his later works got cynical—and I don’t mean in a bad way. But this one to me feels naïve, almost, and therefore becomes, for me, even more moving.

DN: Amy, the play was written and is set in 1975—is it important to keep that particular period when you tell the story?

AM: It is. Technically, strictly technically, there’s a lot in there that places it in that time—when Teach says in Act Two, “and so who knows what time it is offhand? Jerks on the radio? The phone broad?” Well, does that still exist anymore? Being able to call up and get the time? Also, it’s like Glengarry—they’re completely different plays if somebody pulls out a cell phone. You know

Marc Vann and Amy Morton in The Cryptogram, 1996

what I mean? It doesn’t work. I also really like the ‘70s for this. It makes sense to me. I can’t wait to see Tracy in those stupid clothes.

TL: You know, I didn’t move to Chicago until ‘85. I’ve seen Chicago change a lot in 20 to 25 years. I can only imagine what those changes must have been like between ‘75 and ‘85. Chicago has such a rich history of crime and criminals and gangsters, but at the same time, Chicago was for a very long time—and still is to an extent—not just a city but also a town. I think that’s where some of the naïve take that Amy is talking about comes from.

Michael Brosilow

20 Marc Vann and Amy Morton in The Cryptogram, 1996

They’re not only in this great American city, but they’re also in this Midwestern town. I get that vibe from that play from a time and place that I don’t even really know, but that I can put myself in, in my imagination. Amy, do you know what I’m talking about?

AM: Yes, I do know what you’re talking about, and, in a strange way, it’s sort of the same flavor of Superior Donuts in that it’s a very neighborhood play. People talk about things that are in the neighborhood: restaurants, people, stores that you can tell they’ve known since forever and ever. That’s really not the case anymore in Chicago. You don’t get to know a place forever and ever because they don’t last that long anymore.

TL: Right. My point, better put, is what Amy just said.

AM: There is very much a time and place.

And I just can’t picture this play in a different time—it doesn’t jell for me.

DN: It’s also interesting that some of the articles in the shop, a number of them, are vestiges of Chicago’s history.

TL: Well, it’s in that tradition of tough Chicago writing. That goes back to Nelson Algren and The Man with the Golden Arm and James T. Farrell and Studs Lonigan—which I think is even Studs Terkel’s namesake. I think that is part of Chicago’s literary tradition: a kind of bare-knuckles, tough—well, hell—even for that matter The Front Page, which is also tough in its language—and fast. There’s a kind of fast pattern to that language, as well.

So I think Mamet fits very squarely in that Chicago literary tradition. I think one question

shoulder, actually, about doing this again— why revisit when there are so many new stories that need to be told? But, I think it has real value, real currency, in that tradition of retelling our stories. This is also a very particular time for Chicago—in the history of Chicago and even Chicago theatre. So I think it pays to revisit some of the shoulders of the storytellers we’re building on.

Michael Brosilow

that a lot of people might ask is: why are you doing this again? It’s been done, and it’s been done again, and we know this material really well in Chicago. And yet, I’ve talked to so many people—younger people—who’ve never seen the play done. I guess to me—just thinking about that Chicago literary tradition also, some of these things that have a kind of modern classic status about them—for me, they become like Canterbury Tales, and they need to be told again and again and again.

And the fun in the retelling of them is— well, how are they going to tell this story as opposed to how the last group told that story?

Sometime ago, I would have had a chip on my

Tracy Letts with Mike Nussbaum in Glengarry Glen Ross, 2001

BIG SHOULDERS; SMALL CHANGE. American Buffalo in Chicago

BY ARTISTIC APPRENTICE REBECCA STEVENS

22

Open the script of American Buffalo and you’ll find the setting simply reads “Don’s Resale Shop. A junkshop.” The shop’s location in Chicago is never stated outright in the text, only inferred through the course of the play. A mention of Lake Shore Drive here, some leftover trinkets from Chicago events there; it all seems to add up to a little local flavor from Mamet, hailed by Chicago newspapers as the literary son of the city. At first glance the setting of this play seems inconsequential—even the The Cambridge Companion to Mamet readily places Don’s Resale Shop on the South Side of Chicago, without any indication from the text or author that this is correct.

But place the geographic locations Mamet mentions throughout the text (bars, hospitals, street names) on a map and something startling happens: all of these public spaces are located within a few blocks of each other in the North Side neighborhood of Lincoln Park. To bring the action of the play even closer to home, consider this: those city blocks are within walking distance of this very theatre. Suddenly, we know precisely where we are. We have walked the same streets and sidewalks as Donny, Bobby and Teach. The revelation that Mamet

ADDISON STREET

1. Lake Shore Drive.

COL

NA VE N UE

2

1 LAKE SHORE DRIVE

WESTERN AVENUE

LIN

HALSTED STREET

BELMONT AVENUE

DIVERSEY PARKWAY

YB CL RN OU UE EN AV

ASHLAND AVENUE

4

3 ARMITAGE AVENUE

5 NORTH AVENUE

2. Masonic Hospital, 836 W. Wellington Avenue.

3. Columbus Hospital, 2520 North Lakeview Avenue.

4. Riverview, renamed Riverside in American Buffalo (closed in 1967).

5. Steppenwolf Theatre, 1650 North Halsted Street.

has set the action in a clearly-defined neighborhood—rather than a hazy incarnation of Chicago—teaches us something about how to understand the play. What seems ornamental is imbued with specificity—and from that specificity we may find a deeper understanding about the actions and intentions of our characters.

It is worthwhile to turn our attention from the setting outside the junkshop to the setting of the junkshop itself and the objects the characters handle and discuss. A junkshop, after all, is a historical record made up of the objects of a certain place. Since the place in question is Chicago, it’s little wonder that the objects in Donny’s shop relate directly to the city’s history. When Donny explains the significance of the cosmetic compact that Teach is holding by saying simply “They’re from 1933,” Donny asks, “From the thing?” Both men are talking about the 1933 Century of Progress Exposition, also known as the city’s second World’s Fair. Enacted in the midst of the Depression, the fair sought to restore confidence in science and industry, with nearly two dozen corporations displaying new products meant to modernize the home. The fair spurred such great consumer spending that President Franklin Roosevelt asked for it to reopen for another year to help stimulate the economy.

1933 Chicago World’s Fair poster

1933 Chicago World’s Fair souvenirs

Later, Teach holds up a strange object that Donny describes as “…a thing that they stick in dead pigs keep their legs apart all the blood runs out.” This tool is undoubtedly left over from the meatpacking industry, the commercial stockyards so prevalent in Chicago that the poet Carl Sandburg famously dubbed the city “hog-butcher for the world.” Spurred by the growth of the railroads that allowed livestock to be delivered in mass quantity, Chicago’s meatpacking industry centered around three enormous corporations nicknamed the “Big Three Packers.” These corporations influenced everything from railroad technology to meat and livestock prices. Their contentious labor laws and quality standards spurred both the infamous book The Jungle, detailing the brutal stockyard conditions, and the deadly Haymarket Square Riot as workers fought for the eight-hour work day.

24

Even the pig iron, not seen in the shop but much discussed by the characters, belongs to a distinct Chicago moment. A pig iron, a piece of crude iron that creates steel when further processed, is a symbol of the steel and iron mills that once ruled Chicago’s industry. In 1901, many of Chicago’s largest mills combined to create U.S. Steel, the largest business enterprise in the world at its inception.

These objects are leftovers from important economic moments in the city’s history—periods in which big business and industry defined the values, pastimes and futures of its inhabitants. What does it mean that Mamet sets American Buffalo within a very specific collection of Chicago streets inside a junkshop composed of objects from Chicago’s great economic past? What does all of this have to do with three men trying to pull a heist surrounding a Buffalo nickel?

To answer these questions, we must dig deeper into the context Mamet gives us. If our geographic setting is both specific and significant, then perhaps the time period lends us clues to the story, as well. 1975, the year American Buffalo was first performed, found the neighborhood of Lincoln Park in the throes of change. The aftermath of the Great Depression and World War II saw an increase of African Americans and Puerto Ricans in the area. By the mid-1950s, some residents, believing the neighborhood verged on becoming a slum, formed the Lincoln Park Conservation Association, encouraging private rehabilitation and use of federal urban renewal funds on buildings and homes in the area.

In 1964, the city officially joined neighborhood efforts with its “General Neighborhood Renewal Plan” that rehabilitated some homes and cleared others for high rises. Mamet’s characters register these changes by referring to their Puerto Rican neighbors as “Mexicans” or “the spics” and bristling at the wealthy white man who bicycles to work and treats Donny “like…his fucking doorman.” Donny, Teach and Bobby live in a neighborhood that has begun to change. Ethnically and culturally, they are no longer in familiar territory. Economically, they will shortly find themselves priced out of their homes.

Lincoln Park’s story is not unique to the city. Urban renewal funds, from both the city and the federal government, built the skyline of Chicago as we know it, including the Sears (now Willis) Tower and Hancock Building, both completed by the mid-1970s. These funds also sharply changed neighborhoods across the city as urban renewal projects altered the race, class and geographical layout of many communities. Pilsen, named by its Eastern European inhabitants for a city in the Czech Republic, became a hub of Mexican-American life. Clearance projects in Hyde Park transformed densely packed urban areas into semi-suburban streets. And in North Side neighborhoods such as Lincoln Park, increasingly wealthy tenants moved into newly renovated homes as working class residents moved out.

Mark Campbell

View of Chicago

Mark Campbell

26

Pilsen neighborhood

Moreover, at the moment American Buffalo takes place, the economy fueling the city has begun to shift as well. Gone are the meatpackers, as stockyards moved closer to its livestock in Wisconsin and Indiana. In just a few short years the steel industry will crash as well, leaving thousands without work. With the loss of these industries, Chicago transforms from a blue collar town of Polish and Irish immigrants to a white collar town dominated by finance, tourism and the service sector, while neighborhoods fill with new immigrants from around the world.

What is happening to the men in this shop, in this neighborhood, in this city is what is happening to the country itself. Industry begins to change. Blue collar men find themselves among new immigrants and in new economies. The American Dream is no longer familiar and certain. It shifts away from men who provided for their families with their hands, never to return. Just like the American buffalo depicted on the nickel that Donny seeks and the Native American on the reverse of that coin, Donny and Teach are at the end of their era, the last of their kind, as marginalized as the figures etched into metal.

Unaware of this fate, they are left with nothing but the buffalo nickel they seek and the mistaken belief in who they are and what they can achieve.

THE ULTIMATE GOODMAN SAMPLER 4 PLAYS START AT JUST $98!

THE ULTIMATE GOODMAN SAMPLER The Ultimate Goodman Sampler gives you Brian Dennehy on stage, Philip Seymour Hoffman’s Goodman directorial debut, Robert Falls directing a world premiere by Rebecca Gilman— and so much more. It offers you choice, flexibility—and great low prices. The package includes three plays in the renowned Albert Theatre and one in the intimate Owen Theatre.

IT’S EVERYTHING YOU EVER WANTED IN A THEATER EXPERIENCE!

PACKAGE INCLUDES: Hughie/Krapp’s Last Tape The Long Red Road The Sins of Sor Juana AND A True History of the Johnstown Flood OR The Good Negro

BRIAN DENNEHY

BRETT C. LEONARD

KAREN ZACARÍAS

ROBERT FALLS

PHILIP SEYMOUR HOFFMAN

Availablle by phone only Available 312.443.3800 312.443 3.3800 Learn more at ExploreTh ExploreTheGoodman.org heGoodman.org The Edith-Marie Appleton Foundation Major PProduction Major rodduction SSponsor ponsor for for The Good Negro

Corporate SSponsor Corporate ponsor PPartner artner for for H ughie aand nd KKrapp’s rapp’s LLast ast TTape ape Hughie

TRACEY SCOTT WILSON

Harold H arold & M Mimi imi SSteinberg teinberg CCharitable haritable Tr rust Trust Lead CCorporate Lead orporate SSponsor ponsor ffor or The The SSins ins ooff SSor or Juana Juana

Major CCorporate Major orporate SSponsor ponsor ffor or The Good Negro

Principal SSupport Principal upport of of Artistic Artistic DDevelopment evelopment aand nd DDiversity iversity IInitiatives nitiatives

Official Lighting Sponsor for Hughie H ughie and and Krapp’s Krapp’s Last Last Tape Tape

Support for New Work Support Work D Development

Corporate SSponsor Corporate ponsor PPartner artner ffor or The Good Negro

CCorporate orporate SSponsor ponsor PPartner artner ffor or Hughie H ughie and and KKrapp’s rapp’s Last Last TTape ape

AMERICAN AIRLINES AIRLINES,, Exclusive Airline of Goo Goodman odman Theatre. Philip Seymour Hoffman. Brian Dennehy by Michael Brosilow Brosilow. ilow. Brett C. Leonard. KKaren aren Zacarías by Liz Lauren. RRobert obert FFalls alls by Eric YY.. Exit. TTracey racey Scott Wilson.

