in this issue...jun 02, 2018 · letter from artistic director david ivers 4 letter from managing...
TRANSCRIPT
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I N T H I S I S S U E
Cover art by: ESSER DESIGN
NOVEMBER/DECEMBER 2017
Title Page 2Cast 3Letter from Artistic Director David Ivers 4 Letter from Managing Director Billy Russo 5Director’s Note 6An Interview with the Playwright 7 The Cast 10The Creative Team 13Executive Leadership 17About Arizona Theatre Company 19ATC Board of Trustees 22Donors 23ATC Staff 30Theater Information 32
The Herberger Theater Center, Arizona Theatre Company’s home in downtown Phoenix
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THE RIVER BRIDEBY MARISELA TREVIÑO ORTA
On this original Arizona Theatre Company production, the ATC Production Staff is responsible for scenic construction,
costume construction, lighting, projections, sound, props, furniture, wigs, scene painting and special effects
2017/2018 SEASON SPONSORS: I. MICHAEL AND BETH KASSER
Kinan Valdez Director
Regina Garcia Scenic Designer
Rose Pederson Costume Designer
David Lee Cuthbert Lighting and Projection Designer
Emiliano Valdez Sound Designer
Brian Jerome Peterson Resident Sound Designer
Gregory W. Towle Associate Projections Designer
Rosalinda Morales and Pauline O’con, CSA Casting
Mindy B. Johnson* Stage Manager
Bruno Ingram* Stage Manager
Billy RussoManaging Director
David IversArtistic Director
The River Bride was developed in residency with AlterTheater Ensemble, San Rafael, California.World Premiere Produced by Oregon Shakespeare Festival.
Artistic Director Bill RauchExecutive Director Cynthia Rider
PRODUCTION SPONSOR:
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C A S T
Paula Rebelo BelmiraSarita Ocón* HelenaLeandro Cano* Sr CostaSean Burgos DuarteDena Martinez* Sra CostaHugo E. Carbajal* Moises
(IN ORDER OF APPEARANCE)
Arizona Theatre Company operates under agreements between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; Stage Directors and Choreographers, an independent national labor union; and United Scenic Artists Local USA-829, IATSE
Cell phones and other devices that make a noise can greatly disturb your fellow audience members and the performers. PLEASE TURN THEM OFF before the performance.
Marissa Medina Munter BelmiraMarissa Salazar Helena and Sra CostaAdam Grodman MoisesAlec Michael Coles Duarte and Sr Costa
UNDERSTUDIES
*Denotes members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
To learn more about The River Bride, please visit the Learning & Education page on our website at arizonatheatre org for a comprehensive free Play Guide The Play Guide contains historical information, cultural context, and more
The Scenic, Costume, Lighting and Sound Designers in LORT Theatres are represented by Union Scenic Artists Local USA-829, IATSE
The Director is a member of the Stage Directors and Choreographers Society, an independent national labor union
The Actors and Stage Managers employed in these productions are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States
Tajh Oates Assistant to the Stage ManagerTony Andrea Scenic Design AssistantJoe C. Klug Scenic Design AssistantDavid Morden Voice and Dialect ConsultantBrent Gibbs Movement Consultant
ADDITIONAL STAFF
THERE WILL BE NO INTERMISSION
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L E T T E R F R O M A R T I S T I C D I R E C T O R D AV I D I V E R S
It’s a gift to bring Marisela Treviño Orta’s The River Bride back home. As the winner of Arizona Theatre Company’s 2013 National Latino Playwriting Award, it is an honor to have it fully real-ized on our stages. A hauntingly beautiful narrative, The River Bride borrows from Brazilian myth and folklore to remind us of the power and majesty of storytelling. I know you’ll find depth and value in the exploration of another culture’s look at love, loss, longing, and its deep connectivity to the natural (and unnatural?) world that surrounds the characters. At its core, The River Bride is both mysterious and universal; it asks important questions of family and loyalty as Ms. Orta writes with profoundly textured language to illuminate the balance between custom, tradition, expectations, and dreams.
I hope you’ll share your feelings with us as we look toward telling universal stories that continue to engage new voices and new communities. It’s a distinct honor to have both the playwright Marisela Treviño Orta and director Kinan Valdez return to Arizona. They represent the very best our regional theatre has to offer: kind, generous of heart, adventurous, highly skilled, and fully committed to examining our world and accurately reflecting what it looks like. I am grateful to them both for bringing great vision and courage to their craft.
Thank you for your generosity, too. We are moving ahead ourselves, and looking down our own metaphorical river with the hopes our hard work will continue to generate the kind of magic, faith, and belief so readily available in this beautiful production of this important new play.
Wishing you well,
David Ivers
[email protected] DirectorArizona Theatre Company
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L E T T E R F R O M M A N A G I N G D I R E C T O R B I L LY R U S S O
I am so thrilled to return to Arizona Theatre Company this year in the official capacity as Managing Director. I had the great privilege to meet many of ATC’s family of audience, donors, board, and staff during my time here over the last eighteen months as the executive management consultant and acting managing director. During that time, I came to have great affection for the Board of Trustees; the communities of both Tucson and Phoenix; and especially the talented, committed, and resilient staff of this great organization. During the search process for the new artistic leadership of the organization, I got to know David Ivers very well, and it became im-mediately clear that we had a shared vision of the value of ATC in the cultural life of Arizona and the immense opportunities for its future. That, added to my newfound love of living in the desert and the vibrant and varied cultural lives of Phoenix and Tucson, I was thrilled to be asked to join David as part of the new Executive Leadership of the organization.
At the beginning of ATC’s 50th Anniversary Season, I witnessed a unique galvanization of the communities behind ATC, and the outpouring of support both financial and of friendship was beyond impressive and of a scale rarely seen in the American regional theatre industry. Because of such support, we were able to move forward with a season that was grounded in the belief that for an arts organization to thrive and be vital it must be brave and ambitious in its program-ming and – with fiscal responsibility – strive to bring its audiences work that is exciting in both scope and aspiration. We are thrilled to report that in the 2016/2017 season, subscription sales increased by over 16%, single tickets increased by 45%, the annual fund contributed income was 25% above the past ten-year average, and with the implementation of a multi-year Fund for Working Capital Campaign, the year ended with an operating surplus of nearly $1 million.
All of this success and forward momentum could not have been possible without the stalwart support shown by the communities in Tucson and Phoenix, and across the whole state of Ari-zona. David Ivers and I are well aware that there is still a lot of work to be done to place ATC on a firm financial footing and to properly capitalize the organization’s operations, and we are thrilled to be embarking on this next chapter together from a position of strength and growth. We resolve to live up to that belief and vote of confidence.
I’m sure you will be hearing from us in the near future about other ways you may engage with the company and support Arizona’s only fully professional producing theatre, but right now I just wanted to say thank you.
With deep gratitude,
Billy Russo [email protected]
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Traversing the globe and transcending all boundaries with a force like water, the awesome power of storytelling sweeps across time and pours its riches into the rivers of human life with a grandeur as majestic as the mighty Amazon. As human beings, we are forever satiating our thirst at the timeless shores of story. Within its watery wells, we soak in the wonder and wisdom of lives lived eons ago as well as yesterday. We nourish our spirits and replenish our hearts seeking the knowledge gifted to us by our forbearers: human beings like us now living eternally as part of the great life-giving stream of story.
With poetic imagination, playwright Marisela Treviño Orta dips into these magical waters and brings forth The River Bride. Drawing inspiration from the Brazilian folklore and fairy tales of the magical and mysterious botos – pink river dolphins floating along the “enchanted” tributar-ies of the Amazon – she weaves a timeless tale of love and loss experienced by a young human family living along the banks of the great river. Within her delicately woven fabric, the potent threads of story pulsate with poetry and passion. And, like all great storytellers, she wraps her words around us in a gentle embrace akin to a warm blanket, inviting us to sit with her by the fire and bask the light of reflection – this time, on our relationship to the fantasies and realities of human love.
At its heart, The River Bride is a timeless and modern meditation on love and its opposite force—fear. The play believes fiercely in the transformative power of love: the beautiful ways we can change the course of our lives by fully giving ourselves to another. And yet, it also recognizes, almost with brutal clarity, the ways fear can dominate our existence and thrust us towards seemingly safe choices that hurt in the long run. This is the reflection offered to us by our playwright in this “adult fairy tale”: do we choose the way of fear? Or do we choose love?
This question of love or fear is as old as human existence and is instantly recognizable in the lives we live today. It’s a question we lovingly invite you to ponder as we journey together through the magic of theatre down the waters of the Amazon, guided by master storyteller Marisela Treviño Orta, and collectively bathe our spirits in the rich and glorious rivers of our common humanity.
A L E T T E R F R O M K I N A N VA L D E Z
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AN INTERVIEW WITH MARISELA TREVIÑO ORTA
HOW DID YOU BEGIN WRITING FOR THE THEATRE?
I found my way to theatre quite haphazardly. Unlike many of my playwriting peers, I didn’t grow up going to theatre. But I did write short stories and fiction from a very young age. In high school, I found my way to poetry and was a poet for about 10 years. I left my home state of Texas for California, where I enrolled at the University of San Francisco to get an MFA in Creative Writing. My on-campus job at USF introduced me to a social justice theatre company made up of Latino immigrants that were working in the city’s Mission district. I joined as their Resident Poet and, after a year of watching them collectively write plays, I decided to explore the genre.
My last semester in grad school I audited a playwriting class with the goal of writing my first full-length play. My instructor, playwright Christine Evans, encouraged me to submit to the 2005 Bay Area Playwrights Festival and my play, Braided Sorrow, was accepted as part of the festival lineup, which really put me onto the playwriting path. Theatre was such a welcoming community that encouraged and supported my early work. And unlike poetry, it’s not a solitary process. Instead, theatre is collaborative and allows for other artists to interpret my work, to bring their own creativity to set design, costumes, lighting, sound, and direction.
CAN YOU TALK A LITTLE BIT ABOUT THE DEVELOPMENT OF THIS PIECE? WHAT WAS YOUR INSPIRATION?
This is kind of a silly story. But the point is that inspiration comes from anywhere. For me it was a TV show called River Monsters. It’s pretty dramatic for a show about a man fishing.
I was watching a marathon of River Monster episodes. And the producers—to make these re-runs more interesting—had decided to post fun facts at the bottom of the TV screen. While watching the episode about piranhas in the Amazon, there was an entire section on the river dolphins that live in the Amazon River. Then a bit of trivia flashed across the bottom of the TV screen—a brief mention about the Amazonian folklore that the river dolphins turn into handsome men.
It’s really fortuitous that I happened to look at the TV screen at that moment because I was folding laundry. I was already working on my play Wolf at the Door and there just so happens to be a shapeshifting character in it. I had realized recently that Wolf at the Door was a fairy tale and I had it in my head that I should write a trio of fairy tale plays. When I saw the information about the river dolphins transforming, I knew that was the seed of the next play.
