george bernard shaw - EncoreArtsSeattle.com

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MARCH 2016
MAR 15–APR 10, 2016
By George Bernard Shaw
Directed by Victor Pappas
2016 SPRING
STATEWIDE TOUR
The Tempest
Romeo and Juliet
2015–2016 INDOOR SEASON
The Comedy of Errors
Mother Courage and Her Children
Titus Andronicus
Mrs. Warren’s Profession
Romeo and Juliet
2016 SUMMER
WOODEN O
Hamlet
Love’s Labour’s Lost
FEB 11
THROUGH
MAY 8
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CONTENTS
MARCH 2016
MAR 15–APR 10, 2016
Mrs. Warren’s Profession A2
2016 SPRING
STATEWIDE TOUR
The Tempest
Romeo and Juliet
2015–2016 INDOOR SEASON
The Comedy of Errors
Mother Courage and Her Children
Titus Andronicus
Mrs. Warren’s Profession
Romeo and Juliet
ES056 covers.indd 1
2016 SUMMER
WOODEN O
Hamlet
Love’s Labour’s Lost
1/19/16 2:12 PM
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A White MLK?
Q & A with
Valerie Curtis-Newton
The director on a nontraditional
casting controversy.
BY BRETT HAMIL
I recently read an article in the Washington Post about an
amateur staging of The Mountaintop, a play about the inner life
of Martin Luther King, Jr. on the eve of his assassination. This
Kent State University production made the papers because its
director cast a white man to play Dr. King. Controversy ensued.
Playwright Katori Hall wasn’t having it; she called the choice
“a disservice to not just Dr. King but the entire community” and
added a new clause to her licensing agreement that stipulated
that both characters be played by actors who are African
American or Black.
Reading the article, I knew exactly whom I needed to talk
with about this latest controversy in the annals of race and
theatre: Valerie Curtis-Newton. I’d interviewed her back in 2014
when she directed an ArtsWest production of The Mountaintop
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and she schooled me on matters of race in theatre, even specifically
answering what I assumed at the time was a dumb question: could The
Mountaintop be cast non-traditionally, with a white actor? (Short answer: no.)
Curtis-Newton is no stranger to the complexities of race and identity in
casting; her staging of Arthur Miller’s All My Sons with an all-black cast at
the Intiman was praised for bringing a new depth to the play, and she’s the
director of the Hansberry Project, a theatre lab that gives primacy to the
black voice and perspective. This year she directed The Motherf***er with the
Hat for Washington Ensemble Theatre, a show that’s also seen productions
criticized by its playwright for casting choices.
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Curtis-Newton speaks with clarity and a
wealth of professional experience on these
matters, so it’s a no-brainer that I’d come to
her with questions about this white MLK. In
our previous interview I promised CurtisNewton that the next time I talked to her it
wouldn’t be about some problematized racial
situation in theatre.
“You lied,” she teased. Nevertheless, she
helped me navigate the prospect of a white
MLK.
The problem, fundamentally, is that many
times in plays that are typically cast with
white people, white isn’t explicitly what’s
required to execute the role. The neighbor,
the friend—the world of the play can be more
diverse when the themes aren’t explicitly
about race or when we can play it in a
color conscious way, utilizing race to our
advantage.
When I came across the article in the
Washington Post I had to get your take on
it because it’s something we talked about
very specifically when I interviewed you
last time. What was your first reaction?
Can you characterize the director’s
relationship to the author? Obviously
Katori Hall opposed this and had the
actual play amended. That’s probably
a note she never thought she’d have to
make, to stipulate the role of MLK was
intended for a black actor.
I was surprised that the director was a
director of color, but I wasn’t surprised
that someone made the attempt to
nontraditionally cast The Mountaintop.
When I nontraditionally cast All My Sons for
the Intiman, we got the permission of the
Miller estate. I didn’t just pull off and say,
“Let’s do it” and not check.
It complicates it that it’s a director of
color, yes?
Do you always respect the playwright’s
wishes?
It complicates it on several counts, not the
least of which is that it’s a historical play
and the playwright’s intention was to climb
inside the heart of that historical character.
It wasn’t about testing out any other themes;
it was about what goes on in the mind of an
MLK. So that was problematic for me, and
I didn’t understand the director proceeding
without the playwright’s consent for such a
largely experimental concept.
I think it’s my job to try to interpret what
the playwright has written and to envision
a production that lands the thing the
playwright was interested in landing. I might
find new ways to do that or ways that are
different than you might do, but I’m still
going for what the playwright’s intention
was. In the case of The Mountaintop, there
really wasn’t any concern for what Katori
was interested in. It’s not like [the director]
did something experimental to try and get
more at the same things, he wanted to get at
something completely different.
My first thought was “Why?” What’s the
point?
I can’t tell you how many productions I’ve
made of plays by black playwrights that
were written with black actors in mind
where, once the show ran, people came
up to me and asked, “Could this have been
done with white people?” It’s a common
occurrence. We’ve conflated universal
themes with universal experience, with
universal specificity. That you and I can both
understand loss doesn’t mean that we’ve
experienced the same loss.
It seems like the director [of The
Mountaintop] was trolling everyone. It’s
almost like that reaction you get from
anti-Black Lives Matter people who say,
“Why do you even have to see color?”
Yeah, I think that it is this sense that there
should be a kind of quid pro quo. “If you,
actor of color, want to be nontraditionally
cast in roles that belong to me as a white
person, then I should be able to get roles
that are written for you. If I’m giving up
something I should get something back.”
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It feels exploitative.
I think so. There are directors who are
interpretive and directors who are auteurs.
When you are operating as an interpretive
director then you really have to be concerned
with the playwright’s intention: what they
hope to accomplish, what questions they
hope to raise for the audience. When you’re
an auteur director you can pretty much do
whatever the hell you want, but it has to be
your material or it has to be in the public
domain. And so knowing what kind of
director you are and what kind of work you’re
performing gives you the guidelines by which
to create a concept for elucidating the things
in the play.
Having just directed this play, you seem
fairly placid about it. Was there a huge
eyeroll when you heard about this
production? Were you agitated?
No. I am old enough now to recognize that
people are gonna do what they’re gonna
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do. If I was the playwright I’d have been
pissed as hell. As another artist, people
make what they make and then they take
the consequences for having made it. For
me, that’s what being an artist means. So
this director made a choice. I think it was
a sucky choice, a bad directing choice, but
getting mad about it, that’s not what its
about.
I wouldn’t get any more mad about it than
I’d get about The Mikado’s yellowface. They
can make that play if they want to. And the
audience, the community, has a right to
its response. I don’t believe in censorship
in that way, so I can have feelings but
ultimately the deal is that it awakened
Katori to what is really on the page and a
community had a response to it that the
director and the producers felt. They won’t
do that again. That’s the right way to solve
these things, for everybody to stay in their
lane. In this case the director got out of his
lane and started to be a playwright.
But this also gets at the broader issues
of inclusion and the Black Lives Matter
movement. It feels counter to that
broader movement. Does it hurt, sending
these mixed signals? To me it felt like
“All Lives Matter” in theatre form.
If I’m really honest, ultimately this was just
same shit different day. I can’t open a vein
every time someone gets it wrong, because
we don’t live in a place where most of the
time people get it right.
So doing what you do is your affirmation
of what you believe.
HENRY ART GALLERY
H E N R YA R T.O R G
I do what I do and I have an opinion. I
share my opinion—I’m sharing it with
you. I work with people who want to not
go down that path. I try to help educate
people who don’t understand why that
path could be problematic. But I wouldn’t
say absolutely “you can’t do that” because
that’s not the forum for artists. The sacrifice
or the censorship of artists and the right to
make, quite frankly, offensive shit is still
important. I want to hold onto that because
at some point someone will want to use it
against me.
Paul McCarthy
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Paul McCarthy. White Snow Dopey Dopey Head, 2013-2014.
Black Walnut. Image courtesy of the artist and Hauser & Wirth.
Photo: Farzad Owrang.
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Mar 05 – Sept 11
Which gets at the heart of this bigger
discussion: “The ‘PC Police’ are silencing
us! I’m not allowed to talk about race
because I’m white!”
Sometimes I do feel like the ACLU defending
the Klansmen in Skokie. But without that
defense, Black Lives Matter wouldn’t be able
to happen.
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What is your favorite aspect of stage
blood?
The reaction when it works, on stage and
off. When an actor gets blood on their hands
it’s visceral. It’s real. Even though you know
it’s fake, it feels real. It’s awesome to watch
actors react to it in a very real way, and the
audience, too.
What is the most challenging aspect of
stage blood?
It’s how to hide the apparatuses. An actor
needs to know how to hold it, how to use it
at the right time, how to pop the blood pack.
It can be pretty tricky and when an actor is
already nervous on stage. It’s challenging for
them, sometimes, to make sure the audience
doesn’t see a tube or something. To keep it
hidden is key. Also, it’s a bummer when the
blood goes off before it’s supposed to.
Blood Consultant:
Talking Stage Gore with
Julia Griffin
BY JONATHAN SHIPLEY
Julia Griffin is all over the Seattle theater scene. She’s the casting director and artistic associate
for Theater Schmeater, she’s directed for the likes of Annex and Seattle Public Theater and
she’s acted in productions for GreenStage, Driftwood Theater and more. She’s also a blood
consultant. That is to say: she’s someone who concocts stage blood and makes it flow on stage
using all sorts of tools, gadgets and theater magic. Most recently she consulted for Seattle
Shakespeare’s gore-drenched Titus Andronicus and GreenStage’s “Hard Bard” production of
The Duchess of Malfi.
We sat down with her to talk stage violence, catheter bags and how much blood flows when
someone gets shot in the stomach.
How does one become a blood consultant?
It’s pretty random, I know. I took makeup classes in college. I liked gross, bloody stuff for a
long time. I would watch surgery shows in high school. Like, documentaries of surgeries. In
college I took those classes and started doing zombie makeup—that was fun. When I started
working at Theater Schmeater I did a lot more zombies. I was involved in a lot of GreenStage’s
“Hard Bard” productions. Those are ridiculously bloody.
What is a blood consultant?
We make the blood flow on stage. I never thought at my age I’d buy so many catheter bags.
PHOTO: DAVID WULZEN
Do you have any sort of medical background?
I watched horror movies and watched a lot of YouTube videos. So...no.
What is stage blood?
Blood powder. It’s just stage makeup. Combine powder with corn syrup and water and you
have blood. It works better than, say, Kool-Aid or food coloring. For one, those things stain. I go
up to the Display & Costume store and buy them out of stock.
What other supplies do you need?
Blood packs are just Saran wrap. I also use a lot of syringes. Catheter bags. Those nose bulb
sucker things you use on babies.
My favorite kill I’ve ever done on stage
was in a production of Reservoir Dolls
[an adaptation of Quentin Tarantino’s
Reservoir Dogs]. It involved Black Cats [a
type of firework]—I don’t think they’re even
legal—and when it happened, blood went
everywhere. Smoke curled off her chest. It was
so cool looking.
Are you ever concerned of there being TOO
much blood?
I’m never concerned about over-bleeding. The
more blood the better! I do know how much
blood a body spills when they get shot in
the stomach; I’ve looked it up. I know when
an artery splits how long it spurts. You want
enough blood for the audience to react to it.
Obviously, if you have a paper cut on stage,
you’re going to bleed more than in real life.
The audience has to see it.
How easy is stage blood to clean up?
OxiClean™. Soak costumes in it and we’re
good as new. Or just wash them if they’re
not too bloody and they’re fine. The blood
on stage takes a little more effort to clean.
It’s usually just a combination of bleach and
water.
Is OxiClean™ what we should use, then,
to clean up real blood?
Fortunately, I’ve never had to clean up large
pools of [actual] blood, but probably that’d do
the trick.
For more previews, stories, video and a look
behind the scenes, visit EncoreArtsSeattle.com
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The theatre season roars into spring
with rockin’ musicals, powerful new
plays and the return of a beloved
children’s book icon.
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EMERGENCY FEEDING PROGRAM
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March 25–April 17
The 5th Avenue Theatre presents the Northwest
premiere of the Broadway bio-musical about
the life, music and influences of the whiskeyvoiced queen of 1960s blues rock. The show,
written by Randy Johnson, also highlights
some of the towering blues icons who inspired
Joplin including Etta James, Aretha Franklin,
Nina Simone and Bessie Smith.
The 5th Avenue Theatre
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for lunch, dinner or weekend brunch.
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WORLD PREMIERE
A SPIRITED AND INSPIRING MUSICAL OF STRENGTH AND COURAGE
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March 25–April 24
This new play by Kimber Lee explores
resiliency and pain in the face of tragedy. The
show’s non-linear storyline revolves around
the tragic shooting of Tray, a high school senior
in Brooklyn preparing for his future. Family
members struggle with their loss and eulogize
the boy whose death the rest of the world sees
as just another sad statistic.
