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Jun 8–Jul 8JUNE 2018

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Encore Stages is an Encore Arts Program that features stories about our local arts community alongside information about performances. Encore Arts Programs are publications of Encore Media Group. We also publish City Arts, a monthly arts & culture magazine, and specialty publications, including the Offical Seattle Pride Guide and the SIFF Guide and Catalog. Learn more at encoremediagroup.com

ContentsFeature

3 Open-air arts for summer

Dialogue

9 Rachel Guyer-Mafune on city life and new works

11 Yussef El Guindi on belonging and knowing your audience

Intermission Brain Transmission

15 Test yourself with our trivia quiz!

Encore Stages features the following organizations:

SUMMER 2018

June 2018Volume 14, No. 7

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Encore Arts Programs is published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. All rights reserved. ©2018 Encore Media Group. Reproduction without written permission is prohibited.

Artists from

June 7–23

SeattleInternationalDance Festival

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IsraelSwitzerlandJapanCanadaSeattle

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From left: James Ehnes, Stephen Rose, Jordan Anderson, Edward Arron, and Jonathan Vinocour. Photo by Tom Mark Photography.

Shakespeare, chamber music, puppetry...no matter your preference, there's a way to soak up the arts and the sun this summer. Danielle Mohlman previews Seattle's arts al fresco.

Living in Seattle means living for the summer. Between hiking, biking and visits to the city’s incredible beaches and lakes, it’s easy to fill every evening and weekend with glorious outdoor activities. But while you’re solidifying your summer schedule, don’t forget to make room for the arts. Several intrepid Seattle arts organizations program their summers around the great outdoors, taking advantage of public spaces to bring art to the entire city. The Seattle Art Museum programs a biweekly concert and arts series at the Olympic Sculpture Park in Belltown, aptly named Summer at SAM. GreenStage produces the Seattle Outdoor Theater Festival at Volunteer Park in Capitol Hill each summer, a festival that boasts sixteen performances on three stages across

Arts al Fresco

the park. And the Seattle Art Fair takes over the CenturyLink Field Event Center every August, attracting local and national art aficionados alike. I had the opportunity to speak with the artists behind three of our city’s most anticipated outdoor performances: Wooden O’s productions of King Lear and The Merry Wives of Windsor, Seattle Chamber Music Society’s Chamber Music in the Park and Common Area Maintenance’s inaugural puppetry production. Don’t forget the sunscreen!

George Mount, artistic director of Seattle Shakespeare Company, started

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Wooden O twenty-five years ago as a way to reconnect with his Pacific Northwest roots. The Mercer Island native noticed that the island’s annual summer festival, Mostly Music in the Park, was entirely music in the park. Eager to bring outdoor performance to his hometown, Mount solicited the Arts Council of Mercer Island for a grant to perform Shakespeare at the Luther Burbank Park Amphitheatre—just three nights of Much Ado About Nothing to justify the “mostly” in the festival’s title. Twenty-five years later, Wooden O has expanded its scope to include parks across the Puget Sound region. But one thing remains the same all these years later: the festival opens and closes at Mercer Island’s Luther Burbank Park Amphitheatre.

I had the opportunity to speak with George Mount about the significance of Wooden O’s twenty-five year anniversary and his role as director of this summer’s King Lear.

“We’ve never done it outside,” Mount said of Shakespeare’s tragedy. “It’s a

monster of a play and an audacious choice to present in the summer under two hours. But Wooden O was pretty much started as an audacious endeavor.”

Mount pointed out that King Lear’s cynicism makes it the perfect play for 2018.

“So many of the people act out of venal self-interest and casual disregard of others around them,” Mount said. “I worry about that behavior when I look at our politics, our consumerism, digital isolation, tribal isolation and ideological insulation.”

Actor Vanessa Miller’s Wooden O connection is longer than the festival’s history. Miller attended Mercer Island High School with George Mount and when he asked her to return to Washington to play Beatrice in Much Ado About Nothing, the decision was simple.

“I really think that free theatre is important,” Miller said. “When I was

Concertgoers get into it. Photo by Tom Mark Photography.

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a kid, I remember seeing some park shows produced by Empty Space. Watching those shows changed my life, inspired me to follow a path into theatre. It only takes one beautiful summer evening in front of a happy crowd of people eating picnic dinners, laughing or listening to the beautiful poetry, to get hooked for life.”

She loves the community aspect of Wooden O and the way the actors truly connect with the audience. And she’s always aware that she could be part of an audience member’s first Shakespeare experience.

“Our job as actors is to be very specific with the language and the relationships,” Miller said. “If we know what we’re saying, and we act with intention, then it clicks for the audience too. If we, as actors, are bluffing it, or generalizing, then it’s really hard for the audience. Plus, Wooden O shows are very physical and lively. It’s not an academic experience.”

Concertgoers get into it. Photo by Tom Mark Photography.

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Reginald Andre Jackson made his Wooden O debut eighteen years ago and says that there’s nothing like performing Shakespeare outdoors. He loves seeing audience members reclined on a blanket, enjoying a bottle of wine and a cheese plate or sending their kids off to play as they enjoy the performance.

“Every now and again, nature will come in and lift the play in unexpected ways,” Jackson said. “We took Macbeth to Walla Walla. One night during dusk, bats began to swoop and circle in a feeding frenzy near the trees that surround the stage. Wooden O has hired some pretty great designers. But nature—she is queen.”

George Mount left me with some words of advice for audience members who are hesitant to give Shakespeare a try.

“Wooden O was founded on the conviction that Shakespeare’s plays are popular entertainment,” Mount said. “That’s been a driving force in how we approach the plays. Shakespeare’s plays entertain the whole person. The language challenges the brain. The romance lifts the heart. The pathos hits the gut.”

Mount added that even if a play isn’t to

an audience member’s liking, they still spent two hours in a gorgeous Seattle park, with a picnic dinner, surrounded by friends and family. Who could ask for a more perfect evening?

King Lear and The Merry Wives of Windsor run July 12 to August 12 in parks throughout the Puget Sound region. Visit seattleshakespeare.org for more information.

On a walk through Capitol Hill’s gorgeous Volunteer Park one summer, James Ehnes, director of the Seattle Chamber Music Society (SCMS), and his wife Kate, came across a small stage perfectly sized for a chamber orchestra. She suggested that Ehnes program a summer concert in the space and Chamber Music in the Park was born.

“Bringing this music, for free, into Seattle parks has been a wonderful way to spread this beautiful music to listeners from all over the city who

might not have the chance to hear us downtown at Benaroya Hall,” Ehnes said. “It’s tremendously gratifying to see all the families and young people that attend these events in the parks.”

Last summer, SCMS introduced a community play-along component to Chamber Music in the Park, inviting string players from the Puget Sound region to play alongside SCMS musicians.

“Everyone had a really fantastic time,” Ehnes said, “and it was very meaningful and moving to see so many cross-sections of Seattle represented in the group—people of different genders, ethnicities, ages and backgrounds, all sharing in the joy of music.”

Violinist Amy Schwartz Moretti loves performing in any venue, but whenever she performs outdoors she feels a deep connection with the world and the lives around her.

“One of my favorite memories of a Volunteer Park concert was during a performance of the Dvorak Viola Sextet,” she shared. “I had a moment when I wasn’t playing for a few measures where I was so taken by the beauty of the scenery and music-making. I saw an airplane flying over carrying people to their various destinations, heard children laughing and dancing, and just had a general sense of all being right with the world.”

Violinist Erin Keefe also loves performing at Volunteer Park because the setting is more casual than the orchestra’s Benaroya Hall performances.

“The nice thing about it is that parents can bring their children without worrying about upsetting anyone if they get a little restless,” Keefe said.

“People can enjoy the weather and maybe a picnic while they listen to us play.”

A lovely evening out. Photo by Tom Mark Photography.

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“People can enjoy the weather and maybe a picnic while they listen to us play. It’s very fun for the performers and it’s something I look forward to every summer.”

Chamber Music in the Park is on Saturday, July 28 at Volunteer Park. Visit seattlechambermusic.org for more information, including information on how to register for the community play-along.

When Alexander Mostov joined Common Area Maintenance (CAM), a community gallery and generative studio in Belltown, he was looking for an inspiring workspace where he could interact with fellow creatives. In the years since, CAM has provided much more than that community. It’s become a space where Mostov, an artist who works primarily in two-dimensional gouache and computer illustration, can challenge his work and experiment with new forms. Which is how he came up with the idea to produce a puppet show that audience members can view from the sidewalk.

The puppetry performance will be the first of its kind in this space, but one that has the potential to become an annual summer tradition.

“I saw a traditional puppet show while I was studying abroad in Barcelona and was totally inspired,” Mostov shared. “I love magic realism and the idea of injecting fantasy into one’s everyday life. There’s something about puppetry that lends itself to that everyday fantasy.”

