a new play byMat SMartDirecteD byron oJ parSon

Steppenwolffor young aDultS preSentS

february 22-March 13 2011

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It is truly an honor to return to Steppenwolf to help bring this fine play by Mat Smart to life. A play that jumps off the page, literally from the top of the key. When I was first asked to embark on this project, I wondered who this writer was. I wasn’t familiar with his work and I had some questions about what I might be getting myself into. Sometimes it can be a rocky road with a new untested script—always a welcomed challenge, but something I had to think about. But after meeting Mat and reading his script, I felt the warmth and passion not only on the page, but in the man. I couldn’t wait to undertake this journey, explore and create this world with him. I felt like I had known him for years and we were definitely about to make something special happen. I have followed Steppenwolf for Young Adults audiences for years and have seen some powerful plays come out of the series. So I was eager to be a part of this year’s commitment to our young people and one of our bright new voices of the theatre.

The play deals with two brothers who couldn’t be more different, but both are dealing with an inner spirit. Both need to know who they really are—one is eager to find out and the other scared of what he might learn, but both are on the same road to discovery. Samuel J. and K. evokes that need in us all to explore and discover who we are in the early years of life. I couldn’t help but relate to the lives portrayed in the play and the spirit it evoked in me, as well. Among other things, it considers what family means and the importance of our past as it relates to our future. It made me think about my relationship with my own brother. Even though neither of us are of a different race or adopted, the relationship in the play seemed very close to home. When I look for something to direct, I look for a play that I can grasp onto. And this play did that for me. In fact, it made me call my brother.

As a sports fan, it was fun having basketball as a big part of the audition process. So much in life is settled on the court or the gridiron or the baseball diamond. No different here. We had to have brothers who could play. Basically, you could be a great actor, but if you had no game you weren’t going to be able to hang.

I hope this play does for the audience what it did for me. It made me think about my own family and my relationship with them. I thought “maybe I will go home and hug my brother.” I hope audiences will think the same way. Maybe they will go home and hug their brothers and sisters and kiss their moms and dads after the show. I hope the play makes people want to learn more about Cameroon. It made me go to the library and get some books about Cameroon to see what it is like. In America, we often have such an ignorant view of Africa, from negative images in the media. Finally, I hope there is conversation when the audience leaves the theater. A lot of times people leave the theater talking about where to have dinner. I like plays that make people talk about the experience they just had.

In my work as a director, my mission is to educate and entertain wherever possible, and I believe with Samuel J. and K. we will achieve both goals splendidly. My career started when a theatre company came to my junior high school in Buffalo, New York—it affected me profoundly. It led to my becoming an actor and director. Samuel J. and K. takes us on a journey that I believe many young men and women will be able to relate to. If we can move one student to explore, discover and achieve their goals in life—then we will have achieved one of ours.

Director Ron OJ Parson

welcoMe froM the

Director:ron oJ parSon

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By Mat SmartDirected by Ron OJ Parson

Featuring Cliff Chamberlain* and Samuel G. Roberson, Jr.*

Scenic Design Jack Magaw+, Costume Design Melissa Torchia, Lighting Design J.R. Lederle,

Sound Design Kevin O’Donnell+, Casting Director Erica Daniels, Dramaturg Polly Carl,

Fight Director David Chrzanowski, Stage Manager Beth Ellen Spencer*

The world premiere of Samuel J. and K. was produced by the Williamstown Theatre Festival Nicholas Martin, Artistic Director on WTF first performance date.

Samuel J. and K. was developed with support from the Playwrights’ Center’s Jerome Fellowship Program, Minneapolis, Minnesota.

Steppenwolf Theatre Company is a constituent of Theatre Communication Group (TCG), the national organization for nonprofit professional theater.

* member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers. + member of United Scenic Artists, Local 829 of the IATSE.

Artistic Director Martha Lavey† Executive Director David Hawkanson

Steppenwolf for Young Adults Artistic and Educational Director Hallie Gordon

Steppenwolf for Young Adults presents

Corporate Sponsor of Steppenwolf for Young Adults

Sponsor of 2-for-1 Sunday Matinees

Additional Support for Samuel J. and K.

