First Look 2013 Program

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writers who rock. Awesome new plays. see them first.

Photographer david johnson

Hello first look audiences!

Welcome to our EIGHTH annual First Look Repertory of New Work!

At Steppenwolf we believe in creating a platform for playwrights we believe in—writers who rock! This year we are thrilled to share three bold new plays with you by Edith Freni, Aaron Carter and Janine Nabers. These writers and their creative teams have been hard at work bringing these stories to life.

It has been invigorating to support their process and watch these worlds take shape.

This year, our playwrights bring us three captivating stories, stories that will leave you thinking well after the final blackout. In Buena Vista, Edith gives us a young man trying to escape his life only to be confronted with the demons of his past. In The Gospel of Franklin, Aaron explores the complicated dynamics of father and son. And in Annie Bosh is Missing, Janine delivers a gripping story about a young woman trying to start over in the haze of post-hurricane Katrina. All of these plays feel fresh and urgent.

Part of what makes First Look such an exciting program is introducing new plays to audiences for the first time. Our audience is the final and perhaps most important collaborator. I find it electrifying to sit in a dark theater knowing I am among the first to experience a new work. We hope you share in the same sense of excitement that these plays inspired in us when we first encountered them. We look forward to hearing your responses.

Thanks for being here and supporting new plays. See you in the Garage!

Peace,

Jacob G. Padrón Producer

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Contents 2

Hello First Look Audiences!

Letter from Producer Jacob G. Padrón

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Getting to know Buena Vista playwright Edith Freni

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Getting to know The Gospel of Franklin playwright Aaron Carter

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Getting to know Annie Bosh is Missing playwright Janine Nabers

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First Look Repertory of New Work Find out more information about First Look’s Readings, Professionals’ Weekend and First Look 101.

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The Pyramid Challenge: Barbecue With First Look Readings playwright Robert O’Hara

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The Pyramid Challenge: Tempo With First Look Readings playwright Mike Batistick

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The Pyramid Challenge: Your Name Will Follow You Home With First Look Readings playwright Carlos Murillo Editor Alicia Graf

Contributors Jamie Alexander Jeffrey Fauver Evan Hatfield Martha Lavey Suzanne Miller Joel Moorman Jacob G. Padrón Jenni Page-White

Design Lisa Frye

To Advertise Contact: smARTMagazines/smARTSponsorships Bryan Dowling 773-360-1767 or bryan@media8midwest.com

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Photo: Janine Nabers, Aaron Carter and Edith Freni Photographer Brian McConkey

Executive Director

Artistic Director Martha Lavey

David Hawkanson

†*

steppenwolf garage

july 29 – august 25, 2013 An energizing repertory of never-before-seen work. Now in its 8th season, First Look showcases plays and playwrights that we think will have significant impact on American theater for years to come.

Buena Vista A new play by Edith Freni Directed by ensemble member Tim Hopper†*

The Gospel of franklin

annie bosh is Missing

A new play by Aaron Carter Directed by Robert O’Hara

A new play by Janine Nabers Directed by Shade Murray

Production Sponsor of First Look Repertory of New Work: The Harold and Mimi Steinberg Charitable Trust.

Additional support for new work at Steppenwolf is provided by the Zell Family Foundation, the Andrew W. Mellon Foundation, the John S. and James L. Knight Foundation and members of the Directors Circle.

Steppenwolf Theatre Company is a constituent of Theatre Communications Group (TCG), the national organization for nonprofit professional theater.

the playwrights

member of the Steppenwolf Theatre Company ensemble. * member of Actors’ Equity Association, the union of professional actors and stage managers. o member of the Casting Society of America. †

buena vista

A new play by Edith Freni Directed by ensemble member Tim Hopper†* Dramaturgy by Derek Matson Cast (in alphabetical order) Leah Karpel Rich Komenich* Luigi Sottile* Karen Vaccaro

Monica Tom Noah Freddy

Production Staff William Boles Sally Dolembo Heather Gilbert + Kevin O’Donnell Cassie Wolgamott* Erica Danielso Ryan Bourque

SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN LEAD STAGE MANAGER CASTING FIGHT CHOREOGRAPHy

Understudies Brian King

Tom, Noah

Additional Staff Jonathan Nook* Mary Hungerford Jonathan L. Green Claudette Perez Rosella Nitti Staci Weigum Emily Guthrie Vanessa Rundle

SETTING TIME INTERMISSION INFO

Stage Manager Assistant Stage Manager Assistant Director Sound Board Operator Wardrobe Assistant Costume Designer Properties Master Run Crew Chief

A cabin in Buena Vista, Colorado.

Winter. present day.

There is no intermission

* member of Actors’ Equity Association, the union of professional actors and stage managers. † member of the Steppenwolf Theatre Company ensemble. + member of the United Scenic Artists, Local 829 of the IATSE. o member of the Casting Society of America.

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cast | playwright | director | dramaturg

Leah Karpel Monica

Golden Chainsaw Award nomination for Henry 2: Mask of Sanity by Fangoria Magazine, getting a “thumbs up” in person by Roger Ebert for his work in Kwik Stop and (to the best of his knowledge) being the last actor to have had dialogue with Patrick Swayze. What made that episode of The Beast even more special was that Patrick’s wife, Lisa, was the director. Rich hopes it won’t be another 17 years before he’s on a Steppenwolf stage again.

buena vista

Karen Vaccaro Freddy

and a dedicated age-grouper triathlete.

In 2013, she took second in her age group at the Nautica SoBe Triathlon, qualified for age group national championships and finished her second Half-Ironman. She extends special thanks to Martha, Becca, Jacob, Aaron and Tim for making this whole thing a reality. Edith received her BFA and MF in Dramatic Writing from Tisch School of the Arts at New York University.

Tim Hopper Director

is thrilled to return to Steppenwolf Theatre Company for First Look. She was previously seen at Steppenwolf as Laura in The Glass Menagerie and as an understudy in The Hot L Baltimore.

Chicago credits include The Whale, We Are Proud to Present... (Victory Gardens Theater); Neighborhood 3: Requisition of Doom (Strawdog Theatre Company); and Punk Rock (Griffin Theatre).

Regional credits include Ten Chimneys (Milwaukee Repertory Theater); Half and Half (Penguin Rep); The Play about My Dad (CollaborationTown); and Evanston: A Rare Comedy (HERE Arts Center, Performance Space 122).

Leah received her BFA from Boston University and is a proud graduate of The School at Steppenwolf.

Rich Komenich Tom

last appeared at Steppenwolf Theatre Company in the 1996 world premiere of Kurt Vonnegut’s Slaughterhouse-Five, adapted for the stage and directed by ensemble member Eric Simonson.

He was a co-founder of The Company Players and a member of the comedy group The Chicago Insane Asylum.

Special accomplishments include a

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Luigi Sottile Noah

is thrilled to be making his Steppenwolf Theatre Company debut. Favorite regional credits include Seminar (Philadelphia Theatre Company); An Ideal Husband (Walnut Street Theatre); A Christmas Carol (Milwaukee Repertory Theater); In the Next Room or The Vibrator Play (Barrymore Award nomination), the US Premiere of Leaving, Angels in America (The Wilma Theater); Cyrano (Arden Theatre Company); Nathan the Wise (People’s Light & Theatre Company); and The Mystery of Irma Vep (Act II Playhouse).