DESIGNER’S NOTEBOOK SET DESIGNER KEVIN DEPINET ON THE CREATION OF THE AMERICAN BUFFALO SET

28

Rough model of the American Buffalo set.

Amy and I began with the idea of a small basement junkshop. A basement served our purposes twofold: it seemed to appropriately illustrate the social position of these men—either perceived or actual—and it allowed us to add visual interest by suggesting the structure of the entire building. I began the process by trying to stay as gritty and real as I could and my earlier designs, like the one pictured, were appropriate in presenting a recognizable location.

However, we felt the space needed to go beyond the walls and be a bit less prescribed. The set became a balancing act—not too big, not too small, not too clean, and not too dirty. I toured many resale shops throughout Chicago and found many that were trendy and clean and a few that were downright shady.

Final model of the American Buffalo set.

The balance of this junkshop was precarious, it could not indicate any sort of trendy appeal however it needed to be an open working shop, ready for customers. I wanted the place to feel dark, forgotten, and dusty but not to the extent that this shop would be a necessarily dangerous place—I wanted it to feel more like a basement than a condemned building.

The clumsy staircase entrance and the skeletal nature of the set contain these characters in the bowels of this building and the labyrinth of rooms and rows and rows of merchandise. The requirements of the play are minimal, and the shop itself begs to feel cramped and small. The stage, however, is deceivingly large and trying to fill a large space with small needs is challenging. The black portal that surrounds the set helps to focus and define the playing area and allows the space behind to fade into black. The set recedes in clarity and definition as it recedes in space creating a sense of uncertainty—did these men choose this way of life because of who they inherently are or have their lives degraded because of their surroundings?

UNFREEZING THE PLAY

BY DIRECTOR OF ARTISTIC DEVELOPMENT POLLY CARL

30

Theater is a series of ongoing interpretations. The playwright, director, dramaturg, designers and actors come together in a collaborative process seeking a multitude of possibilities for the presentation of a play. At some point, in order to bring in the audience, the play freezes—the script is finalized, the set is built, the sound and lights are programmed and the actors find their rhythm. But the possible meanings of the play go on in post-show discussions, drinks after the play and late night pillow talk. My hope is to provide some heat to your conversations when you leave the theater—to thaw what we’ve temporarily frozen and invite you to collaborate in making meaning and theater with us.

One of my secret shames is the PBS series Antiques Roadshow. I get obsessed not so much with the objects themselves but rather with the relationship between people and what they value. When my family and I watch the show we have a tradition of yelling “Sell it!” whenever someone brings in an object that ends up being worth much more than they or we expect. When Teach says, “If I kept the stuff that I threw out… I would be a wealthy man today,” I am reminded that American culture is predicated on the belief that as individuals we’re always on the verge of finding fortune. We might win the lottery. A priceless antique might be waiting for discovery amidst the cobwebs in our basements. My start-up company will take off. By living in the land of our opportunity, our lives will be fully actualized—any minute now.

The driving engine of American Buffalo is the worth of a Buffalo head nickel. In For a Critique of the Political Economy of the Sign, author Jean Baudrillard argues that in an art auction the relationship between the object purchased and the money exchanged for that object is skewed.

The exchange supersedes the object’s use value. In fact, the object may have no use at all.

Baudrillard says the moment of expenditure “presupposes something of a competition, a wager, an aristocratic measure of value…it is this, and not the satisfaction of needs that occasionally turns consumption into a passion, a fascinating game, something other than functional economic behavior.” Baudrillard makes a convincing case that the buyer at an auction establishes privilege, a kind of status—something beyond mere buying power. Although European aristocracy and Wall Street excess live in two very different historical contexts, I am fascinated by the idea of exchange as rooted in competition and passion. In American Buffalo, Don is obsessed with this nickel, with the possibility that he missed out on his opportunity for something more.

“

what’s it worth?

”

Underlying the equally compelling themes of friendship and loyalty in the play, individual and communal worth is the play’s thematic soul. The play’s relevance to the contemporary crisis surrounding the question “what’s it worth?” can’t be overstated.

Consider our national housing crisis. The value of homes had skyrocketed so high that buying a home two years ago wasn’t unlike going to auction given the stiff competition and the inflated purchase prices. Home ownership conferred a new kind of ubiquitous legitimacy. Now many of those new homeowners are stuck trying to sell for much less than they purchased having been tricked into believing that entering the privileged class could be a “steal” at zero percent down.

At the end of American Buffalo, the plan for the heist falls to pieces, in part due to Bobby’s lie at the beginning of the play. In the play we never learn the actual value of the nickel. We know that a man paid ninety dollars for it and that Don is certain it’s worth several times that. But the actual value doesn’t matter. The nickel stands in for the value limit that Don, Teach and Bobby can confer upon themselves in a milieu where the white working-class man is threatened by the rise of white collar “aristocrat”—the man, who as Baudrillard says, (I’m suggesting now an equivalence between “art lover” and “coin collector”) “does not create profit” through his purchase but “legitimacy.” We never learn the value of the coin, but for Don, Teach and Bobby could it ever be worth more than what they can pay for it?

What’s on at Steppenwolf...

the brother/ sister plays In the Red and Brown Water The Brothers Size and Marcus; or the Secret of Sweet

32

TICK E

TS O N

SAL E NO W!

by Tarell Alvin McCraney directed by ensemble member Tina Landau featuring ensemble members Alana Arenas, K. Todd Freeman and Ora Jones with Phillip James Brannon, Rodrick Covington, Glenn Davis, Jeff Parker, Tamberla Perry and Jacqueline Williams

A breakthrough theatrical event: three interconnected plays by a brilliant new American voice. Grand in scope, yet intimate and heartfelt, Tarell McCraney’s plays are daring, funny and genuine.

January 21 – May 23, 2010 In the Upstairs Theatre

Superior Donuts is now playing on Broadway! written by ensemble member Tracy Letts directed by ensemble member Tina Landau Featuring the entire original cast from the Steppenwolf production.

Music Box Theatre 239 West 45th Street, New York City

For tickets visit donutsonbroadway.com or call 212-239-6200.

steppenwolf ensemble

Joan Allen

Kevin Anderson

Alana Arenas

Randall Arney

Kate Arrington

Ian Barford

Robert Breuler

Gary Cole

Kathryn Erbe

K. Todd Freeman

Frank Galati

Francis Guinan

Moira Harris

Jon Michael Hill

Tim Hopper

Tom Irwin

Ora Jones

Terry Kinney

Tina Landau

Martha Lavey

Tracy Letts

John Mahoney

John Malkovich

Mariann Mayberry

James Vincent Meredith

Laurie Metcalf

Amy Morton

Sally Murphy

Austin Pendleton

Jeff Perry

William Petersen

Martha Plimpton

Rondi Reed

Molly Regan

Anna D. Shapiro

Eric Simonson

Yasen Peyankov

Gary Sinise

Lois Smith

Rick Snyder

Jim True-Frost

Alan Wilder

Steppenwolf Theatre Company, founded in 1976 by Terry Kinney, Jeff Perry and Gary Sinise, is America’s premier ensemble theater, renowned for its great acting of challenging material in an intimate theater space. Now a company of 42 artists whose strengths include acting, directing, playwriting and literary adaptation, Steppenwolf celebrates ensemble acting with rich, intense performances that advance the vitality and diversity of American theater. Steppenwolf provides arts education through its Steppenwolf for Young Adults programming; world premiere works for the American stage are supported through the New Plays Initiative; acclaimed theater companies are hosted through the Visiting Company Initiative; and professional actors receive training in ensemble acting technique through The School at Steppenwolf.

For current news about the Steppenwolf ensemble, please visit steppenwolf.org.

steppenwolf.org

Go online to learn more about Steppenwolf

Stay connected with Steppenwolf

f, our ensemble and our productions.

Go in-depth and behind-the-scenes with videos, podcasts, photo galleries and more at steppenwolf.org/watchlisten and join the conversation at blog.steppenwolf.org.

steppenwolf staff Executive Artistic Board TERRY KINNEY, JEFF PERRY AND GARY SINISE

Artistic Director MARTHA LAVEY

36

ARTISTIC POLLY CARL Director of Artistic Development ERICA DANIELS Director of Casting and the School at Steppenwolf JOY MEADS Literary Manager JAMIE ABELSON School Coordinator TRACY LETTS AMY MORTON ANNA D. SHAPIRO RICK SNYDER JESSICA THEBUS Associate Artists SHELDON PATINKIN Artistic Consultant STEPPENWOLF FOR YOUNG ADULTS HALLIE GORDON Artistic and Educational Director, Steppenwolf for Young Adults LINDSEY BARLAG Education Associate WHITNEY DIBO Program Specialist WHITNEY DIBO AMANDA JANE DUNNE LARRY GRIMM EDDIE JORDAN III LYNN LOCKWOOD MURPHY EMILIO ROBLES Teaching Artists ADMINISTRATION DAVID M. SCHMITZ General Manager RACHEL DOMARACKI Director of Finance LORI DAVIDSON Director of Events Management

CAT TRIES Company Manager SCOTT MACOUN IT Manager ADRIENNE DAY Human Resources Coordinator MEGAN SHUCHMAN Professional Leadership Program Coordinator BRIAN HURST Finance Associate JESSICA SERVER Events and Office Management Associate JAMES PALMER Executive Assistant

SUZANNE MILLER Donor Services Associate

MARKETING, PUBLICITY & AUDIENCE SERVICES LINDA GARRISON Director of Marketing and Communications JOHN ZINN Marketing Director DAVID ROSENBERG Communications Director JULIA DOSSETT Promotions and Media Manager LUCAS CRAWFORD Marketing Associate VINCE AMATUZZI Digital Assets DEVELOPMENT Manager SANDY KARUSCHAK MARK CAMPBELL Director of Media Content Development Producer E. BROOKE WALTERS TIMOTHY DEN Director of Major Gifts Digital Assets GEORGE MARTIN Assistant Director of Corporate LUIS A. IBARRA Relations Graphic Designer DEBORAH STEWART SIMONE MARTINDirector of NEWBERRY Foundation and Design and Content Government Associate Relations RICHARD RUBIO ERIC EVENSKAAS Director of Annual Campaign Audience Services Director JIMMY FREUND LATOYA JAMES Audience Services Individual Giving Manager Manager STEPHANIE HELLER KENDRA STOCK Audience Services Special Events Subscription Manager Manager PAUL G. MILLER MIKE BRUNLIEB Development TAMARA TODRES Coordinator Audience Services MOLLY KOBELT Supervisors Special Events Asociate ALLAN WAITE ANNIE LEBEDOFF Group Sales Individual Giving Associate Associate ROSEANN BISHOP HILARY ODOM KLINE TARA BRANHAM Development REBECCA BUTLER Associate AMANDA COWPER

SUSAN GREEN KATY HITE MELISSA KLAAS MATTHEW LYLE HENRY RIGGS ELIZABETH SCHEWE RACHEL WELLING KATRINA WOSKO Audience Services Associates OPERATIONS JAY JUSSAUME Director of Operations CORY CONRAD Facilities Manager RYAN PALMA PAT FEDER Facilities Staff VICTOR DAVID HAROLD KRIPPS ETHAN OZANIEC Custodial Staff EVAN HATFIELD Front of House Manager GABE LEVINSON House Manager RON BOGACKI JULIA CURNS DARIA DAVIS LARA DOSSETT EMILY GOSS ROBERT HINES III HANNAH KUSHNICK TIM MCCARTHY BECKY MOCK DANIELLE SHINDLER CAT TRIES ELIZABETH WILFONG Front of House Staff MUSTAFA CHAUDHRY DONALD COULSON LAIRD LE Parking Staff LAUREN LOUER, THE SAINTS Volunteer Usher Coordination

