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Contrast and SmolderMolly Sides peels back layers of texture.

BY AMANDA MANITACH

WHO Molly Sides, the 25-year-old multidisciplinary artist from Ketchum, Idaho. Sides arrived in Seattle in 2006 to study dance at Cornish College of the Arts and since graduating has shared the stage with Northwest performance companies like tEEth, New Animals and Lingo. Recently Sides added curator to her resumé: She’s the brains behind Trigger. New Dance Happenings, a quarterly event that puts dancers in non-tradi-tional settings like Vermillion Gallery, Love City Love and the lobby at On the Boards.

AND ROCKSTAR In her off time, Sides shreds the stage in knee-high, lace-up stilettos and spike-studded brassiere as the smol-dering voice of four-piece band Thunderpussy. “Thunderpussy is my love affair with rock ’n’ roll. I grew up singing in choir and musical theatre productions. I’m a feely-lovey person and I want to share an experience with you, not just show you.”

AESTHETICS “I love red lipstick and velvet and [have] an obses-sion with shoes—particularly Fluevogs. I still like to think a pair of shoes makes an outfit. If I were born in a different era, it would have been during Prohibition. You know, put together classy on the outside with layers of lace, silk, velvet and fringe underneath. I like layers and the peeling away of them.”

ICONS Ingrid Bergman in Notorious, Penelope Cruz in Vicky Cristina Barcelona. Every character in every Bernardo Bertolucci film. Every character in every Wes Anderson film. Stevie Nicks, Karen O. Probably every character Cate Blanchett has ever played.

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E N C O R E A RT S N E W S F RO M C I T Y A RT S M AG A Z I N E

CONTENTS

E N C O R E A RT S N E W S F RO M C I T Y A RT S M AG A Z I N E

4 ENCORE STAGES

ZUBAIR AHMED was raised in Dhaka, Bangladesh, and moved to Texas when he was 17. He

attended Stanford, where his passion for science and poetry bloomed. Now a mechanical engineer at Boeing, he lives in Seattle where he continues to write. Ahmed’s poetry, like his personality, brims with earnestness and generosity of spirit. His chapbook Ashulia (Tavern Books) and his full-length collection, City of Rivers (McSweeney’s), released earlier this year, reveal a poet who approaches life’s darknesses with wide-eyed curiosity and acceptance: “It starts to rain / So I shoot down a cloud. / We take it back to Mom / Who kisses our ears and pokes our eyes— / She does that.”

We caught up with him to talk about life in Dhaka, his new book and the educational potential of Terminator 2. RICH SMITH

You claim that your family was one of the poorest in Bangladesh. To what extent did you experience any hardship?Hardship is a mindset. You can either be sad about being poor or you can be happy with what you have. Our family was the latter. I was always around my cousins. I was always playing video games. In fact, I learned most of my

The Most Pure ThingZubair Ahmed is a Boeing engineer and poet whose verse tackles deracination and loneliness with the buoyancy of a quieter, tinier Whitman.

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English from video games, from titles like Final Fantasy and Disciples. They had stories, man! And movies—I loved Arnold Schwarzenegger movies. Terminator 2, Predator. But I only started questioning my life in Dhaka after I left it, and especially when I started school at Stanford. That’s when I began to feel badly about myself. But really, I was just feeling the pain of cultural change.

Did you start writing during that transition?Poetry helped me transition. I wrote a lot because I was very depressed. I had fallen in love with a girl who I knew I’d never get. Common story. So at that time I did a lot of thinking and writing in English. I had a Xanga [a type of blog], and I wrote a lot in there. It wasn’t all about her. I would make up stories. I remember one about a man who planted an apple tree. The apple tree grew, but it never made apples. He took care of it for his whole life and then he died, but the tree never made apples.

Did any of that writing turn into poetry?No. Poetry was completely separate. Poetry is the most pure thing in my life. I don’t take care of it. I don’t think about it. I have no idea how to relate to it. I just love it. It’s there. I exist with it. I don’t put any thought into it. None. Poetry is like my right arm. I never wake up in the morning and say, “I’m so grateful I have a right arm!” I just feel like I’m supposed to have it.

Are you working on a new book?I am! I’m working on my third book. The working title is Pink Stone Axe. It’s about not being able to find meaning in life. I’m thinking about all this because my best friend died last year while having his wisdom tooth removed. When I found out, my first instinct was to text him! His death was a blow. He was the only man I’ve made a 60-year plan with.

Do you see a connection between engineering and poetry?Poetry is the hunt for truth, and engineering helps with that because engineering is pretty reasonable. But poetry is a hunt for truth in the realm of emotions. It’s as not-science as you can possibly get. So when you combine the two worlds, you see a bigger picture—and everything fits into that picture. Loneliness too.

July 18–August 17, 2014

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An Evening of One Acts A1

A-1 Title PageA-2 Kurt Beattie’s Welcome LetterA-3 Up Next at ACTA-4 An Evening of One Acts Cast ListsA-5 Director’s NoteA-6 About the PlaysA-8 Who’s Who in An Evening of One ActsA-10 ACT PartnersA-16 ACT Board & Staff

ACT – A Contemporary Theatre presents

Kurt Beattie Carlo Scandiuzzi Artistic Director Executive Director

Beginning July 18, 2014 • Opening Night July 24, 2014

COMPANYEric Ray Anderson* Quinn Armstrong Chris Ensweiler*

David Foubert* Hana Lass* Jessica Skerritt*

CREATIVE TEAM R. Hamilton Wright Director Martin Christoffel Scenic Designer Melanie Taylor Burgess Costume Designer Rick Paulsen Lighting Designer Brendan Patrick Hogan Sound Designer Erin B. Zatloka* Stage Manager Geoffrey Alm Fight Director Ruth Eitemiller Production Assistant Kent Cubbage Assistant Lighting Designer

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

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

Patter for the Floating Lady, Riverside Drive, and The Unseen Hand are presented by special arrangement with SAMUEL FRENCH, INC.

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

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

Audience members are cordially reminded to silence all electronic devices. 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.

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A-2 ACT THEATRE

Kurt Beattie, Artistic Director

Kurt Beattie

Welcometo ACT

I’ve always loved one-act plays, particularly in evenings which include the works of different authors. Delightful pieces have been generated in the form since antiquity. With such a vast treasure chest of works to choose from, the variety of tones, genres, and subject matter available present a virtually limitless way to think about constructing an evening for the audience. When you consider the most cursory list of possibilities includes plays by such hallowed names as Brecht, Wilder, O’Neill, Coward, Williams, Moliere, Anonymous, Sheridan, Shaw, Pinter, Feydeau, Beckett, Labiche, and Courtelline—to name only a few—and then, just for the hell of it, throw in titles from living theatrical wizards such as Alan Ayckbourn, Michael Frayn, Neil Simon, Tom Stoppard, Edward Albee, Elaine May, and David Ives—to name only a few—one wonders why more of these evenings haven’t occurred.

