PORTLAND PLAYHOUSE PRESENTS
A POST-ELECTRIC PLAY
SEASON PRODUCING SPONSOR: Harold Goldstein and Carol Streeter Ronni Lacroute
MAY 13–JUNE 7, 2015
by Anne Washburn
Laura Faye Smith*
Adriana Bordea, Emma Bridges, Corinne Gaucher
Scenic and Lighting Designer
Rachel Peterson Schmerge
Thyra Hartshorn Phil Shaw Sarah Gehring Kristina Mast Alexandra Deahl Ry Burke
Production Manager Technical Director/Master Electrician Assistant Director Assistant Stage Manager Assistant Set Designer
OUR SEASON IS MADE POSSIBLE BY THE GENEROUS SUPPORT OF: Barry Bloom, The Boeing Company, Ellyn Bye, Jeff and Esther Clark, The Collins Foundation, Harold Goldstein and Carol Streeter, Ronni Lacroute, Meyer Memorial Trust, James F. and Marion L. Miller Foundation, National Endowment for the Arts, Newman’s Own Foundation, The Oregon Community Foundation, Oregon Cultural Trust, Playhouse on Prescott LLC, Raymond Family Foundation, The Regional Art & Culture Council, Steve and Elsie Weaver, Wrather Family Foundation.
BEER SPONSOR: BridgePort Brewing
The Oregonian, The Portland Observer, Willamette Week SPECIAL THANKS TO: ABC Fire Extinguishers, ACME Scenic, City of Portland Parks and Recreation, Cupcake Jones, Fifty Licks, Lincoln Restaurant, Portland Center Stage, Rex Putnam High School, Reed USA, Rick Reed, Robin R. Wisner
Assistant Lighting Designer
RUN TIME: Two & a half hours, with an intermission between Act II & Act III The photographic, video and/or audio recording of this performance by any means whatsoever is prohibited. * Member of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States. Actors’ Equity Association, founded in 1913, represents more than 49,000 actors and stage managers in the U.S. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. Equity seeks to foster the art of live theatre as an essential component of our society. www.actorsequity.org
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SURVIVAL OF THE FITTEST STORIES AN INTERVIEW WITH ANNE WASHBURN
This article originally appeared in A.C.T.’s March 2015 program for Mr. Burns, a post-electric play. All rights reserved.
Photo by Madeleine George
ANNE WASHBURN REMEMBERS HER EARLY YEARS AS A BAY AREA THEATRE ARTIST — IN FACT, ONE OF HER FIRST CREATIVE HOMES WAS A.C.T.’S YOUNG CONSERVATORY PROGRAM. “The culminating exercise was to imagine that a great plague had taken hold of the world, and the YC participants were all doctors who had to envision what they would do in the face of disaster,” she says. “So it seems appropriate that I’m coming full circle to do an apocalyptic play at A.C.T.” In the case of Mr. Burns, a post-electric play, Washburn’s world doesn’t offer up the familiar wastelands we’ve come to associate with the apocalypse genre. Audiences aren’t exposed to zombies, plagues and stories of brute survival—at least, not overtly. Rather, the desperation of her characters is displayed in their passion for the story (a memorable episode of The Simpsons entitled “Cape Feare”) that they attempt to piece together from memory. This pastime provides the backdrop for Washburn’s world, in which the death, continuity, and resurrection of specific stories is directly tied to the possibility of a future. Mr. Burns is a celebration of the human instinct to tell stories—and an account of how deeply this is tied to our endurance as a species. Washburn recently gave us some insight into the role of myth in Mr. Burns, as well as the unpredictable route that stories take when they are cranked through culture’s translation machine.
As a former Reedy who’s also staged work in New York and elsewhere, how often have you brought shows to Portland, and how many of your shows (beyond this one) have strong tie-ins to Oregon and the Northwest? Apart from a show of mine staged at Reed College, maybe 7 years ago? I don’t know that ANY of my shows have been in Portland since I had a tiny tiny theater company there for a few years in the mid 90s. I don’t think any of my shows have strong direct tie-ins to the NW, interestingly, since the time I spent in Portland and Seattle was incredibly important to me, in a number of ways. But it was only fairly recently that I was able to write a play about my hometown (Berkeley); it’s easier to report on things you feel some distance from and I think that period of my life — late teens through mid twenties — and that era — is something I’m still chewing on.
You’ve said that Mr. Burns emerged from an idea that had been knocking around in your head for years: you wanted to take a pop-culture narrative and see what it meant and how it changed after the fall of civilization. I recently realized that the idea partially stemmed from September 11, 2001. I was in New York then, and it felt like a crazy time to stay. We were convinced that the city would come under some other attack, so we were thinking about things in a very drastic way. I was pondering the end of civilization. I imagined that in the midst of a catastrophe, people would tell stories if they had down time. I was interested in which stories would be told in an apocalypse, how they would be told, what media makes the transition from the visual to the spoken, and how the stories mutate. We are used to telling stories about things we’ve seen and books we’ve read, and in the context of an apocalypse, people would be most interested in something everyone would have in common, so that’s where the idea of basing the play on a TV show came from.