Corporate Production Sponsor

Photo by: Michelle Nolan

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understudiesKeith Neagle Samuel J.Greg Williams Samuel K.

additional staffWhitney Dibo Assistant DramaturgJoann White Charge Scenic ArtistMelissa Rutherfoord Assistant Charge ArtistOlivia Castillon Stage Management Apprentice Jacob Lorenz, Matt Retzlaff Run Crew

Cliff Chamberlain (Samuel J.) is thrilled and honored to return to Steppenwolf. Previous Steppenwolf credits include Superior

Donuts (also on Broadway at The Music Box Theatre), Ski Dubai, Theatrical Essays and The House Theatre of Chicago’s transfer of The Sparrow. Chicago credits include The Seagull, Magnolia and A True History of the Johnstown Flood (Goodman Theatre); The Lieutenant of Inishmore (Northlight Theatre); and Dolly West’s Kitchen (TimeLine Theatre). Cliff is a Company Member with The House, a founding member of Sandbox Theatre Project, a graduate of UC Santa Barbara and The School at Steppenwolf and a proud husband to his darling Robyn.

Samuel G. Roberson, Jr. (Samuel K.) is very excited to be making his Steppenwolfdebut. Chicago credits include: The Colored Museum

and Sanctified (Congo Square Theatre); Living Green and The Lost Boys of Sudan (Victory Gardens Theater); and The Ballad of Emmett Till (Goodman Theatre). Roberson has also been seen on the stage at Penumbra Theatre, The Children’s Theatre Company, The Pillsbury House Theatre, Illusion Theater, Imagination Stage, Source Theatre and The Studio Theatre. He is also President and Founder of Make Me a Match Project, a non-profit organization dedicated to saving the lives of patients with blood-related diseases. He is graduate of Howard University and thanks his family, friends and his wonderful wife for their constant support and motivation.

Keith Neagle (u/s Samuel J.) is grateful to be working with Steppenwolf for the first time. Chicago credits include: Sweet Bird of Youth and Smilin’ Jack (The Artistic Home); a staged reading of The Laramie Project: 10 Years Later (About Face Theatre at The Goodman Theatre); punkplay (at the Steppenwolf Garage), Fracture/Mechanics, Arrangements, Lipstick Traces: A Secret History of the Twentieth Century and 365 Days/Plays (Pavement Group); The Pigeons (Walkabout Theater); Everything Freezes: Another Winter’s Tale (Sideshow Theatre); and Yes, This Really Happened to Me (Theatre Seven); among others. Keith is a proud company member of Pavement Group and a recent graduate of The School at Steppenwolf.

Greg Williams (u/s Samuel K.) is elated to be working with Steppenwolf. The Waukegan native received his BFA from the University of Illinois in Urbana-Champaign. He was last seen in the first annual Chicago Fringe Festival’s And Ya Don’t Stop: A Hip Hop Play. He has also worked with Remy Bumppo Theatre as well as Point of Contention Theatre.

Mat Smart (Playwright) is a current McKnight Advancement Grant recipient and a former two-time Jerome Fellow at the Playwrights’ Center. Plays include: Samuel J. and K. (Williamstown Theatre Festival); The Hopper Collection (Magic Theatre and Huntington Theatre Company); The 13th of Paris (City Theatre, Horizon Theatre, Public Theatre of Maine, Warehouse Theatre, Seattle Public Theater and upcoming at LiveWire in Chicago); and The Bebop Heard in Okinawa (O’Neill Playwrights’ Conference). He is a co-founder of Slant Theatre Project in New York City and serves on the Board of Directors for The New Harmony Project. Undergraduate: University of Evansville. MFA: UCSD.

As a courtesy to the actors and your fellow patrons, please turn off your cell phones before

the performance and after the intermission.

The taking of photographs and the use of any type of recording device are not allowed in the theater dur-ing performances and are a violation of state and federal copyright laws. Digital media will be deleted, and tape or film will be confiscated.

* member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers.

cast (in alphabetical order)

Cliff Chamberlain* Samuel J.

Samuel G. Roberson, Jr.* Samuel K.

settingNaperville, Illinois and La Mare Pogué and Yaoundé, Cameroon. Present

There will be one 10-minute intermission.There will be a post-show discussion immediately following the performance.

cast/contributors

Visit steppenwolf.org/education/teachers/studyguides/ for the Samuel J. and K. study guide, written by members of the Steppenwolf for Young Adults!

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Ron OJ Parson (Director) hails from Buffalo, New York and is a graduate of the University of Michigan’s Professional Theatre Program. He is a Resident Artist at the Court Theatre, most recently serving as the director of Home. Locally, Ron has worked at the The Goodman Theatre, Victory Gardens Theater, Black Ensemble Theatre, ETA, Chicago Theatre Company, Northlight Theatre, Writers’ Theatre, Eclipse Theatre and UrbanTheater Company, to name a few. For Steppenwolf, Ron has directed The Horn, Jesus Hopped the ‘A’ Train and Wedding Band, and appeared in One Flew Over the Cuckoo’s Nest with Gary Sinise, directed by Terry Kinney.