After the initial spark of inspiration, I usually begin a play with gathering images. The photogra-pher Toni Frissell and her work—especially her photos from Weeki Wachee, Florida— became a wonderful touchstone for the play.
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The first draft I wrote pretty quickly. Though, at the beginning of the process I was very con-fused by the formal way the characters were speaking. That may sound odd—that the play-wright was surprised by the way her own characters spoke. But for me, I focus on characters that begin to feel so real it’s like they take over and tell me what they’re doing and how they sound.
Originally, I had planned for Belmira to be the main character. But after the first scene with her sister Helena, I found myself drawn to the older sister. This shift meant re-imagining the boto (Amazon dolphin) as well. Traditionally, the boto is kind of a trickster. But in The River Bride he’s more like Hans Christian Andersen’s mermaid.
THE RIVER BRIDE WAS PRODUCED LAST SEASON AT THE OREGON SHAKESPEARE FESTIVAL. DID THE EXPERIENCE OF GETTING IT ON ITS FEET PROMPT YOU TO MAKE ANY CHANGES TO THE SCRIPT / REVEAL ANYTHING NEW TO YOU?
Going into the world premiere, I knew I wanted to work on the younger sister Belmira. While I think she’ll always be a polarizing character, I wanted to make sure she was not the villain of the play. The River Bride is a cautionary tale about love—about letting fear and insecurity get in the way of love.
During the world premiere rehearsal process, I rewrote one of the scenes at the end of the play that specifically addressed this issue. We dedicated an entire rehearsal day to working the scene in what I called the “Thunderdome” rehearsal—three versions of the scene were pitted against one another until it was clear which version best suited the narrative.
ACCORDING TO HOWLROUND, THE RIVER BRIDE IS PART OF YOUR “GRIM LATINO FAIRY TALE CYCLE,” ALONG WITH WOLF AT THE DOOR AND ALCIRA. WHAT DO THESE PLAYS HAVE IN COMMON? WHERE DOES THE RIVER BRIDE FALL IN THE CYCLE?
The River Bride was the second play I started in the cycle, but the first one I finished. Wolf at the Door is the play that kicked off the cycle, and in fact when I began writing that play I had no idea that I was writing a fairy tale. I had set out to write a myth, but was perplexed by the play. I didn’t quite have a handle on it.
It was while watching Jim Henson’s The Storyteller that I realized Wolf at the Door was in fact a fairy tale. But when I say “fairy tale” I don’t mean the sanitized Disney versions. I’m drawing inspiration from much older and darker stories, like the fairy tales collected by the Brothers Grimm. Those stories were dark and often violent because they were helping children navigate a dangerous world. I think of the plays in my cycle as cautionary tales for adults to help us navigate our emotional lives.
AN INTERVIEW WITH MARISELA TREVIÑO ORTA
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The Western fairy tale canon also offers me a well-known structure and familiar tropes such as the use of the number three, tests of character, love at first sight, and transformations—in fact, currently all of the plays in the cycle have shapeshifting.
That’s the fairy tale side of the cycle. But I call my plays grim Latino fairy tales because each play in my cycle is also inspired by a specific folklore or mythology from Latino culture. The River Bride is inspired by the folklore about the river dolphins, Wolf at the Door is inspired by Mesoamerican beliefs about the afterlife, and Alcira is inspired by Aztec mythology.
DO YOU HAVE A FAVORITE MOMENT IN THE RIVER BRIDE THAT YOU’D LIKE TO SHARE (WITHOUT GIVING AWAY SPOILERS, OF COURSE)?
My favorite moment came out of the world premiere rehearsal process—just something an ac-tor improvised, but it so perfectly encapsulated the love story between Sr. and Sra. Costa. I’ve often enjoyed their love story—the example of a couple so very much in love after more than eighteen years together.
This isn’t really a spoiler—because I won’t tell you exactly when it happens—but I call it the “caveman moment.” Sr. Costa picks up Sra. Costa and carries her off. Only thing is, I can’t guar-antee that it will be in every production—because each show will need to take into account whether actors can safely create this moment. We don’t want actors to throw out their back. But I’m keeping my fingers crossed that this moment can be a part of this particular production.
WHAT DOES THE FUTURE HOLD FOR YOU, IN TERMS OF READINGS AND PRODUCTIONS OF YOUR WORK? ARE YOU CURRENTLY WORKING ON ANY NEW PLAYS?
I am currently in my final year at the Iowa Playwrights Workshop, where I am getting my second MFA—this one in playwriting, obviously. This last year is pretty hectic—I’m teaching, I’m a student, I’m thinking about what’s next, and juggling outside projects as a professional playwright.
After I graduate I have a few projects lined up. One is the world premiere of Wolf at the Door, the next play in my fairy tale cycle. That production will be with New Jersey Rep. I’m really excited about that play. And I’m also working on an adaptation of a young adult novel for a children’s theatre and a commission inspired by the Bay Area which I used to call home.
AN INTERVIEW WITH MARISELA TREVIÑO ORTA
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T H E C A S T
Paula Rebelo (Belmira) is a Brazilian actress based in Los Angeles. She is thrilled to be making her debut with ATC. Select credits include The Clean House (Boise Contemporary Theater); The Temptation of St. Antony (Four Larks Ovation Award winner for Acting Ensemble); Sheila Callaghan’s That Pretty Pretty; or The Rape Play (Son of Semele); Theatre Movement Bazaar’s Big Shot (South Coast Repertory Bootleg Theater, and international tours to Scotland and China); and CalArts Center for New Performance’s Prometheus Bound (The Getty Villa). In early 2018, Rebelo will be playing Gwenevere in Theatre Movement Bazaar’s newest show, The Grail Project, in Los Angeles. She holds a B.F.A. from CalArts. www.paularebelo.com.
Sarita Ocón (Helena) is thrilled to make her ATC debut. Theatrical cred-its include The Mathematics of Love (Brava Theater); The Crucible (Play-Makers Repertory); To The Bone, Othello, Waiting For Lefty (Ubuntu Theater Project); PLACAS (Los Angeles Theatre Center, Gala Hispanic Theatre, Puerto Rican Traveling Theater, South Coast Repertory, San Francisco International Arts Festival, and others); Twelfth Night (Califor-nia Shakespeare Theater); Bengal Tiger at the Baghdad Zoo (San Francisco Playhouse); Ghost Light (Berkeley Repertory Theatre); Night Over Erz-inga (Golden Thread Productions); Ghosts of the River (ShadowLight Productions); The House on Mango Street, School of the Americas, Dog Lady / Evening Star (Teatro Visión). Sarita received her BA from Stanford University and is the recipient of the 2016 RHE Charitable Foundation Artistic Fellowship. She is a proud company member of HERO Theatre in Los Angeles and Ubuntu Theater Project in Oakland. She is a co-founding member of the Bay Area Latino Theatre Artists Network. www.saritaocon.com.
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Leandro Cano (Sr. Costa) Regional favorites include Rules of Seconds (La-tino Theater Company); , Motherf***er With the Hat, Jesus Hopped the ‘A’ Train, One Flew Over the Cuckoo’s Nest, American Falls (barebones productions); El Henry (La Jolla Playhouse); Of Mice & Men (Pittsburgh Playhouse); Stories, Romeo & Juliet, Fables (Denver Center Theatre Com-pany); Oedipus el Rey, Colony Collapse (The Theatre @ Boston Court); American Falls (Echo Theater Company); The Tempest, The Fattest Man in the World Lives Upstairs (Yale Summer Cabaret); The Rats, Amigo’s Blue Guitar, American Buffalo, Caucasian Chalk Circle, Genesis, Don Juan (Per-severance Theatre). Film: Jonestown, Fugue, In the Death Room, Coming & Going. Television work includes: Bull, CSI: Miami, Castle, Without a Trace, Life, Huge, General Hospital, Boston Legal, Days of Our Lives.
Sean Burgos (Duarte) is a Los Angeles-based actor in film/TV and voiceover in both English and Spanish language markets. He has just wrapped on the feature film Emerald Run starring alongside Baywatch star David Chokachi. Previously, he starred in the indie shorts: Elie’s Overcoat, The Case of Conrad Cooper, and Coyotes. Sean is co-founder of Actor’s Circle Ensemble and has starred in The Indian Wants the Bronx and Hedda Gabler off-Broadway, and Experiment at South Coast Repertory. His company also sponsors the hit Orange County New Playwright’s festival, OC-Centric. Sean has made his mark in the voiceover world, lending his voice to a multitude of radio/TV advertisements, trailers, animation, and video games. His recent credits include: Comedy Bang Bang!, Para Ellos, and Ubisoft’s Assassin’s Creed III: Liberation.
T H E C A S T
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Dena Martinez (Sra. Costa) is thrilled to be working at Arizona Theatre Company. Her regional theatre credits include: Fuddy Meers and A Street-car Named Desire (Marin Theatre Company); American Night and The House of the Spirits (Denver Center Theatre Company); Sunsets and Mar-garitas and Distracted (TheatreWorks); Barancas and Holy Food (Magic Theatre); American Night (Cal Shakes); The Taming of the Shrew and La Posada Magica (San Jose Rep). Other theatres include: Seeing Double and Secrets in the Sand with the San Francisco Mime Troupe, August: Osage County and Mr. Burns: A Post-Electric Play (Capital Stage); The Clean House and Vanya and Sonia and Masha and Spike (Pacific Rep); Reckless and Gibraltar (San Jose Stage); This World in a Woman’s Hands (Shotgun Play-ers), Cloud Tectonics, and Dia De los Cuentos (B Street Theatre), Simply Maria and El Soldado Razo (El Teatro Campesino). Ms. Martinez has also worked with Campo Santo, Teatro Vision, Word for Word, Berkeley Rep, and American Conservatory Theatre. TV/Film: La Pastorela, Village of the Damned, Technolust, Wolf, You Can Choose, Short Stories and Tall Tales. Voic-es for Pixar Animation and Zoetrope.
Hugo E. Carbajal (Moises) is excited for his first show with Arizona Theatre Company. Mr. Carbajal is a collective member of the Tony Award-winning political theatre company The San Francisco Mime Troupe. He has per-formed with companies such as Marin Theatre Company, AlterTheater Ensemble, TeatroVision, and Su Teatro. Mr. Carbajal was also in the premiere of Marisela Treviño Orta’s Heart Shaped Nebula at Shotgun Theatre Ensemble. Television credits include Goliath on Amazon, Chance on HULU, and Scandal on ABC.