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Did you look at the trajectory of other stories that have mutated over time? A huge example of a story that has changed over time is Batman. I remember the old Adam West show, which was charming and kitschy, while Tim Burton’s movie starring Michael Keaton was a crazy reboot. It’s a story we tell incessantly, making it more extreme over time. This is also true of Star Wars and Star Trek; they are stories people will not let die.
You used found dialogue in writing the play when you developed it with The Civilians back in 2008. What was that like? We got together and asked actors to come up with any Simpsons episodes they could recount, and “Cape Feare” was the one they had the best memory of. Matt Maher muscled his way through it, and Maria Dizzia and Jenny Morris chipped in. Then we had a second telling, and a third one. From these three iterations, I made a master version of the play and edited a lot, but basically, all the material in the first act came directly from spoken dialogue. Written English is so different from spoken English. I wanted the language to be as natural and believable as possible.
Why did you end up deciding on The Simpsons? Because it’s a cartoon, you have such a wide range of characters to choose from. And they’re archetypal. Also, because the play takes place right after the apocalypse and The Simpsons is about a family, I thought the characters would care more; the question of what your bonds are, who your community is, becomes really relevant. And the show has been running for 25 years, so it’s the longest-running TV show ever. Also, the degree to which people remember The Simpsons is astonishing. So, in the world of the play, where people are trying to remember lines, they could probably pull together enough to recreate an entire episode.
What do you think makes the “Cape Feare” episode so memorable?
theater troupe gets a bad review and then they get depressed and wonder if they should become lawyers. If audiences don’t enjoy the show, the characters don’t eat. The stakes are enormous. We can assume the characters are doing a lot of surviving, but we’ve all seen the movies and the TV shows, and we know what that survival-oriented post-apocalyptic world looks like, so it doesn’t need to be repeated here.
When I tell people I wrote a play about it, many who are familiar with the show say, “I know that one. It’s my favorite!” Although there are six million other references in the episode, “Cape Feare” follows the 1991 film Cape Fear almost from beginning to end, so people retain it because it contains an intact story. Cape Fear is not really an old story, but it pivots on an extremely old fear: being powerless. Even though the original 1962 film and the Before I knew the play would 1991 remake are very punitive and raw, the Simpsons episode is much scarier. It’s a revolve around The Simpsons, cartoon, but the focus is on the child, and the idea was that it would the child who is being targeted is someone have this three-act structure: nobody pays attention to. In a weird way, it the first act would take place makes the story even darker, which is also roughly around now, the second part of its appeal.
By the time we get to the end, there is a complete stylistic shift. The Simpsons episode has been elevated to myth. What was going through your mind when you decided to have this grand third act?
Before I knew the play would revolve around The Simpsons, the idea was that it would have this three-act structure: act would take place seven the first act would take place roughly years in the future, and the Were there any other films or pieces of around now, the second act would take literature that influenced you as you were third act would be this fully place seven years in the future, and the writing the play? third act would be this fully fledged fledged theatrical gesture far My two big influences were probably theatrical gesture far into the future. The into the future. Stephen King’s The Stand and Euripides’ degree to which contemporary drama is Orestes. The Stand, which I’d read when I conducted without music is something was 16, has this lavish description of America I find curious. The drama of the Old after a plague that I find really beautiful. Orestes, which I World includes music and dance, which are super satisfying adapted in 2010 at the Folger Theatre in Washington, D.C., when combined. It’s funny how contemporary theater has kind of has it all: song, dance, and an ancient, archetypal story. lost that. In the future of Mr. Burns, the characters don’t come from theatrical backgrounds. So in some ways, they You grew up in the Bay Area. Do you have any early memories have no reason not to make the most exciting plays they can!
of disaster and apocalypse prompted by the location?
Growing up in the Bay Area with the threat of impending disaster probably influenced this work. If you grow up in earthquake country, even as a small child, you think about this all the time because the “big one” could happen at any moment. Certainly, as a little kid, there is a level of incredible insecurity that you just have to live with. As an adult, you can assess the risks more, but as a kid, you can’t.
Mr. Burns doesn’t feel like your typical post-apocalyptic story, especially because it revolves around storytelling. The storytelling isn’t just the characters’ leisure time. At first it’s casual, but you have to understand: if the characters’ audiences don’t enjoy their show, the threat is not that the
What are your thoughts about post-apocalyptic stories being generated nowadays? I enjoy post-apocalyptic literature and movies. Apocalypse is a preoccupation of our culture for obvious reasons; the topic has not been totally played out yet. It’s still gripping, because our culture is full of horrible tensions. In another sense, these stories are fun in the same way as childhood games that begin with “Our parents are dead. We’re orphans. What next?” The narrative of being thrust into a world without any assistance fulfills our drive for adventure. There’s not much adventure in the world anymore, but in a post-apocalyptic world, it’s everywhere. It’s an intrinsically exciting way of telling a story.