Seattle Repertory Theatre
Dr. Seuss’ The Cat in the Hat
April 14–May 22
The epitome of Dr. Seuss’ mischievous and
madcap legacy, the cat returns to transform a
rainy day into non-stop adventure along with
his acrobatic sidekicks, Thing One and Thing
Two. He leads Sally and her brother—and their
skeptical pet, Fish—through zany schemes,
messy misadventures and Seussian rhymes to
dispel the boredom. But what’ll happen when
mum gets home?
Seattle Children’s Theatre
The Flying Dutchman
May 7–May 21
The Seattle Opera presents Richard Wagner’s
haunting fable of a sea captain forced to sail
the seas forever in a ghostly ship and the
young woman who can end his curse. Directed
by Christopher Alden with sets and costumes
by Allen Moyer; Greer Grimsley alternates with
Alfred Walker as the Dutchman.
Seattle Opera
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MARCH 17 – APRIL 24 APRIL 29 – MAY 22
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Sharing
Shakespeare
It’s no accident that education and outreach programming have been a core part of
Seattle Shakespeare Company for most of our 25 year history. Co-founder Cornelia
Moore can still recall her own introduction to Shakespeare when a touring production
performed at her elementary school, “It began a lifelong fascination with the power of
words, and how they have the ability to affect the humans that listen to them.”
Classroom workshops and performances serving Seattle area schools started in our
third season, followed by student matinee performances of mainstage productions,
then summer and after-school camps. Today education and outreach is Seattle
Shakespeare Company’s biggest program, serving more individuals than our free
outdoor summer shows or mainstage productions. For many students across
Washington State, our in-school workshops and performances are, like for Cornelia
years ago, their first experience with classic theatre.
Elizabethan Dance workshop
Performance Showcase residency
Touring performance
Post-show Q&A with touring cast
Scene Study workshop
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CAST
Vivie Warren
Emily Chisholm*
Mrs. Kitty Warren
Bobbi Kotula*
Sir George Crofts
Richard Ziman*
Reverend Samuel Gardner
Todd Jefferson Moore*
Mr. Praed
Robert Shampain*
Frank Gardner
Trevor Young Marston
PRODUCTION TEAM
Director
Victor Pappas**
Stage Manager
Brenda K. Walker*
Set Designer
Martin Christoffel
Costume Designer
Jocelyne Fowler
Lighting Designer
Jessica Trundy
Sound Designer
Robertson Witmer
Properties Designer
Marleigh Driscoll
Dialect Coach
Alyssa Keene
Technical Director
Seattle Scenic Studios
Properties Artisan
Robin Macartney
Assistant Stage Manager
Shane Unger
RUNNING CREW
Wardrobe Supervisor
Cat Menkel-Lawrence
Master Electrician / Light Board Operator
Angelo Domitri
Sound Board Operator
Jessica Jones
* Member of Actors’ Equity Association, the Union of
Professional Actors and Stage Managers in the United States.
** Member of the Stage Directors and Choreographers
Society, Inc.
SPECIAL THANKS
American Life Inc
PRODUCTION SPONSORS
PLOT SYNOPSIS
Vivie Warren, a modern young
woman, has just graduated from
the University of Cambridge with
Honours in Mathematics. Her
mother, Kitty Warren, arranges for
Vivie to meet her friend, Mr. Praed, a
middle-aged, handsome architect, at
the home where Vivie is staying.
Mrs. Warren arrives with her
business partner, Sir George Crofts,
who is attracted to Vivie despite
their 25-year age difference. Vivie
is romantically involved with the
young Frank Gardner, who sees Vivie
as his meal ticket. Frank’s father,
Reverend Samuel Gardner, shares
past history with Mrs. Warren.
Mrs. Warren explains to Vivie why
she chose prostitution to raise
herself out of poverty and give
Vivie opportunities she never had.
She saved enough money to buy
into a chain of brothels across
Europe, which she now owns with
Crofts. Vivie is, at first, horrified by
the revelation, but then lauds her
mother as a champion.
The reconciliation ends when Vivie
finds out that her mother continues
to run the business even though she
no longer financially needs to. Vivie
takes an office job in the city and
dumps Frank, vowing she will never
marry. She disowns her mother,
and Mrs. Warren is left heartbroken,
having looked forward to growing
old with her daughter.
Adapted from Wikipedia
The taking of pictures or the making
of recordings of any kind during the
performance is strictly prohibited.
A-2 SEATTLE SHAKESPEARE COMPANY
Emily Chisholm
Bobbi Kotula
CAST BIOS
For enhanced actor profiles and
photos from past productions, check
out the Mrs. Warren’s Profession page
at seattleshakespeare.org
Emily Chisholm
Vivie Warren
Previous Seattle Shakespeare Company
appearances include The Servant of Two
Masters and Twelfth Night (Wooden O).
Emily is a Company Member at New
Century Theatre Company where she
performed and co-produced the west coast
premiere of Annie Baker’s The Flick and
David Eldridge’s Festen. Recently in Seattle,
Emily performed in Outside Mullingar
directed by Wilson Milam; Bethany,
directed by John Langs; and the American
premiere of Sugar Daddies, directed by
Sir Alan Ayckbourn. Other credits include
productions with Seattle Repertory
Theatre, ACT Theatre, Seattle Public Theater,
Washington Ensemble Theatre, Seattle
Children’s Theatre, and Arena Stage, among
others. This year Emily joined the acting
ensemble of The Seagull Project, where
she will perform in Uncle Vanya. Emily is a
graduate of Cornish College of the Arts.
Bobbi Kotula
Mrs. Kitty Warren
Bobbi hails from Pennsylvania where
her first role was starring in the local Girl
Scout Troop’s retirement-home-tour of The
Little Lost Girl. Since then she graduated
with her BA in Theatre from Penn State,
studied for her masters in directing from
Villanova University, and earned her teacher
certification. She is grateful to her Mom and
the generations of women before her who
fought for Ms. Kotula’s education and life of
independence. Appearing at Off-Broadway,
Village Theatre, The 5th Avenue Theatre,
ACT Theatre, Seattle Repertory Theatre,
and Intiman Theatre, her favorite roles
include: Molly Brown, Peter Pan, Dolly Levi,
Miss Hannigan (Annie), Kate (The Taming
of the Shrew), Paulina (The Winter’s Tale),
Hildret Heinz (Iron Curtain), Golde (Fiddler
on the Roof), Vic (Stu for Silverton), and Mrs.
Todd Jefferson Moore
Potts (Beauty and the Beast). Her film, radio,
and television work can be seen anytime.
Thanks for being here right now.
Frank Gardner
Trevor most recently appeared in Titus
Andronicus and previously performed
two years with Seattle Shakespeare
Company’s statewide touring productions.
A Seattle-based actor and producer, he has
performed locally with Book-It Repertory
Theatre, Seattle Public Theater, Playing
in Progress, Island Stage Left, SOAPfest,
ReAct Theatre, and the 14/48 Projects. As
a producer, Trevor has helped bring to the
stage the world premieres of For Christmas
by Nick Edwards, A Cure for Pain by
Stephanie Timm, Boots by Libby Matthews,
and Barbarians — a devised piece with SITI
Company associate Jeffrey Fracé. He earned
his MFA from the University of Washington’s
Professional Actor Training Program. Trevor
is an Artistic Associate with Akropolis
Performance Lab. You can next see him in
Romeo and Juliet later this spring.
Todd Jefferson Moore
Reverend Samuel Gardner
Todd is elated to return to Seattle
Shakespeare Company — and to work with
Victor Pappas and George Bernard Shaw
for the first time, both of whom he has
admired for years. Todd has had the chance
to do a number of iconic roles at Seattle
Shakespeare Company, including Vladimir
(Waiting for Godot), Fool (King Lear), Bottom
(A Midsummer Night’s Dream), Harpagon
(The Miser), Dogberry (Much Ado About
Nothing), Richard (Richard III), Jacques (As
You Like It), and, most recently, Egeon and
Dr. Pinch in Jane Nichols’ most marvelous
production of The Comedy of Errors. Other
recent projects include Slaughterhouse
Five and The Financial Lives of Poets (BookIt Repertory Theatre); The Wizard of Oz,
Edge of Peace, and Crash! (Seattle Childrens
Theatre); Ramayana (ACT Theatre); and
Hamlet (New City Theatre). Todd teaches
playwriting in area public schools for ACT
Theatre, attempting to keep the arts alive in
the hearts of our young.
Robert Shampain
Robert Shampain
Mr. Praed
Robert is proud to be back in Seattle (and
at Seattle Shakespeare Company!) after 11
years in Los Angeles, where he worked at
Geffen Playhouse, LA Opera, Tim Robbin’s
The Actor’s Gang (company member),
and Pacific Resident Theatre (company
member). New York, regional, and UK stage
credits include: Roy Johnson in A Light in the
Piazza (directed by Bart Sher); Traps by Caryl
Churchill (NY premiere); Inman (directed by
Sir Jonathan Miller), The Odyssey (directed by
Mary Zimmerman), and Temple (directed by
Gabriel Barre) at Seattle Repertory Theatre;
ACT; Seattle Children’s Theatre; California
Shakespeare Festival; Portland Center Stage;
You’re A Good Man, Charlie Brown (UK revival);
and many others. Film/TV includes: Z Nation,
CSI: Miami, Ghost Whisperer, Final Justice, The
Onion Movie, The Unit, Without a Trace, Law
and Order. Robert is founder and director of
BAYFEST International Youth Theatre, which
runs summer professional-level intensives
for young actors 14–21, and K–12 teachertraining programs focused on bringing
“active arts” into all classrooms.
Richard Ziman
Sir George Crofts
Richard is delighted to return to Seattle
Shakespeare Company, having played
Claudius in Hamlet, Falstaff in Henry IV Parts
1 and 2, and Buckinham/Clarence in Richard
III. Locally he has appeared at ACT Theatre,
Seattle Repertory Theatre, The 5th Avenue
Theatre, Village Theatre, and Intiman
Theatre. In a career spanning thirty years,
he has appeared on and off Broadway,
with TV and film credits including The
Sopranos, Law and Order, and 100 Center
Street. Richard is a founding member of the
Endangered Species Project and, along with
his wife Leslie Law, creator and producer of
Sandbox Radio Live.
Jocelyne Fowler
Costume Designer
Richard Ziman
PRODUCTION BIOS
Martin Christoffel
Set Designer
This is Martin’s first production for Seattle
Shakespeare Company. His designs for
ACT Theatre include: An Evening of One
Acts, The Woman in Black, Assisted Living,
The Lady with All the Answers, Little Shop of
Horrors (co-production with The 5th Avenue
Theatre). Designs for The 5th Avenue Theatre:
Carousel, Joseph and the Amazing Technicolor
Dreamcoat, The Music Man, West Side Story.
At Village Theatre: You Can’t Take It with You,
Room Service, Blithe Spirit, Noises Off, Sleuth.
He has designed the Christmas Revels for
20 years with Tacoma’s Puget Sound Revels.
Additionally, Martin designs industrials
for Microsoft, Citrix, PayPal, GitHub via
his company Scenografique and creative
agencies. He also collaborates in museum
exhibit design with the design firm Curious
Beast: Indie Game Revolution and Can’t Look
Away—The Lure of Horror Film are currently
on display at EMP.
Marleigh Driscoll
Properties Designer
Marleigh is delighted to return to Seattle
Shakespeare Company to play with props for
her 16th season with the company. Her work
with Seattle Shakespeare Company/Wooden O
includes various productions of Titus Andronicus,
Othello, The Taming of the Shrew, The Tempest,
As You Like It, Henry V, Much Ado About Nothing,
Love’s Labour’s Lost, Julius Caesar, Macbeth,
Twelfth Night, Hamlet, The Merchant of Venice,
The Merry Wives of Windsor, A Midsummer Night’s
Dream, Romeo and Juliet, Richard III, The Comedy
of Errors, Pygmalion, A Doll’s House, Measure
for Measure, and Waiting for Godot. Marleigh
has a Master’s degree in Architecture and has
been a stage manager and assistant director
for Book-It Repertory Theatre. She has worked
with Civic Light Opera, Seattle Opera, the Flying
Karamazovs at ACT Theatre, and Shakespeare
Walla Walla for Swansong.
Jocelyne has designed for Seattle Shakespeare
Company (Titus Andronicus, Richard II),
Wooden O (Henry IV Part I, The Two Gentlemen
of Verona, Henry V, and The Tempest), Book-It
Repertory Theatre (Emma, Pride and Prejudice,
Frankenstein; or, the Modern Prometheus, Anna
Karenina, Hotel on the Corner of Bitter and Sweet),
SecondStory Repertory (The Lion in Winter,
Legally Blonde, Chess: The Musical, Moon Over
Buffalo, and more), Seattle Musical Theatre
(Young Frankenstein and Legally Blonde),
Harlequin Productions (Clybourne Park, Jesus
Christ Superstar, and more), Vashon Opera (Elixir,
Albert Herring, Werther, and Eugene Onegin), and
other local theatres. Her design for Evita can
currently be seen at SecondStory Repertory.
