Program: Garage Rep 2013

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steppenwolf garage

FE B 15 - AP R 21, 2013

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ARTISTIC DIRECTOR

EXECUTIVE DIRECTOR

Martha Lavey* †

David Hawkanson

welcome to garage rep 2013!

steppenwolf garage

Jacob G. Padrón Associate Producer Photographer David Johnson

theatre Seven. Buzz22. Bailiwick. Hardworking. Adventurous. Spirited. These are the words that come to mind when I think about the three Chicago companies that have happily invaded the Steppenwolf Garage this year for our fourth annual Garage Rep. These artists have been hard at work for the last six months to bring you three different but equally ambitious productions. Theatre Seven reunites Steppenwolf with playwright Christina Anderson (Man in Love, First Look 2011) whose gripping play, BlackTop Sky, explores our capacity to love in the face of trauma. The youngest company in the Rep, Buzz22, brings us the explosive imagination of Qui Nguyen in the Midwest premiere of She Kills Monsters, a touching tale that blurs the lines between reality and fantasy as two sisters find healing and reconciliation. And Bailiwick Chicago opens the door to our first Garage Rep musical with Michael John LaChiusa’s See What I Wanna See, a stirring piece that challenges our ability to know the truth when we are in search of hope. I like to think that great work comes out of company—a collective of artists with shared history, shared values and a real sense of ownership around the work they invest in making together. Like Steppenwolf, the three companies selected this year for Garage Rep are committed to an ensemble tradition. They too are building a shared history and have used the knowledge of their own artistic communities to create works of great depth. Steppenwolf’s Artistic Director, Martha Lavey, often talks about the power of “repeated collaborative relationships.” These companies, as they have entered the crucible of production, are testimony to that powerful idea. I hope that you can feel the infectious energy of these companies the minute you walk into our lobby. And I hope you will follow these artists for years to come. Thank you so much for supporting our work in the Garage—Steppenwolf’s dedicated space for new work, emerging artists and millennial audiences.

February 15 – April 21, 2013 Three productions from some of Chicago’s most innovative storefront theater companies, presented in rotating repertory.

Theatre Seven of Chicago presents

Buzz22 Chicago presents

Bailiwick Chicago presents

BlackTop Sky

She Kills Monsters

See What I Wanna See

By Christina Anderson Directed by Cassy Sanders

By Qui Nguyen Directed by Scott Weinstein

Words and Music by Michael John LaChiusa Directed by Lili-Anne Brown Music Direction by James Morehead

Peace, Support for Garage Rep comes through the “Leading for the Future Initiative,” a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation.

Jacob G. Padrón Associate Producer PS—If you’re here on a Thursday, grab a PBR and stick around after the show for The After Party —our new late-night series with a line-up of some of the coolest artists and musicians in Chicago!

Steppenwolf Theatre Company is a constituent of Theatre Communication 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.

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By Joshua Goode Artistic Apprentice

This is NOT a Steppenwolf Production: And We’re Damn Proud of That

The show you are about to see is not a Steppenwolf production. No ensemble members will appear in tonight’s performance. None of them will direct it. None of Steppenwolf’s in-house designers worked on the set, costume or sound designs. With Garage Rep, Steppenwolf takes on a different role from that of producer and becomes what can best be described as a mentor, providing a safe space for others to develop and create. The work in front of you was produced by three of Chicago’s most exciting emerging storefront theater companies and we’re ecstatic to welcome them into our artistic home. The Chicago storefront theater scene produces vibrant new works for the American theater and cultivates the next generation of theater artists. Across the city, in church basements, school gymnasiums, warehouses and living rooms, companies are boldly challenging audiences and pushing the theatrical envelope. They use scraps of wood to build mansions and use broken CDs and a flashlight to paint the aurora borealis. They innovate. They are the theatrical equivalent to MacGyver—you should see what they do with a paperclip. Many storefront theaters, however, are itinerant. They perform in whatever venue is available for what they can afford. This nomadic existence is

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2851 N Halsted St

anything but glamorous. Storefronts continuously adapt to new spaces, hold meetings in coffee shops and use living rooms as storage lockers. Steppenwolf rose through these ranks from a church basement in Highland Park and feels a deep responsibility to support the work and talents of this effervescent community. To this end, in the mid-90s, Steppenwolf founded the Visiting Companies Initiative with two goals in mind: support the work of emerging storefront theaters and foster an environment for multigenerational dialogue. After almost a decade, this program evolved into the Garage Rep series. Now in its fourth year, Garage Rep has nurtured 12 emerging companies and countless artists through mentorship and production support. This yearly process begins in May, when Steppenwolf invites applications from storefronts across the city to participate in the upcoming Garage Rep season. Companies of varying size and aesthetic

“ [Storefronts] are the theatrical equivalent to MacGyver—you should see what they do with a paperclip.”

