Seattle Theatre Group_Encore Arts Seattle

Transcription

JANUARY 2016
JAN 12–FEB 7, 2016
By William Shakespeare | Directed by David Quicksall
2016 SPRING
STATEWIDE TOUR
The Tempest
Romeo and Juliet
2015–2016 INDOOR SEASON
The Comedy of Errors
Mother Courage and Her Children
Titus Andronicus
Mrs. Warren’s Profession
Romeo and Juliet
2016 SUMMER
WOODEN O
Hamlet
Love’s Labour’s Lost
January-February 2016
Volume 12, No. 4
Paul Heppner
Publisher
Susan Peterson
Design & Production Director
Ana Alvira, Robin Kessler,
Shaun Swick, Stevie VanBronkhorst
Production Artists and Graphic Design
Mike Hathaway
Sales Director
Brieanna Bright, Joey Chapman,
Gwendolyn Fairbanks, Ann Manning
Seattle Area Account Executives
Marilyn Kallins, Terri Reed
San Francisco/Bay Area Account Executives
Brett Hamil
Online Editor
Jonathan Shipley
Associate Online Editor
Ad Services Coordinator
Carol Yip
Sales Coordinator
Leah Baltus
Editor-in-Chief
Paul Heppner
Publisher
Marty Griswold
Associate Publisher
Dan Paulus
Art Director
Jonathan Zwickel
Senior Editor
Gemma Wilson
Associate Editor
“ A dazzling display of beautifully measured emotion.”
-The hArTford CourAnT
Amanda Manitach
Visual Arts Editor
Paul Heppner
President
Mike Hathaway
Vice President
Marty Griswold
Director of Business & Community Development
Genay Genereux
Accounting
Sara Keats
Marketing Coordinator
Ryan Devlin
Events / Admin Coordinator
Corporate Office
425 North 85th Street Seattle, WA 98103
p 206.443.0445 f 206.443.1246
[email protected]
800.308.2898 x105
www.encoremediagroup.com
Encore Arts Programs is published monthly by Encore Media
Group to serve musical and theatrical events in the Puget
Sound and San Francisco Bay Areas. All rights reserved.
©2016 Encore Media Group. Reproduction
without written permission is prohibited.
by
Kimber Lee
March 25 - april 24, 2016
season sponsor
seattlerep.org // 206.443.2222
encore art sseattle.com 3
CONTENTS
JANUARY 2016
JAN 12–FEB 7, 2016
Titus Andronicus
A2
By William Shakespeare
Directed by David Quicksall
By William Shakespeare | Directed by David Quicksall
2016 SPRING
STATEWIDE TOUR
The Tempest
Romeo and Juliet
2015–2016 INDOOR SEASON
The Comedy of Errors
Mother Courage and Her Children
Titus Andronicus
Mrs. Warren’s Profession
Romeo and Juliet
ES046 covers.indd 1
2016 SUMMER
WOODEN O
Hamlet
Love’s Labour’s Lost
12/21/15 10:19 AM
ENCORE ARTS NEWS
Visit EncoreArtsSeattle.com
Q & A with
Claudine
Mboligikpelani
Nako
BY BRETT HAMIL
4 ENCORE STAGES
This March she’ll play the lead role of Efua Kuti in Village Theatre’s highly
anticipated world premiere musical production, My Heart is the Drum.
What’s the best performance you’ve seen lately?
I finally got around to watching the 2007 film La Vie en Rose about the life
of French singer Edith Piaf. It was gorgeous. Marion Cotillard’s portrayal of
Piaf was thoughtful, complicated, and fearless. I see why she won the Oscar
for that performance. I was also really impressed with the girls who played
younger versions of Piaf. They were so emotionally keyed in. It was beautiful.
PHOTO: DANIELLE BARNUM
Claudine Mboligikpelani Nako is an actor who’s been
working in Seattle for the past three years. In that time
she’s graced the stages of Village Theatre, ArtsWest, Seattle
Public Theater, Balagan, Washington Ensemble Theatre,
and Seattle Musical Theatre and won the 2015 Gregory
Award for Outstanding Lead Actress in a Play for her
portrayal of the title character in Book-It’s Little Bee. More
recently, she played the roles of Colleen and Itchy in ACT’s
stellar Mr. Burns, a post-electric play.
ENCORE ARTS NEWS
Also, Fred Armisen in Portlandia. He is
one of the most interesting performers
on television. His brand of comedy is so
weird and I can’t get enough of it! Instead
of the sort of broad overdrawn caricatures
we see in a lot of comedy, he plays these
subtle character ticks--a slight stutter, a
nervous laugh, intense eye contact, etc.
and exaggerates them just enough that it’s
absurd and hilarious, but not so much that
we can’t look at the character and instantly
recognize them as a completely familiar
“type.” He doesn’t even change his voice
that much from character to character, but
the physical nuances he takes on in different
costumes make each character so distinct. I
think he is a genius!
What’s the best meal in Seattle?
I don’t eat out enough to answer this! I’d say
the best meal is whatever I’m whipping up in
my kitchen that day. I’m a great cook! As for
the restaurant scene, I did have a killer meal
of blue cheese meatloaf and horseradish
mashed potatoes downtown at Sullivan’s
the other day. We had an early student
matinee of Mr. Burns at ACT and I had time
to kill until the evening show. I hate blue
cheese, but I wanted to try something new
so I ordered it and it did not disappoint. SO
delicious.
What music gets you pumped up? What
do you listen to when you’re sad?
I don’t listen to music all the time, but
my taste is pretty eclectic. I love singer/
songwriter Brandi Carlisle. Her voice has
this lovely break to it and her lyrics run
deep. I’ll listen to her if I want something
chill.
For the gym or some sweet car dancing, I
love Stromae--especially his second album
Racine Carrée. He is a very unique artist of
Belgian and Rwandan descent who sings
in French. His music is sort of electropop
disco with African influence and very clever
lyric play, and his voice is gorgeous. He has
played Seattle twice this year and I’m sad to
say I’ve missed both performances!
For pure joyful nostalgia, I love African
music. My family is from Democratic
Republic of Congo (formerly Zaïre), and I
grew up listening to the music my parents
brought with them to the U.S.: Papa Wemba,
Tabu Ley Rocheareau, Franco, Kofi Olomide,
etc. The genre (I know now) is called
“Congolese rumba” or “Soukous”, but to me
it’s the soundtrack of my childhood. I just
VISIT EncoreArtsSeattle.com
listened to Abeti Masikini’s “Je Suis Fachée”
on YouTube and danced all over my room.
I LOVE that song so much! We used to blast
that record at home when I was little. It
brought back really good memories!
What’s the most crucial element of any
production?
Listening. An audience can tell instantly
if actors are listening to each other or if
they are just eagerly waiting to say their
lines. When everyone is listening, the space
between is electrifying. And it’s not limited
to literal listening with one’s ears. When the
designers and the actors are all listening to
the story well, everything else become clear.
You know whether a footfall heard offstage
should make you jump with excitement
or terror. You know if a character should
wear rough, rigid fabrics or soft, worn ones.
You know if a scene should be lit with
warm ambers or cold blues. Listening is
everything in storytelling.
What’s the most useful thing anyone’s
ever taught you about performing?
How to take notes. I think the biggest
downfall for a lot of actors, no matter how
old you are or how much experience you
have, is the inability to take a note.
When I was in school, one instructor
taught me that when you’re given a note
you say “okay” and you try it. If you don’t
understand what the director is asking
or you disagree with the choice for your
character, ask for clarification, but always
try it.
When actors get super defensive in note
sessions it makes me cringe. I mean, we’re
all neurotic and our egos get a little bruised
when someone tells us our choice is not
working, but this is why we have outside
eyes to guide the process. Sometimes the
director is dead wrong about something,
but it’s still worth it to try a different tactic
in an effort to tell the story more clearly.
And more often than not, even if you really
disagree but they are insistent that you do
things a certain way, you can eventually
nuance the choice to satisfy both parties.
For more previews, stories, video and a look
behind the scenes, visit EncoreArtsSeattle.com
In a rut with your party planning?
Looking for a creative twist?
We invite you to take a tour of our swanky,
new cooking school located in the stylish
Hotel Andra. The school is outfitted with
brand-new, state-of-the-art equipment
from Boos Boards and KitchenAid and
includes a wide, curved demo counter
with overhead audio visual so everyone
can participate in the fun of watching
the chef action.
This flexible space can be set with banquet
tables, cocktail tables, service stations,
or hands-on work tables for guest
participation. Enjoy a social cocktail hour
with a chef demo or go all-out with one
of our favorite activities--a Cook
Along. Guests divide into groups
and cook all the courses of a meal
that they later sit down to eat
together. This is a magical event
that our clients have raved about!
Contact JonathanP@tomdouglas.
com to book your next event!
AXIS DANCE COMPANY
Saturday, February 6, 2016 | 7:30 pm
$29, $24 & $19 | Youth/Student $15
AXIS Dance Company has become one of the world’s most
acclaimed and innovative ensembles of performers with
and without disabilities. Their
ECA Engagement will include
a newly-commissioned piece by choreographer Joe
Goode, called to go again, that addresses veterans’
issues and themes of resiliency.
LOUDON WAINWRIGHT III
Friday, April 1, 2016 | 7:30 pm
$39, $34 & $29 | Youth/Student $15
The 2010 GRAMMY® Awardwinner for Best Traditional
Folk Album is by far the most
candid diarist of the singer-song-writers, wringing more
human truth out of his contradiction than any other songwriter of his generation.
