Nov 29–Dec 28

BY CHARLES DICKENSADAPTED BY GREGORY FALLSDIRECTED BY KELLY KITCHENS

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Encore Stages is an Encore arts program that features stories about our local arts community alongside information about performances. Encore Stages is a publication of Encore Media Group. We also publish specialty publications, including the SIFF Guide and Catalog, Official Seattle Pride Guide, and the Seafair Commemorative Magazine. Learn more at encorespotlight.com.

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December 2019 | Volume 16, No. 3

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Feature3 The Anatomy of a Holiday

Show

Dialogue9 For Kathryn Van Meter,

‘Corduroy’ is a Beautiful Gift for Audiences of All Ages

13 Carrie Compere is Ready to Channel Sister Rosetta Tharpe in ‘Shout Sister Shout!’

Intermission Brain Transmission12 Test yourself with our

trivia quiz!

Upcoming Events15 December 2019

In This Issue

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MFA IN ARTS LEADERSHIP

Empowering a new wave of socially responsible arts professionalsO n l i n e a n d i n - p e r s o ni n f o r m a t i o n s e s s i o n s s e a t t l e u . e d u / a r t s l e a d e r h i p / g r a d u a t e

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SOUND THEATRE COMPANY & LANGSTON PRESENT

REPARATIONSBY DARREN CANADY

DIRECTED BY JAY O’LEARYLangston Hughes Performing Arts InstituteJanuary 10 – February 2

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As we settle into shorter days, performing arts organizations across Seattle are finding ways to bring joy to the region’s lengthening nights. And, much like the twinkling lights that decorate the downtown retail district, these arts organizations are doing this by bringing holiday cheer to audiences all month long.

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Pacific Northwest Ballet company dancers in the snow

scene from George Balanchine’s The Nutcracker in 2018.

The Anatomy of a Holiday Showby DANIELLE MOHLMAN

When I sat down to speak with A Christmas Carol Director Kelly Kitchens in September, she was already in the holiday mood. After directing Christmastown at Seattle Public Theater for the last four years and The Santaland Diaries before that, prepping for a Christmas show before fall officially starts, feels natural. “For me, this is when you actu-ally start thinking about the

holidays,” Kitchens said. “It’s the most wonderful time of the year.”

Kitchens stepped away from her co-artistic director role at Seattle Public Theater just after Labor Day in order to pursue a full slate of freelance directing opportuni-ties, both in Seattle and nation-ally. Directing A Christmas Carol at A Contemporary Theatre (ACT) is the first directing opportunity in this new phase of her career.

“I’m excited about not just join-ing the Christmas Carol family of the humans in the room and the production team and all of this, but the family at ACT has been so—” Kitchens corrected herself, “the staff. I call them family because it feels so warm and open. They’ve just thrown their doors and arms open to me and have been gener-ous with their time and with their expertise around the story. Because it is such a tradition.”

After directing at nearly every theatre in town, A Christmas Carol marks Kitchens’ first time direct-ing at ACT. So it’s great to hear that the experience has been a wonderful one thus far. “I can’t describe how welcoming that place is,” Kitchens said. “And when I have an idea, the way we walk through what that means and

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how to make it work. I’m excited about that level of collaboration. I’m having the time of my life.”

Midway through our conversa-tion, Kitchens pulled out a facsimile of the original A Christmas Carol manuscript from 1843, bound, fittingly, in a holly red cover. “I’m fascinated with the source material,” Kitchens said.

And then she showed me the dedication: “My own, and only, MS of the Book. Charles Dickens.”

When Charles Dickens set out to write A Christmas Carol, he was an artist in desperate need of a paycheck. And yet, as Kitchens read sections of the preface out loud, haunting phrases kept jump-ing out. “This ghostly little book.” “This ghost of an idea.” And yet that “little” ghost story went on to become one of the most well-known Christmas stories of the western world, one whose social commentary continues to resonate.

“I totally understand Mrs. Cratchit’s point of view,” Kitchens said. “When you see your sweet

child failing. And I also think about how many children Mrs. Cratchit buried already. They have no health care. They’re struggling. And it’s not because they’re not working hard. And I think about whatever the Christmas goose is for people right next door to me. There are people who are going to be hungry and cold. And some of them will be working hard and working long hours. And that’s because of systems that are in place.”

Kitchens reflected on what a wonderful tradition A Christmas Carol is for so many Seattle families—especially for those who choose to make this show their Christmas gift to each other. “I’m delighted to be part of that tradition,” Kitchens said. “It’s an honor and a responsibility to tell this story, and to do it justice.”

As Seattle Men’s Chorus Conductor and Artistic Director Paul Caldwell gears up for his fourth holiday concert with the chorus, what he’s most looking forward to is the

audience. “Seattle audiences are kind of rabid fans,” Caldwell said. “They bring a level of excitement to the concert hall that most cities reserve for the sports arena.”

One of his favorite memories comes from last year’s holiday concert. The Village People had released a Christmas album earlier that year, and the Seattle Men’s Chorus (SMC) was excited to per-form holiday music that intersected with their LGBTQAI+ mission.

“They rewrote all of their big hits with Christmas words,” Caldwell explained. “So, ‘YMCA’ became ‘NOEL.’ And I got the audience on their feet and they were dancing in the aisle the whole time. There was just no way to not be absolutely thrilled with what was happening because the audience was just so energetic and so excited.”

‘Tis the Season is being billed as a “naughty and nice” holiday tradi-tion and Caldwell is thrilled that the Seattle Men’s Chorus has the opportunity to do both in the same concert. “It’s ravishing and heart C

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Keiko Green and Brandon O’Neill in ACT’s 2017 production of A Christmas Carol.

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Christmas card photos in the lobby and reveling in the deco-rations, is a beautiful form of entertainment in itself.

In a way, The Nutcracker is Boal’s way of bringing a personal holiday tradition to the city of Seattle. Boal’s first professional role was dancing in The Nutcracker party scene as a young boy, alongside the dancer responsible for restag-ing George Balanchine’s chore-ography for Pacific Northwest Ballet (PNB), Judith Fugate.

“We did the Sugar Plum Fairy and the Cavalier together for many years at the New York City Ballet,” Boal said. “It’s funny. When we started staging the pas de deux [for PNB], there were little places where I would nudge her forward and pull up on a hand and she was like ‘Oh, I forgot that. I forgot how much that helps me with my next step.’ And it was really fun. We were two, more than middle-aged people, standing in the rehearsal room, remember-ing how we used to dance.”

Fugate lives in Las Vegas now, but as we talked on the phone, I felt like I’d been transported to that same rehearsal room. “Peter and I have been good friends for a very long time, so any time he

It is a Jewish didactic work and it is also in the style of clogging and square dancing. It ends up being not one or the other, but both. I don’t know if everyone will par-ticularly get it, but the performers know it’s there and we treasure it because it’s rich in its history.”

And it’s intersectional, which is part of what makes SMC such a wonderful part of our arts community.

When I sat down to speak with Pacific Northwest Ballet Artistic Director Peter Boal about George Balanchine’s The Nutcracker, the first memory that popped into his mind was running into a family in the Seattle Center garage at 7:15 p.m. before a 7:30 p.m. curtain. They stopped him to tell him how much they loved The Nutcracker. Boal was confused; the show hadn’t yet begun. “And they said, ‘Oh no, we went to the matinee,’” Boal remembers. “‘We’ve just been in the lobby the whole time.’ They were done at four o’clock and they spent three hours in the lobby. But I think people just love it.”

For Boal, watching his audiences get swept up in the experience of attending the ballet, taking JO

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melting and everything you would expect from a men’s chorus of 250 people singing together,” Caldwell said. “It’s just gorgeous. And that’s the nice part. The naughty part is there’s always a lot of fun and frivolity. There’s this Ella Fitzgerald song we’re doing called ‘Santa Claus Got Stuck in my Chimney.’ It’s nothing but absolute fun.”

Caldwell also hinted at all 250 members of the chorus dressing up as fruitcake. “We don’t take ourselves completely seriously,” he said.

And as we talked through the music that SMC is performing this year, Caldwell drew special attention to their Hanukkah selec-tions. This year, the chorus will be performing songs that Woody Guthrie wrote in collaboration with his mother-in-law, the Yiddish poet Aliza Greenblatt, in order to teach his children about their Jewish heritage and culture. Despite the festive Hanukkah subject matter, the songs are very much rooted in the folk music tradition.

“It almost slaps you in the face, the juxtaposition of the style and the content of the text,” Caldwell said. “It’s a real treasure and I’m really proud to put it on the stage.

The Seattle Men’s Chorus performing a holiday show.

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“Seattle audiences are kind of rabid fans. They bring a level of excitement to the concert hall that most cities reserve for the sports arena.” —Paul Caldwell

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invites me to Seattle to work with the company, I always say yes,” Fugate said. “You know, at the time, many of the young boys in The Nutcracker were played by young girls. So I distinctly remember the fact that there happened to be an actual young boy playing my son. And I remember the man who took care of the men’s wardrobe—his name was Ducky—bringing Peter Boal to the stage before the per-formance and saying ‘Here’s yours, Judy. She’ll take care of you the rest of the way.’ And sure enough, many years later, here we are.”

Fugate was 17 years old, in her first year dancing as a company member of the New York City Ballet. Boal was nine years old.

It’s a ballet that’s lived with Fugate for most of her life, starting with her first performance as Clara at eight years old. And while The Nutcracker, and her time dancing with George Balanchine, who she affectionately calls “Mr. B,” con-tinues to be a large part of her life, Fugate is always thinking about her audience, “It can be a child’s first introduction to live theatre—or even the ballet itself. And many adults choose to go to The Nutcracker to see if they even like ballet. The

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And it’s those audience experi-ences that make it all worthwhile.

A Christmas Carol runs November 29 to December 28 at ACT Theatre. Tickets are available online (acttheatre.org) or by calling the box office at 206.292.7676.