Upcoming productions include Three Sisters (Arden Theatre Company, Trinity Repertory Company). For more information please visit luigisottile. com. “Thank you so much to Erica, Tim, Robert and Edith and endless love to my family.”

A winner of three Jeff Awards, Karen returns to Steppenwolf Theatre Company where she was last seen in The Rise and Fall of Little Voice as well as the Steppenwolf for Young Adults production of Romeo and Juliet.

Broadway credits include The Rise and Fall of Little Voice (Neil Simon Theatre). Off-Broadway credits include Sin (Second Stage Theatre); and Hello from Bertha (The Clinton Theater).

Other Chicago credits include Measure for Measure (Chicago Shakespeare Theater); Sin (Goodman Theatre); The Rose Tattoo and Threepenny Opera (Bailiwick Chicago). Television credits include Prison Break, Early Edition and Missing Persons. Film credits include The Lake House, U.S. Marshals, Unconditional Love and A Stir of Echoes.

Edith Freni Playwright

Edith’s work has been produced, developed and read at institutions including Steppenwolf Theatre Company, New York Theatre Workshop, LAByrinth Theatre Company, The Public Theatre, Williamstown Theater Festival and Ensemble Studio Theater, among many others. She is a former member of Youngblood and a proud member of Obie Award-winning Partial Comfort Productions. Current commissions include a trilogy of classics adaptations for the University of Miami—where she is on faculty—and a new play commission from Steppenwolf. Her play Total Power Exchange is a nominee for the 2014 L. Arnold Weissberger Award. Edith is a former competitive amateur boxer

last directed for First Look in 2008 with Keith Huff’s Pursued by Happiness. Prior to that, he directed Mia McCullough’s Taking Care in the Garage Theatre and the Steppenwolf for Young Adults performances of Master Harold and the Boys and Twelfth Night. As an actor, he joined the Steppenwolf Theatre Company ensemble in 1989 and has appeared in many productions, most recently in fellow ensemble member Tarell Alvin McCraney’s Head of Passes.

Derek Matson Dramaturg

is delighted to return to Steppenwolf Theatre Company, where he was the dramaturg for Want, Bethany and Sex with Strangers (First Look Repertory of New Work). His recent dramaturgy credits include Mary Zimmerman’s productions of Armida and Lucia di Lammermoor (Metropolitan Opera); The Pride (About Face Theatre); columbinus (American Theater Company); Thieves Like Us (The House Theatre of Chicago); State of the Union (Strawdog Theatre Company); and No Exit (Chicago Opera Vanguard).

Derek studied acting at Le Cours Florent in Paris, France. His translations into and from French, Spanish, Italian, Russian, German and Catalan have been featured at Lyric Opera of Chicago, Wolf Trap Opera, the Montreux Comedy Festival and Cornell University, where he earned his MA in Theater and Performance Studies.

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buena vista Photographer Brian McConkey

An interview with Buena Vista playwright Edith Freni

THE PYRAMID CHALLENGE Play & Playwright in 55 words in one word what is your play about?

Love in two words where is your favorite place to write?

Anywhere silent in three words how vital are other people’s opinions when you are working on a piece?

When did you decide that you wanted to live your life as an artist and why?

What makes a person unlovable/ irredeemable?

Edith Freni: I grew up in a household where

Edith Freni: My immediate reaction to this question was, “nothing.” It’s easier to write someone off as irredeemable than it is to search out that part of him/her that’s worth loving. That said, there are some really evil people in this world. It would be hard for me to find the loveable part of that guy in Cleveland who kept those women locked in his basement. As a dramatist I’d be interested to try.

I was encouraged to express myself any way I saw fit. I started writing when I was quite young.

My first short story was about a homicidal bear tormenting a small woodland community.

From what seed did the idea for Buena Vista grow?

Edith Freni: For me, writing is a process

of organizing my sometimes jumbled, often obsessive thoughts on a particular person, topic or event. Buena Vista’s seed was a person. Two people actually. I wrote the play in 48 hours. The minute I finished it, I took a breath and thought, “This play will be produced at Steppenwolf.” I didn’t know how but I just knew it would. Life is friggin’ weird.

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Your play explores the sometimes fraught relationship between love and power in family dynamics. Do you have any formative family memories?

Edith Freni: I think all of my plays explore

that sometimes fraught relationship in one way or another. Whether it’s familial or romantic or platonic, I’m interested in how the idea of love can become corrupted by one’s fears of abandonment, rejection, exposure, etc… As far as my family, I absolutely have formative memories but they involve really awesome meals, stellar Christmases, and pushing my brother off a dock into Lake Winnipesaukee. I was a lucky one.

To a degree in four words what dreams do you have for the characters in your play?

That they wake up in five words who is your favorite writer, and why?

Daphne DuMaurier because of Rebecca in six words describe what happened on your least favorite writing day.

I didn’t write anything at all in seven words describe what happened on your favorite writing day.

“Buena Vista” came in a blind fury in eight words what did the first version of this play look like?

I wrote it by hand so pretty messy in nine words what is your play about?

A family of sociopaths stuck in an old cabin in ten words in what future projects should we look out for you?

Greek adaptations, Steppenwolf commissions, TV pilots and full Ironman triathlons!

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The gospel of franklin A new play by Aaron Carter Directed by Robert O’Hara Dramaturgy by Erik Ramsey

Cast (in alphabetical order) Rob Fenton Tim Frank Keith D. Gallagher * Gavin Lawrence* Julian Parker

Ben, ensemble Jesse, ensemble Ralph, As Cast Franklin William

Production Staff William Boles David Hyman Heather Gilbert+ Kevin O’Donnell Cassie Wolgamott* Erica Danielso Ryan Bourque

SCENIC DESIGN COSTUME DESIGNER LIGHTING DESIGN SOUND DESIGN LEAD STAGE MANAGER CASTING FIGHT CHOREOGRAPHy

Understudies Tim Frank Julian Parker

ralph, ensemble franklin

Additional Staff Cassie Wolgamott* Kelly Crook Damon Krometis Claudette Perez Rosella Nitti Mae Haskins Peter Schmidt Vanessa Rundle

SETTING TIME Intermission

Stage Manager Assistant Stage Manager Assistant Director Sound Board Operator Wardrobe Assistant Costume Designer Properties Master Run Crew Chief

A small town in ohio. now.

There is no intermission

* member of Actors’ Equity Association, the union of professional actors and stage managers. + member of the United Scenic Artists, Local 829 of the IATSE. o member of the Casting Society of America.

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cast | playwright | director | dramaturg

Rob Fenton Ben, ensemble

is excited to be appearing in his first production with Steppenwolf Theatre Company. Rob is a founding ensemble member of The Alluvium Group. Other Chicago credits include The Big Meal (Jeff Award for Best Ensemble), columbinus (American Theater Company); The Twins Would Like To Say (Dog & Pony Theatre Co.); The Hostage, Port (Griffin Theatre); Cherrywood (Mary-Arrchie Theatre Co.); Pinocchio/Frankenstein (The Neo-Futurists); Princes of Waco (Signal Ensemble Theatre); and The History Boys (Jeff Award for Best Ensemble and Best Production, TimeLine Theatre Company). Thanks so much to Robert for the opportunity, and love to the amazing cast and crew, Grossman and Jack, and his friends and family.