All three of our writers have obvious recommendations for being included in this program: they are very funny; and their work has played a part in defining the last thirty years of American culture, at least when it comes to theatre and film. But, for me, the telling thing about them is the strange contradictory feelings they can elicit from me about being American. They share what I think of as an American thing, a way of looking at the world that is an odd mix of populist goofiness and intellectual chaos, like the overlay of core philosophy and self-help books in the minds of Woody Allen’s befuddled anti-heroes, or the mash-up of Picasso and Elvis in Steve Martin’s Picasso at the Lapin Agile, or the presence of the French poet Gerard de Nerval’s lobster in Sam Shepard’s Cowboy Mouth. Eccentricity and metaphor abound with commercial insouciance.

The poet Richard Hugo came up with a wonderful title for one of his poems: “What Thou Lovest Well Remains American.” The title is a spin on an Ezra Pound line. Hugo’s poem is bitter and sad, but his title reaches me in other ways. I probably shouldn’t think too much about my definition of self in terms of my nationality. But occasionally, when I am elsewhere in the world, say, having just spent hours stumbling around some amazing European city, the vision of a shabby gas station in the desert with a dirty toilet and a beaten up coke machine, or the distinctive painful scream of the antiquated New York subway in its familiar, almost comforting Big Apple rudeness, overcomes me with longing. So it is with these plays, which bring together the unsettling oddball in the New York City park and the broken down cowboy in a haunted California junkyard to create a kind of dark love note. And as with Allen and Shepard, I can’t imagine Steve Martin as anything other than American. His humor lives somewhere between horses on roller skates and Cezanne, modernism conceived as an intellectual joke-filled magic act in Vegas performed for the love of a skeptical poodle just out of obedience school.

Unique, absurd, always trying to play tennis without a net, making it up as we go along, itchy to move on: if America, with all its achievement, is its own special catastrophe, the wild anarchical hoots and plaints of our comedy are like no other. What thou lovest well remains American.

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

COMING SOON TO ACT THEATRE

When playing the stock market

means life or death.

Sep 5–Oct 5

Icicle Creek New Play Festival Aug 19–20Be the first to hear two new plays: The Change Room by Carly Mensch and Bloomsday by Steven Dietz.

Construction Zone Jul 29Join us for the third event of this year’s new play reading series. July features Not Medea by Allison Gregory.

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

Groucho Returns Aug 7–24Frank Ferrante is back! Join in as he recreates the legendary Groucho Marx in this fast-paced comedy packed with songs.

Hold These Truths Jul 31–Aug 3 Joel de la Fuente stars in the one-man show inspired by the true story of first generation Japanese-American Gordon Hirabayashi.

Endangered Species Project Aug 4Experience the great plays you seldom see. Join us for Candlelight by Siegfried Geyer, adapted by P.G. Wodehouse.

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A-4 ACT THEATRE

DIRECTED BY R. HAMILTON WRIGHT

Patter for the Floating Lady BY STEVE MARTIN

David Foubert* The Magician Jessica Skerritt* Angie Hana Lass* The Assistant

Riverside Drive BY WOODY ALLEN

Chris Ensweiler* Jim Eric Ray Anderson* Fred Jessica Skerritt* Barbara

Intermission

The Unseen Hand BY SAM SHEPARD

Eric Ray Anderson* Blue Morphan Hana Lass* Willie (The Space Freak) David Foubert* Cisco Morphan Quinn Armstrong The Kid Chris Ensweiler* Sycamore Morphan

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

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R. Hamilton Wright

Welcome to An Evening of One Acts!

(I kind of wish this was a slightly jazzier title,

but oh well.)

You know, I love one-act plays for much the

same reason that I love short stories or, for that

matter, short shorts: their shortness. They are,

in fact, shorter than most two-act plays and a

great deal shorter than three- or four-act plays,

never mind Hamlet, which is much longer than

all of them put together. Because of this relative

brevity, it is possible for us to offer more than one

play at a time as part of an evening’s program!

This, in theory, and often I believe in actual

practice, doubles and sometimes even triples

the amount of theatrical entertainment that a

discerning theatre-goer can expect to receive

for his or her hard-earned ticket-buying dollars.

Why, with any luck, on one evening’s bill, for the

price of one ticket, a person could see a Comedy,

a Tragedy, and still have room left over for a

rousing Historical Adventure—perhaps depicted

in a kind of tableau vivant—of Washington

Crossing the Delaware. Or maybe a heartbreaking

rendition of The Poor Little Match Girl, which is

one of my favorites. She just dies right there in

the snow. Sorry if I spoiled that for anyone. I cry

every time.

So, not only are one-act plays good in a dollar-

to-title ratio but they’re also great because if you

don’t care for the first one you know you won’t

have to wait too long for another one to come

along. Like a really challenging and entertaining

bus line.

So, here we have three little plays by three

giants of the American Theatre: Steve Martin,

Woody Allen, and Sam Shepard. Boy, I’d sure

like to see them in a movie together. But maybe

a short feature so that if it wasn’t very good

we could go on to the cartoon or one of those

travelogues about South America, Land of

Contrasts.

Anyway. Welcome! Enjoy! Curtain!

A Profound Critical Analysis of the Metaphysical Significance of the One-Act Play to the Evolution of World Theatre and the Expansion of the Universe

by The Distinguished Director R. Hamilton WrightB.F.A., M.F.A., Ph.D., D.D.S., O.B.E., A.D.D., O.E.D., B.O.M.C.

A-6 ACT THEATRE

WOODY ALLEN“My one regret in life is that I am not someone else.”

Woody Allen

“It seemed the world was divided into good and bad people. The good ones slept better…while the bad ones seemed to enjoy the waking hours much more.”

Woody Allen

“There is no question that there is an unseen world. The problem is, how far is it from midtown and how late is it open?”

Woody Allen

“Chapter 1. He adored New York City. He idolized it all out of proportion...no, make that: he—he romanticized it all out of proportion. Yes. To him, no matter what the season was, this was still a town that existed in black and white and pulsated to the great tunes of George Gershwin.’ Uh, no let me start this over. ‘Chapter 1. He was too romantic about Manhattan, as he was about everything else. He thrived on the hustle bustle of the crowds and the traffic. To him, New York meant beautiful women and street-smart guys who seemed to know all the angles...’. Ah, corny, too corny for my taste. Can we ... can we try and make it more profound?

Words from the playwrights behind An Evening of One Acts

On

and theof the

MAGIC,

MANHATTAN,

MAYHEM1960s

STEVE MARTIN“Martin’s marriage to Victoria Tennant ended in 1994. But it was his subsequent breakup with actress Anne Heche that

really broke his heart, he hinted in an Esquire interview. ‘I spent about a year recovering, and searching out myself and asking why things happened the

way they did. I wrote a play about it, Patter for the Floating Lady. Oh, I shouldn’t have told you that. I

should have said I made it up.”

From Late For School by Steve Martin

“Over time he would move on to demonstrating rope tricks and at the age of fifteen to magic tricks and joke-telling for the patrons of Merlin’s Magic Shop, where Leo Behnke, his boss, taught him not only magic, but a code of practice and discipline to which Martin would adhere over the next couple of decades. Many of the seeds of Steve Martin’s later persona would be sown at Merlin’s where manipulating playing cards for eight to twelve hours daily taught him to appreciate ‘the pleasure and subtlety of physical expression... the potency of movement.”