Alyssa Keene
Dialect Coach
Alyssa is a dialect coach, actor, musician,
and teaching artist in Seattle and is thrilled
to be a collaborator on this show. Recent
dialect coaching credits: Assassins, A Christmas
Carol, Bloomsday, Cat on a Hot Tin Roof (ACT
Theatre). Recent acting credits: Penelope
in The Penelopiad (Mirror Stage), Yvette in
Mother Courage and Her Children (Seattle
Shakespeare Company), 14/48 Thunderdome
(The 14/48 Projects and Cafe Nordo), Helen
in Wizzer-Pizzer: Getting Over the Rainbow
(Theatre22), Rosie in Humble Boy (Seattle
Public Theater). Up next: coaching dialects for
To Savor Tomorrow (Café Nordo). In addition
to teaching at Cornish College of the Arts,
Freehold Theatre Lab, Seattle Film Institute,
and Jack Straw Studios, Alyssa also works as a
food tour guide with Savor Seattle.
Robin Macartney
Properties Artisan
Robin loves working with Seattle
Shakespeare Company. This is her eighth
time around, having recently done props
for Mother Courage and Her Children and
The Comedy of Errors. Professional credits
include design work with Café Nordo,
Freehold Theatre, Pork Filled Productions,
Theatre22, Youth Theatre Northwest, Live
Girls!, Annex Theatre, Macha Monkey,
Printer’s Devil Theatre, Tongue and
Chic Productions, and Ese Teatro. She is
the Theatre Department’s Scene Shop
Supervisor at the University of Puget Sound
as well as Front of House manager at the
Theatre Off Jackson.
Catherine Menkel-Lawrence
Wardrobe Supervisor
Last unseen during Book-It Repertory
Theatre’s production of Emma, Cat is very
excited to be backstage for her first show with
Seattle Shakespeare Company. This will be
her fourth show in the Center Theatre (along
with . . . and Jesus Moonwalked the Mississippi
and Indian Ink with Sound Theatre Company).
Following graduation from Lewis and Clark
College, Cat bounced around the US and is
happy to now be living and working in the
Pacific Northwest. When not assisting with
changing or sewing costumes, Cat is an
A.V.I.D. Tutor for the Shoreline School District,
helping disadvantaged youth achieve their
dreams of college. She is also working to
get back into competitive swimming shape.
Other selected credits include: Intiman
Theatre Festival 2015, WA; Miracle on 34th St,
State Fair, and Driving Miss Daisy at Round
Barn Theater, IN; and La Cage Aux Folles, Music
Man, and Race at Weathervane Theater, NH.
Victor Pappas
Director
Victor previously directed The Importance of
Being Earnest for Seattle Shakespeare Company.
Other Seattle productions have included The
Price, Other Desert Cities, Old Times, Mary Stuart,
The Trip to Bountiful, Stuff Happens (all at ACT
Theatre); Skylight, The Glass Menagerie, Betrayal,
Smash, Playland, Gross Indecency, The Turn of
the Screw, A Question of Mercy (all at Intiman
Theatre); the world premiere of Mark Jenkins’
All Powers Necessary and Convenient; workshops
of Jenkins’ Red Earth, Gold Gate, Shadow Sky;
three concerts for Showtunes (Anyone Can
Whistle, Follies, Falsettos); and various others.
His shows have received eight Seattle Times
Footlight Awards and three Gregory Award
nominations, and he received the Los Angeles
Drama Critics Association Award for his
direction of Jamie Baker’s South Central Rain.
He was a founding member of Theatre Puget
Sound and is a proud member of SDC, the
Stage Directors and Choreographers Society.
Seattle Scenic Studios
Technical Director
Seattle Scenic Studios is the only non-profit,
scenic fabrication organization in the United
States. They provide technical support to nonprofit theatres and museums throughout the
state, including Seattle Shakespeare Company.
Seattle Scenic has supported productions from
Washington to New York, from Lincoln, NB, to
Spoleto, Italy. They also train the next generation
of technical theatre artists, supporting programs
including Roosevelt High School, Kamiak High
School, the Bush School, Evergreen Middle
School, Billings Middle School, Seattle Prep, and
Islander Middle School.
Jessica Trundy
Lighting Designer
Jessica is excited to be a part of the creative
team for Mrs. Warren’s Profession after
previously designing King Lear and The
Taming of the Shrew with Seattle Shakespeare
Company. Her work has also been seen in
Seattle at On the Boards, Seattle Children’s
Theatre, ACT Theatre, Book-it Repertory
Theatre, Washington Ensemble Theatre, and
Seattle Repertory Theatre, among others.
Upcoming designs include Stick Fly for the
Intiman Theatre Festival. She holds an MFA
from the University of Washington, was a
founder of Washington Ensemble Theatre,
and works in Seattle as a theatrical and
architectural lighting designer.
Shane Unger
Assistant Stage Manager
Mrs. Warren’s Profession marks Shane’s
first production with Seattle Shakespeare
Company. He is a freelance stage manager and
recently worked on Book-It Repertory Theatre’s
Emma and Seattle Public Theater’s Bad Jews.
Other credits include shows with Taproot
Theatre, Civic Rep, and Seattle Children’s
Theatre. Shane also works as part of the Front
of House staff at ACT Theatre. He previously
lived in Chicago and worked with Lookingglass
Theatre, Goodman Theatre, Albany Park
Theatre Project, and Victory Gardens Theatre.
Shane received his BFA in Stage Management
from Syracuse University.
Brenda K. Walker
Stage Manager
Brenda was last seen at Seattle Shakespeare
Company assistant stage managing Measure
for Measure. Previous stage management
credits include Village Theatre’s In the Heights,
No Way to Treat a Lady, and Funny Girl; Arizona
Theatre Company’s Xanadu and Snapshots.
She recently stage managed for Ballet Tucson.
Brenda is married to Adam Michard, and they
have a lovely dog named Cordelia.
Roberston Witmer
Sound Designer
Rob’s recent work for Seattle Shakespeare
Company includes Mother Courage and Her
Children, The Comedy of Errors, and Othello.
Other recent shows include Emma (Book-It
Repertory); Three Sisters, Seven Ways to Get
There (ACT Lab) and The Flick (New Century
Theatre). Recent performance credits
include Mr. Burns, a Post Electric Play (ACT
Theatre) and A Doctor In Spite of Himself
(Yale Rep, Berkeley Rep, Intiman Theatre). In
2013, Rob received the 2013 Gregory Award
for Outstanding Sound Design.
Actors’ Equity Association (AEA),
founded in 1913, represents more
than 45-thousand actors and stage
managers in the United States. Equity
seeks to advance, promote and foster
the art of live theatre as an essential
component of our society. Equity
negotiates wages and working conditions, providing a
wide range of benefits, including health and pension
plans. AEA is a member of the AFL-CIO, and is affiliated
with FIA, an international organization of performing
arts unions. The Equity emblem is our mark of
excellence. www.actorsequity.org
LEADERSHIP BIOS
John Bradshaw
DONATE TODAY
AFTER THE SHOW
Seattle Shakespeare Company
connects audiences, artists,
and communities all across
Washington State to the
universal human experience
found in classical plays.
Managing Director
Now in his thirteenth season with Seattle
Shakespeare Company, John is a graduate of
the University of Washington and has spent
nearly his entire career as part of the Seattle
theatre community. Prior to joining Seattle
Shakespeare Company, he was Managing
Director at The Empty Space Theatre and
Director of Endowment and Planned Giving
for Seattle Repertory Theatre. John served
as General Manager and Development
Director during construction and initial
operations at Kirkland Performance Center.
At Seattle Children’s Theatre, he was part of
the development staff during the capital
campaign to build the Charlotte Martin
Theatre. Prior to going into administration,
John served as an AEA stage manager at
several professional theatres in Seattle. John is
on the Honorary Advisory Board for the School
of Drama at the University of Washington and
the Board of Directors for TeenTix.
George Mount
Artistic Director
For Seattle Shakespeare Company, George
has appeared in Titus Andronicus, Twelfth
Night, Richard II, Love’s Labour’s Lost, A Doll’s
House, The Comedy of Errors, The Taming of the
Shrew, King Lear, Richard III, and Macbeth and
directed Henry IV Part I (Wooden O), Waiting
for Godot, Much Ado About Nothing, As You
Like It, and The Tempest as well as statewide
touring productions of Hamlet, Macbeth,
A Midsummer Night’s Dream, and Othello.
George is the founding Artistic Director of
Wooden O, where he has played Malvolio,
Iago, Richard III, Shylock, Hamlet, Cassius,
Benedick, Caliban, Romeo, and Feste and
directed Henry IV Part 1, Henry V, The Comedy
of Errors, Romeo and Juliet, Julius Caesar, The
Tempest, A Midsummer Night’s Dream, and
Much Ado About Nothing. Other credits include
work at ACT Theatre, Book-It Repertory Theatre,
Seattle Public Theater, SecondStory Repertory
Theatre, and Village Theatre.
You can help us celebrate our
25th Anniversary by supporting
our future with a donation.
On stage, in the parks, and in
schools, our plays and programming
delight and inspire people of all
ages and backgrounds.
No gift is too large or too small.
Your gift will benefit communities
and schools, and help foster the
next generation of compassionate,
creative individuals.
THANK YOU
See the show touring
across Washington State!
GEORGE
BERNARD
SHAW
George Bernard Shaw was an Irish playwright, novelist, journalist, and co-founder of
the London School of Economics. His early career focused on journalism and political
activism, but he gained enduring fame as a playwright. Many consider Shaw the
second-greatest playwright in the English language after William Shakespeare.
Shaw was born in Dublin in 1856 to a lower-middle class family of Scottish-Protestant
ancestry. His father, George Carr Shaw, was an unsuccessful grain merchant and
his mother, Lucinda Elizabeth Shaw, was a professional singer and vocal teacher
who moved to London when George was a teenager. Shaw remained in Dublin to
complete his schooling, which he hated, and worked as a clerk in an estate office,
which he hated just as much as school.
At twenty, Shaw moved to London and lived with his mother while pursuing work as a
journalist and novelist. He read voraciously, spending afternoons at the British Museum
and evenings attending lectures and debates. He became involved in progressive
politics and distinguished himself as a public speaker, developing an aggressive
and energetic style in both his speaking and writing. Shaw co-founded the Fabian
Society, a political organization dedicated to transforming Britain into a socialist state
through progressive legislation and mass education. The Fabian Society would later be
instrumental in founding the London School of Economics and the Labour Party.
A TALE REVEALING THE
MAGIC AND POWER OF
THE HUMAN HEART.
Shaw wrote as a music, art, and drama critic for London’s Saturday Review but grew
weary of the intellectually barren melodramas fashionable at the time. His passion
was for progressive art, and he admired the Norwegian playwright Henrik Ibsen and
German composer Richard Wagner. Ibsen encouraged Shaw to reshape the English
stage with sophisticated plays that tackled important social issues.
Shaw’s first play, Widowers’ Houses, was produced in 1882. In the next few years he
wrote close to a dozen plays, including Mrs. Warren’s Profession. Shaw’s plays had enough
success abroad that he could quit his job as a critic and work solely as a playwright.
Photo: Island in the Sky by Shane M. Kalyn
Center Theatre
Public Performances
Friday, April 15 at 7:30 pm
Saturday, April 16 at 2:00 pm
Saturday, April 16 at 7:30 pm
seattleshakespeare.org
In 1898, Shaw married Charlotte Payne-Townshend, an Irish heiress he had met
through the Fabian Society. Their marriage lasted until Charlotte’s death in 1943.
The outbreak of World War I changed Shaw’s life. His anti-war speeches and
controversial writings made him an unpopular figure in London. His single wartime
play, Heartbreak House, exposed a dwindling faith in humanity. After the war, he
wrote two more plays about “creative evolution,” Back to Methuselah and Saint Joan,
expressing despair that mankind needed a much longer life to achieve the wisdom
necessary for self-government.
In 1925, Shaw was awarded the Nobel Prize for Literature and in the late 1920s a Shaw
Festival was established in England. He adapted his play Pygmalion into a film which
won an Oscar in 1938. He is the only person to be awarded both a Nobel Prize for
Literature and an Academy Award (Oscar) for film. Shaw continued to write plays and
essays until his death in 1950 at the age of 94.
NEXT ON STAGE
MAY 4–MAY 22
WHAT IT’S ABOUT
It’s a story that’s practically part of
our DNA, and yet it still enchants
us. A boy, a girl, and a love so
deep that they believe they can
beat the odds. Families so caught
up in the past that they can’t
see what’s in front of them. Time
racing past. This time he’ll know.