The Seattle Men’s Chorus’ concert ‘Tis the Season runs November 30 to December 22 at Benaroya Hall, the Rialto Theater in Tacoma and the Everett Civic Auditorium. Tickets are available online (seattlechoruses.org) or by calling the box office at 206.388.1400.

George Balanchine’s The Nutcracker runs November 29 to December 28 at the Pacific Northwest Ballet. Tickets are available online (pnb.org) or by calling the box office at 206.441.2424.

Danielle Mohlman is a Seattle-based playwright and arts journalist. She’s a frequent contributor to Encore, where she’s written about everything from the intersection of sports and theatre to the landscape of sensory-friendly performances. Danielle’s work can also be found in American Theatre, The Dramatist and on the Quirk Books blog. daniellemohlman.com

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energy of the auditorium is very unique. It’s maybe one chance in the year that a family actually has an outing together. It’s a very special occasion. Not to mention, it’s also the holiday season, which already adds to the excitement.”

And with so many entertainment options out there—live music, theatre and streaming services at home, just to name a few—the fact that so many audience members actively make the decision to see The Nutcracker each year is something that Boal never takes for granted.

“The process starts long before they get to the theatre,” Boal said. “Whatever they choose to wear, what time they’re leaving the house, where they’re eating—the whole thing. And at the end of the day, we’re asking people to pay an amount you can’t ignore, for tickets. It’s a high ticket price for many people. But that person I met in the garage at 7:15 p.m. after a matinee—they didn’t question what they had invested. They got a whole day, and it was going to stick with them for a long, long time.”

Elise Hueffed, with Pacific Northwest Ballet School students in George Balanchine’s The Nutcracker in 2018.

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ACT – A Contemporary Theatre presents

John LangsArtistic Director

Becky WitmerManaging Director

by Charles DickensAdapted by Gregory A. FallsDirected by Kelly Kitchens

November 29–December 28, 2019CAST

Anne Allgood*, Myonnah Chesterfield, Peter Crook*, Sunam Ellis, Jim Gall*, Tristan Hagen, Piper Harden, Ty Ho, Reginald A. Jackson*, Eva Lopez, Conner J. Neddersen*, Mandy Rose Nichols, Brandon Oke, David Pichette*, Nava Ruthfield,

Arlando Smith, Jon Stutzman, Alexandra Tavares*, Amy Thone*, Ayo Tushinde, Kate Wisniewski*, R. Hamilton Wright*

CREATIVE TEAM: Kelly Kitchens Director Shelley Henze Schermer Scenic Designer Deborah Trout Costume Designer Michael Wellborn Lighting Designer Robertson Witmer Sound Designer Steve M. Klein Original Sound Designer Adam Stern Composer Kathryn Van Meter Choreographer Tim Symons Music Director Alyssa Keene Dialect Coach Lily McLeod Assistant Lighting Designer Vahishta Vafadari Assistant Dialect Coach JR Welden* Stage Manager Ruth Eitemiller* Assistant Stage Manager Kelly McGee Youth Cast Supervisor Caitlin Denney-Turner Production Assistant Rey Zane Kenan Directing Fellow

Setting: London, England, 1843

Running Time: This performance runs approximately 90 minutes. There will be no intermission.ASL interpreted performances are Tuesday, December 10 at 7:30pm and December 15 at 1:00pm.

*Members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.Photography, video, or audio recording of this performance by any means whatsoever are strictly prohibited.

Audience members are cordially reminded to silence all electronic devices. Please do not walk on the stage before, during, or after the show.

IN-KIND AND MEDIA SPONSORS:

Katharyn Alvord Gerlich

The Norcliffe Foundation

A Contemporary Theatre

Foundation

THEATRE AND SEASON SPONSORS:SHOW SPONSORS:

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Kelly KitchensPHOTO BY JOHN ULMAN PHOTOGRAPHY

The holidays are a complicated season for many of us, myself included.  It is a season at times full of merriment and delight; it is also a time in which loss, lack, and loneliness are often amplified. A time, as Dickens says, when want is keenly felt and abundance rejoices. 

I often walk through the festively decked streets of Seattle and joy opens up before me—feeling inexpressible gratitude for my family and friends, smiling right down to my toes at the unknown little one clutching their hot chocolate and staring at the twinkle of lights with eyes full of wonder. I turn a literal or metaphorical corner and then moments of melancholy and grief—over the loss of a loved one, over the suffering and inequality in our world that cries out for relief—are all around and roiling within me. 

I have been drawn back time and again to this story of Dickens’ because it, too, is complicated; it doesn’t deny or minimize but deeply allows for the complexities in the world and the human heart this season stirs and magnifies. This beautifully complex but ultimately hopeful story takes us on a journey through hard-hearts, heartaches, and hearts that, in the face of everything, have the capacity for growth and the ability to choose joy. It’s as if Dickens is speaking of times that, if divested of the sartorial choices of Victorian England, could very well be today.

This story speaks of socio-economic inequality; of the lack of meaningful programs of support for the working poor and those unstably housed; of families with food instability and lack of access to health care; of the growing epidemic of poverty; of systems that created these issues.

This story speaks of how people in power create a culture that harms or helps; of employers who have the ability to care solely about the bottom line regardless of the impact on the humans who are their employees or who can encourage an inclusive community in the workplace and

show appreciation for employees with acts of kindness and generosity.

This story speaks of the destruction wreaked by Ignorance and Want, and how—rather than attempting to cure those diseases—choosing to deny them only makes it worse; that we must guard against and combat these forces in our world and in our hearts. 

This story speaks some hard truths around recognizing the differences between cost, value, and worth. 

This story speaks of our responsibility to something greater than ourselves—our responsibility to care for our community, for those around us.

This story speaks of our capacity for a new choice today no matter what choices we made in all our yesterdays. We cannot get the past back; we will bear the scars of time, of grief, of things long past that were both in and out of our control. But right now, this is a new moment—and we can make choices that create a positive and priceless difference to ourselves and others.

In the end this story reminds us that Humankind is our business; that we are all indeed fellow passengers to the grave and as such we are called to open our hearts and care for one another in whatever ways we are able. We are in this together, tonight and after the lights come back up. So from one fellow passenger to another (and to paraphrase Dickens via the mouths of Fred and Marley) I wish for you a kind, forgiving, pleasant time on your journey through this story and beyond. I wish for us a world full of charity, mercy, courage, and benevolence. I wish us all comfort in times of need and moments when our hearts are full of hope and joy.

Merry Christmas and Happy Holidays,

Kelly Kitchens

Director’s NoteKELLY KITCHENS

A–2   ACT – A Contemporary Theatre

http://acttheatre.org

to ACTWELCOME

Becky WitmerJohn Langs

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A Note from John and BeckyIt has been a truly extraordinary year at

ACT. If you have been with us all year long for our Mainstage productions or for our ACTLab productions, or if you are joining us today with your family for the first time in 2019, we welcome you and thank you for being part of ACT. At this time of year, we often reflect on our season and count our blessings, and we are extremely grateful for you, our dedicated and adventurous audience.

Next year, ACT turns 55 years old with a new mission, continuing our strategic

plan, and bringing you great, artistic ambitions. As founding Artistic Director Gregory Falls envisioned in 1965, ACT is a home for contemporary theatre and we will continue to bring you stories from the most exciting new voices in American theatre today.

While ACT is a theatre with its eye on the future, tonight’s story is a gift from the past. Charles Dickens, by way of Gregory Falls’ adaptation, reminds us all not to take a second of this human experience for granted.

We can think of no better way to celebrate this theme than with live performance. And we can think of no better theatre to form our circle than the one you are seated in, only a breath away from the magic of creation. From the bottom of our hearts, we thank you.

John Langs & Becky Witmer 

A–4   ACT – A Contemporary Theatre

From its first publication in December 1843A Christmas Carol was seized upon by playwrights looking for a sure-fire success. Within three months no fewer than eight unauthorized stage adaptations could be seen on the West End. But the most famous and most effective of A Christmas Carol’s stage performances were those given by Dickens himself, who as a young man had hoped to become an actor. Happily for English literature, if perhaps unhappily for the English stage (the evidence suggests that had he wanted a stage career he’d have been second to none), Dickens didn’t pursue his theatrical ambitions. But he remained an avid theatre-goer, attending every week for the rest of his life, participating enthusiastically in amateur theatricals of all kinds, and eventually returning to his first love with solo performances of selections from his own work. He gave his first public reading of A Christmas Carol in 1853 at Birmingham before an audience of nearly 2,000 people, an immense crowd for the time.

Despite his raging popularity, in this century before radio and television very few of his devoted readers knew what Dickens looked or sounded like, and the opportunity to see him in-person and reading from his own work was an event not to be missed. Dedicated fans would camp on the pavement outside the auditorium the night before tickets went on sale, as if for a rock concert or the World Series. Although Dickens always made sure that some seats were priced within reach of the working class at just a shilling each, tickets were scalped regularly at prices

far in excess of their face value. Many in his audience were, at first, disappointed. Dickens was not an imposing figure physically, nor did he have the commanding vocal range of the most notable public speakers of the day. Still, he carried himself well and with a certain panache; what his voice

lacked in scope it more than made up in flexibility, resonance, and color; and once he began to read, people soon forgot their initial reservations.

Beyond his undoubted gifts as an actor, Dickens also had enormous charisma, and an ability to enthrall an audience through sheer force of personality that we would describe now as “star quality.” Eyewitnesses describe the energy of his movements as he walked briskly to the podium; his marvelously mobile and expressive face; and most of all the twinkle in his large, deeply set brown eyes as he announced in his rapid, emphatic way, “Marley-was-dead-to-begin-with...” as if he were already anticipating the thrills and delights of the story he was about to tell and could hardly wait to get on with it.

An American journalist wrote that to hear Dickens read A Christmas Carol was like hearing the very sound of Christmas bells. In time the readings became a holiday tradition for many people that they carried on within their own families each

Christmas, as in fact many still do today.