Tim Frank Jesse, ensemble

Tim is thrilled to be returning to Steppenwolf Theatre Company for another production with director Robert O’Hara. Tim has worked in Chicago as an actor, musician, director and producer for more than 10 years and is proud to call Chicago home. Since graduating from The Theatre School at DePaul University in 2007, Tim has

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been in a number of productions at theaters around Chicago, including Victory Gardens Theater, Apollo Theater Chicago and Circle Theatre. Tim can be seen and heard in commercials for companies like T-Mobile, Comcast, Illinois Lottery, IDOT and Caption D’s.

In 2008, Tim formed the alternative/ folk/rock group Band Called Catch and has performed at some of the nation’s most notable venues. Tim’s music has received a number of placements in films as well as television shows for networks like MTV. Tim is also the founder of The Foxhole, an artistic facility offering recording services, voiceover demo production and rehearsal space for actors and musicians. Learn more at thefoxholechicago.com.

Keith D. Gallagher Ralph, as cast

is thrilled to be back at First Look.

Chicago credits include Man in Love (Steppenwolf Theatre Company); Awake and Sing, The Lieutenant of Inishmore (Northlight Theatre); Shining City (Goodman Theatre); Arcadia (Court Theatre); The Real Thing (Remy Bumppo Theatre Company); and Tracks (TUTA Theatre Chicago). Regional credits include A Raisin in the Sun (Geva Theatre Center); The Gospel According to James (Indiana Repertory Theatre); The Lieutenant of Inishmore (The Repertory Theatre of St Louis); and Shining City (Huntington Theatre Company). Television credits include Detroit 1-8-7. Special thanks to Caitlin.

The gospel of franklin Credits include Satan in The Last Days of Judas Iscariot, Jib in Hoodoo Love and both James Hewlett and Richard III in The African Company Presents: Richard III. He is co-founder of Definition Theatre Company, where he recently played Oshoosi in their production of The Brothers Size at the Alley Stage.

Gavin Lawrence

Aaron Carter Playwright

Franklin

is thrilled to be making his Steppenwolf Theatre Company debut. Chicago credits include The Good Negro and Dartmoor Prison (Goodman Theatre).

Off-Broadway credits include Pure Confidence (AUDELCO Award for Best Actor, 59E59 Theaters). Other credits include The Brothers Size, In the Red and Brown Water (Guthrie Theater, Pillsbury House Theatre); Ma Rainey’s Black Bottom, Black No More (Arena Stage); Pure Confidence (Alabama Shakespeare Festival, Cincinnati Playhouse in the Park, Denver Center for the Performing Arts, Actors Theatre of Louisville, Mixed Blood Theatre, Florida Studio Theatre); and Thurgood (Ensemble Theatre Cincinnati). Film credits include Joe Somebody, Justice and The Promise. He is the proud papa of two cool teenagers!

Julian Parker William

returns to Steppenwolf Theatre Company where he was last seen as Klass in BlackTop Sky (Theatre Seven of Chicago) in the Garage Theatre, as well as understudying for Head of Passes. Last fall he was seen in Hamlet (Writers’ Theatre). He received his BFA in Acting from the University of Illinois at Urbana-Champaign in 2012.

is the director of new play development at Steppenwolf Theatre Company, where he is completing his second season. As a playwright, Aaron’s work focuses on race, faith and obscure performance skills. Panther Burn and First Words were both produced

by MPAACT. His short work has recently appeared in projects with The Gift Theatre Company and Route 66 Theatre Company. His play Start Fair was originally developed at Next Theatre Company, and was recently workshopped with ensemble member Anna D. Shapiro at Steppenwolf.

Robert O’Hara Director

received the NAACP Best Director Award for his direction of Eclipsed by Danai Guiria. He received the Helen Hayes Award for Outstanding New Play for Antebellum and an Obie Award for his direction of the world premiere of the critically acclaimed In the Continuum. He wrote and directed the world premiere of Insurrection: Holding History (The Public Theater, Oppenheimer Award). He also directed the world premiere of Tarell Alvin McCraney’s The Brother/Sister Plays (McCarter Theatre, New York Shakespeare Festival). His recent work includes directing his play, BootyCandy (Woolly Mammoth Theatre Company); the world premiere of Colman Domingo’s Wild with Happy (The Public Theater); and Katori Hall’s The Mountaintop (Alley Theater, Arena Stage). He is currently an Adjunct Professor at New York University’s Tisch School of the Arts and is the Mellon Playwright in Residence at Woolly Mammoth Theatre Company.

Erik Ramsey Dramaturg

is an Associate Professor of Playwriting in the MFA Playwriting Program and also Head of the BFA Writing for Performance Program at Ohio University. His plays, including Lions Lost, have been produced around the country, and Samuel French and Dramatic Publishing have published several of his works. His two textbooks, The Art of Theatre: Then and Now and The Art of Theatre: A Concise Introduction are in use at over 100 colleges and universities nationwide (third edition, 2013). In 2007, Erik was named a Kennedy Center Faculty Fellow for his work as a new play development specialist; in 2010, he was appointed as Director of Innovation for WordBRIDGE Playwrights’ Laboratory after many years of new play development research. Over the past decade he has been a guest artist and taught master classes in playwriting, new play development and narrative theory in a variety of national and international venues, most recently at the University of Tulsa (2013), the St. Petersburg Academy of Dramatic Arts “New American Dramaturgy” Conference (St. Petersburg, Russia: 2011) and Lubimovka Playwrights Laboratory at Teatr.doc in Moscow, Russia in 2010. Erik chronicles research on the science of narrative at plotwrench.org.

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The gospel of franklin Photographer Brian McConkey

An interview with The Gospel of Franklin playwright Aaron Carter

THE PYRAMID CHALLENGE Play & Playwright in 55 words in one word what is your play about?

Love in two words where is your favorite place to write?

Quiet bar in three words how vital are other people’s opinions when you are working on a piece?

When did you decide you wanted to live your life as an artist, and why?

Aaron Carter: I can’t say that I have decided that. My life goal is to make something both beautiful and true. It’s a goal that took shape when I first moved to Chicago and was active in the Slam Poetry scene. But that “make” has evolved from “write” to include “produce,” “support,” “develop.”

From what seed did the idea for The Gospel of Franklin grow?

Aaron Carter: Rebecca Rugg introduced

me to the idea of “December Challenge,” her replacement for a New Year’s resolution. Instead of starting something new at the top of the year, you enter the new year having accomplished something. Gospel was my December Challenge.

What plays or writers do you think are answering the call for a more vital and urgent representation of America?

Aaron Carter: Jackie Sibblies-Drury and

Kristoffer Diaz come to mind. There are many others, too many to list here. What they all have in common is an ability to resist the tyranny of story and form. A play exerts a force on the playwright creating it, lulling her into a rhythm of choosing what happens next because that’s what happens “in this kind of play.” Unfortunately, that rhythm usually involves over-simplified actions and stereotype. So writers who find what happens next because of personal truth as opposed to the force exerted by the form? Those folks are answering the call.

As a father yourself, what advice would you give to sons in the audience?

Aaron Carter: Oh, it’s too early for that sort

of thing. My boys are only 3 and 1. Right now my advice would be: try not to wet the bed; only cry when you’re actually hurt; yelling only makes you louder, not more understood. I expect everyone in the audience has those down already.

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Desired, necessary, destructive in four words what dreams do you have for the characters in your play?

Relationships, forgiveness, bravery, orgasms in five words who is your favorite writer, and why?

Anne Washburn is f***ing smart in six words describe what happened on your least favorite writing day.

Stared at pages, wrote in circles in seven words describe what happened on your favorite writing day.