Jack Magaw (Scenic Design) lives in Chicago and teaches design at both DePaul and Northwestern Universities. He most recently designed The Fall to Earth and First Look (2007) for Steppenwolf. Other recent Chicago and regional theatre credits include Eclipsed, A Life and Lowdown Dirty Blues (Northlight Theatre); Heroes (Peninsula Players Theatre); Home, Sizwe Banzi is Dead and The Mystery of Irma Vep (Court Theatre); Funny Girl (Drury Lane Oakbrook); Mauritius (TheatreSquared); She Loves Me, The Old Settler and Picnic (Writers’ Theatre); All My Sons (TimeLine Theatre); Evie’s Waltz (Geva Theatre); This Wonderful Life (Indiana Repertory Theatre); Radio Golf (Pittsburgh Public Theatre); Winesburg, Ohio and A Flea in Her Ear (Kansas City Repertory); Four Places (Victory Gardens Theater) and Love’s Labour’s Lost (Clarence Brown Theatre). He received Joseph Jefferson Award nominations for Picnic and Bus Stop (Writers’ Theatre); Fences (Court Theatre); and Seven Guitars (Congo Square Theatre). Upcoming projects include Gee’s Bend (Cincinnati Playhouse in the Park); Cabaret (Kansas City Repertory); and Bug (Redtwist Theatre) which he will

co-direct and design with Kimberly Senior.www.jackmagaw.com

Melissa Torchia (Costume Design) is thrilled to design with Steppenwolf for the first time. Other credits include: Peter Pan (Lookingglass Theatre); Not Wanted On The Voyage (American Musical Theatre Project); The Importance of Being Earnest (Remy Bumppo); Sugar (Drury Lane Oakbrook); Abigail’s Party (Red Orchid Theatre); End Days (Next Theatre); Kill The Old, Torture Their Young (Steep Theatre); Bye, Bye, Birdie! (Northwestern University). Ms. Torchia is currently completing her Masters in Costume Design from Northwestern University. In June of 2011, Melissa will be presenting her design work at the Prague Quadrennial, an international scenography conference. Upcoming shows: Aida (Drury Lane Oakbrook); Grease (American Theatre Co.); and The Verona Project (California Shakespeare Theater).

J.R. Lederle (Lighting Design) also designed To Kill A Mockingbird, The House on Mango Street, The Bluest Eye (also at New Victory in New York), Harriet Jacobs, The Water Engine (also at Theater on The Lake), A Tale of Two Cities, Winesburg Ohio, Division Street and Whispering City for Steppenwolf for Young Adults. His work has also been seen at Kansas City Repertory Theatre, Piven Theatre, Lookingglass Theatre, Victory Gardens Theater, About Face Theatre, Northlight Theatre, Remy Bumppo Theatre, Writers’ Theatre, Drury Lane Theatre, Walkabout, Itinerant Theatre Guild, Indiana Repertory Theatre and elsewhere. J.R. also designed lighting for seven years of the Steppenwolf Traffic Series and five Steppenwolf performances in Chicago’s Millennium Park. He has served as head of the Lighting Department at Steppenwolf Theater Company since 1995.

in rehearsal photos by Joel MoorMan

Playwright Mat Smart with Director Ron OJ Parson

Samuel G. Roberson, Jr., Director Ron OJ Parson and Cliff Chamberlain

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students that collectively help to create innovative programming for their peers. As Educational Director, Hallie has worked closely with the Chicago Public Schools to create an environment in which all students and teachers have access to the theatre. As a theatre artist, Hallie has directed The House on Mango Street (adapted for the stage by Tanya Saracho); the world premiere of Harriet Jacobs (adapted for the stage by Lydia R. Diamond); a new premiere of Toni Morrison’s The Bluest Eye (also adapted by Lydia R. Diamond, Black Excellence Award from the African American Arts Alliance of Chicago) and To Kill a Mockingbird—all for Steppenwolf for Young Adults. She also directed Eclipsed at Northlight Theatre. Hallie is also currently serving as the Artistic Director of the Chicago Park District’s Theatre on The Lake and is a recipient of the Helen Coburn Meier & Tim Meier Achievement award for her work as a theatre artist.