PRODUCTION AL FRANKLIN Production Manager DIXIE UFFELMAN Production Coordinator RUSSELL POOLE Technical Director ADEN WATSON Assistant Technical Director ROGELIO RIOJAS Scene Shop Foreman ADAM ASHLOCK KEN BLENC MARCOS EVERSTIJN Scenic Carpenters JENNY DiLUCIANO Properties Master ANDRIA SMITH Assistant Properties Master CHARLES MOSER Master Properties Artisan RICK HAEFELE House Carpenter DAWN PRZYBYLSKI Stage Carpenter CARYN WEGLARZ KLEIN Costume Director MAE HASKINS Assistant Costume Designer LAUREL CLAYSON Head Draper KEVIN PETERSON Shop Foreman MYRON ELLIOTT Costume Technician JESSICA STRATTON Wardrobe Supervisor ERIN COOK Staff Dresser MARTHA WEGENER Audio Engineer GREGOR MORTIS Assistant Audio Engineer J. R. LEDERLE Lighting Supervisor ERNESTO GOMEZ House Electrician

Executive Director DAVID HAWKANSON MALCOLM EWEN CHRISTINE D. FREEBURG LAURA D. GLENN MICHELLE MEDVIN DEB STYER ROSE MARIE PACKER KATHLEEN PETROZIELLO Stage Managers CALL CENTER CASEY VANWORMER Call Center Manager PATRICK WALSH Call Center Supervisor JOE D’ANGELO CHARLES FRYDENBERG MARILYN HILLARY ALISON HOEFNAGEL CHRISTOPHER KORYCKI KIMBERLY MARCANO MARISSA MCKOWN TOM NEWMAN CARMEN QUISHPE Call Center Representatives AFRICANAMERICAN FELLOWS SIMONE MARTINNEWBERRY NORA TAYLOR APPRENTICES TRACI ALLEN ELANA BOULOS ASHLEY DUMAS MICHAEL DUTTON KARIN FREED EMILY GUTHRIE KARYN LABBE KATY LIANG MARTHA LYONS CRYSTAL JOVAE MAZUR BECKY MOCK CLAIRE PETERS KATHLEEN ROACH JOSEPH SANDERS MEGAN SNOWDER REBECCA STEVENS NORA TAYLOR ANDREW WHEATLEY

board of trustees EXECUTIVE COMMITTEE Nora Daley Conroy Chair Eric Lefkofsky Secretary Paul W. Goodrich Treasurer Henry S. Bienen Douglas R. Brown Michael Cahan Dennis Cary Beth Boosalis Davis Sharon Fairley Lynn Lockwood Murphy Bruce Sagan Harry J. Seigle Avy H. Stein Helen Zell

TRUSTEES J. Robert Barr Sarah Beardsley David H. Blake Terri L. Cable Keith Cardoza Elizabeth H. Connelly J. Scott Etzler Rich Feitler John N. Fox, Jr. Scott P. George Lawrence M. Gill Robert J. Greenebaum, Jr. John H. Hart John Hass Charles H. James III George A. Joseph David S. Kalt Donna La Pietra Martha Lavey Daniel E. McLean

Janet Melk Charles G. Mueller Michael T. Noonan Geoff Nyheim Susan A. Payne David C. Pisor Kenneth J. Porrello Mark L. Prager Grace M. Puma Deborah H. Quazzo Merle Reskin Randall K. Rowe Michael R. Salem John R. Samolis Manuel “Manny” Sanchez Nancy Schumacher Anna D. Shapiro Stephanie B. Smith John R. Walter Jane L. Warner Willard L. Woods, Jr.

EMERITUS TRUSTEES Lawrence Block Gloria Scoby NATIONAL COMMITTEE MEMBERS Joan Allen Carolyn Bivens Lynette Harrison Brubaker Michael J. Cavanagh John H. Costello Edward R. Erhardt Matthew J. Scheckner Gary Sinise

PAST CHAIRPERSONS William L. Atwell Larry D. Brady Douglas R. Brown Laurence Edwards John N. Fox, Jr. Elliott Lyon Gordon Murphy William H. Plummer Bruce Sagan Gloria Scoby Donna Vos

trustee spotlight New Trustees Elected to the Steppenwolf Board of Trustees The Steppenwolf Board of Trustees recently elected new trustees who will provide their expertise in guiding the theater in its future endeavors. We acknowledge the following Trustees for their outstanding commitment to Steppenwolf.

Terri L. Cable is the Executive Vice President and Managing Director in Illinois and Wisconsin for the Private Client Group at National City Corporation, now a part of PNC. The Private Client Group serves the needs of high-net-worth individuals and families by providing customized wealth management solutions and expert investment guidance delivered through local financial experts.

Elizabeth H. Connelly, Midwest Regional Director for J.P. Morgan’s Private Wealth Management business, leads a team of 250 advisors who manage over $33 billion in investment, banking and trust assets for high net worth clients in Illinois, Minnesota, Missouri and Wisconsin. She is also an active member in several community organizations across Chicago.

Grace M. Puma is Senior Vice President of Strategic Sourcing, Chief Procurement Officer for United. Named to the position in September 2007, Puma is responsible for leading the global strategic sourcing organization in building innovative sourcing strategies and technologies that will improve total cost of ownership, while ensuring suppliers meet quality standards for products and services.

Introducing the Visionary Circle.

A new program offering special benefits and recognition for supporters who make provisions in their estate plans for Steppenwolf.

Play your part in Steppenwolf’s future by becoming a member of the Visionary Circle.

August: Osage County, Pulitzer Prize and TonyÂŽ Award-winning play brought to the stage with the help of Steppenwolf donors.

For information on how you can join the Visionary Circle, please contact Sandy Karuschak, Director of Development, at 312-654-5621 or sandyk@steppenwolf.org.

“I am proud and happy to be a long-term member of the Steppenwolf family and, like any proud parent, have seen it grow and prosper over time.”

—Nancy L. Wald (February 26, 1941 – December 29, 2008)

ensemble member Rondi Reed with Nancy L. Wald

Nancy was a dear friend and avid supporter of Steppenwolf. Over the years, she championed the work of our ensemble, never missing an opening night celebration. Nancy believed in the continued and long-term excellence of Steppenwolf. She included a provision for Steppenwolf in her estate plans and through her gift we have established the Nancy L. Wald Production Endowment Fund.

This season, the artists of Steppenwolf dedicate our production of American Buffalo to her.

season sponsors Steppenwolf Salutes our Corporate Sponsors

Grand Benefactors

Benefactors

40

Corporate Producers

Corporate Investors

Corporate Backers

American Express AT&T Chicago Equity Partners Delta Dental Foley & Lardner LLP Fortress Data Management La Trattoria del Merlo Motorola Foundation PEAK6 Investments LP The Talbott Hotel

BOKA/Landmark Draft FCB Group Jones Day Molex Incorporated

Baxter International, Inc. Chopper Trading, LLC CIRCA Illinois Tool Works Foundation Markel Corporation The McGraw-Hill Companies Newcastle Limited PointBridge

For more information on how you can support Steppenwolf’s artistic initiatives as a sponsor or corporate partner, please contact George Martin at 312-654-5697 or gmartin@steppenwolf.org.

season sponsors The staging of American Buffalo was made possible by the following Individual Production Sponsors: Nancy L. Wald Production Endowment Fund, Philip and Janice Beck and The Negaunee Foundation.

Steppenwolf proudly thanks our major Individual Production Sponsors: LEAD SPONSORS

CONSORTIUM PARTNERS

ENSEMBLE SPONSORS

Hope Abelson Fund for New Play Development

Philip and Janice Beck

Anonymous

Douglas R. Brown

Susen H. Berg and James C. Berg

Joyce Chelberg

Liz and Eric Lefkofsky

Mary and Richard L. Gray Production Endowment Fund David Herro and Jay Franke

The Negaunee Foundation

Daniel E. McLean National and International Production Fund Merle Reskin Bill and Orli Staley Avy and Marcie Stein Sustaining Fund for the Ensemble

Sean and Nora Daley Conroy Gordon and Wendy Gill David and Susan Kalt Barrett B. Murphy and Lynn Lockwood Murphy George and Kimberly Ruhana Michael R. Salem Nina B. Winston

Nancy L. Wald Production Endowment Fund John and Carol Walter Production Endowment Fund

Contact Brooke Walters, Director of Major Gifts, at 312-654-5601 or bwalters@steppenwolf.org to learn more about this unique way to support the work on our stages.

Doubling the Impact of Individual Production Sponsorships Through a generous challenge grant from the Elizabeth Morse Charitable Trust, all individual production sponsorship gifts will now be matched at 100% through the year 2011. The Trust’s grant to Steppenwolf will provide individuals with a unique opportunity to use their personal commitment to leverage additional support for Steppenwolf.

corporate, foundation & government contributors GRAND BENEFACTORS ($100,000+) Doris Duke Charitable Foundation ‡ Fidelity Investments William Randolph Hearst Foundations‡ The Joyce Foundation‡ The John D. and Catherine T. MacArthur Foundation*‡ The Andrew W. Mellon Foundation‡ The Elizabeth Morse Charitable Trust‡ Nonprofit Finance Fund‡ Ogilvy & Mather, Inc. Polk Bros. Foundation*‡ The Shubert Foundation, Inc. The Harold and Mimi Steinberg Charitable Trust ‡ United Airlines The Wallace Foundation‡ Zell Family Foundation

42

BENEFACTORS ($50,000-99,999) AT&T* The Chicago Community Trust ComEd Julius Frankel Foundation Harris Bank* JPMorgan Chase & Co.* Kraft Foods, Inc.*‡ Microsoft Corporation* National City, Now a part of PNC National Endowment for the Arts The Northern Trust Company* POP Sage Foundation Sara Lee Foundation Smart Family Foundation Target Foundation

As the corporate sponsor of Steppenwolf for Young Adults, JPMorgan Chase & Co. provides access to thought-provoking, innovative theater for thousands of local students and families. This season, JPMorgan Chase & Co. helps bring to life two classic coming-of-age stories that speak directly to issues facing teens today, while also encouraging creativity through classroom activities that contribute to youth achievement.

PRODUCERS ($25,000-49,999) Anonymous American Express Company The Davee Foundation Delta Dental of Illinois

Foley & Lardner LLP Ernst & Young LLP* Fortress Data Management Grosvenor Capital Management Illinois Arts Council Motorola Foundation* PEAK6 Investments LP Saliba Family Charitable Foundation Inc. Searle Funds at the Chicago Community Trust PATRONS ($10,000-24,999) Anonymous (2) Abbott Laboratories Fund Allstate Insurance Company Alphawood Foundation Bank of America* Baxter International Inc.* BlueCross BlueShield of Illinois Buchanan Family Foundation Elizabeth F. Cheney Foundation Chicago Equity Partners Crain’s Chicago Business Crain Communications Inc The Crown Family Deloitte DLA Piper LLP (US) Dr. Scholl Foundation

ELIZABETH F. CHENEY FOUNDATION Dedicated to the principle that excellence in the arts and culture is essential for a rich civic life, the Elizabeth F. Cheney Foundation has been a longtime champion of artistic innovation in the Chicago community. The Cheney Foundation sustains Steppenwolf’s missionbased commitment to creative collaboration through support for ensemble participation in David Mamet’s provocative drama American Buffalo.

Draft FCB Group Feitler Family Fund Lloyd A. Fry Foundation Green Courte Partners, LLC Harris Family Foundation ITW Foundation* InterCall James S. Kemper Foundation Jones Day Molex, Inc. Norcon, Inc Rhoades Foundation Sara Lee Corporation Seigle Family Foundation

corporate, foundation & government contributors Swett & Crawford Group Sanchez & Daniels

For nearly twenty years, United Airlines has enabled Steppenwolf ensemble members and artists to represent Chicago on the global stage while remaining committed to enriching the arts here at home. As the Official Airline of Steppenwolf Theatre Company and Production Sponsor of American Buffalo, United Airlines demonstrates their dedication to enlivening the cultural fabric of Chicago.

