ACT – A Contemporary Theatre presents

Kurt Beattie Carlo Scandiuzzi Artistic Director Executive Director

encoreartsprograms.com A-1

Beginning September 5, 2014 • Opening Night September 11, 2014

CAST Elijah Alexander* Bashir Erwin Galán Dar William Ontiveros* Imam Saleem Connor Toms* Nick Bright

CREATIVE TEAM Allen Nause Director Matthew Smucker Scenic Designer Rose Pederson Costume Designer Kristeen Willis Crosser Lighting Designer Brendan Patrick Hogan Sound Designer JR Welden* Stage Manager Geoffrey Alm Fight Director Marianna de Fazio Dialect Coach Agastya Kohli Language Coach Becca Rowlett Production Assistant Marcella Barbeau Assistant Lighting Designer

Running Time: This performance runs approximately two hours. There will be one 15-minute intermission.

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

Originally Produced byTHE REPERTORY THEATRE OF ST. LOUIS

Steven Woolf, Artistic DirectorMark Bernstein, Managing Director

PRODUCTION SPONSOR:

THEATRE AND SEASON SPONSORS:

A Contemporary Theatre Foundation

Katharyn Alvord Gerlich, Eulalie M. & Gian-Carlo Scandiuzzi, Nancy Alvord, Betty Bottler, Gregory & Diane Lind, Chuck Sitkin, Chap & Eve Alvord, Brian Turner & Susan Hoffman

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. Patrons wearing Google Glass must power down the device if wearing them in the theatre.

A-2 ACT THEATRE

Allen Nause

Welcometo ACT

ACT has always been committed to new art and artists. And there is no more exciting arrival on the national theatrical scene than Ayad Akhtar, one of our most talented new playwrights. American by birth, American-Pakistani in heritage, his novels and plays articulate with remarkable clarity and power the current pressure

points in America’s shifting cultural identity, and how those vacillations have influenced the complexity of the relations America currently has with the rest of the world—particularly, in this play, with its longtime ally, Pakistan.

The “invisible hand” of Akhtar’s title refers to Adam Smith’s idea that the market is self-correcting, governed by a law as inevitable as the laws of physics, and, sooner or later, if society allows the individual to act unfettered in his own self-interest, this will eventually work out to the good of all. But if nations, like individuals, drive their behavior only through “self interest,” and encourage others to think that way, what might be the ultimate outcome?

Director Allen Nause has worked in Pakistan many times, and describes it as a society full of great and gifted people, but also a place where no one pays taxes, a middle class is virtually nonexistent, and the rest of the country is divided economically between a tiny group of very rich people, and millions who live in poverty. Compounding these stresses are religious and tribal strife and an ambiguously aligned military armed with nuclear weapons. America’s own internally fraught political conversation only makes things more difficult when it comes to deciding how the two countries should relate with one another. What moral standard should be adhered to in this case? Or even cared about? Euripides, the great ancient playwright, says that there is one Goddess who rules all the others, even Zeus: Necessity. Should that ultimately govern our relationship? Should it be a matter of simply maximizing our economic and political power and opportunities?

All this and more lives in Ayad Ahktar’s remarkable play, and I cannot be more grateful that ACT has the chance to produce it as his Seattle debut. Thank you for coming and listening.

Kurt Beattie, Artistic Director

A few years ago I read an early draft of Ayad Akhtar’s play The Invisible Hand and immediately fell in love with its surprising story, compelling characters and universal themes. I knew immediately that I had to direct it—I couldn’t get it out of my head!  It had me pondering and questioning my politics, patriotism, belief system, relationships—the very core of who I am as a person, artist, friend, husband, parent, and citizen of this planet. Isn’t that what great art should do? I’m thrilled to be back at ACT to direct this extraordinary play by one of the most distinctive new voices in American theatre.

“Who controls the food supply controls the people; who controls the energy can control whole continents; who controls money can control the world.” -HENRY KISSINGER

“Nearly all men can stand adversity, but if you want to test a man’s character, give him power.” -ABRAHAM LINCOLN

“The adoption of Western economic theory and practice will not help us in achieving our goal of creating a happy and contented people. We must work our destiny in our own way and present to the world an economic system based on the true Islamic concept of equality of manhood and social justice.” -MUHAMMAD ALI JINNAH

“The ideas of economists and political philosophers, both when they are right and when they are wrong, are more powerful than is commonly understood. Indeed the world is ruled by little else. Practical men, who believe themselves to be quite exempt from any intellectual influence, are usually the slaves of some defunct economist. Madmen in authority, who hear voices in the air, are distilling their frenzy from some academic scribbler of a few years back.” -JOHN MAYNARD KEYNES

“Each must for himself alone decide what is right and what is wrong, and which course is patriotic and what isn’t. You cannot shirk this and be a man. To decide it against your convictions is to be an unqualified and inexcusable traitor, both to yourself and to your country, let men label you as they may.” -MARK TWAIN

“For the love of money is the root of all evil: which while some coveted after, they have erred from the faith, and pierced themselves through with many sorrows.” -1 TIMOTHY 6:10

“So you think that money is the root of all evil. Have you ever asked what is the root of all money?” -AYN RAND

Kurt Beattie

A Note from Director

Allen Nause

A dysfunctional family reunion you won’t soon forget.

acttheatre.org | (206) 292-7676 | 700 Union Street, Seattle

COMING SOON TO ACT THEATREOct 17–Nov 16

The Beauty of Noh: Tomoe + Yoshinaka Sep 26-28A rare opportunity to see Munenori Takeda performing a love story from Japan’s epic, The Tale of the Heike, with a full Noh troupe.

Waiting for Godot Sep 4-21Two vagabonds struggle to make sense of their predicament in an absurd world. Part of the Seattle Beckett Fest with Seattle Shakespeare Company.

Endangered Species Project Oct 6Join Seattle theatre artists as they give voice to the characters that sit silent on your bookshelves. October features Waiting in the Wings by Noël Coward.

Don Quixote & Sancho Panza: Homeless in Seattle Sep 10-28A humorous adaptation of Don Quixote set in modern-day Seattle depicting the friendship of two homeless Latinos.

Sandbox Radio LIVE! Sep 8 Go “behind the speaker” of a radio show and watch the recording happen. This fall, Sandbox Radio takes you “Back to School” with an all-new episode.

Represent! A Multicultural Playwrights Festival Oct 1-5The Hansberry Project with eSe Teatro, SIS, and Pratidhwani present a festival of new work by playwrights of color.

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AM: I read that you grew up in Milwaukee and that yours was one of the only Muslim families in your community.

AA: On the west side, in the suburbs, yeah. When we moved there, I don’t believe there was anybody else, as far as I know. We certainly didn’t meet anybody. We were the first.

AM: Did that cause you to run toward or away from your religious identity as a child?

AA: I think as a kid it probably made me run toward it, in a way, because there was a recognition that in some way I was different. The way I came to formulate and understand what that difference meant was through religion. And that the difference was not necessarily a bad thing, that in its own way it was good because my religion was good. I think something that you see in a lot of young, early pre-pubescents is a kind of flowering of the devotional, of a

A-4 ACT THEATRE

AN INTERVIEW WITH AYAD AKHTAR

A conversation between playwright Ayad Akhtar and Anita Montgomery

INVISIBLE HAND

“Every individual

necessarily labours to

render the annual revenue

of the society as great as he

can. He generally neither

intends to promote the

public interest, nor knows

how much he is promoting

it ... He intends only his

own gain, and he is in this,

as in many other cases,

led by an invisible hand to

promote an end which was

no part of his intention.

