A CHRISTMASCAROLBy Charles Dickens

Adaptation and Original Lyrics by Rick Lombardo

Original Music by Anna Lackaff and Rick Lombardo

Music Arrangements by Anna Lackaff`

CASTJennifer Rowe Ebenezer Scrooge

Eric Little Topper, Molly, Dick

Quinlan Fitzgerald Christmas Past, Belle, Elizabeth, Mrs. Cratchit

Joshua T. Weinstein* Fred, Young Scrooge, Old Joe

Todd Van Voris* Marley, Mr. Fezziwig, Undertaker’s Man

Robert Durante Ship’s Pilot, Ensemble

Charles Grant Collecting Man, Mrs. Fezziwig, Christmas Present

Lauren Gruenberg Mrs. Dilber, Ensemble

McKinley Hughes Martha, Hermione, Ensemble

Rachel Lewis Bob Cratchit, Fan, Miner

Tonea Lolin Edna, Ship’s Watch, Ensemble

Tamera Lynn Ensemble

Sellah Eberly Alice, Ensemble

Maeve O’Connor Belinda, Ensemble

Atticus Salmon Boy Scrooge, Willie, Ensemble

Serelle Strickland Tiny Tim, Ensemble

CREATIVE TEAMBrian Weaver Director

Cristi Miles Director

Eric Little Music Director

David Levine Stage Manager

Jennifer McIntyre Asst. Stage Manager

Owen Walz Scenic Designer

Solomon Weisbard Lighting Designer

Ashton Hull Costume Designer

Rachel Schmerge Properties Designer

Mary Devlin Choreographer

Tamera Lynn Asst. Director

NOVEMBER 30 – DECEMBER 30

By Charles DickensAdaptation and Original Lyrics by Rick Lombardo

Original Music by Anna Lackaff and Rick LombardoMusic Arrangements by Anna Lackaff

PORTLAND PLAYHOUSE PRESENTS

A CHRISTMAS CAROL

RUN TIME: 85 MINUTES SETTING: 19TH CENTURY LONDON

PRESENTING SEASON SPONSORS

Harold Goldstein & Carol Streeter

Ronni Lacroute

OUR WORK IS MADE POSSIBLE BY

Mary & Don BlairEllyn ByeThe Collins FoundationKinsman FoundationMeyer Memorial TrustJames F. and Marion L. Miller FoundationRaymond Family FoundationJudy Shih & Joel AxelrodState of OregonPhillip TerranovaSteve & Elsie WeaverFriends of Sandra Zickefoose

SPECIAL THANKS

Lagunitas Brewing Company Reverend Nat’s Hard Cider Missionary ChocolatesStumptown Coffee RoastersNossa Familia Coffee

The photographic, video and/or audio recording of this performance by any means whatsoever is prohibited.

*Appears Courtesy Actors’ Equity As-sociation. Actors equity association, founded in 1913, represents more than

49,000 actors and stage managers in the U.S. Equity negotiates wages and working conditions, provid-ing a wide range of benefits, including health and pension plans. Equity seeks to foster the art of live theatre as an essential component of our society. www.actorsequity.org

Portland Playhouse receives support from the Oregon Arts Commission, a state agency funded by the State of Oregon and the National Endow-ment for the Arts.

PORTLAND PLAYHOUSE: This is your fourth year involved in the production—how do you keep it fresh?

JEN ROWE: I have to keep it fresh. I’ve played all of the ghosts the past three years, and the rest of the cast has changed the past three years. Scrooge and the ghosts have remained the same. I’ve come back every year wondering how I’d keep it fresh. Every year I felt I’d be unsuccessful, felt like I’d made choices, already knew the show and was like, “What was going to change a year later?” Luckily, every time I came back, a lot changed within that year. I’m very informed by what happens in my life in terms of bringing it into the stage. But after the third year, (Playhouse artistic director) Brian (Weaver) approached me to come back. I said no because I felt last year I’d done the thing. The only way I would come back to A Christmas Carol was to take on a whole new challenge. Scrooge is something that is a wild and crazy challenge.

PP: So, you’re Scrooge, huh? How did that happen?