–Margaret Layne

Margaret Layne is ACT’s Director of Casting. She holds a B.A. Cum Laude in English Literature from Yale University.

Celebrating Out Loud

Dedicated fans would camp on the pavement outside the auditorium the night before tickets went on sale, as

if for a rock concert or the World

Series...

On Stage with Charles Dickens & A Christmas Carol

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Who’s Who in A Christmas Carol

CASTAnne Allgood (Mrs. Fezziwig/Mrs. Dilber) Anne is a 2017 ACT Core Company Member, and this is her fifth go-round with this marvelous story (having

previously played Mrs Fezziwig, Mrs. Cratchit, and many other of the characters you’ll see here tonight). She is pleased as Christmas Punch to be here celebrating Yuletide with you all! You might have seen her (more than a few times) onstage here at ACT, in roles ranging from Queen Mary Stuart to Marge Simpson. Also, she’s appeared in starring roles in more than 15 shows at the 5th Avenue Theatre, as well as at Seattle Rep, Seattle Children’s Theatre, Village Theatre, and Intiman. Allgood has numerous appearances on Broadway, in National Tours, and at regional venues coast-to-coast. Coming up next: Admissions at Seattle Public Theatre, and ACT’s 2020 opener Sweat. Thanks for coming to the show!

Myonnah Chesterfield (Martha Cratchit/Miss Fezziwig) Myonnah is thrilled to be in her first professional role at ACT. She learned to love acting playing the Genie

in Aladdin and Veruca Salt in Willy Wonka for her school musicals, and also as Angelica in a summer production of Hamilton. She has performed with Seattle Children’s Chorus and Briarcrest Select Choir and Orchestra where she played viola. Myonnah also loves to write short stories, play volleyball and lacrosse, and spend time chillin with friends.

Peter Crook (Scrooge) Peter was last seen at ACT as Vanya in The Seagull Project’s Uncle Vanya and has performed in all four of their ACTLab produc- tions. Other ACT credits

include A Number, Mary Stuart, Rock ‘n Roll, and three previous Scrooges. Most recently, he was King Henry in Folger Theatre’s 1 Henry IV. On Broadway and on tour he was Mozart in Amadeus. Other favorite Seattle credits include the Unicorn Theatre (UK) production of The Velveteen Rabbit (Seattle Children’s Theatre), Hairspray (Village Theatre), The Tempest (New City Theatre), Frozen (ArtsWest), Clybourne Park (Seattle Rep), Richard II (Seattle Shakespeare Company), and Angels In America (Intiman). Peter’s television and film credits include Designing Women, Max Headroom, Snow Falling on Cedars and Chaplin. He is a graduate of PCPA and The Juilliard School.

Sunam Ellis (Mrs. Cratchit/Elizabeth) Sunam graduated in 2015 from the University of Washington’s Professional Actor Training Program, and

since then, she has delved into the Seattle theater community, with productions and readings with Book-It, Seattle Shakespeare Company, Seattle Public Theatre, Sound Theatre, Seattle Rep, Theatre22, The Horse in Motion, and Freehold’s Engaged Theatre Tour. Favorite local roles include Margery in Hand to God (Gregory Award recipient), Bala in Sheathed (Gregory Award nominee), Marie in The Wellesley Girl, and Eleanor in Bring Down the House. Next, Sunam will be working on The Revolutionists with ArtsWest.

Jim Gall (Spirit 2) This production marks Jim’s fourth appearance at ACT, having previously performed in Black Coffee, Ramayana, and last year’s A Christmas

Carol. Jim was last seen, reprising his role as Lt. Schrank in West Side Story (5th Avenue Theater). Other recent performances include Frank Butley in Native Gardens (Intiman); George Frederick Handel in Joyful Noise (Taproot Theater); and Mr. Bennet in Pride and Prejudice (Theatreworks, Colorado Springs). Some of Jim’s favorite roles include Atticus Finch in Village Theatre’s To Kill a Mockingbird and Mountain McClintock in Theater Schmeater’s Requiem for a Heavyweight. His honors include four Seattle Times Footlight Awards and a Gregory Award nomination for Outstanding Actor for his performance as Kurt Vonnegut in Slaughterhouse 5 (Book-It Repertory Theatre). Next up, Jim will perform in Troilus and Cressida at Seattle Shakespeare Company. He is married to the beautiful and talented Kelly Kitchens.

Reginald Andrè Jackson (Bob Cratchit/Jonathan) An ACT Theatre Core Company member, Reginald returns to Christmas Carol after having previously played Fred

many Christmases ago. He was last seen here as Capulet in Romeo + Juliet. ACT patrons may also remember him from The Crucible as well as Fathers and Sons. This year he was Ben in The Last of the Boys (Seattle Rep), Frederick Douglass in The Agitators (West of Lenin), Logger in Bulrusher (Intiman), and Merrylegs in Black Beauty (Seattle Children’s Theatre). He’s also worked with Book-It, ArtsWest, Village Theatre, The Shakespeare Company,

Lake Tahoe Shakespeare, Artist’s Repertory Theatre, Taproot, and Arena Stage, among others. This year Reggie was a recipient of the Lunt-Fontanne Fellowship. Last year he took home a Gregory Award for his role in Two Trains Running. His adaptations of Christopher Paul Curtis’ The Watsons Go to Birmingham and Bud, Not Buddy are both available at Dramatic Publishing. The latter won the American Alliance of Theatre and Educations Award for Distinguished Adaptation.

Tristan Hagen (Charles Cratchit/Master Fezziwig) Tristan is beyond thrilled to make his ACT debut with A Christmas Carol! Tristan is a fifth grader and a student at

Village Theatre’s Pathway program. Tristan’s professional credits include Matilda the Musical (Village Theatre Mainstage); Carmen (Seattle Opera); The Music Man (Kirkland Performance Center); Bye-Bye Birdie (Second Story Repertory); A Christmas Carol (Second Story Repertory). Additional theatre credits include The Little Mermaid and Willy Wonka Jr., both with Village Theatre KIDSTAGE. Tristan studies tap and hip-hop dancing and when he is not singing, dancing, or acting, he enjoys basket- ball, soccer, playing Minecraft, and writing his own mini-scripts for plays. Tristan would like to thank his family and his new kittens, Bella and Bubbles, for their love and support. Wishing everyone peace, joy, and happiness this holiday season! IG: tristanhagen09

Piper Harden (Tiny Tim/Ignorance) Piper is honored and thankful to have been invited back to ACT. This year was spent working on two TV pilots and four movies! As exciting as

that was, Piper cannot wait to be back on stage! Piper’s hometown is Gig Harbor and she would like to thank her local supporters, Kathyanne Christine of Harbor Voice, Sue Dellinger from Harbor Dance, and Tanya Bleil-Johnson of Just For Kicks School of Dance. When not acting, Piper can be found playing Roblox, Facetiming friends, and snuggling with Leo, her hairless cat.

Ty Ho (Undertaker’s Assistant/Turkey Boy) Ty is very excited about joining the ACT family. He first became interested in theater and acting three years ago and has since

performed in A Thousands Splendid Suns as Zalmai at Seattle Rep and in Everybody as Time/Kid (Strawberry Theatre Workshop).

A–6   ACT – A Contemporary Theatre

In addition to stage plays, he appeared in a commercial print ad for Committee for Children. In addition to acting, Ty keeps himself active by playing outdoors, fishing, and playing sports. His current loves are lacrosse, flag football, and ping-pong. Ty is enthusiastically learning and perfecting his acting skills and jumps at any opportunity to perform and grow. He is extremely thankful and blessed for all the opportunities as well as the support from his family and friends.

Eva Lopez (Belinda Cratchit/Fan) Eva is a Denver native and kicks off her professional debut here at ACT. She was last seen at the Seattle Children’s Theatre Summer Season

in 101 Dalmatians/Aristocats as Scottie/Marie. Eva has played a handful of roles with Seattle’s Performers starting with Mowgli in The Jungle Book in 2016, and in February this year she was selected as an All-Star at the Junior Theatre Festival in Sacramento. Eva loves Harry Potter, New York City, Halloween, and Lizzo. She sends a huge thanks to her friends and family! Happy Holidays!

Conner Neddersen (Middle Scrooge/Spirit 3) Conner is a Seattle-based actor and a graduate of Cornish College of the Arts. Local theater credits include: Seattle

Children’s Theatre, Seattle Shakespeare Company, Seattle Opera, New Century Theater Company, Taproot Theatre, Intiman, and Strawberry Theatre Workshop. Conner is happy to return to ACT for A Christmas Carol for his fourth year as Middle Scrooge. He was most recently seen in Seattle Children’s Theatre’s world premiere, Black Beauty and The Events at Intiman. Conner is a two-time Gregory Award nominee for Outstanding Performance as a Leading Actor. TV and film credits include: A&E Discovery ID, Danger Diva (Cannes Film Festival), NBC’s Grimm.

Mandy Rose Nichols (Understudy) Mandy’s pronouns are They/Them and they are thrilled to be working with ACT for the first time on such a classic tale. Mandy is a

graduate of Arizona State University and since moving to Seattle, has been seen on stages with Book-It Repertory Theatre, Intiman, and Reboot Theatre Company. Local favorite roles include, Sweeney Todd in Sweeney Todd: The Demon Barber of Fleet Street for which Mandy earned a 2019 Gregory Award Nomination,

Eponine in Les Miserables, Joanne in Rent , and John Dickinson in 1776. Regional Credits: Rizzo in Grease, Frenchie in Cabaret, and Sister Amnesia in Nunsense. When not on stage, Mandy works as a voice over actor, host, and puppeteer. Keep up with their shenanigans at mandyrose.com. Thanks and love to Bahb.