Nor is it always the worse

for society that it was no

part of his intention. By

pursuing his own interest

he frequently promotes

that of the society more

effectually than when he

really intends to promote it.

I have never known much

good done by those who

affected to trade for the

public good.”

Economist Adam Smith in his

1776 book, An Inquiry into the Nature and Causes of

the Wealth of Nations.

Literary Manager, Director of Education

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preoccupation that seems to either pre-figure or coincide with the development—the hormonal changes—that are happening in the body. I went through a very strong interest in the Quran and in tradition, to the confusion of my parents, who were not particularly religious at all, in any way. I had to seek that information out elsewhere because they didn’t really care or know much about it.

AM: Did your parents take you to the mosque?

AA: Sometimes. I had to pester my dad. It didn’t happen very often. Sometimes my dad would go and sit with me, but he couldn’t tolerate any of the stuff that was being said. But I really think that the attention to the living word spoken in public, which, to me, is what theatre is, began there with my rapt attention to whatever was being said to this group of people. There’s a pageantry, a theatricality to it, and, interestingly enough, in Muslim tradition there’s a kind of soberness to that. I think that also informs my aesthetic. There is some very deep source of what my own sense of theatricality is about that goes back to my experiences as a young boy in the mosque.

AM: Did you find with your friends as a young person that this somehow separated you, or did you feel there was a place you could put your faith and then there was your other life? How did you incorporate the two?

AA: My experience was that it brought me closer to others. I understood what kids were doing when they were going away on retreats with the Catholic Church or Lutheran Church or when kids were talking about Sunday school. It was a shared universe. In Islam and Christianity there are a lot of figures that overlap. But there was something about the devotional mindset of religion being important. There’s a love of a kind that shows up in my book, American Dervish—that very pure love of whatever the mystery is that the divine stands in for—that was always first and foremost with me.

AM: You’ve referred to yourself as a cultural Muslim, is that what you mean?

AA: Well, no, I think what I mean when I say that is… You know, a lot of Muslims and non-Muslims wonder: “Well, so, do you pray five times a day? Do you do the fast thing? Do you do this? Do you do that?” and whatever, and at the end of the day: no. My childhood faith, my literalist belief in the childhood version of my faith died in my late adolescence. And with that died any pretension of exclusivity on the truth. It came to feel increasingly absurd to me that who you were born to and what part of the planet you were born to somehow was responsible for your so-called “salvation.” It just seemed patently absurd. I went through that traditional awakening from the slumber of childhood faith, if you will, that so many thinking individuals go through. And I was a militant agnostic for some years in college. And then, on the other side of that, my essential devotional nature re-emerged. But this time it emerged in a non-denominational form and the practice of particular rites and rituals was not meaningful to me because it was not about my experience, it was really more about the performance of those things.

AM: It sounds as though you’re still a deeply religious person.

AA: I do consider myself a very religious person, actually, but I have my own relationship to it. It’s not about the prophet, or what language you speak when you speak to the Lord. I’m not disavowing my Islamic origins and the way in which it has been an important foundation for my life. I consider myself to be part of the community. But Muslims will sometimes write to me and say: “You know, you’re a wonderful writer, why don’t you write something that makes people want to become Muslims.” And I don’t even know how to begin talking or explaining to them

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HIGH FREQUENCY TRADINGThe use of technology

and computer algorithms

to trade securities at

the rate of seconds or

fractions of a second,

often made for fractions

of a penny, but at an

incredibly high volume.

At any one time, it is likely

that 50% of all trades are

made by high-frequency

traders in United States

equity markets.

that my fidelity is not to the Quran, my fidelity is to the truth. The practice of questioning the truth—that’s the only religion that I have at this point.

AM: The characters in your plays and in American Dervish really struggle with attempting to reconcile contemporary life with traditional Islamic culture. Do you find this a fairly common experience for Muslims in America?

AA: I think it’s a fairly common experience for Muslims around the world, actually. I think that the advent of modernity has been the big question in the Muslim world for well near a hundred years. I think every immigrant community, whether they’re defined by their faith or by their national identity, goes through this process of wrestling with what to hold on to and what to leave behind. And I think that can become all the more pungent for a community when the issues are not just about national identity but they really do touch more on a question of faith. I’m expressing them in the idiom of the community I grew up in, which is the Muslim community.

AM: What drew you to the theatre and then to writing for the theatre?

AA: Up until high school there’d always been an assumption that I would just become a doctor. Both my parents are doctors. But I had a teacher when I was fifteen who really changed my life when she exposed me to literature and made me read all kinds of stuff. She got me reading plays. I spent two years reading everything on her shelf, and I got fascinated with the theatre. Something about it felt natural. I feel like I’ve always been sensitive to certain kinds of aesthetic principles or aesthetic experiences that seem to lend themselves to theatre.

AM: And then you really dove into the theatre in college?

AA: In college I started acting. I had a friend who was a director and he made me audition for a play, and it turned out I had a knack for it. I got really interested in Jerzy Grotowski and Andre Gregory after seeing My Dinner with Andre. Then I found myself, crazily enough, working with Grotowski as his assistant for a year right out of college. Then came back to New York and started working with Andre Gregory! I was just very fortunate to meet these very, very central, pivotal people along the path. I always knew I would write a play someday, but I was gathering kindling and the igniting spark hadn’t come along yet. And then it did, and I was in my very late thirties at that point. I wrote drafts of four plays back–to–back in somewhere between eight and ten months. The Invisible Hand was the second one. Disgraced was the first. Then The Who and the What. And then a fourth play which I don’t really show anybody, or I haven’t shown anybody yet.

AM: Do you see these plays as a kind of progression?

AA: Absolutely. You can actually see American Dervish, Disgraced, The Who and the What, and The Invisible Hand all as movements, parts of the same gesture. And I have three more works that come from this vein of inspiration. So when I finally get through them it’ll be seven pieces. I think it’s gonna be three books, three plays, and a film. But that will be the body of work that sort of tries to give voice to this question of Western identity and Muslim identity for people who are living here.

AM: Who do you write for? Who’s your audience?

AA: My audience is…it’s a very simple thing. I think that as a narrative artist, the way that I articulate this simple sense of being human is…When an audience begins to sense that they’re

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A-6 ACT THEATRE

BLACK-SHOLES MODEL

A model of price variation

over time, regarded as

one of the best ways to

determine fair prices for

options. When applied to

a stock option, this model

incorporates the constant

price variation of the stock,

the time value of money, the

option’s strike price, and the

time to the option’s expiry.

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being told a story there is a kind of a waking up that happens, a very simple kind of ‘Oh, what’s gonna happen next?’ feeling. And that feeling is very similar to the feeling that I think children have when they’re hearing a story. It’s very clear when a child gets bored that he or she has lost confidence that what happens next is interesting, or is going to be delivered, or is plausible. So there’s a sacred trust built on a narrative bond between the audience and the writer and the artist. It’s something I can track in myself by seeing if I am paying attention. And, so, in a way, I’m writing with an almost child-like openness in myself to the question of: Do I care what happens next?

AM: The Invisible Hand is certainly your most overtly political play. You wrote a novel—or worked on one for about seven years—about a poet working at Goldman Sachs. You’ve had a long-time fascination with Wall Street and the effects of the market.