T H E C A S T
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T H E C R E AT I V E T E A M
Marisela Treviño Orta (Playwright) is an award-winning playwright - whose accolades include ATC’s own 2013 National Latino Playwriting Award - in her third year at the Iowa Play-wrights Workshop. Her plays include: American Triage; Braided Sorrow (2006 Chicano/Latino Literary Prize in Drama, 2009 Pen Center USA Literary Award in Drama); Ghost Limb (2017 Brava Theater world premiere); Heart Shaped Nebula (2015 Shotgun Players world premiere); and Woman on Fire (2016 Camino Real Productions world premiere). Currently she is work-ing on a cycle of fairy tales inspired by Latinx mythology which includes The River Bride (2016 Oregon Shakespeare Festival world premiere), Wolf at the Door, and Alcira. Most recently, Ms. Orta presented her new play Shoe at the Kennedy Center as part of the National New Play Network’s MFA Playwrights Week. She is an alumna of the Playwrights Foundation’s Resident Playwright Initiative, a founding member of the Bay Area Latino Theatre Artists Network, and a Steering Committee member of the Latinx Theatre Commons.
Kinan Valdez (Director) returns to Arizona Theatre Company, where he directed last season’s production of La Esquinita, USA. Recent credits include: Off-Broadway: La Esquinita, USA (Pregones/Puerto Rican Traveling Theater); Regional credits: Lydia (Miracle Theatre), Zoot Suit and Heart of Heaven (Center Theatre Group), Corridos Remix (San Diego Repertory). Other theatres: Zoot Suit (National Tour), Popol Vuh Trilogy, Mummified Deer, Victor in Shadow, and Sam Burgesa & The Pixie Chicks (El Teatro Campesino). Film: Ballad of a Soldier (ETC/CTR Productions). Mr. Valdez is a 20-year ensemble member of the world-renowned El Teatro Campesino, a lecturer in the Theater Arts department at the University of California Santa Cruz, and a national organizer for the Latinx Theatre Commons.
Regina Garcia (Scenic Designer) returns to Arizona Theatre Company, where she designed La Esquinita, USA. She is an Illinois-based scenic designer, who has had longstanding relationships with renowned Latino theatres including Repertorio Español, the Puerto Rican Traveling Theater, INTAR, and Pregones Theater. Recent projects include The Merry Wives of Windsor (Oregon Shakespeare Festival); The Rembrandt (Steppenwolf ); and El Paso Blue (GALA Hispanic Theater, Helen Hayes Nomination). Ms. Garcia is a Fellow of the NEA/TCG Career Development Program for Designers and the Princess Grace Awards, USA. She is a company member with Rivendell Theatre Ensemble (Chicago) and a Regional Associate Member of the League of Professional Theatre Women and Advisory Board for the Latinx Theatre Commons.
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T H E C R E AT I V E T E A M
Rose Pederson (Costume Designer). Arizona Theatre Company: The Heidi Chronicles, Fertility Rights, Fires in the Mirror, Dancing at Lughnasa, Shadowlands, Private Eyes, La Malinche. Broadway: Largely New York (Kennedy Center). Regional: 47 plays including Roz and Ray, View From The Bridge, Outside Mullingar, Red, Road to Mecca, and The Heidi Chronicles (Seattle Repertory Theatre); 28 plays including The Royale, The Price, Middletown, The Invisible Hand, and Uncle Ho to Uncle Sam (A Contemporary Theatre); Nickel and Dimed and Uncle Ho to Uncle Sam (Mark Taper Forum); The Importance of Being Earnest (Berekely Repertory Theatre); How To Succeed in Business and The Pajama Game (The 5th Avenue Theatre); Nickel and Dimed, Electra, Ghosts (Intiman Theatre). Other theatres include New Century Theatre, Idaho Shakespeare Festival, Portland Center Stage, Artists Repertory Theatre, Seattle Children’s Theatre, PlayMakers Repertory Company, The Merc Playhouse, and Theatre Under The Stars.
David Lee Cuthbert (Lighting and Projection Designer) returns to Arizona Theatre Company, where he designed lights for Chapter Two, An Act of God, Disgraced, Around the World in 80 Days, The Importance of Being Earnest, God of Carnage, and Lost in Yonkers; lights and projec-tions for Snapshots, Next to Normal, The Kite Runner, and Enchanted April; and lights, projec-tions, and scenery for Romeo and Juliet. He lit Billy Crystal’s 700 Sundays on Broadway and its subsequent tours and the HBO film. Off-Broadway, his lighting and projections for The Snow Queen won the award for best overall design at the New York Musical Theater Festival. Internationally, he designed Terminal, directed by Joseph Chaikin, and his scenic and lighting design for The History (and Mystery) of the Universe has been seen at major theatres across the country. His regional credits include San Jose Rep, Arena Stage, American Repertory Theater, La Jolla Playhouse, and The Old Globe. Mr. Cuthbert is a Professor of Design at the University of California, Santa Cruz.
Emiliano Valdez (Sound Designer) is a second-generation music composer and performer whose career has spanned 25 years of professional theatre and music production work. His regional musical director/composer credits include Popol Vuh: Heart of Heaven (Center Theatre Group). Other credits include: Shrunken Head of Pancho Villa, Ubu Roi, The Four Agitators, Zoot Suit, La Virgen de Tepeyac, La Pastorela, La Gran Carpa de Los Rasquachis, Corridos Remix, Voices of the Community, and Shockingly Shockley. Professional film and television credits include: Ballad of a Soldier, Beto the Diabetic, A Nightmare on Aids Street, Mexico: an IMAX Experience, The Kwoon, Amor y Tomates, and Oscar.
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T H E C R E AT I V E T E A M
Brian Jerome Peterson (Resident Sound Designer) celebrates his 32nd season at ATC, where he has designed 84 productions, including Chapter Two, Holmes and Watson, La Esquinita USA, An Act of God, King Charles III, Fences, Disgraced, Five Presidents, Wait Until Dark, Around the World in 80 Days, The Importance of Being Earnest, The Sunshine Boys, Jane Austen’s Emma, The Great Gatsby, God of Carnage, Ma Rainey’s Black Bottom, Lost in Yonkers, Ain’t Misbehavin’, George is Dead, Somebody/ Nobody, Enchanted April, Touch the Names, I Am My Own Wife, Twelfth Night, Tuesdays with Morrie, Crowns, Macbeth, The Pirates of Penzance, The Immigrant, A Streetcar Named Desire, Oh Coward!, Copenhagen, Fully Committed, and The Mystery of Irma Vep (for which he won an ari- Zoni Award), and the world premieres of Sherlock Holmes and the Adventure of The Suicide Club, Dr. Jekyll and Mr. Hyde, Sherlock Holmes: The Final Adventure, Inventing van Gogh, Rocket Man, Minor Demons, and The Holy Terror. His designs have been heard in many theatres including Geva Theatre Center, Berkeley Repertory Theatre, Seattle Repertory Theatre, The Cleveland Play House, Northlight Theatre, Portland Center Stage, Ac-tors Theatre of Louisville, San Jose Repertory Theatre, Milwaukee Repertory Theatre, and the Bay Street Repertory Theatre.
Gregory W. Towle (Associate Projection Designer) is returning to ATC for the fifth time with The River Bride, having previously worked on Snapshots (Associate Projections Designer), Romeo and Juliet (Associate Projections Designer), Around the World in 80 Days (Projections Designer), and Next to Normal (Assistant Projections Designer). His other credits include All the Way at Arena Stage and Into the Woods at Village Theatre.
Rosalinda Morales and Pauline O’con (Casting) bring together diversified experiences from the theatre, independent, network and studio casting worlds. Uniting their professional relation-ships in the agency and management communities, and utilizing various sources outside of the normal casting search criteria, they work collaboratively with their filmmakers, producers and directors in creating a cast that showcases the increasingly diverse population of audiences that exist today.
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Mindy B. Johnson (Stage Manager) is thrilled to be returning to Arizona Theatre Company and the beautiful cities of Tucson and Phoenix. Previous Stage Management credits at ATC include Dirty Blonde (2002), and ASM for How I Learned to Drive, Picasso at the Lapin Agile, The Mys-tery of Irma Vep, Play On!, The Gershwin’s Fascinating Rhythm, and As You Like It (1998-2000). Ms. Johnson has also stage managed at Utah Shakespeare Festival, Seattle Repertory Theatre, Seattle Children’s Theatre, Seattle Opera, Tennessee Repertory Theatre, Shakespeare Santa Cruz, and Dallas’ Kitchen Dog Theater. Other credits include Project Manager at Gary Musick Pro-ductions in Nashville, Tennessee, producing shows for Celebrity Cruises, Norwegian Cruise Lines, and Oceania Cruises (2003–2016). Ms. Johnson holds a BFA from Southern Methodist University and is a proud member of Actors’ Equity Association. When she is not stage manag-ing shows, Ms. Johnson is a National Academy of Sports Medicine Certified Personal Trainer and owns a successful skincare business.
Bruno Ingram (Stage Manager) has worked as a professional stage manager since 1998 for a number of companies. ATC: Ring of Fire, Talley’s Folly, The Underpants, Anna in the Tropics, Macbeth, Pride and Prejudice, Hank Williams: Lost Highway, Ella, To Kill a Mockingbird, Some-body/Nobody, Ma Rainey’s Black Bottom, Woody Guthrie’s American Song, and The Mountaintop. Other regional credits include productions at Cleveland Play House, Kansas City Repertory Theatre, Penumbra Theatre Company, Dallas Theater Center, Pasadena Playhouse, and Theatre for a New Audience.
Tajh Oates (Assistant to the Stage Manager) has previously served as Assistant to the Stage Manager for ATC’s productions of Ring of Fire, La Esquinita, USA and An Act of God. He has a Bachelor of Arts in theatre from Georgia Southern University. Previously, he has worked as a Deck Carpenter and as stage crew for productions of Henry V, South Pacific, and Henry IV, Part II at Utah Shakespeare Festival.
T H E C R E AT I V E T E A M
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E X E C U T I V E L E A D E R S H I P
David Ivers (Artistic Director) began his tenure as Artistic Director on July 1, 2017, and is honored to be part of this vibrant and inspiring community. In partnership with the inimitable and insightful Managing Director Billy Russo, he is hard at work creating community-based initiatives, advanced-planning procedures, and staff-focused partnerships aimed at fostering institutional stability. Other immediate goals include improving our patron/donor relations and executing the finest slate of programming in our buildings as we honor our loyal audiences and seek to engage with new
ones. He arrives in Arizona after seven seasons as Artistic Director of Tony Award-Winning Utah Shakespeare Festival, having acted in or directed over fifty-five productions over twenty seasons. As Artistic Director, he helped usher in a forty million dollar expansion of facilities including two new theatres, a new rehearsal hall, costume shop, and administrative offices. His tenure is marked by a significant re-brand of the organization and several key initiatives including the launch of WORDS (cubed) new play program, which recently featured the World Premiere of Neil LaBute’s How to Fight Loneliness.