Brandon Oke (Peter Cratchit/Young Scrooge) Brandon is delighted to return to ACT Theater after playing Turkey Boy in A Christmas Carol in 2015 and 2016. Now a high

school freshman, Brandon’s other professional credits include A Christmas Story at the 5th Avenue Theater (Gregory Award nominee for playing Randy); Billy Elliot at Village Theater; and seven commercials and a movie. He has also been in 25 musicals, including The Little Mermaid (Sebastian), The Lion King Jr. (Simba/Young Simba), Spamalot (Mayor), Sweeney Todd, Peter Pan (Slightly), Oliver!, James & The Giant Peach Jr. (James), and Seussical (Jojo). He thanks his family, friends, and voice teacher Lori Gilbert, plus his bird, Fiji, and dog, Coby.

David Pichette (Scrooge) This is David’s 11th iteration of Ebenezer Scrooge in ACT’s A Christmas Carol. His first was in 1982, using a lot of makeup to look old

enough, an operation no longer necessary. In other productions, he has played three Bob Cratchits, Marley, Old Joe, the Undertaker’s Assistant, both Gentlemen in the office, one Gentleman in the funeral scene, a Beggar, a particularly dull-witted Guest at Fred’s party, and Everybody in a one-man presentation performed for schoolchildren, in which Mrs. Dilber was the audience’s hands-down favorite. He is delighted to once again be a part of this grandest of tales, which, like Cleopatra, custom cannot stale, nor age wither. Special thanks to John Gilbert, the first, and perhaps still the best, of all the ACT Scrooges.

Nava Ruthfield (Elizabeth Cratchit/Want) Nava is delighted to make her ACT debut! Other regional productions include Matilda in Matilda the Musical (Village Theatre,

West Coast Regional Premiere), for which she won the Gregory Awards People’s Choice Award for Best Performance in a Musical; Little Joe in Black Beauty (Seattle Children’s Theatre, World Premiere); Scout in To Kill a Mockingbird (Edmonds Driftwood Players); and Gemma in Flight Before Xmas (Seattle Public Theatre,

World Premiere). Youth productions include Lion King Jr. and James and the Giant Peach Jr. (Village Theatre KIDSTAGE). Commercial and Voiceover work for Papa Murphy’s, Amazon, Zulily, Cedar Grove, and others. Thank you to her awesome team of coaches (Angela, Kate, Chris, Josh), the ACT Christmas Carol team which makes this such a unique experience for the youth ensemble, and to my family—especially my sister, Mica, who you can see now in Corduroy at Seattle Children’s Theatre. Check it out! IG: nava.ruthfield

Arlando Smith (Fred / Dick Wilkins) Arlando was most recently seen in Rigoletto at Seattle Opera. Other notable area credits include: Porgy & Bess also at

Seattle Opera; The Maltese Falcon (Book-It Repertory Theatre); Julius Caesar, Shakespeare in Love and the upcoming Troilus and Cressida (Seattle Shakespeare Company). Further afield, Arlando has performed on stages such as the Public Theater in New York City, The Los Angeles Theatre Center, and The Edinburgh Festival Fringe. His very first professional theatre job was performing in a production of A Cajun Christmas Carol in Louisiana. He is overjoyed to make his ACT debut with this beloved production.

Jon Stutzman (Understudy) Jon is excited to be working with ACT again. Locally, he has performed with Taproot Theatre, Book-It Repertory Theatre, and Seattle Immersive

Theater. In Chicago, he worked with many theatres such as Shattered Globe, The Artistic Home, Raven Theatre, Lifeline Theatre, Steep Theatre, Griffin Theatre, Building Stage (where he was a company member), Back Stage Theatre Company, The Side Project, and City Lit Theatre. Regional credits include: numerous shows at the B Street Theatre in Sacramento CA, the New Harmony Theatre (New Harmony, Indiana), and touring nationally for two years in Defamation with Canamac Productions. Special thanks to Megan.

Alexandra Tavares (Spirit 1) Alexandra has appeared at ACT in Middletown and Rock n’ Roll. Other productions include The Odyssey, Constellations, and Three Tall Women

at Seattle Rep; Pride and Prejudice (Elizabeth), Tom Jones, The Clean House, and Italian-American Reconciliation at Actors Theatre of Louisville; the world premiere of the new Jane

Who’s Who in A Christmas Carol

encorespotlight.com   A–7

Who’s Who in A Christmas CarolMartin play, Somebody/Nobody and Sherlock Holmes and The Suicide Club at Arizona Theatre Company; Heartbreak House and The Three Sisters at Intiman; Medea (Medea) at Seattle Shakespeare Company; as well as various other productions at Seattle Children’s Theatre, Strawberry Theatre Workshop, Book-It Repertory Theatre, and Washington Ensemble Theatre. She is also a co-founder of The Seagull Project and has appeared in The Seagull, The Three Sisters, and Uncle Vanya. She has an M.F.A. in acting from University of Washington. TV/Film credits include Capitol Hill series and Find Him.

Amy Thone (Marley/Old Joe) Amy is a 2019 ACT Core Company member and is proud to have been working in the theatre for over 30 years, and in Seattle for slightly more than

20 of those years. She has been the casting director for the Seattle Shakespeare Company since 1997, and has played many roles there, including Cleopatra, Beatrice, Prospero, Lady Macbeth, Cassius, Adriana, Helena, and Titania. She’s also acted at Seattle Rep, Intiman, Book-It Repertory Theatre, Seattle Children’s Theatre, and Strawberry Theatre Workshop. In Seattle, she’s also very pleased to have been in the two productions of Upstart Crow Collective, (Titus Andronicus and King John, both directed by Rosa Joshi). She is deeply proud to be a founding member of the New Century Theatre Company, for whom she played roles in The Adding Machine, Holy Days, Stephanie Timm’s On the Nature of Dust, and The Trial. She’s the recipient of a Stranger Genius Award and three Gregory Awards. Nationally, she has worked at the Oregon, Utah, Colorado, and Santa Cruz Shakespeare Festivals, the Alley in Houston, the Geva Theatre, and the Denver Center. She teaches Shakespeare at the University of Washington and at Freehold Studio Lab, and the plays of Beckett and Pinter at Cornish College of the Arts. She received her MFA from the National Theatre Conservatory at the Denver Center for the Performing Arts.

Ayo Tushinde (Belle/Niece) is delighted to have her A Christmas Carol debut and to join the ranks of so many who have spread holiday cheer with this classic. Recent

credits include: Bulrusher (Intiman), The Call (Seattle Public Theatre), Sheathed (Macha Theatre Works), All’s Well That Ends Well (Seattle Shakespeare Company). She has enjoyed working with many other local theatres including Cafe Nordo, Sound Theatre Company, Washington Ensemble Theatre, Seattle Rep, The Seagull Project, and Book-It Repertory

Theatre. Ayo dedicates a special thank you to all of the professors who taught her to be forever wary of their evaluation of her worth, to the Seattle theatre community that has made her aware of the power of her voice, and to her circle of artistic friends and family who constantly inspire her.

Kate Wisniewski (Understudy) Kate is a founding company member of upstart crow collective and played Margaret of Anjou in their co-productions with

Seattle Shakespeare Company of Richard III and Bring Down the House (her co-adaptation of Shakespeare’s Henry VI plays). She will be appearing in a new production of Bring Down the House at the Oregon Shakespeare Festival in their 2020 season. She was last seen locally in Last of the Boys at Seattle Rep and has worked at Intiman, Seattle Shakespeare Company, Book-It Repertory Theatre, Empty Space, Tacoma Actors Guild, New Century Theatre Company, New City Theatre, and Island Stage Left. Regionally: The American Repertory Theatre in Cambridge, MA. Kate is a graduate of the American Repertory Theatre Institute at Harvard. She is an adjunct faculty member at Seattle University in the Performing Arts and Arts Leadership Department and is a Certified Fitzmaurice Voicework instructor.

R. Hamilton Wright (Mr. Fezziwig) R. Hamilton Wright joined the ACT Core Company in 2016 and first appeared at ACT in Sam Shepard’s Buried Child in the summer

of 1981. His latest was last season’s Oslo. Between those two were nearly fifty great experiences. Some of his favorites: Red Noses, Bach at Leipzig, Chorus of Disapproval, Intimate Exchanges, Middletown, Double Indemnity (as the writer/adapter), End of the World, Souvenir (as the Director), Enchanted April, The Revengers’ Comedies, The Pillowman, Assisted Living (as a Director), The Odd Couple, Stuff Happens, Marrying Katie and A Christmas Carol. His original play Sherlock Holmes and the Raven’s Curse has just received its world premiere at Vertigo Theatre in Calgary, Alberta.

Creative TeamKelly Kitchens (Director) Kelly is a professional director, actor, and arts educator based out of Seattle, Washington. Her honors include: three-time nominated and two-time recipient of the Gregory Falls Award for Outstanding Director; winner of the BroadwayWorld Critics Picks for Best Direction of a Play; two time winner of Seattle Theater

Writers award for Best Direction of a Play; named Best Director by the Seattle Weekly Readers Poll; and named in Seattle Magazine’s inaugural list of “Top 20 Most Talented People in Seattle.” Past directing projects include: NYC workshop of Esther, a new dance musical; the US Premier of Meek (Denizen Theater, NY); O+E, a new adaptation of Gluck’s Orfeo ed Euridice (Stage Directing/Seattle Opera); The Light in the Piazza (Showtunes Theatre Company); The Thanksgiving Play, Hand to God (Gregory Award recipient for Outstanding Production), Ironbound (Gregory Award nominee for Outstanding Production), Grounded, On Clover Road, The Other Place, Christmastown (Seattle Public Theater); Medea, As You Like It, and The Tempest (Seattle Shakespeare Company); Pride and Prejudice (THEATERWORKS, Colorado); and She’s Come Undone (Book-It Repertory Theatre for which she also adapted the script). Upcoming directing projects include: The Revolutionists for ArtsWest; the Pulitzer Prize winner Cost of Living for Seattle Public Theater; and Mozart’s The Marriage of Figaro for Kentucky Opera. Kelly is a guest lecturer at the University of Washington for Acting and Directing; a member of Actor’s Equity Association, and a member of The Stage Directors and Choreographers Society. Kelly earned her B.A. from Vanderbilt University and her M.F.A. from the University of Texas at Austin.