PATTI LUPONE
Thursday, April 21, 2016 | 7:30 pm
$79, $74 & $69
An American actress and singer best known for her work in
stage musicals, Patti LuPone is
a two-time GRAMMY® Award
winner and a two-time Tony
Award winner. She is also a
2006 American Theater Hall
of Fame inductee.
ec4arts.org
425.275.9595
PROGRAM ARCHIVE
CALENDAR
PREVIEWS
ARTIST SPOTLIGHT
410FOURTHAVE.N.
EDMONDSWA98020
Conner Nedderson
and MJ Sieber
in Festen.
Blown-Out Knee in the First Act
On getting injured in the final performance of New Century Theatre
Company’s Festen (and Finishing the Show)
BY MJ SIEBER
The final performance of New Century
Theatre Company’s Festen began at 7:45
p.m., 15 minutes late as the full house
situated themselves and brought us to
maximum capacity. We’d been performing
to full houses for the last two weeks.
I was playing Michael Hansen, the
youngest sibling visiting his childhood
home for his father’s 60th birthday. Michael
is not a likable guy. He’s violent, verbally
abusive to his wife, a loud blowhard, a
philandering drunk and to top it all off, a
racist.
The show begins with an interaction
between three siblings played by Connor
Toms (Christian) and Betsy Schwartz
(Helen). It’s a very physical show in
moments. The moment when I throw my
sister over my shoulder and spank her
butt is one. Something we had done about
a hundred times and had absolutely no
problem with before. I set her down, spank
her one more time and then get chased
around the stage.
Of all the physical fights and simulated
sex that were to follow, this was one of the
6 ENCORE STAGES
most mild. But my knee decided to go one
direction as I went another and I blew it out
with a pop. I fell to the stage. I managed to
hobble off and immediately had to begin a
costume change for the next scene.
Right away I knew I was injured. There’s
getting hurt and saying, “F---! That hurts!”
and then there’s realizing you need medical
attention. I was in the “I should really be
going to the hospital” camp.
Brenda Joyner, who played my enduring
wife Mette, knew something was wrong and
was ready to run out onstage in her leopard
print underwear and stop the show. But no.
It was the last show! There was a more than
full house! Art! The show must… you know.
Very quickly we negotiated the next scene,
making quick adjustments in hushed tones
as our “bedroom scene”—or “sex in a wicker
chair”— rapidly approached.
The adrenaline was pumping at that
point which helped to dull the pain, but I
could feel the enormity of the injury behind
it all, as well as my inability to walk without
a major limp. A limp I attempted to use in
the very next scene as a bit of a swagger,
which was not out of character for Michael.
The first dinner scene started and I was
sure everyone in the audience knew I was
hurt. As I sat down at my seat at the dinner
table Madison Kiley Spillman, who played
the server Michelle, had placed a couple of
Ibuprofen hidden behind my dinner plate.
It was a godsend and so sweet I wanted to
hug her.
We made it through dinner, then I had
a five-minute break offstage before the
marathon sprint to the end of the show.
In the greenroom everyone was crowded
around bringing me packs of frozen peas
and more Ibuprofen. We all very quickly
played a game of “What can and can’t
you actually do?” I still needed to get in a
fight with my sister (Betsy) that ends with
us on the ground, get in a pushing match
that ends with me singing a racist song
as I dance like a monkey—told you he’s
an asshole—to humiliate Jason Sanford’s
character (the angelically patient Gbatokai)
that ends with me taking a drunken swing
at him, missing and falling to the floor, then
jumping back up and chasing Christian off
stage. Then I was to Conga around the stage
with the rest of the cast for 5 minutes as the
party falls apart, and eventually drag my
crying father (Bradford Farwell) onstage as
I punch, kick and strangle him within an
inch of his life. So, there was a lot.
Every single member of the company
was ready to adjust. In some cases, the
physical fights became improvised verbal
altercations. In others we decided, ”I can’t
kick you, but I can still punch you and get
down on the ground to strangle you.” But
no conga line. I did not do the conga.
Before leaving for the stage Amy Thone,
who played my mother, Else, gave me the
best advice: “There’s no point in trying to
hide it. You blew out your knee. So, Michael
blew out his knee. Use it.” And so I did.
Somehow we made it through and closed
to a standing ovation. I hobbled off stage,
plunked in my chair, had a glass of wine
and iced my knee. My beautiful girlfriend
Jaime Roberts was at the show that night
and took me to the emergency room. There
was a lot of pain, a lot of swelling. They
X-rayed me and found nothing broken.
A week and a half later I am still in a lot
of pain and cannot walk without crutches
and a brace. But NCTC is a company of
grown-ups and while we enjoy acting like
children, precautions were taken to cover
the long-term health of our artists and
we are insured. This is a beautiful thing.
It means that whatever the MRI tells me,
PHOTOS: JOHN ULMAN
ENCORE ARTS NEWS
ENCORE ARTS NEWS
Connor Toms, MJ Sieber
and Bradford Farwell
get physical in Festen.
JANUARY 28 – FEBRUARY 21, 2016
TIM GOURAN, BRANDON J. SIMMONS,
AND KEIKO GREEN IN
AMADEUS
by Peter Shaffer
directed by Shana Bestock
whatever kind of physical therapy and
possible surgery I will need in the future, it’s
taken care of.
I talked to Darragh Kennan, our fearless
leader, a few days after and he said, “It’s one
of the things I’m most proud of about our
company, that we can protect the people we
love when something like this happens.” It is
not the case with many theaters of a smaller
size, but when we were founding NCTC this
type of thing was on our mind. And luckily,
we’ve not needed this kind of protection
until now.
I guess the only way I was able to finish
the show that night was because of the
amazing and generous support of everyone
in that room.
We always say that the great thing about
having a company of artists and friends that
know each other as well as we do is that the
first two weeks of rehearsal are done. We
already trust everyone else. We know how
to challenge each other on stage. And when
something like this happens, we know how
to finish the show.
There is much I will miss about Festen:
dancing to [Like a] G6 with Betsy, Brenda
and Michael Patten backstage before we
enter at the top, diving head first into a
dangerous character like Michael Hansen,
working again with Wilson Milam—my
favorite director—and getting a chance to
stretch and grow as an actor. But when
my knee popped all I wanted was for it to
be over. Now, laid up at home, I would do
another 12 rounds in a heartbeat, hobbling
but calm, because I may never be a part of
something as special as this again.
MJ Sieber is an actor, director, filmmaker and
company member at New Century Theatre
Company.
www.seattlepublictheater.org
Event Space
& Catering
(206) 285-7846 THERUINS.NET
ENCORE ARTS PREVIEWS
AT EDMONDS
COMMUNITY
COLLEGE
CONCERTS
FILMS
CELEBRATIONS
Photo courtesy of Seattle Opera. Bill Mohn photographer
THINK INSIDE THE BOX.
w w w.BlackBoxEdCC.org
Readers
Captivated
Sophisticated Consumers
Advertise in
206.443.0445 x113
Performing for you
[email protected]
20310 68th Ave West, Lynnwood WA 98036 | 425.640.1448
A new year brings debuts and
revivals, from critically-acclaimed
plays to celebrated musicals to
enduring opera masterpieces.
Sophisticated
The Marriage of Figaro
Jan. 16–30
A lascivious Count and his servants match
wits in Mozart’s masterpiece directed by
Aidan Lang—his first for the company.
There’s
never a dull
moment as the Count
EMG07
Audience
1_12.pdf
and his entourage navigate a crazy day
preparing for a wedding. Chinese bassbaritone Shenyang makes his Seattle
Opera debut as Figaro. Nuccia Focile will
play the role of Susanna, Morgan Smith
returns as Count Almaviva and Bernarda
Bobro debuts as his wife.
Seattle Opera
Photo courtesy of Seattle Opera. Bill Mohn photographer
Constellations
Jan. 22–Feb. 21
The New Yorker described Nick
Payne’s Constellations as “a singular
Captivated
astonishment.” It’s the story of a
Sophisticated
relationship between Marianne, a
Sophisticated Consumers
theoretical physicist, and her suitor,
Roland. Told through the syntax of
quantum physics with each scene change
Advertise in
representing a parallel universe, the
Performing for you
story is stitched together by the lovers’
206.443.0445 x113
interactions across time and space.
[email protected]
EMG07
Audience 1_12bw.pdf
Seattle Repertory Theatre
Readers
Assassins
EMG_07_Audience_1_12.indd 1
Feb. 27–May 8
This Tony Award-winning musical by
Stephen Sondheim with book by John
Weidman presents a revue-style cavalcade
of people who have tried to assassinate
the President of the United States, from
Lynette “Squeaky” Fromme to John Wilkes
Booth. One by one, these killers—and
attempted killers—rub elbows and reveal
their stories and the pain behind their
notorious misdeeds in the context of a
macabre carnival game. Presented in coproduction with the 5th Avenue Theatre.
ACT Theatre
For more previews, stories, video and a look
behind the scenes, visit EncoreArtsSeattle.com
PROGRAM ARCHIVE
8 ENCORE STAGES
CALENDAR
PREVIEWS
ARTIST SPOTLIGHT
Tackling
Tough Titles
Depending on who’s counting, William Shakespeare wrote 38 plays. Many are
widely loved and frequently produced. Others may be cherished by Shakespeare
enthusiasts, but the lesser known titles don’t draw large audiences or . . . they are just
plain difficult to stage for modern audiences. That’s when a director’s vision can make
all the difference.
Sometimes a play’s fortune changes. Titus Andronicus, popular during Shakespeare’s life,
went 300 years without a verified staging, but was rediscovered by audiences in the
last century. King John was obscure during Shakespeare’s life, then enjoyed widespread
popularity for centuries, only to fall dramatically out of taste in the mid-1900s.
As an ambassador of Shakespeare’s work and the classics, it is our responsibility to share
these plays. For tough titles, that can mean a long wait before play, director, and time
align. The more we mature as an organization, the better equipped we are to tackle the
tough titles in Shakespeare’s canon. Enjoy our first production of Titus Andronicus.