Earlier in his career, Mr. Ivers was the Associate Artistic Director of Portland Repertory Theatre while continuing to collaborate with Portland Center Stage, the Oregon, Alabama and Idaho Shakespeare Festivals, and others. He also spent ten years as a resident artist involved with over forty productions at the acclaimed Denver Center Theatre Company. He has acting credits in Seattle, Portland, Utah, Denver, Chicago, Massachusetts, Alabama, California, including: Salieri in Amadeus, a nightly “audience choice” rotation of Oscar and Felix in The Odd Couple, Scapin in Scapin, Truffaldino in A Servant of Two Masters, Richard in Richard II, Tony Wendice in Dial M for Murder, Benedick in Much Ado About Nothing, Jake in Stones in His Pockets, Gary in Noises Off, Jonathan in A Prayer for Owen Meany, and has been involved with over one hundred other productions at LORT A, B+, and B institutions.
In the last several seasons, his directing work has been seen with The Utah Shakespeare Festival, The Guthrie Theatre (where he will return in November to direct Blithe Spirit), Berkeley Repertory Theatre (Hand to God, One Man Two Guvnors), The Oregon Shakespeare Festival (The Coconuts, Taming of the Shrew), South Coast Repertory Theatre, Pioneer Theatre Company, and more. In addition, Ivers has taught at several colleges and universities and gave his first TEDx talk in 2015. He is thrilled at the opportunity to join Arizona Theatre Company and would like to extend his gratitude to the board and staff. He is eager to live with his wife, Stephanie, and boys, Jack and Elliot, in such a thriving and culturally rich community. Email anytime, he’d love to hear from you (really, he would) [email protected].
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E X E C U T I V E L E A D E R S H I P
Billy Russo (Managing Director) has served as Acting Managing Director of Arizona Theatre Company since 2015 and permanently took on the position beginning on July 1, 2017.
Previously, he was the Managing Director of American Repertory Theatre at Harvard University, where during his tenure they produced All The Way, starring Brian Cranston, and Finding Neverland. He served as the Man-aging Director of New York Theatre Workshop, a major Off-Broadway
Theatre company in New York, where he lead a financial turnaround of the organization, retiring an organizational deficit and rebuilding cash reserves. During his time there, he produced the original productions of the musical Once and the play Peter and the Starcatcher, both of which transferred to Broadway in the 2012 season, garnering 13 of the 26 competitive Tony Awards handed out that year. He also served as General Manager of Playwrights Horizons in New York, where he helped oversee the construction of a new six-story facility in the heart of Times Square. Notable productions during that period were the world premieres of I Am My Own Wife (Tony Award for Best Play and Pulitzer Prize for Drama), and the musical Grey Gardens. He was also the Associate General Manager at Manhattan Theatre Club.
While in London, Billy was the Associate Producer with David Pugh, Ltd; there, he produced, among others, the English Language Premiere of Yasmina Reza’s Art in the West End, starring Albert Finney, Courtenay, and Ken Stott.
Billy was an adjunct assistant professor for Columbia University’s Theatre Producing and Man-agement MFA Program, where he taught Advanced Theatre Budgeting. He received a BFA from New York University’s Tisch School of the Arts.
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Under new leadership – and now celebrating its 51st-season – Arizona Theatre Company boasts the largest subscriber base of any per-forming arts organization in Arizona, with more than 130,000 people each year attending performances at the historic Temple of Music and Art in Tucson, and the elegant Herberger Theater Center in downtown Phoenix. Each season of carefully selected productions reflects the rich variety of world drama – from classic to contemporary plays, from musicals to new works – as audiences enjoy a rich emotional experience that can only be captured through live theatre. Touching lives through the power of theatre, ATC is the preeminent professional theatre in the state of Arizona. Under the direction of Artistic Director David Ivers in partnership with Managing Director Billy Russo, ATC operates in two cities – unlike any other League of Resident Theaters (LORT) company in the country.
ATC shares the passion of the theatre through a wide array of outreach programs, educa-
tional opportunities, access initiatives, and community events. Through the schools and summer programs, ATC focuses on teaching Arizona’s youth about literacy, cultural devel-opment, performing arts, specialty techniques used onstage, and opens their minds to the creative power of dramatic literature. With approximately 450 Learning & Education activities annually, ATC reaches far beyond the metropolitan areas of Tucson and Phoenix, enriching the theatre learning experience for current and future audiences.
Mr. Ivers and Mr. Russo continue to work on strategic planning, creative thinking, and adventurous programming all aimed at serving the current mission: “To inspire, engage and entertain – one moment, one production and one audience at a time.”
Stay tuned for announcements, new events and exciting new access initiatives. You’ll find us here: www.arizonatheatre.org.
A B O U T A R I Z O N A T H E AT R E C O M P A N YA B O U T A R I Z O N A T H E AT R E C O M P A N Y
The Herberger Theater Center, Arizona Theatre Company’s home in downtown Phoenix
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A B O U T A R I Z O N A T H E AT R E C O M P A N Y
THE PULL OF ATC: “I knew about the (financial) troubles ... but I learned over the process of the first interview — which was in a conference room at Sky Harbor Airport in December — that this place is ripe with potential. The production values are already there; David (Ira Goldstein) has done some really, really smart things. For me, it’s a community and a theater that just needs some re-engagement with itself, with where it lives in both cities. I would never label myself a visionary, but I would probably suggest that I’m an institution builder. ... So (the ATC job) gradually became, ‘Oh this is sounding more and more attractive.’ ”
BUILDING A SEASON: “I am in the process of identifying a staff-driven and a community-driven season selection committee. They will probably start in September and will meet twice a month through January. We’ll read plays, we’ll discuss them, production will be involved, development will be involved. ... They will have a voice, have a responsibility to bring scripts to the table, but the ultimate decision rests with me in consultation with the manag-ing director (Billy Russo).” Goldstein selected the 2017/18 season as an artistic director had not yet been hired. The first season that will reflect Ivers’ vision is 2018/19.
THE PLAYS: “The notion of community, the notion of inclusivity, will always have a pres-ence in the seasons I select. ... How do we serve the community, how is the community involved in the stories we tell on stage, and how will we look toward inclusivity in terms of parity, diversity, and toward voices we may not have heard from? … I have to be conscien-tious of titles that drive people to the theater, but I would also like to put on our regional theater big-boy pants and do some work that is a little bolder, thematically, and entertains but gives us an opportunity for community discourse. ... The most important thing is that what is on that stage is full of virtuosity and excellence — that will always drive the vision of the theater.”
ARIZONA ARTISTS: A complaint that has followed ATC is the lack of local talent on stage. One of the obstacles is that actors have to be available on a full-time basis; many Arizona artists have jobs outside the theater. “My intention is to open the floodgates and say ‘you are welcome here.’ There is a baseline bar of excellence that this theater has. If you are at that ability and level, and you can make it work to work here, you will.’”
IN A RECENT INTERVIEW WITH KATHY ALLEN OF THE ARIZONA DAILY STAR, DAVID IVERS SPOKE AT LENGTH ABOUT HIS VISION FOR ATC AND HIS HOPES FOR THE FUTURE. (Printed here with permission)
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DIVERSIFICATION OF STAFF, ARTISTS, PLAYWRIGHTS: “In (the 2018/19 season), that is a priority. We’ve got to do it. ... I’m interested in the representation in staff and people you don’t see, as well. That gets hard to report on. … I don’t want to be in a position to be defensive and say, ‘but you haven’t seen how diverse we are.’ I don’t want to talk about it, I want it to appear. This is a national epidemic, which means there is far more competition to attract diversified artists. That’s thrilling, but it also makes it hard.”
DIVERSIFICATION OF THE AUDIENCE: With the exception of Borderlands Theater and a few others, Tucson audiences are overwhelmingly white and older. “We need to have a conversa-tion about how we diversify the audience. How do we get people here witnessing their stories, stories that are different from the ones you or I have been told our whole lives? … These are necessary conversations.”
BUILDING AN AUDIENCE: Ivers will appoint an audience development committee, but he thinks the programming will be key in bringing in new audiences. He also wants to enhance the experience for current theatergoers, which he thinks will help spread the word that ATC is on the move. “This theater has to come alive in a different way. Not just in the experience (in the theatre), but everything that’s around it.” Bands after performances, discussions with artists in the patio, events in the Cabaret Theatre, are some of the things he plans. He hopes the word spreads about what ATC is doing.
“We have to do a big job of getting out and letting people know we are here, we are new. And our shows have to be brilliant.”
OTHER TUCSON THEATERS: Ivers has some meet-ings already planned with the artistic staff of local theaters. “That at least begins the process of asking ‘What’s your experience in Tucson? How can ATC help? Shall we stay out of the way?’ (For instance) I don’t want to borrow diversity issues from a smaller theater that has Latin support and a voice and knock it on its pins. Yet we have a responsibility to the com-munity (to do diverse works). So, (we may) work together.”
AN AUDIENCE MEMBER: “It’s absolutely my inten-tion to see plays at other theaters here, with this caveat: I will be there when I can at plays in Phoenix and Tucson, but I have two young boys and a wife, and they are the priority at night. I won’t be at every single play at every company, but I will have staff go when I can’t. I have to balance the 6-9 p.m. hours with my family, read to them, be with them. If that goes away, you’ve nothing left for the inspiration.”
IN THE END: “I don’t know how we are going to cross everything off the list, but we are going to start by putting one foot in front of the other. … My biggest fear is that I would let audiences down.” Success, says Ivers, depends on ATC keeping community at the center, and
“it’s about the culture of the staff, how we think together, and how ATC leads to open up our arms to say ‘how can we can help.’ We can’t always be asking; we have to give, too.”