AA: Absolutely. As somebody who wishes to sort of understand the world better, I think that, in our day and age, not to understand how deeply finance has informed and defined our relationships is to miss an important part of what it means to be alive right now, in this civilization. I have various zones of obsession and interest: finance has been one of them. And all of these are just modalities of trying to understand what it means to be human at this particular moment in our evolution or being as a civilization,

as a species. So, to me the play is set in the financial world that deals with the second generation immigrant community—Pakistani, Muslim immigrant community—and somebody who grows up to make a tremendous amount of money in the world of finance and lives out that sort of American paradigm of self-made. But it turns out that this very new American phenomenon of widespread cheating to get ahead is part and parcel of what is actually behind this guy’s lies. That’s an important issue. Power and money are an important American obsession. You go back to de Tocqueville and see that that’s at the heart of whatever our national identity really is. And, so being interested in that is just, I think, de rigueur for somebody who’s interested in understanding America.

AM: I think that a lot of people do not understand the market in this country.

AA: It’s true, and I think that I’m an artist who definitely takes very seriously that dictum in Horace’s “Ars Poetica,” that the purpose of art is to delight as well as to instruct. You see this now with cable TV, where you have these long-form series that are often set in these interesting worlds and part of the pleasure of the series is seeing and understanding and learning about a whole swathe of American activity. It isn’t about anything didactic. It’s about opening horizons of consciousness for the audience, which is what art is ultimately supposed to do. And I think it scares a lot of writers to do that, because there’s a prevailing prejudice against being perceived as somehow didactic. You know? But audiences love to learn new things. And if you can do it in a delightful way, it leads to some very, very, profoundly satisfying theatrical experiences.

Read more of the interview online at acttheatre.org/TheInvisibleHand.

BEARS, BULLS, & PIGSBear Market: a market

condition in which the

prices of securities are

falling, and widespread

pessimism causes the

negative sentiment to be

self-sustaining.

Bull Market: a financial

market in which prices

are rising or are expected

to rise. Most often used

in reference to the stock

market, but can be used for

anything that is traded.

“Bears” & “Bulls” are

investors whose strategies

are based on these

respective viewpoints of

pessimism and optimism

about the market.

Chickens & Pigs: “Chickens”

are afraid to lose anything,

and avoid all risk in the

market; “Pigs” are high-risk

investors who are looking

for the most money in the

shortest period of time, often

without doing their research.

“Bears make money, bulls

make money, pigs get

slaughtered.”

“Power and money are an important American obsession.”

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Who's Who in The Invisible Hand

A-8 ACT THEATRE

Elijah Alexander (Bashir) recently played Macbeth in Macbeth at A Noise Within in LA, where he also played the title role in Don Juan.

He has also appeared in Broadway’s Metamorphoses and in the Brooklyn Academy of Music’s Throne of Blood. Regionally, he has been involved with productions for Denver Center, Berkeley Rep, Yale Rep, Old Globe, Pasadena Playhouse, Great Barrington Stage, Southcoast Rep, Geva, Syracuse Stage, and the Santa Fe Shakespeare Festival. Elijah has also been a company member at The Oregon Shakespeare Festival (three seasons), The Utah Shakespeare Festival (four seasons), and The California Shakespeare Festival. In film and television, he has appeared in Mr. and Mrs. Smith, Amazing Love, Touch, Awake, Emily’s Reasons Why Not, JAG, Summerland, So Notorious, and Guiding Light. Elijah is a graduate of the Yale School of Drama and is a Fox Fellowship recipient.

Erwin Galán (Dar) was most recently seen as Mourad in Impenetrable at West of Lenin and as Musa in Bengal Tiger at the Baghdad Zoo

at Washington Ensemble Theatre. Previously, he was Oedipus in Oedipus el Rey and Mr. Five in The Adding Machine, both part of The Central Heating Lab. The latter three all won Seattle Times Footlight Awards. He has also been in a dozen films, including the SIFF features Man-Chu (Late Autumn) and Shadowed. He’d like to thank his adopted parents for their ongoing guidance and support, and you for being part of the vibrancy here at ACT.

William Ontiveros (Imam Saleem) was born and raised in the San Francisco Bay Area and has been acting for over four decades. He studied

acting at Cañada College with Kurtwood Smith. William has served as Artistic

Director of The Pioneer Square Theater and Seattle’s Group Theatre. His credits include Geraldo in Death and the Maiden at Portland Rep, Grumio in The Taming of the Shrew at The Old Globe Theatre, Dr. Cauis in The Merry Wives of Windsor at Seattle Rep, Tito in Lend Me a Tenor at Tacoma Actors Guild, and Mickey in The Normal Heart at Pioneer Square Theater. His film and television credits include Harry and the Hendersons, McGyver, 21 Jump Street, Twice in a Lifetime, and Knots Landing. William is a proud member of I.A.T.S.E. Local 134 in San Jose, California.

Connor Toms (Nick Bright) was last seen at ACT Theatre in Sarah Ruhl’s In the Next Room, or the vibrator play. He has also worked at The

Seattle Rep, Intiman, Arizona Theater Company, Seattle Shakespeare Company, Book-It Repertory, Seattle Children’s Theater, New Century Theater Company, Shakespeare Santa Cruz, and many more. He recently turned his wife, Hana Lass, into a Trekkie, and has absolutely no regrets.

Ayad Akhtar (Playwright) Akhtar’s plays include Disgraced (LCT3/Lincoln Center Theater, 2013 Pulitzer Prize for

Drama and 2013 Obie Award for Extraordinary Achievement), The Who & The What (LCT3/Lincoln Center Theater and La Jolla Playhouse), and The Invisible Hand (The Repertory Theater of St. Louis). Also a novelist, Akhtar is the author of American Dervish, published in 2012 by Little, Brown and Company, published in 20 languages worldwide. He co-wrote and starred in The War Within (Magnolia Pictures), which was released internationally and nominated for an Independent Spirit Award for Best Screenplay. As an actor, Akhtar also starred as Neel Kashkari in HBO’s adaptation of Andrew Ross Sorkin’s book Too Big to Fail. He studied at Brown University and Columbia University’s School of the Arts.

Allen Nause (Director) is a Resident Artist at Artists Repertory Theatre where he previously served as Artistic Director for

25 years. Besides directing over 75 productions for Artists Rep, Allen directed at many professional theaters throughout the Northwest. Allen has also acted nationally and internationally. Regionally, he has acted at the Oregon Shakespeare Festival, Portland Center Stage, Artists Repertory Theatre, Seattle Repertory Theatre, ACT, Intiman Theatre, and many others. In 2000, Allen traveled to Vietnam and co-directed a bilingual, bicultural production of A Midsummer Night’s Dream and a Vietnamese production of A Glass Menagerie as part of the Vietnam/America Theater Exchange. In May 2007, Allen directed All My Sons with the Palestinian National Theater in Jerusalem as a Cultural Envoy with the US Dept. of State. In 2010, Allen directed The Odd Couple in Islamabad, Pakistan, also as a Cultural Envoy. Allen has also appeared in feature films and on national television. In 2003 Allen was the recipient of the Oregon Governor’s Arts Award.