Cymbeline, 2011
Pericles, 2007
Coriolanus, 2012
Measure for Measure, 2015
All’s Well That Ends Well, 2008
Antony and Cleopatra, 2012
encore art sprograms.com A-1
By William Shakespeare
CAST
PRODUCTION TEAM
RUNNING CREW
Mutius / Guard / Goth / Servant
Taylor Winfield Babcock
Director
David Quicksall
Wardrobe Head
Anna Bowen
Demetrius
Ian Bond
Stage Manager
Louise Butler*
Master Electrician / Light Board Operator
Trevor Cushman
Quintus / Caius / Goth
Adam Canne
Set Designer
Carol Wolfe Clay
Lavinia
Angelica Duncan
Costume Designer
Jocelyne Fowler
Sound Board Operators
Jessica Jones
Erik Siegling
Nurse / Tribune / Aemilius
Karen Jo Fairbrook
Lighting Designer
Andrew D. Smith
Alarbus / Servant / Guard / Messenger
/ Goth
Huntington Filson
Sound Designer
Nathan Wade
Marcus Andronicus
Jim Gall*
Martius / Publius / Goth
Matthew Gilbert
Tamora
Rachel Glass*
Aaron
Sylvester Foday Kamara
Bassianus / Tribune / 1st Goth
Jason Marr
Lucius
Trevor Young Marston
Titus Andronicus
Andrew McGinn*
Chiron
Christopher Morson
Saturninus
George Mount*
Properties Designer
Marleigh Driscoll
Fight Choreographer
Geoff Alm
Video Designer
MJ Sieber
Technical Director
Seattle Scenic Studios
Blood Artisan
Julia Griffin
Dramaturg
Lenore Bensinger
Assistant Director
Rachel Delmar
Assistant Stage Manager
Emma Pihl
Blood Intern
Rachel Warshaw
Young Lucius
Alex Silva
The taking of pictures or the making
of recordings of any kind during the
performance is strictly prohibited.
A-2 SEATTLE SHAKESPEARE COMPANY
* Member of Actors’ Equity Association, the Union of
Professional Actors and Stage Managers in the United States.
SPECIAL THANKS
12th Avenue Arts, Allan Armstrong,
American Life Inc, Book-It Repertory
Theatre, Suzanne Bouchard, Rex Carlton,
Emily Chisolm, Tom Dewey,
Barbara Gray, Kelly Kitchens,
New Century Theatre Company,
Ellen Norton, Michael Patten,
Seattle Center, Seattle University Theatre,
A.J. Silva, Amy Thone, Connor Toms
PRODUCTION SPONSORS
Director’s
Note
“If it bleeds it leads.” I have often heard this phrase in reference to what the top story
on the local evening news should be.
“Sex sells.” I have often heard this phrase in reference to one of those unspoken truths
known by the producers and writers in Hollywood who are in search of box office gold.
Stories with violence and sex — people seem drawn to them. What is the allure?
What is the attraction to tales (real and imagined) of murder, rape, and crimes
committed by depraved psychopaths? Check out the movie listings on any given
day and you will find a virtual menu packed with death and villainy. Turn on
the television, and you can sift through countless iterations of true crime reality
shows and lurid tales lifted from the annals of CSI police units. The entertainment
industries of today seem filled with tasty, grisly morsels of amusement designed
for all tastes . . . not so different from the entertainment industries of Elizabethan
London, over 400 years ago.
I like to imagine a young Shakespeare, arriving in London and seeing, for the first
time, the spectacles that passed for entertainment there: the bear baitings, the
public executions (often by hanging and disembowelment), and, of course, the
violent revenge tragedies that packed the theaters with audiences eager for thrills,
sex, and gore. As a novice playwright, Will most likely saw Thomas Kyd’s The Spanish
Tragedy — one of the most popular (and violent) plays of the 1580s. He surely joined
the massive crowds to watch Christopher Marlowe’s The Jew of Malta — a story of
an avaricious villain who gleefully commits a series of crimes . . . among them, the
pimping of his own daughter and the poisoning of a convent full of nuns.
I also like to imagine a young Shakespeare, the “Upstart Crow” that he was, almost
Quentin Tarantino-like, saying to himself, “I can write a revenge tragedy, re-imagine it,
add unbelievable acts of violence . . . like an atrocious rape, some dismemberments, a
couple of beheadings, numerous stabbings, cannibalism . . . and make a bundle!” He
wrote Titus Andronicus, and it was one of the most successful plays of his entire career.
Go back even farther . . . to the Greeks, for instance, and one finds story after story,
play after play, packed with licentiousness, villainy, rape, incest, patricide, fratricide .
. . you name the crime, there’s a play about it. Sex and violence attracted audiences
then and continue to attract audiences today. Whether at the movies, playing video
games, or at the theater, we can’t seem to fight the irresistable guilty pleasure of
watching terrible things happen to other people . . . hey, better them than me!
Welcome to Titus Andronicus.
PLOT SYNOPSIS
The emperor of Rome has died
and his two sons, Saturninus and
Bassianus, compete for the throne.
General Titus Andronicus returns
from war against the Goths with the
prisoners Queen Tamora, her three
sons, and Aaron, her secret lover. He
sacrifices Tamora’s eldest son, having
lost 21 sons of his own in battle.
Titus is offered the throne but gives
it to Saturninus, who promises to
marry Titus’s daughter, Lavinia. She is
already betrothed to Bassianus. Her
brother, Mutius, protests the breaking
of the engagement, and Titus kills
him. Saturninus announces that he
will instead marry Tamora. She plots
revenge against Titus and enlists her
two sons and Aaron to help.
During a hunt arranged by Titus
to celebrate the royal wedding,
Tamora’s sons kill Bassianus, rape
Lavinia, tear out her tongue, and
cut off her hands to prevent her
identifying them. Two of Titus’s sons
are framed for Bassianus’s murder,
and Aaron promises to spare their
lives if Titus will cut off his hand and
send it to the emporer. Titus does
so, but his hand is returned with his
sons’ severed heads. Lucius, Titus’s
only surviving son, goes to seek help
from the Goths.
Lavinia identifies her attackers and
Titus vows to avenge her. Tamora
gives birth to a son with Aaron, who
takes the baby to be reared by the
Goths. He is captured by Lucius and
recounts his crimes without remorse.
Titus arranges a banquet where
he serves Tamora her own sons
baked into a pie. Titus kills Lavinia
in what he considers an act of
mercy and then kills Tamora. He in
turn is killed by Saturninus. Lucius
returns and kills Saturninus. He is
proclaimed emperor.
Adapted from Shakespeare Genealogies by
Vanessa James
“Enjoy.”
— David Quicksall
Ian Bond
Adam Canne
Angelica Duncan
CAST BIOS
Adam Canne
For enhanced actor profiles and
photos from past productions, check
out the Titus Andronicus page at
seattleshakespeare.org
Adam is extremely excited to make his debut
with Seattle Shakespeare Company. He was
recently seen as Moonchild in Eaten Voices at
The New Alchemists. Other credits include
Odysseus in Ajax in Iraq and King Simonides
in Pericles at Cornish College of the Arts and
ensemble roles in Jack and the Beanstalk and
For All That at Centerstage Theatre in Federal
Way. Adam received a BFA in Theater from
Cornish College of the Arts in 2014.
Mutius / Guard / Goth / Servant
Taylor is a current student at Cornish
College of the Arts (BFA 2016), where
he appeared on stage in Don Quixote
and Sancho Panza: Homeless in Seattle as
Sancho Panza and Giants Have Us In Their
Books as the Tiger. Also a graduate of the
Pacific Conservatory of the Performing Arts,
where he was featured in such productions
as The Wizard of Oz, Fiddler on the Roof,
and appeared as Benedick in an original
composition of Shakespeare’s works
entitled And When Love Speaks . . . Other
credits include Hunter in [title of show], Max
in Lend Me a Tenor, Will in Glory Days, Willard
Hewitt in Footloose, George in The Wedding
Singer, and Leaf Coneybear in The 25th
Annual Putnam County Spelling Bee.
Ian Bond
Demetrius
Ian has performed regionally with Seattle
Public Theater (Bad Jews), Book-It Repertory
Theatre (Frankenstein; or, the Modern
Prometheus), Taproot Theatre (Jeeves
Intervenes, Diana of Dobson’s), Sound Theatre
Company (Holiday of Errors), Mt. Baker
Theatre (The Underpants), and eSe Teatro
(Don Quixote and Sancho Panza: Homeless in
Seattle). Ian is a former resident ensemble
member of the Cincinnati Shakespeare
Company where favorite roles include
Romeo, Mr. Darcy, Hamlet, Banquo, and Al
Joad (The Grapes of Wrath). Other regional
credits include: Know Theatre of Cincinnati
(When the Rain Stops Falling), Cincinnati
Opera (Porgy and Bess), and Actor’s Theatre
of Charlotte (Little Dog Laughed). He is
represented by Topo Swope Talent.
Quintus / Caius / Goth
Angelica Duncan
Lavinia
Angelica is thrilled to be a part of this killer
production! She is grateful to be surrounded
by such courageous and passionate
professionals who make the Seattle theatre
community great. You might remember
Angelica playing the role of Julia in Wooden
O’s The Two Gentlemen of Verona in 2014.
Most recently Angelica participated in her
third Book-It Repertory Theatre’s educational
touring program as Mary Lennox in a bilingual
production of The Secret Garden, directed by
Kelly Kitchens. Other favorite roles include
Anne Shirley in Anne of Green Gables, Elizabeth
Bennet in Pride and Prejudice, Adelaide in Guys
and Dolls, Sylvia in Sylvia, and Pippi in Pippi
Longstocking. When Angelica is not on stage,
she spends much of her time sharing her love
for this art form as a theatre art instructor,
director, and playwright.