1650 N Halsted St

In 1982, Steppenwolf moved to a 211- seat theater at 2851 N Halsted St for its sixth season.

In 1991, Steppenwolf opened its new theater complex on 1650 N Halsted St that would eventually grow to house a 515-seat Downstairs Theatre main stage, a 299- Upstairs Theatre flexible space and an 80-seat Garage Theatre black box.

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apply but are all bound by their demonstration of excellence and an ability to speak to millennial generation audiences. After an extensive interview process, three exciting companies with ambitious projects emerged for the 2012/13 season: Theatre Seven of Chicago, Buzz22 Chicago and Bailiwick Chicago. Three Shows, Same Space, Same Time

Despite the challenges, performing in repertory offers many gifts for artists and audiences. Garage Rep lets companies extend the length of their runs to ten weeks, allowing word of mouth to grow and stimulate new viewership. Rotating performances relieves the pressure of a standard six- show week, affording artists the time to keep day jobs. Audiences draw new meanings by experiencing a play in relation to others in a series. Most importantly, followers of one company gain exposure to different performing aesthetics and may forge unlikely connections.

The set you see in front of you was not here last night. By tomorrow afternoon, the entire stage will be cleared and a different set will be erected in time for an eight o’clock performance. This elaborate scenic transformation is even more complicated on days featuring multiple performances. In some 12- hour periods, sets changeover up to three times with no more than an hour between shows. Achieving this feat took immense planning and collaboration between these three companies, and it didn’t happen overnight.

After Garage Rep, these companies will go back to their church basements and their living rooms. They’ll rent spaces from Theatre Wit, Stage 773 and right next door at the Royal George. Their future shows won’t be highlighted on the front page of Steppenwolf’s website; you won’t be receiving e- mails from us advertising their work but, rest assured they’ll be there.

Starting in early September, the leadership for the companies of Garage Rep began meeting with each other and members of the Steppenwolf staff. Under the guidance of Associate Producer Jacob Padrón and Associate Production Manager Dixie Uffelman these three companies received mentorship in the areas of artistic producing, dramaturgy, marketing, media relations, production, strategic and financial planning and fundraising.

We hope that the productions you see as a part of this repertory inspire you to seek out other opportunities to engage with these companies in the future. Sign up for their mailing list. Check out their website. Take a second and talk to their representative after the show. Through Garage Rep, Steppenwolf hopes to contribute to the vibrant storefront theater ecology. We invite you to join us by continuing to support these companies beyond our red and black walls!

This new ensemble nimbly collaborated to present a coherent festival. Before rehearsals began, they shared databases of actors and designers to help fill the roles of each individual show. With lighting designer Lee Keenan they found a ground plan that met the needs of three very different productions and established a blueprint for sharing limited off-stage storage space. The marketing and publicity teams strategized a marketing plan that advertised the entire repertory, not just individual productions.

“ w e invite you to join us by continuing to support these companies beyond our red and black walls! ”

Get red. Go see some really intense, cool,

edGy, mind-blowinG theater

on your own terms. 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

any time. plus, reD Gives you other sweet

Perks… use your reD carD to brinG a friend, Get in-theater drink discounts

and a whole lot more. . Go to stePPenwolf.orG/red red.

the only hitch... you have to be 29 years oF aGe or younGer.

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BlackTop Sky

Th eatre S e v e n o f C h i cag o prese nts Managing Artistic Director Brian Golden + Associate Artistic Director Cassy Sanders + Cast

(in alphabetical order)

Kristin E. Ellis Julian Parker Eric Lynch

Ida Klass Wynn

Understudies Marjie Southerland Dominique Worsley

Ida Klass/Wynn

setting Present. The David L. Hynn Housing Projects. intermission There will be no intermission.