From Born Standing Up: A Comic’s Life by Steve Martin

What’d He Say? A key to Willie’s speech in The Unseen Hand. See if you can decipher this code, similar to an alien language Shepard uses in The Unseen Hand.

Lla rof ecitsuj dna ytrebil htiw, dog rednu, noitan eno,

sdnats ti hcihw rof, cilbuper eht ot dna, acirema fo

setats detinu eht fo galf eht ot ecnaigella egdelp I.

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‘Chapter 1. He adored New York City. For him, it was a metaphor for the decay of contemporary culture. The same lack of individual integrity that caused so many people to take the easy way out was rapidly turning the town of his dreams in...’ No, that’s a little bit too preachy. I mean, you know, let’s face it, I want to sell some books here.

‘Chapter 1. He adored New York City, although to him it was a metaphor for the decay of contemporary culture. How hard it was to exist in a society desensitized by drugs, loud music, television, crime, garbage...’ Too angry, I don’t want to be angry. ‘Chapter 1. He was as tough and romantic as the city he loved. Behind his black-rimmed glasses was the coiled sexual power of a jungle cat.’ I love this. ‘New York was his town, and it always would be.”

Woody Allen, Manhattan

SAM SHEPARD“The strongest impressions I have now of these early plays are the specific times and places where they were written. The plays themselves seem to drift back to me as flimsy ghosts, in the same way a conversation with someone in the distant past is half-remembered. For me, these plays are inseparable from the time out of which they came; a series of impulsive chronicles representing a chaotic, subjective world. I can remember being dazed with writing, with the discovery of finding I actually had these worlds inside of me. These voices. Shapes. Currents of language. Light. All the mysterious elements that can cause anyone to make a journey.”

An excerpt from the Introduction to The Unseen Hand and Other Plays by Sam Shepard

“…People talk about the 1960s in a nostalgic way, but to me it was terrifying. People were getting assassinated. There was Vietnam. There were race riots. It felt like everything was going to get blown up sky-high. It didn’t feel like flower power. It felt like Armageddon.”

Sam Shepard, from an Interview Magazine article

with Michael Almereyda

Who's Who in An Evening of One Acts

A-8 ACT THEATRE

Eric Ray Anderson (Company) Eric has a long history with ACT, going back to Voice of the Prairie and Red Noses at the old Lower Queen Anne location, through five A Christmas Carols

(two Fezziwigs and three Cratchets), and Mitzi’s Abortion in the Allen Theatre. Most recently, he has performed on the Falls Stage as a company member of Sandbox Radio: Live. Eric has made Seattle his home since 1981, and has performed at almost all local professional theatres, living and dead, including Seattle Repertory Theatre, Pioneer Square Theatre, Empty Space Theatre, Intiman, Tacoma Actors Guild, Seattle Shakespeare Company, Seattle Children’s Theatre, Book-it Repertory, and New City Theatre. He just finished playing Owen Musser in The Foreigner at Village Theatre. Regionally, he’s worked in New York, Boston, Tucson, Phoenix, and Portland (OR), among others. He plays ukulele in a couple of excellent local bands. This goes out to all his pals from the New City Theatre production of The Unseen Hand, back in the day.

Quinn Armstrong (Company) Quinn Armstrong is delighted to be making his mainstage debut in the theatre where he started as an intern. Previous work has included The Boy at the

Edge of Everything and Danny, King of the Basement (Seattle Children’s Theatre), The Mousetrap (Village Theatre), Sweet Nothing (Macha Monkey Productions), the title role in Hamlet, Lee in The American Clock (Cornish), and the title role in “Master Harold”... and the boys (El Museo Cultural). He is a graduate of Cornish College of the Arts. Upcoming: Slip/shot at Seattle Public Theatre directed by Kelly Kitchens, Sep 25 through Oct 12.

Chris Ensweiler (Company) Chris Ensweiler is thrilled to be making his ACT debut. He most recently appeared as Roger Morgan in Jim Lynch’s Truth Like The Sun,

directed by Jane Jones at Book-It Repertory Theatre. In Seattle, Chris has also performed with Seattle Repertory Theatre, Village Theatre, Seattle Children’s Theatre, Seattle Shakespeare Company, Taproot Theatre, Wooden O, Balagan Theatre, The Hansberry Project at ACT, Endangered Species Project, and 14/48: The World’s Quickest Theatre Festival. Regional credits: Alliance Theatre, Alabama Shakespeare Festival, Georgia Shakespeare, Tennessee Shakespeare Co., Human Race Theatre (Dayton,

OH). Chris will be returning to the Falls Theatre this September in Waiting for Godot with Seattle Shakespeare Company.

David Foubert (Company) David is delighted to be making his debut with ACT in An Evening of One Acts. He was recently seen in Seattle Shakespeare Company’s production of

Richard II as Henry Bolingbroke. He received his M.F.A. in acting from the University of Delaware Professional Theatre Training Program.

Hana Lass (Company) Hana is happy to work with this great team of artists at ACT Theatre. Hana most recently appeared in Seattle Shakespeare Company’s The Importance of Being

Earnest, directed by Victor Pappas, and in Seattle Repertory Theatre’s world premiere production of The Hound of the Baskervilles, adapted for the stage by David Pichette and R. Hamilton Wright and directed by Allison Narver. Seattle area credits include The Mousetrap (Village Theatre); As You Like It, The Tempest, A Midsummer Night’s Dream (Seattle Shakespeare Company); Romeo & Juliet (Wooden O); Crime & Punishment (Intiman, Theatre Under Ground); Robin Hood, Go Dog Go!, Pharaoh Serket (Seattle Children’s Theatre); Ballard House Duet (Custom Play Project); Travesties (Seattle Public Theatre); Life of Galileo, The Bridge of San Luis Rey (Strawberry Theatre Workshop); and several play developments with Icicle Creek New Play Festival. Hana’s favorite production took place in the Bullitt Cabaret three years ago, where she married the amazing Connor Toms.

Jessica Skerritt (Company) Jessica Skerritt is overjoyed to be back onstage at ACT! Most recently, she was seen as Audrey in ACT and The 5th Avenue Theatre’s co-production

of Little Shop of Horrors. Favorite regional credits include Grey Gardens (Young Little Edie) with ACT and The 5th Avenue Theatre; Xanadu (Kira/Clio) with Arizona Theatre Company and Village Theatre; ELF - The Musical (Deb), Hairspray! - In concert (Amber Von Tussle), Guys & Dolls with The 5th Avenue Theatre; The Producers (Ulla), Barefoot in the Park (Corie), Chasing Nicolette (Gwendolyn), Million Dollar Quartet (Dyanne) with Village Theatre, Miss Saigon (Ellen), The Sound of Music (Maria), Ragtime (Mother) with Coeur d’Alene Summer Theatre. Endless gratitude to everyone at ACT. Huge amounts of love to her wonderful husband, Dane.