Anne Washburn (Playwright)
Anne’s plays include The Internationalist, A Devil at Noon, Apparition, The Communist Dracula Pageant, I Have Loved Strangers, The Ladies, The Small and a transadaptation of Euripides’ Orestes. Her work has been produced by 13P, Actors Theater of Louisville, American Repertory Theatre, Cherry Lane Theatre, Clubbed Thumb, The Civilians, Dixon Place, Ensemble Studio Theater, The Folger, London’s Gate Theatre, NYC’s Soho Rep, DC’s Studio Theater, Two River Theater Company, NYC’s Vineyard and Woolly Mammoth. Awards include a Guggenheim, a NYFA Fellowship, a Time Warner Fellowship, Susan Smith Blackburn finalist, residencies at MacDowell and Yaddo, and an Artslink travel grant to Hungary to work with the playwright Peter Karpati. She is an associated artist with The Civilians, Clubbed Thumb, New Georges, and is an alumna of New Dramatists and 13P. Currently commissioned by MTC, Playwrights Horizons, Soho Rep, and Yale Rep. as of June 2013.
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CAST/CREATIVE TEAM Tobias Andersen* (Sam)
Recent Portland appearances include Buried Child (Profile), Snow Falling On Cedars and Sometimes A Great Notion (Portland Center Stage), The Seafarer (Artists Repertory), On Golden Pond (Lakewood), The Tempest (Clackamas Repertory), The Outgoing Tide (CoHo) and Lear’s Follies (Portland Shakespeare Project). A regional theater veteran, he has been a company member with The Oregon Shakespeare Festival, California Shakespeare Festival, and Playmaker’s Repertory of Chapel Hill. His one man portrayal of legendary attorney Clarence Darrow in Darrow was selected by the USIA to represent the U. S. at the 2nd International Drama Festival in Pakistan and his solo show of Ray Bradbury stories, The Illustrated Bradbury was recently published by Dramatic Publishing. Tobias makes his first appearance with Portland Playhouse in his 50th year as a proud member of Actors Equity.
Brian Adrian Koch (Matt)
Brian is a carbon based, modern Homo sapien. He is an actor, director and musician with a BA in Theater Arts. He has also been a drummer and is the founding member of local band Blitzen Trapper. You may have seen him on stage, on screen or perhaps in his native habitat, wandering between cinemas and coffee shops all throughout the greater Portland Metro area. He enjoys language, culture, abstract reasoning and is extremely excited to be a part of Mr. Burns, his first show with Portland Playhouse. Please do not feed him.
Isaac Lamb* (Gibson)
Isaac is a native Portlander, a graduate of Loyola Marymount University, and a proud company member of Third Rail Repertory Theatre. National Tour: Defending the Caveman, Broadway’s longest running one-person show. Local credits: Third
Rail in The Lying Kind, Kiss Me Like You Mean It, The Wonderful World of Dissocia, That Hopey Changey Thing, The Aliens, Sweet and Sad, Noises Off, Midsummer: a play with songs, The Mystery of Irma Vep, and Belleville; Portland Center Stage in The 25th Annual Putnam County Spelling Bee, A Small Fire, and JAW; Artists Repertory Theatre in Assassins, Vitriol & Violets (2009 Fertile Ground), and Playboy of the Western World; Broadway Rose in Sound of Music, Ripper, PDX-Mas, and Forbidden Broadway; Portland Playhouse in Famished; Northwest Children’s Theatre in Beauty and the Beast (Drammy Award, Best Supporting Actor), and many others.
Cristi Miles* (Maria)
Portland credits include: Enter THE NIGHT, The Three Sisters, Song of the Dodo and R3 with PETE; Midsummer: a play with songs with Third Rail, Bloody Bloody Andrew Jackson and Dying City (Drammy award, Best Actress) with Portland Playhouse; As you Like it with Portland Shakespeare Project; El Grito Del Bronx with Miracle Theatre and various staged readings. Regional credits include; As You Like it at San Jose Rep; The Clean House, A Streetcar Named Desire, and Charles Dickens’ A Christmas Carol, at New Repertory Theatre. Marisol with the Orfeo Group, Buried Child with the Nora Theatre, The Winter’s Tale with Actors Shakespeare Project, Hamlet, Macbeth, The Glass Menagerie and Our Town all with New Rep On Tour. Cristi holds an MFA from Brandeis University and is a proud founding member of PETE.