When I asked him what he was looking forward to the most about this collaborative art form, Mostov shared

George Gershwin’s one-of-a-kind masterpiece boasts some of the best songs ever written—including “Summertime,” “I Got Plenty O’ Nuttin’,” “I Loves You, Porgy,” and “It Ain’t Necessarily So.” Our fully-scored, unabridged presentation retains all of the superb choral and orchestral music that enchanted sell-out McCaw Hall crowds in 2011. The vibrant mix of action, humor, romance, struggle, and celebration returns with a “perfect” (ClassicsToday.com) new production that will inspire you to “rise up singing.”

In English with English subtitles.Evenings 7:30 PMSundays 2:00PM

Featuring members of Seattle Symphony Orchestra.

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that he’s excited about merging his own visual style with the aesthetics of artists who work in other mediums. For example, how will an artist who works primarily in sound enhance the script?

When Mostov and I spoke in the spring, he was in the process of assembling a team and writing the script, in collaboration with two other CAM artists.

“We’re playing with the idea of adapting a whimsical picture book script I wrote last year,” Mostov said. “We’re planning on adding adult-level humor, political references and sarcasm.”

Sounds like we’re in for a treat.

Common Area Maintenance’s puppetry performance will run May through June at their space in Belltown. Visit facebook.com/commonartspace for more information.

So, pack a picnic and a wide-brimmed hat. Because whether you’re a puppetry fan, a Shakespeare fiend or an orchestra aficionado, there’s a performance for everyone this summer in Seattle. <

Danielle Mohlman is a nationally produced feminist playwright based in Seattle. Her play Nexus is among the 2015 Honorable Mentions on The Kilroys list. She is an alumnus of the inaugural class of Playwrights’ Arena at Arena Stage and a member of the 2018 Umbrella Project Writers Group.

CenturyLink Field Event Centerseattleartfair.com

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ACT – A Contemporary Theatre presents

John LangsArtistic Director

Becky WitmerManaging Director

The Norcliffe Foundation

encoremediagroup.com/programs A–1

Written & performed by Dael Orlandersmith*

CREATIVE TEAM Neel Keller Director Takeshi Kata Scenic Designer Kaye Voyce Costume Designer Mary Louise Geiger Lighting Designer Justin Ellington Sound Designer Nicholas Hussong Projection Designer Robertson Witmer Associate Sound Designer Lily McLeod Assistant Lighting Designer Erin B. Zatloka* Stage Manager Laurel Nichols Production Assistant

Running Time: This performance runs approximately 70 minutes. There will be no intermission.

*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Until the Flood is produced by special arrangement with The Gersh Agency, 41 Madison Avenue, 33rd Floor, New York, NY 10010.

Until the Flood was Originally Commissioned and Produced by The Repertory Theatre of St. Louis. Steven Woolf, Artistic Director; Mark Bernstein, Managing Director.

The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

Closed Captioning devices are available at all performances and ASL will be available on June 22 (8:00pm). Please purchase designated CC seats and ASL tickets by calling 206.292.7676, emailing [email protected], or visiting us in person. To read more about

accessibility and the Figaro MobiTxt® Closed Captioning System, visit acttheatre.org.

Audience members are cordially reminded to silence all electronic devices. All forms of photography and the use of recording devices are strictly prohibited. Please do not walk on the stage before, during, or after the show.

Kathy Alvord Gerlich, Eulalie M. & Gian-Carlo Scandiuzzi, True-Brown Foundation

SHOW SPONSOR:

Beginning June 8, 2018 • Opening Night June 14, 2018

A Contemporary Theatre Foundation

THEATRE AND SEASON SPONSORS:

The Sunderland Foundation

A–2 ACT – A Contemporary Theatre

to ACTWELCOME

Our country is suffering a birth defect that has everything to do with the institution of slavery which is inexorably linked to the creation of our nation. The legacy of the actions of our forefathers has followed us and we are now at a time of reckoning, but also a time of heightened awareness. It is the artist’s job to hold the mirror up to society in all of its forms. Its imperfections. Its horrific past. Artists help us stay vigilant and challenge the status quo which is no longer acceptable. It is time to pull our community together and think collectively and feel deeply. I believe the theatre is a powerful tool for this work, and it needs fearless and powerful artists.

Dael Orlandersmith performed at ACT in The Gimmick (1999), Monster (2001), and her Pulitzer Prize nominated Yellowman (2002). There are those in this audience and certainly in this building who have never forgotten the impact of her impeccable storytelling. We are thrilled to have Dael back to provide her insight into one of the most complex issues of our time. Until the Flood is a synthesis of emotion and points of view that surround the shooting and death of Michael Brown in Ferguson, MO. Her work reminds me of the power of the artist to not only reflect but to pursue a collective truth by presenting a balance of thoughts and opinions. Dael’s writing allows each viewer to meet the work on own his or her terms, and perhaps her most amazing feat is to offer hope in what can often seem like a hopeless situation.

Our 2018 season mission is to explore the space between the ideological fortresses we have set up for ourselves. To tell stories that challenge our own beliefs and reach toward a common ground. We hope that this play will be a call to action to question your own assumptions and to engage more deeply with the community as we search for a way to heal and to move into a more just future.

I want to express my gratitude to everyone involved in the events supporting Until the Flood. On behalf of ACT, we are grateful to the local leaders who are joining the conversation. While ACT has a history of producing works that address issues of race and racism, and we have a commitment to producing theatre that advances social justice, there are many people and organizations who have dedicated their lives, careers, and missions to doing this work every single day. Please visit our website to learn more about our partnerships, guest speakers and responders.

John Langs Artistic Director

John LangsPHOTO BY TRUMAN BUFFET


Until the Flood is an ongoing, ever-branching, ever-flowing conversation.

The play was born out of an urgent conversation that the staff of The Repertory Theatre of St. Louis had in the wake of the shooting of Michael Brown. Feeling a profound need to respond to the social upheaval engulfing their region, they asked each other, “What kind of theater can be part of the conversation?”

The play that grew out of that conversation was made out of conversations. In order to write the play, Dael Orlandersmith spoke with many people, asking them, “How has the shooting and its aftermath affected you?” Those conversations were moving, scary, hopeful, angry, and despairing. Dael collected the thoughts and emotions swirling within those conversations and created the individual composite characters you will hear in the play.

Heard together, their words underscore a great

irony about our social, religious, political, and historical discourse. The talking is ubiquitous. It is inescapably present in every home and every community. But, there is not nearly enough conversation flowing between people of

different backgrounds, between different neighborhoods, between people whose experience of American life is foreign to one another.

All of the people Dael interviewed for this play live within about a dozen miles of each other and from the site of Michael Brown’s death. How is it that they see things so differently? Hopefully the play and that question will be the starting point for many new

conversations. Thank you for being here and for joining the continuing conversation.

Neel Keller Until the Flood Director

A Notefrom Director

NEEL KELLER

“Heard together, their words underscore a great irony about our social, religious, political and historical discourse.”

A– 4 ACT – A Contemporary Theatre

We’re getting a new “front door!”ACT is updating the way patrons experience the Theatre –

both in the building and online.

NEW FACEto the Ticket Offi ce

and Lobby!

MAJORUPDATES

to the website!

Changes are well underway and mark the fi rst phase in a multi-year renovationof ACT’s space. The Theatre plans to implement improvements in the coming year,however it is expected to be several years before the full master renovation plan is

executed. By 2025, ACT Theatre will be in the best shape ever!

For additional information and to fi nd out how you can support ACT’s renovations, go to

www.acttheatre.org/About/2018Renovation

In partnership with Graham Baba Architects & Studio Matthews


FRIDAY, 6:00PM at ACT THEATRE BLACK T IE OPTIONAL

Save the date for an evening of revelry. It’s ACT’s biggest party of the year! Enjoy cocktails, the Vault Game, dinner, entertainment, and dancing.