This time she’ll see. This time the
lark will sing for them tomorrow.
Live the romance in an up-close
and intimate staging where the
dancers swirl past, the sword
fighters clash, and the heartbeat
of the play mixes with your own.
WHERE IT’S PERFORMING
Cornish Playhouse at Seattle Center
201 Mercer St
WHO YOU’VE SEEN
Mike Dooly
Twelfth Night, Richard II, The Tempest
(Wooden O), Love’s Labour’s Lost
Chris Ensweiler
Waiting for Godot, A Midsummer
Night’s Dream, Much Ado About
Nothing (Wooden O), The Two
Gentlemen of Verona
Anastasia Higham
The Tempest (Wooden O)
Justin Huertas
Twelfth Night (Wooden O), Much Ado
About Nothing
George Mount
Titus Andronicus, Twelfth Night,
Richard II, Love’s Labour’s Lost
Mrs. Warren’s Profession,
Titus Andronicus
Carolyn Marie Monroe
The Two Gentlemen of Verona
(Wooden O), Henry V (Wooden O),
The Tempest
By William Shakespeare | Directed by Vanessa Miller
“WHOLLY EVIL”
By providing a frank and
unashamed perspective on taboo
topics, Shaw so angered critics and
censors that Mrs. Warren’s Profession
was banned from performance in
England for many years. The cast
and crew were even arrested during
the first performance in New York.
Private performances and
productions abroad were what kept
the play alive, but it took 27 years
before a public performance in
England was permitted.
“A superabundance of
foulness.”
— New York Herald, 1905
“The play is an insult
to decency”
— The Herald, 1905
“The play is wholly evil”
— St. James Gazette, 1902
“It defends immorality,
it glorifies prostitution,
it besmirches the
sacredness of a
clergyman’s calling.”
— The Herald, 1905
“Immoral and otherwise
improper for the stage”
— Lord Chamberlain’s
Examiner of Plays, 1894
“The play is morally
rotten”
— The Herald, 1905 N
“The boldest and most
specious defenses of an
immoral life for poor women
that has ever been written.”
— St. James Gazette, 1902
THE NEW WOMAN
“ Although individual women from pre-historic times have accomplished much,
as a class they have been set aside to minister to men’s comfort.” — Winnifred
Harper Cooley, The New Womanhood
Vivie’s character exemplifies the “New Woman,” a heroine that emerged in popular
culture toward the end of the Victorian era and navigated the radical expansion of
rights and opportunities available to women.
Prior to 1870, when an English woman married, her property, inheritance, and future
earned wages transferred to her husband. Under “coverture” law the married couple
became one person and that person was the husband — the wife legally ceased to
exist. Married women could not sign legal documents or enter contracts, and they
could not pursue education without their husband’s permission. Unmarried women
were legally classified as “feme sole” and retained their legal identity and rights, but
had few career opportunities outside working-class positions.
This lack of rights for half the adult population was justified by a convenient portrait
of women’s “nature.” The ideal Victorian woman was sympathetic to the needs of
others, fulfilled completely and only by the duties of a wife and mother, obedient,
and chaste to the point of asexuality. Female biology was considered unsuited for
intellectual pursuits, and physicians discouraged women from engaging in academic
study as it could put their health in peril. The fragile nature of women dictated
that they be sheltered from the harsh reality of the newly industrialized world and
sequestered to their natural realm — the home.
While this “angel in the house” was a prescriptive ideal which many in the middle and
upper classes aspired to emulate, organized feminism was simultaneously gathering
momentum in England. Mary Wollstonecraft and other feminist writers in the late
1700s had articulated the exploitative function of traditional gender roles, and their
influence extended into the Victorian era. By the 1850s, England’s first women’s rights
organizations were established and went on to impact property laws and access to
higher education for women, as well as to criticize gendered double standards in
sexual morality.
A flurry of new laws passed toward the end of the 1800s granting women rights to retain
their inheritance and earned wages (1870), earn degrees in higher education (1878), own
and control property (1882), and legally refuse sex with their husbands (1891).
It was in the wake of these monumental changes that the “New Woman” arrived. A
pendulum swing from the popular Victorian feminine ideal, the New Woman was
educated, career-focused, civically active, and determined not to be trapped in
domestic servitude as a wife and mother. The reception of the New Woman was
mixed and extreme. Iconically depicted in trousers, bicycling, and smoking, for
some she represented a brave progression in human civilization and for others an
unnatural perversion of womanhood that threatened to erode society’s foundations.
Pictured: Victorian “New Women” with their iconic bicycles.
IMMORAL ACTS
“There is no comparison to be made between prostitutes and the men who
consort with them.” — Royal Commission, 1871
The Contagious Disease Acts (CD Acts) were a series of controversial laws passed
between 1864 and 1869, and ultimately repealed in 1886. They originally sought
to address an epidemic of venereal diseases within England’s military. At the time,
gonorrhea or syphilis accounted for 29 percent of all visits to military hospitals.
Rather than screening servicemen, which was deemed too degrading to consider,
the CD Acts gave police authority to arrest any woman suspected of prostitution near
ports or army bases and subject her to a forced genital exam. In 1869, the reach of the
Acts was expanded to all of England. Women diagnosed with a venereal disease were
imprisoned in Lock Hospitals or Magdalene Asylums where they were forced to work
without pay during their convalescence, much like in today’s private prisons.
Many women during the Victorian era chose prostitution not because other
employment was unavailable, but because
the compensation for “respectable” work
was too little to survive on and required
degradingly submissive conduct. The
At the time Mrs. Warren’s Profession
majority of Victorian prostitutes were
was written, the status of “oldest
either orphaned or had lost one parent,
profession” was being applied to
and most entered prostitution at age
a slew of industries. Medicine,
eighteen and left prostitution by their
agriculture, engineering, religious
early twenties. 88% of surveyed prostitutes
office, military service, tailoring,
cited self employment and potential for
and law were each lauded as the
wealth as their primary reasons for entering
original vocation by Victorian
prostitution. It is not surprising that many
writers. It was Rudyard Kipling,
objected to involuntary confinement and
the author of The Jungle Book and
uncompensated menial labor. Inmate riots
Just So Stories, who first referred to
and disciplinary solitary confinement in
prostitution as “the most ancient
Lock Hospitals were not uncommon.
profession” in his 1899 short story
On the City Wall.
Opposition to the CD Acts inspired the
formation of several women’s rights
Kipling’s take on the “oldest
organizations which rallied public support
profession” quickly gained
to repeal the acts, led by influential figures
popularity for its usefulness
like Florence Nightingale and Josephine
as a discrete way to reference
Butler. The blatant sexual double standard
prostitution. Over a century later,
that denied women personal liberty in
this line from a fictional story is
order to spare servicemen the shame of
commonly parroted as historic fact,
exams was exposed by repealers, and
even though there is absolutely
women from every economic class were
no evidence to chronologically
galvanized to advocate for the dignity and
place sex work before the slew of
rights of their marginalized sisters.
specialized skills which emerged at
the dawn of civilization.
Pictured: Josephine Butler campaigning for the
THE OLDEST PROFESSION?
WANT
MORE?
Seattle Shakespeare Company
provides several opportunities
with each production for audience
members to learn more about the
play and interact with our artists.
The best part? They’re all free!
MOBILE APP
Available on Apple and Google
Play’s app stores, our free mobile
app features special enrichment
resources for each production. Have
plot summaries, cast bios, and our
original “Bluff Your Way Through the
Play” all at your fingerstips.
JUMPSTART LECTURES
Get to know the play before you
see it! A member of our artistic
team will bring you up to speed
on the plot, characters, and history
of the play, as well as artistic
concepts for the production.
POST-SHOW TALKBACKS
Join the cast after the performance
as they answer your questions
and share some insights into
the production.
seattleshakespeare.org/
enrichment
repeal of the Contagious Disease Acts.
First Folio in
Seattle
MARCH 17–APRIL 17
Four hundred years after Shakespeare’s death in 1616, his characters are timeless
and familiar, from wide-eyed Miranda to grim Macbeth. But how do we know
about Shakespeare’s plays in the first place?
For many of the plays, the answer is a single book: the 1623 First Folio of
Shakespeare. Assembled seven years after Shakespeare’s death, the First Folio
includes 36 of his plays — 18 of which had never been previously published. The
others had been published in small one-play booklets called “quartos.” Without the
First Folio we would not have: All’s Well That Ends Well, Antony and Cleopatra, As You
Like It, The Comedy of Errors, Coriolanus,
Cymbeline, Henry VI, Henry VIII, Julius
Caesar, King John, Macbeth, Measure for
Measure, The Taming of the Shrew, The
Tempest, Timon of Athens, Twelfth Night,
A “folio” is a large book in which
The Two Gentlemen of Verona, or The
printed sheets are folded in half
Winter’s Tale.
only once, creating two doublesided leaves, or four pages. Folios
This spring First Folio! The Book that Gave Us
were more expensive and far more
Shakespeare by Folger Shakespeare Library
prestigious than “quartos.” Seven
will bring original editions of the First
years after Shakespeare’s death,
Folio to all 50 states, Washington, DC, and
John Heminge and Henry Condell,
Puerto Rico. It will be displayed at Seattle
his friends and colleagues in
Public Library’s downtown location March
the King’s Men acting company,
21 through April 17.
curated almost all of Shakespeare’s
plays to publish as a folio edition.
Visitors will come face to face with the
ABOUT THE FOLIOS
Donate to Seattle
Shakespeare Company
during GiveBIG on May 3,
and your gift will have a
big impact!
original 1623 book, displayed open to
Hamlet’s speech in which he debates
whether “to be or not to be.” Seattle
Shakespeare Company and other local
organizations have partnered with
Seattle Public Library to offer an array
of public events and activities in joyful
celebration of the book that saved so
many of Shakespeare’s dramas.
For the full calendar of First Folio!
events in Seattle, visit the Seattle
Public Library website at spl.org
Adapted from Folger Shakespeare Library
The First Folio groups the plays
for the first time into comedies,
histories, and tragedies, and it
includes the Droeshout portrait of
Shakespeare, generally considered
an authentic image because it was
approved by those who knew him.
Researchers believe that 750 or
fewer copies of the First Folio
were printed; 233 survive today,
of which 82 are in the Folger
Shakespeare Library collection.
Each copy is slightly different,
partly because proofing took
place at the same time as printing.
Being able to compare different
copies side-by-side has greatly
increased our understanding of
Shakespeare’s work.
Summer Stage
Fun
Each spring, a unique group of young people in the Seattle area wonder which plays
they will delve into once they are released from school and into summer. This year,
they got glorious news: that Hamlet is in their near future!
Our Camp Bill summer programs offer the region’s young people an opportunity
to actively engage in Shakespeare’s works — not just as words on the page — but
through action, combat, singing, dancing, and performing. If kids like circus art, there
is a camp for that! If they want to learn combat, there are multiple camps for that!
And if young people want to produce an entire play in three weeks, beginning with
a script and a concept, and concluding with multiple performances, the flagship
Production Intensive is the camp for them.
Students craft costumes, assemble props and build set pieces, and they learn to work
together as scene partners to realize the fullest telling of their story. It’s an intensive
process, 8-hour days over the course of three weeks, but the hours spent together
mean that while they are creating art, they are also creating friendships.
And beyond developing their individual acting skills, campers develop a group
ethos. They play improv and warm up games like Bippity Bippity Bop — the kind
adults would recognize from team development events. By collaborating in the
artistic discovery of theatre, they learn
to give encouragement and foster trust
so that an entire group can shine.
For some campers, the unique team
built from students and the teachers and
interns is their favorite aspect of Camp Bill.
For others it’s the intensive immersion in
all parts of the theatre experience.
Whether with an introduction to acting,
circus skills, stage combat, or the intensive creation of a complete production,
Camp Bill begins with great plays and ultimately delivers discovery, experience, and
friendship.
(ages 8–18)
Campers get hands-on experience
with voice and text work, scene
study, Elizabethan dance, comedy
techniques, and stage combat —
guided by professional actors and
teaching artists.
SHAKESPEARE’S CIRCUS: HAMLET
June 27–July 1
EDMONDS COMBAT AND IMPROV
July 11–15
HAMLET STAGE COMBAT CAMP
July 18–22
HAMLET INTRO TO ACTING CAMP
July 18–22
PRODUCTION INTENSIVE: HAMLET
July 25–Aug 12
HALF-DAY COMBAT INTENSIVE
August 15–19
ENROLL TODAY!
SUNDAY / APRIL 24, 2016 / 5:30 PM
Cornish Playhouse at Seattle Center
YOU’RE INVITED!
Join us for a glimmering evening as we celebrate our 25th Anniversary! This fun party will be filled
with amazing auction items, delicious food and beverages, and many of your favorite Seattle
Shakespeare Company artists.