Stared at pages, wrote in circles, breakthrough in eight words what did the first version of this play look like?

Becca: I double dare you. Aaron: You’re on in nine words what is your play about?

Fathers, sons, sex, masculine love: rehearsals reveal other fears in ten words in what future projects should we look out for you?

“Start Fair”: black history play for black history play haters

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Annie bosh is missing A new play by Janine Nabers Directed by Shade Murray Dramaturgy by Heidi Coleman Cast (in alphabetical order) Jennifer Avery Brittany Burch Ian Paul Custer Caroline Neff* David Seeber Krenée A. Tolson Phillip Edward Van Lear*

Carol Kims Ned Annie Patrick Felicia Samuel

Production staff William Boles Joanna Melville Heather Gilbert+ Kevin O’Donnell Cassie Wolgamott* Erica Danielso Ryan Bourque

SCENIC DESIGN COSTUME DESIGNER LIGHTING DESIGN SOUND DESIGN LEAD STAGE MANAGER CASTING FIGHT CHOREOGRAPHy

Understudies Brittany Burch David Seeber

annie samuel

Additional Staff Michelle Medvin* Nora Mally Fatimah Asghar Claudette Perez Rosella Nitti Daisy Lindas Maria DeFabo Vanessa Rundle

SETTING TIME

Intermission

Stage Manager Assistant Stage Manager Assistant Director Sound Board Operator Wardrobe Assistant Costume Designer Properties Master Run Crew Chief various places in and around the city of houston, texas.

Fall 2005. DAys after hurricane katrina hits the ground. there will be one 15-minute intermission.

Annie Bosh is Missing was developed, in part, with the assistance of the Sundance Institute Theatre Program. * member of Actors’ Equity Association, the union of professional actors and stage managers. + member of the United Scenic Artists, Local 829 of the IATSE. o member of the Casting Society of America.

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cast | playwright | director | dramaturg

Jennifer Avery Carol

is thrilled to be making her Steppenwolf Theatre Company debut. Chicago credits include Welcome Home Jenny Sutter, Maple and Vine, War with the Newts, Long Christmas Ride Home, Lovesong of J. Robert Oppenheimer (Next Theatre Company); Four Places, Class Dismissed (Victory Gardens Theater); Puppetmaster of Lodtz, Duchess of Malfi (Writers’ Theatre); General from America (TimeLine Theatre Company); American Dead, Living Out (American Theater Company); and many productions at Strawdog Theatre Company, including Three Sisters, Cherry Orchard and Detective Story, directed by Shade Murray. Jenny is the Artistic Director of Next Theatre Company and is a teaching artist with Writers’ Theatre and DePaul University.

Night’s Dream, Macbeth (Lakeside Shakespeare Theatre); and Carmilla (WildClaw Theatre). Additional credits include Black Comedy (Perseverance Theatre); House and Garden (Artists Repertory Theatre); Trip to Bountiful, Biloxi Blues and Uncommon Women and Others (Profiles Theatre). Brittany is an ensemble member with The Gift Theatre and a graduate of The School at Steppenwolf. Thanks to her family for their love and support.

Ian Paul Custer Ned

is excited to be making his Steppenwolf Theatre Company debut. Chicago credits include High Holidays (Goodman Theatre); 33 Variations, To Master the Art, Weekend (TimeLine Theatre Company); Fiddler on the Roof (The Paramount Theatre); and 25th Annual Putnam County Spelling Bee (Fox Valley Rep). Regional credits include Cloten in Cymbeline (Shakespeare at Notre Dame); and Mercutio in Romeo and Juliet (Cardinal Stage Company).

National Tour credits include Cookson in Peter Pan (360 Entertainment). Ian received his BFA from The Theatre School at DePaul University. “Special thanks to my wonderful family and friends for their support.”

annie bosh is missing

Caroline Neff Annie

happily returns to Steppenwolf Theatre Company after being seen in Three Sisters, as well as Where We’re Born as part of the inaugural Next Up Repertory in the Garage Theatre.

Other Chicago credits include The Knowledge, The Receptionist, Under the Blue Sky, Pornography, A Brief History of Helen of Troy, Harper Regan, In Arabia We’d All Be Kings (Steep Theatre Company); Port, Stage Door, Be More Chill (Griffin Theatre); The Petrified Forest, St. Crispin’s Day (Strawdog Theatre Company); Cherrywood, Saved (MaryArrchie Theatre Co.); 25 Saints (Pine Box Theater Company); The Metal Children (Next Theatre Company); and Moonshiner (Jackalope Theatre Company). Film and television credits include Older Children, Open Tables and Chicago Fire. Caroline is an ensemble member at Steep Theatre Company, holds her BA from Columbia College Chicago and can be seen next in 4000 Miles (Northlight Theatre).

(Nothing Without a Company); The Whole World is Watching (Dog & Pony Theatre Co.); and Mercury Fur (EX-Pats Theatre Company). He was most recently seen in Collaboraction’s 13th Sketchbook Festival; and Football Play (The Den Theatre). David is a company member with Nothing Without a Company, a graduate of Columbia College Chicago and an avid unicyclist. He would like to thank his family and friends.

Krenée A. Tolson Felicia

was born and raised in the heart of Baltimore City where she discovered her passion for acting. She was most recently seen in Fall of Heaven (Congo Square Theatre Company); and Reality Check (MPAACT). She is happy to be represented by Paonessa Talent Agency.

Samuel

is very excited to return to Steppenwolf Theatre Company where she recently understudied the role of Lulu in The Birthday Party. Chicago credits include Reverb (Redtwist Theatre); Oh, The Humanity, Absolute Hell, Northwest Highway, Lonesome West (The Gift Theatre); Hamlet, Midsummer

is happy to return to Steppenwolf Theatre Company, where he was last seen as Cholly Breedlove in the world premiere of Toni Morrison’s The Bluest Eye. A 30-year veteran of the Chicago artistic community, Phillip has had the blessing of working as a professional actor, director, producer, writer,

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Patrick

is so excited to be making his Steppenwolf Theatre Company debut.

Other Chicago credits include Loom

Janine Nabers

Dramaturg

was recently named the 2013/14 Aetna New Voices Fellow at Hartford Stage. Her plays include Welcome to Jesus, Serial Black Face, A Swell in the Ground, Juniper: Jubilee and the book to the Sylvia Plath and Ted Hughes musical Mrs. Hughes with composer and lyricist Sharon Kenny.

Recent awards include the 2012 New York Theatre Workshop fellowship and the 2011 Page 73 Playwriting Fellowship. Janine recently graduated from the playwriting program at The Juilliard School. She is published by Nick Hern Books, Samuel French, Inc. and PlayScripts, Inc. Shade Murray Director

Kims

David Seeber

Northwestern University, an associate artist with A Red Orchid Theatre and has taught at Northwestern University, DePaul University, Columbia College Chicago, National Louis University, National High School Institute, Piven Theatre Workshop, Act One Studios and Actors Gymnasium. Upcoming credits include Trevor, Mud Blue Sky (A Red Orchid Theatre); The Shadow over Innsmouth (Wildclaw Theatre); and Love Tapes (The Inconvenience).