Visit acttheatre.org/gala for more information or contact [email protected]

october 5, 2018october 5, 2018

eesave the datsave the datsave the date

ACTGALA

october 5, 2018



Dael Orlandersmith (Playwright & Performer) previously performed Yellowman at ACT in 2002. Ms. Orlandersmith first performed Stoop Stories in 2008 at The

Public Theater’s Under the Radar Festival and Apollo Theater’s Salon Series; Washington, DC’s Studio Theatre produced its world premiere in 2009. Black n Blue Boys/Broken Men was developed as a co-commission between the Goodman and Berkeley Repertory Theatre, where it was staged in May 2012. Her play Horsedreams was developed at New Dramatists and workshopped at New York Stage and Film Company in 2008 and was performed at Rattlestick Playwrights Theater in 2011. Bones was commissioned by the Mark Taper Forum where it premiered in 2010. Ms. Orlandersmith premiered The Blue Album, in collaboration with David Cale, at Long Wharf Theatre in 2007. Yellowman was commissioned by and premiered at McCarter Theatre in a co-production with The Wilma Theater and Long Wharf Theatre. Ms. Orlandersmith was a Pulitzer Prize finalist and Drama Desk Award nominee for Outstanding Play and Outstanding Actress in a Play for Yellowman in 2002. The Gimmick, commissioned by McCarter Theatre, premiered in their Second Stage OnStage series in 1998 and went on to great acclaim at Long Wharf Theatre and New York Theatre Workshop; Ms. Orlandersmith won the Susan Smith Blackburn Prize for The Gimmick in 1999. Her play Monster premiered at New York Theatre Workshop in November 1996. Ms. Orlandersmith has toured extensively with the Nuyorican Poets Café (Real Live Poetry) throughout the United States, Europe and Australia. Yellowman and a collection of her earlier works have been published by Vintage Books and Dramatists Play Service. Ms. Orlandersmith attended Sundance Institute Theatre Lab for four summers and is the recipient of a New York Foundation for the Arts Grant, The Helen Merrill Award for Emerging Playwrights, a Guggenheim and the 2005 PEN/Laura Pels Foundation Award for a playwright in mid-career. She is the recipient of a Lucille Lortel Foundation Playwrights Fellowship and an Obie Award for Beauty’s Daughter. In 2012/13 Ms. Orlandersmith wrote and performed in a solo play called Black n Blue Boys/Broken Men, which was commissioned by the Goodman and co-produced and performed in and by Berkeley Rep and the Goodman. In 2014/2015, Ms. Orlandersmith wrote and performed a solo memoir play called Forever, which was done at the Kirk

Douglas Theatre, The Long Wharf, New York Theatre Workshop, Portland Center Stage, and Abbey Theatre (Dublin). In the fall of 2016, Orlandersmith wrote and performed Until the Flood (commissioned by St. Louis Repertory Theatre). It has been performed at Rattlestick Theatre, Milwaukee Repertory Theatre, Goodman Theatre, and ACT. Ms. Orlandersmith is currently working on two commissions.

Neel Keller (Director) has enjoyed a long and very happy collaboration with Dael Orlandersmith. They originally met almost 30 years ago, when they worked together

on a production of Romeo and Juliet. Over the last 5 years, they have worked closely on the creation and production of Dael’s acclaimed plays Until The Flood and Forever. His other recent productions include the world premieres of Julia Cho’s Office Hour, Jennifer Haley’s The Nether, Kimber Lee’s different words for the same thing, and Lucy Alibar’s Throw Me On The Burnpile and Light Me Up. More distant, but fondly remembered, productions include Jessica Goldberg’s Good Thing, A Midsummer Night’s Dream, staged in a prickly Berkshire meadow, and the American premiere of David Greig’s The Cosmonaut’s Last Message to the Woman He Once Loved in the Former Soviet Union. Neel’s productions have been mounted at theaters across the country, including The Public Theater, New York Theatre Workshop, Rattlestick Playwrights Theater, La Jolla Playhouse, Mark Taper Forum, Kirk Douglas Theatre, Goodman Theatre, South Coast Repertory, Williamstown Theatre Festival, Long Wharf Theatre, Milwaukee Rep, The Repertory Theatre of St. Louis, Portland Center Stage, and Ireland’s Abbey Theater. Neel is an Associate Artistic Director at Center Theatre Group in Los Angeles. He is a member of the Stage Directors and Choreographers Society and the Directors Guild of America.

Takeshi Kata (Scenic Designer) Recent New York credits include Until the Flood (Rattlestick Playwrights Theatre) Office Hour (The Public Theater), Man From Nebraska (Second Stage), The Profane (Playwrights Horizons), Derren Brown: Secret (Atlantic), Forever (NYTW). Regionally Kata has designed American Players Theatre, Berkeley Rep, Dallas Theater Center, Ford’s Theatre, Geffen Playhouse, Goodman, Hartford Stage, La Jolla Playhouse, Long Wharf, Mark Taper Forum, Nashville Opera, Old Globe, Steppenwolf, and Yale Rep. Kata has won an Obie award and has been nominated

for Drama Desk, Barrymore, Connecticut Critics Circle and Ovation Awards. He is an associate professor at the USC School of Dramatic Arts.

Kaye Voyce (Costume Designer) Broadway: Significant Other, The Real Thing, The Realistic Joneses, and Shining City. Recent work includes: Harry Clarke (Vineyard); Office Hour, Hamlet (Public Theatre); Measure for Measure (Elevator Repair Service/Public Theatre); After the Blast (LCT3); War Stories (Opera Philadelphia); The Summer King (Pittsburgh Opera, world premiere); The Antipodes (Signature Theatre); Endgame (Long Wharf); Revolt. She Said. Revolt Again (Soho Rep); Signature Plays, The Wayside Motor Inn (Signature Theatre); Indian Summer, Detroit (Playwrights Horizons); The Mystery of Love and Sex, 4000 Miles (Lincoln Center Theater); Il Turco in Italia (Festival d'Aix-en-Provence, Opera Dijon,Teatro Regio Torino and Teatr Wielki, Warsaw); Trisha Brown's final two dances: "Rogues" and "Toss", and many collaborations with Richard Maxwell/New York City Players.

Mary Louise Geiger (Lighting Designer) is very pleased to return to ACT with this play. Previous shows in Seattle include: Cat On A Hot Tin Roof, Grey Gardens, The Ramayana, Mary Stuart, Lieutenant Of Inishmore, Rock ‘N Roll, The Pillowman, Stuff Happens and The Women (ACT); All My Sons, Grapes Of Wrath, The Dying Gaul, Nickel And Dimed, Smash, Angels In America, Betrayal (Intiman); The Road To Mecca, You Can’t Take It With You, Blue Door (Seattle Repertory Theatre); The Sound of Music (Fifth Avenue Theatre). Her work has also been seen on Broadway: The Constant Wife (American Airlines Theatre). Off Broadway: Until the Flood, Draw the Circle (Rattlestick Playwrights Theatre); X, or Betty Shabazz v. The Nation (Acting Company tour and NYC); Nat Turner in Jerusalem, Forever, Oedipus at Palm Springs (NYTW); Three Wise Guys, She Stoops to Conquer, Natural Affection, Beyond Therapy (TACT, Beckett Theatre); This Bitter Earth, Les Carillons (NYCB); Good Television, The New York Idea (Atlantic); Kindness, The Blue Door, The Busy World is Hushed (Playwrights Horizons); Dollhouse, Red Beads (Mabou Mines). Her work has been seen at regionally at Repertory Theatre of St. Louis, Seattle Children’s Theatre, Center Theatre Group, Guthrie, Huntington Theatre, Shakespeare Theatre, and Oregon Shakespeare Festival, among others. She received her training at Yale School of Drama. She has received Helen Hayes, IRNE, and NYSCA awards. She was on the faculty at UW School of Drama and now teaches at NYU Tisch School of the Arts.

Who's Who in Until the Flood


Justin Ellington (Sound Designer) career has encompassed the role of composer, arranger, music director, producer, educator, sound designer and pianist. As composer and sound designer, Justin has worked companies including Lincoln Center Theater, The Guthrie, Oregon Shakespeare Festival, Stratford Shakespeare Festival, The Goodman Theater, The Kennedy Center, Theater For A New Audience, New York Theater Workshop, The Public Theater, and Center Theater Group, and has had the pleasure of collaborating on new works with acclaimed playwrights including John Guare, Neil Labute, Will Power, Marcus Gardley, Dominique Morriseau, Dael Orlandersmith, Jon Robin Baitz, and Adrianne Kennedy on her latest offering He Brought Her Heart Back In A Box. Justin Ellington arranged, co-orchestrated and composed the music for the Dallas Theater Center production of Stagger Lee, which earned high praise from audiences and was award Best New Musical by the Dallas Theater Awards. In 2014, Mr. Ellington was commissioned to compose music for the National Museum for Civil and Human Rights. The project titled MOVE ACT FREE, led by George C Wolfe, was awarded a Cinema In Industry (CINDY) Award for production design. Justin is a proud member of the American Society of Composer and Publishers, United Scenic Artist local 829, and Koblat Music Group. www.justinellington.com

Robertson Witmer (Associate Sound Designer) Rob’s previous shows at ACT include The Wolves, The Mystery of Love and Sex, and Daisy. Other recent credits include Timon of Athens, Bring Down the House (Seattle Shakespeare Company); Ironbound, Hand to God (Seattle Public Theater). His sound designs have also been heard at Seattle Rep, Intiman, New Century Theatre Company, Spectrum Dance Theater, and Teatro ZinZanni. Rob occasionally plays music onstage in such productions as Mr. Burns, A Post-Electric Play (ACT); A Doctor in Spite of Himself (Intiman Theatre, Yale Rep); Fiddler on the Roof (Village Theatre); and Go, Dog. Go! (Seattle Children’s Theater). Rob plays with several bands, including The Love Markets, “Awesome,” and The Toucans steel drum band. Rob is a member of United Scenic Artists, Local USA-829.