Celebrate in style as you support our education and artistic programs and help make great
classic stories accessible to all . . . come Bash with us!
GENERAL ADMISSION $125
VIP ADMISSTION $250
billsbash.org
INSTITUTIONAL SUPPORTERS
$25,000 and More
ArtsFund
The Boeing Company
Microsoft Matching Gifts
Program
Shakespeare for a New
Generation, a national
program of the National
Endowment for the Arts
in cooperation with Arts
Midwest
Treeline Foundation
$10,000–$24,999
4Culture
Colymbus Foundation
John Brooks Williams and
John H. Bauer Endowment
for Theatre
The Morgan Fund
The Norcliffe Foundation
Seattle Office of Arts &
Cultural Affairs
Tuxedos and Tennis Shoes
Catering
Washington State Arts
Commission
Wells Fargo Foundation
Williams Trading, LLC
$5,000–$9,999
Adobe Matching Gifts
Program
American Life, Inc.
The Boeing Gift Matching
Program
Costco Arts Education and
Access
Issaquah Arts Commission
KUOW 94.9 FM
Nesholm Family Foundation
U.S. Bankcorp Foundation
$2,500–$4,999
Anne & Mary Arts &
Environmental Ed Fund
at the Greater Everett
Community Foundation
The Bungie Foundation
Matching Gifts Program
Carillon Points Matching
Gift Program
CliftonLarsonAllen LLP
Daqopa Brands LLC
Fales Foundation Trust
THE ARDEN CIRCLE
Arden Circle members are pillars of support
who ensure Seattle Shakespeare Company’s
growth and development through a multi-year,
sustaining pledge of $1,500 or more.
David Allais
Bob and Sarah Alsdorf
Stella and Steve Bass
Mary and Scott Berg
Jeannie Buckley Blank and
Tom Blank
John Bodoia
Pierre DeVries and
Susan Tonkin
Dan Drais and Jane Mills
Sue Drais
Lauren Dudley
Rick and Terry Edwards
Emily Evans and Kevin Wilson
Ann and Donald Frothingham
Lynne Graybeal and
Scott Harron
Bert and Bob Greenwood
Maria Mackey Gunn
John and Ellen Hill
Ken and Karen Jones
Gustavo and Kristina Mehas
Sarah Merner and
Craig McKibben
Phil and Carol Miller
Nancy Miller Juhos and
Fred Juhos
Susan and Steven Petitpas
Mary Pigott
Erik Pontius
Anne Repass
TheHappyMD.com
Nicole Dacquisto Rothrock
and Tim Rothrock
Chuck Schafer and
Marianna Clark
Laura Stusser-McNeil and
K.C. McNeil
Doug and Maggie Walker
Pat Walker
Steve Wells
Janet Westin and
Michael McCaw
Susan and Bill Wilder
Jim and Jeanne Wintz
Jolene Zimmerman and
Darrell Sanders
For more information about joining the Arden Circle,
please contact Tracy Hyland, Individual Giving Manager:
tracyh@seattleshakespeare.org or 206-733-8228 x 268
seattleshakespeare.org/arden
Gartner Matching Gift
Program
Hazel Miller Foundation
Horizons Foundation
IBM International
Foundation
Mercer Island Community
Fund
Perkins Coie LLP
The Seattle Foundation
Teatro ZinZanni
$1,000–$2,499
Actors’ Equity Foundation, Inc.
Ascent Private Capital
Management
F5 Connects Matching
Program
Mercer Island Rotary Club
Moccasin Lake Foundation
U. M. R. Foundation, Inc.
$500–$999
Bill and Melinda Gates
Foundation Matching Gifts
Program
Elysian Brewing Company
Expedia Gives Matching Gift
Program
Mangetout Catering
Mercer Island Lions Club
U.S. Bank Foundation
Employee Matching Gift
Program
Savage Color
$100–$499
Bridge Partners LLC
The Coca-Cola Foundation
Eastside Acupuncture &
Chinese Medicine Center
Goldman, Sachs and Co.
Matching Gift Program
Hildegard Protection
Society
Kiwanis Club of Mercer
Island
Oriental Royal Arch Masons
#19
Starbucks Foundation
Symetra Matching Gift
Program
T-Mobile Matching Gift
Program
Workplace
Campaign Donors
Thank you to the
following companies
and organizations for
encouraging giving
through workplace
campaigns:
Boeing Employee Individual
Giving Program
City of Seattle Employee
Giving
IBM Employee Charitable
Contribution Campaign
King County Employee
Charitable Campaign
Microsoft Workplace
Campaign
Washington State Employee
Combined Fund Drive
INDIVIDUAL SUPPORTERS
$10,000 and More
David Allais
Warren and Anne Anderson
Jane and Robert Doggett
Emily Evans and Kevin
Wilson
John and Ellen Hill
Stellman Keehnel and
Patricia Britton
Mary Pigott
Doug and Maggie Walker
$5,000–$9,999
In Memory of Sid and
Rae Buckley
—
Sarah and Bob Alsdorf
Jeannie Buckley Blank and
Tom Blank
John Bodoia
Dan Drais and Jane Mills
Bert and Bob Greenwood
Maria Mackey Gunn
Mark Hamburg
Ken and Karen Jones
Douglas and Kimberly
McKenna
Phil and Carol Miller
Nancy Miller-Juhos and
Fred Juhos
Sue and Steve Petitpas
Shirley and David Urdal
Pat and Charlie Walker
Susan and Bill Wilder
$2,500–$4,999
Anonymous (2)
—
Steve and Stella Bass
Terry Barenz Bayless
Scott and Mary Berg
Marisa Bocci
Paula and Paul Butzi
John Chenault and
Wendy Cohen
Sharon Coleman
Sandra K. Farewell
Barbara and Tim Fielden
Donald and Ann
Frothingham
Lynne Graybeal and
Scott Harron
Lawrence and Hylton Hard
Randi Jean Hedin and
Andy Gardner
Jeff Kadet and Helen Goh
Steve and Carole Kelley
Susan Leavitt and Bill Block
Angelique Leone and
Ronald Fronheiser
Peter and Kelly Maunsell
Sarah Merner and
Craig McKibben
Richard Monroe
Bill Neukom
Patrick O’Kelley and
Laura McCorkle
Rosemarie and H. Pike Oliver
Dave Oskamp
Kyle and Michele Peltonen
David and Valerie Robinson
Mavis and Stephen Roe
Jim and Kasey Russell
Chuck Schafer and
Marianna Clark
Suzanne Skinner and
Jeff Brown
Laura Stusser-McNeil and
K.C. McNeil
Nancy Talley
Jim and Kathy Tune
Richard and
Catherine Wakefield
Jay Weinland and
Heather Hawkins Weinland
Steve Wells
Elisabeth S. Yaroschuk and
Miles A. Yanick
Jolene Zimmerman and
Darrell Sanders
$1,000–$2,499
Anonymous (8)
—
Rhoda Altom and
Cory Carlson
Philip and Harriett Beach
Julie Beckman and
Paul Lippert
Lenore and Dick Bensinger
Pirkko and Brad Borland
Bobbie and Jon Bridge
Janet Brown
Frank Buxton and
Cynthia Sears
Barney and
Denise Balthrop Cassidy
Steven and Judith Clifford
Mary Dickinson
Eric and Tracy Dobmeier
Lauren Dudley
Rick and Terry Edwards
Jean and David Farkas
Stan and Jane Fields
Brad and Linda Fowler
Natalie Gendler
Susan George
Slade Gorton
Lisa Hager
David and Meg Haggerty
James Halliday and
Tyson Greer
John and Wendy Hardman
Brad and Zoe Haverstein
Edwin and Noriyo Hawxhurst
Barbara and David Heiner
Lucy Helm
Susan Herring and
Norman Wolf
Harold and Mary Frances Hill
Mark Houtchens and
Pat Hackett
Jane and Randall Hummer
Dean W. Koonts
Frida Kumar
Susan Lantz-Dey and
Mike Dey
Marianne and Jim LoGerfo
Teresa Mathis
Elizabeth Riggs McCarthy and
Clement Andrew McCarthy
Gustavo and Kristina Mehas
Meg and David Mourning
Richard and Susan Nelson
Nick and Joan Nicholson
Anne Otten and
James Adcock
Sandra Perkins and
Jeffrey Ochsner
Kevin Phaup
Lori Lynn Phillips and
David C. Lundsgaard
Steve Pline and Tony Paul
Judy G. Poll
Ben and Margit Rankin
Kim and Ken Reneris
Joanne Repass and JJ Ewing
Kerry and Jan Richards
Paula Riggert
Joanne Roberts
Nicole Dacquisto Rothrock
and Tim Rothrock
Renee Roub and
Michael Slass
Harry Schneider and
Gail Runnfeldt
Ann Schuh
Kris and Rob Shanafelt
Goldie and Don Silverman
Laurie Smiley
Helen Stusser and
Ed Almquist
Tom Sunderland and
Emily Riesser
Sheila Taft
TheHappyMD.com
Dan Tierney and
Sarah Harlett
Annette Toutonghi and
Bruce Oberg
Leslie M. Vogl
Stacey Watson and
Duncan Moore
Helen Wattley-Ames and
Bill Ames
Peggy Weisbly
Janet Westin and
Michael McCaw
Sally and Tom Wilder
Jeanne and Jim Wintz
$500–$999
In Memory of Carlo and
Helen Romeo
—
Anonymous (4)
—
Eric and Lynette Allais
Kathleen and Mike Ambielli
Christine Atkins
Bradley and Sally Bagshaw
Nancy and Sam Bent
David and Debra Boyle
John Bradshaw
Anne Brindle
Roberta Browne and
Paul Vosper
David C. Brunelle
Julia Buck
Rita Calabro and James Kelly
Cathy and Michael Casteel
Hugh and Nicole Chang
Laurie Corrin
Manuela and Terry Crowley
William Cummings
Ronald G. Dechene and
Robert J. Hovden
Martin and Gillian Dey
Helen and David Dichek
Bassim and Kara Dowidar
Christopher G. Dowsing of
Morrow & Dowsing, Inc.