Steve Martin (Playwright) Steve Martin is currently in the fifth decade of a uniquely varied and accomplished career in which he’s excelled as a comedian, actor, author and

playwright, and as a Grammy-winning, boundary-pushing bluegrass banjoist and composer. In 2013, Rounder Records released Steve Martin’s third full length album called Love Has Come For You, a unique collaboration with songwriter Edie Brickell. Martin and Brickell recently took home the Grammy® Award for “Best American Roots Song” for the song Love Has Come For You, off the album of the same name. In 2011, Martin released his second full length bluegrass album Rare Bird Alert. Produced by Tony Trishka, the album featured 13 Martin-penned tracks as well as special guest vocal appearances by Paul McCartney and The Dixie Chicks. Additionally, Martin co-wrote two of the CD’s songs with the Grammy®-winning bluegrass band, Steep Canyon Rangers. Prior to this, Martin was honored with a Grammy® for his debut album, The Crow: New Songs for the Five-String Banjo, which won for Best Bluegrass Album in 2010. Martin began his career on The Smothers Brothers Comedy Hour (1967-1969), for which he earned his first Emmy Award® for Outstanding Writing Achievement in Comedy, Variety, or Music in 1969. In the mid-1970s, Martin shone as a stand-up on The Tonight Show Starring Johnny Carson and made appearances on HBO’s On Location and NBC’s Saturday Night Live. Martin’s films are widely popular successes and are the kind of movies that are viewed again and again: The Jerk (1979), Planes, Trains and Automobiles (1987), Roxanne (1987), Parenthood (1989), L.A. Story (1991), Father of the Bride (1991), and Bowfinger (1999).

Woody Allen (Playwright) Woody Allen has spent most of his career as a filmmaker. He has occasionally written for Broadway and occasionally written and directed Off-Broadway.

He’s the author of several books and has completed shooting his 43rd film in Rome.

Sam Shepard (Playwright) Sam Shepard was born November 5, 1943, in Fort Sheridan, Illinois. In 1963, Shepard moved to New York City, and began to write plays for the emerging

experimental underground theater scene. He made his debut at Theatre Genesis in 1964, with the double-billed Cowboy and Rock Garden. In 1967 and 1968, Shepard wrote La Turista,

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Melodrama Play, and Forensic and the Navigators, all of which also won Obie awards. In 1969, Shepard began a stint playing with the Holy Modal Rounders. He continued to write plays, completing Holy Ghostly and The Unseen Hand in 1969, Operation Sidewinder and Shaved Splits in 1970, Mad Dog Blues, Back Bog Beast Bait, and Cowboy Mouth (written with Patti Smith) in 1971. In 1974 Shepard became the playwright-in-residence at the Magic Theatre in San Francisco, a position he held until 1984. In the late 1970s, Shepard applied his unconventional dramatic vision to the family tragedy, producing Curse of the Starving Class and Buried Child in 1978 and True West in 1980. Shepard achieved his warmest critical reception with Buried Child, which won the Pulitzer Prize for drama. Fool for Love (1983) won an Obie award for best play, and A Lie of the Mind (1985) garnered the New York Drama Critics Circle Award and Outer Critics Circle Award for outstanding new play. A revised Buried Child opened on Broadway in 1996 and earned a Tony nomination. In 1985 he was inducted into the American Academy of Arts and Letters, which awarded him the Gold Medal for Drama in 1992. In 1994 he was inducted into the Theatre Hall of Fame.

R. Hamilton Wright (Director) R. Hamilton Wright was last seen on stage at ACT in Will Eno’s Middletown, directed by John Langs. Some of his other ACT favorites include Henry Bell in Alan

Ayckbourn’s The Revenger’s Comedies, Ariel in Martin McDonough’s The Pillowman, and George W. Bush in David Hare’s Stuff Happens. With David Pichette, he adapted James M. Cain’s Double Indemnity for the ACT stage in 2011 and Sir Arthur Conan Doyle’s The Hound of the Baskervilles at the Seattle Repertory Theatre in 2013. His directing credits at ACT include Assisted Living, A Christmas Carol, Souvenir, and Dr. Jekyll and Mr. Hyde. Mr. Wright lives in a little brick house in North Seattle with his remarkably talented wife—Katie Forgette.

Martin Christoffel (Scenic Designer) Martin is a local designer, happy to be returning to ACT where previously he designed Little Shop of Horrors, The Lady with All the Answers, Runt of the Litter, The Woman in Black, and contributed projections to Alki. Other recent shows include Passing Strange for Sidecountry Theatre, part of ACT’s Central Heating Lab, The Music Man and Rent at The 5th Avenue, and Sleuth and The Odd Couple at Village Theatre. His work can also be seen at EMP in the Can’t Look Away horror film exhibit. In addition, Martin designs corporate events internationally.

Melanie Burgess (Costume Designer) Highlight designs for ACT include: Ramayana, Pilgrims Musa and Sheri in the New World, Eurydice, Wine in the

Wilderness, Flight, and Vincent in Brixton. Melanie has also designed costumes for Seattle Repertory Theatre, 5th Avenue Theatre, Intiman Theatre, Seattle Shakespeare Company, New Century Theatre Company, Seattle Public Theatre, Empty Space Theatre, Taproot Theatre, TAG, The Village Theatre, Seattle Children’s Theatre, and Seattle Opera. Additionally she has designed for Cincinnati Playhouse, Idaho Theatre for Youth, Honolulu Theatre for Youth, and Hawaii Opera. Melanie is on the adjunct faculty at Cornish College of The Arts and received her M.F.A. from the University of Washington. She is the recipient of the Gregory Award for Best Costume Design 2010.

Rick Paulsen (Lighting Designer) is delighted to be returning to ACT, where his lighting was first seen in 1984. Since then, Paulsen has lit more than 60 shows at ACT including First Class, Vincent in Brixton, Fiction, The Trip to Bountiful, Lonely Planet, Becky’s New Car, Yankee Tavern, Double Indemnity, One Slight Hitch, The Pinter Festival, and Uncle Ho to Uncle Sam as well as last season’s Assisted Living and Sugar Daddies. Paulsen’s work has appeared all around Seattle and across the nation. Some recent work of interest includes Double Indemnity (San Jose Rep), and The Miraculous Journey of Edward Tulane (Childsplay). A proud member of United Scenic Artists Local 829, he serves on the Western Region Board and the National Board of this union. He is, most importantly, devoted to his wife Roberta and daughter Paige.

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).

Erin B. Zatloka (Stage Manager) is glad to be back at ACT, where she last assistant stage managed Little Shop of Horrors. Last season she stage managed Assisted Living and Rapture, Blister, Burn. Other favorites at ACT include Pilgrims Musa and Sheri in the New World, The Lieutenant of Inishmore, Rock ‘n’ Roll, and Eurydice. Love to Greg and Zoey.

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 Warshall & Wade Sowers • Dorothy E. Wendler • Janet Westin

PATRON INFORMATION

Emergency Evacuation ProceduresIn 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 • Christine Marie Brown • Andrew McGinn • Morgan Rowe

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 Sponors

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

THEATRE SPONSORS$100,000+ArtsFund

SEASON SPONSORS $50,000-$99,999Office of Arts & Culture, City of Seattle

The Boeing Company

The Shubert Foundation, Inc.