Jennifer Rowe (Jenny)
Jen was most recently seen in A Christmas Carol here at Portland Playhouse. Other Playhouse credits include: After The Revolution, Bloody Bloody Andrew Jackson and Twelfth Night. Other Portland credits include: Speech and Debate and Distracted (Artists Rep), Middletown (Third Rail), Labyrinth of Desire (Milagro), The Sweatermakers
P4 | PORTLAND PLAYHOUSE MR. BURNS, A POST-ELECTRIC PLAY
(Playwrights West), five years in the JAW Festival (PCS), a nine-month tour of 1½ (OCT), Oh, The Humanity, Vinegar Thom (OSAR/TPL). With The Quick and Dirty Art Project, she has directed: The Unseen, The Interview, Mercury Fur, The Jewish Wife/The Informer, and Waiting. She directed the 2012 apprentice solo showcase at the Playhouse and looks forward to directing How We Got On in the Fall.
Kemba Shannon* (Colleen, Choreographer)
Kemba received her BFA from Towson State University and trained at the Alvin Ailey American Theater, Martha Graham School, The Edge, Lula Washington, Peridance, and Morgan State University. She has taught dance classes at UCLA, LOYOLA MARYMOUNT, El Camino College, Portland State University and others. Kemba’s stage credits include: The Lion King (LA cast), The Color Purple (Broadway cast), Cirque du Soleil (Zumanity), Aida, and FAME. Kemba’s ambition and drive have won her world recognition with icons Madonna (“Drowned World Tour”), Pink (“Try This World Tour”), Celine Dion (“Taking Chances World Tour”), Rihanna (“Nike RockStar World Tour”), Kanye West, R. Kelly and Fantasia, to name a few. Currently dance instructor at Arts Communication Magnet Academy in Beaverton; Director of Bremone Dance Academy, and Director at Kemba Shannon Dance Center.
Laura Faye Smith (Quincy)
Laura last appeared at Portland Playhouse in Theresa Rebeck’s The Scene. Other work includes The Typographer’s Dream, Anna Karenina, Pride and Prejudice, The Thugs, How to Disappear Completely and Never Be Found, Frost/Nixon, A Christmas Carol, The Receptionist, A Christmas Story and JAW in 2008-2014 at Portland Center Stage, God of Carnage at Gulfshore Playhouse, International Falls, Day of the Docent, The Receptionist, Boy Gets Girl and Spinning Into Butter at
CREATIVE TEAM CoHo, Last of the Boys at Third Rail Repertory, Mr. Marmalade at Artists Repertory Theatre, The Heiress at Triangle! Productions (Drammy Award, Best Actress), The Trip to Bountiful at Profile Theatre (Drammy Award, Best Supporting Actress), and The God Game produced by Brandon Woolley.
(Director/Artistic Director) Brian has directed at Portland Playhouse: The Other Place, The Light in the Piazza, Detroit, Bloody Bloody Andrew Jackson, Angels in America, Gem of the Ocean, Dying City, The Missing Pieces, Radio Golf, bobrauschenbergamerica, Fiction, and After Ashley; and acted in Bingo with the Indians and Mauritius. (Portland Playhouse); Regional credits include American Buffalo (Third Rail Repertory); Scapin and Titus Andronicus (Intiman Theatre); Ice Glen and Romeo and Juliet (Shakespeare & Company); and Where has Tommy Flowers Gone? and The Illusion (Berkshire Theatre Festival). Brian is a founding member of New World Theatre. He directed the U.S. premiere of the Spanish translation of José Rivera’s play Marisol.
Meredith Matthews (Stage Manager)
Meredith is a graduate of The Theatre School at DePaul University with a BFA in Stage Management. Recent Portland Playhouse credits include Assistant Stage Manager for The Other Place, directed by Brian Weaver; Assistant Stage Manager for How to End Poverty in 90 Minutes (with 99 people you may or may not know), directed by Liam Kaas-Lentz; Stage Manager for A Christmas Carol, directed by Cristi Miles; and Assistant Stage Manager for The Piano Lesson, directed by Kevin Jones. This summer Meredith will be an Assistant Company Manager for New York Stage and Film’s 2015 Powerhouse Season.
(Scenic and Lighting Design) Peter is a scenographer and media artist whose stage design work has been presented both nationally and internationally. Previously with Portland Playhouse, he designed the set for The Left Hand of Darkness. In 2008 he won an Obie award for the scenic design of Untitled Mars (this title may change).
In 2014 he won a Bessie award for the scenic design of This Was the End. He was a curator at the Incubator Arts Project and is an Associate Professor at Reed College.