Sharon Durfy
John Ellis and Ann
Wilkinson Ellis
Joyce Erickson and
Kenneth Brown
Karin Fosberg and
Kevin Majeau
Nan and Bill Garrison
Rich and Kathy Gary
Christine and David Gedye
Genevra Gerhart
Michele and Gaston Godvin
Marjorie and Rick Goldfarb
Robert H. Green
Hallidie G. Haid
Chris and David Hansen
Madeline and Peri Hartman
Sandi and Shawn Heffernan
Ross and Kelsey Henry
Randy and
Barbara Hieronymus
Bill Higham
Marion Hogan
Lynn Hubbard and
David Zapulsky
Cynthia Huffman and
Ray Heacox
Fritz and Nancy Huntsinger
Brien and
Catharine Jacobsen
Karen Jones and Erik
Rasmussen
Cynthia B. Jones and
Paul J. Lawrence
Maryann Jordan and
Joseph McDonnell
Tessa Keating and
Stephen Rothrock
Kim Kemp
Andrew and Polly Kenefick
Jill Kirkpatrick and
Marcus Wheeler
Agastya Kohli
Karl and Anne Korsmo
Brian and Peggy Kreger
Kathleen Learned and
Gerald Anderson
Roger Levesque
Charlotte Lin and
Robert Porter
Mary Anne and Chuck Martin
Ellen Maxson
Beth McCaw and
Yahn Bernier
Ann McCurdy and
Frank Lawler
Neil McDevitt
Marcie and John McHale
Vicki McMullin
Brian and Launi Mead
Sue and Bob Mecklenburg
Michael and Jeanne Milligan
Timothy L. and
Heidi A. Nelson
Scott and Pam Nolte
Charles G. Nordhoff
Colette Ogle
Douglas and Alida Oles
Cheryl and Tom Oliver
Nancy and Joseph Pearl
Mark Peterson
Michael Pickett and
Ann Watson
Gwen Pilo
Ed and Cyndy Pollan
Erik Pontius
Gail and Larry Ransom
Judy and Kermit Rosen
Jain Rutherford
John Ryan and Jody Foster
Jayleen Ryberg and
Paul Moritz
Chuck and
Tommie Sacrison
Michael and
Jo Anne Sandler
Wolfram and Rita Schulte
Catherine Smith and
Carl Hu
Lisabeth Soldano
Kenneth and
Debra Stangland
Mary Jo and
Michael Stansbury
John and Sherry Stilin
Robert Stokes and
Susan Schroeter-Stokes
Jen Taylor
Mick and Penny Thackeray
Amy Thone and Hans Altwies
Ann and Gregory Thornton
Michael and Lois Trickey
Muriel Van Housen
Susan Wagner and
Don DeSalvo
Jessica Wagoner
Judith Warshal and
Wade Sowers
Jerry and Vreni Watt
Tania Westby and
Owen Richards
Leora Wheeler
Jerry and Karen White
Gregory White
Sally and Richard Wolf
Robert and Cathy Wright
Christina Wright and
Luther Black
$250–$499
Anonymous (11)
—
Shawn and Lynne Aebi
Elena Allnutt
Michael and
Carol Aoki-Kramer
Dana Armstrong
Robert Atkins
Paul and Francis Bailey
Harriet and Jon Bakken
Sally Bartow
Susan and Glen Beebe
Rena and Dana Behar
Sandra and Jonathan Bensky
Leslye Bergan
Irv and Luann Bertram
Deborah Black
Captain Paul Bloch and
Sherilyn Bloch
The Bluechel Family
Janet Boguch and
Kelby Fletcher
Ronald Bowen
Philip Brazil
Audra Brown
Jeff Brown and
Anne Watanabe
Kitty Brown and Jeff Duchin
Mary Rae Bruns and
David Middaugh
Jean Burch Falls
Sylvia and Craig Chambers
Carol Wolfe Clay
Lynne Cohee and Matt Smith
Bob and Loretta Comfort
Richard Conlin and
Sue Ann Allen
Catherine Conolly
Jeffrey Coopersmith and
Lisa Erlanger
Keith and Kerin Dahlgren
Virginia Daugherty
Cathy and Phil Davis
Sue B. Drais
Lynn Dupaul
Ian and Maria Einman
Karen Elledge and
Gerald Ginander
Martha Evans
Michael and
Deborah Fletcher
Gerald Folland
Cheryl Gagne
Fredric and Ze Gerber
Russell and Susan Goedde
Gail Goralski
Mary Gorjance and
Bob Winship
Nancy and Bob Grote
Mark Gunning and
Helen Lafferty Gunning
Leanne and Rick Hawkins
Carolyn J. Iblings
Trudi Jackson
David Jamieson
Sydney Johnson-Gorrell
Ken and Karen Jones
Angela and Peter Junger
C.R. Kaplan
Leslie and Martin Kaplan
Gabrielle Kaplan
Evan and Tremaine Kentop
Maggie Kilbourne-Brook
Karol King and
Doug Chapman
Barbara Knight
Pam Kummert
Kychakoff Family
Teri Lazzara
Simon Leake and
Molly Pritchard
Tony W. Leininger and
Andrew M. Pergakis
Peggy and Ronald Levin
Andrea Lewis
Scott Lien
Sue Livingstone and
Donald Padelford
Martha Lloyd and Jim Evans
Lance Losey
Ellen and Jared MacLachlan
Colleen Martin and
Shea Wilson
Elizabeth Mathewson
Elaine Mathies
Heidi Mathisen and
Klaus Brauer
Barbara Mauer
Joseph and Jill McKinstry
Patrick Mealey
Clare Meeker and
Dan Grausz
Mary Metastasio
Laura and David Midgley
Bruce and Elizabeth Miller
Scott J. Miller
Megan Moholt
Charles and Kathleen Moore
CoeTug Morgan
William and Judy Morton
Charles Nelson
Christine O`Connor
Hal Opperman and
JoLynn Edwards
Lisa and Keith Oratz
Anne Frances Owen
Robert Papsdorf and
Jonetta Taylor
Peggy and Greg Petrie
Larry and Gail Phillips
Kathleen and Elizabeth Pitts
Megan and Greg Pursell
Arlene Ragozin
Steve and Linda Reichenbach
Nancy Reichley and
Tim Higgins
Holly Reines
Shelly and Mike Reiss
Steven and Fredrica Rice
Annie Rosen
Patricia and David Ross
Karleen N. Sakumoto
Harold Sanford
Mika and Jennifer Sinanan
Bruce and Denise Smith
Teresa Sparling
John Spence and
Karlene Johnson
Bryanann Stavley
Derek Storm and
Cindy Gossett
Linda and Hugh Straley
Isabel and Herb Stusser
Randy Sullivan
Suzanne Suneson
Margaret Taylor
Seda and Soner Terek
Robert and Marion Thomas
Marie Thompson
Nancy Uscher
Yvonne and Bruno Vogele
Tracy Waggoner and
Tom Graff
Ellen Walker
Judy and Mike Walter
Dr. and Mrs. James K. Weber
Jim and Sharron Welch
Greg Wetzel
Rob Williamson and
Kim Williams
Wayne Winder and
Amy Eisenfeld
Michael Winters
Spring Zoog and
Richard T. Marks
$100–$249
In Memory of Haig Bosmajian
In Memory of
Clayton Corzatte
—
Anonymous (19)
—
Diane Aboulafia
Blaise Aguera y Arcas
Peter Aiau
Dina Alhadeff
Kathy Alm and Bill Goe
Georgia Angus
Bridget Ardissono
Scott Bailey
Monique Barbeau and
Rodney Snyder
Sybil Barney
Deena and Bill Baron
Janet Bartlett
Shari Basom
Shawn Baz
Arthur and Beverly Becher
Tom and Cari Beck
Sheryl Beirne
Ann Beller
Michael Berlin
Steven Billeau
Rebecca Bloom
Diane Bode
Jim and Caroline Boren
Hamida Bosmajian
Rev. M. Christopher Boyer
Sonja Brisson and
Mick Van Fossen
Jim Bromley and Joan Hsiao
Darby and Cara Brown
Mary and Tom Brucker
Darlene and Harlan Bruner
Scott and Cindy Buchanan
The Bullfrog
Kurt and Miriam Bulmer
Blake Bundesmann
Charlotte and Michael
Buschmohle
Margaret Bustion
Brian and Rebecca Butler
Karlyn and Richard Byham
J.L. Byrne and C.M. Hersh
Carrie Campbell
Jena Cane and Eric Liu
Jeffrey Cantrell
Lisa and Joel Carlson
Lisa Carpenter
David and Marilyn Chelimer
Catherine Clemens and
Daniel Speth
Lori Coates
Nancy and Monty Correll
Megan Coughlin
Christina and
Fernando Cuenca
Grace and Robert Cumbow
Vince and Darcie Curley
Deborah Daoust
Jason Dardis
Lisa Dart-Nakon
G. David Kerlick
Emily Davis
Jeff Davis
Reiner and Mary Decher
Stephanie and Walter Derke
William Diefenbach
Debbie Dimmer
Kimrick and John Dolson
Marcia and Daniel Donovan
Mike Doubleday and
Sandra Borg
Laura and William Downing
Karen Dunn and Ken Mapp
Glenn and Bertha Eades
Keith and Karen Eisenbrey
Mary Ellen Olander
John Erlick
Debbie and
Douglas Faulkner
Eric and Polly Feigl
Gwen and Henry Fenbert
Gilbert Findlay
Patricia A. Flynn
David W. Francis
Amanda Froh
Susan and Albert Fuchs
Wendy Gage
Rosalie Gann and
Steven Breyer
Kathryn Gardow and
David Bradlee
Mark and Diane Gary
Eleanor and Arye Gittelman
Georgine Goldberg
Philip B. Gough, PhD
Sharon Griggins-Davis
Janice Grimstad
Linda Haas
Karen Halpern
Amber Hanaway
Jeff Harris and Judy
Wasserheit
Margaret and Tom Hartley
Sue Hartman and
Patrick Caffee
Duston and
Kathleen Harvey
Adam Hasson
Barbara and
Douglas Herrington
Paul Herstein
Elisabeth Hill
Leonard Hill and
Cathy Stevulak
Shirley and Melvin Hogsett
Corey Holmes and
Jim Anderson
William Hopkins
Lewis and Lisa Horowitz
Maureen Hughes
Roy L. Hughes
Kathleen and Roger Huston
Melissa Huther and
Gordon Hof
Bob Ingram
Barb and Mike Ingram
Allison Jacobs
Lisa Jaret
Nathan Jeffrey
Margaret and Stephen
Jenkins
Warren Jessop
Avis Jobrack
Bill Johns and
Stephanie Kallos
Lauren Johnson
Dan Johnson and
Jill Chelimer
Brenda Joyner
Steve and Suzanne Kalish
Paris Kallas and
Arthur Faherty
Stefan Kaminski
Paul Kassen
Bill Katica
Renee S. Katz
Sharon Kean
Ian F. Keith
Jennifer Kelly and
Gerry Scully
Darragh Kennan
Gary Kirk and Norma Fuentes
Monique Kleinhans and
Bob Blazek
Ross Kling
Donna S. Klopfer
Jorji Knickrehm and
Jason Rich
Tim and Leslie Knowles
Larry Kucera
Ellen Lackermann and
Neal Stephenson
Kristen Laine
Richard Lamoreaux
Susan Lansverk
Hana Lass and Connor Toms
Meredith Lehr and
William Severson
Alan and Sharon Levy
Bonnie Lewman
Dale Lindsley and
Carol Stanley
Arni Litt
Kirby and Marlene Luther
Sabrina MacIntyre and
Thomas Delfeld
Alice Mailloux
Steve and Trina Marsh
Karri Matau and
Shelton Lyter
David Mattson
Donna McCampbell
Jennifer McCausland
Deirdre and Jay McCrary
Ann McCutchan
Joe McDermott and
Michael Culpepper
Nancy and Jim McGill
Sarah McGuinn
Mary Metz
Tami and Joe Micheletti
Michael and Yoriko Mikesell
Michael and Michele Miller
Julie Miller
William Miller
Vanessa Miller and
Eric McConaghy
Tom Miller and
Terri Olson Miller
Phoebe Ann and
Malcolm A. Moore
Terry and Cornelia Moore
Teresa Moore
Diane M. Morrison and
Joel C. Bradbury
Jill and Ed Mount
George Mount and
Amy Allsopp
Martha Mukhalian and
Ronald S. Eckerlin
Allen and Amy Murray
Peter and Amy Beth Nolte
Peter Norby
Christopher and
B.J. Ohlweiler
Joni Ostergaard and
William Patton
Norm Paasch
John and Margaret Pageler
Bill and Monica Parent
Lenore Pearlman
Meredith Perlman
Jane Pesznecker
Molly Peterson
Mary Peterson and
Agnes Govern
Peterson, Cline, and
Husted Families
Judy Pigott
Robert Pillitteri
Lauren and John Pollard
Bettina Pool
Charles Quentin Powers
and Carrie Powers
John Purdon
Daniel and Barbara Radin
Doug and Kathie Raff
Randall Family
Eric Raub
Colby Ray
Toni Read
Brian and Roberta Reed
Margo Reich
Robert and Judy Reichler
Julie Renick
Joe and Rain Reynolds
Eric and Karen Richter
Ted and Teresa Rihn
Daniel Ritter
Roberta Roberts
Lynn and Bob Rodgers
Lisle and Harriet Rose
Karen Rotko-Wynn
Charles Royce
Stephen and
Elizabeth Rummage
Aris Running
Robert Rust
Dolores Ryan
Mark Sanders
C. and Mary Sankaran
Sam and
Ruth Ann Saunders
Carole Schaffner
Marguerite Schellentrager
Michael Schick and
Katherine Hanson
Robert Schlosser
Tina Scoccolo and
Kevin Steiner
Mike Scully
Carole Sharpe and
Lou Piotrowski
John Sheets
Frances Sherwood
Polly and John Shinner
Bernice Smith
Fred Smith and
Sandra Berger
Randy Smith and
Sharon Metcalf
Carmen Spofford
Rebecca Staffel
Steven Sterne
Diane and Larry Stokke
Shelly Sundberg
Constance Swank
Annie Thenell and
Doug Moll
Ron and Cathy Thompson
Marie Annette Tobin
Maria Tomchick
Eric and Heather Tuininga
Eugene Usui
Loma Vander Houwen
Sharon and
Michael Vanderslice
Miceal F. Vaughan
Moya Vazquez
Nikki Visel
Hattie and Arthur Vogel
Colette Vogele
Padmaja Vrudhula
Julie Wade and Tom Phillips
Ian Walker
Victoria Ward
John and Margaret Wecker
Joella Werlin
Maxine Wheat
Margo and Jon Whisler
Cynthia Whitaker
William White
Evan Whitfield
Alexandra Wilber and
Andrew Himes
Ann Williams
Lin and Judith Wilson
Susan Winokur and
Paul Leach
Becky and Rob Witmer
Dan and Judy Witmer
Morton and Martha Wood
Ruth Woods
Sara Yingling and
Jason Johnson
Judith Y. Young
This list recognizes donors
with combined donations
of $100 or more made
between August 19,
2014 and February 19,
2016. Thank you! If you
wish to change your
acknowledgement listing,
please contact Kaeline Kine,
Development Associate and
Events Manager, at (206)
733-8228 x270 or kaelinek@
seattleshakespeare.org.