SHOW SPONSORS$25,000-$49,9994Culture

John Graham Foundation

Joshua Green Foundation*

The Paul G. Allen Family Foundation

Nesholm Family Foundation

Tuxedos and Tennis Shoes†

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

Harvest Foundation

Microsoft Corporation

The Peg & Rick Young Foundation

Tateuchi Foundation

TEW Foundation

True Fabrications

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

Gordon Biersch Brewing Co.

Homewood Suites†

Nordstrom

RealNetworks Foundation

The Seattle Foundation

Wyman Youth Trust

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

MEDIA SPONSORSCity Arts Magazine†

KCTS 9†

KEXP†

KUOW†

KING FM†

Seattle Magazine†

THE JOHN GRAHAM FOUNDATION

* Denotes ACT for the Future Campaign Donor

† Support provided through in-kind contributions.

encoreartsprograms.com A-11

A-12 ACT THEATRE

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

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 TaylorAllan & Anne AffleckMelinda & Walter AndrewsJoan & Larry Barokas Laurie Besteman & Jack LauderbaughBenjamin & Marianne BourlandSonya & Tom CampionBob & Kristi DiercksNatalie GendlerThomas P. & Christine M. GriesaJames & Barbara HeaveyStephanie M. Hilbert* John & Ellen HillDr. Larry Hohm & Karen ShawLinda & Ted JohnsonJane W. & James A. LyonsMcKibben Merner Family FoundationNadine & John MurrayDr. Greg PerkinsMarie PetersAnn Ramsay-JenkinsEric and Margaret Rothchild

Charitable FundIngrid Sarapuu & Michael AndersonHerman & Faye SarkowskyLisa Simonson*Spark Charitable FoundationGarth & Drella SteinBrian Turner & Susan Hoffman

David & Shirley UrdalVijay & Sita VasheeDavid & Joyce VeteraneJean ViereckKären White*Marcia & Klaus Zech

FRIEND$2,500-$4,999Richard & Constance AlbrechtKenneth & Marleen AlhadeffAkhtar & Alka Badshah Peter & Jane BarrettKurt Beattie & Marianne OwenDon Beaty & Carrie SjaardaBruce Butterfield & Irene StewartEstate of George CarlsonDennis & Deborah DeYoungBetsy & Charles FitzgeraldAnne FosterLee Dicks GuiceKatherine Ann Janeway & H.S.

Wright IIILisa & Norman JudahH. David KaplanKaren Koon & Brad EdwardsGreg Kucera & Larry YocomMarcella McCaffrayBill & Mary Ann MundySally NelsonThe Nordhoff Family

Kate Purwin & Sergei TschernischBrooks & Suzanne RagenDonald & Jo Anne RosenBarry & Colleen ScovelDebra Sinick & David BallengerJohn & Rose SouthallRon & Carol SperlingKim Stindt & Mark HeilalaCathy & Ron ThompsonMark & Arlene TibergienAnnette Toutonghi & Bruce ObergDirk & Mary Lou Van WoerdenAnonymous (2)

SUSTAINING PARTNER$1,000-$2,499John Akin & Mary StevensRhett Alden & Marcia EngelKermit & Danna AndersonJason AstorquiaKendall & Sonia BakerMarge & Dave BaylorEric BennettPeter & Fran BigelowSarika & Samir BodasDr. William Calvin & Dr. Katherine

GraubardCorinne A. CampbellMidge & Steve CarstensenDennis & Aline CaulleyDonald Cavanaugh

Manisha ChainaniD.T. & Karen ChallinorClement Family FoundationSteven & Judith CliffordPatricia & Theodore CollinsSteve CoulterCraig Davis & Ellen Le VitaKathy & Don DeCaprioBen & Kathy DerbyJames & Amanda DevineEva & Gary DinesMichael DupilleLonnie EdelheitLori EickelbergA.J. EpsteinCharles & Margaret FitzgeraldRichard & Mary Beth GemperleBoyd & Ann GivanKelly & Jeffrey GreeneCharles & Lenore HaleLawrence & Hylton HardPeter Hartley & Sheila NoonanPhyllis HatfieldEllen HazzardRodney & Jill HearneMarjorie Kennedy HemphillRoss HenryVaughn Himes & Martie Ann BohnNancy & Martha HinesDale & Donna HolpainenGary & Parul Houlahan

THEATRE SPONSOR $100,000+

Katharyn Alvord Gerlich

Eulalie M. & Gian-Carlo Scandiuzzi*

SEASON SPONSOR $50,000-$99,999

Nancy Alvord

Betty Bottler

Gregory & Diane Lind*

Chuck Sitkin*

Anonymous

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

Linda Brown & Larry True

Jean Burch Falls

Richard Hesik & Dr. Barbara Johns*

May McCarthy & Don Smith*

Dr. Arnie & Judy Ness*

EVENING SPONSOR $10,000-$24,999

Colin & Jennifer Chapman*

Trevor Cobb & Cecilia Cayetano*

Allan & Nora Davis

James Degel & Jeanne Berwick, Berwick Degel Family Foundation

Linda & Brad Fowler*

Heather & Grady Hughes

Bill Kuhn & Patricia Daniels*

Yoshi & Naomi Minegishi

Linda & George Ojemann

Victor Pappas

Katherine & Douglass Raff*

Teresa & Geoff Revelle*

Margaret Stanley*

Robert & Shirley Stewart*

Jean Walkinshaw

encoreartsprograms.com A-13

Susan & Philip HubbardDan & Connie HungateJoseph & Linda IacolucciVictor JanuszSteve JensenJudith Jesiolowski & David ThompsonClare Kapitan & Keith SchreiberLura & David KerschnerJoanne M. KuhnsGeorge & Linda LambSteve LangsEileen LennonSteven & Anne LipnerJim Lobsenz & Elizabeth ChoyLaura LundgrenJames MadisonAlice MaillouxBill & Holly MarklynTony MartelloEric Mattson & Carla FowlerPeter & Kelly MaunsellAnn McCurdy & Frank LawlerSamuel B. McKinneyJoy McNicholsFrances MeadGail & John MensherEugene & Donna MikovKelly Miller & Ruthann StolkMark & Susan MinerichMichael Moody & Martha

ClatterbaughDayle Moss & David BrownJohn MuhicJames NicholsChris & BJ OhlweilerSue OliverKristin OlsonHal Opperman & JoLynn EdwardsDon OxfordCynthia & Bruce ParksValerie D. PayneBill & Beth PittAlan & Andrea RabinowitzKen RagsdaleSharon & Paul RameyDavid and Valerie Robinson FundEvelyne Rozner & Matt GriffinWilliam & Rae SaltzsteinBarbara SandoTerry Scheihing & Ben KramerM. Darrel & Barbara SharrardJohn ShawJudith SimmonsMarianna Veress SmirnesSheila Smith & Don FergusonKathleen Sneden-Cook & Jack CookElaine Spencer & Dennis ForsythJeffrey A. SutherlandChristine SwansonTamzen TalmanTimothy TomlinsonTom & Connie WalshJudith Warshal & Wade SowersNancy WeintraubSteve & Diana White