Shelley Henze Schermer (Scenic Designer) has been associated with ACT designing props, scenery, and costumes for the mainstage, cabaret, and children’s productions since 1971 including: A Moon for the Misbegotten, Later Life, Custer, Amadeus, Fool for Love, On the Razzle, Little Shop of Horrors, Laughter on the 23rd Floor, and two versions of A Christmas Carol. Her design work, locally, nationally and internationally, includes theatre scenery, interactive museum exhibits, special events, conventions, and interior design, including ACT’s Kreielsheimer Place. She has also developed and produced live theatre. Her current project is authoring three books on ACT’s history, Defining ACT 1964–1974, 1975–1985 and 1986–1996, the first of which is currently available.

Deborah Trout (Costume Designer) A Northwest designer, her recent work with John Langs includes ACT’s Dracula,The Crucible, and Mr. Burns, a Post-Electric Play, and their collaboration on Seattle Opera’s Beatrice and Benedict. Other highlights include Seattle Opera’s The Turn of the Screw; Seattle Rep’s A Doll’s House Part 2; Arizona Theatre Company’s Native Gardens; Alice Gosti’s durational piece How to Become a Partisan at St. Mark’s Cathedral; A Year with Frog and Toad at Seattle Children’s Theatre; and Portland Center Stage’s Cyrano with Seattle’s Jane Jones. Theatres include: Actors Theatre of Louisville, The Alley Theatre (Houston), Alliance Theatre

A–8   ACT – A Contemporary Theatre

(Atlanta), Denver Center Theatre Company, 5th Avenue, Intiman, Children’s Theatre Company (Minneapolis), Oregon Shakespeare Festival, Perseverance Theatre (Juneau), Shakespeare Santa Cruz, Syracuse Stage, and Yale Repertory Theatre. Ms. Trout co-founded the New York millinery company Mackey and Trout, holds an MFA from the Yale School of Drama, is a member of United Scenic Artists, and teaches design at the University of Washington.

Michael Wellborn (Lighting Designer) is pleased to return to ACT’s production of A Christmas Carol for a 24th season. Other designs at ACT have included Vanya, Sonia, Masha and Spike, Eurydice, The Clean House, The Night of the Iguana, Bach at Leipzig, Avenue X, and Das Barbecü (1995). Wellborn has also designed lighting for Seattle Rep, Portland Center Stage, Intiman, Seattle Children’s Theatre, Tacoma Actors Guild, Tacoma Opera, the Colorado Shakespeare Festival, and the American University in Cairo (Egypt). With Spectrum Dance Theater and the Ririe-Woodbury Dance Company, his work has toured the US, Mexico, Northern Europe, and Southeast Asia.

Robertson Witmer (Sound Designer) Rob’s previous shows at ACT include Dracula, Romeo + Juliet, The Wolves, Skylight, and Daisy. Other recent credits include Uncle Vanya, The Cherry Orchard (The Seagull Project); Richard III, Timon of Athens, Bring Down the House (Seattle Shakespeare Company); Ironbound, Hand to God (Seattle Public Theater); The Ghost of Splinter Cove (Children’s Theatre of Charlotte), and Strange Fruit (Spectrum Dance Theater). His sound designs have also been heard at Seattle Rep, Intiman, Village Theatre, and Teatro ZinZanni. Rob composed music for Black Beauty, and The Miraculous Journey of Edward Tulane (Seattle Children’s Theatre); and has been seen onstage in Mr. Burns, A Post-Electric Play (ACT); A Doctor in Spite of Himself (Intiman, Yale Rep); and Go, Dog. Go! (Seattle Children’s Theatre). Upcoming projects include Greenwood (Alvin Ailey American Dance Theater) and The Best Summer Ever! (Seattle Children’s Theatre). Rob plays with several bands, including The Love Markets, Awesome, and the Toucans Steel Drum Band. Rob is a part-time Lecturer at UW School of Drama, and a member of United Scenic Artists, Local USA-829.

Tim Symons (Music Director) is happy to return to ACT, where he conducted the Gregory-Award winning Assassins. Symons is the resident music director at Village Theatre, where he has served as music supervisor on over 50 productions, including The 25th Annual Putnam County Spelling Bee, Hart Island, Matilda the Musical, and Jesus Christ Superstar. Other credits: Rock of Ages, Hunchback of Notre Dame (5th Avenue Theater), Man of La

Who’s Who in A Christmas Carol

ACT operates under agreements with the following:

This theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Mancha, Xanadu (Arizona Theatre Company), Corduroy (Seattle Children’s Theatre), As You Like It (Seattle Shakespeare Company). Love to Taylor!

Steven M. Klein (Original Sound Designer) Design credits include the world premieres of A Normal Life, Halcyon Days, Tears of Rage, and My One Good Nerve (ACT); Psychopathia Sexualis, Voir Dire, Jolson Sings Again, Scapin (adapted by Bill Irwin), and Largely/NewYork (Seattle Rep); numerous productions for both Seattle Children’s Theatre and Intiman; as well as the 1995 production of Wagner’s Der Ring des Nibelungen (Seattle Opera). His work has been heard nationally at The Kennedy Center, Arena Stage, Philadelphia Drama Guild, Utah Shakespearean Festival, La Jolla Playhouse, Mark Taper Forum, and Arizona Theatre Company.

Adam Stern (Composer) is the Music Director and Conductor of the Seattle Philharmonic and the Sammamish Symphony, and the Associate Conductor/”Pops” Conductor of the Oregon Coast Music Festival. When not conducting, he is active as a composer, lecturer, writer, and teacher. He has written the incidental music for a handful of ACT productions over the years, including Double Indemnity, The Pillowman, Alki, The Red and the Black, and A Christmas Carol, the score of which has been heard at ACT every December since 1996.

Kathryn Van Meter (Choreographer) Kathryn is an award winning, multi-disciplinary theatre artist based in Seattle whose 20-year career encompasses work as an actor, choreographer, director, and educator. Kathryn made her ACT debut as Mrs. Fezziwig in ACT’s 2012 production of A Christmas Carol and played Gwen in Rapture Blister Burn later that season. Kathryn recently choreographed As You Like It for the Seattle Rep’s Public Works Program and was recognized for directing and choreographing Matilda The Musical at Village Theatre. In addition to her work in the theatre, Kathryn has choreographed multiple times for the Seattle Opera, is the resident choreographer for the NETFLIX original series 13 Reasons Why, and in 2016 she worked with the US Department of Labor to develop the national definition for the occupation of “Choreographer”. Kathryn’s work can also be seen this holiday season at Seattle Children’s Theatre where she had the great pleasure of directing Corduroy—one of her favorite childhood books. She is a proud member of SDC, AEA, and AGMA.

Alyssa Keene (Dialect Coach) Alyssa is pleased to return to ACT, having last coached Ride the Cyclone and Lauren Weedman Doesn’t Live Here Anymore. Recent coaching credits include: And in this Corner: Cassius Clay (Seattle Children’s Theatre); A Raisin in the Sun (Seattle Rep); Mama Mia, Ragtime

(5th Avenue Theatre); Much Ado About Nothing, Mrs. Warren’s Profession (Seattle Shakespeare Company). Recent acting credits include Lili in Why We Have a Body (Strawberry Theatre Workshop); Mary in Hotel Nordo (Cafe Nordo); Yvette in Mother Courage and Her Children (Seattle Shakespeare Company); Mary Bailey in It’s a Wonderful Life (The 14/48 Projects). Alyssa is a member of the faculty at Cornish College of the Arts, Freehold Theatre Lab, Seattle Film Institute, and produces podcasts and manages education programs at Jack Straw Cultural Center.

JR Welden (Stage Manager) JR has stage managed Daisy, Mary Stuart, The Female of the Species, Eurydice, A Marvelous Party, Souvenir, The Underpants, Miss Witherspoon and 13 productions of A Christmas Carol at ACT. As Production Stage Manager, his recent productions at the 5th Avenue Theater include: Austen’s Pride, West Side Story, Rock of Ages, Kiss Me Kate, The Pajama Game. For 10 seasons, he stage managed for Intiman on productions including The Mandrake Root with Lynn Redgrave. He is proud to have been a licensed foster parent, through which he adopted his beautiful son, Travis.

Ruth Eitemiller (Assistant Stage Manager) has worked on many shows at ACT since interning here over ten years ago; some recent productions include Dracula, The Year of Magical Thinking, Romeo + Juliet, Oslo, A Christmas Carol, and The Crucible. Other recent Seattle credits include The Picture of Dorian Gray with Book-It Repertory Theatre, Patti and the Kid with Frank Boyd & Libby King (On the Boards), and NextFest 2018 with the 5th Avenue Theatre. Ruth is the recipient of the 2018 Melissa Hines Backstage Award and is proud to have been a company member and production manager with New Century Theatre Company where she helped create such shows as Mary’s Wedding, The Trial, and The Adding Machine.

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Emergency Evacuation Procedures In the event of an emergency, please wait for an announcement for further instructions. Ushers will be available for assistance.

Emergency Number The theatre’s emergency number in the Union lobby is 206.292.7667. Leave your exact seat location with your emergency contact in case they need to reach you.

Smoking Policy Smoking is NOT allowed in any part of the theatre or within 25 feet of the entrance.

Firearms Policy No firearms of any kind are allowed in any part of the theatre.

Food Food is not allowed in the theatre. Tuxedos & Tennis Shoes is the exclusive caterer of ACT.