Matthew Smucker (Scenic Designer) is pleased to return to ACT, where previous designs include Sugar Daddies; Rapture Blister Burn; Grey Gardens; Ramayana; First Date; In the Next Room, or the vibrator play; Vanities; The Prisoner of Second Avenue; Yankee Tavern; The Trip to Bountiful; Rock ’n’ Roll; Below the Belt; Dr. Jekyll and Mr. Hyde; Eurydice; The Clean House; The Women; and The Pillowman. Smucker’s work has appeared at The 5th Avenue Theatre (Elf; Oklahoma!; Candide), Seattle Repertory Theatre (Who’s Afraid of Virginia Woolf; Or; Circle Mirror Transformation; Speech & Debate; Three Tall Women), Intiman, SCT, Village Theatre, Arizona Theatre Company, Portland Center Stage, San Jose Rep, Kansas City Rep, Houston’s Theatre Under the Stars, and Minneapolis Children’s Theatre Company. Smucker received the 2011 Gregory Award for Outstanding Scenic Design, a 2012 Seattle Magazine Spotlight Award, and

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appeared on The Stranger’s 2011 Genius Awards short list. Smucker teaches at Cornish College of the Arts and received his M.F.A. from the UW School of Drama.

Rose Pederson (Costume Designer) has designed costumes for more than one hundred professional productions at theaters from Broadway to Seattle. She designed over 25 productions for ACT including The Price; Middletown; Mrs. California; Language of Flowers; Glengarry Glen Ross; Merrily We Roll Along; Sunsets and Glories; Lloyd’s Prayer; The Downside; Polish Joke; Absurd Person Singular; The Nina Variations; The Notebook of Trigorin; Temporary Help; My Children, My Africa; and Hapgood. On Broadway, she designed the costumes for Largely, New York. She has designed many productions for the Seattle Repertory Theater, including An American Daughter; The Heidi Chronicles; and The Sisters Rosenzweig. She has also designed for Seattle Children’s Theater, New City Theater, The Empty Space, Tacoma Actors Guild, Portland Center Stage, Arizona Theater Company, Cleveland Playhouse, Idaho Shakespeare Festival, The Kennedy Center, and Berkley Repertory Theater where her work was nominated for a Bay Area Drama Critics Award.

Kristeen Willis Crosser (Lighting Designer) This is Kristeen’s first design for ACT and her Seattle premiere and she is thrilled to be here. She is usually found in the Portland, Oregon area where she designs scenery and lighting for several area theatres including Artists Repertory Theatre, Third Rail Repertory Theatre, Northwest Children’s Theatre, Profile Theatre, Teatro Milagro, and Oregon Children’s Theatre. She is a Resident Artist at Artists Rep and will be designing their production of this play later this season. She has received several Portland-area theatre awards, otherwise known as “Drammys,” including the 2014 Outstanding Lighting Design Drammy for Third Rail’s A Bright New Boise and the 2014 Outstanding Scenic Design Drammy for Third Rail’s Gidion’s Knot. As always, she is grateful to her husband, Mike, for all of his love and support.

Brendan Patrick Hogan (Sound Designer) As the Resident Sound Designer at ACT, Hogan has designed over 30 productions since 2009. In addition to productions at ACT, his designs and compositions have been heard locally at theaters such as Seattle Repertory Theatre, Washington Ensemble Theatre, and Seattle Shakespeare Company, and nationally at Arizona Theatre Company, Center Theater Group (CA), and George Street Playhouse (NJ). Compositions and design for film and video include local productions such as Waxie Moon in Fallen Jewel and global organizations including Amnesty International (Reggie Clemmons: Justice Derailed).

JR Welden (Stage Manager) has stage managed Uncle Ho to Uncle Sam, Mary Stuart, One Slight Hitch, Eurydice, The Underpants, and A Christmas Carol at ACT. He stage managed 10 seasons at Intiman working on productions including The Grapes of Wrath, Nickel and Dimed, and The Mandrake Root with Lynn Redgrave. At Seattle Rep, his credits include Blue Door, The Chosen, and Pygmalion.

Kurt Beattie (Artistic Director) has been creating theater for Puget Sound audiences for over 40 years as an actor, playwright,

and director. His productions at ACT include Grey Gardens; Ramayana (with Sheila Daniels); The Pitmen Painters; Double Indemnity; In the Next Room, or the vibrator play; The Lieutenant of Inishmore; Rock ‘n’ Roll; Becky’s New Car; Intimate Exchanges; First Class; The Pillowman; Mitzi’s Abortion; The Underpants; Bach at Leipzig; Vincent in Brixton; Black Coffee; Alki; Moon for the Misbegotten; Fuddy Meers; Fully Committed; Via Dolorosa; and the holiday classic, A Christmas Carol. Elsewhere, he has directed at Seattle Repertory Theatre, The Empty Space, Intiman Theatre, Seattle Children’s Theatre, University of Washington, San Jose Repertory Theatre, Milwaukee Repertory Theatre, The Alley Theatre in Houston, and Ojai Playwrights

Festival. As an actor, he has appeared in leading and major roles at ACT (most recently as Ebenezer Scrooge in A Christmas Carol), Seattle Repertory Theatre, Intiman Theatre, The Empty Space, Seattle Shakespeare Company, as well as many regional theatres throughout the country. Beattie is a recipient of the Theatre Puget Sound Gregory A. Falls Sustained Achievement Award, and the Outstanding Achievement in the Arts Award from ArtsFund.

Carlo Scandiuzzi (Executive Director) is a founder of Agate Films and Clear Pictures, producing such films as Prototype, Dark

Drive, Outpatient, and The Flats, and Indieflix, a distribution company. In 1979, Scandiuzzi started Modern Productions, bringing to Seattle such legendary bands as The Police, Devo, Nina Hagen, Iggy Pop, The Ramones, John Cale, Robert Fripp, James Brown, Muddy Waters, and many more. He performed in several plays at The Empty Space including Aunt Dan and Lemon, The Return of Pinocchio, and Dracula. In the early ‘80s, he collaborated with many Seattle performance artists such as Norman Durkee, Alan Lande, and Jesse Bernstein. He also acted in various films including Bugsy, The Public Eye, Another You, Casanova’s Kiss, and Killing Zoe. He graduated from the Ecole Superieure D’Art Dramatique of Geneva. Carlo currently serves as a member of the Seattle Arts Commission.

ACT operates under agreements with the following:

Special Fund DonorsACT Endowment Donors ACT’s endowment is administered by A Contemporary Theatre Foundation.

Buster & Nancy Alvord • Joan & Larry Barokas • Michael Corliss-Investco • Katharyn Alvord Gerlich • Becky & Jack Benaroya • Charles Blumenfeld & Karla Axell • The Ewert Family • Bruce & Dawn Goto • William Randolph Hearst Endowed Fund for Education & Outreach Programs • Kreielsheimer Remainder Fund • Doug & Nancy Norberg • Sally Pence • Katherine & Douglass Raff • Brooks & Suzanne Ragen • Herman & Faye Sarkowsky • David E. & Catherine E. Skinner • Kayla Skinner • Estate of Stuart Smailes • John & Rose Southall • David & Joyce Veterane • The Peg & Rick Young Foundation • Anonymous

The ACT Legacy Society The ACT Legacy Society honors those who remember ACT in their wills or other estate plans. Legacy Society members ensure ACT’s ongoing tradition of presenting the best of contemporary theatre for future generations. Investments of all sizes can make significant future gifts by using tax-advantaged estate and financial planning techniques. Notify ACT of your arrangements by calling Rebecca Lane at (206) 292-7660 ext. 1321.