Production Lizzie Bracken Brenda Winstead + Lee Keenan Chris LaPorte Toni Kendrick Taylor Fenderbosch + Rosie Howe Allaina Blackwell Jennifer McClendon Christopher Kristant Stephen Wisegarver Megan Snowder Kelly Parker Ian James Anthony Paige Collins + Emma Deane Isabel Ellison Anthony DiNicola + , Ryan Hallahan + , Travis Williams + Kali Johnson

Set Design Costume Design Lighting Design Sound Design Props Design Stage Manager Assistant Stage Manager Assistant Stage Manager Production Manager Technical Director Fight Designer MASTER ELECTRICIAN casting director Assistant Technical Director Assistant Director & dramaturgical assistant Assistant Lighting Design dramaturgical assistant voiceover Run crew

Additional theatre seven of chicago Staff Taylor Fenderbosch+ Director of Audience Engagement Isabel Ellison Literary Assistant and Dramaturg Whitney Hershberger Development Associate The company of theatre seven of chicago Margot Bordelon Paige Collins Anthony DiNicola Taylor Fenderbosch Brian Golden Ryan Hallahan

Robin Kacyn Tracey Kaplan Dan McArdle Cassy Sanders Brian Stojak Nick Ward

Justin Wardell Marisa Wegrzyn Travis Williams Brenda Winstead George Zerante

By Christina Anderson Directed by Cassy Sanders + Denotes Theatre Seven of Chicago Company Member.

+

The World Premiere of BlackTop Sky was produced by the Unicorn Theatre, Kansas City, MO, Cynthia Levin, Producing Artistic Director. BlackTop Sky was a part of A.C.T First Look Series in January 2010. BlackTop Sky was previously workshopped at The Providence Black Rep in 2009.

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Th eatre S e v e n o f C h i cag o

MISSION // Th eatre S e v e n o f C h i cag o

Letter from the Artistic Director

Brian Golden Managing Artistic Director

A difference between seeing and recognizing. Between watching and looking.

That distinction, drawn in a line from Christina Anderson’s BlackTop Sky, says it all about both tonight’s production and our body of work as a community arts organization. When Theatre Seven first read BlackTop Sky, we felt an instant visceral connection with the three characters portrayed in Christina’s script. Ida, Klass and Wynn are vastly different individuals, but they each carry big dreams, dreams that shove at the boundaries of the world their holders have inherited, demanding to be heard and yearning to be fulfilled.

Company member Tracey Kaplan and Joe Zarrow in The Chicago Landmark Project. Photographer Amanda Clifford

recognition to them? Do we recognize their hopes, their struggles, their dreams? We watch out for danger, but do we really look out for one another? Are we passive witnesses or active participants in the life of our city and its people? Those questions are just a few of the ones asked by Christina in the work you’ll see tonight, and they are fundamental to Theatre Seven and our mission to tell Chicago stories on stage. With all the work we do, we hope to offer you the opportunity to recognize and connect with the stories of our city.

Although this piece was not written about Chicago, we felt immediately that it had been written for Chicago. Our artistic company connected deeply with the rich spirits of each character and the passionate interrogation offered by Christina’s lyrical writing of the very meaning of words like neighborhood and community. That idea of community is at the heart of Theatre Seven of Chicago’s mission and purpose. Because in big, busy, broad-shouldered Chicago, we don’t always recognize one another, do we? We see our neighbors, our fellow Chicagoans, but do we offer

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Company member George Zerante and Cyd Blakewell in We Live Here. Photographer Amanda Clifford

Mission

Get Involved

We tell Chicago stories.

Please join us in our commitment to support our city through one-of-a-kind Chicago storytelling. Visit us on the web at theatreseven.org or give us a call at 773-853-3158 to find out how you can help!

History Since 2007, the company has produced seventeen standout offerings, greeted 13,000 audience members, paid 200+ artists for their contributions, earned nominations for three Jeff Awards and two Black Theatre Alliance Awards and won the League of Chicago Theatres’ 2012 Emerging Theater Award. The company’s noted world premieres include The Chicago Landmark Project, We Live Here, Diversey Harbor, Yes, This Really Happened To Me and Cooperstown. Theatre Seven also hosts a robust menu of auxiliary programming, including a monthly reading series, Shikaakwa, featuring new-to-Chicago plays and one of the best post-show discussions in town.