Heidi Coleman

Playwright

Phillip Edward Van Lear

Brittany Burch

performance poet and educator across the United States and around the world. He is a native of Aurora, Illinois and a 35-year ensemble member of The Riverfront Playhouse. He thanks the dedicated gang at Gray Talent Group for “picking up the pieces,” and his loving wife Heather for “putting them back together.” He acknowledges that his greatest accomplishments to date are his seven amazing children, who serve as constant reminders of what is essential and true. Peace and love.

has directed The Aliens, The Butcher of Baraboo, Abigail’s Party, Kimberly Akimbo (A Red Orchid Theatre); The Chosen, The Subject was Roses (Writers’ Theatre); Fatty Arbuckle... (The Second City); End Days (Next Theatre Company); The Petrified Forest, The Good Soul of Szechuan, R.U.R., Marathon ‘33, Detective Story, WRLS #5, Our Country’s Good (Strawdog Theatre Company); Stupid Kids, Some Explicit Polaroids, Santaland Diaries, Never Swim Alone (Roadworks Productions); as well as productions at the Museum of Contemporary Art Chicago, Shattered Globe Theatre, About Face Theatre and Chicago Moving Company. Upcoming credits include HP Lovecraft’s Shadow over Innsmouth (WildClaw Theatre). Shade is a MFA candidate in directing at

is the Director of University Theater and Director of Undergraduate Studies, Theater and Performance Studies at The University of Chicago. In addition to Chicago, she has worked professionally as a director and dramaturg in New York City and San Francisco. She has collaborated with Anne Bogart, Andrei Serban, Tina Landau, Frank Galati and Tony Kushner, and has taught within Columbia University’s Theater MFA and English departments. She has curated The University of Chicago’s University Theater’s New Work Week, co-curated the university’s Presidential Fellows in the Arts Program and initiated the university’s theater summer arts residency program, Summer Inc., as well as the university’s Theater and Performance Studies Commissioning Project. Her work focuses on the integration of theory and practice, in both artistic and programmatic arenas.

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annie bosh is missing Photographer Brian McConkey

An interview with Annie Bosh is Missing playwright Janine Nabers

THE PYRAMID CHALLENGE Play & Playwright in 55 words in one word what is your play about?

Identity in two words where is your favorite place to write?

Anywhere quiet in three words how vital are other people’s opinions when you are working on a piece?

When did you decide that you wanted What is your favorite part of the to live your life as an artist and why? process? What frightens you the most about doing your play?

Janine Nabers: I was a track runner who sort of fell into acting. When I was 19 I was at the Janine Nabers: My plays tend to come from Royal Shakespeare Company with The National Theatre Institute. I was acting long hours and started to hate it. Around that time I wrote my first one act that then got me into grad school in New York City. The decision to become a playwright was the best decision I’ve ever made.

From what seed did the idea for Annie Bosh is Missing ?

Janine Nabers: Annie Bosh came out of my

return to Houston (my hometown) weeks after Hurricane Katrina hit. Houston was different.

People were angrier and there was something really off in the energy. I felt very much like someone who didn’t recognize myself in a place anymore. The character of Annie came to me after that.

a very personal place. I try to talk myself out of every play before I write it. Sometimes I start a play and walk away for two years. Being able to walk away and come back to it helps me keep it alive and fun.

Do you think that America deals with addiction in a healthy way?

Janine Nabers: Not really, no. We live in

a country where a recovering addict with a pretty face will be put on the cover of a fashion magazine and then turn around a day later and be sent back into rehab. There is something very sad about American’s wanting to seem “healthy” when they are really falling apart.

At the top of the play Annie is a version of the pretty girl on the magazine.

Depends on person in four words what dreams do you have for the characters in your play?

That they leave Texas in five words who is your favorite writer, and why?

Checkhov. I’m a complicated girl in six words describe what happened on your least favorite writing day.

Ran out of playwriting class crying in seven words describe what happened on your favorite writing day.

Any day my plays/musicals are recognized in eight words what did the first version of this play look like?

First attempt at writing real play. Hot messy in nine words what is your play about?

Girl who’s made bad choices tries to start over in ten words in what future projects should we look out for you?

My Sylvia Plath musical “Mrs. Hughes” at Theatre Works California!

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23

first look events

steppenwolf garage

READINGS BARBECUE

By Robert O’Hara Directed by Robert O’Hara Friday, August 9 at 11:30am

Your Name Will Follow You Home

By Carlos Murillo Directed by Dexter Bullard Friday, August 9 at 2:30pm

first look 101 A behind-the-scenes journey through the new play development process.

Tempo

By Mike Batistick Directed by ensemble member Ian Barford Saturday, August 10 at 11am Readings are free—please RSVP by calling Audience Services at 312-335-1650.

June 1 – August 10, 2013 First Look 101 is the backstage pass to the First Look Repertory of New Work. A unique two-month experience, First Look 101 takes enrolled participants on a behind-the-scenes journey through all stages of the new play development process—from the first rehearsal to the final performance.

Participants were invited to: • A script reading bootcamp • Discussions with the creative team • A book club with the Steppenwolf staff • Rehearsals, including first rehearsals and technical rehearsals • Performances of all three First Look plays

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PROFESSIONALS’ WEEKEND August 8 –11, 2013 Professionals’ Weekend is a unique opportunity for theater industry professionals from around the country to come together for a weekend of new plays.

Professionals’ Weekend features three developmental productions, three readings of new plays, panel discussions, receptions, lunches and a Saturday night dinner.

Sign Up

Professionals’ Weekend is $75 E-mail firstlookinfo@steppenwolf.org or call 312-654-5614 to reserve your spot.

steppenwolf.org/firstlook 25

FIRST LOOK REPERTORY OF NEW WORK | STAFF

bios

William Boles

Sally Dolembo

Heather Gilbert

Scenic Design

Costume Design, Buena Vista

Lighting Design

Costume Design: Annie Bosh is Missing

Recent design work includes The Pride (About Face Theatre); The Coronation of Poppea (Opera Northwestern); columbinus, The Amish Project (American Theater Company); She Kills Monsters, The Glass Menagerie (Buzz 22 Chicago, Steppenwolf Theatre Company); How Long Will I Cry?: Voices of Youth Violence (Steppenwolf for Young Adults); Equivocation (Victory Gardens Theater); Coriolanus (The Hypocrites); Urinetown and The Duchess of Malfi (North Park University). William received his BFA from the University of Central Florida and did his Masters studies at Northwestern University. He is the recipient of the National Design Award from the Kennedy Center American College Theater Festival for his design of August Wilson’s The Piano Lesson, which was featured in American Theater magazine. See more of his work at williambolesdesign.com.

is thrilled to be returning to Steppenwolf Theatre Company.