PORTLAND PLAYHOUSE STAFF BRIAN WEAVER
DIRECTOR OF OPERATIONS
(Costume Design) Ashton is fascinated by the art(s) of storytelling. She studied the art of creating complete worlds at Carnegie Mellon University (BFA, 2007). Next, Los Angeles took her into the worlds of television (Big Bang Theory, Two and a Half Men) and feature film production (My Sister’s Keeper). In 2009, she returned to her rich and verdant Northwest roots and began freelance collaborations with local Portland theatres. Today, her freelance work continues to grow, and Ashton also manages the Costume Shop for the Lewis and Clark College Theatre Department.
Rachel Peterson Schmerge
Harold Goldstein, Chair Angela Freeman, Vice Chair Curt Jantz, Treasurer Mary Swartz, Secretary Elizabeth Carr Karol Collymore Andy Eberly Kimberly Howard Marge Kafoury Wendy Rahm George ‘Bing’ Sheldon, Brian Weaver Mark Williams
AUDIENCE SERVICES MANAGER
FRONT OF HOUSE MANAGER
DESIGN & TECHNICAL ASSOCIATE
BOARD OF DIRECTORS
Rachel is excited to be returning to Portland Playhouse for her seventh production as the props designer. Other Portland Playhouse credits include The Other Place, How to End Poverty, A Light in the Piazza, Jitney, Detroit, and The Left Hand of Darkness. You can regularly see her work at Portland Center Stage, where she’s the lead props artisan. She received her degree in Art (Sculpture) from Reed College and continues to show art and do freelance projects around town. In her free time, she enjoys playing with her dog, adding to her record collection, and eating brunch.
APPRENTICES: La’Tevin Alexander,
(Music Director) Eric has been a composer, music director, pianist and educator in Portland for the past 10 years. He is the winner of three Drammy Awards and a PAMTA for his work as music director, including Portland Playhouse’s very own The Light in the Piazza (2014). Eric’s most recent project was a very successful, sold out run of his original play The Snowstorm at CoHo productions.
Adriana Bordea, Emma Bridges, Corinne Gaucher, Sarah Gehring, Andy Haftkowycz, Kristina Mast, Meredith Matthews, Sasha Neufeld, Jake Simonds
PORTLAND PLAYHOUSE MR. BURNS, A POST-ELECTRIC PLAY | P5
8 EIGHT SEASON
FROM THE MIDWEST TO NEVERLAND, SEASON EIGHT TAKES US ALL OVER THE WORLD AND BEYOND. These stories of identity, coming-of-age, and redemption take place in the suburbs of Midwest America, Dickens’ Victorian London, labyrinthine North Korea, and Peter Pan’s Neverland (with pirate ships and mermaid coves!).
WE ARE SO EXCITED TO SHARE THESE WORLDS WITH YOU. Read on to find out more about next season, and then take a look at the season ticket packages we’re offering this year (included in the insert in your playbill). Season tickets start as low as $55, AND there are no fees, ever.
SEE YOU FOR SEASON EIGHT!
HOW WE GOT ON
YOU FOR ME FOR YOU
Directed by Jennifer Rowe
Directed by Gretchen Corbett
By Idris Goodwin SEPTEMBER 30–OCTOBER 25 Three teenagers in the suburbs of the Midwest dream their beats and rhymes making them famous, in hip-hop’s golden age of the late 80s. Hank, Julian, and Luann battle their Midwestern upbringing of their peer’s derision, and their own self-doubt in this musical coming-of-age story, while our modern day narrator and DJ, “The Selector”, gives us a hip-hop history lesson. Our teenage heroes try to find a way to break into the urban scene and get signed to a major label, pushing through the negativity and learning to breathe in joy.
A CHRISTMAS CAROL By Charles Dickens DECEMBER 2–27
Adaptation and original lyrics by Rick Lombardo Original Music by Anna Lackaff and Rick Lombardo Music Arrangements by Anna Lackaff Directed by Cristi Miles
TOP: How We Got On; Photo Courtesy of Noe Todorovich and Forum Theatre, MD. A Christmas Carol (2014); Photo Courtesy of Brud Giles and Portland Playhouse. You For Me For You; Photo Courtesy of Woolly Mammoth Theatre Company. P6 | PORTLAND PLAYHOUSE MR. BURNS, A POST-ELECTRIC PLAY
The ubiquitous tale of Ebenezer Scrooge’s painful past, cruel present, and redemptive future, is brought to exuberant life for the third year at Portland Playhouse. Hopeful, musical, and most of all, fun, Lombardo’s adaptation has brought the Playhouse full houses and three Drammy awards over the last two years, lauded by critics and audiences alike.
By Mia Chung FEBRUARY 3– 28, 2016
From North Korea to China to the United States, You For Me For You follows two sisters who have nothing but each other left as they explore the worlds within these worlds. In the supernatural but emotionally visceral universe Chung creates, we follow Junhee as she races to the future at the pace of American culture, which is to her both alien in its language and customs, and excessive in its choices and responsibilities. Meanwhile, Minjee searches for hope in the twisted and terrifying labyrinth of modern day North Korea. Both learn the harrowing truth: that sacrifice is required for survival.