Martha Lavey (Artistic Director) has been an ensemble member since 1995 and has appeared at Steppenwolf in Endgame, Up, Good Boys and True, Love-Lies-Bleeding, Lost Land, I Never Sang for My Father, The House of Lily, Valparaiso, The Memory of Water, The Designated Mourner, Supple in Combat, Time of My Life, A Clockwork Orange, Talking Heads, SLAVS!, Picasso at the Lapin Agile, Ghost in the Machine, A Summer Remembered, Love Letters, Aunt Dan and Lemon and Savages. Elsewhere in Chicago she has performed at the Goodman, Victory Gardens, Northlight and Remains theaters and in New York at the Women’s Project and Productions. She has served on grants panels for the National Endowment for the Arts, The Theatre Communications Group (TCG), Three Arts, USA Artists and the City Arts panel of Chicago. Lavey holds a doctorate in Performance Studies from

Northwestern University and is a member of the National Advisory Council for the School of Communication at Northwestern and is Board President of TCG. She is a recipient of the Sarah Siddons Award and an Alumni Merit Award and honorary Doctorate of Arts from Northwestern University.

David Hawkanson (Executive Director) prior to Steppenwolf was the Managing Director of the Guthrie Theater in Minneapolis, Minnesota, under the artistic leadership of Joe Dowling. Before the Guthrie, he served for eight years as the Managing Director of Hartford Stage Company in Connecticut with Artistic Director, Mark Lamos. Earlier in his career, he was Managing Director of the Arizona Theater Company and a Guest Administrator at San Francisco’s American Conservatory Theatre. He was a former senior staff member at the National Endowment for the Arts and subsequently chairman of its Theater Program. He has also had an active career as an arts consultant and trustee for such national organizations as the Kennedy Center Fund for New American Plays, the Ford Foundation’s Working Capitol Fund, National Arts Stabilization Fund, the League of Resident Theatres, Theatre Trustees of America, Theatre Communications Group and the American Arts Alliance. He currently serves as a trustee of Door County’s Peninsula Players and the League of Chicago Theatres and is Chairman of the Illinois Arts Alliance.

Kevin O’Donnell (Sound Design) is thrilled to be back at Steppenwolf where he has worked on Sex with Strangers, Art, The House on Mango Street and The Elephant Man, as well as The Nutcracker, The Sparrow, The Three Penny Opera, 4.48 Psychosis and Sketchbook 8 (Visiting Company Initiative). He has received six Jeff Awards, 16 nominations and two consecutive After Dark Awards for Outstanding Season. In Chicago, he has worked at Lookingglass Theatre, Chicago Shakespeare Theater, TimeLine Theatre, ATC, Redmoon Theatre and The House Theatre (company member). Regionally his work has been heard at The Public Theater, DTW, Cherry Lane, 59E59 and St. Anne’s Warehouse (NYC), Stages Rep (Houston), Taper Forum (LA) and A.C.T. (San Francisco). As a musician, Kevin has recorded and/or performed with Andrew Bird, Jon Rauhouse, Nickel Creek, Jon Wesley Harding, Roger Eno and many others.

Polly Carl (Dramaturg) joined SteppenwolfTheatre Company in September 2009 in a newly created position, Director of Artistic Development. With the Steppenwolf artistic staff, Carl produces the Garage Series—nine plays in repertory, supports new play development and commissions, and participates in season planning. She has also been dramaturg on Bruce Norris’ A Parallelogram and Lisa D’Amour’s Detroit since her arrival. Prior to Steppenwolf, she served 11 years at the Playwrights’ Center – seven as Producing Artistic Director. At the Center, Carl programmed the Ruth Easton Lab and served as the Lab’s lead dramaturg. Carl has sat on numerous boards, panels and committees including the Steinberg Advisory Committee to select their distinguished playwright award – the Mimi, the NEA Theater panel

and the MAP Fund panel. Her Ph.D. in Comparative Studies in Discourse and Society is from the University of Minnesota.

David Chrzanowski (Fight Director) is thrilled to be collaborating with Steppenwolf Theatre for the first time. Local fight credits include: Ma Rainey’s Black Bottom (Directed by Ron OJ Parson, Court Theatre); Scorched, Back of the Throat, Durango, and Golden Child (Silk Road Theatre Project); Sinbad, A Child Shall Lead (Adventure Stage); Passion, CPS Shakespeare! Romeo & Juliet, A Midsummer Night’s Dream (Chicago Shakespeare Theater); Carmilla (Wildclaw Theatre). David is a 2010 recipient of the CAAP grant for fight training and company member at both Silk Road Theatre Project and Polarity Ensemble Theatre.

Beth Ellen Spencer (Stage Manager) is delighted to be making her Steppenwolf debut. In Chicago, Beth has served as a Stage Manager for Candide (Goodman Theatre). Other regional theatre credits include: Production Stage Manager for Candide (Shakespeare Theatre Company); five seasons as Assistant Stage Manager and Production Stage Manager working on shows including Into the Woods, Arabian Nights, Broke-ology, Radio Golf and King Lear (Kansas City Repertory Theatre); five seasons as Production Stage Manager on shows including King Richard III, Othello and King Henry V (Heart of America Shakespeare Festival).