Nicholas Hussong (Projections Designer) Off-Broadway credits include: White Guy on the Bus (59E59, Delaware Theatre Company); Skeleton Crew (Atlantic Theater Company); These Paper Bullets! Drama Desk Nomination (Atlantic Theater Company, Geffen Playhouse, Yale Rep); Chix 6 (LaMama). Some regional credits include: A Streetcar

Named Desire (Le Petit Theatre du Vieux Carre); Grounded (Alley Theatre); Two Trains Running (Arden Theater); The Mountaintop (Playmakers Rep); Ella (Delaware Theatre); Million Dollar Quartet (Berkshires Theatre Group), as well as productions with the Goodman, Milwaukee Rep, Enchantment Theatre Company, Urban Bush Women, St. Louis Rep, Esperanza Spaulding, Lantern Theatre Company, Abrons Art Center, Tiny Dynamite, Premieres NYC, Ars Nova, Cantata Profana, Nashville Symphony, Hartford Symphony, Summerworks Toronto, and Joe’s Pub. Nicholas was the Artistic Associate at Triad Stage in Greensboro, North Carolina where he continues to design new works based on Appalachian life written by Preston Lane. 70th & 71st Tony Awards (CBS). NewNeighborhood.com Nickhussong.com

Erin B. Zatloka (Stage Manager) has most recently been at The 5th Avenue Theatre where she assistant stage managed Kiss Me Kate and production stage managed Ragtime. Also this season she assistant stage managed Two Trains Running at Seattle Repertory Theatre. Nothing in her life could happen without family and friends. Love to Greg and Zoey.

Lily McLeod (Assistant Lighting Designer) is so happy to be working at ACT this season, where she has assisted on numerous shows over the last three years. She is a Seattle-based lighting designer/assistant with a B.A. from Seattle University, a former intern of Seattle Repertory Theatre, and a past FAIR Assistant at the Oregon Shakespeare Festival. Recent design credits include Guards at the Taj and Measure For Measure (ACT); Pilgrims (Forward Flux); and Happy Happy Happy (Macha Theatreworks).

John Langs (Artistic Director) John has been delighted to serve ACT as Artistic Director since 2016, and previously as Associate Artistic Director for three years. Before

ACT, John’s freelance career afforded him the opportunity to work with many prestigious theatre companies across the country. He has directed productions at Playwrights Horizons NY, Ensemble Studio Theater NY, Milwaukee Repertory Theatre, Lookingglass Theater Company in Chicago, Circle X in Los Angeles, The Resident Ensemble, New Century Theatre Company, Washington Ensemble Theatre, and Seattle Shakespeare Company. John received his directing degree from the University of North Carolina School of the Arts. John received the first annual Seattle Gregory Award honoring excellence

in direction for The Adding Machine. Recent Seattle credits include Mary’s Wedding (NCTC), The Three Sisters (The Seagull Project), and Othello (Seattle Shakespeare Company). As a dedicated fan of original work, John has shepherded over a dozen projects to their premieres.

Becky Witmer (Managing Director) has been with ACT since 2011, serving as the General Manager (2014-2015) and also the Director of Marketing and

Communications (2011-2014). Becky began her career in arts management through marketing and communications. She was the Director of Marketing and Public Relations at Intiman Theatre (2008-2011) and Opera Colorado (2006-2008). She was the Associate Director of Marketing with Central City Opera (2002-2005). Becky is an advisory board member for TeenTix, and a founding cochair of the Cultural Resource Collective. She is a graduate of the Leadership Tomorrow program.

ACT operates under agreements with the following:

This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

A SPECIAL THANK YOU: ACT gratefully acknowledges the following professionals and organizations who have helped make this season a success: ArtsCorps, Pastor Carey G. Anderson, Melba Ayco, Donald Byrd, Church Council of Greater Seattle, Felicia Cross, Shakiah Danielson, AJ Epstein, First African Methodist Episcopal Church, Kris Graves, Zaki Hamid, Alexes Harris, Grady Hughes, MD., Humanities Washington, Charles Johnson, Elisheba Johnson, Michelle Merriweather, James Miles, Erika Nesholm, Northwest Tap Connection, Photographic Center Northwest, Amelia Ransom, Seattle Eye Care & Optical, Seattle Police Department, Seattle Repertory Theatre, Erica Sklar, Kendra Smith, Reverend Dr. Linda Smith, Rabbi Kate Speizer, Assistant Chief Perry Tarrant, Temple De Hirsch Sinai, Urban League of Metropolitan Seattle, Shontina Vernon, Rabbi Daniel Weiner

Who's Who in Until the Flood


PATRON INFORMATION

Emergency Evacuation Procedures In the event of an emergency, please wait for an announcement for further instructions. Ushers will be available for assistance.

Emergency Number The theatre’s emergency number in the Union lobby is 206.292.7667. Leave your exact seat location with your emergency contact in case they need to reach you.

Smoking Policy Smoking is NOT allowed in any part of the theatre or within 25 feet of the entrance.

Firearms Policy No firearms of any kind are allowed in any part of the theatre.

Food Food is not allowed in the theatre. Tuxedos & Tennis Shoes is the exclusive caterer of ACT.

Accessibility ACT offers the Figaro MobiTxt® Closed Captioning System for audience members who are Deaf/ Hard of Hearing (HH). This system is offered at multiple performances for each production. Devices can be requested upon arrival at the theatre. ACT is also equipped with the Williams Sound® Audio Equipment,

which amplifies stage sounds with the aid of headsets (ask staff for assistance). ASL interpreted performances for the Mainstage Season are offered at least once per play (check the website or contact the Ticket Office for ASL dates). Wheelchair seating is also available.

Lost & Found Call 206.292.7676 between 12:00pm and 6:00pm, Tues–Sun.

Address & Website ACT is located at 700 Union Street, Seattle, WA 98101. Ticket Office Phone: 206.292.7676. Administrative Office Phone: 206.292.7660. Fax: 206.292.7670. Website: www.acttheatre.org.

Theatre Rental For information regarding booking, contact [email protected].

Group Sales Groups of 10 or more can save. Call 206.292.7674 or email [email protected].

Please be considerate and keep personal fragrance to a minimum.

DOCUMENTING REAL LIFEFor Until the Flood, Dael Orlandersmith infuses aspects ofdocumentary theatre techniques, including a fl uidity of time and place and actors playing multiple roles. Ms. Orlandersmith researchedoffi cial documents, videos, and news articles, and interviewedhundreds of St. Louis locals in an attempt to fully understand the social unrest felt in the city and around the nation. However, during the play you will not hear the exact words of specifi c individuals, but rathercomposite fi gures created by Ms. Orlandersmith. She says thesecharacters “come out of my head .... Iʼm not free to tell this any way I want, but I am free to use the truth of imagination.”

As the solo performer of this piece, Dael Orlandersmith portrays eight distinct characters. Though they are inspired by interviews held with real St. Louis citizens, these characters are the playwrightʼs creations, not actual people.


NEW ACT PARTNERS – WELCOME!ACT is proud to welcome new donors as partners in our mission. We look forward

to working with them now and into the future as we continue to create great work, inspire conversation in our community, and make the Eagles Auditorium an even more

welcoming space for our patrons.

In 2017 The Sunderland Foundation became a critical partner in our capital support for the updating and upkeep of our beautiful home, the Eagles Auditorium.

The Morgan Fund at Seattle Foundation began supporting ACT in 2018 to facilitatea professionally developed strategic plan.

The Garneau-Nicon Family Foundation is partnering with ACT in 2018 to assistwith capital funding for our automation systems in our mainstage theatres,

The Allen and The Falls. The important upgrades to the system haveincorporated permanent safety installations and updated important

components creating greater fl exibility for us to create magicon the stage.

NEW ACT PARTNERS NEW ACT PARTNERS ACT is proud to welcome new donors as partners in our mission. We look forward



The Morgan Fund at Seattle Foundation began supporting ACT in 2018 to facilitate



components creating greater fl exibility for us to create magic

NEW ACT PARTNERS ACT is proud to welcome new donors as partners in our mission. We look forward



The Morgan Fund at Seattle Foundation began supporting ACT in 2018 to facilitate



be innovativeInnovation is key to progress.

Donate today and join ACT in being innovative.

Ways to gIve Donation envelope | Call 206.292.7660 x1330 | Online at acttheatre.org/donate

Photo Credits Lindsay W. Evans in Tribes. Photo by Chris Bennion

Today, ACT’s innovative efforts focus on updating our historic building to better reflect the contemporary art on our stages. While we’re making a few changes, there are some things we’re determined to keep the same: a welcoming, knowledgeable staff, engaging dig-deep opportunities, and enabling poignant stories to come to life.

As a donor, you make it possible for ACT to innovate and adapt while maintaining our artistic standards when producing the impactful works you expect.

VISIONARY PRODUCERS $100,000+

Nancy Alvord*^~

Katharyn A. Gerlich^

True-Brown Foundation^

Gian-Carlo & Eulalie Scandiuzzi^

PRODUCERS CIRCLE

ACT PARTNERSA PART OF THE ARTACT graciously thanks and recognizes the many individuals and families investing in our mission. Our community and cultural life are better for your participation. Your continued generosity inspires and motivates—thank you!