STAFF
Leadership
John Bradshaw, Managing Director
George Mount, Artistic Director
Artistic
Sheila Daniels, Associate Artist
John Langs, Associate Artist
Hannah Mootz, Casting Associate
Amy Thone, Casting Director
Box Office
STAY CONNECTED
info@seattleshakespeare.org
Seattle Shakespeare
Company
@seattleshakes
Lorri McGinnis, Box Office Manager
Courtney Bennett, Box Office Associate
Jordan Lusink, Box Office Associate
Hannah Mootz, Box Office Associate
Thea Roe, Box Office Associate
Lucinda Stroud, Box Office Associate
Clay Thompson, Box Office Associate
Communications
Jeff Fickes, Communications Director
Thea Roe, Graphic Designer
Development
Kaeline Kine, Events Manager and
Development Associate
Tracy Hyland, Individual Giving Manager
Annie Lareau, Institutional Grants Manager
Education
seattleshakespeare
Michelle Burce, Education Director
Casey Brown, Education Associate
Front of House
Seattle Shakespeare
Company
Dana Masters, House Manager
Courtney Bennett, Assistant House Manager
Operations
seattleshakespeare
Victoria Watt Warshaw, Bookkeeper / Office
Manager
Production
CONTACT US
Ticket office: (206) 733-8222
Administrative offices: (206) 733-8228
Fax: (206) 733-8202
Seattle Shakespeare
PO Box 19595
Seattle, WA 98109
Ticket Office Hours
Tuesday–Friday: 1–6 pm
Louise Butler, Production Manager
Jocelyne Fowler, Costume Shop Manager
Marleigh Driscoll, Properties Shop Manager
Courtney Bennett, Production Management
Intern
BOARD OF DIRECTORS
Board Officers
Sarah Alsdorf, President
Susan Petitpas, Vice President / President Elect
Marisa Bocci, Vice President
David C. Allais, Treasurer
Phillip S. Miller, Secretary
Emily H. Evans, Immediate Past President
Board Members
Steve Bass
Jeannie Buckley Blank
Lynne Graybeal
Robert H. Green
Roberta Greenwood
David Haggerty
Chris Hansen
Brad Haverstein
Steve Kelley
Nancy Miller Juhos
Patrick O’Kelley
Rosemarie Oliver
Michele Peltonen
Madhu T. Rao
Renee Roub
Chuck Schafer
Suzanne Skinner
Laura Stusser-McNeil
Tom Sunderland
Jay Weinland
Jeanne C. Wintz, Ph.D.
Jolene Zimmerman
Advisory Board
Kenneth Alhadeff
John Bodoia
Paula Butzi
Mary E. Dickinson, CPA
Dan Drais
Donald Frothingham
Slade Gorton
Maria Mackey Gunn
Ellen Hill
John Hill
Stellman Keehnel
Sarah Merner
Jane Mills
Meg Pageler Mourning
Laurie Smiley
James F. Tune
Pat Walker
Steven Wells
FACILITIES PARTNERS
ENCORE ARTS NEWS
EVERYBODY RISE
Umbrella Project Boosts Local
Playwrights
Good plays should be seen. Not just once,
or for a few weekends, but over and over, by
different audiences who will bring varied
perspectives to the work. That’s a best-case
scenario, but too often promising plays die on
the vine. Maybe they get stuck in workshops,
or never get the feedback necessary to
become production-ready. Maybe they just
never find the right theatrical home. It’s a
pattern that Norah Elges finds incredibly
frustrating.
“We’re losing artists all the time—
playwrights, actors, directors, companies—
because people feel like they hit a ceiling,”
she says. “Everyone holds a different piece
of this new play process but there’s no
organization built to pick up any slack that’s
happening. There’s no real path that’s ever
been forged from Seattle to connect to the
national conversation.”
So Elges came up with the idea for
Umbrella Project, an artistic support system
for new plays and burgeoning playwrights,
and enlisted fellow dramaturgs and theatre
professionals Erin Bednarz (Live Girls!)
and Gavin Reub (The Seagull Project) as
co-founders. The concept is still being
honed, but Umbrella aims to work closely
with playwrights to polish nascent plays to
production quality and connect them with
organizations that might want to produce
or co-produce the plays, both locally and,
ideally, nationally.
“Our investment is in the play itself,”
Reub says. “We aren’t looking to put up a
commercial venture as much as we’re looking
to create a piece that lasts for the playwright.”
Last fall, Umbrella raised more than
$20,000 via Kickstarter and opened their first
co-production, Emily Conbere’s psychological
thriller Knocking Bird. Conbere is now one
of three playwrights officially working with
Umbrella, in addition to Brendan Healy and
Benjamin Benne, whose play At the Very
Bottom of a Body of Water is currently in
development.
Umbrella currently has 13 project
liaisons, theatre company representatives
open to working with Umbrella plays and
playwrights, including Seattle Rep managing
director Jeffrey Herrmann and Satori Group
artistic director Caitlin Sullivan. The next
big project, Elges says, is getting more
liaisons from outside Seattle and expanding
local audiences, and thus, revenue. “We’re
looking to change not only the way new work
is produced but also the way new work is
funded.” GEMMA WILSON
Only at
Mirabella Seattle
Living here means being surrounded by the best the
city has to offer. Dine at a nearby restaurant, cruise
Pike Place Market, catch a show at one of the city’s
many arts venues, or simply take part in Mirabella’s
busy activities calendar. No matter what you choose,
you’ll experience vibrant urban living at its finest.
Call today for a tour and find out how
you can retire in the middle of it all.
(206) 254-1441
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116 Fairview Avenue North
Seattle, WA 98109
Mirabella Seattle is a Pacific Retirement Services Community. Equal Housing Opportunity.
Read the full Q&A with the founders of Umbrella Project
online at cityartsonline.com/umbrella
KEYCHANGE
How organizations like
Seattle Youth Symphony
Orchestras are moving the
needle on music education
in Seattle schools, and
what that means for our
city’s future.
byGEMMAWILSONnphotobySTEVEKORN
High school classrooms have a distinct din,
an aural miasma of voices chattering, papers shuffling,
school bells ringing. In a large, fluorescent-lit room in
Chief Sealth International High School, that ubiquitous,
low-grade racket is joined by the astringent whine of
student violinists and the tentative rumble of someone
noodling on a double bass.
At Sealth, in West Seattle’s Delridge neighborhood, this musical sound
is relatively new. Six years ago Denny Middle School, with which Sealth
shares a campus, partnered with Seattle Youth Symphony Orchestras
and seven area elementary schools to provide professional coaching to
students learning string instruments. When SYSO started there, Denny
had 39 kids in the orchestra. Now they have three orchestras and a
total of some 160 participating kids. As Denny’s orchestra grew, more
graduating eighth graders wanted to continue their musical education,
increasing demand for an orchestra class at Sealth. So Sealth added an
orchestra class, the Denny orchestra teacher became the Denny/Sealth
orchestra teacher, and string orchestra joined the school’s official music
classes. (A dedicated teacher had been leading and fundraising for the
schools’ bands for more than a decade.)
While Sealth’s band and orchestra are growing, they still pale in
comparison to the leading examples of music education in Seattle Public
Schools: Garfield and Roosevelt High, whose jazz bands and orchestras
have placed among the top in the country for decades. Those awardwinning programs are outliers in the city’s complicated, imbalanced arts
education ecosystem. That imbalance has deep systemic and societal
roots, and they’re not unique to Seattle. But questions of equity and arts
education on the rise nationally—in 2012, U.S. Secretary of Education
Arne Duncan declared our country’s arts opportunity gap a civil rights
issue. Denying children music as part of their education puts them at
a quantifiable disadvantage, and now the district’s offerings are being
reevaluated and reinvigorated by forces within the district and without.
The benefits of music education aren’t up for debate. Hundreds of
studies show that music education has a positive benefit on school
performance and in life. Kids who get music education have higher
grades, then higher salaries. They even vote more as adults. Mastering
10 ENCORE STAGES
an instrument requires a particular discipline that is also an excellent
teacher of perseverance.
“There are a lot of kids that don’t believe in themselves, if they’ve
often hit failure,” says Kathleen Allen, who was the school district’s
Community Arts Liaison before becoming SYSO’s Director of Education,
Communications and Partnerships. “Research has shown that this,
even more than doing well in school, is a critical component of success:
the opportunity to know that if you work hard things will change.”
As Sealth’s orchestra class warms up, orchestra teacher Jorge
Morales helps 20-some kids tune their strings and hands out music
before stepping up to his podium to conduct. Daniel Mullikin, a
professional cellist and music coach with Seattle Youth Symphony
Orchestras, aids in tuning. He moves around the room working with
individual students, making corrections and giving tips on technique.
He’s a longtime SYSO coach and has worked with some of these kids
since they were in elementary school. As the kids move through
different scales, with Morales announcing note corrections and
Mullikin adjusting fingers, the improvement in tuning is audible—and
the kids can clearly hear it too, playing louder and more confidently by
the minute.
“Having coaches there helps make more meaningful time of the
class,” Morales says. “When I didn’t have that, it was 10 or 20 minutes
of tuning some days, to then play for 10 minutes and spend half the
time talking. It was a rough, rough learning process for me.”
Coaches also help with time-consuming instrument repairs, which
Morales previously dealt with himself. (They also help Morales, who’s
primarily a pianist and composer, improve his own string skills.) When
it comes to something as specialized as playing a string instrument,
nothing beats one-on-one instruction. Finally, these once-struggling
school orchestras are beginning to thrive.
S
EATTLE YOUTH SYMPHONY ORCHESTRAS, COLLOQUIALLY KNOWN
as SYSO, was founded in 1942, and is now one of the largest youth
orchestra programs in the country. Today the group is comprised
of four different orchestras: Symphonette, Debut Symphony, Junior
Symphony and the prestigious flagship group, Seattle Youth Symphony.
That top group performs annually at Benaroya Hall and is coached by
professionals from Seattle Symphony musicians and local university
staff.
In Seattle Public Schools, students can choose to start playing an
instrument in fourth and fifth grade, says Allen. It’s a pull-out program,
which means that kids leave their regular classroom for music lessons
ENCORE ARTS NEWS
during the school day, and it’s taught by
instrumental-music specialists sent from school
to school by the district. These teachers, Allen
explains, are on part-time contracts that allow
each kid to get about a half-hour of music
instruction a week—not nearly enough to make
progress.
“Schools are allowed to buy more time,”
Allen says, “and so certain schools can get
more music, either through fundraisers or
passing the cost back to the parents.” From the
get-go, schools with wealthier students, whose
families can already afford things like quality
instruments and private lessons, get more arts
education. Those at a lower socioeconomic level
go without.
SYSO is addressing this systemic imbalance
with the newest iteration of its SYSO in the
Schools program, which works in partnership
with public schools to amplify music education.
The first iteration, which launched 25 years ago,
was the Endangered Instruments Program,
which still sends professional musicians to
middle schools and encourages kids to try
out less-common instruments—to switch
from violin to viola, for example, or from flute
to French horn. Not only can kids can find
instruments they love, and thus will stick with,
they may ultimately have more opportunity to
play in an orchestra because, as SYSO’s Director
of Advancement and Sustainability Josef
Krebs point out, “You cannot play Beethoven 9
without the bassoon.”
Six years ago, a grant from the Wallace
Foundation helped SYSO launch its Southwest
Seattle Strings Project, bringing string coaches
into eight schools, including Denny and
Sealth. Teachers get much-needed help in the
classroom and kids get specialized, sometimes
one-on-one coaching, from a consistent roster of
professionals, for free.
But funding’s the trick: Donations made to
the Endangered Instruments Program augment
schools in the Southwest Strings program
that can’t otherwise afford extra instruction.
“Systemic inequity is a big deal, and it’s an
issue that in our time we have to confront,”
Krebs says. “This is a purposeful strategy,
because everything else in the broader societal
system is designed to help rich families preserve
their own assets around arts education.” SYSO,
a private nonprofit, staffed by specialists and
unfettered by the funding woes, broad focus
and red tape of the school district, can send
professional teaching artists and necessary
supplies, like shoulder rests and rosin, directly
to the kids that need them most.
S
YSO IS JUST ONE PARTNER IN AN ARTS
education system that is dizzyingly
collaborative. Seattle Repertory Jazz
Orchestra, which provides band coaches where
SYSO provides string coaches, is another major
Seattle Public Schools partner, along with Arts
Corps, Seattle Symphony, Seattle Art Museum,
Seattle Opera and Seattle Repertory Theatre.
These organizations and many others are
working with the Creative Advantage Initiative,
12 ENCORE STAGES
from city arts magazine
a public/private partnership begun in fall 2013
(also seeded by a Wallace Foundation grant)
between the school district, the city and
countless outside partners, from community
arts organizations to individual teaching
artists.
“There’s no ego in this,” says Gail
Sehlhorst, the visual and performing arts
manager at Seattle Public Schools. “What
leads the work is equitable access to the arts.”