Select credits include The Knowledge (Steep Theatre Company); columbinus (American Theater Company); How Long Will I Cry?: Voices of Youth Violence, The Book Thief (Steppenwolf for Young Adults); Dirty (The Gift Theatre); Life and Limb, The Glass Menagerie (Steppenwolf Theatre Company); The Little Prince, Never the Sinner, Brighton Beach Memoirs, The Goat or, Who is Sylvia?, The Beauty Queen of Leenane (Northwestern University); Evita (Dunes Summer Theatre); Kokoschka: A Love Story, Bloody Poetry, Chopin’s The Awakening and Kid Peculiar at the Coral Court Motel (Washington University). Sally was a 2007/08 Fulbright Scholar to Italy, where she researched and worked at Tirelli Costumi in Rome. Sally is a graduate of the MFA Design Program at Northwestern University. sallydolembo.com.

is a Chicago-based lighting designer. Her designs have been seen on numerous Chicago stages including Goodman Theatre, Victory Gardens Theater, Court Theatre, Chicago Children’s Theatre, Writers’ Theatre, Lucky Plush Productions, Museum of Contemporary Art Chicago, The Hypocrites and Steppenwolf Theatre Company. OffBroadway and other regional credits include Barrow Street Theatre, The Broad Stage, Huntington Theatre Company, Alley Theatre and Milwaukee Repertory Theater. Heather received the 2012 3Arts Award and the1999 – 2001 NEA/TCG Development Program Award. She serves as Head of Lighting Design at Columbia College Chicago.

is thrilled to be making her Steppenwolf Theatre Company debut. Favorite Chicago credits include The Aliens, The Iliad (A Red Orchid Theatre); The Master and Margarita, St. Crispin’s Day, Neighborhood 3, The Hunting of the Snark (Strawdog Theatre Company); Busman’s Honeymoon, Hunger, Mrs. Piggle Wiggle (Lifeline Theatre); The Metal Children (Next Theatre Company); The Glass Menagerie, The Little Foxes, Educating Rita (Shattered Globe Theatre); Macbeth, Much Ado About Nothing (Lakeside Shakespeare Theatre); Little Shop of Horrors and Into the Woods (Quest Theatre Ensemle). Joanna is also the costume supervisor for Lookingglass Theatre Company.

Nora Mally

Jonathan Nook

Ryan Bourque

Mary Hungerford

Fight Choreography

Assistant Stage Manager: Buena Vista

has acted in The Mikado, Sophocles: Seven Sicknesses, Woyzeck, The Pirates of Penzance (The Hypocrites); The Earl (The Inconvenience); and Cherrywood (Mary-Arrchie Theatre Co.). Fight choreography credits include The Book Thief (Steppenwolf for Young Adults); Sweet Bird of Youth (Goodman Theatre); Hit The Wall, Fight Night, The Earl, Chicagoland (The Inconvenience); Equivocation, Oedipus El Rey, We are Proud to Present: A Presentation (Victory Gardens Theater); Romeo and Juliet, Sophocles: Seven Sicknesses, Woyzeck (The Hypocrites); Hoodoo Love (The Collective Theatre Company); Moonshiner (Jackalope Theatre Company); Reverb (Redtwist Theatre); 25 Saints (Pine Box Theater Company); Geography of a Horse Dreamer, Cherrywood (Mary-Arrchie Theatre Co.); Luther, Making Noise Quietly in the Dark and Festen (Steep Theatre Company). Also, as a freelance photographer, he captures dance, theater, music and works for Time Out Chicago Magazine. He is a company member to The Inconvenience and The Hypocrites. “Thank you family and friends for your love and support.”

is excited to return to Steppenwolf Theatre Company where she previously worked as the assistant stage manager for The Drunken City. She also was the Stage Management Apprentice on Penelope and The March. Production management credits include She Kills Monsters (Buzz22 Chicago, Steppenwolf Theatre Company); Selections from Rodgers & Hammerstein’s Carousel (Theater Wit); and Ragtime (Northwestern University). Stage Management credits include CPS Shakespeare! Hamlet (Chicago Shakespeare Theater); Ethan Frome (Lookingglass Theatre Company); Godspell, Tartuffe, You’re a Good Man, Charlie Brown, Parade and Noises Off (Northwestern University).

“Endless thanks to Jeff and Kelley.”

is thrilled to return to Steppenwolf Theatre Company after serving as an assistant stage manager on Next Up 2012 and as one of the stage management apprentices for the 2011/12 season. After her time at Steppenwolf, Nora was the Floor Manager in the Owen Theatre at the Goodman Theatre for the 2012/13 season, working on numerous productions including Teddy Ferrara and The Happiest Song Plays Last. Nora holds a BA in theater from Smith College.

She would like to thank the fabulous folks at Steppenwolf for their continued support.

is overjoyed to be returning to the Garage Theatre for First Look. At Steppenwolf Theatre Company, he has worked on The Drunken City, South of Settling, Want, Closer Than I Appear (Jeff Garlin), No Sugar Tonight (Jeff Garlin), Animals Out of Paper, The North Plan, Sex with Strangers and Steppenwolf’s third and fourth annual First Look Repertory of New Work. Other stage management credits include Collected Stories, Waiting for Lefty (American Blues Theater); Invisible Man, Orlando, Sizwe Banzi is Dead, The Year of Magical Thinking, Ma Rainey’s Black Bottom, The Piano Lesson (Court Theatre); Radio Macbeth (Court Theatre, SITI Company); Freshly Fallen Snow (Chicago Dramatists); and The North Plan (Theater Wit). Jonathan also serves as the production manager for Remy Bumppo Theatre Company. Upcoming projects include the Chicago Commercial Collective’s remounting of To Master the Art at the Broadway Playhouse.

Kelly Crook

Assistant Stage Manager: The Gospel of Franklin

is delighted to return to Steppenwolf Theatre Company, where previous credits include Next Up 2013, The Book Thief, Next Up 2012’s The Glass Menagerie, First Look 2011’s Oblivion, Sex with Strangers and Detroit. Other Chicago credits include Cascabel (Lookingglass Theatre Company); Equivocation, Blackbird (Victory Gardens Theater); You Never Can Tell (Remy Bumppo Theatre Company); and Jeeves in Bloom (First Folio Theatre). She is also the Production Assistant for Northlight Theatre in Skokie where she has worked on Stella and Lou, Stones in His Pockets and The Whipping Man.

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David Hyman Costume Design: The Gospel of Franklin

Off-Broadway credits include Hit the Wall (Barrow Street Theatre); and Orange, Hat & Grace (SoHo Rep). Chicago credits include Man in Love, fml: how Carson McCullers saved my life (Steppenwolf Theatre Company); Rent (American Theater Company, About Face Theatre, Joseph Jefferson Award nomination); Hamlet, Sweet Charity, The Real Thing (Writers’ Theatre); Mojada, Oedipus el Rey (Victory Gardens Theater); The Homosexuals, Pony (About Face Theatre); Cherrywood directed by David Cromer (Mary-Arrchie Theatre Co.); A Very Merry Unauthorized Children’s Scientology Pageant (Next Theatre Company); Heddatron (Sideshow Theatre Company, Steppenwolf Theatre Company, Joseph Jefferson Award for Specialization in Design); Medea with Child (Sideshow Theatre Company); punkplay (Pavement Group, Steppenwolf Theatre Company); amongst others. David is a graduate of Northwestern University. For more info visit davidbhyman.com.

Assistant Stage Manager: Annie Bosh is Missing

Michelle Medvin

Stage Manager: Annie Bosh is Missing

is happy to return to the Garage Theatre at Steppenwolf Theatre Company after serving as Lead Stage Manager on Next Up 2013. Other recent projects include Good People, Time Stands Still, Clybourne Park (Steppenwolf Theatre Company); Tree, Blue Door (Victory Gardens Theater); and Jackie and Me (Chicago Children’s Theatre). Favorites over the past 12 years with Steppenwolf include Art, The Crucible, August: Osage County, The Pillowman, The Unmentionables, Love Song, The Pain and the Itch, The Dresser, Man from Nebraska, Purple Heart (also Galway Arts Festival), We All Went Down to Amsterdam, and many others. Additionally, Michelle has worked with Hartford Stage, Dallas Theater Center and Portland Center Stage. “Proud to be a member of Actors’ Equity Association, a graduate of Smith College and most of all Mary’s wife and Elliott’s mama.”