Karen Jo Fairbrook
Nurse / Tribune / Aemilius
Karen happily returns to Seattle Shakespeare
Company with this great cast, crew, and
director. She was last seen here in Measure For
Measure as Mistress Overdone, Mama Baptista
in The Taming of the Shrew, as well as appearing
in Julius Caesar and The Taming of the Shrew
with Wooden O. Kjo has been part of Seattle’s
theatre community over 20 years onstage and
off. She teaches theatre arts at Bellevue College,
is active with Washington State Thespians, and
is a freelance dialect and audition coach.
Huntington Filson
Alarbus / Servant / Guard / Messenger / Goth
Huntington is an actor and sound designer from
Los Angeles. Some of his recent credits include
Karen Jo Fairbrook
Malvolio in Twelfth Night, the Cervantes Avatar
in Quixote: Book One, and Narcissus in Polaroid
Stories (Cornish College of the Arts). He is also
an active songwriter and musician in the Seattle
area and is pleased to have just completed his
BFA in Theater at Cornish College of the Arts.
Jim Gall
Marcus Andronicus
Jim most recently appeared at Seattle
Shakespeare Company in Mother Courage and
Her Children, as well as Montano in Othello
and the Duke in The Two Gentlemen of Verona
(Wooden O). Last summer Jim played Kurt
Vonnegut in Book-It Repertory Theatre’s
Slaughterhouse-Five, for which he received a
Gregory Award nomination for Outstanding
Performance. Last year Jim appeared as Dr.
Reo Symes in Book-It Repertory Theatre’s
The Dog of the South. Some of Jim’s favorite
roles to date include Atticus Finch in Village
Theatre’s To Kill a Mockingbird and Mountain
McClintock in Theater Schmeater’s Requiem
for a Heavyweight. Jim has three Seattle
Times Footlight awards. He is married to the
beautiful and talented Kelly Kitchens.
Matthew Gilbert
Martius / Publius / Goth
Matthew is thrilled to mark his mainstage
Seattle Shakespeare Company debut!
Matthew has performed all over the Puget
Sound area with theater companies such
as GreenStage, Sound Theatre Company,
Seattle Shakespeare Company/Wooden O,
STAGEright, SecondStory Repertory, Seattle
Musical Theatre, Ghost Light Theatricals,
14/48 Projects, and Renton Civic Theatre.
Favorite roles include John Merrick in The
Elephant Man and Beethoven in 33 Variations.
Matthew holds a BA in Professional Acting
from LAMDA. Matthew will soon be
marrying his beautiful fiancée Samantha.
Rachel Glass
Tamora
Rachel is thrilled to return to Seattle
Shakespeare Company! She was last seen as
part of the Doo-Wop Quintet/Lucetta in The
Two Gentlemen of Verona. Regional theatres
worked include: Currican Theatre (NY), LA
Theatre Center, Shakespeare Santa Cruz,
Center Repertory Theatre, Book-It Repertory
Huntington Filson
Jim Gall
Theatre, Bridges Stage Company, Tennessee
Repertory Theatre, to name a few. Rachel
has starred in several films, two of which
received top honors at the Santa Barbara,
Los Angeles, and Malta International Film
Festivals. She was also featured opposite
Sharon Stone in Last Dance. TV: Days of Our
Lives; Beverly Hills 90210; Murder, She Wrote;
Columbo. Rachel records regularly with Jim
French Productions’ Imagination Theatre,
which produces nationally syndicated radio
programs. She also records audio books and
voice-overs, and she interviews best-selling
authors for a local radio show.
Aaron
Sylvester started his acting studies in 1993 at
the Northwest Actors studio. There he studied
with Anne Graham for seven years exploring
various aspects of the Stanislavski technique.
He was a member of the first class of the
conservatory program at Freehold Theatre in
1999–2000, taught by Robin Lyn Smith and
George Lewis. In Los Angeles, CA, he studied
with Milton Katselas for one year. An equity
member since 2001, among his favorite roles
are Joseph Asagai in A Raisin in the Sun at
Intiman Theatre, Tayyib in Musa and Sheri in the
New World at ACT Theatre, Sepha Stephanos in
The Beautiful Things That Heaven Bears at BookIt Repetory Theatre, and Escalus in Measure
for Measure at Seattle Shakespeare Company.
He recently became a member of The Seagull
Project and will play Mikhail Lvovich Astrov in
their production of Uncle Vanya in 2017.
Jason Marr
Bassianus / Tribune / 1st Goth
Jason was recently seen at Seattle
Shakespeare Company in Mother Courage and
Her Children. Two summers ago he played
Proteus in The Two Gentlemen of Verona
with Wooden O. Other shows with Seattle
Shakespeare Company include Richard II,
Antony and Cleopatra, and Hamlet. Regional
credits include Shakespeare Santa Cruz, Island
Stage Left, and the Shakespeare Theatre
Company in D.C. Locally, he has performed
with Book-It Repertory Theatre, Seattle Public
Theater, Washington Ensemble Theatre,
Theater Schmeater, GreenStage, Taproot
Theatre, Harlequin Productions, 14/48:
Matthew Gilbert
Rachel Glass
The World’s Quickest Theatre Festival, and
Theater Anonymous. He is also a co-founder
of One Lump or Two Productions (Elsinore
Diaries, Holiday of Errors). Jason has a BFA in
Acting and Directing from UNC Greensboro
and an MFA from the Shakespeare Theatre
Company’s Academy for Classical Acting at
George Washington University. He is married
to the beautiful and fabulous Jill Marr.
Trevor Young Marston
Lucius
Trevor is thrilled to be making his main
stage debut after performing two years
with Seattle Shakespeare Company’s
statewide touring productions. A Seattle
based actor and producer, he has
performed locally with Book-It Repertory
Theatre, Seattle Public Theater, Playing
in Progress, Island Stage Left, SOAPfest,
ReAct Theatre, and the 14/48 Projects. As
a producer, Trevor has helped bring to the
stage the world premieres of For Christmas
by Nick Edwards, A Cure for Pain by
Stephanie Timm, Boots by Libby Matthews,
and Barbarians — a devised piece with SITI
Company associate Jeffrey Fracé. He earned
his MFA from the University of Washington’s
Professional Actor Training Program. You
can next see him in Mrs. Warren’s Profession
this spring.
Andrew McGinn
Titus Andronicus
Andrew ’s recent projects include playing the
title role in Cyrano at Portland Center Stage
and Mr. Banks in Mary Poppins at The Village
Theatre and directing Female Transport at
Seattle University, Indian Ink for Sound Theatre
Company, and All’s Well That Ends Well for
Freehold’s Ensemble Training Intensive where
he also served as Associate Director. New
York acting credits include Invention of Love
and the Coast of Utopia trilogy on Broadway
and five shows at the New York Shakespeare
Festival/Public Theater. He holds an acting
degree from Juilliard and an MFA in directing
from University of Washington. Teaching
credits include Cornish College of the Arts,
Freehold Theatre, and Jack Straw Studios. He
will reprise the role of Dr. Watson at Seattle
Repertory Theatre in Sherlock Holmes and the
American Problem in April.
Christopher Morson
Chiron
Christopher is pumped to be back with
Seattle Shakespeare Company! His past
credits include Taproot Theatre’s A Charlie
Brown Christmas as Snoopy; Seattle Repertory
Theatre’s A View from the Bridge; andBook-It
Repertory Theatre’s The Dog of The South as
Ray Midge and The Adventures of Huckleberry
Finn: Uncensored as Huck. He has also
performed in Seattle Shakespeare Company’s
Much Ado about Nothing, The Two Gentlemen
of Verona, and Twelfth Night. Catch him next
in Book-It Repertory Theatre’s two-part epic,
The Brothers K. Christopher is a graduate
from Cornish College of the Arts, where he
received his BFA in Acting.
George Mount
Saturninus
For Seattle Shakespeare Company, George
has appeared in Twelfth Night, Richard II,
Love’s Labour’s Lost, A Doll’s House, The Comedy
of Errors, The Taming of the Shrew, King Lear,
Richard III, and Macbeth and directed Henry IV
Part I (Wooden O), Waiting for Godot, Much Ado
About Nothing, As You Like It, and The Tempest
as well as statewide touring productions of
Hamlet, Macbeth, A Midsummer Night’s Dream,
and Othello. George is the founding Artistic
Director of Wooden O, where he has played
Malvolio, Iago, Richard III, Shylock, Hamlet,
Cassius, Benedick, Caliban, Romeo, and Feste
and directed Henry IV Part 1, Henry V, The
Comedy of Errors, Romeo and Juliet, Julius Caesar,
The Tempest, A Midsummer Night’s Dream, and
Much Ado About Nothing. Other credits include
work at ACT Theatre, Book-It Repertory Theatre,
Seattle Public Theater, SecondStory Repertory
Theatre, and Village Theatre.
Alex Silva
Young Lucius
Alex was last seen at Seattle Shakespeare
Company as the Boy in Waiting for Godot. He
recently appeared as Jeremy Potts in Seattle
Children’s Theatre production of Chitty
Jason Marr
Trevor Young Martson
Chitty Bang Bang. He has also appeared
locally in Strawberry Theatre Workshop’s Our
Town, A Christmas Carol at ACT Theatre, and
performed in Bill Irwin: On Beckett at Seattle
Repertory Theatre. Alex has enjoyed working
with Seattle Shakespeare Company’s Short
Shakes education program as Dogberry and
Leonato in Much Ado About Nothing and
Seattle Children’s Theatre summer season in
Macbeth and Gulliver.