Leslie Ray & Michael Bernstein*Trevor Cobb & Cecilia Cayetano ̂Ms. Jean B. Falls *Ira & Courtney Gerlich

Dr. Arnie & Judy Ness * ̂Ms. Carrie D. Rhodes & Vishal NigamEric & Margaret Rothchild ̂Chuck Sitkin * ̂Anonymous

EXECUTIVE PRODUCERS $25,000–$49,999

Allan & Nora Davis ̂Justin & Delaney DechantJames Degel & Jeanne BerwickBob Dowdy & Cherry TinkerCharles T. Fitzgerald * ̂Natalie Gendler ̂Cynthia Huffman & Ray Heacox Lawrence & Mary Ellen HughesBill Kuhn & Patricia Daniels * ̂Gregory & Diane Lind ̂Yoshi & Naomi Minegishi

Jim & Cheri MinorchioFurman & Susan MoseleyTim MulliganErika NesholmDouglas & Nancy NorbergGeorge & Linda OjemannDeborah PersonTeresa Revelle *Lee SchneiderDonald & Goldie Silverman ̂David & Shirley Urdal ̂Jean Walkinshaw

CREATIVE PRODUCERS $10,000–$24,999

This list reflects donations made to the Annual Fund between January 1, 2017 and December 31, 2017. ACT works to maintain our list of donors as accurately as possible. We apologize for any misspellings or omissions. Should you find any, please contact our office so that we may correct any mistakes in future publications. Email [email protected] or call 206.292.7660 x 1330

*ACT Legacy Society member ^ACT for the Future donor ~ Deceased

LUMINARY PRODUCERS $50,000–$99,999

Chap & Eve AlvordElias & Karyl AlvordBrad & Linda Fowler * ̂Gary & Parul Houlahan * ̂

Allan & Anne AffleckLarry & Joan Barokas ̂Laurie Besteman & Jack Lauderbaugh * ̂Peter & Fran Bigelow ̂

Rayner D'Souza & Tove RymanDr. Larry Hohm & Karen Shaw ̂Ben & Judith SimmonsRyan & Shanna Waite

SUSTAINING PRODUCERS $7,500–$9,999


VISIONARY PRODUCERS $100,000+

Nancy Alvord*^~

Katharyn A. Gerlich^

True-Brown Foundation^

Gian-Carlo & Eulalie Scandiuzzi^

PRODUCERS CIRCLE

ACT PARTNERSA PART OF THE ARTACT graciously thanks and recognizes the many individuals and families investing in our mission. Our community and cultural life are better for your participation. Your continued generosity inspires and motivates—thank you!

Leslie Ray & Michael Bernstein*Trevor Cobb & Cecilia Cayetano ̂Ms. Jean B. Falls *Ira & Courtney Gerlich

Dr. Arnie & Judy Ness * ̂Ms. Carrie D. Rhodes & Vishal NigamEric & Margaret Rothchild ̂Chuck Sitkin * ̂Anonymous

EXECUTIVE PRODUCERS $25,000–$49,999

Allan & Nora Davis ̂Justin & Delaney DechantJames Degel & Jeanne BerwickBob Dowdy & Cherry TinkerCharles T. Fitzgerald * ̂Natalie Gendler ̂Cynthia Huffman & Ray Heacox Lawrence & Mary Ellen HughesBill Kuhn & Patricia Daniels * ̂Gregory & Diane Lind ̂Yoshi & Naomi Minegishi

Jim & Cheri MinorchioFurman & Susan MoseleyTim MulliganErika NesholmDouglas & Nancy NorbergGeorge & Linda OjemannDeborah PersonTeresa Revelle *Lee SchneiderDonald & Goldie Silverman ̂David & Shirley Urdal ̂Jean Walkinshaw

CREATIVE PRODUCERS $10,000–$24,999

This list reflects donations made to the Annual Fund between January 1, 2017 and December 31, 2017. ACT works to maintain our list of donors as accurately as possible. We apologize for any misspellings or omissions. Should you find any, please contact our office so that we may correct any mistakes in future publications. Email [email protected] or call 206.292.7660 x 1330

*ACT Legacy Society member ^ACT for the Future donor ~ Deceased

LUMINARY PRODUCERS $50,000–$99,999

Chap & Eve AlvordElias & Karyl AlvordBrad & Linda Fowler * ̂Gary & Parul Houlahan * ̂

Allan & Anne AffleckLarry & Joan Barokas ̂Laurie Besteman & Jack Lauderbaugh * ̂Peter & Fran Bigelow ̂

Rayner D'Souza & Tove RymanDr. Larry Hohm & Karen Shaw ̂Ben & Judith SimmonsRyan & Shanna Waite

SUSTAINING PRODUCERS $7,500–$9,999

ACTORS CIRCLE

Sheena Aebig & Eric Taylor Melinda & Walter AndrewsEric Bennett ^Sonya & Tom CampionSallie & John ChaneyMichael Crystal

James & Barbara Heavey Ross & Kelsey Henry Ellen & John Hill Linda & Ted JohnsonLisa & Norman JudahAbha Khanna & Adam Porsch ^

Jane & James Lyons ^Dana & Nicholas MasingtonEugene & Donna MikovKatherine & Douglass Raff ^Brooks & Suzanne Ragen ^Richard & Leanne Reel

George & Keri Rhodes Nicholas & Yvonne Roberts Donald & Jo Anne RosenFaye SarkowskyJean Viereck

BENEFACTORS $5,000–$7,499

Kermit & Danna Anderson ^Richard Andler & Carole RushRebecca Benaroya Robert Braun Alicia & Jeffrey Carnevali Frank & Denise CatalanoCraig Davis & Ellen Le VitaDennis & Deborah DeYoungLorelei M. EickelbergPatricia Fearey

Gary & Penny FergusonAnne FosterEleanor & Jeff FreemanNicholas Hart & Jennifer Weis Julia & Michael HerschensohnKatherine Ann Janeway & H.S. Wright IIIKaren Koon & Brad EdwardsPeter & Kelly Maunsell May McCarthy & Don Smith ^

Joy McNicholsMark & Susan MinerichNadine & John MurrayJohn & Laurel Nesholm Ken RagsdaleEvelyne Renee RoznerBarry & Colleen Scovel ^Warren & Nancy Smith Rose and the late John Southall*

Carol & Ronald Sperling Benita & Charles Staadecker Margaret Taylor & Robert Elliot Nancy & David ThacherFranklin & Karen Thoen ^Steven TranJim & Kathy TuneJudith Warshal & Wade Sowers*

IMPACTORS $2,500–$4,999

Warren & Anne Anderson Kendall & Sonia Baker David & Marjorie Baylor William Block & Susan Leavitt Alan & June BrockmeierCorinne A. CampbellThompson & Karen Challinor Patricia & Theodore CollinsTodd & Sylvie CurriePatrick J. & Lanie Dineen

Susan & Lewis EdelheitSusan L. EhlersEmily Evans & Kevin Wilson Angela & Richard Finlay William Calvin & Katherine Graubard Stephanie M. Hilbert * ̂Grady & Heather Hughes ^Dan & Connie HungateClare Kapitan & Keith Schreiber

John LangsAnn McCurdy & Frank Lawler Eileen Lennon & Barrie CarterCharlotte Lin & Robert PorterAlice MaillouxDavid Mattson *Christopher & B.J. Ohlweiler Pamela & Gilbert Powers David RagozinWilliam & Rae Saltzstein

Shelley SchermerJoe SchwartzSheila Smith & Don Ferguson Mark & Arlene TibergienGeorge & Colleen WilloughbyKathy & Charles Wilson Rebecca & Rob Witmer

ACTIVISTS $1,500–$2,499


PLAYERS CIRCLE

John Akin & Mary StevensAaron AndersonPeter & Jane BarrettMichael BauerCarl Bunje & Patricia CostelloBruce BurgerMaxwell & Mindy Cameron Steve & Midge Carstensen Dennis & Aline CaulleyFrank & Marilyn Clement Kevin & Lisa ConnerSteve Coulter & Jane Richlovsky Christopher L. CurryDiane DaggattAndrea DahlkeStephen & Kathy DewaltMike DeyRay Engle Denise & David Foster William FranklinJudith Frey & Flick Broughton Dot FullerGenevra Gerhart

Carol & Tal GoddingHellmut & Marcy GoldeRhonda & Jim GreerMargaret HaggertyLawrence & Hylton HardBenson Harer Geraldine Hashisaki & Frank Tubridy Marjorie Hemphill Amy HenryDavid M. HewittF. Randall & Barbara HieronymousGary Horsfall & Corrinne Martin Susan & Philip Hubbard R&y & Mari Lee Anne & Steven Lipner Edythe LurieEric Mattson & Carla FowlerMarcella McCaffrayJames & Nancy McMurrer Sarah B. MeardonJohn & Gail Mensher Nancy & Charles Mertel