Mary & Donald WieckowiczKathy & Chic WilsonMr. & Mrs. Clyde WilsonCathy WooKyoko Matsumoto WrightAnn P. WyckoffAnonymous (8)

SUPPORTING PARTNER$500-$999Reham AbdelshahidMonica AlcabinConnie Anderson & Tom ClementRichard Andler & Carole RushBruce P. BabbittDiane & Jean-Loup BaerRonald & Marcia BaltrusisRichard & Lenore BensingerCleve & Judith BorthJerome & Barbara BosleyStanley & Barbara BosseWendy BradburyMargaret BullittSusan CampbellMartin Christoffel & Shirley SchultzClark Family Charitable FundJack ClayEllen & Phil CollinsJan & Bill CorristonChris CurryAngela DavilaPatricia & Cor DeHartJohn DeloCarole EllisonSteven EngleJoanne R. EusterAmy Faherty & Jeff KephartJeannie FallsNancy FedericiKevin & Tricia FetterMrigankka FotedarRick FreedmanEleanor & Jeff FreemanLucy Gaskill-Gaddis & Terry GaddisGenevra GerhartHellmut & Marcy GoldeClaire & Paul GraceRobert GrecoMichael Greer, MD & Steve BryantMeg & David HaggertyWier Harman & Barbara SauermannDiana & Peter HartwellJim & Linda HoffAlice Ikeda & Philip GuessDean M. IshikiAnn Janes-Waller & Fletch WallerDavid B. JohnsonJoan JulnesSteven & Patricia KesslerDeborah KillingerDr. Edward & Mimi KirschAgastya & Marianna KohliMax LangleyRhoda & Thomas LawrenceCandy Lee & Rocke Koreis

Robert Lehman & Christopher Mathews

Gary LindseyLoeb Family FoundationStephen & Ellen LutzTheodore & Mary Ann MandelkornDavid MartyShaula & Darrin MassenaMaxine MattsonDavid MeckstrothErika MichaelLauren MikovMichael & Sarajane MilderAdam & Shellie MoomeyWesley Moore & Sandra WalkerSallie & Lee MorrisZack Mosner & Patty FriedmanJim MullinPaul & Linda NiebanckCecilia Paul & Harry ReinertLisa & Cheri PerazzoliChuck PerryCarol PierceDonald PogoloffJoan PotterMegan & Greg PursellMarjorie Raleigh & Jerry KimballJeff & Pat RandallPamela Reed & Sandy SmolanCindy & Lance RichmondJeff Robbins & Marci WingJudy & Kermit RosenMarc Rosenshein & Judy SofermanMarybeth & Jerry SatterleeJohn Scearce & Nancy BucklandSandra & Kenneth SchwartzDarshana ShanbhagMichael C. ShannonBarbara & Richard ShikiarPeggy O’Neill Skinner & John SkinnerJeff Slesinger & Cynthia WoldJay Soroka & Jane ReismanJeanne SouleHelen SpeegleJen Steele & Jon HoekstraIsabel & Herb StusserSally SullivanNorm & Lynn SwickBill & Pat TaylorArthur & Louise TorgersonEllen Wallach & Tom DardenEric WeberRobin WeissDr. Sheree WenJanet Westin & Mike McCawGregory WetzelMarjory WillkensDianne & Douglas WillsSusan Wolcott & George TaniwakiMaria & Michael WolfeJudith WoodJosette YoloJoyce & Christian ZobelIgor Zverev & Yana SolovyevaAnonymous (5)

CONTRIBUTING PARTNER$250-$499Renate & Croil AndersonJane & Brian AndrewBasil & Gretchen AnexLoren & June ArnettJohn & Eva BanburyBob & Melisse BarrettDr. & Mrs. J.E. BassingthwaighteCarolyn BechtelJulie Beckman & Paul LippertRuth & Greg BerkmanDennis Birch & Evette LudmanSiggi BjarnasonGail & Randy BohannonJohn BolingPirkko BorlandMatthew BrantleyJames BrashearsKaren Brattesani & Douglas PotterMark BrewsterBarry & Patricia BriggsJune & Alan BrockmeierBrad & Amy BrothertonDorothy A. BrownDr. James & Donna BrudvikVal BrustadCarol & Jonathan BuchterCarl Bunje & Patricia CostelloJoel BuxbaumJudith Callahan & John Van

BronkhorstJohn & Arlene CarpenterChristopher ChanNicole Boyer CochranPatrick & Jerri CohenMarc Coltrera & Anne BuchinskiKevin & Lisa ConnerJudith & Thomas ConnorRichard Conway & Susan WilliamsJohn & Catherine CrowleyEmily DavisPaul & Sandy DehmerRon & Jan DelismonMike DeyPaula Diehr & Frank HughesDarrel & Nancy DochowKristine Donovick & Jim DalyEllen DowneyMichael Dryfoos & Ilga JansonsKathryn DugawVasiliki DwyerGlenn & Bertha EadesShmuel El-AdConstance EuerleThea & Alexander FeferEric & Polly FeiglKaren & Bill FeldtDoug & Robin FergusonCarol FinnK. Denice Fischer-Fortier & James M.

FortierRynold & Judge FleckRicky FlickengerRob Folendorf

A-14 ACT THEATRE

Mary FosseAndy FosterJane & Richard GallagherJean Garber & Clyde MooreJean GardnerBruce & Peggy GladnerCarol & Tal GoddingCatherine GormanDick & Jan GramRhonda & Jim GreerJoe & Nancy GuppyPaul & Sheila GutowskiKevin & Molly HaggertyMarja HallLibby Hanna & Don FlemingSharron & David HartmanHashisaki/Tubridy FamilyRichard & Susan HechtLisa HelkerArlene & Doug HendrixAmy HenryEric & Mary HorvitzRob Howell & Jackie BardsleyWeldon Ihrig & Susan KnoxJoel Ivey & Sheryl MurdockWendy JacksonCathy JeneyMark JenkinsAndy & Nancy JensenPaula JensonDavid Johansen & Patrice McDermottWilliam & Sandy JustenNancy KarasanPaul KassenKay KeovongphetGary & Melissa KleinJim & Jean KunzJill KurfirstEdie LacklandBob & Janet LackmanSharon LammPaul & Linda LarsonBecky Lathrop & Rob WitmerKathleen F. Leahy & H. Dale HinksonMidge & Richard LevyArni LittDavid LongmuirMark P. LutzC. Gilbert LynnDan & Carol MadiganJeffrey & Barbara MandulaLora & Parker MasonTim Mauk & Noble GoldenArthur MazzolaSarah B. MeardonCol. Norman D. MillerAnnette & Gordon MumfordRobert MustardSarah NavarreJohn NayeDan & Denise NilesCraig & Deanna NorsenColette J. OgleKatherine & James OlsonClarke O’Reilly