In an Oct. 2015 study by the University of
Washington’s Center for Reinventing Public
Education, Seattle’s public school system was
revealed to be one of the least equitable in the
country. An example: Over 34 percent of white
Denyingchildren
musicaspartof
theireducation
puts them at
aquantifiable
disadvantage.
students in Seattle attend an elementary or
middle school with reading tests scores that
rank in the top 20 percent of schools citywide,
compared to 3.4 percent of black students.
The barriers to achieving basic educational
equity are myriad, and when it comes to the
arts they become even more complex, ranging
from funding issues to rigid graduation
requirements for high schoolers.
Schools with robust PTAs can fundraise to
fill that funding gap. Sehlhorst explains that
schools without fundraising PTAs can instead
pay for arts classes using federal funds (called
Title 1 funds) that go to high-need schools
based on the percentage of their student body
receiving free or reduced lunches, among
other criteria. But there’s a problem: These
funds can be used for arts, but they don’t have
to be, and schools with tight budgets may
need them for other education basics. Plus,
some large schools fall in the middle—they
might have 40 or 50 percent of their students
getting free and reduced lunch, but still don’t
qualify for Title 1.
If you discuss public school music
education on any systemic level, you’ll hear
the word “pathway” used a lot—meaning the
route a child takes from elementary to middle
to high school, and the resulting linear growth
in skill-building. These problems of funding,
equity and access are certainly not unique
to music education, but music, particularly
instrumental music, has an undeniable
technical progression. You can begin learning
fundamentals of drawing at any time in your
life, but if you don’t start learning instrumental
technique in elementary school, you won’t
be able to play music at a middle school level,
which puts you behind on the path to play
at the high school level and beyond. Pamela
Ivezic, the school district’s K-12 music coach (it’s
worth noting that music is the only discipline
with a specialist on staff at the district level),
remembers that when she started her job eight
years ago, 23 of 52 elementary schools offered
music education. That number is now 41.
“A really important component of this work
is creating a cultural shift,” says Lara Davis,
education manager for the Office of Arts &
Culture. “There’s been a de-investment in arts
education for the last 30 years, so as we make
these decisions around increased certificated
arts instruction, materials and partnerships, it’s
really about engaging school leadership.”
Pathways aren’t just about developing skills;
they’re about changing the makeup of the city’s
decision makers. “If a person hasn’t had an art
experience in their life, then they don’t have
anything to connect to in terms of the relevance
of art in a student’s education,” Sehlhorst says.
“Right there you’re also looking at the gaps
in who has historically had access to the arts
in their public education and in their outside
life. We need to help people see the connective
tissue between what happens when a student is
engaged in art-making and their initiative.”
Another huge part of fighting inequity is
challenging assumptions about music in
certain communities: that kids at schools with
stellar music programs are somehow more
passionate or more talented rather than wildly
more advantaged.
When it comes to growing arts education, no
one can do it alone. While Creative Advantage
chips away at the holistic, systemic level,
partner organizations and teachers can address
immediate classroom needs and communities
can rally to show political and financial
support. The common goal is access and
growing the capacity of each school to provide
quality arts education to all kids. It’s important
to be strategic, but it’s also important to act fast.
“Every year we don’t invest,” says SYSO’s Krebs,
“it’s another couple hundred kids who don’t get
music, who don’t think they can make change.”
In the Sealth orchestra room, scales have
given way to a sight-reading exercise, from
which emerges the halting strains of a simple
concerto, punctuated by muffled giggles
whenever someone biffs a note. Morales stops
the kids for a quick conversation about key
signatures and relative majors and minors, and
they catch on fast. These students are learning
and improving in real time—because they’ve
been given the chance. n
ENCORE ARTS NEWS
Tod Marshall
PHOTO: AMY SINISTERRA
Washington’s New Poet Laureate
Ladies and gentlemen, the new Poet Laureate
of Washington State, Tod Marshall: “I think
of it as a service position as well as an honor,”
Marshall says, on the phone from his office at
Gonzaga University in Spokane, where he’s a
professor of English. “The previous laureates
have been amazing in their outreach and I hope
to continue that dynamic and take poetry to as
many places in the state as I can.”
This proselytizing, Marshall says, is the
prime directive of the state poet laureate. His
specific focus will be on parts of Washington
where poetry—its study, its practice, its
benefits—doesn’t have a strong foothold.
Marshall will safari to the far corners of the
state and lead readings, workshops and other
forms of engagement with the twofold goal of
connecting people to existing poetry and poets
and instilling enthusiasm within the public to
create their own works. From those far-flung
generative exercises, Marshall plans to produce
an anthology comprising new work from
budding and established poets for placement in
libraries across the state.
“We’re gonna have a poem for every year of
statehood,” he says. “You can give yourself a
civics lesson and ask how many that will be:
129 poems by the end of my term.” (Washington
became a state in 1889.) He’s leaving room for
themes to emerge as he culls the poems, though
he also expects the state’s vast and varied
geography to influence language and imagery.
Washington’s poet laureate program began
in 2007, with poet Sam Green, followed by
Kathleen Flenniken and Elizabeth Austen.
Prospective laureates are not only talented
writers but enthusiastic advocates of literacy
and literature, willing to travel far and wide
to convey the value of poetry throughout the
state. The program is jointly sponsored by
the Washington State Arts Commission and
Humanities Washington. As the outgoing
laureate, Austen officially passed the torch—
or rather, the laurels—at a ceremony at Hugo
House on Feb. 9.
“People will turn out for poetry in places
that might surprise you—Republic, Manson,
Dayton, Cathlamet,” Austen says, “and they
really appreciate it when a poet makes the effort
to come to their town for a genuine conversation
about poetry and its place in our lives.”
Among the laureates, Marshall is the first
to be based in Eastern Washington, where he
settled to teach at Gonzaga.
“I felt like I won a lotto ticket in getting a job
at Gonzaga,” he says. He was born in Buffalo
and raised in Kansas, where he also received
his doctorate. An avid outdoorsman, Marshall
says the scenery of the Northwest paired with
Spokane’s emerging arts scene have kept him
rooted.
“Spokane is a great city. I know people
complain about our cultural offerings compared
to larger cites, but I consider myself a culturally
active person and it’s more often that I don’t go
to events than find myself wanting more.”
Marshall’s most recent book of poetry, Bugle,
was published in 2014 and last year won a
Washington State Book Award. His work is
rough-edged and dark-humored, injected with
a wry fatalism that projects the urgency and
Marshall’s work is roughedged and dark-humored,
injected with a wry fatalism
that projects the urgency
and folly of man’s short
time in the world against
the cold beauty of nature.
folly of man’s short time in the world against the
cold beauty of nature. He mixes classical form
with emojis; references to classical mythology
with nods to consumer culture. Or as he puts
it, “From Lucretius to the Starland Vocal Band.
It’s all part of that stuff that we mine out of
ourselves and the world to make a poem.”
“I called the book Bugle because I thought
it had a pretty harsh music,” Marshall says.
“There’s a kind of splat-blat raucous note that
the book sounds. I know it’s full of violence and
misdeeds but the challenge of making music
out of those things is very real for many writing
today. There’s nothing in that book that one
doesn’t encounter tenfold when you pick up a
paper.”
It’s poetry’s ability to convey voice—distilled,
direct—that Marshall is most eager to share.
“I think of poetry as representative of the arts
writ large,” he says. “Whether poetry, dance,
sculpture or music, people need those things in
their lives. And the arts and poetry can provide
for a space where we challenge ourselves and
where we think about things in a different way.
Because we’re being told by many different
forces how to think about things.
“To bring poems to people that challenge how
they see the world and understand themselves
and navigate their daily joys and pains seems
important work to me. And it seems equally
important to find the language equal to their
own unique understanding and to get them to
put that language on paper.”
JONATHAN ZWICKEL
LOUDON WAINWRIGHT III
Friday, April 1 | 7:30 pm
$39, $34 & $29 | Youth/Student $15
The 2010 GRAMMY® Award-winner for Best
Traditional Folk Album is by
far the most candid diarist
of the singer-song-writers,
wringing more human truth
out of his contradiction
than any other songwriter
of his generation.
PATTI LuPONE
Thursday, April 21 | 7:30 pm
$79, $74 & $69
An American actress and singer
best known for her work in stage
musicals, Patti LuPone is a twotime GRAMMY® Award winner
and a two-time Tony Award winner. She is also a 2006 American
Theater Hall of Fame inductee.
ANA MOURA
Saturday, April 23 | 7:30 pm
$39, $34 & $29 | Youth/Student $15
Ana Moura is a Portuguese fado singer, and the
youngest fadista to be nominated for a Dutch Edison Award. An
international star who has performed with The Rolling Stones
and Prince, she brings the requisite soul and a contemporary
sensibility to the longing-filled
Portuguese music called fado.
ec4arts.org
425.275.9595
410FOURTHAVE.N.
EDMONDSWA98020
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an inside look at Seattle’s
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Seattle Design Finds a Home
Design is everywhere; design is ineffable. The
chair in which you’re sitting, the device on
which you’re reading this story, the building
you’re inside of—they’re all results of design, a
creative discipline so seamlessly enmeshed in our
everyday existence that it’s hard to understand
from an objective, layman’s perspective.
Organizations like the Seattle Architecture
Foundation, Design in Public, AIA Seattle and
AIA Washington Council exist to educate the
public on the role design and architecture play in
our lives and to advocate for better urban living
through good design.
In March, with the opening of the new Center
for Architecture & Design, all four organizations
come together under one roof for the first time.
The multipurpose Center occupies 4,500 square
feet on the ground floor of the National Building
downtown, two blocks from the waterfront. With
tall plate glass windows, a grand entryway and an
adaptable floor plan, its front half is a showroom
for rotating design and architecture exhibits that’s
open to the public. The back half is office space
for staff of the four resident nonprofits. (Briefly:
SAF serves the general public with walking
tours of Seattle and other educational programs;
DIP produces the fall’s weeklong Seattle Design
Festival as well as other events; AIA is a national
professional organization for architects that
advocates for progressive design citywide; AIA
Washington does the same statewide.)
Flanked up and down Western Avenue by
design stores and art galleries and a stone’s
throw from the offices of some of Seattle’s
premier architecture firms, the Center anchors a
burgeoning design district. Taken together, it’s all
part of Seattle’s rising profile as a design-centric
city of global consequence.
“When you look across the spectrum of design,
it’s incredible the impact Seattle is having,”
says Lisa Richmond, executive director of AIA
Seattle, during a recent walkthrough of the space.
“Teague does all of the aircraft that fly everywhere
the world, and Microsoft designs systems that
inform what people are doing around the world.
We have many examples, but people don’t think
about that as a design identity for the city yet. One
opportunity for the Center is to elevate Seattle as a
leading world design city.”
Richmond says that the AIA and its cohort
had been looking for a space since 2007 but the
economic downturn hobbled their efforts. The
National Building—a historic landmark built in
the early 1900s as a railroad warehouse—became
available in March of last year and fit their
criteria: It was the right size in a building with
design integrity, in a walkable part of the city.
Once they found the space, the organizations
went to work fundraising, generating some
$2 million in a few short months. Most of the
funding came from members of the AIA as well as
grants from 4Culture and other foundations. The
architecture industry, it seems, not only has deep
pockets but a strong desire to give itself a public
face.
“The space is a great opportunity for architects
to explain the relevance of their profession to the
layperson, as a way to engage the public with
some of the things architecture means besides
buildings as such,” says Stacy Segal, executive
director of SAF.
Opened in mid-January, the first exhibit
at the Center displays 50 or so architectural
models, 3-D, 2-D and digital, from firms across
the city as well as from students of various
architecture programs. Present in the front
window, under butcher-paper, was a model of
the new Denny Substation by firm NBBJ.
“The public can come in and see how design
happens and what goes on before things are
built,” Richmond says.
Later in the year, Fit Nation will focus
on health, fitness and active design and
Living Small will delve into the downsizing
of the urban architectural footprint. Each
exhibit will feature ongoing informational
presentations as well as scheduled workshops
and lectures. Future programming will
address urban growth, homelessness and
architecture for the blind.
“They’re topical themes relevant to the
city, with multiple angles for the general
public, families, design professionals and city
officials,” says Richmond.
JONATHAN ZWICKEL
125 YEARS
Experience
Shakespeare
March 21 to
April 17
Central Library,1000 Fourth Ave.
spl.org/shakespeare
#SHX400_SPL
and by the support of Google.org, Vinton and Sigrid Cerf,
and other generous donors
Media Sponsors:
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Gary Kunis
HAMMERANDHAND.COM
PORTLAND 503.232.2447 CCB#105118
SEATTLE 206.397.0558
WACL#HAMMEH1930M7
Karuna House, designed by Holst Architecture
and built by Hammer & Hand
2013 AIA Portland Design Award, 2014 National Institute of Building
Sciences Beyond Green Award

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