PETER AND THE STARCATCHER
By Rick Elice APRIL 27–MAY 29, 2016 Based on the Novel by Dave Barry and Ridley Pearson Music by Wayne Barker Directed by Brian Weaver
A swashbuckling grownup prequel to Peter Pan that takes the audience from the brig on a pirate ship to mermaids’ coves as we discover the backstory of the little boy who never grew up. A dozen actors play more than 100 characters in this musical adventure that is in turn hilarious and touching.
Portland Playhouse gratefully acknowledges our supporters. Their generosity allows us to activate surprise, delight and challenge in our lives. We envision a world awakened by the wonder of theatre.
This list represents contributions and pledges received from January 1, 2014 through December 31, 2014. We make every attempt to acknowledge your name accurately. If you find a mistake, want to make a change, or think your name should be listed and want to inquire further, please don’t hesitate to call us at 971-533-8743. We are more than happy to make changes for the next playbill.
CORPORTATE, FOUNDATION, & GOVERNMENT SUPPORT BELL TOWER $25,000+ James F. & Marion L. Miller Foundation Meyer Memorial Trust $20,000 National Endowment for the Arts $10,000–$19,999 The Boeing Company The Collins Foundation Newman’s Own Foundation Oregon Cultural Trust Playhouse on Prescott LLC Raymond Family Foundation Willamette Week Give!Guide Wrather Family Foundation ROOF RISER $7,500 Herbert A. Templeton Foundation SEAT RISER $5,000–$7,499 AT&T Workplace Giving Juan Young Trust The Kinsman Foundation Oregon Arts Commission Regional Arts & Culture Council Harold & Arlene Schnitzer CARE Foundation SUPPORTING BEAM $2,500–$4,999 Autzen Foundation GRANTMAKERS of Oregon & Southwest Washington Multnomah County PGE Foundation Wendy & Richard Rahm Fund of The Oregon Community Foundation RBC Wealth Management The Standard OCF Joseph E Weston Foundation STEPPING STONE $1,000–$2,499 Equity Foundation The Jackson Foundation The Looker Foundation Oregon Community Foundation Winston Weaver Foundation UNDER $1,000 Nathan Cogan Family Fund of the Oregon Jewish Community Foundation eBay workplace giving Sharon M. Fekety Fund of The Oregon Community Foundation Bill & Melinda Gates Foundation (matching gift program) Meyer Memorial Trust (matching gift program)
Portland Area Theatre Alliance Retired Associates Of Portland State University
INDIVIDUAL DONORS PRODUCERS $50,000+ Harold Goldstein & Carol Streeter $25,000 Jeff & Esther Clark Ronni Lacroute PLAYWRIGHTS $10,000–$24,999 Barry Bloom Ellyn Bye Steve & Elsie Weaver DIRECTORS $5,000–$9,999 Marge & Stephen Kafoury DESIGNERS $2,500–$4999 Elizabeth Carr & Kip Acheson Erin & Kirk Hanawalt Katherine Immerman & Anthony Melaragno Wendy & Richard Rahm ACTORS $1,000–$2,499 Linda & Scott Andrews Don & Mary Blair Linda & Karl Boekelheide Brooks & Dorothy Cofield Michael Cowan in memory of Sandra Zickefoose Jess Dishman Diane Herrmann Judith & Gregory Kafoury Susan Knight & Glenn Lamb Roberta Lampert & Jim Piper Michelle Mark Bing & Carolyn Sheldon Linda & Chet Skibinski Winston & Bonnie Weaver Greg & Valerie Weaver STAR $500–$999 Kay & Roy Abramowitz Kirby & Amy Allen Anonymous Naomi Dagen Bloom & Ronald Bloom Ann Brayfield & Joe Emerson Ellen & Jim Broderson Joseph Callahan Patrick Clancy & Beth Caruso Sharon M. Fekety Wendy Ware & Dan Gleason Corbett Gordon in honor of Shandi Walnofer Muff Ivan Green Luke & Vicki Groser Paul Hart & Jan Jacobsen Barbara Hort Walter Jaffe & Paul King Ramona Kearns Mikki & Steve Lipsey Tom & Nancy Lisicki Christine Mackert Elaine Martin
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FRIEND $100–$249 Sally & John Anderson Sue Armitage Jonathan & Deanne Ater Dale Bajema & Diana Coleman Kimberly Bakken Thomas Balmer & Mary Louise McClintock Janet Bardossi Lisa Batey Kathleen Bauska John & Mary Bicknell Dick & Renee Binns Don Caniparoli & Sarah Rosenberg Denise Carty & Roger Brown Nancy Catlin Valri & Vincent Chiappetta Tex Clark Rebecca Clemons Kirsten Collins Karol Collymore Liana Colombo Bob Conklin Deborah Correa Linda Craig Fran Daggett Louise Demetre William Deresiewicz & Aleeza Nussbaum Mary Devlin William Diebold Dr John A Donnelly III Howard Cutler & Pamela Echevero Vida Edera Zachary Edmonson Ken Edwards Alma Eib Steve & Sara Elgee Leslye Epstein & Herman Taylor Daniel & Melissa Fisher Gabrielle Foulkes Robert Gandolfi Karen Garber & John Desmarais Cheryl Gatti Marie Godbey Lynn Goldstein Tracy Gratto Robyn Gregory & Tony Bornstein Gretta Grimala Tasca Gulick Andrew Gustely Delores Hall Paula Hamm Bruce & Kathleen Harder Lynne Hartshorn Jan Harvey Jane Hatch Elizabeth Hawthorne Elena Hein Marjorie Hirsch Gretchen Holden Ruben & Andrean Iniguez Kevin Irving Curt Jantz Elizabeth Joseph Ruth Kauffman Frederick Kirchhoff Krystal Klein