JR: Yep. The first year, Brian approached me to read for Scrooge, but I couldn’t see that idea because I can be a traditionalist. It’s a really big choice to make right off the bat when you’re choosing to do a traditional show at a company that tends to be known for being eclectic. But then I auditioned for the ghost, so I got to play all of these crazy roles and develop different characters. It was a blast. When we met this year, he ap-proached me again about playing Scrooge… What happened the first year was he asked me to read for it but I never did—the actual director, Cristi (Miles), asked me to read for the other roles. She loved me in those roles and didn’t see me as Scrooge. And because Brian likely sensed some resist-ance, he probably didn’t nudge her too much

about me reading for that. But I’ve watched Scrooge be played for three years now by someone I adore, respect and love (Drew Harper), and as an actor, it’s hard to not imagine different choices you would make if you were going to embody the role. I feel ready, in a way, because I’ve been prepped for three years in order to play the role. I’ve watched for three years, but the rug is being completely pulled from under me because it’s going to be approaching the show from the opposite perspective than I have for

the past three years. In terms of the show’s spirituality, you’re coming from one place. As the protagonist, you’re coming from the complete opposite.

PP: It’s a classic, of course. And it’s a huge hit here specifically. Why do you think it is so enduring?

JR: In terms of production at the Playhouse, there are three main reasons why this is so enduring and awesome to do—one, the structure of the play, the shape, the form. I never thought I’d do A Christmas Carol in my life… Why? Because we write it off be-cause of what it seems to have become. In my mind, it’s an overt production rather than a story, and so you associate with its pictures rather than what Dickens was trying to say simply, in terms of story. And I love that ours is a 90-minute version that kicks out all of that production, goes into a very simple form of storytelling and is concise as possi-ble so that thread is shining through—which is how Scrooge maintains his humanity and then rediscovers his humanity at the end of the play. So, that’s why I love this show

here, this particular A Christmas Carol. The second thing is because of the style of the show—everyone is asked to attack multiple roles and shift in and out of each other’s humanity. One of the things exciting about this year is we’re also playing in terms of gender…I think that speaks to the exact heart of what this story is about—we can all shift, and we should all shift into each other’s humanity as much as we possibly can for better understanding of how we should treat each other in this world…

The third reason I love this show is because it’s only 90 minutes. I love spectacle in theatre, and I think the way this story is told in its simplic-ity provides for an amazing spectacle of human experience to just “pop” on stage. That’s one of the most reverent and spiritual experiences I get to have as a performer—when I feel the specta-cle is through the human on stage, and that is the shared experience.

PP: You’ve been in some spectacles here as you’re no stranger to the Play-house…

JR: I’ve created some spectacles here. (laugh)

PP: Is there a connection between the roles you’ve assumed at the Playhouse?

JR: There is definitely gratitude to the Play-house for keeping busy. That’s something I’ve been very grateful for… One of the things I love about Brian Weaver is what he sees in me… He sees interchangeability—he recognizes that I’m malleable. He presents the opportunity to challenge myself in what he sees. Often, like Scrooge, like Molly in Peter and the Starcatcher, especially in Mr. Burns: A Post-Electric Play, when he ap-proaches me for roles, I don’t see what he sees is going to happen. I’m not even sure he knows what’s going to happen, frankly. But I know he sees something in me that allows me to rise to whatever he demands… I quiver. I wonder if I can do this… But it’s one of the essential qualities of a leader—one of the best qualities of someone you call a leader—to put people in positions to thrive, to recognize things in people that are greater than them and to challenge them to meet those and surprise you both.

“THE RUG IS BEING COMPLETELY PULLED FROM UNDER ME…”

I think that speaks to the exact heart of what this story is about—we can all shift, and we should all shift into each other’s humanity as much as we possibly can for better understanding of how we should treat each other in this world…

PORTLAND PLAYHOUSE RECENTLY CONDUCTED A Q&A WITH JEN ROWE, WHO TAKES ON THE ROLE OF EBENEZER SCROOGE IN THE THEATRE’S MAGICAL PRODUCTION OF CHARLES DICKENS’ CLASSIC A CHRISTMAS CAROL.

CAST

PP: How’s that working out? So far, so good?

JR: Yep—so far, so good. Take a lot of trust. That’s where the penny drops. (laugh)

PP: You also direct. Is that an enjoyable ex-perience or something where you dabble?