A B O U T A R I Z O N A T H E AT R E C O M P A N Y
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2 0 1 7 / 2 0 1 8 B O A R D O F T R U S T E E S
BOARD OFFICERSLynne Wood Dusenberry
Chair
Susan Plimpton Segal Chair-Elect
Kevin Gebert Vice Chair (Tucson)
Mary Hamway Vice Chair (Phoenix)
Robert Taylor Secretary
Jeffrey Gold Treasurer
BOARD OF TRUSTEESCameron C. Artigue, Past Chair
Michael FlattJay Glaser
Jeff GuldnerPam Hait
Liz HernándezDavid Ivers
Priscilla MárquezSandra C. Maxfield
Joseph MollicaKeith Murfee-DeConcini
Linda “Mac” PerlichKaren PetersBilly Russo
*Deceased
EMERITUS TRUSTEESPaul Baker, Katie Dusenberry, Darryl Dobras, Carol DuVal Whiteman, Shirley Estes, I. Michael Kasser, Donald Nickerson*, Marilyn Papp*, George Rosenberg*, Dr. John Schaefer, F. William Sheppard
HONORARY TRUSTEESBob Begam*, Betsy Bolding, Joan Kaye Cauthorn, Jack Davis, Slivy Edmonds, Norma Feldman, Catherine (Rusty) Foley, Joe Gootter, Carol Kraemer, Jessica Lazarus, Sally Lehmann, Gerry Murphy, Emily Rosenberg Pollack, Nina Trasoff, Janos Wilder, Ruth A. Zales
A special note of thanks to the partners and staff at Lewis Roca Rothgerber for hosting ATC’s Board of Trustees’ meetings
David Ira Goldstein Artistic Director Emeritus, Jessica L. Andrews Managing Director Emeritus
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CORPORATE, FOUNDATION, AND GOVERNMENT PARTNERS
ATC IS PROUD TO ACKNOWLEDGE SUPPORT FROM THE FOLLOWING COMMUNITY PARTNERS JULY 1, 2016 TO SEPTEMBER 22, 2017
CORPORATIONS/ORGANIZATIONSAnonymous (1)Aloft HotelsAmerican ExpressAPSASU GammageBallard Spahr LLPThe Barber Family Legacy Fund
at Vanguard CharitableBeachFleischman PCThe Benevity Community
Impact FundBreak-Away ToursThe Carriage HouseCourtyard by Marriott -
Phoenix DowntownCox CommunicationsCrest Insurance GroupThe DesertLeafDowntown Kitchen + CocktailsThe Employee Community
Fund of Boeing ArizonaExxonMobil Foundation
Matching Gifts ProgramGust Rosenfeld P.L.C.Michael J. and Charlotte A. Harris
Philanthropic Fund at the United Way of Tucson and Southern Arizona
Herberger Theater CenterHolualoa Arizona, IncHoneywell InternationalHotel CongressHotel Tucson City CenterIBM Matching Grants ProgramJewish Federation of
Southern ArizonaJim Click Automotive TeamI. Michael and
Beth Kasser Foundation at the United Way of Tucson and Southern Arizona
KXCI Community RadioLaw Office of Bernadette RuizLewis Roca Rothgerber Christie, LLP
Lightwave Technical ConsultingLincon EnterprisesMaynard’s Market and KitchenMcGraw Hill FinancialMeijer, Inc., Subsidiaries
and AffiliatesAllan and Alfie Norville
Philanthropic Fund at the United Way of Tucson and Southern Arizona
Ogletree DeakinsOsborn Maledon, P.A.PICOR Commercial Real
Estate ServicesDonald Pitt Family Foundation
at the United Way of Tucson and Southern Arizona
Resolution Copper MiningRenaissance Phoenix DowntownResidence Inn by Marriott
– Phoenix DowntownRiggins Farms, Ltd.RLI Charitable Gift Fund at
Fidelity CharitableSchwab Charitable FundScottsdale Cultural CouncilScottsdale League for the ArtsSmithfield Trust CompanySnell & Wilmer L.L.P.SRPSteptoe and Johnson, LLPThe Greenleaf/Molberg Family
Fund at Schwab CharitableTheater League Inc.United Way of Tucson and
Southern ArizonaUNS Energy Corp.Valley of the Sun United WayVanguard Charitable
Endowment ProgramWatermill Financial GroupWilson Property Services, IncZazu Pannee Park Regent
FOUNDATIONSAbsolon Foundation
Actor’s Equity FoundationAkron Community FoundationAndrew Family FoundationApplied Materials FoundationArizona Community FoundationArizona Community
Foundation of CochiseArizona Community
Foundation of FlagstaffArizona Community Foundation
of Yavapai CountyArts Foundation for Tucson
and Southern ArizonaAYCO Charitable FoundationBank of America Charitable
FoundationBD2 Donor Advised Fund
at the Community Foundation for Southern Arizona
Jeffrey F. Berg and Debra H. Paget Fund at the Cornell University Foundation
Leonard J. and Irene Brown Foundation, Inc.
Joan Kaye Cauthorn Advised Fund at the Community Foundation for Southern Arizona
Francis Chapin FoundationAlan and Gail Cohn Foundation, Inc.Community Foundation for
Southern ArizonaCornell University FoundationNancy M. and Peter E. Davis
Community Fund at the Community Foundation for Southern Arizona
The Bill and Donna Dehn Charitable Fund at the AYCO Charitable Foundation
Diamond Family Donor Advised Fund at the Jewish Community Foundation
Feldman Family FoundationFidelity Charitable Gift FundJoanie Flatt Family Foundation
at the Arizona Community Foundation
Michael Flatt Charitable Fund at the Arizona Community Foundation
Mary Jo Ghory Advised Fund at the Greater Cincinnati Foundation
The Harold and Jean Grossman Foundation
The Herberger FoundationHerbst Family FoundationThe Molly and Joseph
Herman FoundationThe Connie Hillman Family
FoundationHirsch Family FoundationHolsclaw Advisory Endowment Fund
at the Community Foundation for Southern Arizona
Jewish Community Foundation of Greater Phoenix, Inc.
Jewish Community Foundation of Southern Arizona
Bill and Kathy Kinney Philanthropic Fund at the Community Foundation for Southern Arizona
David C. and Lura M. Lovell Foundation
McCulloh McTavish FoundationThe Minneapolis FoundationMargaret E. Mooney FoundationThe John and Helen
Murphey FoundationMyers Vitkin Foundation, Inc.PICOR Charitable FoundationVirginia G. Piper Charitable TrustRea Charitable TrustRochester Area Community
FoundationRuss and Carolyn Russo FoundationSalt River Community
Children’s FoundationShapiro Family Philanthropic
FoundationThe Shubert FoundationSarah B. Smallhouse Advised Fund
at the Community Foundation for Southern Arizona
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The Eliot Spalding FoundationThe Stocker FoundationStonewall FoundationTexas Instruments FoundationToday is a Good Day FoundationTorosian Foundation
Tucson FoundationsTucson Osteopathic
Medical FoundationTucson Realtors Charitable
FoundationUniversity of Arizona FoundationJoseph and May Winston Foundation
GOVERNMENTArizona Commission on the ArtsCity of Tempe Arts and CultureNational Endowment for the ArtsPhoenix Convention
Center and VenuesPhoenix IDAPhoenix Office of Arts and Culture
CORPORATE, FOUNDATION, AND GOVERNMENT PARTNERS
INDIVIDUAL DONORS
ANGELS $25,000 AND UP
Anonymous (1)Paul and Alice BakerShirley EstesJoanie FlattMichael FlattI. Michael and Beth KasserRichard and Sally LehmannBill Lewis and Rick UnderwoodAnn Lovell and Tom WarneDolly and Jim MoranAllan NorvilleCarol and Lex SearsChef Janos and Rebecca Wilder
PLAYWRIGHT’SGUILD $10,000-$24,999
Anonymous (1)Jessica L. Andrews and
Timothy W. ToothmanMary Jan and Paul BancroftMr. A. Frederick Banfield and
Ms. Eileen M. FitzmauriceIn Memory of Rick CallBruce and Katie Dusenberry Bruce L. and Lynne Wood
DusenberryJay GlaserDavid Ira Goldstein and
Michele Robins GoldsteinPaulette and Joe GootterJeff Guldner and Sydney ReedCourtney Johnson
Carole and Richard KraemerSandra and Dr. Robert MaxfieldRosanna MillerJoseph A. Mollica and Dottie SellersSusan and Jeffrey ReinJill and Herschel RosenzweigRichard SchoenRon and Patricia SchwabeEnid and Michael SeidenJanie Shapiro and Slobodan PopovicNancy SwansonJack Wahl and Mary Lou Forier
PRODUCER’SCIRCLE $5,000 - $9,999
Anonymous (1)Fran and Jim AllenChristine and John AugustineCarmela and Michael BlankBetsy BoldingDr. Jose and Frances BurruelJoan Kaye CauthornDino J. and Elizabeth
Murfee DeConciniDarryl and Mary Ann DobrasNorma and Stanley G. FeldmanTed and Barb FrohlingGail and Patric GiclasBruce and Edythe GissingDavie Glaser in loving memory
of David H. GlaserRob and Laurie GlaserEllyn and Jeff Gold
Lauren and Michael GordonPamela GrissomEric HamburgerMary and Geoffrey HamwayJeffrey HatcherTheresa and William HawgoodBob and JoAnne HungateRebecca and Albert JohnsonTandy and Gary KippurDrs. Paul and Mary KossLori MackstallerJill and Kevin MaddenElyce and Mark MetznerJoseph A. Mollica and Dottie SellersJack and Becky MoseleyLyn Papanikolas and
David MackstallerMac and Russ PerlichMary Beth and Gerald RadkeSusan P. SegalF. William Sheppard and
Range P. ShawMichael WilloughbyLinda Wurzelbacher
DESIGNER’SCIRCLE $2,500 - $4,999
Anonymous (1)Mary and Cameron ArtigueJacklyn Connoy and William MaguireVanne and Robert CowieBill and Donna Dehn
Jennifer Hecker-DuVal and Fred DuVal
Deanna Evenchik-BravCatherine “Rusty” FoleyLois and Harry GarrettDr. Mary Jo GhoryJennifer Gross and Jerry LeFevreElliott and Sandra HeimanMack JonesDrs. Steven and Marta KetchelHotchy KieneDrs. George and Maria KnechtMr. and Mrs. Mark LandayJanice and Robert LeffSusan and Stacy LitvakCaroline and Peter MorseDeborah Moss and Stephen CollinsJohn and Helen MurpheyCharles and Carol OttoMary and Matthew PalenicaSandy and James PeeblesValerie and Herschel RichterJody Summerset RollTom and Eileen RotkisKen and Judy RyanDrs. John and Helen SchaeferJudy SeinfeldJoanne SibleyIngeborg and Ralph SilberschlagCol. Mary Pat SullivanDanielle and Steven ThuBarbara VogenDr. Richard and Madeleine WachterNancy and Jeff WernerJames Wezelman and Denise GrusinMichael WilloughbyGary Wolff and Sandy Gibson