PRODUCTION BIOS
Geoffrey Alm
Fight Choreographer
Geoffrey is a certified fight director and teacher
for the Society of American Fight Directors.
He has worked at Seattle Repertory Theatre,
Intiman Theatre, Seattle Children’s Theatre, ACT
Theatre, Seattle Opera, Seattle Shakespeare
Company, The Group Theatre, Arizona Theatre
Company, The Huntington Theatre Company,
and Missoula Children’s Theatre. He teaches
all over the Northwest, in Boston, Montana,
Louisiana, and for the University of Washington’s
Professional Actor Training Program.
Lenore Bensinger
Dramaturg
Lenore is delighted to return to Seattle
Shakespeare Company. She last teamed up
with David Quicksall for Seattle Shakespeare
Company’s Coriolanus. As a dramaturg, she has
worked at numerous local theaters, notably
Book-It Repertory Theatre. Recently, she
contributed to Horse in Motion’s Brechtfest. As
a playwright, her most recent production was
Bleeding Art, with Jane Ryan. She currently plans
to debut her science-driven, on-going theater
project, Start-Up, late this spring. Other projects
include free-lance directing and editing.
Louise Butler
Stage Manager
Louise is pleased to return to the booth
at Seattle Shakespeare Company, having
Andrew McGinn
Christopher Morson
previously stage managed King Lear at the
Cornish Playhouse and The Two Gentlemen
of Verona and Henry V for Wooden O. Louise
has been a part of stage management teams
for The 5th Avenue Theatre (Beautiful Poison),
Village Theatre (Great Wall, Around The World
In 80 Days, Mary Poppins, In The Heights, The
Foreigner, Trails, Big River), Book-It Repertory
Theatre (Slaughterhouse-Five, The Art of
Racing in the Rain, Border Songs), Balagan
Theatre (Carrie, Hedwig and The Angry Inch,
The Full Monty, Closer, Othello), Showtunes
Theatre Company (Miracle on 34th Street),
Theater Schmeater (Twilight Zones), the
Northwest Folklife Festival, Giant Magnet,
and 14/48. Louise is the Production Manager
for Seattle Shakespeare Company.
Carol Wolfe Clay
Set Designer
Carol has designed scenery for numerous
Seattle Shakespeare Company productions
including Richard II, Coriolanus, Cymbeline
(Seattle Times Scenic Design Footlight Award),
and last season’s Tartuffe. Other fond design
projects include Danny, King of the Basement
for Seattle Children’s Theatre, The Life of Galileo
for Strawberry Theatre Workshop, Ubu for
The Empty Space Theatre, and little world, her
collaboration with Ki Gottberg, which received
a CityArtist Projects award. Carol is Professor
of Theatre and Director of MFA Graduate
Management Practicums at Seattle University.
She received her MFA in Dramatic Art-Design
from the University of California at Davis and
is a member of the United States Institute for
Theatre Technology, the Puppeteers of America,
and United Scenic Artists local USA 829.
Rachel Delmar
Assistant Director
Rachel has worked around the country as an
actor, director, teaching artist, and producer.
A few favorites include Playwrights Arena,
Odyssey Theatre Ensemble, and Red Dog
Squadron in Los Angeles as well as the Guthrie
and the O’Neill Theater Center nationally.
Locally, she has worked with Forward Flux,
Seattle Public Theater, ACT Theatre, 14/48
Projects, Pony World, and the Bellevue Youth
Theatre to name a few. She and her company,
Playing in Progress, are most notorious for
SnowGlobed (an evening of holiday inspired
George Mount
scenes and spectacles) that takes place every
December. Most recently, she produced,
developed, and directed, For Christmas, a new
play by Nick Edwards. You can see (a lot of ) her
next in the remount of Seattle Vice, coming this
January to the Triple Door!
Marleigh Driscoll
Properties Designer
Marleigh is delighted to return to Seattle
Shakespeare Company to play with props for
her 16th season with the company. Her work
with Seattle Shakespeare Company/Wooden
O includes various productions of Othello, The
Taming of the Shrew, The Tempest, As You Like It,
Henry V, Much Ado About Nothing, Love’s Labour’s
Lost, Julius Caesar, Macbeth, Twelfth Night,
Hamlet, The Merchant of Venice, The Merry Wives
of Windsor, A Midsummer Night’s Dream, Romeo
and Juliet, Richard III, The Comedy of Errors,
Pygmalion, A Doll’s House, Measure for Measure,
and Waiting for Godot. Marleigh has a Master’s
degree in Architecture and has been a stage
manager and assistant director for Book-It
Repertory Theatre. She has worked with
Civic Light Opera, Seattle Opera, the Flying
Karamazovs at ACT Theatre, and Shakespeare
Walla Walla for Swansong.
Jocelyne Fowler
Costume Designer
Jocelyne has designed for Seattle Shakespeare
Company (Richard II), Wooden O (Henry IV Part
I, The Two Gentlemen of Verona, Henry V, and The
Tempest), Book-It Repertory Theatre (Emma,
Pride and Prejudice, Frankenstein; or, the Modern
Prometheus, Anna Karenina, Hotel on the Corner
of Bitter and Sweet), SecondStory Repertory
(The Lion in Winter, Legally Blonde, Chess: The
Musical, Moon Over Buffalo, and more), Seattle
Musical Theatre (Young Frankenstein and Legally
Blonde), Harlequin Productions (Clybourne
Park, Jesus Christ Superstar, and more), Vashon
Opera (Elixir, Albert Herring, Werther, and Eugene
Onegin), and other local theatres. Upcoming
work can be seen in Mrs. Warren’s Profession
at Seattle Shakespeare Company and Evita at
SecondStory Repertory.
Julia Griffin
Blood Artisan
Julia serves as Theater Schmeater’s associate
artistic director and casting director. Since
Seattle Scenic Studios
Technical Director
Alex Silva
2008, Julia has been involved in the Seattle
theater community after moving from her
home state of Montana. Typically holding the
title of director, recent directing credits include
The Secretaries, Gingerbread House, Hansel and
Gretel at Theater Schmeater to name some of
her favorites. She has also worked with other
companies in the community such as 14/48
Projects, Live Girls!, GreenStage, and more.
Julia got her bloody start with GreenStage’s
HardBard productions in 2010 and has been
covering stages with blood as often as she can
ever since. This is Julia’s second bloody venture
with Seattle Shakespeare Company, tinting
hands and faces of actors red with King Lear in
2014.
Emma Pihl
Assistant Stage Manager
Emma is happy to be working with Seattle
Shakespeare Company again after touring the
parks this summer with Wooden O’s As You
Like It. Emma’s recent credits include Elephant
and Piggie’s “We Are in a Play!” with Seattle
Children’s Theatre, Cabaret with Village Theatre,
The Flick with New Century Theatre Company,
The Explorer’s Club with Taproot Theatre, and
several shows with Book-It Repertory Theatre,
including Pride and Prejudice, I Am of Ireland,
The Amazing Adventures of Kavalier and Clay,
Truth Like the Sun, Frankenstein; or, the Modern
Prometheus, and Pink and Say, one of Book-It’s
educational touring shows.
David Quicksall
Director
As a director for Seattle Shakespeare
Company, David most recently helmed the
2014 Wooden O “doo-wop” production of The
Two Gentlemen of Verona, as well as mainstage
productions of Coriolanus (“Play of the Year”
Seattle Weekly, 2012) and The Tempest (2002).
Elsewhere in Seattle, David has directed
Don Quixote and Sancho Panza Homeless in
Seattle (eSe Teatro), Frankenstein, Moby Dick
(Seattle Times Footlight Award recipient), Don
Quixote, and If I Die In A Combat Zone (all at
Book-It Repertory Theatre). As an actor, David
is no stranger to the Seattle Shakespeare
Company’s stage where he has appeared
in the roles of Don Armado, Petruchio,
Autolychus, Malvolio, Brutus, and many more.
Seattle Scenic Studios is the only non-profit
scenic fabrication organization in the United
States. They provide technical support to nonprofit theatres and museums throughout the
state, including Seattle Shakespeare Company.
Seattle Scenic has supported productions from
Washington to New York, from Lincoln, NB, to
Spoleto, Italy. They also train the next generation
of technical theatre artists, supporting programs
including Roosevelt High School, Kamiak High
School, the Bush School, Evergreen Middle
School, Billings Middle School, Seattle Prep, and
Islander Middle School.
Andrew D. Smith
Lighting Designer
Andrew most recently designed lights for
The Comedy of Errors, Tartuffe, and Measure
for Measure at Seattle Shakespeare Company.
His Seattle designs have been seen at
Seattle Repertory Theatre, ACT Theatre,
Seattle Children’s Theatre, New Century
Theatre Company, Azeotrope, Intiman
Theatre Festival, Book-It Repertory Theatre,
Washington Ensemble Theatre, Strawberry
Theatre Workshop, Seattle Public Theater,
ArtsWest, On The Boards, and Velocity Dance
Center. Nationally, Andrew has designed
with Cornerstone Theatre Company, Flint
Youth Theatre, Horizon Theater Company,
Cincinnati Shakespeare Company, Roust
Theatre, and Cardinal Stage Company. He
received the 2010 and 2011 Gregory Award
for Outstanding Lighting Designer. Andrew
holds a BA from Duke University and an MFA
from the University of Washington, where he
currently teaches. Andrew is a member of
New Century Theatre Company.