Joanna Melville

Stage Manager: Buena Vista

Kevin O’Donnell Sound Design

At Steppenwolf Theatre Company Kevin has designed sound or music for Sex with Strangers, Art, Samuel J & K, The House on Mango Street and The Elephant Man. Visiting company shows include The Sparrow, The Nutcracker (The House Theatre of Chicago); and 4:48 Psychosis (The Hypocrites). He has been nominated for 20 Jeff Awards over the last 10 years, and has worked regionally at ACT Theatre, The Kansas City Repertory Theatre, Lamb’s Players Theatre, and in New York at 59E59 Theaters, Cherry Lane Theatre and St. Ann’s Warehouse.

27

FIRST LOOK REPERTORY OF NEW WORK | STAFF Cassie Wolgamott

David Hawkanson

Lead Stage Manager; Stage Manager,

Executive Director

The Gospel of Franklin

is excited to be returning to Steppenwolf Theatre Company after recently assistant stage managing Head of Passes this season. Recent credits include Song for the Disappeared (Goodman Theatre); Grease and A Chorus Line (The Paramount Theatre). Additional Chicago credits include Betrayal, Gary, Fair Use, The Glass Menagerie, To Kill a Mockingbird, Venus, Man in Love, fml: how Carson McCullers saved my life (Steppenwolf Theatre Company); The Homosexuals (About Face Theatre); Million Dollar Quartet (Chicago); The MLK Project (Writers’ Theatre); The Sparrow (The House Theatre of Chicago, Broadway in Chicago); and the Gay Games Opening Ceremony at Soldier Field. Regional credits include work with ArtsPower National Touring Theatre, Catharsis Productions, Opera Illinois, Portland Stage and the Colorado, Illinois and Virginia Shakespeare Festivals. Cassie is a proud member of Actors’ Equity Association. “Thank you to the First Look stage management team. Love to my fiancée, Kelly.”

Martha Lavey Artistic Director

has been an ensemble member since 1995 and has appeared at Steppenwolf Theatre Company in The March, Middletown, Endgame, Up, Good Boys and True, Love-LiesBleeding, Lost Land, I Never Sang for My Father, The House of Lily, Valparaiso, The Memory of Water, The Designated Mourner, Supple in Combat, Time of My Life, A Clockwork Orange, Talking Heads, SLAVS!, Picasso at the Lapin Agile, Ghost in the Machine, A Summer Remembered, Love Letters, Aunt Dan and Lemon and Savages. Elsewhere in Chicago she has performed at Goodman Theatre, Victory Gardens Theater, Northlight Theatre and Remains Theatre and in New York at the Women’s Project and Productions. She has served on grants panels for the National Endowment for the Arts, Theatre Communications Group, 3Arts, 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 School of Communication at Northwestern. She is a recipient of the Sarah Siddons Award and an Alumni Merit Award and honorary Doctorate of Arts from Northwestern University.

prior to Steppenwolf Theatre Company was the Managing Director of 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 in Connecticut with Artistic Director Mark Lamos.

Earlier in his career, he was Managing Director of Arizona Theatre Company. He was a former senior staff member at the National Endowment for the Arts and subsequently chairman of its Theater Program. He has also had an active career as an arts management consultant and trustee for many national organizations and foundations. He currently serves as a trustee of the League of Chicago Theatres and is Chairman of the Arts Alliance Illinois. He is a graduate of Lawrence University.

first Look readings

THE PYRAMID CHALLENGE Play & Playwright in 55 words Barbecue by Robert O’Hara in one word what is your play about?

Intervention in two words where is your favorite place to write?

My home in three words how vital are other people’s opinions when you are working on a piece?

Kinda not much in four words what dreams do you have for the characters in your play?

They make you laugh in five words who is your favorite writer, and why?

Too many to name now in six words describe what happened on your least favorite writing day.

I don’t have writing days anymore in seven words describe what happened on your favorite writing day.

I decided I don’t have writing days in eight words what did the first version of this play look like?

Crazy people cussing each other out very loudly in nine words what is your play about?

Crazy people cussing each other out at an intervention in ten words in what future projects should we look out for you?

One that doesn’t have crazy pyramid interviews hopefully God willing

Staff List

first Look readings

Martha Lavey

Terry Kinney, Jeff Perry and Gary Sinise

David Hawkanson

Artistic Director

Executive Artistic Board

Executive Director

Artistic

PAUL G. MILLER

JOEL MOORMAN

Erica Daniels

Executive Assistant

Digital Content Producer

Associate Artistic Director

Lupe Garcia Quiles

Neel McNeill

Rebecca Rugg

Events Management Associate

Marketing Assistant

Artistic Producer

Angela johnson

TAMARA TODRES

Aaron Carter

Office Management Associate & Receptionist

Director of Audience Services

Jackie Snuttjer

Audience Services Manager

Director of New Play Development

Jacob g. padrÓn

Finance Specialist

Producer

Nick Ward Casting and School Associate

Tracy Letts Amy Morton Anna D. Shapiro Jessica Thebus

Development SANDY KARUSCHAK

Bridget Holmes Michelle Jacobson Chase Kimball Jessica Lind Michelle Maurer Mike Mroch Maggie ritter Melissa Rose Elissa Shortridge kenshunna Tolliver

CARYN WEGLARZ KLEIN

STEPHANIE HELLER

Front of House Staff

Audience Services Subscription Manager

MUSTAFA CHAUDHRY DONALD COULSON Indra Kafley

lynae vandermeulen

JIMMY FREUND

Director of Development

Mike brunlieb MATTHEW LYLE

Emilie De Angelis

Audience Services Supervisors

Director of Campaign Gifts

ERIC EVENSKAAS

Molly Layton

Volunteer Usher Coordination

Megan a. Smith

ROSEANN BISHOP

Production

Subscriptions and Audience Services Assistant

AL FRANKLIN

Hallie Gordon Artistic and Educational Director

Megan Shuchman Education Manager

Lauren Sivak Education Assistant

Amanda Jane Dunne Ali hoefnagel Marie Cisco l’oreal jackson Michael Leon Blake McKay NIcole Ripley Ashley roberson Samuel roberson Emilio Robles Teaching Artists

Administration David M. Schmitz

Director of Foundation and Government Relations

KENDRA VAN KEMPEN Director of Special Events

Suzanne Miller Annual Fund Manager

JESSICA GRETCH Individual Giving Coordinator

KALEIGH LOCKHART

RUSSELL POOLE Technical Director

Robert S. Brown Assistant Technical Director

ROGELIO RIOJAS Scene Shop Foreman

christopher aler christopher grubb kyle land

JAY JUSSAUME

LOUISE GERAGHTY

Director of Operations

Donor Relations Associate

Melissa rutherfoord

Antonio Ibarra

Charge Scenic Artist

Eric van tassell

Physical Plant Supervisor

Corporate Relations Associate

Jenny DiLuciano

Peter van kempeN

Properties Master

Operations Coordinator

ANDRIA SMITH

Adrian castro Padam dhungel RYAN PALMA

Assistant Properties Master

Marketing, Publicity & Audience Services JOhn Zinn

jeffrey fauver Communications Director

Heather C. Joireman

paul Koob

Events Management Director

Design Director

Scott Macoun

THOMAS WEITZ

IT Director

Digital Assets Director

Erin Cook

erika Nelson

Company Manager

Associate Director of Marketing

Kate holst Test

jamie alexander

Human Resources and Professional Leadership Programs Coordinator

Marketing Manager

30

Associate Production Manager

Operations

Director of Finance

IT Associate

DIXIE UFFELMAN

Special Events Associate

Rachel D. Freund

Samar Sharba

Production Manager

Lauren Fisher

Managing Director

Finance Coordinator

Audience Services Associates

Development Coordinator

Director of Marketing and Communications

Brian Hurst

Craig barnes Billie bryant Rebecca Butler Derrik Dickinson Reynaldo dumas LACEY HOLMES SOTIRIOS LIVADITIS theresa masse sarah nelson daniel rubens sarah tongren