JR: I like directing. I wouldn’t label or brand myself as a director because I’m very, very, very picky and I don’t think I’m supposed to tell every story. Even the stories I’ve told I question whether or not I should have told those stories—after the fact. I get to learn everything about the world the playwright has created. Directing is like taking a col-lege course. But instead of going to graduate school and paying a bunch of money, I get to be paid to go and learn about how people live in the world… I’ll be directing in the spring at Western Oregon University—This Girl Laughs, This Girl Cries, This Girl Does Nothing—and I’m really excited. I’ve never directed at a university or in a school setting, so that’s going to be a whole new challenge. Sure, I mainly consider myself an actor, but I’m also a producer as well. I’m also working on producing another project that will go up in the summer that I happen to be direct-ing—so I’m now reminded how much I’m directing. (laugh)

PP: Can you choose? Does one discipline affect the other?

JR: They’re so different. I definitely have to compartmentalize. I’m someone who likes to focus, is very meticulous and gets pretty analytical about one thing at a time. I have to budget my time with different projects. I can feel overwhelmed (and ex-cited!) when I think about things back to back, the different hats to take on and off when approaching different projects. It can be a lot.

JEN ROWE (Ebenezer Scrooge) has worked as an actor at Portland Playhouse in Peter and the Starcatcher, Mr. Burns: A Post-Electric Play, A Christmas Carol (this is her fourth year), After the Revolution, Bloody Bloody Andrew Jackson, and Twelfth Night. Other performances: Speech and Debate (Artists Repertory Theatre), Distracted (ART), JAW Festival (Portland Center Stage), Middletown (Third Rail Repertory). She produced and directed: Waiting, The Unseen, Mercury Fur, Phaedra’s Love and Unda with The Quick and Dirty Art Project. She directed How We Got On (Portland Playhouse) and will be directing This Girl Laughs, This Girl Cries, This Girl Does Nothing at Western Oregon University this spring. TV credits: “Grimm” and “The Librarians.”

ERIC LITTLE (Topper, Molly, Dick; Music Director) is an actor and musician native to Portland, and returns for a third year in A Christmas Carol. Recent credits: Rocky Horror Show at Live on Stage (Riff Raff), The Best Little Whorehouse in Texas at Broadway Rose (music director), and The Last Five Years at Portland Center Stage (pianist).

QUINLAN FITZGERALD (Christmas Past, Belle, Elizabeth, Mrs. Cratchit) received her BFA in Acting from the University of Cali-fornia, Santa Barbara in June 2015. Shortly after graduation, she moved to Portland as a member of the Portland Playhouse 2015-2016 Apprentice Company. Previous Portland credits include: Love’s Labour’s Lost (Portland Actors Ensemble), Peter and the Starcatcher, You for Me for You and Charles Dickens’ A Christmas Carol (Portland Playhouse). Other credits: Bloody Poetry, The Importance of Being Earnest, Middletown, The Fairytale Lives of Russian Girls (UCSB) and Spring Awakening (Out of the Box Theater Company). Thanks to the Playhouse, the cast, and her wonderful family who support and love her in a way that makes her feel like it’s Christmas all year long.

JOSHUA T. WEINSTEIN (Fred, Young Scrooge, Old Joe) is thrilled to be back at the Playhouse for another year of this dark and joyous story. Other Portland credits: The Nether at Third Rail Repertory, We Are Proud to Present..., The Miracle Worker, 4000 Miles, Tribes, Foxfinder, and Red Herring at Artists Repertory Theatre; Masque of the Red Death at Shaking the Tree; The Tempest at Portland Shakespeare Project; and Body

Awareness at CoHo Theater. Many thanks to Cristi, Brian, and the entire Playhouse team who make this journey happen. And Brandy. Always.

TODD VAN VORIS (Marley, Mr. Fezziwig, Undertaker’s Man) is honored to be tread-ing the Playhouse boards for the first time. He has recently appeared in such produc-tions as Hughie at Imago Theatre, The New Electric Ballroom with Third Rail Reper-tory, Our New Girl with Corrib Theatre and Equivocation, Equus and King Lear with Post5 Theatre. He has performed many shows with Theatre Vertigo, Profile Theatre, Action/Adventure Theatre, Artists Repertory Theatre, Portland Center Stage and others. His television credits include “Grimm” and “The Librarians.” Todd trained at Playwrights Horizons in New York City.

ROBERT DURANTE (Ship’s Pilot, Ensemble) is originally from Kingwood, Texas, and recently graduated from Hendrix College with a BA in Theatre Arts. He is a current Acting Apprentice with Portland Playhouse. He is delighted to be on the Playhouse stage for the first time in this wonder-ful production. Previous theatre credits include The Hobbit, The Diary of Anne Frank, Seminar, The Love of the Nightingale, and Mr. Marmalade. He was most recently seen in Confrontation Theatre’s production of The Every 28 Hours Plays. Robert would like to thank is his family and friends for all of their support and guidance.