Nathan Wade
Sound Designer
After a four year hiatus from the Bard —
namely, Seattle Shakespeare Company’s
2012 production of Coriolanus —Nathan
returns with a vengeance. He has spent
nearly fifteen years making sound and music
alongside director David Quicksall, and their
previous collaboration was another grim,
blood-splattered work: Book-It Theatre’s
2014 staging of Frankenstein; or, The Modern
Prometheus, which, frankly, seems quaint when
stacked up against the mounting horrors of
Titus Andronicus. Outside the walls of theatre,
Nathan is a mostly well-adjusted musician,
composer and stay-at-home dad who listens
to music obsessively (but only the good stuff ).
with this fabulous cast and crew. She is a
four-year veteran of Short Shakes and Camp
Bill, bleeding her way through the title role
of Julius Caesar, as well as Prospero (The
Tempest), Lady Bracknell (The Importance of
Being Earnest), Olivia (Twelfth Night), and more.
With Seattle Public Theater’s youth program,
she has designed costumes (Cherry Orchard,
On the Razzle), written (Bluebeard’s Wife and
Other Dark Fairy Tales), assistant directed (The
Tempest), and appeared as the Red Queen
(Looking-glass), Witch (Macbeth), and Harun
al Rashid (The Arabian Nights). Rachel has
worked with 14/48 HS, Theatre Anonymous
HS, and Infinity Box Theatre Project.
Actors’ Equity Association (AEA),
founded in 1913, represents more
than 45-thousand actors and stage
managers in the United States. Equity
seeks to advance, promote and foster
the art of live theatre as an essential
component of our society. Equity
negotiates wages and working conditions, providing
a wide range of benefits, including health and
pension plans. AEA is a member of the AFL-CIO, and
is affiliated with FIA, an international organization of
performing arts unions. The Equity emblem is our
mark of excellence. www.actorsequity.org
LEADERSHIP BIOS
John Bradshaw
Managing Director
Now in his thirteenth season with Seattle
Shakespeare Company, John is a graduate
of the University of Washington and has
spent nearly his entire career as part of
the Seattle theatre community. Prior to
joining Seattle Shakespeare Company,
he was Managing Director at The Empty
Space Theatre and Director of Endowment
and Planned Giving for Seattle Repertory
Theatre. John served as General Manager
and Development Director during
construction and initial operations at Kirkland
Performance Center. At Seattle Children’s
Theatre, he was part of the development
staff during the capital campaign to build
the Charlotte Martin Theatre. Prior to going
into administration, John served as an
AEA stage manager at several professional
theatres in Seattle. John is on the Honorary
Advisory Board for the School of Drama at the
University of Washington and the Advisory
Board for TeenTix.
George Mount
Artistic Director
See cast bios.
Rachel Warshaw
Blood Intern
Rachel is honored to be spending her first
Seattle Shakespeare Company production
WANT MORE?
ROMANISH
Seattle Shakespeare Company
provides several opportunities
with each production for audience
members to learn more about the
play and interact with our artists.
The best part? They’re all free!
MOBILE APP
Shakespeare’s late Roman plays are each anchored to a period in history — Coriolanus
in the early Roman Republic and Julius Caesar and Antony and Cleopatra at the
transition from Republic to Empire. In contrast, Titus Andronicus is vaguely set in the late
Roman Empire, with no major characters or events having historic counterparts.
While Roman history did not provide the content of Titus, Roman literature furnishes
the play with some of its most heinous moments. The rape and mutilation of
Lavinia, as well as her solution for identifying Chiron and Demetrius, is conflated
from several episodes in Ovid’s Metamorphoses. Titus’s ultimate revenge against
Tamora, the unwitting cannibalism of her own children, combines another story from
Metamorphoses and with Seneca’s Thyestes.
Available on Apple and Google
Play’s app stores, our free mobile
app features special enrichment
resources for each production. Have
plot summaries, cast bios, and our
original “Bluff Your Way Through the
Play” all at your fingerstips.
JUMPSTART LECTURES
Get to know the play before you
see it! A member of our artistic
team will bring you up to speed
on the plot, characters, and history
of the play, as well as artistic
concepts for the production.
POST-SHOW TALKBACKS
Join the cast and crew after the
performance as they answer your
questions and share some insights
into the production.
seattleshakespeare.org/
enrichment
But setting wasn’t much of a concern to Shakespeare and his original audiences. It was
common in Elizabethan England plays to be performed in contemporary dress, regardless
of when the story was set. The “Peachum Drawing” (above) depicts Tamora’s plea for her
son’s life. It is the only surviving illustration of an Elizabethan play and shows a haphazard
mix of contemporary and Romanish costumes. It wasn’t until the Victorian era that the
idea of performing Shakespeare in Elizabethan dress came into vogue.
IN AND OUT OF TASTE
Titus Andronicus has survived a pretty bad reputation. Graphic violence and
disturbing content made the play unstageable in its original form for three centuries
— but during Shakespeare’s lifetime, Titus was one of his most popular works.
Written in Shakespeare’s late twenties, Titus was an instant hit. Historic
records show five stagings of the play within six months of the first
confirmed performance! The script was frequently republished, and a popular
contemporary ballad mirrored the plot.
Titus faced its first rewrite in 1678 at the hand of Edward Ravenscroft, who
described the original as “the most incorrect and indigested piece in all
[Shakespeare’s] works; it seems rather a heap of rubbish than structure.” Two more
adaptations came in 1839 and 1848. Both took major liberties reducing violent and
morally disturbing content for Victorian audiences. The latter omitted all violence
toward Lavinia and portrayed Tamora as chaste, Aaron as noble, and Chiron and
Demetrius as dutiful children!
In 1923, Shakespeare’s original Titus Andronicus was staged for the first time
in more than 300 years. Even then, the once beloved title still had an uphill
battle to regain popularity and respect. T.S. Eliot wrote that Titus was “one of the
stupidest and most uninspired plays ever written, a play in which it is incredible
that Shakespeare had any hand at all.” Following World War II, stagings of
Titus became increasingly frequent and the play finally earned serious critical
consideration at the end of the twentieth century.
BODY COUNT
TIT FOR TAT
Titus Andronicus boasts the highest body
count in all of Shakespeare’s plays, as
well as the most mutilations. Take a look:
Watching the bodycount in Titus Andronicus climb, one might ask what purpose
revenge serves when it comes at such a high cost. The need to see moral
transgressions punished is a deeply rooted trait, one that humans share with our
closest relatives. Group species, like our own, depend on cooperation for survival, and
reciprocity — both positive and negative — is the foundation of social relationships.
Behavior that threatens cooperation lights up a hardwired instinct for punishment.
Such intolerable offenses, common between humans, chimpanzees, and bonobos,
include excessive violence (especially toward a member of lower rank), failure to
come to an ally’s aid during a fight, rape, greed, and lack of positive reciprocation.
The ventromedial prefrontal cortex, especially the right side, is the key player in the
neurobiology of morality. This area of the brain activates during moral reasoning as
well as when viewing morally charged imagery such as acts of charity or cheating.
Damage to this part of the brain can cause “acquired sociopathy” and the loss of
moral instinct.
Retaliation itself is not necessarily as immediate as the internal reaction to
wrongdoing. Just like humans, chimpanzees may nurse a grudge until an
opportunity for revenge comes about, even feigning reconiliation to lower a rival’s
guard for a surprise attack. If the original offender is too formidable to act against
directly, the target of retribution can be a lower ranking friend or younger relative.
Starting to sound like Shakespeare?
Of course, this system has a serious risk
for escalation. If a punishment is out of
proportion with the original wrong, the
punished party may feel entitled to their
own retribution. While civilization has
progressed beyond it, the original function
of “an eye for an eye” in legal codes was to
prevent over-retaliation. When the cycle of
revenge gets out of hand for chimps and
bonobos, a third party (either the leader or a
segment of the group) breaks up the conflict
and encourages reconciliation. This peacekeeping function of leadership was still in
place at the beginning of recorded history.
Infographic created by the Royal Shakespeare Company.
CHAOS CHARACTERS
Aaron in Titus, Edmund in Lear, Iago in Othello. They’re all characters that stir
the pot and create chaos. Just as the moral framework for maintaining group
cooperation is not unique to humans, individuals who intentionally strain the
peace can also be found in our close relatives.
Georgia, a high-ranking chimpanzee at the Yerkes Regional Primate Research
Center, became so proficient at inciting troop-wide brawls that she had
to be removed from the group for an extended period of time. Her tactics
included slapping children in front of their mothers, mating with low-ranking
males in plain view of high-ranking males (both severe and punishable
offenses), and moving innocently among other chimps with a secret
mouthful of water which she would spit in the face of an unsuspecting peer.
Unfortunately, our evolved moral checks and balances don’t easily apply to the scale
of human civilization. Especially when the powers engaged in a feud are the upper
strata of society with no third party “alpha” to step in (as the Prince does in Romeo and
Juliet) a cycle of revenge can run loose.
Come See for
Yourself
Between the beginning of March and end of May, there will be a theatre driving across
Washington State. It will wind back and forth through the Cascades, ride on ferries
across the Puget Sound, and roll through the wide landscape of Eastern Washington.
Costumes, props, sets, and cast members will cover more than 5,000 miles together
— and everywhere they go, Seattle Shakespeare Company will go with them. So how
does a traveling theatre work?
(ages 8–18)
Get hands-on experience
with voice and text work, scene
study, Elizabethan dance, comedy
techniques, and stage combat —
guided by professional actors and
teaching artists.
SHAKESPEARE’S CIRCUS: HAMLET
June 27–July 1
COMBAT AND IMPROV
July 11–15
HAMLET STAGE COMBAT CAMP
The van pulls up to a school or community center and the cast unloads their mobile
theatre. Within half an hour of parking, the set is assembled, props are in place, and
actors are going through a safety rehearsal of the play’s combat scenes. During the
performance, the six cast members make quick costume changes to become new
characters and move set pieces to create new locations.