Brian Golden Managing Artistic Director

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SHE KILLS MONSTERS

B uzz22 c h i cag o P rese nts Co-Artistic Director Co-Artistic Director Managing Director Cast

Sara Sawicki + Scott Weinstein + Philip de Guzman +

(in alphabetical order)

Katherine Banks Rinska Carrasco-Prestinary Daeshawna Cook Fred Geyer + Jessica London-Shields Allie Long Morgan Maher Jose Nateras Ellie Reed + Sara Sawicki + Richard Traub

Agnes Kaliope Vera Miles Tilly Evil Tina/Farrah Orcus Steve Evil Gabbi/Narrator Lilith Chuck

Understudies Aurora Adachi-Winter Tilly Landree Fleming Cheerleaders/Farrah/ Narrator CJ Langdon Steve Zach Livingston Miles/Orcus Ellie Reed agnes Ricky Staffieri Chuck Casey Wortmann Lilith/Kaliope

Production William Boles Rachel Goldberg Lee Keenan Daniel Carlyon* Matt Deitchman Chuck Coyl Jamie Karas Colleen Werle Alex Tey* Lori Buchanan Colleen Werle, Trina McGee Sarah Fornace, Drew Dir, Julia Miller of Manual Cinema Mary Hungerford Christopher Leck Christopher Kristant Diana Raiselis Rachel Stubblefield-Tave Ryan Emens Will Wilhelm Emma Deane Trina McGee Ben Gojer Jeff Glass Jon Woelfer Megan Kowalsky Kat Murphy Hannah Greene Royer Bockus

Scenic Design Costume Design Lighting Design Sound Design Composer Fight Director Properties Design Puppetry Design, Puppetry Coach Gore Design, Assistant Fight Director Dance Choreographer Mask Design Shadow Puppet Design Production Manager Stage Manager Technical Director Assistant Director Assistant Stage Manager Assistant Scenic Design Assistant Costume Design Assistant Lighting Design Assistant Puppetry Design Assistant Gore Design Assistant Production Manager Assistant Technical Director Run Crew Dungeons & Dragons Consultant Marketing Consultant Marketing Consultant

setting Athens, Ohio. 1995. intermission There will be no intermission.

By Qui Nguyen Directed by Scott Weinstein +

Additional Buzz22 chicago Staff Amanda Kahn + Ellie Reed + Fred Geyer + Rebecca Loeser + Daniel Carlyon * Alex Tey * Jennifer Avery Zachary Johnson

Director of Development Casting Director Production Associate Production Associate Artistic Associate Artistic Associate Advisory Board Advisory Board

The company of buzz22 chicago

+ Denotes Buzz22 Chicago Company Member * Denotes Buzz22 Chicago Artistic Associate

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Fred Geyer Philip de Guzman Amanda Kahn Rebecca Loeser

Ellie Reed Sara Sawicki Scott Weinstein

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B uzz22 c h i cag o P rese nts

MISSION // B uzz22 CHICAGO

Letter from the CO-Artistic Directors

Greetings, Adventurers! We’re Buzz22 Chicago and it is a pleasure to meet you! Company member Rebecca Loeser with Morgan Maher in Quake by Melanie Marnich, 2012. Photographer Justin Barbin

Sara Sawicki and Scott Weinstein Co-Artistic Directors

The world we are about to share with you is not the world we live in today. There is no text messaging. There is no video chat. There’s a lot of denim and more than a handful of heads of hair with frosted tips. While 1995 is the not-so-distant past, at times it feels a million miles away. Yet, growing up hasn’t changed all that much. Growing up was just as scary—filled with the same bullies, insecurities and discoveries. She Kills Monsters is also a world of Dungeons & Dragons, of fairies, orcs, demons and spells. Though it connects us to the world in ways we never thought possible, much of the progress we have made over the past 18 years sometimes disconnects us from those we’re closest to. Through storytelling, improvisation and shared experience, Dungeons and Dragons continues to bring people together. If you haven’t already figured it out, you are about to take part in an epic tale. But at its heart lies a simple story about family. Whether chosen, stumbled upon or born into, a family has the opportunity to know

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you better than anyone in the world. And when you allow someone that knowledge, it often comes with a challenge: to be the person you are meant to be. Suddenly you are made accountable to a version of yourself you may not have even known was waiting patiently to be let loose. To accept that challenge is not a comfortable thing. It’s not an easy thing. To be honest, it is often a quite terrifying thing. But is it worth it? Buzz22 would answer you with a resounding “HELL YES!” We’re glad you’re here,

Sara Sawicki Co-Artistic Director

Scott Weinstein Co-Artistic Director

Mission

Get Involved

Buzz22 Chicago stages stories to explore the constant coming of age: the ever-occurring moments that challenge who we are and who we want to be.