Lauren Mikov & John Muhic Wesley Moore & Sandra WalkerAmy MorganDayle Moss & David BrownJim MullinBill & Mary Ann MundyJohn Narver & Bobbie Devore James Nichols & Beth AmsbaryCraig & Deanna Norsen Daniel NyeHeidi OchoaJohn O'Connell & Joyce LatinoHal Opperman & Jolynn Edwards Cynthia & Bruce ParksDr. Greg Perkins^Chuck PerryJudy G. PollRichard RafothHarry Reinert & Cecilia Paul Rao RemalaJean A. RhodesAnnemarie Riese & Terry Kisner

Bruce F. RobertsonBarbara SandoHarold SanfordJohn & Teri Seidler Darshana Shanbhag & Dilip WagleRonald SpauldingAlexander & Jane Stevens Herbert & Isabel Stusser Jeffrey A. SutherlandNorman & Mary Lynn Swick Susan Trapnell & Erik Muller Mary Lou & Dirk vanWoerden Ellen Wallach & Tom Darden Tom & Connie Walsh Eric WeberNancy WeintraubMary & Donald Wieckowicz Douglas & Dianne Wills Susan Wolcott & George Taniwaki Richard WortleyAnn P. WyckoffDiane & John Yokoyama

LEAD PLAYERS $750–$1,499

THE ACT LEGACY SOCIETYACT patrons who continue to support and ensure the ongoing tradition of presenting the best contemporary theatre for future generations through estate planning, wills, and living trusts. Investments of all sizes can make significant future gifts by using tax-advantaged estate and financial planning options. Specific areas where ACT can benefit from your legacy are scholarships, endowments, capital projects, or operating costs. Questions or arrangements can be discussed with our Development Department at 206.292.7660 x1330.

Leslie Ray & Michael BernsteinLaurie BestemanJean ChenJean Burch FallsCharles FitzgeraldLinda & Brad FowlerTal & Carol GoddingStephanie HilbertGary & Parul HoulahanSuzanne HowardEd Hutsell &

Kathy WhittenH. David KaplanCarolyn Keim & Connie RinchiusoBill Kuhn & Patricia DanielsDavid MattsonMike McCaw & Janet WestinCatherine & Barry McConnellSteven McCoy & Larry Henderson

Norman D. Miller~Dr. Arnie & Judy NessLisbeth PiskTeresa RevelleChuck SitkinGregRobin SmithRose and the late John SouthallJudith Warshal & Wade SowersDorothy E. Wendler

UPCOMING

PLAYERS CIRCLEEVENTS

JULYTech Talk and Opening Night Celebration for Lauren Weedman Doesn’t Live Here Anymore

AUGUSTTech Talk and Opening Night Celebration for Skylight

PLAYERS CIRCLE

John Akin & Mary StevensAaron AndersonPeter & Jane BarrettMichael BauerCarl Bunje & Patricia CostelloBruce BurgerMaxwell & Mindy Cameron Steve & Midge Carstensen Dennis & Aline CaulleyFrank & Marilyn Clement Kevin & Lisa ConnerSteve Coulter & Jane Richlovsky Christopher L. CurryDiane DaggattAndrea DahlkeStephen & Kathy DewaltMike DeyRay Engle Denise & David Foster William FranklinJudith Frey & Flick Broughton Dot FullerGenevra Gerhart

Carol & Tal GoddingHellmut & Marcy GoldeRhonda & Jim GreerMargaret HaggertyLawrence & Hylton HardBenson Harer Geraldine Hashisaki & Frank Tubridy Marjorie Hemphill Amy HenryDavid M. HewittF. Randall & Barbara HieronymousGary Horsfall & Corrinne Martin Susan & Philip Hubbard Randy & Mari Lee Anne & Steven Lipner Edythe LurieEric Mattson & Carla FowlerMarcella McCaffrayJames & Nancy McMurrer Sarah B. MeardonJohn & Gail Mensher Nancy & Charles Mertel

Lauren Mikov & John Muhic Wesley Moore & Sandra WalkerAmy MorganDayle Moss & David BrownJim MullinBill & Mary Ann MundyJohn Narver & Bobbie Devore James Nichols & Beth AmsbaryCraig & Deanna Norsen Daniel NyeHeidi OchoaJohn O'Connell & Joyce LatinoHal Opperman & Jolynn Edwards Cynthia & Bruce ParksDr. Greg Perkins ̂Chuck PerryJudy G. PollRichard RafothHarry Reinert & Cecilia Paul Rao RemalaJean A. RhodesAnnemarie Riese & Terry Kisner

Bruce F. RobertsonBarbara SandoHarold SanfordJohn & Teri Seidler Darshana Shanbhag & Dilip WagleRonald SpauldingAlexander & Jane Stevens Herbert & Isabel Stusser Jeffrey A. SutherlandNorman & Mary Lynn Swick Susan Trapnell & Erik Muller Mary Lou & Dirk vanWoerden Ellen Wallach & Tom Darden Tom & Connie Walsh Eric WeberNancy WeintraubMary & Donald Wieckowicz Douglas & Dianne Wills Susan Wolcott & George Taniwaki Richard WortleyAnn P. WyckoffDiane & John Yokoyama

LEAD PLAYERS $750–$1,499

THE ACT LEGACY SOCIETYACT patrons who continue to support and ensure the ongoing tradition of presenting the best contemporary theatre for future generations through estate planning, wills, and living trusts. Investments of all sizes can make significant future gifts by using tax-advantaged estate and financial planning options. Specific areas where ACT can benefit from your legacy are scholarships, endowments, capital projects, or operating costs. Questions or arrangements can be discussed with our Development Department at 206.292.7660 x1330.

Leslie Ray & Michael BernsteinLaurie BestemanJean ChenJean Burch FallsCharles FitzgeraldLinda & Brad FowlerTal & Carol GoddingStephanie HilbertGary & Parul HoulahanSuzanne Howard

Ed Hutsell & Kathy WhittenH. David KaplanCarolyn Keim ~ & Connie RinchiusoBill Kuhn & Patricia DanielsDavid MattsonMike McCaw & Janet WestinCatherine & Barry McConnellSteven McCoy & Larry Henderson

Norman D. Miller ~Dr. Arnie & Judy NessLisbeth PiskTeresa RevelleChuck SitkinGregRobin SmithRose and the late John SouthallJudith Warshal & Wade SowersDorothy E. Wendler

gala O C T O B E R 5

2 0 1 8

A C T

SAVE THE DATE

Mark your calendar forACT'S BIGGEST

PARTY OF THE YEAR


ACT PARTNERSA PART OF THE ART

ACT gratefully recognizes the following corporations, foundations, government, and media agencies for their generous support of our 2018 programs. This funding from our community supporters enables ACT to offer outstanding contemporary theatre for many audiences, educational programs for a variety of student participants, and our continued theatre partnerships in ACTLab.

PLATINUM CIRCLE SPONSORS $50,000+

ArtsFundThe Boeing Company ^The Kenan Institute – The William Kenan Charitable InstituteSeattle Office of Arts & CultureThe Shubert Foundation

GOLD CIRCLE SPONSORS $25,000 - $49,999

4CultureJohn Graham FoundationNational Endowment for the ArtsNesholm Family Foundation

SILVER CIRCLE SPONSORS $10,000 - $24,999

ArtsWA – Washington State Arts CommissionElizabeth George Foundation ^Garneau-Nicon Family FoundationHarvest Foundation

MicrosoftThe Morgan Fund at Seattle FoundationThe Sheri & Les Biller Family FoundationTreeline Foundation

BRONZE CIRCLE SPONSORS $5,000 - $9,999

Horizons FoundationMcEachern Charitable Trust ^

Peg & Rick Young FoundationUS Bank

2018 SEASON SPONSORS

The John Graham Foundation

Nesholm Family Foundation

2018 MEDIA SPONSORS

4CultureNorcliffe FoundationSunderland Foundation Wyman Youth Trust

ACT FOR THE FUTURE

Elizabeth George FoundationGarneau-Nicon Family FoundationThe Morgan Fund at Seattle FoundationThe Sheri & Les Biller Family FoundationSunderland Foundation

NEW 2017-2018 FUNDERSACT Welcomes New Supporters

Italics indicate 10+ years of support ^Indicates ACT's Young Playwrights Program supporters


ACT A Theatre of New IdeasACT Board of TrusteesGary HoulahanChair

Chuck SitkinImmediate Past Chair

Leslie Ray BernsteinVice Chair

Michael CrystalTreasurer

Erika NesholmSecretary

Matt AalfsJoan BarokasEric BennettLaurie BestemanTrevor CobbBob DowdyRayner D'SouzaCharles FitzgeraldMichael HerschensohnStephanie HilbertCynthia Huffman Grady HughesDiane LindBill Kuhn Kyoko Matsumoto WrightLauren MikovNaomi MinegishiJim MinorchioTim MulliganJudy NessGeorge OjemannDeborah PersonTeresa RevelleMargaret RothchildCarlo ScandiuzziKaren ShawGoldie Gendler SilvermanRob StewartLarry TrueRyan WaiteShanna Waite