Accessibility ACT offers the Figaro MobiTxt® Closed Captioning System for audience members who are Deaf / Hard of Hearing (HH). This system is offered at multiple performances for each production. Devices can be requested upon arrival at the theatre. ACT is also equipped with the Williams Sound® Audio Equipment, which amplifies stage sounds with the aid of headsets (ask staff for assistance). ASL interpreted performances for the Mainstage Season are offered at least once per play (check the website or contact the Ticket Office for ASL dates). Wheelchair seating is also available.

Lost & Found Call 206.292.7676 between 12:00pm and 6:00pm, Tues–Sun.

Address & Website ACT is located at 700 Union Street, Seattle, WA 98101. Ticket Office Phone: 206.292.7676. Administrative Office Phone: 206.292.7660. Fax: 206.292.7670. Website: www.acttheatre.org.

Theatre Rental For information regarding booking, contact events@acttheatre.org.

Group Sales Groups of 10 or more can save. Call 206.292.7674 or email groups@acttheatre.org.

Please be considerate and keep personal fragrance to a minimum.

PATRON INFORMATION

A–10   ACT – A Contemporary Theatre

And it was said of Scrooge, that he knew how to keep Christmas well, if any man alive possessed the knowledge.

May that truly be said of us.

Ways to GiveOnline at ActTheatre.org/donate | Call 206.292.7660x1330

Mail in a donation envelope. | Make a Legacy gift.

Celebrate this holiday season by becoming a part of the story with a gift to the annual fund. Your support will bring our theatre to life and ensure we are accessible and welcoming to our community.

Make your gift today and support one of Seattle’s favorite holiday events.

ACT is proud to be a home for holiday traditions and new works alike.

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Visionary Producers

Nancy D. Alvord *^~

Leslie Ray & Michael Bernstein *

Katharyn A. Gerlich *^

Gary & Parul Houlahan *^

True-Brown Foundation ^

Chuck Sitkin *^

producers CIRCLE

This list reflects donations made to the Annual Fund between January 1, 2018 and December 31, 2018. ACT works to maintain our list of donors as accurately as possible. We apologize for any misspellings or omissions. Should you find any, please contact our office so that we may correct any mistakes in future publications. Email development@acttheatre.org or call 206.292.7660 x1330.

* ACT Legacy Society member

ACT for the Future donor

~ Deceased

creatiVe Producers

Larry & Joan Barokas ^

Dr. Eric Bennett ^

Allan & Nora Davis ^

Justin & Delaney Dechant

Cherry Tinker & Bob Dowdy

Dr. Tove Ryman & Rayner D’Souza

Charles T. Fitzgerald *^

Ira & Courtney Gerlich

Ellen & John Hill

Cynthia Huffman & Ray Heacox

Lawrence & Mary Ellen Hughes

Ted & Linda Johnson

Patricia Daniels & Bill Kuhn *^

Gregory & Diane Lind ^

David Litwack

Jim & Cheri Minorchio

Furman & Susan Moseley

Tim Mulligan & Sean Murphy

Erika J. Nesholm

Dr. Arnie & Judy Ness *^

Douglas & Nancy Norberg

George & Linda Ojemann

Deborah Person

Sarah Pierre-Louis

Douglass & Katherine Raff ^

Teresa Revelle *

Nicholas & Yvonne Roberts

Dr. Larry Hohm & Karen Shaw ^

Fred Stark

David & Shirley Urdal ^

sustaining Producers

Eric Taylor & Sheena Aebig

Allan & Anne Affleck ^

Jack Lauderbaugh & Laurie Besteman *^

Peter & Fran Bigelow ^

Denise & David Foster

Natalie Gendler ^~

Norman & Lisa Judah

Eugene & Donna Mikov

Judith & Ben Simmons

Angela Stowell

Ethan Stowell

Jean Walkinshaw

Luminary Producers

Chap & Eve Alvord

Brad & Linda Fowler *^

executiVe Producers

Elias & Karyl Alvord

James Degel & Jeanne Berwick

Jean B. Falls *

Eric & Margaret Rothchild ^

Gian-Carlo & Eulalie Scandiuzzi ^

Donald & Goldie Silverman ^

Anonymous

act graciously thanks and recognizes the many

individuals and families investing in our mission.

our community and cultural life are better for your

participation. your continued generosity inspires

and motivates — ThAnk you!

Photo by Chris Bennion

ACTpartnersBE A part OF THE art

A–12   ACT – A Contemporary Theatre

Visionary Producers

Nancy D. Alvord *^~

Leslie Ray & Michael Bernstein *

Katharyn A. Gerlich *^

Gary & Parul Houlahan *^

True-Brown Foundation ^

Chuck Sitkin *^

producers CIRCLE

This list reflects donations made to the Annual Fund between January 1, 2018 and December 31, 2018. ACT works to maintain our list of donors as accurately as possible. We apologize for any misspellings or omissions. Should you find any, please contact our office so that we may correct any mistakes in future publications. Email development@acttheatre.org or call 206.292.7660 x1330.

* ACT Legacy Society member

ACT for the Future donor

~ Deceased

creatiVe Producers

Larry & Joan Barokas ^

Dr. Eric Bennett ^

Allan & Nora Davis ^

Justin & Delaney Dechant

Cherry Tinker & Bob Dowdy

Dr. Tove Ryman & Rayner D’Souza

Charles T. Fitzgerald *^

Ira & Courtney Gerlich

Ellen & John Hill

Cynthia Huffman & Ray Heacox

Lawrence & Mary Ellen Hughes

Ted & Linda Johnson

Patricia Daniels & Bill Kuhn *^

Gregory & Diane Lind ^

David Litwack

Jim & Cheri Minorchio

Furman & Susan Moseley

Tim Mulligan & Sean Murphy

Erika J. Nesholm

Dr. Arnie & Judy Ness *^

Douglas & Nancy Norberg

George & Linda Ojemann

Deborah Person

Sarah Pierre-Louis

Douglass & Katherine Raff ^

Teresa Revelle *

Nicholas & Yvonne Roberts

Dr. Larry Hohm & Karen Shaw ^

Fred Stark

David & Shirley Urdal ^

sustaining Producers

Eric Taylor & Sheena Aebig

Allan & Anne Affleck ^

Jack Lauderbaugh & Laurie Besteman *^

Peter & Fran Bigelow ^

Denise & David Foster

Natalie Gendler ^~

Norman & Lisa Judah

Eugene & Donna Mikov

Judith & Ben Simmons

Angela Stowell

Ethan Stowell

Jean Walkinshaw

Luminary Producers

Chap & Eve Alvord

Brad & Linda Fowler *^

executiVe Producers

Elias & Karyl Alvord

James Degel & Jeanne Berwick

Jean B. Falls *

Eric & Margaret Rothchild ^

Gian-Carlo & Eulalie Scandiuzzi ^

Donald & Goldie Silverman ^

Anonymous

act graciously thanks and recognizes the many

individuals and families investing in our mission.

our community and cultural life are better for your

participation. your continued generosity inspires

and motivates — ThAnk you!

Photo by Chris Bennion

ACTpartnersBE A part OF THE art

actors CIRCLEBenefactors

Warren & Anne Anderson

Walter & Melinda Andrews

Sonya & Tom Campion

Sallie Chaney

Michael Crystal

Stephen & Kathy Dewalt

Lori Eickelberg

Patricia Fearey

Eleanor & Jeff Freeman

James & Barbara Heavey

Norma & Leonard Klorfine

Jane & James Lyons ^

Dana & Nicholas Masington

Naomi & Yoshi Minegishi

Richard & Leanne Reel

Vishal Nigam & Carrie D. Rhodes

Jean A. Rhodes

Donald & Jo Anne Rosen

Faye Sarkowsky

Shelley Schermer

Vijay & Sita Vashee

Jean Viereck

imPactors

Shawn Aebi

Francois Ajenstat

Kermit & Danna Anderson ^

Kendall & Sonia Baker

Rebecca Benaroya

Alan & June Brockmeier

Patricia & Theodore Collins

Dennis & Deborah DeYoung

Susan L. Ehlers

Richard, Angela & Ian Finlay

Anne Middleton Foster

Julia & Michael Herschensohn

Dale & Donna Holpainen

Dan & Connie Hungate

Howard Wright III & Kate Janeway

Brad Edwards & Karen L. Koon

Ann McCurdy & Frank Lawler

Mark & Susan Minerich

Sally A. Nelson

John & Laurel Nesholm

Judy G. Poll

Suzanne Ragen ^

Ken Ragsdale

Evelyne Renee Rozner

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Anonymous

ACTpartnersBE A part OF THE artact graciously thanks and recognizes the many individuals

and families investing in our mission. our community and

cultural life are better for your participation. your continued

generosity inspires and motivates — ThAnk you!Photo by Chris Bennion

encorespotlight.com   A–13

players CIRCLELead PLayersAaron Anderson

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A–14   ACT – A Contemporary Theatre

ACT gratefully recognizes the following corporations, foundations,

government, and media agencies for their generous support of our 2019

programs. This funding from our community supporters enables ACT to offer

outstanding contemporary theatre for many audiences, educational programs for a

variety of student participants, and our continued theatre partnerships in ACTLab.