FOUNDATIONS(continued)
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DIRECTOR’SCIRCLE$1,750 - $2,499
Anonymous (2)Judy Ackerman and Richard EpsteinRoberta AidemMara and Keith AspinallJudy Balan-PearlMary Ellen and Emery BartleBarbara and William BickelDenice Blake and John BlackwellSusan and Brian BoylanBarry D. BrownEd and Arlene CohenShelley M. Cohn and
Mollie C. TriversLen and Doris CorisMarnie and Harvey DietrichZoe and Andrew DowdMelissa and Gene EinfrankDrs. Thomas Elliott and
Cindy RankinEllis F. Friedman and Irene
Stern FriedmanBecky and Dave GasparHarry George and Cita ScottMary and Robert GillettPam and Glen HaitPauline and Gene HechlerLeslie Hall and Ted JarviRobert Hershey-LearJulianna KasperRobyn Kessler and Jeff TimanDr. and Mrs. Ronald KolkerJudy and Sam LinhartElaine LitvackPhil and Nora MazurElsa McTavishConstance MelendezDrs. Richard and Yvonne MorrisTrudi and Robert MurchPeggy and Gerry MurphyPat and Wayne NeedhamPatti Norville SpectorDr. and Mrs. Charles W. Otto
Susan and Donald PittMallory and Donald RieggerLinda and Reid SchindlerCathy ShellEvelyn G. and Daniel J. SimonSean D. SweatShoshana and Robert TancerStephen and Susan ThompsonRichard WalkerJohn and Connie Ann
Nygaard WareingRuss and Kay WeedTaryn and Mark WestergaardEllen Wheeler and David NixAllan and Diana Winston
BACKERS $1,000 - $1,749
Anonymous (6)Amy and Bob AdamsJoanne and Howie AdamsNeil Ampel and Nancy MarchJeannette and Robert BarnesMary and Bret BatchelorNancy and Dave BaxterJoAnn and Dave BeckerBarbara and Franklin BennettSusan BergSandy and Chuck BonstellePatrick Butler and Debbie
Goodman-ButlerRay CarrollSara and Cristiano CastelliniShirley ChannVirginia Clements and Tom RogersJan CopelandJudie CosentinoBarbara and John CummingsMarjorie and George CunninghamA. Ennis DaleLeslie Dashew and Jack SalisburyCarol David and Hillary WylerJulie and Mark DeatherageGina and Rick DeGrawDeanna EvenchikSteven Fass
Margaret and Dennis FesenmyerRonna Fickbohm and Jeff WillisPatricia FluhrerPamela FrameMr. and Mrs. John FrancesconiMichael Garrison and John J. LopezRenee and Peter GerstmanAngela and Jeffrey GlosserTerry GoddardKathryn and Edwin GossDonita GrossBetty and Leonard GuarraiaAnne and David HameroffRebecca and Todd HanleyCristine and Ed HansenSarajean and Jeri HarwoodKathy and James HaunJohn Hay and Ruth MurphySuzie Hazan and Michael BurnsStephen and Amanda HeitzPat and Fred HenningEd and Sandy HollandCathy and Michael HolmbergLee and Patrick HoweJohn HudakJacqueline Hufford-JensenDeborah and Jeffrey JacobJudy and William JenneyJohn Paul Jones IIIDenice JustMartha and George KellnerMr. and Mrs. Joseph KendhammerTeresa Kim and Mark QualeJanice and Alvin KivelGabrielle KleinDon KlompJoan KoppenbrinkLynne Lagarde and Bob StankusEileen and John LamseSally LanyonMary and John LeavittStanley Lehman and Susan ChaikinChristiane G. LesliePhoebe LewisMs. Edith E. LutyAnne and Ed Lyman
Matthew and Jo Ann MadonnaPriscilla and Edmund MárquezDorothy and Roy MayeskeIrene MonsonDonnasu and Jim MoodyShirley G. MuneyNina and Brian MunsonKeith Murfee-DeConciniRuth Murphy and John HayDouglas NgJean and Jordan NerenbergAnn Patterson-BartonLinda PulaskiMark Quale and Teresa KimSandra RauschChuck and Terri RoehrickRandee RossDr. and Mrs. Sanford H. RothJonathan Rothschild and
Karen SpiegelRuss and Carolyn RussoDrs. Adib and Vivi SabbaghMichael and Enriqueta SalvoJudy and Harold SamloffAnne and Elmon SappClaire SargentBetty Anne SarverEllie and S.L. SchorrMarc and Tracy SchwimmerDeborah and Robert SharpeSarah and David SmallhouseBruce SpencerPhyllis E. and Richard D. SternMs. Susan M. SwickCindy TraylorKarla Van Drunen and Fred LittooySally Van SlykeEmily and Bob VincentJean K. WagnerNancy and Ted WolterMarilyn and Peter WoodsPunch and Casey WoodsJulianne and Raymond WoosleyMargaret WunderRuthie Zales and Ken Greenfield
INDIVIDUAL DONORS
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INDIVIDUAL DONORS
PATRONS $500 - $999
Anonymous (7)Michelle and Tim AbrahamJoseph AckerGail Adams and Jay GoodfarbRebecca Albrecht and
Norris LivoniSusan and Larry AllenAl and Janet AndersonLori Angus Wilson and Jay AngusJudy and Ned ArmstrongChar and Alan AugensteinStephen R. and Suzanne K. BarberMichael BassRichard BatesJohn BechmanTrudie and Peter BeestrumTony and Maria BeramDavid and Bonnie BickfordNed and Sue BloomfieldSusan and Richard BookspanKay BoumaMartha BrightwellCarol and Daniel BronteSuzanne and Dan BrownSylvia and Herb BurtonJean and Michael ButterfieldHanna and Don CallaghanTyna Callahan and Dimitri
VoulgaropoulosBrian and Lauren CantoniElaine and Sidney CohenKris and Earl CohenSara CohenSteven Cohen and
Michael GodnickMary Kathleen CollinsArlan Colton and Kirk SmithSusan G. ConnellJoe CoyleMargaret and James CoyleGayla and Harlan CrossmanAlicia and Jon Crumpton
Drs. Clara Curiel and Kai Lewandrowski
Patricia and Dennis DeConciniPhil Derkum and Flora YeeJan and Leo DresselKimberlyn Drew and Andy MooreGail E. DunlapMary Durham-PflibsenJohn DysterJanet and Harold EastinRoberta GoldsteinStevie and Karl EllerKaren and Lionel FaitelsonFred Farsjo and Patti PayneDr. Nelson FauxTom Feeney and Carmen
BermudezMary Jo FitzgeraldDenise FordPatricia and Gary FridleyElizabeth and Dietmar GannDrs. Margot W. and J.D. GarciaGary and Gini GethmannRoberta GillilanLeslie and Richard GlazeCathleen and Thomas GodfreyMuriel and Marc GoldfederStephen GraffSusan and Loring GreenTom and Nancy GreenDwaine GreerJerome and Anita GutkinRita HagelMichael Hamant and
Lynnell GardnerRobin and John HarrisElizabeth and Jerrold HatcherSuzanne and Lester HaytKen Hegland and Barbara SattlerMichael Heimbuch and Mitchell BuntingSharon and Louis HekmanDr. and Mrs. Arthur L. HerbstSharon and Jesse HiseSidney Hollander
Catherine HornessElaine Hoyne and Lisa RempeLori and David IaconisBrian IndrelunasLisa and Gary IsraelMargaret IversonAbe JacobFrank and Caroline JankDonald E. JenksHelen and Robert JennetteMarcelle and Leonard JoffeCelinda JohnsonRobert and Susan JohnstoneKaren and Charles JonaitisLeianne JonesJohn JordanNathan JosephJamie and Bill KelleyKathryn KellnerNancy and Burton KinerkSusan and Everett KingJo and Bob KoeperKathryn LammJane Langenfeld and
Duncan ChangJim and Gloria LawrenceAnne Leary and Bill HemeltMaxine and Jeffrey LeonardJim LeValley and Nancy PhilippiDr. Alan Levenson and
Rachel K. GoldwynCarol and Norman LevineNanci and Doug LevyDon LivesayDr. Howard LuberDebbie and Clint MabieBrendan Mahoney and
Gordon StreetClementa Mannarelli
and Gary MolendaMr. and Mrs. Thom MansurSusan and Ron MarkDejan and Susan MarkovichLorene MartinRudy and Maria MathewsCecelia MatsonAndy McKnight
Kathryn and Richard MerkelFrances MerrymanDouglas and Jane MetzgerMarilyn and Robert MetzgerMichelle and Joseph MillstoneHelene and Michael MironRoger MorrisJudee MorrisonChristine MuldoonEssie NadlerCarolyn and Carl NauAnn NicholsPeggy OdendahlDeborah Oseran and
Bobby PresentNorizan Osman and John IrbyAlyce PenningtonKathie and Bill PetersonTodd PetersonLaura and Tom PewTad and Linda PfisterBrian PrackoPaul RathjenPenny RauziBecky and Norman RebenstorfAnn H. ReddingDrs. Linda Riordan and
David SiegelDouglas and Arlene RipleyJenni and Todd RockoffChristina and James RonstadtBobbe RosenbergSusan Rotkis and Patrick
DeConciniBrenda and Jim RowlandDavid and Sonja SaarSarah and Noel SaltRita and Steven SchlosserEve SchocketJacqueline and Paul SchulzRobyn and Edward SchwagerArleen and Fred SchwartzArlene and Morton ScultPolly and Joe SeegerBarbara and George SeperichMary Jo Sheldon-DiVito
and William DiVito
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INDIVIDUAL DONORS
Julie Karcis and James SewardKelley ShoreHarvey and Rita SimonCarol and Barry SmithRichard Snodgrass and
Merrie BrucksLinnet and Robert SpanglerAlice and Joel SteinfeldDarryl and Helen SternMolly Stranahan and Tom CurtinHerbert and Kerry StratfordOlga and James StricklandCarolyn and John StuartJohn SzafranskiSandra ThallCarol and Charles ThompsonHugh ThompsonCarrie TothGayle A. TraverVera TuckerCatherine and Bruce UhlDavid and Nancy UlmerSusan and Evan UngerJohn Wareing and Connie
Nygaard WareingWendy WatsonSteven and Linda WegenerRonald and Mary WeinsteinBarbara WichKathleen and Robert WinderMichael Winters
FRIENDS $250 - $499
Anonymous (9)Audrey and Daniel AbramsPauline AlbertKristin AlmquistDr. and Mrs. Joseph AlpertOvadan Amanova-Olsen
and Irina Kirilova
Shirley and Thor AndersonAlma and Dan AngeloJulia and Neal ArmstrongSusan Johnson-Ash and
Gregory AshJudy and Bob AtwellRae and Peter AustEva and Martin BacalPamela and Frank BangsDr. and Mrs. Peter BankoffMartha BaronKathryn BatesCheryl BeardDr. Cash and Susanne BeechlerLarry BerleJudy BermanMary Bielski and Hal HolmanBetsy and Henry BogenJoyce and William BohnertMary and Daniel BooneBetsy and Bill BowenSusan and John BowersSharon and Barry BriskmanDiane and Donald BristowRichard Broderick and
Roberta KingMartha BrodersenCorrine BrooksThe Honorable and Mrs.