CHARLES GRANT (Collecting Man, Mrs. Fezziwig, Christmas Present) is originally from Southern California and has moved to Portland to spend the year as an Acting Apprentice at Portland Playhouse. He has a BFA in Acting (and many student loans) from the University of California, Santa Barbara. Past credits include In the Red and Brown Water, Venus, The Death of Kings Part 1 & 2 and We Want the Funk. All love and gratitude to the A Christmas Carol team, my family, and my friends near and far for their love and support. Happy Holidays and God bless us, everyone!

LAUREN GRUENBERG (Mrs. Dilber, Ensemble) an Acting Apprentice, is originally from New York and earned her BFA in Acting at Boston University. She also trained in physical theatre at the Accademia dell Arte in Italy and Double Edge Theatre in western Massachusetts, as well as improv at Upright Citizens Brigade in Los Angeles. Favorite

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CAST & CREATIVE TEAMroles include the Village Idiot/Violet in Passion Play, Meg in A Lie of the Mind and Alice/Ghost/Wilson in Fen. Love to her parents for always believing in her, her spectacular friends, mentors, and the cast and crew of A Christmas Carol!

MCKINLEY HUGHES (Martha, Hermione, Ensemble) is absolutely thrilled to be spend-ing the year with Portland Playhouse as an Acting Apprentice. She hails from Rich-mond, Va., where she earned her BFA in Musical Theatre from Emory & Henry College. Some of her favorite roles have been Louison in The Imaginary Invalid, Percy in The Spitfire Grill, and Rusty in Footloose. In addition to performing on stage, McKinley can often be found using theatre as a tool for education and social activism.

RACHEL LEWIS (Bob Cratchit, Fan, Miner) is delighted to be an Acting Apprentice with Portland Playhouse this season! She has criss-crossed the country this year, moving from Florida to New York for the summer before coming to Portland in August. Rachel graduated from University of West Florida in 2015, and pursued an education in massage therapy soon after. Over the last year, she worked in Florida as an actor, theatre camp instructor and production manager. Favorite past roles include Edwin Drood in The Mystery of Edwin Drood and Viola in Illyria.

TONEA LOLIN (Edna, Ship’s Watch, Ensem-ble) is an Acting Apprentice with Portland Playhouse who is thrilled to be a part of such a magical and timeless production. She recently graduated from the University of California, Santa Barbara with a BFA in Acting and BA in Linguistics. Her past favorite roles include the title character in Venus, Aunt Elegua in In the Red and Brown Water and Carly in Most Massive Woman Wins. Acting is her passion and soul, and she hopes to exude presence and joy on stage.

TAMERA LYNN (Ensemble) is a fresh face in Portland, serving as an Acting Appren-tice this season. With a Bachelor of Arts degree in Theatre Performance, Tamera has added director, writer and film editor to her acting career. Along with her recent assistant directing roles on the Playhouse’s How I Learned What I Learned as well as Confrontation Theatre’s Every 28 Hours Plays, Tamera has been assistant director for Detroit ’67, Stage Managed No Exit, The Dumb Waiter and Bank Robbery with Florida A&M University’s Essential Theatre.

She also served as costume manager at Irene C. Edmonds Youth Theatre Camp and also handled box office for Essential Theatre.

SELLAH EBERLY (Alice, Ensemble) is embark-ing upon her third year in the production of A Christmas Carol. Sellah loves acting, soccer and gymnastics. She is a sixth grader at Ockley Green Middle School. And she’s awesome—just watch and see.

MAEVE O’CONNOR (Belinda, Ensemble) burst onto the stage in Bloody Bloody Andrew Jackson at Portland Playhouse, and has loved being in this barrier-breaking production of A Christmas Carol for the past four years. Maeve sang—in French—in Portland Opera’s Carmen. Prior roles: Ellen in Number the Stars (North End Players), Sorv in The Left Hand of Darkness (Hand2Mouth/Portland Playhouse collaboration), and a featured zombie in film “Zompocalypse: Dead End.” Maeve’s also busy with Model U.N. (France), fencing, sharpening her Spanish, teaching improv to middle schoolers as a member of ImpACT Outreach and creating and performing radio plays on KBOO radio with “The Underground.”