Hallie Gordon (Steppenwolf for Young Adults Artistic and Educational Director) Hallie has created and facilitated many educational programs for Steppenwolf. Along with selecting the Young Adult productions each season, she created the Young Adult Council, a group of high school

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Polly Carl: Mat, what made you decide to become a playwright? Mat Smart: Well, there were two really formative experiences and they both happened during high school. I grew up in Naperville, where the play is set, and during high school I did a production of King Arthur. The director really got us all on the same page and it was a kind of collaborative experience I’d never had before. I also went to a Steppenwolf for Young Adults production of The Crucible, and it was really the most powerful piece of art I’d ever experienced. I thought, if I could just be part of that, then that’s what I want to do. So it’s really trippy to be coming back. I never would have thought, as a kid sitting in that audience, that I would later write a play that other kids would come and see. It’s a cool thing.

PC: I love that story. Did you study theatre in college?MS: I wanted to be an actor. And then during my first year of college, three girls from my high school were killed by a drunk driver. It was the first time I knew anyone my age who had died. The only way I could make sense of it, because it was such a senseless, horrible thing that happened, was to write a play about it. I now find the plays that really speak to me are the ones that ask questions I can’t otherwise get past. PC: That’s such a great way to think about the reason we create art—to tell stories, to help us illuminate the parts of our lives that don’t make sense. Tell me about where you got the idea for Samuel J. and K.MS: The play was inspired by two things: me growing up in Naperville and then later taking a trip to Cameroon. One night I stayed out in a Cameroonian village and just had an experience like none other I’d had in my life. And so for me, the play

is a collision of those two lives. How can you feel so connected to a foreign place when you’ve just arrived? And then other times you feel like a foreigner in your own hometown. The play asks questions like that. What is home? What is family?

PC: So, how do you describe home now? Do you say you’re from Naperville? MS: You know, there are people from the suburbs who say they’re from Chicago. Then you ask them, “Oh, where in Chicago?” and they’re like, “Aurora.” But I’m proud of where I’m from. I had a great time growing up there, but there’s still a lot to complain about. I suppose that’s true of anywhere. But I do feel at home in Naperville—my mom still lives there, I still go there all the time and it feels good to drive by the hospital I was born in. It’s actually right down the road from the cemetery I hope to be buried in.

PC: How did you decide to travel to Cameroon? MS: I took a World Literature class in college that ended up being all about African literature. My professor was just a great teacher and had a lot of experience living in Africa. He actually went to Cameroon right after I graduated and offered to be my host if I traveled there. So I was granted a lot of access to the country because he’d been in Cameroon for almost a year.

PC: I know you’re a huge sports fan. Can you talk about how that influences your writing?MS: One thing I love about sports is that you never know what’s going to happen. You know, you can have a home game, and the home team is supposed to win, but they get steamrolled. I think it’s exciting to try to take some of that and bring it into the theatre.

PC: And your play really uses basketball as part of the action. Can you talk about the theatricality of basketball on stage? MS: You know, I initially wrote the basketball scenes offstage, because I didn’t think any theatre would want basketball onstage. But it turned out to be important that the game is really happening in front of the audience. I hope the audience will be excited to see that, because it’s not something you see very often. It’s a real game happening up there, not a metaphorical one. Of course there are places in the script where the actors are supposed to make the basket, and if they don’t—well, we have contingency plans.

coMing hoMe to napervilleA discussion with Playwright Mat Smart and Director of Artistic Development Polly Carl.

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t goes without saying that Naperville, Illinois and Yaoundé, Cameroon are two very different places. In addition to being more than 6,500 miles apart,

Naperville and Yaoundé have extremely disparate demographics, geography, history and traditions. And yet despite all odds, Samuel J. and Samuel K. are brothers whose roots respectively trace back to these vastly different regions.

Naperville, Illinois: A suburb of Chicago with just under 150,000 residents, Naperville is actually the 5th largest city in the state. 82% of residents are Caucasian, 12.5% Asian-American, 2.5% African-American

and 3% are other races. Just under half of the households in Naperville include children under the age of 18 and 70 percent of all households include married couples living together. With a median family household income of over $120,000 annually, Naperville is one of the most affluent suburbs in Illinois. It is also home to three public libraries, an independent film festival and eight different universities or university satellites. In 2006, Money Magazine named Naperville the second Best Place to Live in the United States, primarily due to its strong public school system, low crime rate and its comfortable proximity to Chicago.