Nancy Alvord • Laurie Besteman • Jean Burch Falls • Linda & Brad Fowler •Suzanne Howard • H. David Kaplan • Mike McCaw • Catherine & Barry McConnell •Dr. Arnie & Judy Ness • Lisbeth Pisk • Brooks & Suzanne Ragen •Teresa Revelle • Chuck Sitkin • GregRobin Smith • John & Rose Southall • Judith Warshal & Wade Sowers • Dorothy E. Wendler • Janet Westin

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 preferred caterer of ACT Theatre.

Accessibility Wheelchair seating is available. The theatre is equipped with the Sennheiser Listening System for the hard of hearing; headsets are available from the house manager for use, free of charge, with a valid ID and subject to availability. ACT Theatre offers American Sign Language interpreted and audio-described performances. For more information, email service@acttheatre.org.

Lost & Found Call (206) 292-7676 between 12:00pm and 6:00pm, Tues-Sun.

Address & Website ACT Theatre 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.

Theater Rental For information regarding booking, contact events@acttheatre.org.

Group Sales Groups of 10 or more can save. Call (206) 292-7676 or email groupsales@acttheatre.org.

Fragrance Please be considerate and keep personal fragrance to a minimum.

Special Thanks ACT gratefully acknowledges the following professionals and organizations who have helped make this season a success:

Keith Johnsen, Daqopa Brands LLC • Seattle Children’s Theatre • AJ Epstein • Seattle Repertory Theatre • UW Drama • Mike Dodge • Avast! Recording Co. • Serenza Salon & Spa • Intiman Theatre • Carlson Audio • Quinn Armstrong

We’re Growing our Board The ACT Board of Trustees is a dynamo group of volunteers committed to making sure

ACT is strong, healthy, and on track to achieve our mission.

From young professionals

to established community

leaders, the ACT Board is a diverse

group sharing a common goal:

Support ACT Theatre!

If you are passionate about ACT

and interested in getting more

involved, this just might be a

great way to start!

Email Richard Hesik for more information: richard.hesik@acttheatre.org

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A-10 ACT THEATRE

ACT gratefully recognizes the following corporations, foundations, and government agencies for their generous support of our 2014

programs. Without such tremendous community support, ACT would not be able to offer outstanding contemporary theatre, in-school

educational programming, or community based outreach.

ACT Corporate, Foundation & Government Sponsors

ACT gratefully acknowledges the following for their contributions to this production and season:

THEATRE SPONSORS$100,000+ArtsFund

SEASON SPONSORS $50,000-$99,9994Culture*

The Boeing Company

The Shubert Foundation, Inc.

SHOW SPONSORS$25,000-$49,999John Graham Foundation

Joshua Green Foundation*

Nesholm Family Foundation

The Paul G. Allen Family Foundation

Tateuchi Foundation

Tuxedos and Tennis Shoes†

EVENING SPONSORS$10,000-$24,999Elizabeth George Foundation

Microsoft Corporation

The Peg & Rick Young Foundation

TEW Foundation

Theatre Development Fund†

True Fabrications

STAGE SPONSORS$5,000-$9,999Fran’s Chocolates†

Gordon Biersch Brewing Co.

Homewood Suites†

Nordstrom

RealNetworks Foundation

The Seattle Foundation

SUSTAINING SPONSORS$1,000-$4,9992bar Spirits†

Alaska Airlines†

Carlson Audio Systems†

Charles Schwab

E & J Gallo Winery†

Encore Publishing†

Fales Foundation Trust

Foster Pepper & Shefelman

Glass Distillery†

HSBC

Loulay Kitchen & Bar†

Pike Brewing Company†

Traver Gallery†

Washington Holdings

Wyman Youth Trust

MEDIA SPONSORSCity Arts Magazine†

Jewish Transcript Media†

KCTS 9†

KEXP†

KUOW†

KING FM†

Northwest Asian Weekly†

Seattle Magazine†

* Denotes ACT for the Future Campaign Donor

† Support provided through in-kind contributions.

THE JOHN GRAHAM FOUNDATION

encoreartsprograms.com A-11

October 11, 2014

ACTSeasonsTHE 2014 ACT GALA

Tickets on SaleCall or Order Online

acttheatre.org/actforallseasons (206) 292–7660 x1330

Individual tickets, young professional, and row prices available

A CELEBRATION BENEFITING ACT THEATRE’S ARTISTIC AND EDUCATIONAL PROGRAMS

At ACT Theatre

FOR ALL

THE EXTRAVAGANZA INCLUDESFood • Cocktails • Music • Dancing

Games of Chance • Silent Auction • Live Auction Epic Fun

A-12 ACT THEATRE

ACT Theatre’s mission is to raise consciousness through theatre—a mission made possible by generous contributions from people in our

community. We would like to recognize and thank the many kind individuals who have partnered with A Contemporary Theatre this year.

You inspire us all. Thank you.

ACT Partners

ASSOCIATE$5,000-$9,999Sheena Aebig & Eric Taylor

Allan & Anne Affleck

Melinda & Walter Andrews

Joan & Larry Barokas

Benjamin & Marianne Bourland

Sonya & Tom Campion

Bob & Kristi Diercks*

Natalie Gendler

James & Barbara Heavey

Stephanie M. Hilbert*

John & Ellen Hill

Dr. Larry Hohm & Karen Shaw

Linda & Ted Johnson

Jane W. & James A. Lyons

McKibben Merner Family

Foundation

Nadine & John Murray

Dr. Greg Perkins

Marie Peters

Eric and Margaret Rothchild

Charitable Fund

Ingrid Sarapuu & Michael Anderson

Herman & Faye Sarkowsky

Lisa Simonson*

Spark Charitable Foundation

Garth & Drella Stein

David & Shirley Urdal

Vijay & Sita Vashee

David & Joyce Veterane

Jean Viereck

Kären White*

FRIEND$2,500-$4,999Richard & Constance Albrecht

Kenneth & Marleen Alhadeff

Akhtar & Alka Badshah

Peter & Jane Barrett

Kurt Beattie & Marianne Owen

Don Beaty & Carrie Sjaarda

Peter & Fran Bigelow

Bruce Butterfield & Irene Stewart

Estate of George Carlson

Dennis & Deborah DeYoung

Betsy & Charles Fitzgerald

Thomas P. & Christine M. Griesa

Lee Dicks Guice

Katherine Ann Janeway & H.S.