ATTICUS SALMON (Boy Scrooge, Willie, En-semble) is a sixth grader at Sabin School in Northeast wPortland. His passions include literature, origami and soccer. He has a true love for all cephalopods—squid being a particular favorite. His stage roles include Puck in A Midsummer Night’s Dream, Ben-edick in Much Ado About Nothing, Duncan in Macbeth and Iago in Othello as part of the Fall Festival of Shakespeare presented by Portland Playhouse. He played Daniel in Corrib Theatre’s Our New Girl this past spring and has also appeared each year in the Playhouse’s A Christmas Carol in various roles since its first run in December 2013.

SERRELLE STRICKLAND (Tiny Tim, Ensemble) is 7 years old and has been dancing and singing since the age of 2. She is very excited to play Tiny Tim again this year—she’d like to thank Brian Weaver for that. She has received a full scholarship from Maryland Dance Academy in Baltimore for the past two years. She has also studied dance under Bobby Fouther for the past four years at Kemba Shannon Dance Center. She plans to be an illustrator and author of books when she grows up. In addition, she would like to thank her family, friends and teachers.

BRIAN WEAVER (Director) co-founded Port-land Playhouse in 2008 with Nikki and Michael, and has directed productions of Peter and the Starcatcher, Mr. Burns: A Post-Electric Play, Radio Golf, Gem of the Ocean,

Angels in America, Bloody Bloody Andrew Jackson, Dying City, Detroit, The Light in the Piazza, After Ashley and bobrauschen-bergamerica. Regional credits include Third Rail Repertory, Intiman Theatre Company, Shakespeare & Company, Berkshire Theatre Festival, The Idaho Shakespeare Festival and Seattle Public Theatre. After playing Bob Cratchit in last year‘s production, Brian comes with a deep appreciation for the musical complexity and the nuanced ensemble work that makes this Carol so special.

CRISTI MILES (Director) is a native Texan anglophile that has been obsessed with British literature since she was in high school. Her favorites include Jane Austen, Shakespeare and, obviously, Charles Dickens. She has taught and directed at numerous local and regional theaters nationwide, including The Berkshire Theatre Festival and PETE, where she is a proud founding member.

DAVID LEVINE (Stage Manager) is a lifelong Portlander who has worn many career hats, most recently and happily as a middle school teacher at Oregon Episcopal School. He comes from a long line of teachers-turned-actors, dating back to 1950’s summer camp in the Catskills. His own, similar small-stage performances include Seven Menus, The Real Inspector Hound, and The Music Man. Most recently he was the stage manager for How I Learned What I Learned and Peter and the Starcatcher at Portland Playhouse.

OWEN WALZ (Scenic Designer, Master Elec-trician) is the resident design and technical associate at Portland Playhouse. Prior pro-duction work at the Playhouse includes his scenic design for King Hedley II and lighting for The Missing Pieces. He also designs promotional materials for the Playhouse. Other local design credits include lighting for Or (Third Rail Repertory), Nighthawks (Push Leg) and the “Pickathon” music festival (with Daniel Meeker).

SOLOMON WEISBARD (Lighting Designer) is Brooklyn-based and Portland-born. At Portland Playhouse, his credits include: Jitney, You for Me for You, A Christmas Carol (Drammy Nomination), and the upcoming pen/man/ship. Recent New York City credits include: Duat (Soho Rep), Men on Boats (Playwrights Horizons/Clubbed Thumb), The Soldier’s Tale (with Michael Cerveris/Carnegie Hall), This Is the Color… (BAC/Door 10), Christina Anderson’s Hollow Roots (Public/Under the Radar), The Film Society (Keen/Theatre Row), The Pavilion

CREATIVE TEAM(Barrow Group) and Missed Connections (New Ohio). Regionally: Arden, Berkshire Theatre Festival, Magic, Merry-Go-Round, Portland Stage, Quintessence, Tri-Cities Opera, Yale Rep. Numerous sound, light, and movement works with rising and es-tablished composers, choreographers and theater-makers. MFA: Yale School of Drama. Member: USA 829. solweisbard.com

MARY DEVLIN (Choreographer) leads English country and contra dancing across North America and in Europe. She devises English country dances, contras and triplets. Mary is thrilled to help the Fezziwigs and friends celebrate Christmas again this year. To join in the dance, go to portlandcountry-dance.org for schedules and locations.