SUSTAINERS ($5,000-9,999) Ariel Investments City of Chicago, Department of Cultural Affairs Chopper Trading, LLC CME Foundation Crate & Barrel Patrick and Anna M. Cudahy Fund Hackberry Endowment Partners John R. Halligan Charitable Fund The Grover Hermann Foundation InStyle Magazine Jewish Federation of Metropolitan Chicago Kenneth and Harle Montgomery Foundation The Mayer & Morris Kaplan Family Foundation LVMH Fashion Group Americas, Inc The McGraw-Hill Companies* Muskal Family Charitable Trust Newcastle Limited Albert Pick, Jr. Fund PointBridge Princess Grace Foundation-USA J.B. and M.K. Pritzker Family Foundation Robert J. and Loretta W. Cooney Family Sacks Family Foundation Saks Fifth Avenue Siragusa Foundation The Talbott Hotel UBS Global Asset Management SPONSORS ($2,500-4,999) Anonymous Arts Federation Consulate General of Ireland Fifth Third Bank Fleishman Hillard Inc. Hamilton Thies Lorch & Hagnell Hart Davis Hart Wine Co. K-Five Construction Corporation Katten Muchin Rosenman LLP Markel Corporation

Mesirow Financial National Property Valuation Advisors Rubloff Residential Properties Winston & Strawn, LLP GUARANTORS ($1,000-2,499) Adrian Smith + Gordon Gill Architecture Modestus Bauer Foundation Blackman Kallick Blue Foundation Blum-Kovler Foundation Cabrera Capital Markets, LLC Comer Foundation IBM North America* Kohler Donald S. Levin Family Foundation McKinsey & Company, Inc. Neal & Leroy LLC New Horizon Foundation Nordstrom Sahara Enterprises, Inc. The Sidley Austin Foundation William Wood Skinner Foundation Towers Perrin Judd A. and Marjorie Weinberg Family Foundation

‥Multi-year pledge *Corporations and foundations that have made employee matching gifts

Fortress Data Management is helping to guide Steppenwolf’s ongoing efforts to adopt technically advanced business solutions.

Fortress provides the theater with off-site data back-up and disaster recovery solutions to strengthen our core business practices. We are grateful to Fortress for their partnership in this important endeavor.

Steppenwolf: Proudly Supported by the Chicago Community.

As one of America’s leading regional theaters, Steppenwolf Theatre Company is a notfor-profit organization dedicated to enhancing the cultural life of Chicago through artistic innovation and education programs that inspire a new generation of artists and audiences.

This work begins with supporters like you. Ticket sales cover less than half of operating expenses. A community of individuals, corporations, foundations and government agencies provide vital contributions each year that allow our artistic and community programs to thrive.

Sources of Steppenwolf’s Support Special Events 7% Endowment 7%

Corporate Support 8% Ticket and Subscription Sales 46%

Other 9%

Foundation and Government Grants 9%

Individual Gifts 14% Alongside ticket and subscription sales, gifts from individuals represent an important source of support for Steppenwolf. More than 4,000 households have already made a gift this year, the majority under $150.

What your support makes possible Administrative 11% Education Programs 14% Fundraising 7%

Artistic Programs 82%

Productions 52%

New Play Development 10%

Other 6%

ARTISTIC PROGRAMS

Learn more about supporting Steppenwolf by calling 312-654-5615 or visiting us online at www.steppenwolf.org/support.

individual contributors Directors Circle The generosity of Steppenwolf’s Directors Circle members annually provides vital support for Steppenwolf’s many streams of artistic and community programming. In recognition of their contributions, members receive complimentary subscriptions with VIP ticketing services and are invited to private events with the artists of Steppenwolf.

To join this distinguished group, contact Latoya James at 312-654-5672 or ljames@steppenwolf.org.

GRAND PATRONS ($25,000+) Anonymous Douglas R. Brown Joyce Chelberg Sean and Nora Daley Conroy Sage Foundation Robert and Joan Feitler Rich and Margery Feitler Robert and Amy Greenebaum David Herro and Jay Franke David and Susan Kalt Liz and Eric Lefkofsky Charles G. Mueller Geoff Nyheim Susan A. Payne Mark L. Prager Deborah and Stephen Quazzo Merle Reskin Gene R. Saffold Michael R. Salem Saliba Family Charitable Foundation John R. Samolis Manuel Sanchez and Pat Pulido Sanchez Stephanie B. Smith and Gerald Smith Willard L. Woods, Jr. Helen and Sam Zell DISTINGUISHED PATRONS ($10,000-24,999) Julie and Roger Baskes Philip and Janice Beck David H. Blake Keith and Kathleen H. Cardoza Dennis Cary Scott Etzler Christine Albright and Lawrence Gill Valerie and Paul Goodrich Jeffery T. Grade King and Caryn Harris John H. Hart and Carol Prins Mrs. John M. Hartigan Charles H. James III George A. Joseph and Carolyn Bateman Mr. and Mrs. Fred Latsko Nancy Lauter McDougal and Alfred L. McDougal Dr. Paul M. Lisnek and Brian F. Lozell

Barrett B. Murphy and Lynn Lockwood Murphy Janet Melk The Negaunee Foundation James F. Oates Kenneth J. Porrello and Sherry L. McFall Quintin E. and Diane Primo Mr. and Mrs. Randall K. Rowe George and Kimberly Ruhana Bruce Sagan and Bette Cerf Hill The George H. Scanlon Foundation Harry J. Seigle Bill and Orli Staley Sarah Beardsley and Theodore R. Tetzlaff Mr. and Mrs. Christopher Valenti John and Carol Walter Mr. and Mrs. William Wrigley, Jr. PATRONS ($5,000-9,999) Anonymous William and Sharon Baker Bob and Trish Barr Susen H. Berg and James C. Berg Betty Bradshaw Colette Cachey Smithburg and Tom Smithburg Ms. Glenda Cain Phil and Mary Beth Canfield Robert and Loretta W. Cooney Mayor and Mrs. Richard M. Daley Donald Deutsch Shawn M. Donnelley Sharon Fairley John and Katherine Fox Scott and Rita George Gordon and Wendy Gill Richard and Mary L. Gray Jack and Donna Greenberg M. Julie and Michael Gustafson Willard and Lori Hunter Marian, Fruman & Lisa Jacobson Dr. Mary Dochios Kamberos Michael J. and Kathryn G. Kennedy

Martha Lavey Robert M. and Diane VS. Levy Steven D. Loucks Jim and Kay Mabie Amos and Anat Madanes Malkin Family Barry and Beth Mitchell Mr. Robert Parkinson Peer Pedersen Sylvia J. Pozarnsky and Tom Riley Mr. and Mrs. J.B. Pritzker Cari and Michael J. Sacks Robert and Louise Sanborn Matthew Shapiro Robert and Nancy Singleton Marcie and Avy Stein Jacqueline Tilton Frances Tuite Steven L. and Stephanie A. Victor Michael and January Ward Jane Warner Nina B. Winston Robert and Leslie Zimmerman SUSTAINERS ($2,500-4,999) Anonymous(2) Loren Almaguer Anthony Anderson Andrew and Susan Arnold Paula Ausick John and Irene Bacevicius Kevin Baldwin John and Caroline Ballantine Zoe and Ken Barley Cheryl and Carl Belles Larry and Margaret Benjamin Henry R. Berghoef Dr. and Mrs. Marvin H. Berman Mr. and Mrs. Douglas Berto Henry and Leigh Bienen Marlene Breslow-Blitstein and Berle Blitstein Debbie Bricker Michael and Merle Cahan Greg Cameron and Greg Thompson Cleve Carney Ann and Richard Carr Drs. Rex Chisholm and Kathleen Green

Mr. and Mrs. Douglas Cohen Jerry and Josephine Conlon Ms. Karen L. Cornelius Judy and Tapas K. Das Gupta Maxwell S. Davis and Beth Boosalis Davis Robert and Quinn Delaney Kevork and Rolanda Derderian Philip and Marsha Dowd Bernard J. Dowling Drs. Thomas E. Durica and Susan Jacob Donald and Anne Edwards Laura and Scott Eisen Richard and Gail Elden Mary M. Emerson Mary Jo and Robert Fasan Roxanne Hori and Robert Felsenthal David and Mimi Fiske Harold and Madeline Francke Leonard Gail and Robin Steans Terri and Stephen Geifman Beverly Wyckoff and Charles Ginsberg Richard E. Ginsberg Ethel and Bill Gofen Bob and Carol Goldberg Sue and Melvin Gray Mary Winton Green Charles R. Grode Ms. Rebecca Halpern Michael G. Hansen and Nancy E. Randa John Hass and Mary Frances Budig David R. Hawkanson Judy and Jay Heyman Mr. and Mrs. Arthur J. Hill Mr. and Mrs. Charles Hodges Dr. and Mrs. David Ingall Stephen Kane Jared Kaplan and Maridee Quanbeck Melinda Kempton and Jane Fleming Brad and Kim Keywell Mr. and Mrs. Sanfred Koltun Dr. and Mrs. Stephen M. Korbet Suzy Krueckeberg Mr. Matthew Kutcher and Ms. Rebecca Richards

individual contributors Directors Circle

46

Christine and Michael LaTona Don and Margie Leventhal Bernard and Averill Leviton Robert Bud Lifton and Carol Rosofsky Frank G. and Gertrude Dunlap Fund Timothy and Christine Loyer Mark and Frances Mann Richard McBlaine Becky and Bob McLennan Bill and Lorna Fillipini-Mulliken Mike and Adele Murphy Howard and Sandy Nagelberg Jean and Jordan Nerenberg Michael D. and Kay O’Halleran Bob and Joyce O’Malley Susan and Ted Oppenheimer Irma Parker Christine and Michael Pompizzi Bradley and Patricia Reid Lynne Remington and Geoff Goldberg Bob and Mary Reusché Solvig and Harry Robertson Neil Ross and Lynn Hauser Sandra and Earl Rusnak, Jr. Patrick G. Ryan, Jr. Ellen Sandor Ms. Kate CorneliusSchecter David and Susan Schmid Gloria and Michael Scoby Smita N. Shah Rose L. Shure Gary Sinise Toni Sandor Smith David B. and Barbara Speer Matthew Steinmetz Lisa Swanson Corrine P. Taylor Richard and Elaine Tinberg Robert and Susan Warrington Nicholas and Nora Weir BENEFACTORS ($1,500-2,499) Anonymous (3) Emilio and Trish Albertini Nicholas and Kathleen Amatangelo Kimball Anderson & Karen Gatsis Anderson

Stephanie and Dana Arnett Jeffrey S. Arnold and Ellen J. Neely Candy and Bill Arnold Joanie and Chuck Arredia Gerald and Linda Avery Richard and Janice Bail Yuri and Elena Balasanov Laurie and James Bay Martha and Al Belmonte Ms. Sheridan Prior and Mr. Michael Bender Joel W. Benson Adam and Elizabeth Berger Louis Berger Susan O. Berghoef Nicholas Biederman George W. Blossom III Lisa Bookstein and Ken Bloom Kevin and Linda Buggy Barbara and Eric Burgess Timothy Burroughs and Barbara Smith David Callahan and Terri Abruzzo Mr. and Mrs. H.L. “Chappie” Chapman Antonio and Houda Chedid Dr. Rosalyn Chrenka Fred and Maggie Compton Merle R. Cooper Fred J. Costello George J. Cotsirilos and Joan Hall Dennis R. Cowhey Shirley Craven, Ph.D. Carl and Cynthia Curry Mr. and Mrs. Menahem Deitcher Thomas and Mary Ann Deming Greg Desmond and Michael Segobiano Gautam and Ritu Dhingra Anne M. Donahoe Dr. Steven B. Edelstein Mark and Sandy Ehlert Sidney and Sondra Berman Epstein Mr. and Mrs. Tom Erickson Marc Falleroni David and Mary Farkas Rajiv Fernando W. Clinton and Lois Farrell Fisher Kay and Howard Friedman Mr. and Mrs. Sherwin Friedman Lori Mae Frith Timothy A. Gant and Scott Perry Patti Eylar and Charlie Gardner

Sherry and Michael Gelbort Harold and Diane Gershowitz Larry and Marla Gilbert Mr. and Mrs. James J. Glasser Bruce and Lisa Goldman Sheila and Tom Gorey The Green Family Mary and Jim Greene William and Nanci Greene Warren Grimsley and Jane Jacobs James and Brenda Grusecki Mr. Brian Gupton and Dr. Linda Mueller Jack and Sandra Guthman Mrs. Louise. Hart Stacie R. Hartman Jean Heller Stephens Sandra L. Helton and Norman M. Edelson Gail and Michael Heneghan Marlene and Sonny Hersh Richard and Elaine Heuberger Paul and Susan Hill The Hirschfields Ann S. Hoenig and Jonathan L. Hoenig David and Deborah Holloway Kimberly and Matthew Horowitz Nancy and John Ide Dr. Michael I. Jacobs MD Tom and Jan Jakobsen Patricia Jeffers Hal and Dona Jensen Thomas D. Kaczmarek Reis and Sherri Kayser Peter and Susan Kelly Pamela Kendall-Rijos and John Rijos Mr. Mark Killian David Kistenbroker and Cynthia Heusing Jean Ann Klingenstein David and Kathleen Kovarik Jonathan and Sally Kovler Ann M. Krilcich Raminder and Vinay Kumar Michele Kurlander Carol and Jerome Lamet Gerald R. Lanz and Lisa Kearns Lanz Foundation Victoria S. Lautman Steven and Jody LaVoie Eileen and Paul LeFort Beth Loeb Mary MacLaren Sandy and Jerry Manne Barbara and Larry Margolis