Tina Orr-CahallMari Osuna & Adam de BoorAngela OwensAngela PalmerJohn PeeplesSusan PerkinsBarbara PhillipsGreg & Sherre PiantanidaJudy PigottJudy G. PollSheila Preston ComerfordDarryn Quincey & Kristi FalknerCarol RadovichCraig & Melissa ReeseBruce F. RobertsonDrs. Tom & Christine RobertsonRichard & Nancy RustM. Lynn Ryder GrossStuart & Amy ScarffDuane & Pat SchoeppachGarreth SchuhKaren & Patrick ScottMike ScullyDavid & Elizabeth SeidelDeborah SennLynne & Bill ShepherdGursharan SidhuJohn Siegler & Alexandra Read, MDGail & Robert StagmanAlec & Jane StevensLisa & John StewartMargaret Stoner & Robert JacobsenDerek Storm & Cynthia GossettStephen Strong & Lorri FaltermanMargaret TaylorMichael ThompsonDennis M. TiffanyJoan ToggenburgerSarah & Russell TousleyAndrew ValaasConstance Vorman & Pres SloterbeckMary & Findlay WallaceVreni Von Arx WattBruce WeechJim & Sharron WelchLeora WheelerPeggy & Dennis WillinghamMarianne & Arnold WolffNancy WorshamConrad & Glenna WoutersDadog WriggleyKairu YaoJan ZagerAnonymous (6)

*Denotes ACT for the Future Campaign Donor

Gifts in TributeIn honor of Joan Barokas: Judy &

Kermit RosenIn honor of Kurt Beattie & Marianne

Owen: Dawn MaloneyIn honor of Kurt Beattie & Carlo

Scandiuzzi: Sean Shanahan & Kathleen McGill

In memory of Lana Denison: Dr. Arnie & Judy Ness

In appreciation of Nicole Boyer-Cochran: Mark Jenkins

In memory of Mark Chamberlin: Eleanor Howard

In memory of Clayton Corzatte: Jeff Robbins & Marci Wing; 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 Tim Quandt: Gene & Karen Quandt

In memory of Patty Rose’s mother, Marian: PCLELC Cameo Subcommittee

In memory of Collin Schreiber, for the Laurie Schreiber family: The Lake Stevens Elementary School Counselors

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 CompanyAmgen FoundationApplied PrecisionBank of America FoundationBentall CapitalBill & Melinda Gates FoundationThe Boeing CompanyCarillon Point AccountCasey Family ProgramsCBIC InsuranceChevronThe Chubb CorporationCIGNA Matching Gift ProgramCitibank, N.A./CiticorpEli Lilly & Co. FoundationExpedia, Inc.GoogleHarbor Properties, IncIBM International FoundationKey FoundationMerckMicrosoft Corporation MatchingThe Prudential Foundation Matching

GiftsPuget Sound EnergyRealNetworks FoundationRussell InvestmentsSAFECO Matching FundsSatori SoftwareStarbucks Matching Gifts ProgramSterling Realty Organization Sun Microsystems FoundationUnited Way of King CountyThe UPS FoundationUS Bancorp FoundationVerizon FoundationWashington Chain and Supply, IncWashington Mutual Foundation

Matching Gifts ProgramZymogenetics 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 BarokasLaurie BestemanJacob BurnsTrevor CobbBob DiercksCharles FitzgeraldRoss HenryStephanie HilbertGrady HughesDiane LindKyoko Matsumoto WrightMay McCarthyLauren MikovNaomi MinegishiJohn MuhicJudy NessGeorge OjemannDr. Greg PerkinsTeresa RevelleIngrid SarapuuBarry ScovelKaren ShawJohn SieglerMargaret StanleyRob StewartLarry TrueBrian TurnerSita Vashee

Advisory CouncilDr. Ellsworth C. Alvord, Jr.*Aubrey 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

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

Erik JansenCorporate & Foundation Relations

Manager

Angela PalmerDonor Relations Manager

Kyle ThompsonDevelopment Coordinator: Board

& Office Operations

Julia NardinDevelopment Coordinator:

Stewardship & Special Events

Charly McCrearyDevelopment Intern

MARKETING, SALES, AND COMMUNICATIONSBecky LathropDirector of Marketing and

Communications

Marketing and CommunicationsAubrey ScheffelAssociate Director of Marketing

Karoline NaussMarketing Coordinator

Marissa SteinGraphics & Email Coordinator

Nicky DavisMalie FujiiMarketing Interns

Mark SianoPublic Relations Manager

Sebastien ScandiuzziVideo Manager

Megan RosenfeldHaley WatsonVideo Interns

Apex MediaAdvertising

Chris BennionProduction Photographic Services

Christa FlemingGraphic Design

Sales and Audience ServicesJessica HowardAssociate Director of Sales

Ashley SchalowTicket Systems Associate

Lynch ResourcesTelemarketing

Georgina CohenAssistant Ticket Office Manager

A. Aiden KaramanyanFront Office Representative

Jaron BoggsKelton EngleMegan TuschhoffTicket Office Representatives

Jim MoranAudience Services Manager

Jeremy RupprechtHouse Manager

Libby BarnardKatie BicknellKaillee ColemanDennis 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

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PHOTO FORWARD

Picturing the Modern American IndianOver the past year, photographer Matika Wilbur traveled more than 80,000 miles visiting Native tribes across the American West. Herself a descendant of Washington’s Tulalip and Swinomish Tribes, Wilbur set off on the journey as part of Project 562, through which she’s cap-turing portraits and stories from all of the 562 federally recognized tribes in the United States. (Since Wilbur began, four more tribes have been recognized, bringing the total to 566.)

On a spring Tuesday morning, Wilbur was visiting with Tacoma Art Museum curator Rock Hushka at his home on Capitol Hill, covering his dining room table with dozens of the photo-graphs she took on her trip—intimate images of men, women and children in contemporary street clothes and traditional tribal dress, some colored in pale tones by hand. She looks up with a deep, vivacious laugh. “You caught me in the eye of the storm,” she says.

Wilbur and Hushka were editing the prints down to the final 40 for exhibition in Photographic Presence and Contemporary Indians: Matika Wilbur’s Project 562 at TAM, which opened May 17 and runs through Oct. 5. The show includes an audio tour featuring interviews Wilbur conducted with the people in her portraits.

“I ask people to talk to me about identity,” she says. “I ask them about the history from their tribe. I ask them to introduce themselves to me in their language. I ask everybody, ‘Have you ever experienced racism from being an American Indian?’ It’s a direct, awkward ques-tion, but I like the answers that come from it because people have wild stories to tell.”

Wilbur, 30, has documented nearly 200 tribes so far, visiting cities and remote reserva-tions. She says Project 562 is a way for her to

address inaccurate stereotypes as well as to educate people about contemporary indigenous communities.

“I’ve been dreaming about the idea of chang-ing the experience for our children,” she says. “The goal is to create an environment in our society that allows our children to be who they are, legally, socially, so that our social construct changes, so that when a non-Indian meets an Indian person, that exchange is different.”

Wilbur left the reservation where she grew up after high school to earn a college degree in advertising. She initially pursued celebrity and fashion photography, living in New York and LA, then turned to international journalism.

“I’m not a good journalist,” she says, “be-cause journalists have to be able to shoot what’s happening and I want people to stop what they’re doing and give me their attention.”