Lisa Frye Graphic Designer

Facilities Staff

VICTOR DAVID Tika Ram Kafley Jerome lee Ethan ozaniec Bhagirath timsina Custodial Staff

EVAN HATFIELD Director of Audience Experience

Danielle shindler Front of House Manager

ron bogacki Kelsey Chigas Autumn Cranor Amber Dettmers Daniel Dvorkin Sarah Goldberg

Head Draper

KEVIN PETERSON Shop Foreman

Staff Draper

Daisy lindas MALCOLM EWEN CHRISTINE D. FREEBURG LAURA D. GLENN MICHELLE MEDVIN kim osgood KATHLEEN E. PETROZIELLO deb styer cassie wolgamott

Sheldon Patinkin

DEBORAH STEWART

LAUREL CLAYSON

Project Coordinator

Group Sales Associate

Steppenwolf for Young Adults

Assistant Costume Designer

Lorraine Edelstein, THE SAINTS

Associate Director of Development

Director of Corporate Relations

MAE HASKINS

Parking Staff

Associate Artists Artistic Consultant

Costume Director

Scenic Carpenters

CHARLES MOSER Master Properties Artisan

RICK HAEFELE House Carpenter

DAWN PRZYBYLSKI Stage Carpenter

MARTHA WEGENER Audio Engineer

GREGOR MORTIS Assistant Audio Engineer

J. R. LEDERLE Lighting Supervisor

ERNESTO GOMEZ House Electrician

Stage Managers

Call Center CASEY VANWORMER Associate Campaign Director

Ali Hoefnagel Audience Outreach Supervisor

dawn cook SiDNEY CRISTOL rob dieringer CHARLES FRYDENBERG MARILYN HILLARY elliot ivins Terrence Mosley Daniel rubens Tiffany Rae Wilson Patrick zielinski

THE PYRAMID CHALLENGE Play & Playwright in 55 words Tempo by Mike Batistick in one word what is your play about?

Fear in two words where is your favorite place to write?

Coffee shop in three words how vital are other people’s opinions when you are working on a piece?

Trusted people’s? Crucial in four words what dreams do you have for the characters in your play?

That they find peace in five words who is your favorite writer, and why?

Lanford Wilson; sprawling, longing hope in six words describe what happened on your least favorite writing day.

Realizing that a play never worked in seven words describe what happened on your favorite writing day.

Realizing a play might actually be good

Audience Outreach Associates

Lindsay Amer Jackie Dimitrief Jovan Kala Hannah Rebekah Heusel Molly Houlahan Katelyn Muenck Francisco Lopez Ivy Reid Kathryn Ruvuna Chloe Sacks Jamila Tyler Melanie Vitaterna Michelle Yagi Summer 2013 Interns

in eight words what did the first version of this play look like?

Protagonist kills himself at end of first scene in nine words what is your play about?

A cathartic forgiving of oneself, a rebirth of man in ten words in what future projects should we look out for you?

A play that takes place in a Newark Family Dollar

JESSICA STRATTON Wardrobe Supervisor

Melissa tulchinsky Staff Wardrobe

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first Look readings

Board of Trustees

THE PYRAMID CHALLENGE Play & Playwright in 55 words

Your Name Will Follow You Home by Carlos Murillo in one word what is your play about?

Imposters in two words where is your favorite place to write?

New Dramatists in three words how vital are other people’s opinions when you are working on a piece?

Everything and nothing in four words what dreams do you have for the characters in your play?

Finish what they started in five words who is your favorite writer, and why?

All innovation ends with Euripides in six words describe what happened on your least favorite writing day.

Hard drive death. Script lost forever in seven words describe what happened on your favorite writing day.

Epiphany: two locations, lose nothing, 70 years in eight words what did the first version of this play look like?

A carpet swatch binder. A bucket of vomit in nine words what is your play about?

Who’s Danny Santiago? Beware. You’ll burn fingers seeking answers in ten words in what future projects should we look out for you?

Javier tetralogy, one volume, 2014 release.

Seeking crazy producer. Epic

Executive Committee

Trustees

Emeritus Trustees

Nora Daley, Chair Eric Lefkofsky, Secretary Paul W. Goodrich, Treasurer Henry S. Bienen Carole L. Brown Douglas R. Brown Michael Cahan Elizabeth H. Connelly Lynn Lockwood Murphy Kenneth J. Porrello Deborah H. Quazzo Randall K. Rowe Bruce Sagan Harry J. Seigle Stephanie B. Smith John R. Walter Helen Zell

Sarah Beardsley Michael W. Bender Ebs Burnough Terri L. Cable Keith Cardoza Robin Tennant Colburn Beth Boosalis Davis Kim Davis J. Scott Etzler Rich Feitler Nene Foxhall Scott P. George Lawrence M. Gill Robert J. Greenebaum, Jr. Caryn Harris John H. Hart George A. Joseph Donna La Pietra Martha Lavey Mary Ludford Ronald J. Mallicoat, Jr. Janet Melk L. Heather Mitchell Christopher M. Murphy David C. Pisor Merle Reskin Michael R. Salem Robert Sanborn Manuel “Manny” Sanchez Anna D. Shapiro Matthew Shapiro Colette Cachey Smithburg

J. Robert Barr Lawrence Block John N. Fox, Jr. Gloria Scoby 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

The Steppenwolf ensemble first began performing in the mid-1970s in the basement of a Highland Park church, the ambitious brainchild of three high school and college friends: Jeff Perry, Terry Kinney and Gary Sinise. Fast forward 36 years and the Steppenwolf Theatre Company has become the nation’s premier ensemble theater—redefining the landscape of acting and performance. The ensemble has grown to 43 members who represent a remarkable generation of actors, directors and playwrights. Thrilling, powerful, groundbreaking productions from Balm in Gilead and The Grapes of Wrath to August: Osage County—and accolades that include the National Medal of Arts and 12 Tony Awards—have made the theater legendary. Steppenwolf’s artistic force remains rooted in the original vision of its founders: an artist-driven theater, whose vitality is defined by its sharp appetite for groundbreaking, innovative work. That work is represented in production photos displayed throughout the theater.

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

The Steppenwolf Ensemble Tina Landau

Martha Lavey

Tracy Letts

John Mahoney

John Malkovich

Mariann Mayberry

Tarell Alvin McCraney

James Vincent Meredith

Laurie Metcalf

Amy Morton

Sally Murphy

Austin Pendleton

Jeff Perry

William Petersen

Yasen Peyankov

Martha Plimpton

Rondi Reed

Molly Regan

Anna D. Shapiro

Eric Simonson

Gary Sinise

Lois Smith

Rick Snyder

Jim True-Frost

Alan Wilder

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For only 100 bucks you Get six tickets

to use however you want. that’s less than

17 bucks per ticket to see any play at

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