Italics indicate 10+ years of support | + indicates in-kind support

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PLatinum circLe Partners | $50,000+ArtsFundThe Shubert FoundationSeattle Office of Arts and Culture

goLd circLe Partners | $25,000–$49,9994CultureThe Ginger & Barry Ackerley FoundationThe Sheri & Les Biller Family FoundationThe Boeing CompanyJohn Graham FoundationThe William Kenan Charitable TrustNational Endowment for the Arts (NEA)Nesholm Family Foundation

siLVer circLe Partners | $10,000–$24,999ArtsWA — WA State Arts CommissionThe Elizabeth George FoundationFreestone Capital ManagementGrousemont FoundationHarvest FoundationHomeStreet Private BankMicrosoftThe Morgan Fund at Seattle FoundationPeg & Rick Young FoundationTreeline FoundationTuxedos & Tennis Shoes +

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thank you to our 2019 gala corporate supportersThe Boeing Company

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encorespotlight.com   A–15

ACT A Theatre of New IdeasACT Board of TrusteesGary HoulahanChair

Chuck SitkinImmediate Past Chair

Leslie Ray BernsteinVice Chair

Michael CrystalTreasurer

Erika NesholmSecretary

Matt AalfsJoan BarokasEric BennettLaurie BestemanBob DowdyRayner D’SouzaCharles FitzgeraldDr. Michael HerschensohnStephanie HilbertCynthia Huffman Diane LindBill Kuhn Lauren MikovNaomi MinegishiTim MulliganJudy NessDr. George OjemannSarah Pierre-LouisTeresa RevelleMargaret RothchildKaren ShawGoldie Gendler SilvermanSharyn SkeeterDr. Larry True

ACT Advisory CouncilSheena AebigDaniel D. EdererJean Burch FallsJeannie M. FallsJohn H. FarisKathryn Alvord GerlichBrad FowlerCarolyn H. GrinsteinSara Comings HoppinC. David HughbanksKate JanewayJonathan D. KleinJane W. LyonsGloria A. MosesNadine H. MurrayDouglas E. NorbergKristin G. OlsonDonald B. PatersonEric PettigrewPamela PowersKatherine L. RaffSuzanne RagenCatherine RoachJo Anne RosenFaye Sarkowsky Carlo ScandiuzziRob Stewart*David E. SkinnerSusan TrapnellBrian TurnerGeorge V. WilloughbyJane H. Yerkes

EMERITUS COUNCILRichard C. ClotfelterEsther Schoenfeld

A Contemporary Theatre Foundation BoardKermit AndersonPresident

Brad FowlerVice President

Katherine RaffSecretary

Don PatersonTreasurer

Trevor CobbMichael CrystalGary HoulahanJim Minorchio Cindy RichmondChuck Sitkin

ACT Staff

EXECUTIVEJohn LangsArtistic Director

Becky WitmerManaging Director

Tom BardwellExecutive and Artistic Manager

ARTISTICMargaret Layne†

Director of Casting

Tracy HylandEducation and Engagement

Manager

Riley GeneYoung Playwrights Program

Administrator

Ricky SpauldingBrooke MorrisonBrian DangLiterary Interns

ADMINISTRATIONAshley Lemmex Operations Manager

Rica WolkenIT Director

Martin SiskData Resources Manager

Tuxedos and Tennis Shoes CateringBar and Concessions

York Building Services, IncJanitorial Services

AC/R ServicesEngineer

FINANCESheila SmithDirector of Finance

Sandi HogbenPayroll Coordinator

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DEVELOPMENTMichael BreedenDirector of Development

Jill RobinsonDevelopment Officer

Carrie CampbellInstitutional Funding Manager

Claire EisenfeldIndividual Giving Manager

Kristine HaroldsonDonor Events and Stewardship

Coordinator

Brittany PetersDevelopment Coordinator

MARKETING, SALES, AND COMMUNICATIONSAmy GentryDirector of Sales & Marketing

Teresa Rende Johnson Senior Marketing Manager

Amelia Peacock ACTLab Marketing Manager

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Irwin MichelmanDeborah Pryor Direct Sales

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Grace Helmcke Allexa Laycock Nicole SongTicket Office Leads

Greg CochranSandy Leonard Nathan SmithTicket Office Representatives

AUDIENCE SERVICESMiranda Swineford Audience Services Manager

Kate German Amber Granger Peter Sakowicz Xaviera VandermayAudience Service Leads

Bill Abelson Michael Bontatibus Renee BoehlkeDarian Clogston Max KohSandy LeonardAlice PalatnickJaime RiggsBlake SimpsonAndy Walker Mary Catherine WomackAudience & Event Services

Andrew CreechClosed Caption Supervisor

Bill Abelson Darian ClogstonAllexa LaycockClosed Caption Operators

Christine JewVolunteer Coordinator

PRODUCTIONAlyssa Montgomery†

Production Manager

Meaghan DarlingProduction Associate

Katie BurnettACTLab Production Manager

COSTUME DEPARTMENTAmanda MuellerCostume Shop Manager

Cora Brown Draper

Susanne R. ShermanFirst Hand

Sally Mellis†

Wardrobe Master

Courtney Kessler-JeffreyWardrobe

SCENIC DEPARTMENTSDerek Baylor†

Technical Director

Nick MurelAssistant Technical Director

Amanda QuinnMaster Scenic Carpenter

Mike Sterkowicz Lead Scenic Carpenter

Jeff ScottScenic Charge Artist

Lisa Bellero† Assistant Charge Artist

Will WidickProperties Master

Ken Ewert† Master Properties Artisan

Thomas Verdos†

Lead Properties Artisan

STAGE OPERATIONSNick Farwell† Stage Operations Supervisor

James Nichols† Master Stage Carpenter

Pam Mulkern†

Master Electrician

Max Langley†

Master Sound Engineer

Brittany Lawrence ACTLab Technician

FOR THIS PRODUCTIONMike Mckenna Joe Leporati Scott TimminsScenic Carpenters

Cedric WrightProps Artisan

Joyce DegenfelderWigs & Hair

Andrew Beyer KD Schill Carly PaganoDressers

Kevin Cuba Amanda QuinnStagehands

Melanie HamptonYouth Actor Casting Associate

David Hsieh Maureen WilliamsYouth Actor Audition Volunteers

† Denotes staff member has worked at ACT for 10 years or more

t Member of ACT’s Core Company

* Deceased

A–16   ACT – A Contemporary Theatre

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For Kathryn Van Meter, ‘Corduroy’ is a Beautiful Gift for Audiences of All Agesby DANIELLE MOHLMAN

Director of Corduroy

Kathryn Van Meter.

If you’re an avid theatregoer, chances are you’ve seen Kathryn Van Meter’s work, either on stage or off. She’s an accomplished actor who, last season alone, played Judy in The Curious Incident of the Dog in the Night-Time at Village Theatre and originated the role of Liz in Fire Season at Seattle Public Theater.

She’s an incredible choreographer with credits on the stage and the screen. (The choreography in Netflix’s Thirteen Reasons Why—that’s her.) And she’s a prolific director, making her Seattle Children’s Theatre directing debut with Corduroy this winter. We spoke before the start of rehearsals about what it means to bring this childhood favorite to life.

Danielle Mohlman: For so many folks, there’s a childhood association with Corduroy—either they remember it from their own childhood or they’ve shared this book with a child in their life. Can you talk to me about what it means

to direct the play Corduroy? Why this play now?

Kathryn Van Meter: Yes, yes. Or as my friend said the other day “Why this bear now?” Which I really love. I’ve worked off and on at the Seattle Children’s Theatre for the last several decades, primarily as a choreographer. And when Courtney Sale [SCT’s artistic director] approached me about doing this project I said, “The bear?!” This book is 50 years old and I deeply remember both Corduroy and A Pocket for Corduroy as a huge part of my childhood. I just loved both books tremendously. And to take something that we have

a great love of and put it in front of a multigenerational audience feels like such an unbelievable gift. Especially around the holidays.

The play really expands on what is happening at Lisa and her mom’s house. So the book pretty much deals with Corduroy trying to find his buttons—and the delicious spectacular mess he makes along the way. And the play adaptation also shows side by side what Lisa is doing to convince her mom to let her get Corduroy. She is going through her evening trying to figure out new and exciting ways to get an advance on her allowance. And they’re both just making these spectacular messes along the way as they strive for their goal. They both have these beautiful versions of the hero’s journey. And I particularly get really excited when I see actual mess being made in the theatre. I think messes are really exciting.

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And messes that feel like messes. Like, real messes. Not staged messes.

Yeah! And I think that’s really fun. So the piece is two distinct feels. One of them is just pants wettingly funny slapstick—old school clown physical comedy. And then underlying all of that is this beautiful, touching, tender story of how we are awakened when we meet a new friend. And how that awakens a part of us we didn’t know was there. And the ability to have both of those things side by side in a production is really exciting.

I noticed that this show is being advertised for ages three and up. What excites you about directing with this young audience in mind?

Young audiences are the most honest audience you can perform for. If they love it, they’ll tell you. If they don’t love it, they’ll tell you. And so there’s something about that immediacy that is so exciting to make theatre for. You know that giggle where they

laugh so hard they can’t breathe? This show is that kind of fun. And it’s a tricky time that we’re in. And the opportunity to be in communion with our community and create that kind of laughter feels really exciting. And the most wonderful thing about theatre for young audiences, no matter what age you are, when you step inside that theatre you give yourself permission to be a younger version of you. And I think there’s a softening that can happen in an extraordinary way.

And for some audience members, this might be their first live theatre experience.

And that’s a tremendous honor and responsibility. You know, one of my first mentors many, many years ago was giving an opening night speech to the cast and he said, “Every time you perform, you’ve got to remember that somebody in that audience—if not more than one—really sacrificed something to be there.” They chose to do that. And I think the opportunity to ignite

the imagination and delight of kids in particular, to give them the opportunity to see things transform in front of them, feels like a beautiful gift to give.

And there’s something that really does charge a cast to see and hear really young people in the audience. And part of that is because the reactions are so audible and imme-diate. It’s different from playing to an audience of adults who are polite or exhausted. For so many reasons, we think that adults are content to be quieter at performances. But the gift of the sounds that the kids make is pretty exciting.

Before I let you go, I have to ask. Do you have a favorite holiday tradition?

I do! So, in the 80s, my parents recorded A Muppet Family Christmas and a Sesame Street Christmas special on our VCR. And a couple of years ago, my sister-in-law converted it to DVD, so now I watch that every Christmas. And the great thing about it is it still has all the commercials. SE

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I deeply remember both Corduroy and A Pocket for Corduroy . . . And to take something that we have a great love of and put it in front of a multigenerational audience feels like such an unbelievable gift. Especially around the holidays.—Kathryn Van Meter

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I was just going to ask what those commercials were like.