Finally Wilbur discovered documentary photography, which took her to Europe, Africa and South America before she came home and began asking questions. “It was about reconnecting with my Elders at first,” she says. “When I left the Rez, I only associated Indian identity with the rawness and the sickness that we see around us. The poverty.”

Wilbur set out to change that image and to figure out where she fit in as a Native American. Several projects and international exhibitions later, Project 562 is updating the persistent, inaccurate picture of Native Americans that remains prevalent.

As a result of outdated images, Wilbur says, “you’re represented as you were 100 years ago because now who you are is not who we want you to be. Because if you still exist then we’re going to have to reconcile some of the major is-sues that we have around things that happened in this country. We have to find a way forward.” LEAH BALTUSM

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“Raymond Mattz,” a portrait from Project 562, from the

Yurok Tribe in California.

E N C O R E A RT S N E W S F RO M C I T Y A RT S M AG A Z I N E

6 ENCORE STAGES

UMANS USED TO SPEND a lot of time avoiding unfortunate encounters with

things with sharp teeth and generally trying to survive the night. Then we befriended fire and everything changed: We had a circle to sit in with our backs against the darkness and our faces toward each other. Our days were still full of danger and misery but our nights were filled with sharing, defeating the monsters with song and story. We invented new tools for describing the world—from sacred poetry to fart jokes—and were in a better place because of it. We celebrated the best storytellers and they became our shamans and priests.

Then those in power decided that there was only one official set of stories. Organized religion stripped the old tales of status, diminished them to mere amusements. The mystics shifted roles, becoming our fools and clowns whose ridiculousness put our misfortunes into perspective. At some point science came along and provided answers to our questions that were more logical than poetic. We let our jesters go, as their services made no sense in a world that did. In our confidence we dismantled an essential public utility, our most accessible system for dealing with daily demons.

Today the shadows of Plague and Death still hover, but their howls aren’t as menacing as Heartbreak and Boredom and Bills. We accept the fact that everybody dies but what we really dread is going to work in the morning and all the tiny battles we have to fight to keep the lights on.

In the Pacific Northwest, where gloom is our almost constant companion, getting out of bed requires extra motivation. We combat the grey outside by surrounding ourselves with bright objects and ideas. Seattle is full of interesting people making wonderful things in their caves while waiting for the light to come back.

I arrived here as a smooth-faced boy with restless legs fresh off the boat from Utah and was quickly enchanted by the wonders this place had to offer: Thousands of posters plastered everywhere screamed the illustrated names of rock bands. Drunk circus orchestras accompanied even drunker puppet operas. Drag queens used Grand Guignol theatrics to break taboos I didn’t even know existed.

And just when I felt I’d become an expert on Seattle—or at least competent enough to stumble my way through it—I’d find some other new, strange thing to explore, an underground wrestling league or a doll

museum. “How long has this been going on?” I’d ask. “Forever,” would be the reply. “Come inside and close the door, you’re letting in the dark.”

Eventually I found myself in a basement where people took turns describing the burdens of the world into a microphone. If their tragedies were clever enough, listeners responded with laughter and applause. I was compelled to try this seductive ritual. I started showing up weekly and the audience’s silence slowly turned into halfhearted chuckles. I’d found the right place to take risks, the right way to live.

Every month I write a love letter to Seattle in the form of a variety show. In a hundred-seat theatre up three flights of stairs, I ask a handful of the brilliant people who live here to share the songs and stories in their heads. What happens is often funny, occasionally frightening and always interesting. They show us the beautiful things they make and our world gets bigger because of it. I’m comforted by the fact that I could spend a winter hosting the show every night and not repeat a guest.

The need to gather and create is permanent but the spaces in which to do so are not. The world changes, things go away, but we still have much to discover. We are the bastard children of shamans and fools and making and consuming art is how we keep the darkness from looming. We will put pen to paper, paint to canvas and pun to microphone as long as the horrible hands keep knocking at our doors and in our minds. The monsters with teeth and claws still lurk but the circle we sit in and share is much larger. n

Emmett Montgomery is a Seattle-based comedian and storyteller who sometimes makes puppets. Weird and Awesome with Emmett Montgomery is every first Sunday of the month at Annex Theatre.

We invented new tools for describing the world—from sacred poetry to fart jokes—and were in a better place because of it.

Coming Out of the CaveBY EMMETT MONTGOMERY

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MEZCALERIA OAXACA is less a restaurant than a cathedral of mezcal, that mysterious spirit, salve and spark of Mexico. The former auto-body shop on Pine Street now opens loftily into an exposed kitchen and luminous bar. On the walls, an oversized patchwork of photos reaches the vaulted ceiling, some illu-minated from behind, some framed in relief, each shot by Spike Mafford, a man who’s devoted much of his life to documenting Mexican culture. Rough-hewn, glass-doored light boxes display artifacts of contempo-rary Mexican life: Levi’s 501s, glass Coke bottles, a wooden club used to mash agave for mezcal.

The owners’ original spot in Ballard, La Carta de Oaxaca, serves the best Mexican in Seattle, and I hear the food at their Queen Anne Mezcaleria is also excellent. But I don’t go there to eat. I go to practice good drinking.

Each time I’ve taken a horsehide seat at Mezcaleria’s monolithic metal bar, my server has been a ponytailed 20-something named Spence. Spence speaks of mezcal with the illuminated gaze of a true believer. As part of his bartender training, he sojourned 10 days in Oaxaca and returned an apostle and ambassador. Conviction this deep usually applies to religion and politics. But mezcal holds a powerful sway—in its earthy, smoky palate; in the eons of legend and misunder-standing that shroud its history; in the low-tech, high-stakes method of its production.

Mezcaleria’s Holy of Holies is a dimly lit chamber secreted behind the bar called the Classroom. Here, sitting among a dozen other acolytes, I participated in a mezcal tasting in early April. Leading the way was a young woman named Andrea Hagan, a representative of La Mezcaloteca, a nonprofit based in Oaxaca City that’s essentially an ar-chive of locally made mezcal. La Mezcaloteca exists because the social significance of mez-cal is so great—as is the potential for losing its rustic peculiarity to mass production.

Hagan explained that there are hundreds of different species of the agave plant. Fourteen of them, each endemic to Oaxaca, are used to make mezcal, each bestowing a different character (whereas most wine is made from varietals of a single species of grape). Tequila, for instance, is mezcal made from quick-growing blue agave. Most bottled mezcals are made from espadin, which takes seven years to mature. Other, rarer varieties

Spirit of the AgeObsessing over the mysteries of mezcal

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422 E. Pine St.

take up to 20 years to mature. The longer the plant grows, the more profound the taste of its liquor.

Most agave isn’t farmed, it’s foraged from the arid hills of Oaxaca. Generations of mezcaleros have harvested the plants by hand and roasted them for days over mesquite in earthen ovens. The roasted agave is mashed by hand or burro-powered mill, then open-air fermented,

then triple-distilled. The stuff that Andrea brought for us to sample—fecund, aromatic, revelatory—isn’t available in the U.S. Too small batch, too rare. But the evangelists at Mezcaleria offer dozens of varieties, each a door into another world that’s not so far away. n

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