Buzz22 could not exist without the support of people like you. Being here tonight is a great first step, and if you’re interested in staying involved, head to buzz22chicago.com.

History Buzz22 Chicago is an ensemble-based theater company comprised of seven founding members. Since the fall of 2010, we have produced four mainstage productions as well as a handful of special events. In our first year of ‘real life’ we found ourselves in Artistic Director Sara’s studio apartment, talking. That talking quickly led to doing. In doing, we found that the lost sense we were experiencing as recent graduates was something broader and more significant than we had originally recognized. We found that change, growth and transition are a part of all stages of life and we have made it our mission to explore those moments through innovative takes on existing work as well as bold presentations of new work, while also providing an artistic home for other emerging artists.

Company members Philip de Guzman, Amanda Kahn, Fred Geyer and Ellie Reed in Hooters by Ted Tally, 2010. Photographer Sara Sawicki

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see what i wanna see

Bai li w i c k c h i cag o P rese nts ARTISTIC DIRECTOR EXECUTIVE DIRECTOR Cast

Lili-Anne Brown + Kate Garassino +

(in alphabetical order)

Harter Clingman MORITO / THE HUSBAND / A CPA Sharriese Hamilton KESA / THE MEDIUM / AN ACTRESS Evan Tyrone Martin THE JANITOR / A REPORTER Peter Oyloe THE THIEF / A PRIEST Danni Smith+ THE WIFE / AUNT MONICA understudies Jenny Lamb Eric Martin+

feMale Male

Production Lizzie Bracken Samantha C. Jones Lee Keenan Cody Reynolds Heather Stuck + Geoffrey Bleeke r+ Michael Driscoll Emma Deane Christopher Kristant

Scenic Design Costume Design Lighting Design Sound Design Stage Manager Production Manager Assistant Director Assistant Lighting Designer Technical Director

Setting Act I – KESA & MORITO – PART 1 – Feudal Japan R SHOMON - A police interrogation room, New York City, 1951 Act 2– KESA & MORITO – PART 2 – Feudal Japan GLORYDAY – In and around Central Park, New York City, 2002

Words and Music by Michael John LaChiusa Directed by Lili-Anne Brown + Music Direction by James Morehead + 14 GREP_PROGRAM_0113_12.indd 14-15

Intermission There will be one 15-minute intermission.

Denotes Bailiwick Chicago Collective Member.

+

Originally produced in October 2005 at The Public Theater, Oskar Eustis, Artistic Director; Mara Manus, Executive Director. The World Premiere of See What I Wanna See was produced by the Williamstown Theatre Festival, Michael Ritchie, Producer.

SONG LIST Act 1 Kesa (Kesa) The Janitor’s Statement (The Janitor) The Thief’s Statement/She Looked at Me (The Thief) See What I Wanna See (The Wife) Big Money (The Thief, The Husband) The Park (The Thief, The Wife) You’ll Go Away With Me (The Thief) Murder (The Thief) Best Not to Get Involved (The Janitor)

The Wife’s Statement (The Wife) Louie (The Wife) The Medium and the Husband’s Statement (The Medium, The Husband) Quartet: You’ll Go Away With Me (Reprise) (The Husband, The Wife, The Thief, The Medium) No More (The Wife) Simple as This (The Husband, The Medium) Light in the East/Finale Act 1 (All)

Act 2 Morito (Morito) Confession/Last Year (Priest, All) The Greatest Practical Joke (Aunt Monica) First Message (Priest) Central Park (CPA) Second Message (Priest, Actress) Coffee (Actress)

Gloryday (All) Curiosity/Prayer (Reporter, Actress, CPA, Priest) Feed the Lions (Priest) There Will Be a Miracle (Aunt Monica) Prayer (Reprise) (Actress, CPA, Reporter) Rising Up/Finale Act 2 (All)