Mrs. Winifred A. Martin Mr. Walter Mathews James and Carolyn McClure Bob and Barb McCullough Brad and Dee Dee McLane Kevin and Beth McMeen Ms. Helen Melchior Ellie and Bob Meyers Amy Laiken and Tim Michel Tom Miles Sherif and Melanie Mityas Robert and Audrey Morris Jon and Tanya Morrison William and Kate Morrison Peter A. and Katherine M.”Penny” Morse Mr. and Mrs. Michael A. Murer Michael T. Noonan Susan and George Obermaier Bridget R. O’Neill Elizabeth Orelup & Lawrence Sonntag Phyllis Parish Joan and David Parsons Amy and Brent Peebles Simon and Kim Perutz Sherri and Ted Pincus Jennifer and Perry Pinto Patricia Pippert and Steven Redfield Susan Piser and Sandy Bank Carl and Barbara Plochman Andrew and Judy L. Porte Elizabeth Price Linda Reid Sheri and Bob Reum Mr. and Mrs. James M. Reum Susan and Edwin Ritts John C. Roberts and Lynn D. Fleisher Barbara and Jim Robins Holly B. Rothschild Janet and Philip Rotner Annette Rotolo and Donald Van Hulle Pamela and Fred Sasser Susan Schaalman Youdovin and Charlie Shulkin Michelle Maton and Mike Schaeffer Carrie Schloss Matthew and Tina Schubert Diana and Richard Senior James and Mary Jo Slykas Dr. William and Cherie Bunn Jeff and Michelle Soble Thomas Stappas Gail and Eugene Steingold

individual contributors Directors Circle Kristin and Stan Stevens Jeff Stoller Lauren and Steve Strelsin Josh and Kimberly Sutton James and Sara TenBroek John and Maribeth Totten Ms. Carrie Truckenbrodt

Tali and Liat Tzur Susan and Victor Venturi Dirk and Donna Vos Lisa and Jason Wadler Albert Wald, In Memory of Nancy Wald Ms. Monica L. Walker

Bryan and Jennifer Weinstein Dr. David WassermanIn Memory of Abby S. Magdovitz Dr. Carey Weiss and Dr. Karen Pierce

Karen Weiss Jeanne Marienthal Westcott Mr. and Mrs. Bill Wolf Bobbi Zabel Elizabeth Ziegler

individual contributors Annual Fund Steppenwolf thanks the many supporters who help bridge the gap between annual operating costs and ticket sales. We regret that, due to space limitations, we are unable to recognize gifts below $150. To all our benefactors, we thank you for making possible another season of engaging, provocative theater.

Make your gift today by visiting www.steppenwolf.org/support or calling Eric Evenskaas at 312-654-5615.

PRODUCERS ($1,000-1,499) Anonymous Kris Alden and Trisha Rooney Alden Carolyn H. Andress Grace Barry Shaun and Andy Block David C. Blowers John and Barbara Bowlin Larry and Debbie Brady Mr. and Mrs. John M. Brannigan Myriam Bransfield, In Memory of John J. Bransfield, Jr. Chuck & Rita Carlson Michelle L. Collins Frances Comer Charles and Judith Cory Ana Cristiano Alecia Dantico Kent and Liz Dauten Patricia and Richard Doonan Charles B. Edelstein Carol and Steven Felsenthal Elaine Fishman Steven Florsheim and Jennifer Friedes Aileen Furlong Raymond Godbout James and Dianna Goldman Ms. Sabrina P. Gracias Robert and Melanie Halvorson Timothy R. Hanley Victoria and Charles Harris Hawkanson Family Foundation Melinda and Craig Hilsenbeck David Kathman Brian Feiges and Tamar Kelber

Klaff Family Foundation Ms. Oya Kosebay Rachel Kraft Mark and Carol Lorenz Beryl and Sue Lovitz Mr. E. Barry Mansur Roger and Courtney McEniry Mr. Mike Merwin Leslie Milton Terry Newman Paul Ordynski Mr. and Mrs. Mark Osmond Mr. and Mrs. Pajakowski Philip W. Palmer Gary and Valentina Patitucci Sharon and Jerry Rhoads The Rooney Family Eric and Jana Schreuder David and Judith Sensibar Anna D. Shapiro and Ian Barford Curtis Spears Nikki and Fredric Stein Mary Stowell and Jim Streicker Matthew Summy Heidi Thatcher and Rory Rafter Mrs. Vernon B. Thomas Mr. Charles A. Tribbett Tom and Michelle Wake Carolyn Watson Matthew Wilson and Anne Posner Jane and Greg Wintroub Ronald and Geri Yonover ENSEMBLE ($500-999) Anonymous (7) George and Fay Adams Carole and Paul Adams Jack J. Adrian Robert C. Anderson

Corby Arnold, Esq. Peggy Bagley and Rabbi Douglas Goldhamer Dr. Stephanie and Mr. Andy Baker Ms. Rose Baker Robert and Sharon Barton Thomas Bearrows and Holly Hirst Dr. Mary E. Belford MD and Mr. Ric Berta Lawrence Bell Julian and Joan Berman Gerhard and Kathleen Bette Michael and Cathy Brennan Samuel Briones Larry and Susan Broutman Julia Brown George and Joyce Brown Lois Browning Richard and Barbara Bull Janet Burch Leslie Burns Kyle Carstensen Philip Chang Sheila J. Chapman and David D. Soo J. Morgan Chism-Diebold Daniel Clark James and Julie Coffman Nancy Schumacher and Mark Schumacher Ramon Colorado Howard and Pamela Conant Everett and Susan Conner Ed and Melissa Cook Joel Cornfeld Stephanie and Barry Batson Liese Dallbauman Rathin Datta Richard and Lisette Davison Inge de la Camp

Lauren V. Dettloff Peter and Connie Dickinson Jeffrey and Lori Diemand Roberta S. Dillon Will Dunne Jennifer M. Ellin Steven Cody Engle Ms. Heather Erickson Amy Eshleman and Lori Lightfoot Mr. and Mrs. R. Jeffrey Euritt Gregory Faron Harris J. Feldman, M.D. Nancy and Rick Firfer Brad and Lisa Fisher and Family James and Sandy Freeburg Kate Friedlob Susan and Sy Frolichstein Tom and Beth Garrow Matthew A. Gelbin Mr. Alex Gillan Ms. Reney Gitajn Keith Goggin Alvin Goldfarb Sue-Gray Goller Kerry and Kim Grady Laurence and Carrie Grant Eric Gravengaard Michael and Lisa Greenfield Renata and Michael Grossi Kevin Haight Ms. Joan W. Harris Lois and Marty Hauselman Laura Hazelwood Mr. Jason Held and Mr. Steve Oxman James and Kathleen Henderson Martin and Marjorie Hickman

individual contributors Annual Fund

48

James and Margot Hinchliff Anne Linsdau-Hoeppner and Walter F. Hoeppner III Bonny and Todd Hoover Mary and Dermot Horgan Robin and Harry Hunter Clare and Mark Hurrelbrink Jean Perkins and Leland Hutchinson Tim Jaster Linda and Christopher Johnstin Mr. Anthony Juozapavich Arnold Kanter Ernest and Harriett Karmin Robert A. Katz Aviva Katzman and Morris Mauer Judith and Jerry Kaufman Adam and Renee Keats Mr. J. B. Keck Jeffrey Kerr Helen Kessler Jennifer Kim Anne and Ken Kinney Sylvia and John Kinney Maureen and Kim Klatt Carol and James Klenk Cynthia Kobel Rachel Kohler and Mark Hoplamazian Pat and Mike Koldyke Peter and Linda Krivkovich Deborah S. Krolik Mr. Alan Kuska Mr. and Mrs. Thomas Lad Fran Lambros and John Lowry George M. Langlois, Ph.D. Roberta L. Larson and Richard G. Larson Jonathan Lebedoff and Karla Yeh Madeline Lesnik Dr. and Mrs. Harvey J. Levin Ms. Tanya Levshina Benita Levy Travis Life Stephanie F. Linn Jean Linsner Abby and George Lombardi Ms. Christine M. Long Thomas and Susan Long Chris Lovejoy Mrs. Barbara Lucas and Ms. Toni Sieve Kristin Lynch Mr. and Mrs. Kenneth Lyons Arlene Manelli Holly and Edward S. Mann Helen Marlborough and Harry Roper Dr. James Martin Mr. and Mrs. George J. Matkov Jerry and Joan Mattson

Michele C. Mayes Robert and Eleanor M. McAllister Mr. Raymond F. McCaskey Margaret S. McGee Michael McGuinnis and Ruth Ann Gillis Paul and Lana McHenry Hugh and Marybeth McLean Mr. and Mrs. Pierce McNally Charlotte and William Mehuron Dr. Janis Mendelsohn Susan Messing Michael and Susan Miller Hardye and Donald Moel Kathy Morris and Mark Biat Michelle and Michael Morris John S. Mrowiec and Karen Granda Josette and Wallace Nard Mr. and Mrs. Cathy and Bob Nathan J. Christopher Neagle Joan Neil Emily and Hank Neuberger Howard and Cathy Niden Paul and Nancie Oetter Barbara and Daniel O’Keefe Jeremiah Kelly and Paul Oostenbrug Rachel Orlikoff John and Roberta Paskvalich Sandra and Michael Perlow Clifford R. Perry III Barbara Peters Anne and Donald Phillips Dr. Susan Burland and George Plumb Brett Plyer Nathan Popkins Jeff and Susan Rashid Gabriel and Dorit Raviv Molly Regan and Conrad Osborne Mr. and Mrs Edwin Rivera Steve Rodichokand Renee Gattone Doreen and Michael Rothstein Charles and Lisa Rule Francis Sadac Dr. M. Ramez Salem Sheldon and Lynne Sandman Marie-Claude Schauer Mr. and Mrs. Darryl Schimeck Jonathan Schmugge Joseph and Judith Scully Doug and Maureen Seaman Ms. Michelle Semisch Lara Shackelford

Michael Shapiro and Deb Gohr Shapiro Dr. Lisa Shives Kathryn Simpson Joan and Thomas Skiba Mr. and Mrs. Sam Skinner Christine A. Slivon Suzanna and Kraig Smiegowski Patricia and Robert Smietana Charles Smith Neil and Isabella Smith Mark and Donna Steinbach Christine Anderson and Jay Steinberg Patty Sternberg Mr. Sean Sullivan Walter Swiston Mr. Brad Szczecinski Kevin Tottis Ms. Audarshia Townsend Olga Tsipursky Reed and Rosemary Tupper Dana and Scott Turban Brady I. Twiggs Marilee Unruh Mr. and Mrs. R. Todd Vieregg Sarah and Kamiar Vossoughi Chuck Wehland Mr. and Mrs. Robert G. Weiss Tom and Blaine Wells Donna Wilkinson Jan and Michael Williams Nick and Nancy Wilson Terry and Mary Winkler Ruth Winter David Wise and Dianna Niebylski Jessica and Jeff Wisniewski Iris S. Witkowsky Ms. Sarah Wolff and Mr. Joel Handelman Ms. Andrea Worth Carol N. Yamamoto Stephanie Yancey Peter Zadeik, In memory of Esther Zadiek Mark and Margie Zivin DESIGNERS ($250-499) Anonymous (18) Alan and Nancy Berry Lisa Thalji Thomas W. Abendroth and Terri L. Mascherin Nancy Abshire Catherine Adduci Helen and Mark Alison Brian and Jennifer Alves Jim and Sheila Amend Kristopher J. Anderson Wendy and Mike Anderson Michael Andrews and Ryan Ruskin