Wright III

Lisa & Norman Judah

H. David Kaplan

Karen Koon & Brad Edwards

Greg Kucera & Larry Yocom

Marcella McCaffray

Bill & Mary Ann Mundy

Sally Nelson

The Nordhoff Family

Brooks & Suzanne Ragen

Ann Ramsay-Jenkins

Donald & Jo Anne Rosen

Evelyne Rozner & Matt Griffin

Debra Sinick & David Ballenger

John & Rose Southall

Ron & Carol Sperling

Cathy & Ron Thompson

Mark & Arlene Tibergien

Annette Toutonghi & Bruce Oberg

Dirk & Mary Lou Van Woerden

Judith Warshal & Wade Sowers

Anonymous

SUSTAINING PARTNER$1,000-$2,499John Akin & Mary Stevens

Rhett Alden & Marcia Engel

Kermit & Danna Anderson

Jason Astorquia

Kendall & Sonia Baker

Marge & Dave Baylor

Eric Bennett

Sarika & Samir Bodas

June & Alan Brockmeier

Dr. William Calvin & Dr. Katherine

Graubard

Corinne A. Campbell

Midge & Steve Carstensen

Dennis & Aline Caulley

Donald Cavanaugh

Manisha Chainani

D.T. & Karen Challinor

Clement Family Foundation

Steven & Judith Clifford

Patricia & Theodore Collins

Steve Coulter

Craig Davis & Ellen Le Vita

Kathy & Don DeCaprio

Ben & Kathy Derby

James & Amanda Devine

Eva & Gary Dines

Michael Dupille

Lonnie Edelheit

Lori Eickelberg

A.J. Epstein

Charles & Margaret Fitzgerald

Anne Foster

Richard & Mary Beth Gemperle

Boyd & Ann Givan

Kelly & Jeffrey Greene

Charles & Lenore Hale

Lawrence & Hylton Hard

Peter Hartley & Sheila Noonan

Phyllis Hatfield

Ellen Hazzard

Rodney & Jill Hearne

Marjorie Kennedy Hemphill

Ross Henry

Vaughn Himes & Martie Ann Bohn

Nancy & Martha Hines

Dale & Donna Holpainen

Gary & Parul Houlahan

Susan & Philip Hubbard

Dan & Connie Hungate

Joseph & Linda Iacolucci

Victor Janusz

Steve Jensen

Judith Jesiolowski & David

Thompson

Clare Kapitan & Keith Schreiber

Lura & David Kerschner

Dr. Edward & Mimi Kirsch

Joanne M. Kuhns

George & Linda Lamb

Steve Langs

Eileen Lennon

Steven & Anne Lipner

Jim Lobsenz & Elizabeth Choy

D.W. & Shirley Logan

THEATRE SPONSOR $100,000+Nancy Alvord

Katharyn Alvord Gerlich

Eulalie M. & Gian-Carlo Scandiuzzi*

SEASON SPONSOR $50,000-$99,999

Betty Bottler

Gregory & Diane Lind*

Chuck Sitkin*

Brian Turner & Susan Hoffman*

Anonymous

EVENING SPONSOR $10,000-$24,999

Laurie Besteman & Jack Lauderbaugh*Colin & Jennifer Chapman*

Allan & Nora DavisLinda & Brad Fowler*

Heather & Grady HughesBill Kuhn & Patricia Daniels*

Yoshi & Naomi MinegishiLinda & George Ojemann

Victor PappasKatherine & Douglass Raff*

Teresa & Geoff Revelle*Barry & Colleen Scovel*

Margaret Stanley* Robert & Shirley Stewart*

Jean WalkinshawMarcia & Klaus Zech

SHOW SPONSOR $25,000-$49,999Chap & Eve Alvord

Linda Brown & Larry True

Trevor Cobb & Cecilia Cayetano*

James Degel & Jeanne Berwick, Berwick Degel Family Foundation

Jean Burch Falls

Richard Hesik & Dr. Barbara Johns*

May McCarthy & Don Smith*

Dr. Arnie & Judy Ness*

encoreartsprograms.com A-13

Laura Lundgren

James Madison

Meg & Jake Mahoney

Alice Mailloux

Bill & Holly Marklyn

Tony Martello

Eric Mattson & Carla Fowler

Peter & Kelly Maunsell

Ann McCurdy & Frank Lawler

Samuel B. McKinney

Joy McNichols

Frances Mead

Gail & John Mensher

Eugene & Donna Mikov

Kelly Miller & Ruthann Stolk

Mark & Susan Minerich

Dayle Moss & David Brown

John Muhic

James Nichols

Chris & BJ Ohlweiler

Sue Oliver

Kristin Olson

Hal Opperman & JoLynn Edwards

Don Oxford

Cynthia & Bruce Parks

Valerie D. Payne

Bill & Beth Pitt

Kate Purwin & Sergei Tschernisch

Alan & Andrea Rabinowitz

Richard Rafoth

Ken Ragsdale

Sharon & Paul Ramey

David and Valerie Robinson Fund

William & Rae Saltzstein

Barbara Sando

Terry Scheihing & Ben Kramer

M. Darrel & Barbara Sharrard

John Shaw

Judith Simmons

Jeff Slesinger & Cynthia Wold

Marianna Veress Smirnes

Sheila Smith & Don Ferguson

Kathleen Sneden-Cook & Jack

Cook

Elaine Spencer & Dennis Forsyth

Kim Stindt & Mark Heilala

Jeffrey A. Sutherland

Christine Swanson

Tamzen Talman

Timothy Tomlinson

Tom & Connie Walsh

Nancy Weintraub

Steve & Diana White

Mary & Donald Wieckowicz

Kathy & Chic Wilson

Cathy Woo

Kyoko Matsumoto Wright

Ann P. Wyckoff

Anonymous (6)