Additional bailiwick chicago Staff Michael Harnichar MANAGING DIRECTOR Eric Martin CREATIVE DIRECTOR Geoffrey Bleeker ASSOCIATE PRODUCER Melissa Young ASSOCIATE PRODUCER Danny Bernardo RESIDENT PLAYWRIGHT & SOCIAL MEDIA MANAGER Steve Best LITERARY MANAGER Deanna Fearnbaugh EVENTS MANAGER

Harmony France CASTING ASSOCIATE Mitch Harvick AUDIENCE SERVICES MANAGER Aaron Holland RESIDENT PLAYWRIGHT & LITERARY MANAGER Varris Holmes GRANTS MANAGER Mark LeBeau LOOP ENGINEER Casi Maggio MARKETING COORDINATOR Robert Ollis FUNDRAISING MANAGER Brittany Townsley EVENTS COORDINATOR

The bailiwick chicago collective Lili-Anne Brown Kate Garassino Eric Martin Michael Harnichar Aaron Benham Danny Bernardo Steve Best Geoffrey Bleeker

Samantha Dubina Mike Dunbar Deanna Fearnbaugh Scott Ferguson Harmony France Kyle A. Gibson Mitch Harvick Aaron Holland

Varris Holmes Cameron Johnson Jay Kennedy Mark LeBeau Casi Maggio James Morehead Robert Ollis Christopher Pazdernik

Danni Smith Heather Stuck Brittany Townsley Melissa Young

See What I Wanna See was commissioned by and developed at Musical Theatre Works, Thomas Cott, Artistic Director, with the generous support of the Gilman Gonzalez-Falla Foundation and Ted and Mary Jo Shen and the Shen Family Foundation.

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Bai li w i c k c h i cag o

MISSION // Bailiwick CHICAGO

Letter from the Artistic Director

What we believe can be far more powerful than what we perceive. Passing Strange, 2011 Photographer Jay Kennedy

Lili-Anne Brown Artistic Director

Belief itself can alter perception; as our mind plays interpreter for our senses, things get lost in translation. Faith—what we believe but cannot perceive—can trump seemingly irrefutable evidence and put us in direct conflict with our very own perceptions. There exists a universal human longing for our perceptions, our beliefs and our faith to align. We seek not only internal harmony, but affirmation from others that what we believe is reliable, and agreed upon. Ultimately, we yearn for truth. This play explores the eternal themes of desire, faith, hope and most importantly, truth. In this “information age,” explorations of truth can be complex. We are constantly bombarded on all sides by sound bites, tabloid ‘news,’ marketing, ‘infotainment,’ partisan political proselytizing, and viral shout-outs. All of these distractions stand as immovable obstacles in our never ending quest to determine the truth. But then again, if we don’t believe what’s being told to us, we can check our facts on Wikipedia…right? See What I Wanna See is based on the short stories of renowned early-20th-century Japanese author Ryunosuke Akutagawa. It highlights a character motivation that many consider antiquated

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in 21st—century America: ‘saving face.’ Murder and harakiri serve as extreme theatricalizations of our own attempts to be seen by others as valuable, or to be redeemed for our sins. A person who feels devoid of value is dangerous. They are just as likely to attempt their own destruction as they are to destroy those who they perceive as mocking them. In each of the three stories in this play, characters take action based on their perceptions, belief, or faith. They are willing to deceive, lie, desert, or perhaps even commit murder in the quest to make their truth the truth. Their reckoning comes when they are forced to face the consequences of these actions. Their desires and their faith (or lack thereof) lead them ultimately to their personal truths. If they are willing to face those truths, they may even begin a new journey towards hope.

Lili-Anne Brown Artistic Director

Bloody Bloody Andrew Jackson, 2012 Photographer Michael Brosilow

MISSION Bailiwick Chicago is a non-profit professional company with a mission to produce contemporary musicals and plays, reinvent classic musicals and develop new work, while sharing a powerful and authentic theatrical experience. We celebrate and engage our community through diverse programming, artistic partnerships and outreach opportunities.

In our first two seasons, our company garnered 28 award nominations and received critical acclaim for our innovative Chicago productions. We have a very clear vision for this company, and very attainable goals: we want to be known for doing consistently great work while still taking risks, and enriching the lives of both those who do our shows and those who view our shows.