Melissa Andrews Janet and Steven Anixter Cedric H. Antosiewicz and Margaret M. Gudenas Jean Arndt Mr. Joseph Asbury Mr. and Mrs. James Aslaksen Mr. and Ms. Paul Athens Rebecca and Steven G. Ayre William and Ann Baker Barbara Baldwin John and Sharon Baldwin Catherine Bannister Tom and Sherry Barrat Warren and Beverly Bartel Mia A. and Scott Bass Sandra Bass Ms. Teresa Battaglia Patricia L. Baylis Donna and Patrick Belics Mr. and Mrs. John Bell Brandon Benson Paula P. Benton Mr. Melvyn E. Bergstein Sean Berringer Adrian and Arta Beverly Lois J. Bider Jerry Biederman Beryl and David Bills Lois and Stanley Birer Marc D. Blakeman Cindy Blaszak Frances and Robert Boardman Claudia and John Boatright R. Darrell Bock Kevin Boehm and Courtney Moon Anthony Boggiano Steve and Lynn Bolanowski Mr. and Mrs. Robert J. Bolas Donald F. Bouseman Phyllis and Sam Bowen Michael and Kate Bradie Andrea Brands Nicole and David Braun Abdon and Eileen Bray David Briggs Lyn J. Bromley Frank and Dale Brull Mr. John Bubb Susan Buchanan and Steve Brown Michelle and David Buck Robert J. Buford Tripp Burton Crystal and Thomas F. Bush Richard Butler John Byrd John and Libby Cady Mark Caldwell Karen A. Callaway Debra Callozzo Deirdre Campbell Curtis V. Canada and Lyn Kendrick

individual contributors Annual Fund Andrew Caridas Barry Carlson Barbara and Mark Carlson Mr. and Mrs. Gerald Castro Scott Casty Mr. Ted Champion Mr. and Mrs. Larry D. Chandler Gerry and Carol Chrisman Nancy Ciezki and Diane Kostecke Sam and Kathleen Ciulla Amy Clark Sue Clark Bente Clausen Betty Cleeland Mr. and Mrs. Ron Coleman Mr. and Mrs. Terrance Coleman Steven Collens Constance Coning Michelle Conrad Adam Cook Dave and Jane Cooke Edward and Caroline Costello Mr. Louis Crisostomo Maureen Crowley and George Mr. and Mrs. Richard Davidson Ms. Kim Davis and Mr. Brian Eble Mary DeCresce Bernard and Cindy Deir Mrs. Edith F. De Mar Mark and Rose DeMeo Jerry and Karyn DeVault Tim and Liz Devine Dianna L. Di Iorio Michael and Melinda Dickler Mr. and Mrs. Kerry and Ellen Dickson Lisa Dickson Mr. Dave Dimmlich and Ms. Beth Hummelberg Mr. and Mrs. Brian Donnelly Brian and Joanna Donohue Mr. Shane Donovan Sylvia Doucette Paula Douglass Susan V. Downing Rosanne Druian Marie L. Dufault Greg and Kathy-Sue Dunn Mr. and Mrs. Jon R. Dutcher Ms. Naomi Dwyer Mr. Ryan Edlefsen and Ms. Julie Lissner Estia Eichten and Deborah Eichten Brent Eldridge Paul and Catherine Embree Dale and Jo Ann Engquist Elizabeth Fahey Lynette and Kent Fair

Edith and Gerald Falk Toni and Joel Fenchel Charlie Ferreira Dr. and Mrs. James M. Fisch Paul and Christy Fisher Tim and Andrea Fitzgerald John and Patti Flanagan Jan and Bill Flapan Eleanor Flavin Jean and Jim Foley Lisa Folkers Ms. Janice Fong Cindi and Cory Fosco Reverend Mark A. Fracaro Dr. and Mrs. James Franklin Roger and Fiona Frechette Susan Fuchs, M.D. Richard and Lois Fuhrer Mr. and Mrs. Frank Galioto Diane Riley Gavin Jami Gekas Dr. and Mrs. Mark Gendleman Hank and Sandy Gentry Amy George Stephen C. George Katie Gerdes and John Stoops William J. Gibbons Sandra Gidley Pavi and Amy Gill Stan and Gerry Glass Lydia Glowaty David Glueck Florence Bonnick and Jay M. Goldberg Paul Goldstein and Nasrin Mahani Ms. Randell Golman Jason T. Gorczyca Robert Gordon Paula Turner Grasso Karen Greenbaum Dr. and Mrs. Sheldon Greenberg Colette S. Gregory Mrs. Katharine C. Gross Kelly and Robert Guglielmi Grace and John Gunthorp Dr. and Mrs. John W. Gustaitis Catherine and Warren Guthrie Nidal Haddad Sarah Hadley Mr. and Mrs. Larry Haefner Donald and Susan Hallberg Linda Halperin Christine Buss and Ed Halpern Janice Halpern Amy and Brian Hand Dr. Raymond and Arlene Handler Bonnie and Tom Hardin Mr. Chip Hardt Renee Hardt and Scott Moehrke Rosalind Henderson Harris

Teddy and Sarah Tom and Virginia Hartley Liz Hartong Mr. and Mrs. Michael Hassan Christine Hauri Emily Haus Matthew Heller and Susan Holmes Maryan and John Helmerci Timothy Herboth Leslie Herzog Franklin Hester and David Hines Jacob Hildner Robert and Sydney Himes Nancy and Allen Hirschfield Jane Hodgkinson Jennifer Hogberg Drs. Sally and Carlos Hojvat Mr. Kilton Hopkins Jack and Bonnie Horbovetz Mr. Donald Horvath and Ms. Juli Crabtree Francis J. Houlihan Leigh and John Hourihane Mark Ibanez Jim and Joyce Ibers David and Beth Inlander John David Jawor Douglas and Margaret Jayes Clarence and Shirley Johnson Dixie Johnson Sharon Johnston James A. Jolley, Jr. and R. Kyle Lammlein Brad Jonas Bev Jones Mr. Todd Jones Daniel G Jordan and Mrs Mary Ann Jordan Janet and Carl Kalbhen Tom and Esta Kallen Olwyn J. Kane Norma and Nolan Kaplan Dennis and Kathryn Karsh Sandy and John Karuschak Diana and Leslie Kates Polly Kawalek Daniel and Nancy Kaye Dr. Susan Kecskes Thomas Keith and Sheryl Nichin-Keith Carter T. Kennedy Gerould and Jewell Kern Erik Kesteloot Robert and Cynthia Kieckhefer Mr. and Mrs. T. Eric Kilcollin Mike and Leslie King Judy and Phil Kirk Matt and Karen Klickman Anne Chipman and Joe Knecht Rita and Jim Knox

Don and Cheryl Kobetsky Stanley and Billie Kocal Den and Jinny Koide Electra D. Kontalonis Seth Krantz Robert and Marie Kreisman Jennifer A. Krug Ken and Jan Kubis Neal Kulick Family Fund Teresa Lacy Mr. Kurt Lagerloef Ms. Susan Langworthy Anne Lanser Nancy and Alan Lasser Patricia Lauber Kathleen Lawlor Peter Lederer Sheila Fields Leiter Jeffrey and Elise Lennard Catherine Leyser Dr. Vicki Greene Stacy and Peter Lindau Sue Lippe Edward Lisberg Roger and Kay Loftin Christopher Long Ms. Lorraine Loomis Katherine M. Lorenz Elliott and Miriam Lyon Linda Loving and Richard Aaronson Doug and Susan Lyons Mr. Joe Madden Edward and Carol A. Maier Loretta Malone Gloria and Joseph R. Marcus Christine and David Markovitz Steve and Melissa Marovich Mr. and Ms. Peter Mars Kimberly Masius Dr. Norman E. Masters, Jr. Mr. and Mrs. David Mattenson Margaret F. May John McCambridge Nancy McDaniel Suzanne McDermott Sharon McGee Edward and Patricia McGreevy Laura McGrew Joseph and Agnes McHugh Kathy and Alan McLaughlin Mr. Thomas Meagher, Jr. Mr. and Mrs. Barry Mehrman William Melamed John and Lisa Merlock Robert Middleton Cornelia Miller Willie and Clothield Miller Scott and Heather Milligan Mr. and Mrs. Richard Minehart Ralph Miner

individual contributors Annual Fund

50

Mr. and Mrs. Robert W. Mohs Mort and Joan Mollner Jack Montgomery William Mooney Kenneth Moore Sheba Miller-Morris Drs. Gayle and Gregory Morris Ellen Morrison and Andrew Pasulka Vlad and Jeannie Moskin Marisa Murillo Hollace Murphy Dr. and Mrs. Michael Myers Mary and David Myles Wendy Norris and Stuart Nelsen Janelle Ibeling Ness David Ellis and Hope Nightingale Henry and Gail Nonaka K.C. Norman Cliff and Sarah Norris Ms. Susan Noyes Christopher Nugent Charlene Nuti Ann and Dan O’Brien Margaret O’Connor Ms. Judith M. O’Dell Dennis J. O’Keefe and Mary Jo Barrett Larry and Barbara Olin Albert and Mona Oliver Don Olson Bruce Oltman Eric and Bridget Orsic Mayor John and Jacqueline Ostenburg Patrick and Eileen O’Sullivan Deborah Page Ms. Anne Palumbo Ms. Joy Pamintuan Grayce Papp Dr. Georga Parchem and Dr. Allen Parchem Jana O’Brien and Wayne Parman Thomas Pawlik and Ava Cohn John T. Pawlikowski Charles and Melanie Payne Mel and Lynn Pearl Elyse and Howard Pearlman Kate Pecoraro Margaret Pendry Raymond and Alice Perry David M. Pierce Charles and Bettina Pietri Charles and Judith Piper Michael and Deborah Piraino Frank C. Pond Pam and Dean Pontikes Andy and Brynne Poole Avner and Joan Porat Tracey L. Power V. Pristera, Jr.

Jerry Proffit Ms. Carryn Quibell Elliott Quigley Marsha Raanan David Rambo Daniel W. Ray and Lynne S. Kaminer P. Kevin Reidy Mr. James Reynolds Fred and Karen Rhynders James R. Richardson Ms. Beth Richman Laura Riddle Susan and Richard Rieser, Jr. Carol and Riney Robertson Ms. Carey Robin Mary Lu and Kenneth Roffe The Romano Family Gerald and Carol Roper Mrs. Linda Rosenblum and Mr. Steven Swiryn Hilary Rosenthal Mr. Richard Rosenthal Ms. H. Cary Ross Joseph Ross Mr. and Mrs. Michael J. Ross Susan B. and Dr. Myron E. Rubnitz Manfred Ruddat Ray Rusnak Diana and Ed Ruthman Henry Sampson and Mark Mungai The Noir Carolyn Clayton and Patrick Sandercock Stephen and Leatrice Sandler Mr. and Mrs. Martin Sandoval Christopher and Ann Marie Saternus Bill Savage Edna and Dick Schade Curt Schade Rob and Judith E. Schaefer Laura Schalekamp Susan Tobias and Alan Shapiro Allison and Charles Scherer Kathleen and Richard Schillo Frank and Karen Schneider Susan and Gary Schuman The Schwartz/Stancik Family Suzanne Scibek Carla Scott Thomas and Marry Ellen Scott Nedinia Searle Nancy and R. J. Seidel Mr. Stephen Seliger Andrea K. Selley and Scott Urban

Kathleen Semler Mr. and Mrs. Robert E. Shapiro Jeffrey S.Sharp & Elizabeth D. Sharp Linda and Steve Sharp Nancia Shawver and Larry Weiner Luna Okada and Wynn Sheade Candace Song and Alexander Gail Sherman Dik and Cynthia Shicotte Mr. Oliver Shields Gina Shropshire Ms. Joan Siavelis Brent Siegel Jodi Silberman Ilene Simmons Julia Simpson Jonathan and Elizabeth Sion Ellen Mrazek and Daniel Slattery Dr. L. Simonton-Smith Jackie Snuttjer Henry So and Joe Senese Brian Soderberg and Christine Ramberg Lawrence and Shirley Solomon Mr. Patrick Spangler Laura Catherine Speltz Shantha Sreekanth Susan Haery Diana and Thomas Stamborski Mr. and Mrs. Steven Stanford Susan Stein Steven and Susan Steinmeyer J. Timothy Stewart Kelly Stonebraker and Debra Stonebraker Arlo and Judith Straight Katherine Gould Straight Gail and John Straus Jennifer Strople Judy Sugarman Mrs. Leonora Svihra Karen and Ray Hacker Michael A. Swafford Mr. Mike Swafford Alan and Emily Basque Mr. Mark Sweeney Michelle Sweet and Scott Bourne Linda K. Swift William and Julile Szematowicz Peter and Obie Szidon Richard and Anne Taft Benjamin and Gloria Tarver Michael Tatum and Susie Young-Tatum Ms. Elaine R. Taylor Michael Teplitsky Irene Patty and Thomas Terpstra Dick and Alice Teutsch