Michael J. BrownJeanne and Eugene BryanSharley and Graham BryceBonnie and David BurnettKaren L. Campbell and
Joseph TylutkiJennifer and Michael CaplanElaine and Morton CederbaumJudith ChapmanMaureen and John ChestnutAnne and Fred ChristensenJoyce A. and Richard S. ClarkJoyce Cohen and Leon SmithFrances CohenShirley and Mark CohenLorraine CrawfordVic and Ronald CroweMichael Crumly
Sherry DaileySandra and Anthony DalessandroJames Darling and Gina
Murphy DarlingAugusta DavisJudith and Chauncey DaytonMartin de WettDavid DeConciniJeff DeConciniPennie DeHoff and Larry WurstDon and Jonae DeLongTom Dinwiddie and Jackie KeithKathy DixonMaedell and Harold DixonAimee and Stephen DoctoroffPatricia and Ronald DonnellDonal DrayneCathy DresbachNann and Tony DurandoLee and Spencer ElliottElaine and Mario EspericuetaAnn and Charles FinaNancy and Richard FintzyHelen V. FisherMarcia FisherLaurie FitzgeraldSherman and Sarilyn FogelRobin Hiller and Tim FullerKevin Gebert and Whitney SheetsJane GellmanCleona GenzerAmi and John GiardinaLynn and Gary GieserTobey GitellePatricia and R. Terry GloverElaine and John GoetzElaine and Stanley GoldbergMidge and Gerald GolnerRita GolubVeronica and Arthur GonzalesDr. Robert W. GoreJanet GraceEllen GurewitzSara and Andrew GyorkeRobert Haddock and Ann StantonTerrence Hanson
Athia HardtBonnie and Michael HarrisLynn and Michael HarrisMichael and Phyllis HawkinsCandy and Jeffrey HazenLiz HernandezJames HerzfeldSusan HetheringtonDonna Hetler and Richard NewmanBethany and William HicksTom and Sandy HicksMarcia and Gregory HilliardLynn HoffmanMarta and Robert C. HollGerri and Barry HoltCharlotte HoweyDarrell and Frances HutchinsonSusan and Richard ImwalleDr. Ralph A. and Anna L. JacksonFrank JacobsonDeborah Jamieson and
Scott DeWaldLinda and Ralph JensenDavid JohnsonKimberly JohnsonMary and Thomas JohnsonRichard JohnsonBeverly and Robert JonesRobin and Michael KaisermanHy Kaplan and Sue VardonLynn and Chris KarabinasPhilip KellerCarol and Allen KernSandra A. KilkutsKim and David KingRoberta King and Richard
BroderickDon and Susan KjerlandIrina Kirilova and Ovadan
Amanova-OlsenMarsha and Donald KleinLinda and Bill KnoxKaren and Sherwin KoopmansKay and Philip KornNina and Michael KotinJessica and Stephen KozloffLynn Krabbe and Bruce Kilbride
PATRONS (continued) $500 - $999
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INDIVIDUAL DONORS
Barbara and Theodore KraverTamar Rala Kreiswirth
and John DeLucaKaren and Arvie LakeLarry LarsonJoan Le FevrePatricia and David LebowitzMark and Susan LederAdrienne and Keith LehrerLori Levine and Gary BennaBertie Levkowitz and Thomas HerzMary Jane LipshieJennifer Lohse and Jason DePizzoTiffany LopezMark LuprechtGypsy and David LyleCarol and Phil LyonsSuzan MakausWilliam MakiJackie ManningStan MarksIrene MarshLoraine MartinMichael MatichShirley and Stanley MatlickNaomi and Gene MatusowAnn and George MavkoKenneth and M. McQuadeLynda MenisGloria and Walter MerkelDarrel and Ann MerwinJeffrey MessingForrest MetzD.B. and Margaret MichelJoyanne and Fred MillsMr. and Mrs. George MinkPhyllis MorganMelvin E. MountsJohn MunicDana and Rick NaimarkEleanor NellemannRichard Newman and Donna Hetler
Michael and Patricia OreMarilyn and Michael OrensteinShana and Richard OseranStephen OttSusan and Chuck OttAlisha OwensGreg Parston and Judith HargadonEllie PattersonJames PeeblesClyde and Jane PerleeKaren and William PetersonThomas Pickrell and Barbara ZippelMargo and Steven PikeDavid Plane and Katharine JacobsBrian PopadakRobert PrattSheila and Robert PressWilliam Rapp and Kathy KolbeLu and Jim ReffkinKurt ReinkeJoan RobertsJanet and Roger RobinsonAnne RoedigerElaine RomeroEmily Rosenberg PollockGerald RosenquistDeborah and Daniel RoweCarol and Arnold RudoffSharon and Richard RundleBilly RussoDee Ann and James SakrisonEllen and Stephen SaltonstallJennifer and Charles SandsSarah Sanford-MillerDina ScaloneTom and Chris SchatzmanJennifer SchneiderDr. Howard and Trudy SchwartzAnn and Perry SellsSusan and Mark SendrowNeelam and Gulshan SethiRobin ShafmanBeverly and Herb ShealthelmRobert SheelyWhitney Sheets and Kevin GebertDr. Marvin Siegel and
Ms. Eileen Bloom
Dr. Caren SiehlAmy and Lee SilverthornRita and Harvey SimonPatricia SimpsonMary SmithSusan and Eddie SmithRichard Snyder and Linda JensenBarbara SolinLois and Lowell SorensonJan and Paul SpaethGloria and Mark SpiesRica and Harvey SpivackConnie StapletonLinda StaubitzClaire SteigerwaldAnna SteinerLorraine and Adolph SternChristopher StocksBecky and Harold StrainChris SwahnJay SykesLinda and David TansikShirley and Ted TaubeneckJean P. ThomasPatricia and Martin ThomasMarjorie and Neil ThorntonCheryl and Howard ToffMarlene TompkinsC. and Dale TretschokRick Unklesbay and
Margaret NoremDavid and Kathryn UngerAustin UrtonJoan and Gerald VandevoortClague Van SlykeSharon and Marc WeiselLouise and James WeissWendy and Elliott WeissLovable Bill and Ann WelchMarjorie and Lester WestphalConstance Whitehead and M. CappLois and Martin WienshienkSteven WiesenbergerBrad WinesPamela and Dennis WinstenDavid WohlBarbara and Michael Wright
THE ENCORE SOCIETY
HONORS THOSE FRIENDS OF ATC WHO HAVE ESTABLISHED A GIFT THROUGH A BEQUEST, TRUST ARRANGEMENT, OR OTHER ESTATE PLAN PROVISION.
Anonymous (1)Cameron and Mary ArtigueHelen and Robert BegamDr. and Mrs. James F. Blute, IIIBetsy BoldingMr. and Mrs. Vincent Buonomano*Joan Kaye CauthornSteven Cohen and Michael GodnickJacklyn Connoy and
William MaguireLen and Doris CorisVirginia Dayton*Mrs. Dorothy D. DeMiller*Lorenzo and Slivy Edmonds CottonCarol FinkTed and Barb FrohlingHarry and Lois GarrettDr. Mary Jo GhoryMr. Terrance M. HansonMr. and Mrs. Edward J. HarrisonMrs. Arthur Henderson*Andrew F. HoltzMs. Tana JonesMrs. Theodosia P. JoyceI. Michael and Beth KasserEverett King*Bill and Kathy Kinney
Philanthropic Fund at the Community Foundation for Southern Arizona
Maxine and Jonathan Marshall*Les and Phyllis MinsukJoan A. MorrisMelvin E. MountsPeggy and Gerry MurphyDon* and Peg Nickerson
FRIENDS (continued) $500 - $999
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Martha and Terry Allen Perl Endowment for the Arts
John D. Ratliff, Jr. and Vicki Ratliff
Ronald Robinette and Sharon Roediger
Arnold and Carol RudoffRobert V. Schauer*Greg SchoenRich SchoenWilliam C. and Deborah
Chisholm ScottF. William SheppardDaniel J. and Evelyn G. SimonGeorge E. and
Margorie G. Springer*Robert and Shoshana TancerRoy Van NoteJessica Spencer Walker*Taryn and Mark WestergaardLinda and Richard H. Whitney
YOUNG PATRONSKim and David KingKeith Murfee-DeConcini
THEATRE BUFFSMartha BrightwellPauline and Gene HechlerDrs. Steven and Marta KetchelKim and David KingLynne Lagarde and Bob StankusEileen and John LamseMary and Dennis McMackenMichael and Patricia OreRita and Steven Schlosser
GIFTS IN MEMORY OF
Clara Gay Ashton by Nancy and Jerry Williams
Rick Call by Anonymous
Don Conn by Margot Conn
David Fisher by Marcia Fisher
Gwendolyn Fletcher by Barbara F. Wentz
Rose Gottlieb by Anonymous
Roy L. Gross by Donita Gross
Sandy Hatfield by Shirley Estes
Anne and Paul Hochberg by Davie Glaser
Bob Maxfield by Dr. and Mrs. Ronald Kolker
Alfie Norville by Anonymous, Regina and Gregory Byrne, Kimberly Anne Clements and Scott Mackenzie, Stevie and Karl Eller, Lynn and Gary Gieser, Charlotte Harris Philanthropic Fund, Allan and Alfie Norville Philanthropic Fund, and Carol and Jacob Strubles
Judy Oswald by Ms. Edith E. Luty
George Rosenberg by Debby and Doug Kennedy
John Schroeder by Ann-Marie and David Cristofani
Paulita Sedgwick by Henrietta S. Barassi
Larry Smith by Frank Davis and F. William Sheppard and Range P. Shaw
Diane Carol Stone by Bruce Maach
GIFTS IN HONOR OF
Mary-Lynn Carmichael by Cathy Dresbach , David Ira Goldstein and Michele Robins Goldstein, Janet Arnold and Tom Rees
Dino DeConcini by Susan Rotkis and Patrick DeConcini
William Dehn by Kathryn Myers
Mary Ann and Darryl Dobras by Nancy and Reese Woodling
Lynne Wood Dusenberry by Joe Coyle
Tadeusz and Stefania Eminowicz by Miss Tillie
Shirley Estes by Pauline and Gene Hechler
Judith and Ken Falewicz by Jeff Falewicz
Stanley Feldman by Deborah Oseran and Bobby Present
Jay Glaser by Linda and Jordan Brickman
Rob and Laurie Glaser by Deborah and Jeffrey Jacob
David Ira Goldstein by Roberta Aidem, Jeanne and Eugene Bryan, Joan Kaye Cauthorn Advised Fund, Jay Glaser, Lori and David Iaconis, Frank Jacobson, Jennifer Lohse and Jason DePizzo
Grandchildren Mason Kelber, Jacob Kelber and Nadia Hutchinson by Alice and Marty Kelber
Great Theater! by Michael Hyland
Shannon Harral by Tad and Linda Pfister
Pauline Urbano Hechler by Sant Singh and Sant Kaur Khalsa and William Finley
Mike and Beth Kasser by Joan Kaye Cauthorn Advised Fund, Eglin & Bresler Architects, Harry George and Cita Scott, Frances Merryman, Law Office of Bernadette Ruiz, Judy Seinfeld and Sarah B. Smallhouse
Sandy Maxfield by Joan Kaye Cauthorn Advised Fund
Jack McConnell by Margie McConnell
Phoenix Box Office Personnel by Marjorie and Lester Westphal
Jeffrey Rein by Meijer, Inc.