Yaoundé, Cameroon: The bustling capital of The Republic of Cameroon, Yaoundé is home to approximately 1.1 million residents, most of whom speak both English and French. Originally settled by German ivory traders in 1888, Yaoundé was taken over by the French following Germany’s defeat in WWI. In 1960, The Republic of Cameroon became an independent state and has since experienced relative economic and political stability compared to its neighboring countries (Nigeria to the west, Chad to the northeast, the Central African Republic to the east and the Republic of the Congo to the south). Yaoundé is located in the country’s Centre region, Cameroon’s intellectual and cultural hub. The city is home to

large colorful outdoor markets, a soccer stadium and numerous museums and universities (including The University of Yaoundé, the country’s most important higher education institution) and enjoys a temperate tropical climate with a length rainy season. The main industries in Yaoundé are food and timber processing, brick making, construction and artisan trades such as pottery. Directly outside of Yaoundé lives a thriving farming population, producing foods like plantains, groundnuts, yams, tropical fruits and livestock that are processed and sold in the capital.

froM naperville, illinoiS to yaounDé, caMeroon

I

by Whitney Dibo

ArtisticPOLLY CARL

Director of Artistic Development

ERICA DANIELSDirector of Casting

and the School at Steppenwolf

JOY MEADSLiterary Manager

REBECCA RUGGAssociate Producer

NICK WARDCasting and School

Assistant

TRACY LETTSAMY MORTON

ANNA D. SHAPIRORICK SNYDER

JESSICA THEBUSAssociate Artists

SHELDON PATINKINArtistic Consultant

stEPPENWOLF FOrYOUNG ADULtsHALLIE GORDON

Artistic and Educational

Director, Steppenwolf for

Young Adults

LINDSEY BARLAGEducation Associate

WHITNEY DIBOProgram Specialist

JAMIE ABELSONLARA DOSSETTAMANDA JANE

DUNNELARRY GRIMM

ROBERT HINES IIILYNN LOCKWOOD

MURPHYNICOLE RIPLEYEMILIO ROBLES

CARLA STILLWELLTeaching Artists

ADmiNistrAtiONDAVID M. SCHMITZManaging Director

RACHEL DOMARACKI

Director of Finance

LORI DAVIDSONDirector of Events

Management

SCOTT MACOUNIT Manager

CAT TRIESCompany Manager

MEGAN SHUCHMAN

Human Resources & Diversity Programs

Coordinator

BRIAN HURSTFinance Associate

LUPE GARCIAQUILEs

Events Management Associate

ANGELA JOHNSONOffice Management

Associate & Receptionist

RICHARD KANGIT Assistant

JAMES PALMERExecutive Assistant

DEVELOPmENt

SANDY KARUSCHAKDirector of

Development

KATY E. HALLDirector of

Corporate Relations

RUTH STINEDirector of Major Gifts

DEBORAH STEWARTDirector of

Foundation andGovernment

Relations

ERIC EVENSKAASDirector of

Individual Giving and Donor Services

KENDRA VAN KEMPEN

Director of Special Events

JESSICA GRETCHIndividual Giving

Coordinator

PAUL G. MILLERDevelopment Coordinator

MOLLY KOBELTSpecial Events

Associate

ANNIE M. LEBEDOFF

Individual GivingAssociate

HILARY ODOMKLINE

Development Associate

SUZANNE MILLERDonor Services

Associate

mArKEtiNG, PUbLicitY &

AUDiENcE sErVicEs

LINDA GARRISONDirector of

Marketing and Communications

DAVID ROSENBERGCommunications

Director

YAEL EYTAN Marketing Director

JULIA DOSSETT MORGAN

Promotions andMedia Manager

THOMAS WEITZDigital Assets

Manager

LUCAS CRAWFORDMarketing Associate

JOEL MOORMANDigital Content

Producer

SUSANNAH KIMDigital Design

Associate

LUIS A. IBARRAGraphic Designer

NORA TAYLORMarketing and

Program Associate

TAMARA TODRESDirector of

Audience Services

JIMMY FREUNDAudience Services

Manager

STEPHANIE HELLERAudience Services

Subscription Manager

MIKE BRUNLIEBMATTHEW LYLE