Barbara and Randolph Thomas Ms. Sue Thompson Jamie Thorsen Carrie and John Thurber Mr. and Mrs. John Tipton Richard Tobiason John and MadalynTraff Nick Trakas and Marc Ceron Carol D. Trapp Ms. Sally Truckenbrodt Edward and Edith Turkington Annette Turow Dennis and Jane Uehara David and Mickey Unger Anne Van Wart and Mike Keable Walter B. VandeWerken Peter and Lilian Vardy Thomas and Kathryn Vargish Susan Vonderheid Paul D. Waas Margaret Walsh John F. Ward Mr. and Mrs. Patrick Ward Gwenyth B. Warton James Watson Robert Watson Mary and Bill Watt Melanie and Judson Weeks Michael Weiland and Shelley MacGregor Betsy Shaw Weiner Sherrie and Albert Weiss Natalie West and Keith Moorre John W. Wheeler Anne and Jay Whipple Michele and Ray Whittington Larry and Susan Wikman Helen and Budd Wilder John Willand Ada Gugenheim Patricia Boye-Williams and Chad Williams Scott and Donna Williamson Gary and Modena Wilson Charlotte Wojnowski Julia Wold Richard Woodbury Farhan Yasin Kathy Willhoite and Rodd Zolkos PLAYERS ($150-249) Anonymous (37) Richard and Louise Abrahams Philip and June Aimen Mr. Justin Alden Karen and Scott Alexander Barbara and Oscar Alonso Jon and Pamela Sherrod Anderson Juan and Graciela Angelats

individual contributors Annual Fund Rosemary Crowley and Mort Arnsdorf Rolla and Joe Ash John Asplin and Christine Orders Linda A. Bacci Ms. Kara Bachman Barbara Badger Mary Lou Bailey Ann Baker Annette Baldwin and Paul Kolansinski Daniel Alan Balsam Mikel and Mary Baniak Sanford and Renee Bank Linda Banks Patrick Barrett Dr. Bruce and Sally Bauer Matthew Behr Ms. Beverly Beine Julie and Howard Benario Dr. and Mrs. Anthony J. Bennet Mr. and Mrs. John Berg Jacqueline Bergen Peter and Michelle Bergren Anne Berkeley Raeann and Sidney Berman Mandy Berry Barbara E. Bevan Maurice J. and Lois Beznos Mary Anne and Joe Bigane Robert Bionaz and Ms. Karen Christianson James and Dorothy Bishop LaDonna and Ed Black James Blackman Ms. Sydney Blattner Mr. Mark Bloom Frima H. Blumenthal Maggie Bobbitt Fred Boelter Ron and Judy Boggs Mr. Christopher P. Bohus Philip Boyd Mr. Todd Brady Michael BreDahl Judith and Harold Bregman Sarah Brittin Morris E. Brodwin Keith and Arlene Bronstein Frank Brooks and Andrea Twiss-Brooks Jean Broom Beth Brown Jodie Brown John Brown Ilene and Robert Brown Ed Bucher Jay K. Buck Carol Burke Dr. and Mrs. Sheldon O. Burman Jean and Thomas Burns Philip Burton Toni and Mike Cainkar

Thomas and Karen Calpin Jr. Ronald Campbell Randy Cano Ray Capitanini Thomas Cardoni Christine Carparelli Fairbank and Lynne Carpenter Robert and Sharon Carr Steve Chamberlin and Cathy Colton Richard and Cheryl Chamblin Susan and Jon Chapman Stephen and Jane Chernof Mary Lou Christy Bernard Chung Tobia Ciottone Lori Civello Drs. William and Elizabeth Clark Mr. Donald J. Clarke Carol and Michael Clarke Neil Clipstone Jeff Cogan Marvin R. Cohen Martina A. Cole Thomas Connally Peter and Judith Connolly Mr. Michael Connor Barbara Coriden Colleen Costello Beth Coughlin and David Wang Harvey and Arlene Coustan Robert Crawford Phyllis Cretors Colin and Teri Cross Dr. and Mrs. Maurice R. Crowley Linda Curtis Paul and Deanna Danao Emilie De Angelis and Bert Davenport Mr. Ronald de Vlam James Dersnah and Lida Wagner Theresa and Nitin Desai Jill Devaney Matthew J. Devereux Rachel and Paul H. Dieterle Peter and Elizabeth Dietz Robert and Karen Dirmish Sandra Dismore Stacy and Jeff Dixon Glen and Suzanne Dobosz William and Phyllis Dobrin Mr. Jordan Dorfman Jean and Dick Doub Sally and James Downey Donald and Beatrice Drayer Tom Drebenstedt Judy and Jerry Drommerhausen Monte Dube Maynard H. Dubow Ms. Allison Duffy

Dr. and Mrs. Gregory Dumanian Tom and Adele Dunn Bryan Duplechain Joan and William Dutton Caroline Dwan and Dan Coogan John and Pat Dyble Wendy Eager Jeanene Ebert Ms. Louisa Economou Sten and Katherine Ekstrom Tom and Victoria Eley Steven and Michelle Elliott Eugene and Jean Emeson Serpil Emre Mark and Virginia Erlanson Marilyn D. Ezri M.D. Dr. Malcolm E. Fabiyi Maurice Fantus and Judith Aiello David C. Farmer Loren Klug and Bridget Farrelly Mr. and Mrs. Daniel Fegan Robert and Kathleen Fife Mr. Robert Fisch Mark and Christine Fisher Sara Stern and Ted Fishman Sandy Fliegelman Charlotte and Robert D. Flinn Alicia Flodstrom Martin and Ann Florie Paul Fong Mr. and Mrs. James Forlenza Mr. and Mrs. Eric W. Fors Timothy and Janet Fox Alexis Funches Mary Gabel Paul and Helen Gallagher Raymond and Patricia Gass Ralph and Elayne Gebert Mark and Bonnie Gehrman Christopher Gent Thomas Germino Hugh and Doris Gilbert Clark and Nancy Gilpin Lori and Steve Ginsburg Peter Glatz Dennis L. Glavin and Janet Bantz Glavin Eileen M. Golan Sue Goldenberg Marsha and Michael Goldstein Enid J. Golinkin Jessica L Gonzalez Samuel J. Goodman Bruce Gorchow and Marie Fioramonti Russ and Desiree Grant Judy Grasmick Dr. Kitty Green Dr. and Mrs. Robert Greendale

Tara Nussbaum and Alan Greene Katherine and Adam Greetis The Greffin Family Barbara Johanson Grigola James and Lynn Grogan Merle and Barry Gross Jamee and Terry Gross David Grossman Kate and Francis Guinan Donna and Steve Gulley Susan and Michael Gullotto Marie L. Gunn Mr. Rolf Gunnar Doreen Hagerty JIm and Dee Haklin Claire M. Halloran Craig and Terry Halverson Richard Halvorsen Betsy and Mike Hammond Anne Harney David Harrington Ilene and Morton Harris Lee Haupt, Yvonne Lange and Ted Steck Alan Hauser and Anne Suh J. Michael and Barbara Heaton Peter and Claudia Hellman Andrew Henkel Pat and Ron Henning Joyce K. Herdliska Frank and Midge Heurich Rosalie Hewitt Fred Hill Marc Hilton and Judith Aronson Vivian and David Hock John and Virginia Hogan Thomas Hogan Donald and Karen Holmberg Mr. David Hooker Paula Horn Hornbostel Family Aileen M. Horowitz William Hottinger Ina and John Houck Robin Hulshizer Karen Hunken Barbara Hunterand Cottrell Meadors Harry and Diana Hunter Richard A. Hutner and Lena Motev William Ibe William and Christine Ieuter Daniel Ingram and James Crawley James and Margaret Isherwood Ron and Lizette Jacobson Janice and Boyd Jarrell Davis Jenkins Alison Jensen Craig and Heidi Johnson Loren B. Johnson Mark Jones Michael and Fran Jones

individual contributors Annual Fund

52

Mr. Michael Jorda Melvin and Annie Kahn Paula R. Kahn Don Kaley Mary Jo Kanady Joseph J. Kane Mr. and Mrs. James Kargman Mr. Sandgren Karl Ms. Melissa Karlin Ms. Claudia A. Katz Sara Kaufman Sherry Keating Matthew Keller, Jr. Courtney Kennedy Dr. Ilene Kettering Seema Khan John and Jacki Kilcullen Linda Behan and Vincent Kinehan Benjamin and Louis King Katherine and Frank Kinney Deborah Kirkorsky Mary Anne Kiser Carol Chor and Stephen Klafter Ms. Marian Klaus Douglas and Catherine Knuth David and Deborah Koenen Mr. Ann Kohler Robert and Janet Kohrman Barry and Cheryl Kreiter Linda Kulikowski Ms. Carolyn Kurtz and Mr. Gary Steinberg Chuck and Diane Laff George and Carla Lambrechts Phil and Helen Lambruschi Judith Land Ed and Bettine Landon Fred Lane Renee Lantner Robert Larrimore Edward and Laverne Larsen Jules H. and Marilyn R. Last Charitable Fund Emily Lavin Lance Lawson and Jimmy Wetzel Deborah and Jim Lecuyer Pam Lee Susie and Toby Lees Mary Lynn Leland Ms. Laurie Leli Mr. Darrell Leonard Stuart and Bobbie Levin Susan Levitt Michael N. Levy Kenneth and Renee Lewin Fred Lieber Dr. Jeffrey M. Lisowski Anissa Listak and Eric Johnson Burton and Nancy Litwin William Loesch Arthur and Barb Loevy

Ms. Andrea Long Chris Lonn Dr. and Mrs. Dale Loomis Mr. Nathan Lopp Harvey and May Lord Mr. Christopher Lovejoy Claudia Lovelette David Lowdon Jeff and Nancy Lowenthal Lloyd and Susan Lowy Kelly Luchtman Rosey Lugo Mr. and Ms. Ben Lumpkin Ms. Sherry Lundell James and Janet Lusk Mr. and Mrs. Dennis Luxion Joyce MacDonald James Maclennan Alexander MacNab Kathleen Majkowski Dixie and Ken Malek Mr. John Victor Malkovich Robert and Susan Mangano Ken and Nancy Marks Diane Martin Anthony and Laura Massaro Shawn Mathis Henry and Peggy Matson Sharon K. Matz Ellen and Kevin May John and Nancy McCabe Mike and Cindy McCabe Stacey and Patrick McCusker Duane Sigelko and Mary K. McDermott Merilee and Logan McDougal Terrance and Jane McElroy Robin and John McGinnis Anastasia McGuire Erin E. McInerney Carol McKeone Tom and Adrienne McMullen Mr. Matthew McQueen Claretta Meier Tim Meneely May and Murl Meredith Dean A. Miller and Martha H. Swift Mia and Jonathan Miller Karen Miller and Sheba Miller-Morris Ron and Pat Miller Stephen and Kimberley Miller Sandy and Scott Miller Wilfred and Barbara Horiarchi Ms. Barbara L. Mills Mike Mittermann Terri Monk and Craig Weldon Chris and Kathe Monley Brian Weatherford and Steven Montgomery Sharon Moore

Robert J. Moretti Bob and Ileen Morris Karen Mouscher Dr. Martin Mozes and Mrs. Chava Mozes Mary Ellen Murphy Nance Nalepa Janet and David Neal Karen Nemchik Jack and Leanne Neurauter Marilyn and Russell Newlin Mark and Maggie Nichter Karen Nickelson Margaret Niedermaier Kris Nielsen Lynne Nieman Daniel and Clare Nimer Emily Nixon Mariano Nunez Sally O’Brien Mary Pat O’Brien Karen J O’Connor John M. O’Donnell and Bonnie L. Humphrey Colleen M. O’Leary Hershel and Adelle Oliff Paul Oliver Brian and Theresa O’Neil Timothy O’Neill and Jane Rutherford Peter and Alanne Ori Jerome and Kathryn Osen Margie and Derk Osenberg Sandra and Mark Ostler Richard Ostrow Frances and William Paden Judy Paglis Kim Palmbush Mr. Alfredo Pamintuan Ms. Nichole Panje Jane Panther Audrey and John Paton Ms. Margaret Paul Richard and Marcia Pauling Peggy Paulsen M.K. Peagram Paula Pederson Andre and Julie Pernet Mr. William Pesetski Elizabeth Peterson Ross and Jackie Peterson Andy Phelps Margaret Madden and Richard Phillips Barb and Ned Piehler William and Suzan Pinsof Podolsky Family Foundation Kirsten and James Potter Wanda Price Judy Prince Lynn and Clayton Pruitt David Pruitt and Marjorie Baltazar Dave and Darby Putman Jennifer Quinn Broda Kevin Quirk and Marsha Lee