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steppenwolf staff

board of trustees

Martha Lavey

Terry Kinney, Jeff Perry and Gary Sinise

David Hawkanson

Artistic Director

Executive Artistic Board

Executive Director

Artistic

PAUL G. MILLER

Lisa Frye

Erica Daniels

Executive Assistant

Graphic Designer

Associate Artistic Director

Lupe Garcia Quiles

JOEL MOORMAN

Rebecca Rugg

Events Management Associate

Digital Content Producer

Artistic Producer

Angela johnson

Alicia graf

Aaron Carter

Office Management Associate & Receptionist

Literary Manager

Jacob g. padrÓn

Jackie Snuttjer Finance Specialist

Associate Producer

Nick Ward Casting and School Associate

Tracy Letts Amy Morton Anna D. Shapiro Jessica Thebus Associate Artists

Development SANDY KARUSCHAK Director of Development

Emilie De Angelis

Marketing Assistant

TAMARA TODRES Director of Audience Services

JIMMY FREUND Audience Services Manager

STEPHANIE HELLER Audience Services Subscription Manager

Director of Campaign Gifts

Mike brunlieb MATTHEW LYLE

BROOKE EISENMENGER

Audience Services Supervisors

Sheldon Patinkin

Director of Major Gifts

Molly Layton

Artistic Consultant

ERIC EVENSKAAS

Group Sales Associate

Steppenwolf for Young Adults

Director of Individual Giving and Donor Services

Megan a. Smith

Hallie Gordon

Director of Corporate Relations

Artistic and Educational Director

DEBORAH STEWART

Megan Shuchman Education Manager

Lauren Sivak Education Assistant

Amanda Jane Dunne Ali hoefnagel l’oreal jackson Ashley roberson Samuel roberson Emilio Robles NIcole Ripley Teaching Artists

Administration David M. Schmitz Managing Director

Rachel D. Freund Director of Finance

Heather C. Joireman

Director of Foundation and Government Relations

KENDRA VAN KEMPEN Director of Special Events

JESSICA GRETCH Individual Giving Coordinator

KALEIGH LOCKHART Development Coordinator

Suzanne Miller Donor Services Coordinator

IT Director

JAY JUSSAUME

LOUISE GERAGHTY

Antonio Ibarra

Donor Relations Associate

Physical Plant Supervisor

Eric van tassell

Peter van kempeN

Corporate Relations Associate

Operations Coordinator

Marketing, Publicity & Audience Services

Adrian castro Padam dhungel RYAN PALMA

JOhn Zinn

Facilities Staff

Director of Marketing and Communications

VICTOR DAVID Tika Ram Kafley Jerome lee Ethan ozaniec Bhagirath timsina

jeffrey fauver Communications Director

Kate holst Test

paul Koob

Human Resources and Professional Leadership Programs Coordinator

Design Director

Samar Sharba IT Associate

Operations Director of Operations

Erin Cook

Brian Hurst

Audience Services Associates

Lauren Fisher

Company Manager

Finance Coordinator

Craig barnes Billie bryant Rebecca Butler derrik dickinson Reynaldo dumas Joshua Goode LACEY HOLMES SOTIRIOS LIVADITIS Neel McNeill sarah nelson sarah tongren

Special Events Associate

Events Management Director

Scott Macoun

ROSEANN BISHOP Subscriptions and Audience Services Assistant

THOMAS WEITZ Digital Assets Director

erika Nelson Associate Director of Marketing

jamie alexander

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Marketing Manager

Custodial Staff

EVAN HATFIELD Director of Audience Experience

Jesse Cannady Kelsey Chigas daniel dvorkin sarah goldberg chase kimball melissa Rose dan smeriglio Front of House Staff

MUSTAFA CHAUDHRY DONALD COULSON Indra Kafley Parking Staff

LAUREN LOUER, THE SAINTS Volunteer Usher Coordination

Production AL FRANKLIN Production Manager DIXIE UFFELMAN Associate Production Manager