RACHEL SCHMERGE (Properties Designer) is thrilled to be returning to Portland Play-house. Recent credits include puppet and prop fabrication on Little Shop of Horrors and The Oregon Trail (Portland Center Stage), props designer on How I Learned What I Learned (Portland Playhouse), You For Me For You (Portland Playhouse), and The Nether (Third Rail Repertory). You can regularly see her work at Portland Center

Stage, where she’s worked on more than 40 shows as the Lead Props Artisan. She received her degree in sculpture from Reed College, and continues to embark on various art and fabrication projects around town. PSrachel.com

RICK LOMBARDO is a stage director, artistic director, adapter and educator. This season he will have two productions opening Off Broadway. The world premiere of the new play Ring Twice for Miranda will open at City Center Stage 2 in February. His Elliot Norton Award-winning production of the new play Albatross (Outstanding Production, 2015), based on “The Rime of the Ancient Mariner,” was reprised this summer at The Gloucester Stage Company and The Edinburgh Festival Fringe, and will receive its New York Premiere at 59E59 Theaters in January. He was the Artistic Director at San Jose Repertory Theatre for six seasons, where his work included world premieres of both plays and musicals as well as significant revivals. Noteworthy among these were the world premiere of the musical The Snow Queen (New York Musical Theatre Festival Outstanding Pro-duction and Publishing Awards) which he

also co-wrote with composer Haddon Kime, along with the new play Game On by Tony Taccone and Dan Hoyle, (Theatre Bay Area Award Best New Play 2014), and Love in American Times by Philip Kan Gotanda. He is currently the Chair and Artistic Di-rector of the Department of Theatre and Performance Studies at Kennesaw State University. ricklombardo.net

ANNA LACKAFF is keyboardist in the band Mannheim Steamroller and currently on tour nationwide; she spent last holiday season performing at Universal Studios Orlando with Chip Davis. She has been music director/conductor/pianist for San Jose Repertory Theatre, New Repertory Theatre, Encore Musical Theatre, Boston Center for the Arts, Off-Broadway, Perfor-mance Network, Des Moines Playhouse, Noce, and many others. She was formerly Program Music Director of the Walnut Hill School Theatre Academy, Mass.; Resident Music Director of Carousel Theatre, Maine; and musical theatre voice faculty at Min-nesota State University, Mankato. Recent theatre compositions include music for Thank You for Being a Friend, including its 2014 Off-Broadway run. She has also composed for public television; pop and art songs; and choral music, including her “Ave Maria” performed by The Western Wind. As a singer, she has performed with i Sebastiani and the Third Chair Chamber Players. A visual artist, she illustrated Dr. Virginia Tufte‘s memoir, “Pieces,” with 60-plus drawings (Graphics Press, 2013). Adjunct faculty at Drake University and voice instructor at Des Moines Onstage, Anna lives in Iowa with husband Dr. Aaron Santos. AnnaLackaff.com

PORTLAND PLAYHOUSEis dedicated to producing quality, intimate performances in which the interaction between artists and audience is paramount. Our mission is to create a space where all people can come together to celebrate the complexity of our shared human experience.

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Jennifer CohenSteven &

Kalyn C CohenKarol CollymoreLiana ColomboJeffrey G ConditGinnie Cooper in

memory of Bing Sheldon

Gretchen CorbettRon CrosierHoward Cutler &

Pamela EcheveroEloise DamroschMarvin & Abby DawsonKelly Sue DeConnickWilliam Deresiewicz &

Aleeza NussbaumThe William Diebold

& Deborah Freedberg Fund

Dorothy DixonAlison EbbottLori & Scott EberlyNorman EderZachary EdmonsonLeslye Epstein &

Herman TaylorKatie FarewellPaul & Pat

Ferguson-StegerDaniel & Melissa FisherGreg Flick &

Kimberly MorrisonPatricia Frobes &

Richard Smith Carolyn GazeleyDavid Goldman &

Merilee KarrCorbett Gordon in

Honor of Shandi Walnofer Muff

Tracy GrattoDana GreenDavid Greenberg &

Susan SteinLuke & Vicki GroserFrederick & Cheryl

GrossmanMaria GrummJames & Michelle

Maida HagerBruce & Kathleen

HarderLynne & Gary

HartshornThyra HartshornDavid & Sherry HealyRick HawleyAmy HenningerEric & Shirley HoemLaurie HollandAndrea & Ruben IniguezKevin Irving &

Nicolo Fonte

THANK YOU Portland Playhouse gratefully acknowledges our supporters. YOUR generosity allows us to activate surprise, delight and challenge in our lives. We envision a world awakened by the wonder of theatre.