SUPPORTING PARTNER$500-$999Reham Abdelshahid

Monica Alcabin

Connie Anderson & Tom Clement

Richard Andler & Carole Rush

Bruce P. Babbitt

Diane & Jean-Loup Baer

Richard & Lenore Bensinger

Cleve & Judith Borth

Stanley & Barbara Bosse

Matthew Brantley

Margaret Bullitt

Martin Christoffel & Shirley Schultz

Clark Family Charitable Fund

Jack Clay

Ellen & Phil Collins

Jan & Bill Corriston

Chris Curry

Angela Davila

Patricia & Cor DeHart

John Delo

Carole Ellison

Steven Engle

Joanne R. Euster

Amy Faherty & Jeff Kephart

Jeannie Falls

Nancy Federici

Kevin & Tricia Fetter

Mrigankka Fotedar

Rick Freedman

Eleanor & Jeff Freeman

Lucy Gaskill-Gaddis & Terry Gaddis

Sergey Genkin

Genevra Gerhart

Hellmut & Marcy Golde

Claire & Paul Grace

Robert Greco

Rhonda & Jim Greer

Michael Greer, MD & Steve Bryant

Alexander Grigorovitch & Vera

Kirichuk

Meg & David Haggerty

Wier Harman & Barbara Sauermann

Diana & Peter Hartwell

Jim & Linda Hoff

Cynthia Huffman and Ray Heacox

Alice Ikeda & Philip Guess

Dean M. Ishiki

Ann Janes-Waller & Fletch Waller

David B. Johnson

Joan Julnes

Steven & Patricia Kessler

Deborah Killinger

Agastya & Marianna Kohli

Max Langley

Rhoda & Thomas Lawrence

Candy Lee & Rocke Koreis

Robert Lehman & Christopher

Mathews

Gary Lindsey

Loeb Family Foundation

Theodore & Mary Ann Mandelkorn

David Marty

Barbara Martyn

Maxine Mattson

David Meckstroth

Erika Michael

Lauren Mikov

Michael & Sarajane Milder

Michael Moody & Martha

Clatterbaugh

Adam & Shellie Moomey

Wesley Moore & Sandra Walker

Sallie & Lee Morris

Zack Mosner & Patty Friedman

Jim Mullin

Cynthia & Morris Muscatel

Sarah Navarre

Paul & Linda Niebanck

Cecilia Paul & Harry Reinert

Lisa & Cheri Perazzoli

Chuck Perry

Carol Pierce

Donald Pogoloff

Megan & Greg Pursell

Marjorie Raleigh & Jerry Kimball

Jeff & Pat Randall

Pamela Reed & Sandy Smolan

Craig & Melissa Reese

Cindy & Lance Richmond

Jeff Robbins & Marci Wing

Judy & Kermit Rosen

Marc Rosenshein & Judy Soferman

Marybeth & Jerry Satterlee

John Scearce & Nancy Buckland

Darshana Shanbhag

Michael C. Shannon

Barbara & Richard Shikiar

Peggy O’Neill Skinner & John

Skinner

Don & Kathy Smith-DiJulio

Jeanne Soule

Helen Speegle

Jen Steele & Jon Hoekstra

Isabel & Herb Stusser

Sally Sullivan

Norm & Lynn Swick

Arthur & Louise Torgerson

Ellen Wallach & Tom Darden

Eric Weber

Robin Weiss

Dr. Sheree Wen

Janet Westin & Mike McCaw

Gregory Wetzel

Marjory Willkens

Dianne & Douglas Wills

Susan Wolcott & George Taniwaki

Maria & Michael Wolfe

Judith Wood

Josette Yolo

Joyce & Christian Zobel

Igor Zverev & Yana Solovyeva

Anonymous (4)

CONTRIBUTING PARTNER$250-$499Renate & Croil Anderson

Jane & Brian Andrew

Basil & Gretchen Anex

Loren & June Arnett

Ronald & Marcia Baltrusis

John & Eva Banbury

Bob & Melisse Barrett

Carolyn Bechtel

Julie Beckman & Paul Lippert

Ruth & Greg Berkman

Dennis Birch & Evette Ludman

Siggi Bjarnason

Gail & Randy Bohannon

John Boling

Pirkko Borland

Jerome & Barbara Bosley

James Brashears

Karen Brattesani & Douglas Potter

Mark Brewster

Brad & Amy Brotherton

Dorothy A. Brown

Dr. James & Donna Brudvik

Val Brustad

Carol & Jonathan Buchter

Carl Bunje & Patricia Costello

Joel Buxbaum

Judith Callahan & John Van

Bronkhorst

John & Arlene Carpenter

Kathryn & Bill Carruthers

Christopher Chan

Nicole Boyer Cochran

Patrick & Jerri Cohen

Marc Coltrera & Anne Buchinski

Kevin & Lisa Conner

Judith & Thomas Connor

John & Catherine Crowley

Barbara & Ted Daniels

Emily Davis

Paul & Sandy Dehmer

Dottie Delaney

Ron & Jan Delismon

Mike Dey

Paula Diehr & Frank Hughes

Darrel & Nancy Dochow

Kristine Donovick & Jim Daly

Ellen Downey

Michael Dryfoos & Ilga Jansons

Kathryn Dugaw

Vasiliki Dwyer

Glenn & Bertha Eades

Suzanne Edison

Shmuel El-Ad

Constance Euerle

Thea & Alexander Fefer

Alicia Feichtmeir & David Krieger

Eric & Polly Feigl

Karen & Bill Feldt

Carol Finn

K. Denice Fischer-Fortier & James

A-14 ACT THEATRE

M. Fortier

Rynold & Judge Fleck

Ricky Flickenger

Rob Folendorf

Mary Fosse

Andy Foster

Jane & Richard Gallagher

Jean Garber & Clyde Moore

Jean Gardner

Bruce & Peggy Gladner

Carol & Tal Godding

Catherine Gorman

Dick & Jan Gram

Drs. Verena & Basil Grieco

Susan Griffith & Drew Fillipo

Joe & Nancy Guppy

Paul & Sheila Gutowski

Kevin & Molly Haggerty

Marja Hall

Libby Hanna & Don Fleming

Sharron & David Hartman

Hashisaki/Tubridy Family

Richard & Susan Hecht

Lisa Helker

Arlene & Doug Hendrix

Amy Henry

Pat Highet

Weldon Ihrig & Susan Knox

Joel Ivey & Sheryl Murdock

Wendy Jackson

Cathy Jeney

Mark Jenkins

Andy & Nancy Jensen

Paula Jenson

William & Sandy Justen

Nancy Karasan

Paul Kassen

Kay Keovongphet

Gary & Melissa Klein

Ursula Kuepfer & Jon Paddock

Jim & Jean Kunz

Jill Kurfirst

Edie Lackland

Bob & Janet Lackman

Sharon Lamm

Becky Lathrop & Rob Witmer

Kathleen F. Leahy & H. Dale

Hinkson

Midge & Richard Levy

Arni Litt

David Longmuir

Mark P. Lutz

Jeffrey & Barbara Mandula

Lora & Parker Mason

Tim Mauk & Noble Golden

Arthur Mazzola

Carol McDonald

Mary Metastasio

Col. Norman D. Miller

Annette & Gordon Mumford

Robert Mustard

John Naye

Dan & Denise Niles

Craig & Deanna Norsen

Colette J. Ogle

Clarke O’Reilly

Tina Orr-Cahall

Mari Osuna & Adam de Boor

Angela Owens

Angela Palmer

John Peeples

Susan Perkins

Barbara Phillips

Greg & Sherre Piantanida

Judy Pigott

Judy G. Poll

Joan Potter

Sheila Preston Comerford

Darryn Quincey & Kristi Falkner

Carol Radovich

Charles & Doris Ray

Peg Rieder

Bruce F. Robertson

Drs. Tom & Christine Robertson

Richard & Nancy Rust

Stuart & Amy Scarff

Duane & Pat Schoeppach

Garreth Schuh

Sandra & Kenneth Schwartz

Karen & Patrick Scott

Ted & Patricia Scoville

Mike Scully

David & Elizabeth Seidel

Deborah Senn

Lynne & Bill Shepherd

Gursharan Sidhu

John Siegler & Alexandra Read, MD

Gail & Robert Stagman

Alec & Jane Stevens

Lisa & John Stewart

Margaret Stoner & Robert Jacobsen

Derek Storm & Cynthia Gossett

Stephen Strong & Lorri Falterman

Bill & Pat Taylor

Steven Thomas

Michael Thompson

Dennis M. Tiffany

Joan Toggenburger

Sarah & Russell Tousley

Andrew Valaas

Constance Vorman & Pres

Sloterbeck

Mary & Findlay Wallace

Vreni Von Arx Watt

Bruce Weech

Randall Weers

Jim & Sharron Welch

Leora Wheeler

Peggy & Dennis Willingham

Mr. & Mrs. Clyde Wilson

Marianne & Arnold Wolff

Nancy Worsham

Conrad & Glenna Wouters

Dadog Wriggley

Kairu Yao

Jan Zager

Anonymous (7)

*Denotes ACT for the Future Campaign Donor

Gifts in TributeIn honor of Joan Barokas: Judy &

Kermit Rosen

In honor of Kurt Beattie & Marianne

Owen: Dawn Maloney

In memory of Lana Denison: Dr.

Arnie & Judy Ness

In appreciation of Nicole Boyer-

Cochran: Mark Jenkins

In memory of Clayton Corzatte:

Anonymous

In honor of Petra Franklin & Carlo

Scandiuzzi: Linda & Brad Fowler

In honor of Richard Hesik & Barbara

Johns: Bob & Phyllis Hesik

In memory of Melissa Hines:

Martha & Nancy Hines

In honor of Carolyn Keim & Connie

Rinchiuso: Angela Owens

In honor of Teresa Revelle: Dr. Arnie

& Judy Ness

In memory of Patty Rose’s

mother, Marian: PCLELC Cameo

Subcommittee

Matching GiftsACT would like to thank the

following corporations for their

contributions through Gift

Matching Programs. We greatly

appreciate the support of these

institutions and their employees.