Walter Radloff Ruth Rankin Russell Herron andLauren Raphael Ms. Barbara Rapp Mr. Chuck Rebesco John and Linda Rebrovic Irene and Alan Redman Jane Rees Michael Reese Jim Reid Elena Reinert Elaine and Noel Reitmeister Lisa Remby Clisson and Patricia Rexford Dr. Ralph Richter Jr and Mrs. Constance Richter Patrick Riley Burton R. Rissman Bill and Deborah Roberts Stephen and Caryn Robin Ms. Sharon Robinson Sandra and Jeffrey Rochman Mr. Bruce Rodman Susan W. Rogaliner Deborah Rogers Izabela Roman Sherman and Sarene Rosen Honey and Howard Rosenfeld Mr. and Mrs. B. Rosenstein Michael and Bonnie Rothman Ann M. Rothschild Chuck and Peg Rowe William Rowe Howard and Phyllis Rubin Morley and Maureen Russell Mrs. Faye A. Ryan Ms. Teri Rys-Maki Mr. and Mrs. Joe Saccomanno Van and Sue Salmans Dr. and Mrs. Edwin C. Salter Julia Nowicki and Timothy A. Sanborn MD John and Mary Satter Mary Ellen Schaid and William Lenz Maria Schane Stephanie Scharf and David Taber Scheuring Family Bernice and Seymour Elbin-Schiff The Schirato Family Rose Schmidt Madeline Schneider Elizabeth M. Schornak David Schuler Robert I. Schwartz Joyce Schwegel Celeste and Tony Scolaro Barbara Jo and Thomas D. Scott

individual contributors Annual Fund Elizabeth G. Selmier Leslie Shad Surendra and Dorothie Shah Marci and Mike Shames-Yeakel Sugar Shankman Jonathan and Lynne Shapiro Kathryn Shenk Cheryl and Philip Sheridan Mr. Tom Sherman Sandra Shimon Wm. Angus Shorey Ms. Rochelle A. Siegel Margaret and Alan Silberman Susan and Paul Silverman Mr. and Mrs. Miroslaw and Jolanta Skalski Maureen Slavin Mr. and Mrs. Hugh Smart Chuck Smith Jill and Stephen Smith Peter E. Smith Queen Smith Margaret Snow Andrea Snyder Jane and Lee Sotos John Spahr Gary Spangler & Julie B. Aimen-Spangler Mr. James C. Sparks Eugene and Ruth Spina

Mirja and Ted Haffner Bonnie Spring Diane Springford Geoffrey and Elise Stanbury Dr. Lisa D. Stanford Thomas Starshak Ms. Barbara Steele Seena and Carey Stein Wallace Stenhouse Deborah Stewart and Roy Plotni Kurt Strand Mr. Larry Stuckey Margaret and Edwin Stueben Melissa Suster Yvonne Sutor Mr. Brandon Swalve Ms. Patti Szabo Bonnie K. Tarry John R. and Catherine Taylor Juanita Temple Tim and Carolyn Thompson Skip & Eileen Thurnauer Anne Tobey Trevor Tomkins Ms. Mona Tousi Daniel Trainor and Claudia Berg Don and Bernadette Turner

Catherine Turner Susan Tuteur William Udovich Elena Urschel Gretchen Vacendak Pat and Roger Van Zele Ms. Susan VandenBosch Janice and Frank Vanek Kathryn Vehe Tracy Vercillo Dr. Susan Vineyard Robert and Rose Wagner James and Karen Wagstaffe Gary and Carleen Wald Babs Waldman William and Sharon Wallin William Walsh and Patricia Curtis Sharon Ward Deborah and Neil Warner Ms. Sally Warner Candace Wayne James Webb Judy Weingartner Judith Rogers and Howard Weiss Adam and Jamie Weyeneth Bonnie Wheeler Mr. and Mrs. J. D. Whittenberger Barbara Wilder

Harry and Geri Jender-Wildfeuer Steven and Mary Willcox Deborah B. Williams Ph.D. Cynthia Wirth Stanley Wojcicki Mr. Patrick Wojtak Ann R. Wolfe Dr. Anne H. Wright Ray and Bobbie Yozwiak Glenn Zabec Ed and Lisa Zeitler Marc and Colette Zeman David and Teresa Zembower Ron and Charlie Zia Mr. Daniel Ziembo and Ms. Nancy Cook Burton and Eleanor Zoub Daniel Zox

individual contributors Auxiliary Council Comprised of over 150 young professionals, Steppenwolf’s Auxiliary Council works each season to raise funds for the Steppenwolf for Young Adults Programs. We salute the governing members for giving generously of their time and resources.

Contact Annie Lebedoff at 312-654-5681 or auxiliarycouncil@steppenwolf.org to become an Auxiliary Council member today.

EXECUTIVE OFFICERS

GOVERNORS

Nancy Schumacher* President

Michael Andrews Kevin Baldwin Colette Cachey Smithburg*‡ Mark Caldwell Philip Chang Steve Collens Joel Cornfeld Lousi Crisostomo Alecia Dantico Dianna DiIorio* Heather Erickson* Greg Faron* Aileen Furlong* Frank Galioto Jami Gekas Lydia Glowaty

Michael T. Noonan*‡ Chief Marketing Officer Lauren V. Dettloff* Vice President Stephanie Linn* Secretary Kyle Carstensen* Treasurer Marisa Bryce* Nora Daley Conroy*‡ Founding Officers

Liza Gravengaard Kevin Haight* Stacy R. Hartman Adam Keats Andrew Keyt Seth Krantz Anne Lanser Kimberly Masius Brett Plyler Francis Sadac* Lara Schakelford Laura Schalekamp* Michael Swafford Matthew Summy Kamiar Vossoughi *Executive Committee Member ‡Directors Circle Member

individual contributors Honorary Gifts By making an honorary or memorial gift to Steppenwolf Theatre Company over the past year, the following individuals celebrated a special occasion or paid tribute to a loved one.

Make an honorary gift by contacting Eric Evenskaas at 312-654-5615 or eevenskaas@steppenwolf.org.

In Honor of Nora Daley Conroy Shawn M. Donnelley

In Memory of John J. Bransfield, Jr. Myriam L. Bransfield

In Honor of David and Susan Kalt and Eric and Liz Lefkofsky Stacy and Peter Lindau

In Memory of Dr. Paul P. Krolik, DDS Debbie Silverman Krolik

In Honor of Jared Kaplan Steven Fischer and Tobi Mackler

54

In Memory of Nan Lipstein Cathy Nathan

In Honor of Jonathan G. Lebedoff Mr. and Mrs. Douglas Head

In Memory of Abby S. MagdovitzWasserman Dr. David Wasserman

In Honor of Susan Payne Andrea Biel-Cohen

In Memory of Ellie Punkay Enid Golinkin

In Honor of Bruce Sagan Joan W. Harris

In Memory of Nancy Wald Edward and Carol A. Maier

In Honor of Bruce Sagan Judith and Jerry Kaufman

In Memory of Nancy Wald Albert Wald

In Honor of Anna D. Shapiro Lori and Steve Ginsburg

In Memory of Esther Zadeik Mr. Peter A. Zadeik

Steppenwolf Theatre Company Named One of Nation’s Top Small Workplaces.

Steppenwolf is pleased to announce it has been named one of the nation’s Top 15 Small Workplaces by the Wall Street Journal and Winning Workplaces. The Top Small Workplaces list showcases exceptional employers that have built workplace environments that foster teamwork, flexibility and professional growth while providing an atmosphere and benefits that encourage employee loyalty.

For more information on this distinguished recognition, go to www.wsj.com/reports.

in-kind contributors Steppenwolf salutes the following individuals and organizations who donated significant goods and/or services.

The Affinia Shelburne The Algonquin Hotel Joan Allen AlphaGraphics Ian Barford Chef Rick Bayless Leonard Becker, Attorney at Law The Beverly Wilshire: A Four Seasons Hotel BOKA/Landmark Broadway in Chicago Lynette Harrison Brubaker Chicago Magazine Chicagoland Transportation Solutions, Inc. ClientFirst Consulting Group Gary Cole Crain Communications Inc.

Jenny DiLuciano Deanna Dunagan Edge Audio EntertheChef.com Kathryn Erbe Four Seasons Hotel Los Angeles at Beverly Hills Frost Lighting Frank Galati Goose Island Brewery Grey Goose – World’s Best Tasting Vodka Francis Guinan Halls Rental John Hart: Hart Davis Hart Wine Co. HBO’s Entourage Heffernan Morgan, Inc. HMS Media Images Alive, Ltd. InStyle The James Hotel

Neringa Kardelyte Bill Kurtis Donna LaPietra La Trattoria del Merlo Julie and Fred Latsko Martha Lavey Tracy Letts Limelight John Malkovich Marcello’s Catering Mariann Mayberry Chef Michael Kornick MK Restaurant Microsoft Corporation Amy Morton Sally Murphy Ogilvy & Mather, Inc. Party Time Productions Perenial Jeff Perry William Petersen Russell Poole

POP Red Star Printing Rondi Reed Riviera Todd Rosenthal Sara Lee Corporation Sepia Anna D. Shapiro Shochu Shure Incorporated Gary Sinise Chef Art Smith Rick Snyder A Table for Two The Talbott Hotel Terry Kinney Timeout Chicago Tipsycake David Turner Photography United Airlines Vinci

Please note that gifts listed above reflect contributions made as of 9/15/2009. Every effort is made to ensure that the information included in our program is accurate. If you have a question about your recognition or wish to alter your listing, please call the Individual Giving Department at 312-654-5615.

steppenwolf

Leading American Theatre with your support.

The best in American Theatre starts right here in Chicago at Steppenwolf. From the creation of new plays to developing a future generation of audiences through education programming, Steppenwolf is leading American Theatre. Your support makes it possible.

Become a donor today by visiting steppenwolf.org/support or calling Eric Evenskaas at 312-654-5615.

Accessibility Committed to making the Steppenwolf experience accessible to everyone, we feature: Sign language-interpreted and audio described performances during the run of each subscription play.

Wheelchair accessible seats in all three of our theatres.

Assistive hearing devices for every performance in our Upstairs and Downstairs Theatres.

Large print programs (available at our book shop, located across from the box office in the Downstairs lobby).

Audio recordings of program articles, available for free on our Watch and Listen page at steppenwolf.org.

If you or someone you know would like to take advantage of one of these services (or if you just sprained your ankle that morning, and prefer a seat without steps), just let us know as soon as you can in advance of your visit! Audience Services 312-335-1650 TTY 312-335-3830 E-mail access@steppenwolf.org.

Steppenwolf Customer Service Tips 56

In your car and on your way to the theatre? Rather than arriving to discover that our garage has reached capacity (which can happen during busy performances), please enter the Steppenwolf Parking Hotline (312-335-1774) into your cell phone and call us when you’re a few minutes away – we’ll tell you if there’s still space available in our parking facility, or suggest the most convenient alternative.

What time does the garage close? Our parking structure closes 90 minutes after the conclusion of the final performance of the day. Want to stay in the neighborhood past that time for dinner and a drink or two? Tell our parking attendants after the play, and they’ll let you move into our open air lot – it’s open all night.

Spending your intermission in line at the bar? Enjoy the entire break by ordering and paying for your intermission refreshments before the show. When you exit the theatre at the end of the first act, your drinks will be waiting for you.

Need directions, restaurant information or the score of the ballgame? Visit our book shop and information desk at the south end of the lobby, and our concierge will find an answer for you.

Hailing a cab after the play? This is typically an easy affair – Halsted is a busy street and sees a fair amount of taxi traffic. If you’d like assistance hailing a cab or calling a company, though, just ask a member of the house staff – we’re happy to help.

Lost or Found? Just gotten home, only to discover you’ve lost something? Call the house manager’s office at 312-932-2445. Found an item? Please give it to a member of the house staff, along with the location where it was found.

Want to provide feedback? Your input is always valuable to us and has several avenues. Have an opinion about the play or artistic content? Stick around for the post-show discussion featured after every performance, fill out the 60-Second Survey inserted in this program or visit the Steppenwolf blog at blog.steppenwolf.org. Have a comment about your overall experience at the theatre? Please ask us for a customer service form to fill out, or e-mail us at customerservice@steppenwolf.org.

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

The theater reserves the right to limit admission of children under the age of six.

The taking of photographs and the use of any type of recording device is not allowed in the theater during performances and is a violation of state and federal copyright laws. Digital media will be deleted, and tape or film will be confiscated.

Get your own f*cking buffalo nickel.

(Brilliant Uncirculated: $35 each, 3 for $100)

31 North Clark Street / Chicago, IL 60602 / P: 312-609-0016 / F: 312-609-1305 e: info@harlanjberk.com