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Nicole Adams Vaughn Aldredge Beata Alexander Art Alexandar Bonnie & Steven Altshuld Chris Anderson Zoe Anderson Linda Appel Ruby Apsler Judith Arcana Phyllis Arnoff Grover Bagby Robert A Baker Kevin Banister & Amy Ruona Sue Barclay Karen Bassett Shannon Batts Mary Bauer Nick Baylies Tom Beckett Marie Bellavia Pamela Berg Sarah & J Bills Theresa Bills Michael Bishop Beverly Biswas Barbara Bolles Marjorie Bontje Christine & Matt Boyd Larry Boyd Patricia Bradley Char Breshgold in honor of Laura La Rosa’s 50th Birthday Erika Breton Joan Bridgman Gerry & Meredith Brodsky Carolyn Buan Irene & Patrick Burk Kate Bushman Mary Byers Maurine Canarsky Steven Cantor Ellen Cantwell Dan Caplan Karen Wells & Priscilla Carlson Helena Carlson Dunbar Carpenter Kathy Carrigan Carolyn Casey Patrick Cassidy & Eileen Perlmeter Rita Charlesworth Kimberley Chen Cary Clarke Constance Cleaton Kristen Cole Maura Conlon-McIver Susan Connolly Toni E Cooper Ginnie Cooper Marilyn Couch Lois Courtney Ron Crosier Eloise Damrosch & Gary Hartnett Candace Dauphinais Jennifer Davis Kathleen C De Gutes Bridget DeVore James Dixon Randi Douglas Miranda Drake
PORTLAND PLAYHOUSE MR. BURNS, A POST-ELECTRIC PLAY | P7
VOLUNTEER SPOTLIGHT MEET SARAH BILLS, VOLUNTEER EXTRAORDINAIRE.
Photo courtesy of Portland Playhouse
Sarah has been working with us for several years in many capacities, from helping to cater early gala events to working alongside our development director doing outreach to involve businesses in and beyond the Portland metro area through direct donations, sponsorships, or providing items for show raffles.
WHY DO YOU VOLUNTEER FOR PORTLAND PLAYHOUSE? From the founders to the staff to the large volunteer organization, there is a passion to produce engaging, intriguing and inspiring theatrical works with a conscious effort to engage the entire community. Who wouldn’t want to be a part of that? WHAT BROUGHT YOU TO LOVE THEATRE AND THE ARTS? I’ve always loved the immediate intimacy of theatre and the performing arts. As soon as the house lights go down you are immersed into a situation that holds you bound in the lives of others for the length of the performance…when it works well, it can transport you for the hour or two and resonate within you for days, weeks, years afterwards. HOW DOES PORTLAND PLAYHOUSE’S MISSION STATEMENT RESONATE WITH YOU? Theatre is such a wonderful way to connect audience members who may not feel like they have much in common. The mission “to activate surprise, delight and challenge in our lives” feels like a great way to bridge those gaps among us, to give us a shared starting point for further conversations. WHAT IS ONE MEMORY OF PORTLAND PLAYHOUSE THAT STICKS WITH YOU? Most recently, the Apprentice Solo Showcase from 2014. As I spent a good amount of time in the offices last fall, working with a few of the apprentices on the development team, I was even more impressed that the performers were able to put together such engaging performances given the amount of time and energy they commit to their apprenticeships. WHAT ARE YOUR HOPES FOR PORTLAND PLAYHOUSE’S FUTURE? I hope to see Portland Playhouse increase its support base to allow it to continue to do the high quality and artistically forward shows for which it is known. I’d like to see more people engaged in the funding of the theatre and the productions. It makes each performance at The Playhouse that much more powerful when you can say “I help contribute to that production that was enjoyed by so many.” even if it was only a small amount. I want more people to find themselves there. THANKS SARAH!