Audience ServicesSupervisors

ALLAN WAITEGroup Sales

Associate

ROSEANN BISHOPTARA BRANHAM

REBECCA BUTLERBILLIE BRYANTALI HOEFNAGELMELISSA KLAAS

SOTIRIOS LIVADITISMARISSA MCKOWN

MEG SANTISIELIZABETH SCHEWE

RACHEL WELLINGAudience Services

Associates

OPErAtiONsJAY JUSSAUME

Director of Operations

CORY CONRADFacilities Manager

ANDERS JACOBSONRYAN PALMA

Facilities Staff

VICTOR DAVIDNILA KHATIWADAHAROLD KRIPPSETHAN OZANIEC

BHAGIRATH TIMSINACustodial Staff

EVAN HATFIELDFront of House

Manager

LIBET WILFONGHouse Manager

RON BOGACKIMATT CAMPBELL

JULIA CURNSKASSANDRA DEANS

HEIDI GERMANN ROBERT HINES III

JESSICA LINDBECKY MOCK

CHRISTINE OLIVIERRICHARD RUBIO

DANIELLE SHINDLERCATHERINE SMYKA

MARA STERNCAT TRIES

Front of House Staff

MUSTAFACHAUDHRY

DONALD COULSONDURAN JOHNSON

PETER VAN KEMPENParking Staff

JACK MEYER, THE SAINTS

Volunteer Usher Coordination

PrODUctiONAL FRANKLIN

Production Manager

DIXIE UFFELMANProduction Coordinator

RUSSELL POOLETechnical Director

ADEN WATSONAssistant Technical

Director

ROGELIO RIOJASScene Shop

Foreman

KEN BLENCROBERT BROWN

MARCOS EVERSTIJNScenic Carpenters

JENNY DILUCIANOProperties Master

ANDRIA SMITHAssistant Properties

Master

CHARLES MOSERMaster Properties

Artisan

RICK HAEFELEHouse Carpenter

DAWN PRZYBYLSKIStage Carpenter

CARYN WEGLARZKLEIN

Costume Director

MAE HASKINSAssistant Costume

Designer

LAUREL CLAYSONHead Draper

KEVIN PETERSONShop Foreman

MYRON ELLIOTTStaff Draper

JESSICA STRATTONWardrobe

Supervisor

ERIN COOKStaff Dresser

MARTHA WEGENERAudio Engineer

GREGOR MORTISAssistant Audio

Engineer

J. R. LEDERLELighting Supervisor

ERNESTO GOMEZHouse Electrician

MALCOLM EWENCHRISTINE D.

FREEBURGLAURA D. GLENN

MICHELLE MEDVINDEB STYER

ROSE MARIE PACKER

KATHLEENPETROZIELLO

Stage Managers

CALL CENTERCASEY

VANWORMERCall Center Manager

PATRICK WALSHCall Center Supervisor

SYDNEY CRISTOLLAUREN FISHER

CHARLES FRYDENBERG

TYLER GREENEMARILYN HILLARY

TIMOTHY MCGUIRECall Center

Representatives

APPrENticEsMICHAEL HUEY

KENDRA MILLERJESSICA ROSENLIEB

JOELLE WEBERMARIA GERBINO

AARON PIJANOWSKIRICHARD FIELDS

MORGAN WASHINGTONLAUREN SIVAKKELLY KERWINHENRY RIGGS

ERIN DODDLIESL PEREIRA

JESSICA KORPELAOLIVIA CASTILLON

KELLY CROOKASHLEY SINGH

steppenwolf staffARTISTIC DIRECTOR

MARTHA LAVEYExECuTIvE ARTISTIC BOARD

TERRY KINNEY, JEFF PERRY AND GARY SINISEExECuTIvE DIRECTOR

DAVID HAWKANSONexecutive committeeNora Daley Conroy, Chair

Eric Lefkofsky, Secretary

Paul W. Goodrich, Treasurer

Henry S. Bienen

Douglas R. Brown

Michael Cahan

Sharon Fairley

Lynn Lockwood Murphy

Deborah H. Quazzo

Randall K. Rowe

Bruce Sagan

Harry J. Seigle

Stephanie B. Smith

Helen Zell

trusteesSarah Beardsley

David H. Blake

Carole L. Brown

Terri L. Cable

Keith Cardoza

Dennis Cary

Elizabeth H. Connelly

Beth Boosalis Davis

J. Scott Etzler

Rich Feitler

John N. Fox, Jr.

Scott P. George

Lawrence M. Gill

Robert J. Greenebaum, Jr.

John H. Hart

John Hass

George A. Joseph

David S. Kalt

Donna La Pietra

Martha Lavey

Janet Melk

Geoff Nyheim

Susan A. Payne

David C. Pisor

Kenneth J. Porrello

Mark L. Prager

Merle Reskin

Francis C. Sadac

Michael R. Salem

John R. Samolis

Manuel “Manny” Sanchez

Anna D. Shapiro

John R. Walter

Willard L. Woods, Jr.

emeritus trusteesJ. Robert Barr

Lawrence Block

Gloria Scoby

national committee membersJoan Allen

Carolyn Bivens

Lynette Harrison Brubaker

Michael J. Cavanagh

John H. Costello

Edward R. Erhardt

Matthew J. Scheckner

Gary Sinise

past chairpersonsWilliam L. Atwell

Larry D. Brady

Douglas R. Brown

Laurence Edwards

John N. Fox, Jr.