RUSSELL POOLE Technical Director

Robert S. Brown Assistant Technical Director

ROGELIO RIOJAS Scene Shop Foreman

christopher aler christopher grubb kyle land

JESSICA STRATTON Wardrobe Supervisor

Melissa tulchinsky Staff Wardrobe

MARTHA WEGENER Audio Engineer

GREGOR MORTIS Assistant Audio Engineer

J. R. LEDERLE Lighting Supervisor

ERNESTO GOMEZ House Electrician

MALCOLM EWEN CHRISTINE D. FREEBURG LAURA D. GLENN MICHELLE MEDVIN kim osgood ROSE MARIE PACKER Jonathan Nook KATHLEEN E. PETROZIELLO deb styer cassie wolgamott Stage Managers

Call Center CASEY VANWORMER Associate Campaign Director

Ali Hoefnagel

Scenic Carpenters

Audience Outreach Supervisor

Melissa rutherfoord

SiDNEY CRISTOL rob dieringer CHARLES FRYDENBERG deborah granite julia guettier MARILYN HILLARY Terrence Mosley Tiffany Rae Wilson Daniel rubens

Charge Scenic Artist

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

Daisy lindas Project Coordinator

KEVIN PETERSON

jessica lind

Shop Foreman

Garage House Manager

lynae vandermeulen

Audience Outreach Associates

Peter Andersen Fatimah Asghar Nikki Blue Carlene Descalo Kelsy Durkin Geno Franco Patrick French Lindsay Fussell Joshua Goode Neel McNeill Kelsey Munson Rebecca noble Marie Quinn Peter Schmidt Michael Tutino Anne Walaszek Jon Woelfer

Executive Committee 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

Trustees Sarah Beardsley Michael W. Bender Terri L. Cable Keith Cardoza 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 Ronald J. Mallicoat, Jr. Janet Melk Christopher M. Murphy David C. Pisor Merle Reskin Michael R. Salem John R. Samolis Manuel “Manny” Sanchez Anna D. Shapiro Colette Cachey Smithburg

Emeritus Trustees 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

Apprentices

Staff Draper

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STEPPENWOLF ACKNOWLEDGEMENTS

20 for $20

STEPPENWOLF GARAGE REP COMMITTEE

Robert Brueler

Ensemble Member

Aaron Carter

Literary Manager

Gabriel Diaz-de-Leon

Steppenwolf for young adults council Member

Jessica Gretch

Individual Giving Coordinator

Evan Hatfield

Director of Audience Experience

Lindsay Phillips

Steppenwolf for young adults council Member

Dixie Uffelman

Associate Production Manager

Rebecca Rugg

Artistic Producer

David Schmitz

Managing Director

through March 3, 2013

Lauren Sivak

Education Assistant

By Stephen adly GUirGiS Directed by ensemble member anna d. Shapiro

Nick Ward

Casting and School at Steppenwolf Associate

World-class TheaTer on a budgeT Twenty $20 tickets are available for any of our subscription plays day-of the performance. It’s easy—just call 312-335-1650 at 11am (Mon – Sat) and 1pm (Sun) to claim your tickets. Use 20 for $20 to see any of the upcoming plays below! Limit 2 per person.

the Motherf**ker with the hat

Special production Staff

the birthday party

Megan Snowder

Master Electrician

through april 28, 2013

Rachel Spear

Sound Board Operator

By Nobel laureate harold pinter Directed by ensemble member aUStin pendleton

Brian DesGranges

Technical Director

head of passes april 4 – june 9, 2013

By ensemble member tarell alvin Mccraney Directed by ensemble member tina landaU

belleville

june 27 – august 25, 2013 By aMy herzoG Directed by anne kaUffMan

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coming next to the

steppenwolf garage

Th ree pro d u ctions fro m Chicago’s n ext g e n e ration of theate r a rtists, p rese n ted in rota tin g reperto r y. Th e Dr u n k e n C it y by Adam Bock Directed by Johnny Michael DiResta Th e I nter n ati o n al i st by Anne Washburn Directed by Erin Murray

may 28 - j u n e 16, 2013

Fat P i g by Neil LaBute Directed by David Prete

Tickets $20 / steppenwolf.org/nextup Su pp o rt fo r Next Up c o m es th r o u g h th e “Lead i n g fo r th e Futu re I n itiati v e,” a pr o gram o f th e N o n pr o fit Fi nan c e Fu n d, fu n d e d by th e D o r i s D u ke C har itable Fo u n dati o n.

GREP_PROGRAM_0113_12.indd 22

2/1/13 2:29 PM


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