There’s a lot of OshKosh B’gosh. There’s a lot of Doublemint gum, with all the twins. And there’s a lot of (sings) “I’ve got that M&M feelin’.” It’s pretty great. That is my holiday tradition. Muppet Family Christmas—with the commercials.

Corduroy will play at Seattle Children’s Theatre November 21–December 29. Tickets are available online at www.sct.org.

Danielle Mohlman is a Seattle-based playwright and arts journalist. She’s a frequent contributor to Encore, where she’s written about everything from the intersection of sports and theatre to the landscape of sensory-friendly performances. Danielle’s work can also be found in American Theatre, The Dramatist and on the Quirk Books blog. daniellemohlman.com

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1 The Bishop’s Wife: A Live Radio Play can be seen at Taproot Theatre beginning November 27 through December 28. This is an adaptation of a 1947 film, which itself was based on a novel. In the film, David Niven and Cary Grant play a bishop and guardian angel. Who stars in the title role?

A Loretta YoungB Deborah KerrC Anne SheridanD Betsy Drake

2 At ACT Theatre, A Christmas Carol will be performed November 29 through December 28, as it is every year. This beloved adaptation was written by a legend of Seattle theatre and founder of ACT. Whom is it?

A Gregory FallsB Arne ZasloveC Stephen DietzD Daniel Sullivan

3 November 29 through December 29, Howl’s Moving Castle will play at Book-It Repertory Theatre. This musical features Rachel Guyer-Mafune as heroine Sophie Hatter. Who played this character during the premiere run of this show in 2017?

A Keiko GreenB Jasmine Jean SimC Sara PorkalobD Christine Marie Brown

4 December 12–14 at Meany Center, UW Creative Research Fellow Daniel Alexander Jones will perform the new musical Black Light, starring his alter-ego, Jomama Jones. A theatrical powerhouse, Jones is a proponent and practitioner of what esoteric movement?

A TheosophyB AfromysticismC RolfingD Dialectical meditation

Intermission Brain TransmissionWhy stare at your phone for the hundredth time today when you could treat your brain to this scintillating trivia quiz. Better yet, send us your answer to the bonus question for a chance to win tickets to an upcoming performance.

BONUSWhat was the last arts performance you attended that you liked best and why?

Email your answer with “Trivia Quiz” in the subject line to: production@encoremediagroup.com or post your answer to social media and tag @encorespotlight. 1—A Loretta Young. She went on to win the 1948 Academy Award for Best Actress for her work in The Farmer’s Daughter. 2—A Gregory Falls. The Gregory Awards, the most significant technical, artistic and community-focused awards in the region, were named for him. 3—C Sara Porkalob. The Seattle-based theatre artist’s trilogy of plays, the Dragon Cycle, has won three Gregory Awards and two Elliot Norton Awards. 4—B Afromysticism. From UW’s web page about Jones’ work: “Rooted in civic, practical and esoteric processes, ideas of Afromysticism engage a holistic approach to art making geared toward creating emancipatory and transformative experiences.”

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“I think the thing that I’m most excited about, is for people to hear about who she was,” Compere said, adding that Tharpe’s contribution to rock and roll wasn’t just musical, it was cultural as well. “That this beautiful black woman from the middle of nowhere influenced so much of what we hear today—I’m just glad her name is going to start to ring out there, you know?” And as we continued to discuss The Godmother of Rock ‘N’ Roll, that excitement only grew.

Danielle Mohlman: I’ll admit that I didn’t learn about Sister Rosetta Tharpe until probably two years ago when the book that Shout Sister Shout! is based on started making the rounds again. I was like “Who’s this? I need to know more!”

Carrie Compere: Yeah and it’s so cool because the first time I ever heard about Rosetta Tharpe—the very first time I ever heard her name mentioned—I happened to be on my first tour that I was in. And we were in Memphis and went to go visit Graceland. And there was a man there with a small group of people—I don’t know if they were his family or if he was giving a tour or what. And he sounded like he was from Great Britain. He was the one who mentioned her! And he was talking about how Elvis had been influenced by Sister Rosetta. And the way he talked about her, he was so excited, and I was just like, “Oh this woman must have been something else.” You know? Because that was the very first time I’d ever heard about her. And to now

know who she really was and what she did for music is really amazing.

Yeah. And one thing I find really fascinating, the more I learn about her and the more she comes up in these pop culture conversations, is the fact that her queerness was left out of the conversation for a very long time.

And the play has tones of that, but it’s not overt. And I think that—now, I don’t know—but I think that’s just out of respect for how Rosetta handled it in her own life. She never really talked about it in a public forum. Behind closed doors, when she was in areas where she felt comfortable, that was some-thing she felt free to display. But in the script, they do touch on her

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Carrie Compere is Ready to Channel Sister Rosetta Tharpe in ‘Shout Sister Shout!’by DANIELLE MOHLMAN Actor Carrie Compere who will play Rosetta

Tharpe in Shout Sister Shout!

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When I spoke with actress Carrie Compere mere days before Shout Sister Shout! rehearsals were scheduled to begin at Seattle Rep, her excitement surrounding Sister Rosetta Tharpe and this play was palpable.

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relationship with Marie Knight and how they loved each other beyond the sisterly way. But they build it in a way that’s respectful to Rosetta.

And it’s wonderful to hear you portray it that way—in respect to her and the way she lived her life. Because it was a completely different time and it wasn’t safe to be public about sexuality—not in that way.

Absolutely. And she was a woman who came from not only American culture where it was such a taboo [in the 1930s and 1940s] but also in the church culture.

Do you have a favorite Sister Rosetta Tharpe song? Maybe one you’re excited to dig into in rehearsal?

I don’t know if I have a favorite. I love “Up Above My Head” and the words are so simple. “Up above my head, I hear music in the air.” I think the reason why I love it so much is because I’ve watched her perform it over and over and over again. I’ve been watching videos of her and—I’m going to get emotional right now—but once she’s singing it, you know that she’s talking about something

more than just these lyrics. She’s just so rooted and grounded in gospel music—and in the message that she wanted to bring to the world. She’s a woman of faith. And I am as well. And it resonates so deeply with me, you know? And it’s an upbeat song. (Sings) “Up above my head / I hear music in the air / And I really do believe / There’s a Heaven somewhere.”

And you know she believes that. And she’s singing it and she’s playing her guitar and she’s sweating—and she’s giving everything. You know, in the book Shout, Sister, Shout!—and I’m paraphrasing this—one of her friends said there’s a difference between just singing the song and having a relationship with the words you’re singing about. And that’s who Rosetta was. It went so far beyond just the music.

Do you have a favorite moment from the play that you’re really looking forward to digging into in the rehearsal room?

Oh man. Right now I’m learning the electric guitar and acoustic guitar. Because that’s how she established herself in rock and roll, with her picking. I am excited

and terrified to really dig into the actual play. And I feel completely supported by our creative team and our music department. But before this experience, I had never played guitar before in my life. So, for me, this was something that on the onset looked insurmountable. So, it’s just been me spending time with the guitar. Sometimes I will literally just strap the guitar on my shoulder and just walk around the house—just really trying to develop a relationship with this instrument.

Because for Rosetta it wasn’t just her instrument. It was an extension of who she was. And sometimes when she wasn’t being confident—when she wasn’t speaking—you could see the way she was holding the guitar, as if she was speaking through the guitar. She was using the guitar to express what she was trying to say, or to support what she was saying. And Rosetta! Oh my god, her speed? Her tempo? It’s otherworldly. It’s amazing what this woman did.

Shout Sister Shout! runs November 8 to December 22 at Seattle Rep. Tickets are available at seattlerep.org or by calling 206.443.2222.

Danielle Mohlman is a Seattle-based playwright and arts journalist. She’s a frequent contributor to Encore, where she’s written about everything from the intersection of sports and theatre to the landscape of sensory-friendly performances. Danielle’s work can also be found in American Theatre, The Dramatist and on the Quirk Books blog. www.daniellemohlman.com

“That this beautiful black woman from the middle of nowhere influenced so much of what we hear today—I’m just glad her name is going to start to ring out there, you know?” —Carrie Compere

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CorduroyNovember 21–December 29Seattle Children’s Theatre

Howl’s Moving CastleNovember 27–December 29Book-It Repertory Theatre

The Bishop’s WifeNovember 27–December 28Taproot Theatre Company

A Christmas CarolNovember 29–December 28ACT Theatre

George Balanchine’s The Nutcracker®November 29–December 28Pacific Northwest Ballet

Cirque Dreams HolidazeNovember 30Tacoma Arts Live

Seattle Rock Orchestra: Led Zeppelin I & IINovember 30Seattle Theatre Group

’Tis the SeasonNovember 30–December 14Seattle Men’s Chorus

Holiday PopsDecember 6–8Seattle Symphony

The Hard NutDecember 6–15Broadway at The Paramount

Jonathan Biss: Celebrating Beethoven Part 2December 11Meany Center for the Performing Arts

Taylor Mac: Hoilday SauceDecember 19–20Seattle Theatre Group

A Christmas CarolDecember 21Tacoma Arts Live

New Year’s Eve Meow MeowDecember 31Seattle Symphony

Upcoming EventsExplore a full-season performing arts calendar at encorespotlight.com.

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Cast of Mark Morris Dance Group’s The Hard Nut.

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Take the first step in ensuring the preservation of your wealth for your lifetime and future generations.

To learn more, please visit unionbank.com/theprivatebank or contact:

Lisa Roberts Managing Director, Private Wealth Managementlisa.roberts@unionbank.com 415-705-7159

My legacy. My partner.

Wills, trusts, foundations, and wealth planning strategies have legal, tax, accounting, and other implications. Clients should consult a legal or tax advisor.

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