Elliott Lyon

Gordon Murphy

William H. Plummer

Bruce Sagan

Gloria Scoby

Donna Vos

board of trustees

18 1918

We gratefully acknoWledge the contributions of those Who provide significant support for steppenWolf for young adults during the 2010/11 season.

GrAND bENEFActOrs $100,000+William Randolph Hearst Foundations‡

Polk Bros. Foundation‡

Steppenwolf’s Auxiliary Council *

bENEFActOrs $50,000-$99,999Alphawood Foundation

The Crown Family‡

JPMorgan Chase & Co.

Target

PrODUcErs $25,000-$49,999Motorola Foundation

Barrett B. Murphy and Lynn Lockwood Murphy‡

PAtrONs $10,000-$24,999CNA Financial Corporation

Field Foundation of Illinois

Lloyd A. Fry Foundation

David Herro and Jay Franke

David and Susan Kalt

Northern Trust

Dr. Scholl Foundation

Siragusa Foundation

UBS

sUstAiNErs $5,000-$9,999Robert and Isabelle Bass Foundation

Sean and Nora Daley Conroy

Ernst & Young LLP

John H. Hart and Carol Prins

Grover Hermann Foundation

Illinois Tool Works Inc.

George A. Joseph and Carolyn Bateman

The McGraw-Hill Companies

Kenneth and Harle Montgomery Foundation

Nina B. Winston

sPONsOrs $2,500-$4,999Carol Lavin Bernick

Douglas R. Brown

Nancy and John DiCiurcio

Weezie and Jack Kramer

Liz and Eric Lefkofsky

Beth and J. Barry Mitchell

Jaclyn Warren

GUArANtOrs $1,000-$2,499Kris Alden and Trisha Rooney Alden

Bob and Trish Barr

Robin Loewenberg Berger and Louis Berger

Melvyn E. Bergstein

Cathy and Michael Brennan

Tim Cavanagh

Jim and Sheila Clary

Ellen M. Costello

Amy Eshleman and Lori Lightfoot

Sharon Fairley

David and Mimi Fiske

Katie and Brian Flanigan

Gordon and Wendy Gill

Dianna and Jim Goldman

M. Julie and Michael Gustafson

David R. Hawkanson

Kathie and Robert Kolodgy

Julie and Fred Latsko

Martha Lavey

Kenneth J. Porrello and Sherry L. McFall

Judith and Jeffrey Silverman

Kimo Williams

19

The Steppenwolf Ensemble Joan Allen

Kevin Anderson

Alana Are nas

Randall Arney

Kate Arrington

Ian Barford

Robert Breuler

Gary Cole

Kathryn Erbe

K. Todd Freeman

Frank Galati

Francis Guinan

Moira Harris

Jon Michael Hill

Tim Hopper

Tom Irwin

Ora Jones

Terry Kinney

Tina Landau

Martha Lavey

Tracy Letts

John Mahoney

John Malkovich

Mariann Mayberry

Tarell Alvin McCraney

James Vincent Meredith

Laurie Metcalf

Amy Morton

Sally Murphy

Austin Pendleton

Jeff Perry

William Petersen

Yasen Peyankov

Martha Plimpton

Rondi Reed

Molly Regan

Anna D. Shapiro

Eric Simonson

Gary Sinise

Lois Smith

Rick Snyder

Jim True-Frost

Alan Wilder

‡ Multi year pledge

* Steppenwolf’s Auxiliary Council is a community of over

150 dynamic young professionals, who strive to make a

difference for the next generation of theatre enthusiasts.

All proceeds raised by the Auxiliary Council benefit

Steppenwolf for Young Adults.

2011GaraGerep

Three producTions presenTed in roTaTing reperTory in The garage aT sTeppenwolf from some of chicago’s mosT innovaTive, young TheaTre companies.

february 11 - april 24

buy tickets online at steppenwolf.org/garagerep or call 312-335-1650.groups (10+) call 312-932-2422.

The strange Tree group presents

The Three Faces oF DocTor crippenby emily schwartz / directed by Jimmy mcdermott

sideshow Theatre company presents

heDDaTronby elizabeth meriwether / directed by Jonathan l. green

urbanTheater company presents

sonneTs For an olD cenTuryby José rivera / directed by madrid st. angelo in collaboration with Juan castañeda and ivan vega

Support for the Garage Rep comes through the “Leading for the Future Initiative”, a program of the Nonprofit Finance Fund, funded by the Doris Duke Charitable Foundation.

all TickeTs $20