This is often the first live theatre students experience. They are used to seeing
acting on a screen and reading Shakespeare from a book. The newness of this
storytelling medium for them is remarkable — and students comment on the
experience in droves, posting on Facebook and tweeting. Post performance Q&As
with the cast brim with questions about acting, memorization, and the experience
of making theatre.
Each Spring, our statewide tour performs for over 15,000 people — that’s enough to
fill the Center Theatre 80 times! It is a program that is supremely important to who
Seattle Shakespeare Company is and what we do.
Want to see for youself? There will be four public performances of this spring’s
statewide touring production of The Tempest. It’s the perfect opportunity to see the
way we introduce Shakespeare, and live theatre, to students across the state — and
tickets are available now!
July 18–22
HAMLET INTRO TO ACTING CAMP
July 18–22
PRODUCTION INTENSIVE: HAMLET
July 27–Aug 16
HALF-DAY COMBAT INTENSIVE
August 15–19
ENROLL TODAY!
THE TEMPEST
Prospero and his daughter live as exiles on a remote island filled with enchanted
creatures. Conjuring a spell, Prospero summons a storm to carry his brother’s
ship to his shores He seeks revenge, but the island has other ideas. Foes become
friends. Family reunites. And old wounds heal through forgiveness. Shakespeare’s
fantastical tale reveals magic and power of the human heart.
Center Theatre Performances:
Hall at Fauntleroy:
Friday, April 15 at 7:30 pm
Thursday, May 19
Saturday, April 16 at 2:00 pm
Enjoy a dinner catered by Tuxedos
and Tennis Shoes at the historic
and beautiful Hall at Fauntleroy.
Doors open at 6:00 pm, dinner
will be served at 6:30 pm, and the
performance will begin at 7:30 pm.
Saturday, April 16 at 7:30 pm
NEXT ON STAGE
MARCH 15–APRIL 10
WHAT IT’S ABOUT
Confronting the truth locks two
strong, unconventional women in
an elemental battle peppered with
Shaw’s wicked humor. With grit
and wit, Kitty Warren pulled herself
out of the London slums in order
to give her daughter, Vivie, the
opportunities she never had. When
the two meet for the first time after
many years, they both discover
that neither mother nor daughter
is the woman they thought they
knew. A delightfully heartbreaking
comedy about a taboo topic that is
both timeless and timely.
WHERE IT’S PERFORMING
Center Theatre
The Armory at Seattle Center
305 Harrison Street
WHO YOU’VE SEEN
Emily Chisholm
Twelfth Night (Wooden O), The
Servant of Two Masters
Trevor Marston
Titus Andronicus
Todd Jefferson Moore
The Comedy of Errors, Waiting for
Godot, King Lear, and more
Richard Ziman
Hamlet, Henry IV Parts 1 & 2,
Richard III
Victor Pappas (Director)
The Importance of Being Earnest
By George Bernard Shaw | Directed by Victor Pappas
2002: Wild Oats, written by John O’Keefe in 1791.
2006: Cyrano de Bergerac, written by Edmond
Rostand in 1897. French. Translated by Sean Patrick
Taylor.
2007: School for Scandal, written by Richard Brinsley
Sheridan in 1777. England.
2008: The Miser, by Moliere first performed in 1668.
France. Translated by David Chambers.
2009: The Servant of Two Masters by Carlo Goldoni.
1746. Italy. Trans / adapted Jeffrey Hatcher and
Paolo Emilio Landi.
2009: The Turn of the Screw by Henry James. 1898.
England.
2010: Electra by Sophocles. Circa 400 BC. Greek.
Adapted by Frank McGuinness.
2011: The Threepenny Opera, by Bertolt Brecht. 1928.
Germany.
SUNDAY / APRIL 24, 2016 / 5:30 PM
2012: Pygmalion, by George Bernard Shaw. 1912.
Cornish Playhouse at2013:Seattle
Center
A Doll’s House, by Henrik Ibsen. Norway. 1879
Seattle Shakespeare Company2014:
turnsWaiting
25 thisfor
spring
Godot, by Samuel Beckett, engh
and you’re invited to join the celebration at Bill’s Bash!
The Importance
of Being
Earnest, by Oscar
We’ve planned a jubilant evening featuring 2014:
outstanding
fare, bubbly
libations,
Wilde,
1895
delightfully unique auction items, and Shakespeare-inspired entertainment. It’s going
to be a great party, but it won’t be complete without you!
2015: Tartuffe, by Moliere. 1664
General Admission $125
VIP Admisstion2015:
$250Mother Courage and Her Children, by Bertolt
Brecht. 1939
Visit billsbash.org for donation and ticketing information.
INSTITUTIONAL SUPPORTERS
$25,000 and More
ArtsFund
The Boeing Company
Shakespeare for a New
Generation, a national
program of the National
Endowment for the Arts
in cooperation with Arts
Midwest
Treeline Foundation
$10,000–$24,999
4Culture
Colymbus Foundation
John Brooks Williams and
John H. Bauer Endowment
for Theatre
Microsoft Matching Gifts
Program
The Norcliffe Foundation
Perkins Coie LLP
Seattle Office of Arts &
Cultural Affairs
Tuxedos and Tennis Shoes
Catering
U.S. Bankcorp Foundation
Wells Fargo Foundation
$5,000–$9,999
Adobe Matching Gifts
Program
American Life, Inc.
Anne & Mary Arts &
Environmental Ed Fund
at the Greater Everett
Community Foundation
The Boeing Gift Matching
Program
Costco Arts Education and
Access
Issaquah Arts Commission
KUOW 94.9 FM
Nesholm Family Foundation
The Seattle Foundation
Teatro ZinZanni
Washington State Arts
Commission
$2,500–$4,999
The Bungie Foundation
Carillon Points Matching
Gift Program
Daqopa Brands LLC
Fales Foundation Trust
Gartner Matching Gift
Program
Hazel Miller Foundation
Horizons Foundation
IBM International
Foundation
Mercer Island Community
Fund
Pepsico Foundation
Matching Gifts
U. M. R. Foundation, Inc.
$1,000–$2,499
Actors’ Equity Foundation, Inc.
Ascent Private Capital
Management
CliftonLarsonAllen LLP
F5 Connects Matching
Program
Mercer Island Rotary Club
Moccasin Lake Foundation
$500–$999
Elysian Brewing Company
Hildegard Protection
Society
Mangetout Catering
Mercer Island Lions Club
Pacific Continental Bank
Sap Matching Gift Program
Savage Color
$100–$499
THE ARDEN CIRCLE
Foundation Matching Gifts
Program
Bridge Partners LLC
Bumbershoot Designs and
Supplies
The Coca-Cola Foundation
Eastside Acupuncture and
Chinese Medicine Center
Expedia Gives Matching Gift
Program
Goldman, Sachs and Co.
Matching Gift Program
Japanese Student
Organization
Kiwanis Club of Mercer
Island
Starbucks Foundation
Symetra Matching Gift
Program
Workplace
Campaign Donors
Thank you to the
following companies
and organizations for
encouraging giving
through workplace
campaigns:
Boeing Employee Individual
Giving Program
City of Seattle Employee
Giving
IBM Employee Charitable
Contribution Campaign
King County Employee
Charitable Campaign
Microsoft Workplace
Campaign
Washington State
Employee Combined
Fund Drive
Arden Circle members are pillars of support
who ensure Seattle Shakespeare Company’s
growth and development through a multi-year,
sustaining pledge of $1,500 or more.
David Allais
Bob and Sarah Alsdorf
Stella and Steve Bass
Mary and Scott Berg
Jeannie Buckley Blank and
Tom Blank
John Bodoia
Pierre DeVries and
Susan Tonkin
Dan Drais and Jane Mills
Sue Drais
Lauren Dudley
Rick and Terry Edwards
Emily Evans and Kevin Wilson
Ann and Donald Frothingham
Lynne Graybeal and
Scott Harron
Bert and Bob Greenwood
Maria Mackey Gunn
John and Ellen Hill
Ken and Karen Jones
Gustavo and Kristina Mehas
Sarah Merner and
Craig McKibben
Phil and Carol Miller
Nancy Miller Juhos and
Fred Juhos
Susan and Steven Petitpas
Mary Pigott
Erik Pontius
Anne Repass
TheHappyMD.com
Nicole Dacquisto Rothrock
and Tim Rothrock
Chuck Schafer and
Marianna Clark
Laura Stusser-McNeil and
K.C. McNeil
Doug and Maggie Walker
Pat Walker
Steve Wells
Janet Westin and
Michael McCaw
Susan and Bill Wilder
Jim and Jeanne Wintz
Jolene Zimmerman and
Darrell Sanders
For more information about joining the Arden Circle,
please contact John Bradshaw, Managing Director:
[email protected] or 206-733-8228 x 201
seattleshakespeare.org/arden
Bill and Melinda Gates
INDIVIDUAL SUPPORTERS
$10,000 and More
David Allais
Warren and Anne Anderson
Jane and Robert Doggett
John and Ellen Hill
Stellman Keehnel and
Patricia Britton
Sarah Merner and
Craig McKibben
Mary Pigott
Doug and Maggie Walker
$5,000–$9,999
In Memory of Sid and Rae Buckley
—
Sarah and Bob Alsdorf
John Bodoia
Jeannie Buckley Blank and
Tom Blank
Ken and Karen Jones
Maria Mackey Gunn
Nancy Miller-Juhos and
Fred Juhos
Sue and Steve Petitpas
Pat and Charlie Walker
Steve Wells
$2,500–$4,999
Anonymous (2)
—
Terry Barenz Bayless
Steve and Stella Bass
Scott and Mary Berg
Marisa Bocci
Paula and Paul Butzi
John Chenault and
Wendy Cohen
Sharon Coleman
Sandra K. Farewell
Barbara and Tim Fielden
Helen Goh and Jeff Kadet
Lynne Graybeal and Scott Harron
Mark Hamburg
Randi Jean Hedin and
Andy Gardner
Harold and Mary Frances Hill
Steve and Carole Kelley
Angelique Leone and
Ronald Fronheiser
Peter and Kelly Maunsell
Douglas and Kimberly McKenna
Richard Monroe
Bill Neukom
Patrick O’Kelley and
Laura McCorkle
Rosemarie and H. Pike Oliver
David and Valerie Robinson
Mavis and Stephen Roe
Jim and Kasey Russell
Chuck Schafer and
Marianna Clark
Suzanne Skinner and Jeff Brown
K.C. McNeil
Nancy Talley
Richard and Catherine Wakefield
Jay Weinland and
Heather Hawkins Weinland
Darrell Sanders
$1,000–$2,499
Anonymous (7)
—
Rhoda Altom and Cory Carlson
Philip and Harriett Beach
Julie Beckman and Paul Lippert
Lenore and Dick Bensinger
Pirkko and Brad Borland
Bobbie and Jon Bridge
Janet Brown
Frank Buxton and Cynthia Sears
Barney and
Denise Balthrop Cassidy
Steven and Judith Clifford
Mary Dickinson
Eric and Tracy Dobmeier
Christopher G. Dowsing of
Morrow & Dowsing, Inc.