ACT Advisory CouncilSheena AebigDaniel D. EdererJean Burch FallsJeannie M. FallsJohn H. FarisBrad FowlerCarolyn H. GrinsteinSara Comings HoppinC. David HughbanksJonathan D. KleinJane W. LyonsGloria A. MosesNadine H. MurrayDouglas E. NorbergKristin G. OlsonDonald B. PatersonEric PettigrewPamela PowersKatherine L. RaffBrooks G. RagenSuzanne RagenCatherine RoachJo Anne RosenFaye SarkowskyDavid E. SkinnerSusan TrapnellBrian TurnerGeorge V. WilloughbyJane H. Yerkes

EMERITUS COUNCILRichard C. ClotfelterEsther Schoenfeld

A Contemporary Theatre Foundation BoardKermit AndersonPresident

Brad FowlerVice President

Katherine RaffSecretary

Don PatersonTreasurer

Trevor CobbMichael CrystalGary HoulahanJim Minorchio Cindy RichmondChuck Sitkin

ACT Staff

EXECUTIVEJohn LangsArtistic Director

Becky WitmerManaging Director

Samie DetzerArtistic and Executive Manager

ARTISTICKurt Beattie†

Artistic Director Emeritus

Margaret Layne†

Director of Casting

Tracy HylandEducation and Engagement

Manager

Olivia OchoaYoung Playwrights Program

Administrator

Ian BondMario GomezLiterary Interns

ADMINISTRATIONAshley Lemmex Operations Manager

Ana Rusness-PetersenEvents and Venue Manager

York Building Services, IncJanitorial Services

AC/R ServicesEngineer

Rica WolkenIT Director

Timothy NorrisDeputy IT Director

Tuxedos and Tennis Shoes CateringBar and Concessions

FINANCESheila SmithDirector of Finance

Sandi HogbenPayroll and Accounts Payable

Specialist

Liz CameliaSenior Accountant

DEVELOPMENTClare Hausmann WeiandDirector of Development

Brooke O'NealAssociate Director of Development

Jill RobinsonDevelopment Officer

Carrie CampbellInstitutional Funding Manager

Megan BrewerAnnie WaltersDevelopment Coordinators

MARKETING, SALES, AND COMMUNICATIONSAmy GentryDirector of Sales & Marketing

Heather PuriAssociate Director of Sales

Amelia WadeSales & Groups Manager

Cati ThelenMarketing & Communications

Manager

Dawn SchaeferGraphic Design Associate

Chris BennionProduction Photographic Services

Christa FlemingGraphic Design Services

Star ZatineTelesales Manager

Bob CiakIrwin MichelmanDeborah Pryor Direct Sales

Adam VanheeFront Office Representative

Martin Sisk Assistant Ticket Office Manager

Emily PaulNicole SongTicket Office Leads

Andrew L. CreechBrittany Peters Holly ButterfieldChristopher QuiliciAllexa LaycockTicket Office Representatives

Jeremy RupprechtAudience Services Manager

Becky PlantHouse Manager

Robert Billups Jr.Assistant House Manager

Bill AbelsonMari CannonLuke Fisher Doug FriesAmber GrangerSarah Karnes Sandy LeonardKeith TavaresGabrielle TurnerAudience Services

Christine JewAudience Services Affiliate

PRODUCTIONAlyssa Montgomery†

Production Manager

Meaghan DarlingProduction Associate

Patty LiangProduction Runner

Katie BurnettACTLab Producing Coordinator

STAGE MANAGEMENTErin B. ZatlokaStage Manager

Laurel Nichols Production Assistant

COSTUME DEPARTMENTAmanda MuellerCostume Shop Manager

Susanne R. ShermanDraper

Sally Mellis†

Wardrobe Master

Courtney Kessler-JeffreyWardrobe

SCENIC DEPARTMENTSDerek Baylor†

Technical Director

Nick MurelAssistant Technical Director

Amanda QuinnMaster Scenic Carpenter

Ron DarlingLead Scenic Carpenter

Mike Sterkowicz Scenic Carpenter

Jeff ScottScenic Charge Artist

Lisa Bellero† Assistant Charge Artist

Marne Cohen-Vance† Properties Master

Ken Ewert† Master Properties Artisan

Thomas Verdos†

Lead Properties Artisan

STAGE OPERATIONSNick Farwell† Stage Operations Supervisor

James Nichols† Master Stage Carpenter

Pam Mulkern†

Master Electrician

Max Langley†

Master Sound Engineer

Ryan DunnACTLab Technical Associate

FOR THIS PRODUCTIONJohn SmallElectrician

Dave Misner Video Lead and Stagehand


† Denotes staff member has worked at ACT for 10 years or more

Photo from Teh Internet is Serious Business at Washington Ensemble Theatre. Photo courtesy of John Carpenter Photography.

Rachel Guyer-Mafune.

Photo by Dawn Schaefer.

I’m super amped for WET’s next season, which includes new plays written by female playwrights. Joining WET as a company member last year has motivated me to read new plays and discover playwrights I might not otherwise know about. Having a theatre family to discuss new works with is awesome. I’m also really excited about ACT’s first playwright in the Core Company, Yussef El Guindi. He’s had plays produced at ACT and all over the

DialogueEncore Stages in conversation

As a fourth generation Seattelite, Rachel Guyer-Mafune lives with the Pacific Northwest in her DNA. She’s a 2016 graduate of Cornish College of the Arts and a member of ACT’s 2018 Core Company. And like any great actor, she considers her artistic identity a work in progress. She’s committed to expanding her capabilities, learning from and listening to her theatre peers and finding inspiration in everything. We had the opportunity to speak with her about her recent performance in Sarah DeLappe’s The Wolves, her commitment to new work and her passion for this city.

The Wolves seems to be gaining momentum with every regional production. What attracted you to Sarah DeLappe’s script? How has working with this ensemble at ACT informed the way you rehearse and collaborate?

I played soccer as a child and was a teenager not too long ago, so this script resonated with me front to back. The characters are intelligent, strong as hell and defy reductive female stereotypes in theatre. I was so excited for the audience to get a glimpse of what

it means to be a teenage girl today. Everyone working on The Wolves truly became a pack, and the trustful bond we created was an imperative step to becoming a team.

Looking at this past season—especially Teh Internet is Serious Business at WET, Howl’s Moving Castle at Book-It and The Wolves at ACT—it’s clear you’re attracted to new plays and Seattle premieres. Are there any favorite playwrights you’re hoping to see on Seattle stages one day?


country and he’s one talented dude. It’s been a blast reading his work with other Core Company members.

You were recently named to ACT’s 2018 Core Company. Could you talk to me about what it means to be part of this company of artists?

Joining ACT has made me realize that my artistic path is not one I have to navigate alone. Knowing I’m surrounded by folks who believe in my work and have confidence in my ability to grow as an actor—it’s incredible. I am one lucky gal. John Langs, the artistic director, absolutely adores actors and he’s committed to providing us with a space to bloom and creatively flourish. I’m beyond proud to represent ACT as an artistic ambassador this year.

What excites you most about being an artist in Seattle? How do you hope to grow and challenge the theatre community here?

Being part Japanese American and a member of the LGBTQ+ community, I’m hungry for more characters like me. I mean, how dope would it be to see an unapologetically brazen, mixed, pansexual woman onstage right now? I’m currently working on using my voice to express our need for diverse, inclusive and relevant theatre. I’m learning how to take my space, while giving the mic to others who need to be heard first.

Are there any musicians, dancers or theatre artists that you’re especially excited about next season?

I’m looking forward to continuously watching new artists and work I’ve never seen before. I want to see more shows and make connections with folks who are dedicated to telling honest, unvarnished stories onstage and off. It’s going to be an amazing year to find inspiration in this community. <Danielle Mohlman

T O D R I V EH O W I L E A R N E D

B Y P A U L A V O G E L

STRAWBERRYTHEATRE WORKSHOP

JUN 7–JU L 7st rawshop .o rg

10 ENCORE STAGES

http://islandshakespearefest.org

http://strawshop.org

Encore Stages talks with playwright Yussef El Guindi on the immigrant—and American—experience.

theatrical lens. Is there something that you wish Seattle residents better understood about immigration in America?

It’s not easy. Immigrating is sort of akin to walking a wobbly, wooden bridge over a precipice in a deep fog—a bridge that appears to be disappearing behind you and whose intact structure up ahead is not assured. And even if you “make it across” and achieve citizenship, world events and political shenanigans might occur that might suddenly imperil your standing as an immigrant.

DialogueEncore Stages in conversation

If you’re an avid theatre-goer in Seattle, chances are you’ve seen a Yussef El Guindi play. This prolific playwright has become an artistic staple here in Seattle, a city he has called home since 1994. (Upon reflection, he shared that he’s lived in Seattle longer than he’s lived anywhere else—even England, where he was raised after his family emigrated from Egypt.) We had the opportunity to speak with him about his writing, being a theatre artist in Seattle and ACT’s 2018 Core Company.