Janice and Howard Richard by Betsy and James Morrow
Bill Sheppard and Range Shaw by Keith Bevan, Shirley Estes and Susan Watchman and Terry Corbett
Rick Small by Edward Leven
Mary Stofft by Robert Stofft
Herb Stratford by Dejari and Susan Markovich
Summer on Stage by Vicky Loebel
Mary Swallow and Jerry Turner by Ruth Reiman
Sarah J. Wich by Barbara Wich
INDIVIDUAL DONORS
*Gifts have been actualized
ENCORE CIRCLE(continued)
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S TA F F
ARTISTIC
ARTISTIC ASSOCIATE Tim Toothman
COMPANY MANAGER John Geersten
ASSISTANT COMPANY MANAGER Shannon Harral
PLAYWRIGHT-IN-RESIDENCE Elaine Romero
RESIDENT COSTUME DESIGNER Kish Finnegan
RESIDENT SOUND DESIGNER Brian Jerome Peterson
CASTING ASSOCIATE Matthew Wiener
LEARNING & EDUCATION
DIRECTOR OF LEARNING & EDUCATION Israel Jimenez
LEARNING & EDUCATION ASSOCIATES Holly Ann Garner, Jasmine Roth
TEACHING ARTISTS Kate Haas, Mark Swinerton, Jessi Young, Rania Zeineddine
TEACHING ARTIST APPRENTICES Shana Brewer, Elizabeth Broeder, Heather Lee Harper, Jamie Hogan, Darryl Ordell, Christine Peterson, Nicholette Shaffer
PRODUCTION MANAGER Jennifer Smith
ASSOCIATE PRODUCTION MANAGER Christopher Gerling
PRODUCTION INTERNS Amber Moldrem, Monica Munoz, Ashley Wright
STAGE MANAGEMENT
PRODUCTION STAGE MANAGER Glenn Bruner
STAGE MANAGER Bruno Ingram
ASSISTANTS TO THE STAGE MANAGER Emma DeVore, Tajh Oates
STAGE OPERATIONS
STAGE OPERATIONS MANAGER Kasi Love
STAGE CARPENTER (PHX) Scott Wagner
SCENERY
TECHNICAL DIRECTOR Phillip Blackwood
ASSISTANT TECHNICAL DIRECTOR Dominic DeRiso
MASTER CARPENTER Arthur Potts
STAFF CARPENTERS Nick Fleming, Scott Greenleaf, Sara Hill
OVERHIRE CARPENTER Tawd Bell
SCENIC CHARGE ARTIST Brigitte Bechtel
STAFF SCENIC ARTIST Mallory Harwell
OVERHIRE PAINTERS Patti Polk, Liz Weibler
PROPERTIES
PROPERTIES MASTER Paul Lucas
ASSISTANT PROPERTIES MASTER Jason Dearing
ARTISANS Christopher Hokin, John Wareing
COSTUMES & WARDROBE
COSTUME SHOP MANAGER Darcy Elora Hofer
COSTUME DESIGN MANAGER Kish Finnegan
STAFF DRAPER Phyllis Davies
WARDROBE SUPERVISOR Sandahl Masson
LEAD DRESSER (PHX) Paul Elliott
DRAPER Liz Weibler
FIRST HAND Marthe Witte
STITCHERS Kyra Jones Robin Strand
LIGHTING & PROJECTIONS
LIGHTING & PROJECTIONS SUPERVISOR Kat Seaton
MASTER ELECTRICIAN Lexy Canon
STAFF ELECTRICIAN Thomas Goldkuhl
LIGHT BOARD OPERATOR (PHX) Sawyer C Stroud
SOUND
SOUND SUPERVISOR Brian Jerome Peterson
PRODUCTION SOUND ENGINEER Mathew DeVore
SOUND BOARD OPERATOR (PHX) Billy Lopez
PRODUCTION
David Ivers, Artistic Director Billy Russo, Managing Director
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S TA F F
ADMINISTRATION
GENERAL MANAGER Herb Stratford
MANAGEMENT ASSOCIATE Ashley La Russa
ADMINISTRATIVE ASSISTANT Angela Aldrin
FRONT OFFICE VOLUNTEERS Pat Boysen, Elizabeth Claiborne, Barb Dominick-Price, Mary Donovan-Popa, Ellen Gurewitz, Cindy Morseth, Lynda Rigoletti, Wendy Sander, Linda Vogel
ACCESSIBILITY
ACCESSIBILITY COORDINATOR Eileen Bagnall
DEVELOPMENT
DIRECTOR OF DEVELOPMENT Julia Waterfall-Kanter
MAJOR GIFTS OFFICER Pauline Urbano Hechler, CFRE
INDIVIDUAL GIFTS OFFICER Carley Elizabeth Preston
STEWARDSHIP COORDINATOR Elizabeth Westrick-Von Ogden
FINANCE
DIRECTOR OF FINANCE & ADMINISTRATION Carrie Toth
ACCOUNTING ASSOCIATE Debbie Archuleta Katie Christensen Maria G Moreno
MARKETING
PATRON RELATIONSHIP MANAGER Ron May
ONLINE ENGAGEMENT COORDINATOR Erin Treat
MARKETING COORDINATOR Colin Buck Columna
FACILITIES – TUCSON
TEMPLE MANAGER Kellie Ann Murphy
FACILITIES MANAGER Horace Ashley
MAINTENANCE TECHNICIANS Dean Morgan, Andrew Baker
TICKET SALES & HOUSE MANAGEMENT
TICKET SERVICES MANAGER Geri Silvi
BOX OFFICE MANAGER (TUC) Michi Yamasaki
ASSOCIATE BOX OFFICE MANAGER (PHX) Linda Schwartz
ASSISTANT BOX OFFICE MANAGER (TUC) Carrie Luker
CUSTOMER SERVICE REPRESENTATIVE (TUC) Sara Kavitch
BOX OFFICE AGENTS (TUC) Ellie Fimbres, Sara Smiley
HOUSE MANAGER (TUC) Bill Bethel
SUBSCRIPTION SALES REPRESENTATIVE Karen Cuthbert
CONSULTANTS
GRANTS Alexis Smith-Schallenberger
MARKETING & COMMUNICATIONS Crowley Communications
IN-HOUSE GRAPHIC DESIGN Richard Giuliani
PROGRAM BOOK COORDINATOR Chloe Loos
AUDITORS Beach, Fleischman & Co
IT SUPPORT Lightwave Technical Consulting
PUBLIC RELATIONS The Kur Carr Group, Inc
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T H E AT E R I N F O R M AT I O N
F E E L T H E M O M E N T 2 0 1 5 / 2 0 1 6 S E A S O N
T H E AT E R I N F O R M AT I O N
HERBERGER THEATER CENTER
BOX OFFICE INFORMATIONMonday – Friday: 10:00 am to 5:00 pm Saturday & Sunday: 12:00 pm to 5:00 pm Evenings: One hour prior to performance
LOCATIONThe Box Office is located on the southeast side of the building, near the corner of 3rd and Monroe Streets.
PURCHASING TICKETSTickets can be purchased in person at the Box Office, by calling 602-252-8497, or through our website at www.HerbergerTheater.org.
PAYMENT METHODS ACCEPTEDThe Herberger Theater Center accepts cash, personal checks, American Express, Discover, MasterCard, and Visa.
REFUND POLICYRefunds are offered for canceled performances only.
GROUP & DISCOUNT INFOPlease contact Arizona Theatre Company for group discounts.
FACILITY INFORMATION
CHILDRENChildren under 3 years of age are not permitted in the theaters, unless otherwise specified by the performing company.
EMERGENCY EXIT NOTICEEmergency exits are indicated by the red Exit signs located above certain doors. Please check the location of the nearest exit after you have taken your seat. It may not be the same way you entered.
RESTROOMSRestrooms are located in the first- and second-floor lobbies between Center Stage and Stage West.
SERVICES FOR PATRONS WITH DISABILITIESThe Herberger Theater Center strives to be accessible to all patrons. Request special service when purchasing tickets or arriving at the theater. Infrared assistive listening headsets are available in the lobby. Arizona Theatre Company provides audio-described performances for the visually impaired and ASL interpretation for the hearing impaired. Call the Box Office for dates and performance times.
LATECOMER SEATING POLICYPatrons arriving after a performance has begun may be asked to wait in the lobby. At the appropriate time, latecomers will be escorted to available seating near the back of the orchestra or to the balcony, and may proceed to their ticketed seats at intermission.
CELL PHONES & PAGERSPlease turn off all cell phones, pagers, and watch alarms before entering the theater.
LOBBY REFRESHMENTSPut A Fork In It Catering sells beverages as well as light and delicious food items 60 minutes prior to performances and during intermission. Beverages purchased in the lobby are permitted in the theater.
To avoid intermission lines, you can pre- purchase your food and drinks and have them ready when intermission begins.
SMOKINGSmoking is prohibited in the Herberger Theater Center. In the event of smoking onstage, non-nicotine electric cigarettes or non-nicotine herbal substitutes will be used, and a sign will be posted in the lobby.
LOST & FOUNDPlease call 602-254-7399 x0 regarding items left at the Herberger Theater Center.
EMERGENCY TELEPHONE CALLSPlease leave your name and seat location with our Patron Services Manager if you are expecting emergency calls during the performance, and leave the phone number 602-254-7399 x0 with your telephone service.
TOURSThe Herberger Theater Center provides free tours of the facility by appointment. Call 602-254-7399 x197.
PARKING PASSESPurchase your parking pass from the Herberger Theater’s Box Office or online prior to the performance and park at the Arizona Center Parking Garage for only $6.00.
Located at 5th Street & Fillmore Street. Valid Monday – Friday, from 5:00 pm to 4:00 am and all day on Saturday and Sunday.
HTC CONTACT INFORMATION
222 E. Monroe Street Phoenix, AZ 85004
ADMNISTRATIVE OFFICES602-254-7399
BOX OFFICE602-252-8497 Fax 602-258-9521
www.HerbergerTheater.org
THE VIDEO AND/OR RECORDING OF THIS PERFORMANCE BY ANY MEANS WHATSOEVER ARE STRICTLY PROHIBITED.
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