This list represents contributions and pledges received from Aug. 1, 2015–July 31, 2016 and includes gifts to the capital campaign to restore our building. We make every attempt to acknowledge your name accurately. If you find a mistake, please don’t hesitate to call us at 971-533-8743. We want to hear from you!

Nicholas JohantgenJennifer & James JonesRuth KauffmanLucy KeatingMeri KempDahv KlinerAnn Kopel &

Lee LancasterDeborah Krum &

Richard HilbigBill Kwitman &

Monica Moriarty Theodore Labbe & Kelly

RodgersJames LadenMargaret Larson &

Richard LewisCasselle LaTouretteKirsten LeonardScott Lewis &

Sarah SlipperSandy & Glen LibonatiThe Hollie H. Lindauer

Living Trust UADMary Lyons &

Laurence DaaneGeorge MachanChristine MackertDouglas MacReynoldAmy ManningPhillip MargolinJanus MaybeePat McAleerSue-Del McCulloch &

Brian PotterCharles McGeeMadeline MooreJanet Morgan in honor

of Declan GloverEli MorrisSteven C Neighorn &

Nancy DaytonAdrienne NelsonJoseph Nozemack in

honor of Dashiell Van Meter Rucka

Carlton OlsonHugh Owens &

Lauren TurnerJane PanskyMary Christine PerrySandy PolishukAnnie Popkin &

David ParkerReynolds PotterTangela Purdom &

David Roth

Deborah Redman & Don Whittemore

Martha & David Richards

Forrest & Sharon Rae Richen

Joe RodriguezChuck Roselli &

Dinah TeramuraRhian & Derek RotzCharlotte RubinSusan RustMarcia SchekelDarcy SchmittHannah Scott &

Sean HoardSally Sellers &

Michael SuboczBert ShawMary & KC ShawJanice & Roger SheaLaura Shirk Charles &

Matt WiensPatricia SouthardKaren & Charles

SpringerElizabeth & Les StoesslGary TaliaferroNatasha TerranovaSylvia TeshJeanne & Brian ThomasKim Thomas &

John MorrisonJay Van MeterJennifer Van MeterSally & Donald

Van MeterLaura & Andrew

WatsonJosh Weinstein &

Brandy SaffellTom WellsEmmett & Karen

WheatfallJanet WhitakerMary Beth Yosses &

Fred WilliamsMary Ann & John WishDr. Carol S WitherellJan WoitaMerri Wyatt in honor

of Marge KafouryMinnie YoungLynn YoungbarMerrie &

Jonathan Ziady

APPRENTICE COMPANY Robert DuranteCharles GrantLauren GruenbergMcKinley HughesRachel LewisTonea LolinTamera Lynn

PORTLAND PLAYHOUSE STAFFBRIAN WEAVER Artistic Director/Co-Founder

MICHAEL WEAVER Managing Director/Co-Founder

NIKKI WEAVER Education Director/Co-Founder

ELENA HEIN Development Director

JEFFREY MARTIN Communications & Marketing Director

QUINLAN FITZGERALD Audience Services Manager

ANNA MARIE BROWN & LATEVIN ELLIS Front of House Managers

THYRA HARTSHORN Production Manager

OWEN WALZ Design & Technical Associate

KATIE FREDERICK Development Associate

BOARD OF DIRECTORS Harold Goldstein, ChairAndrew Clarke, Vice-ChairMark Williams, TreasurerMichelle Mark, SecretaryJill AhlstrandMichael CowanAngela FreemanDavid HardyJoan HartzellKimberly HowardCurt JantzMarge KafouryAndy Ricetti-EberlyPancho SaveryNatasha TerranovaJennifer WatsonGeorge ‘Bing’ Sheldon, in Memorium

WANT TO BE INVOLVED IN PORTLAND PLAYHOUSE?There are all sorts of ways to join our community:

• Volunteer as a beer-tender, usher, or greeter and earn a ticket to see the show!

• Check out our Raffle or Wishlist (we’re especially in need of bus tickets/passes, bicycles for apprentice transportation, meal and housing donations, and gift certificates of all sorts)

• Help out in our office, run an event committee, or lend a hand with fundraising

Your contributions are greatly welcome and we’d love to hear from you! Contact Anna at volunteer@portlandplayhouse.org for more information or to get involved.