Many of your plays examine the immigrant experience through a

James Asher (Gamal) and Kunal Prasad (Mohsen) in the 2016 Golden Thread Productions staging of Our Enemies: Lively Scenes of Love and Combat, directed by Torange Yeghiazarian. Photo by David Allen Studio, courtesy Golden Thread Productions.


Different racial and immigrant groups at different times will frequently get slandered in the headlines. I think it’s a phenomenon among immigrant groups, and more broadly, different racial groups within the United States, to hold their collective breaths every time there is some horrendous act of violence that makes the news. We all secretly pray it isn’t someone from our “tribe.” When a white person commits a horrific act of violence, I don’t get the sense among European Americans that they feel they have to carry the burden of that crime. The crime is not foisted on them as a

collective group. There is no sense of guilt or worry that this might in some way impact their standing in society.

But for certain immigrant groups and people of color, that worry is real. You feel pressured to publicly disavow any connection or feeling for the individual who perpetrated that crime. If the perpetrator is an Arab or Muslim, the mainstream press won’t speak of that individual as troubled or suffering from mental health issues. Instead, they’re terrorists, monsters, and live outside the pale where everything good and civilized apparently lives.

At such times, you feel you’re back on that bridge over that precipice. And the bridge feels even more wobbly than usual.

How has our country’s current political climate impacted your writing?

The United States has been “Trump-land” for some time: a place where an alarming degree of xenophobia and racism are the norm. I’ve been in “crisis mode” when crafting plays for some time now. And when responding to current political events, I have to tread carefully. Mainly because,

Yussef El Guindi. Photo by Ann-Margaret Johnson/Sassafras Photos.

Shanga Parker (Musa) and Carol Roscoe (Sheri) in the 2011 ACT world premiere of Pilgrims Musa and Sheri in the New World, directed by Anita Montgomery. Photo by Chris Bennion, courtesy of A Contemporary Theatre (ACT).

12 ENCORE STAGES

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William Dao (Nasser), Mujahid Abdul-Rashid (Kevin), and James Asher (Ahmed) in the 2011 West Coast premiere of Language Rooms, directed by Evren Odcikin, a coproduction between Golden Thread Productions and Asian American Theater Company. Photo by David Allen Studio, courtesy Golden Thread Productions.

with rare exceptions, the turnaround between completing a first draft and a full production can range from two to three years, sometimes longer. Whatever political crisis that triggered the play may be old news by the time your piece is staged. You have to sift through the news event, or zeitgeist of that moment, to find what resonates on a more universal level—and that might transcend the particular political moment that triggered the play. Which means breaking things down into very personal, human matters—locating your protagonists, with all their personal issues, within the social and political web in which they operate and understanding that what makes us human are also the political structures that prop us up as social creatures.

That’s the goal anyway: to turn something very specific, local and political into a more universal exploration of our status as citizens and humans just trying to survive.

As for my home country of Egypt, after the revolution in 2011 I wrote several plays in response. One of them, The Mummy and The Revolution, I wrote too soon—feeling much too hopeful for a future that didn’t come to pass. The other two plays, Threesome and The Tyrant, I took a different tack. I know these plays are still expressive of both past and present circumstances. The shock waves from the revolution and its aftermath continue to ripple through me and will probably impact my writing in some way for some time to come.

You’ve worked with a number of local theatre companies in the production and development of your plays. Do you have a favorite theatre company to collaborate with? Why?

I’m very thankful to all the theatre companies who have extended their hand out to me. Most theatres are very squeamish when it comes to putting on plays by and about Muslim and MENA (Middle Eastern, North African)

writers. They’re not quite sure where these stories and people fit in the received narratives of the day. For all the talk of diversity, most theatres lack a truly global vision that encompasses the full array of voices from around the world. Not to mention an inability to see beyond the limited diversity schemata that determines who is and is not heard from.

So, I really appreciate those adventurous local theatres that have reached out to me, like West of Lenin, Theater Schmeater, 18th & Union, and ACT. ACT in particular has shown a keen interest in my work. To have a theatre of this size give me a platform for my plays has been very important in my development as a writer.

You were recently named to ACT’s 2018 Core Company. Could you talk to me about what it means to be part of this company of artists?

I joke with colleagues that as theatre people we are door-to-door salesmen

and women—itinerant individuals knocking on numerous doors, trying to get theatres to invite us in. And how humiliating it is, when more often than not, those doors are either shut on us or our knocks are ignored altogether. So, for ACT to invite me in to be part of their 2018 Core Company is huge. As for how that plays out in the future, we’ll see. We’re all sort of making up this position as we go along. As John Langs, the artistic director, likes to put it, I get to be the first pancake. But psychologically, for me, the promise of having a home where I might get to exercise my talents, where my plays may have a good chance of being staged, to have a place where I can try out new material with exceptionally good actors, well, that’s just a lovely position for a playwright to be in.

What excites you most about being an artist in Seattle? How do you hope to grow and challenge the theatre community here?

What’s interesting to me is the degree to which I have been shaped


as a playwright by Seattle theatre audiences. There are personal and cultural influences of course that will always infuse the heart of everything I write, and to which I am both grateful for, and to which I am a prisoner of—to the degree that we are all shaped and imprisoned by the particulars of our individual pasts. But as a playwright, having spent now twenty-four years in Seattle seeing many plays at different theatres, I realize I have not only been learning from the plays I watch, but from the reactions by the Seattle audiences to those plays. Without realizing it, my plays are being influenced by those audience reactions. I have some appreciation of what might and might not stir a Seattle audience. There are, of course, no guarantees that what you write will be to their liking. But I think any playwright who spends a long enough time in one city will invariably start unconsciously adjusting their work for the audiences they’ve attended plays with. Sort of like knowing what jokes and stories will fly at a family gathering.

But that is very much countered by my non-Seattle subject matter. And that’s the challenge for me. To write about peoples and conflicts that people here don’t necessarily relate to. To humanize individuals and situations that too often get flattened in the press. People do like to see themselves up on stage in some way. My job is to bridge the gap between the non-Seattle folk I portray and the Seattle audiences who, hopefully, come to see my work. (Thank you to all those who do attend!)

Do you have any plugs? How can folks find more about you and your work?

I do have a play of mine called Hostages, written almost thirty years ago (!), that’s going to be done at 18th & Union in October, directed by David Gassner. I’m curious to see how it stands up after all these years. Come see it if you can. <Danielle Mohlman

14 ENCORE STAGES

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1) Book-It Repertory Theatre presents The Picture of Dorian Gray, June 6–July 1. Oscar Wilde wrote the novel, originally serialized in 1890 in which literary magazine?

a) Scribner’s Magazineb) Lippincott’s Monthly Magazinec) Timothy McSweeney’s Quarterly Concernd) Harper’s Magazine

2) Until the Flood, a play that focuses on the social unrest following the fatal police shooting of unarmed black teenager Michael Brown in Ferguson, Missouri, will play at ACT June 8–July 8. The playwright, Dael Orlandersmith, was a Pulitzer Prize finalist. For which play was she nominated?

a) The Gimmickb) Beauty’s Daughterc) Yellowmand) Forever

3) ACT Theatre presents the one-woman show Lauren Weedman Doesn’t Live Here Anymore, July 20–August 12. Now a resident of Los Angeles, playwright and performer Lauren Weedman lived in Seattle for several years, where she was a regular contributor to which Seattle-produced radio show?

a) Rewindb) Too Beautiful to Livec) Robin and Maynardd) BJ Shea

4) Playing July 11–August 18 at Taproot Theatre is Sweet Land, in which a German woman immigrates sight-unseen to marry a Norwegian farmer in post-WWI Minnesota. Seattle’s own Scandinavian neighborhood is Ballard. In what year was Ballard annexed to Seattle?

a) 1905b) 1896c) 1907d) 1911

5) July 12–August 12, Seattle Shakespeare Company will run Wooden O, a series of free outdoor Shakespeare performances. This year they will perform King Lear and The Merry Wives of Windsor. Who played King Lear in the 2008 motion picture directed by Trevor Nunn?

a) Patrick Stewartb) Ralph Fiennesc) Ian McKellend) Michael Caine

ANSWERS: 1) b. – Lippincott’s Monthly Magazine. It merged with Scribner’s in 1916. 2) c. – Yellowman was a 2002 Pulitzer Prize finalist in Drama. 3) a. – Rewind with Bill Radke was produced at KUOW and syndicated on NPR until 2004. 4) c. – The City of Ballard was annexed to Seattle in 1907 after several years of struggling with an inadequate supply of potable water. 5) c. – Ian McKellen

Intermission Brain TransmissionAre you waiting for the curtain to rise? Or, perhaps, you’ve just returned to your seat before the second act and have a few minutes to spare? Treat your brain to this scintillating trivia quiz!

Email us the answer to the last question and have a chance to win tickets to a show!

Bonus Question

What was the last arts performance you attended that you liked best and why?

Email your response to [email protected] with "Trivia Quiz" in the subject line.

Oscar Wilde. Photo by Napoleon Sarony.


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