P8 | PORTLAND PLAYHOUSE MR. BURNS, A POST-ELECTRIC PLAY
Robin Dunitz Lois Eaton Maya Edelstein Elise Eden Rich Eichen Miriam Epstein William Evans Pamela Anne Fairchild & Ted Lamb Paul & Judith Fardig Edward & Jeanette Feldhousen Lynn Ferber Evelyn Ferree Mary Franklin Denise Frisbee Amy Fuller Sara L. Gabin P.C. Attorney at Law Samuel Gaty Sarah Gehring Lee Ann Gekas Tanya Gossard Bruce & Gwendolyn Graff M. Jane Greenbaum David Greenberg Michael Griggs Judith Griswold Marlene Grochau Willie & Sarah Groshell Vicki Guinn Alice Vaux Hall & Missy Hall Donna Hammar Sarah Harris Robert Hayes Ken & Helen Hein Helen Henry Kim Heron Maddy High Tyler Holmer Kathleen Holt Anthony Holt Ava Hoover Verne Horner Sheryl Horwitz Will Hough Janel Hoyt James Huston Carol Iannacone Jani Iverson Megan Ives Roberta Jackson Dawn Jackson Anne Leah Jaxen Shirley Johnson Jessie Jonas Jamie Jones Anthony Jones Michael Joy Cara Jung Benjamin Kaiser Aija Kanbergs Maria Katzenbach Sheila Keeling Sydney Kennedy Janice Kettler Carol Kimball Rhona Klein Vicki Kolberg Ann Kramer Robin Lanahan
Janet Larkin Charles & Ursula K. Le Guin Stephanie Leikas-Homolya Elianne Lieberman Craig Lindsay Bill Lynch Judy Lyons Barbara Macon Madeleine Mader Jackie Magerl Linda Mann Lois Manookian Lorinda Marie Shirley Mason Pat L McAleer Karen McCracken Rebecca McGee Denyse C McGriff Debra Meadow & Paul Dage John Mergner Mary Clare Metscher Bob Metzler Jill Michaelree Brenda Mikota Michael Millhollen Sheryl Mills Rae Minten Merryl Mix Mary Monson Beata Moreno Eli Morris Nancy Moss Scott Murray Kay Myers Allen & Frances Nause Carla Neufeld Fred & Jill Newton Margaret Olney Pat O’Shea Joy Overstreet Kathy Pape Dorothy Parkin Kay Pasquesi Sondra Pearlman Cynthia Peele Sherry Pendarvis Russell Peterson Roma Peyser JP & Monica Phillips Claire Philpott Paul Pierce Jeffrey Plut David Pollack Linda Stoltz & Gerald Poquette Aaron Poresky Brian Potter Shirley & Alvin Rackner Ann Rad Sharon Ralston Byron Rendar Bill Resnick Loretta RichardsonScheid Kelby Ridenour Tracy Rimel John Rindell Candace Ripley Damasco Rodriguez
Chuck Roselli & Dinah Teramura David Roth Leif Running & Michelle Alexander Dave Rupert Sandra Russill Sarah Schemmel Penelope Schott Sara Schultz Nate Scott Sally Sellers Val Shank Margaret Shannon Corinne Sherton & Dennis Martin William Shields Lillian Shirley Alan Shusterman Jon Sinclair Constance Smith Olivia Smith Kelly Smith Olivia Solomon Maren Souders Angela Sparks Robin Spear Rhonda Studnick Kaiser Cynthia Sulaski Michael Taylor Nadia Telsey Gilah Tenenbaum Eric Terrell Sylvia Tesh William Thomas Frederick Thompson Marissa Thompson Deanna Toyoshima David Traisman Marcia Truman Lyle Tucker Shelley L Turley P. Mason Vanburen Roxane Waldron Carol Wallace Gary Wallulis Ginger Walter Katie Watkins Pat Weathers Kathleen Weidenbaum Emmett Wheatfall Ursula White Shan Wickham Ireneusz Wielgosz Lucy Willard Claire Willett Fred Williams Caroline Wilson Faith Winegarden Dr. Carol S Witherell Susan Wladaver-Morgan Phyllis Wolfe Tony Wolk Katherine Woods-Morse Shelby Wright Linda Wysong Jacqueline Yerby Mari Yerger Richard York Gretchen & James Young Janet & Alan Zell Merrie & Jonathan Ziady
PORTLAND PLAYHOUSE Portland Playhouse is dedicated to
producing quality, intimate, performances in which the interaction between artists and audience is paramount. We hold theatre to be a space in which people of all social, economic, racial, sexual and political backgrounds can come together to celebrate the complexity of our shared human experience.