Adobe Systems Inc, Matching Gift

Program

Alaskan Copper & Brass Company

Amgen Foundation

Applied Precision

Bank of America Foundation

Bentall Capital

Bill & Melinda Gates Foundation

The Boeing Company

Carillon Point Account

Casey Family Programs

CBIC Insurance

Chevron

The Chubb Corporation

CIGNA Matching Gift Program

Citibank, N.A./Citicorp

Eli Lilly & Co. Foundation

Expedia, Inc.

Google

Harbor Properties, Inc

IBM International Foundation

Key Foundation

Merck

Microsoft Corporation Matching

The Prudential Foundation

Matching Gifts

Puget Sound Energy

RealNetworks Foundation

Russell Investments

SAFECO Matching Funds

Satori Software

Starbucks Matching Gifts Program

Sterling Realty Organization

Sun Microsystems Foundation

United Way of King County

The UPS Foundation

US Bancorp Foundation

Verizon Foundation

Washington Chain and Supply, Inc

Washington Mutual Foundation

Matching Gifts Program

Zymogenetics Inc.

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 development@acttheatre.org or call (206) 292-7660 x1330.

encoreartsprograms.com A-15

ACT A Theatre of New IdeasACT BoardOf TrusteesCharles SitkinChairman

Colin ChapmanPresident

Richard HesikVice President

Lisa SimonsonTreasurer

Bill KuhnSecretary

Joan BarokasEric BennettLaurie Besteman Jacob BurnsTrevor CobbBob DiercksCharles FitzgeraldRoss HenryStephanie HilbertGrady Hughes Abha KhannaDiane LindKyoko Matsumoto WrightMay McCarthyLauren MikovNaomi MinegishiJohn MuhicJudy NessGeorge OjemannDr. Greg PerkinsTeresa RevelleIngrid SarapuuBarry ScovelKaren ShawJohn SieglerGoldie Gendler Silverman Margaret StanleyRob StewartLarry TrueBrian Turner

Advisory CouncilAubrey DavisDaniel D. EdererJean Burch FallsJeannie M. FallsJohn H. FarisBrad FowlerCarolyn H. GrinsteinSara Comings HoppinC. David HughbanksJonathan D. KleinKeith Larson*Jane W. LyonsLouise J. McKinney*Gloria A. MosesNadine H. MurrayDouglas E. NorbergKristin G. OlsonDonald B. PatersonEric PettigrewPamela PowersKatherine L. RaffBrooks G. RagenCatherine RoachJo Anne RosenSam Rubinstein*Faye SarkowskyDavid E. SkinnerWalter Walkinshaw*Dr. Robert Willkens*George V. WilloughbyDavid E. Wyman, Jr.Jane H. Yerkes

A Contemporary Theatre FoundationKermit AndersonPresident

Lucinda RichmondVice President

Katherine RaffSecretary

Catherine RoachTreasurer

Colin ChapmanBrad FowlerJohn SieglerLisa SimonsonCharles SitkinBrian Turner

ACT StaffEXECUTIVEKurt Beattie†

Artistic Director

Carlo ScandiuzziExecutive Director

Becky WitmerGeneral Manager

Robert HankinsExecutive and Artistic Manager

ARTISTICJohn LangsAssociate Artistic Director

Margaret Layne†

Casting Director & Artistic Associate

Anita Montgomery†

Literary Manager and Director of Education

Kenna KettrickEducation Associate

Robert KeeneLiterary Intern

Emily PenickArtistic Intern

ADMINISTRATIONAdam Moomey†

Operations Manager

Susanna PughVenue Manager

Robert McDonaldFacilities Maintenance

AC/R ServicesEngineer

Lawrence CuringtonIT Support Manager

Rica WolkenTessitura Manager

Tuxedos and Tennis Shoes CateringBar and Concessions

FINANCESheila SmithDirector of Finance

Tobi Beauchamp-LoyaPayroll & Human Resources

Manager

Ash HymanSenior Accountant

DEVELOPMENTMaria Kolby-WolfeDirector of Development

Rebecca LaneMajor Gifts and Campaign

Manager

Angela PalmerDonor Relations Manager

Kyle ThompsonDevelopment Coordinator: Board

& Office Operations

Julia NardinDevelopment Coordinator:

Stewardship & Special Events

Charly McCrearyDevelopment Intern

MARKETING AND COMMUNICATIONSAubrey ScheffelAssociate Director of Marketing

Karoline NaussMarketing Coordinator

Marissa SteinGraphics & Email Coordinator

Malie FujiiMarketing Intern

Mark SianoPublic Relations Manager

Sebastien ScandiuzziVideo Manager

Apex MediaAdvertising

Chris BennionProduction Photographic Services

Christa FlemingGraphic Designn

SALES AND AUDIENCE SERVICESJessica HowardDirector of Sales & Service

Ashley SchalowTicket Systems Associate

Lynch ResourcesTelemarketing

Montreux RotholtzTicket Office &

Customer Service Manager

A. Aiden KaramanyanFront Office Representative

Megan TuschhoffTicket Office Lead

Jaron BoggsKelton EngleTicket Office Representatives

Jim MoranAudience Services Manager

Jeremy RupprechtHouse Manager

Libby BarnardKatie BicknellDennis HardinRyan HigginsMonika HolmBecky PlantRobin ObournKristi QuirozLuke SaylerAdam VanheeAudience Services

Christine JewAudience Services Affiliate

PRODUCTIONJoan Toggenburger†

Producing Director

Alyssa ByerCentral Heating Lab Production

Manager

Emily CedergreenProduction Office Manager

Skylar HansenProduction Runner

STAGE MANAGEMENTJeffrey K. Hanson†

Production Stage Manager

JR WeldenErin B. ZatlokaStage Managers

Ruth EitemillerProduction Assistant

COSTUME DEPARTMENTSCarolyn Keim†

Costume Director

Connie Rinchiuso†

Costume Shop Foreman

Candace FrankCostume Coordinator

Kim Dancy†

Cutter

Sally Mellis†

Wardrobe Master

Fawn BartlettAssistant to the Costume Director

Joyce Degenfelder†

Wig Master

SCENIC DEPARTMENTSSteve Coulter†

Technical Director

Derek BaylorAssistant Technical Director

Austin Smart†

Master Scenic Carpenter

Sean WilkinsLead Scenic Carpenter

Michael SterkowiczNick MurelScenic Carpenters

Mona Lang†

Scenic Charge Artist

Lisa Bellero†

Assistant Charge Artist

Marne Cohen-Vance†

Properties Master

Ken Ewert†

Master Properties Artisan

Thomas VerdosLead Properties Artisan

STAGE OPERATIONSNick Farwell†

Stage Operations Supervisor

James Nichols†

Master Stage Carpenter

Pam MulkernMaster Electrician

Max LangleyMaster Sound Engineer

Brendan Patrick HoganResident Sound Designer

Michael CornforthCentral Heating Lab Technician

FOR THIS PRODUCTIONRon DarlingProps Artisan

* Deceased

† Denotes staff member has worked

at ACT for 10 years or more

A-16 ACT THEATRE