Lauren Dudley
Rick and Terry Edwards
Jean and David Farkas
Brad and Linda Fowler
Donald and Ann Frothingham
Natalie Gendler
Susan George
Slade Gorton
Lisa Hager
David and Meg Haggerty
James Halliday and Tyson Greer
Lawrence and Hylton Hard
John and Wendy Hardman
Brad and Zoe Haverstein
Edwin Hawxhurst
Barbara and David Heiner
Lucy Helm
Susan Herring and Norman Wolf
Mark Houtchens and Pat Hackett
Jane and Randall Hummer
Frida Kumar
Susan Lantz-Dey and Mike Dey
Susan Leavitt and Bill Block
Marianne and Jim LoGerfo
Teresa Mathis
Elizabeth Riggs McCarthy and
Clement Andrew McCarthy
Vicki McMullin
Gustavo and Kristina Mehas
Meg and David Mourning
Richard and Susan Nelson
Nick and Joan Nicholson
Dave Oskamp
Anne Otten and James Adcock
Kyle and Michele Peltonen
Sandra Perkins
Lori Lynn Phillips and
David C. Lundsgaard
Ben and Margit Rankin
Kim and Ken Reneris
Joanne Repass and JJ Ewing
Kerry and Jan Richards
Paula Riggert
Joanne Roberts
Nicole Dacquisto Rothrock and
Tim Rothrock
Renee Roub and Michael Slass
Harry Schneider and
Gail Runnfeldt
Ann Schuh
Kris and Rob Shanafelt
Goldie and Don Silverman
Laurie Smiley
Helen Stusser and Ed Almquist
TheHappyMD.com
Dan Tierney and Sarah Harlett
Annette Toutonghi and
Bruce Oberg
Jim and Kathy Tune
Shirley and David Urdal
Leslie M. Vogl
Peggy Weisbly
Janet Westin and Michael McCaw
Sally and Tom Wilder
Jeanne and Jim Wintz
Elisabeth S. Yaroschuk and
Miles A. Yanick
$500–$999
In Memory of Carlo and
Helen Romeo
—
Anonymous (3)
—
Eric and Lynette Allais
Kathleen and Mike Ambielli
Christine Atkins
Bradley and Sally Bagshaw
Roberta Browne and Paul Vosper
Rita Calabro and James Kelly
Cathy and Michael Casteel
Hugh and Nicole Chang
Laurie Corrin
Manuela and Terry Crowley
William Cummings
Ronald G. Dechene and
Robert J. Hovden
Martin and Gillian Dey
Helen and David Dichek
John Ellis and Ann Wilkinson Ellis
Stan and Jane Fields
Karin Fosberg and Kevin Majeau
Nan and Bill Garrison
Rich and Kathy Gary
Christine and David Gedye
Genevra Gerhart
Michele and Gaston Godvin
Marjorie and Rick Goldfarb
Robert H. Green
Hallidie G. Haid
David and Chris Hansen
Madeline and Peri Hartman
Sandi and Shawn Heffernan
Ross and Kelsey Henry
Randy and Barbara Hieronymus
Bill Higham
Lynn Hubbard and David Zapolsky
Cynthia Huffman and Ray Heacox
Fritz and Nancy Huntsinger
Trudi Jackson
Brien and Catharine Jacobsen
Cynthia B. Jones and
Paul J. Lawrence
Karen Jones and Erik Rasmussen
Maryann Jordan and
Joseph McDonnell
Tessa Keating and
Stephen Rothrock
Kim Kemp
Andrew and Polly Kenefick
Jill Kirkpatrick and Marcus Wheeler
Agastya Kohli
Dean W. Koonts
Karl and Anne Korsmo
Kathleen Learned and
Gerald Anderson
Isabelle Lehodey
Roger Levesque
Charlotte Lin and Robert Porter
Mary Anne and Chuck Martin
Beth McCaw and Yahn Bernier
Ann McCurdy and Frank Lawler
Neil McDevitt
Marcie and John McHale
Brian and Launi Mead
Sue and Bob Mecklenburg
Michael and Jeanne Milligan
Charles G. Nordhoff
Colette Ogle
Douglas and Alida Oles
Cheryl and Tom Oliver
Nancy and Joseph Pearl
Mark Peterson
Kevin Phaup
Michael Pickett and Ann Watson
Gwen Pilo
Judy Poll
Ed and Cyndy Pollan
Gail and Larry Ransom
Judy and Kermit Rosen
Jain Rutherford
John Ryan and Jody Foster
Jayleen Ryberg and Paul Moritz
Michael and Jo Anne Sandler
Wolfram and Rita Schulte
Mika and Jennifer Sinanan
Catherine Smith and Carl Hu
Lisabeth Soldano
Kenneth and Debra Stangland
Mary Jo and Michael Stansbury
John and Sherry Stilin
Tom Sunderland and Emily Riesser
Sheila Taft
Margaret Taylor
Jen Taylor
Amy Thone and Hans Altwies
Ann and Gregory Thornton
Michael and Lois Trickey
Susan Wagner and Don DeSalvo
Judith Warshal and Wade Sowers
Stacey Watson and Duncan Moore
Jerry and Vreni Watt
Helen Wattley-Ames
Tania Westby and Owen Richards
Gregory White
Sally Wolf
Christina Wright and Luther Black
$250-$499
Anonymous (8)
—
Shawn and Lynne Aebi
Elena Allnutt
Michael and Carol Aoki-Kramer
Dana Armstrong
Paul and Francis Bailey
Sally Bartow
Arthur and Beverly Becher
Rena Behar
Nancy and Sam Bent
Deborah Black
Captain Paul Bloch and
Sherilyn Bloch
Janet Boguch and Kelby Fletcher
Ronald Bowen
John Bradshaw
Anne Brindle
Audra Brown
Jeff Brown and Anne Watanabe
Kitty Brown and Jeff Duchin
David C. Brunelle
Mary Rae Bruns and
David Middaugh
Julia Buck
Sylvia and Craig Chambers
Bob and Loretta Comfort
Richard Conlin and Sue Ann Allen
Catherine Conolly
Jeffrey Coopersmith and
Lisa Erlanger
Keith and Kerin Dahlgren
Virginia Daugherty
Cathy and Phil Davis
Stephanie and Walter Derke
Bassim and Kara Dowidar
Sue B. Drais
Lynn Dupaul
Ian and Maria Einman
Karen Elledge and Gerald Ginander
Joyce Erickson and
Kenneth Brown
Martha Evans
Michael and Deborah Fletcher
Cheryl Gagne
Eleanor and Arye Gittelman
Russell and Susan Goedde
Mary Gorjance
Nancy and Bob Grote
Jeff Harris and Judy Wasserheit
Leanne and Rick Hawkins
Marion Hogan
Carolyn J. Iblings
David Jamieson
Sydney Johnson-Gorrell
Ken and Karen Jones
Leslie and Martin Kaplan
C.R. Kaplan
Gabrielle Kaplan
Karol King and Doug Chapman
Barbara Knight
Katie Koch
Pam Kummert
Teri Lazzara
Simon Leake and Molly Pritchard
Tony W. Leininger and
Andrew M. Pergakis
Peggy Levin
Andrea Lewis
Scott Lien
Martha Lloyd and Jim Evans
Ellen and Jared MacLachlan
Colleen Martin and Shea Wilson
Elizabeth Mathewson
Elaine Mathies
Heidi Mathisen and Klaus Brauer
Barbara Mauer
Ellen Maxson
Joseph and Jill McKinstry
Patrick Mealey
Mary Metastasio
Laura and David Midgley
Megan Moholt
Charles and Kathleen Moore
CoeTug Morgan
William and Judy Morton
Heidi and Timothy Nelson
Charles Nelson
Scott and Pam Nolte
Hal Opperman and
JoLynn Edwards
Lisa and Keith Oratz
Robert Papsdorf and
Jonetta Taylor
Peggy and Greg Petrie
Larry and Gail Phillips
Kathleen and Elizabeth Pitts
Megan and Greg Pursell
Ingrid Rasch
Margo Reich
Steve and Linda Reichenbach
Nancy Reichley and Tim Higgins
Holly Reines
Shelly and Mike Reiss
Annie Rosen
Patricia and David Ross
Chuck and Tommie Sacrison
Karleen N. Sakumoto
Harold Sanford
Bruce Smith
John Spence and
Karlene Johnson
Bryanann Stavley
Robert Stokes and
Susan Schroeter-Stokes
Derek Storm and Cindy Gossett
Linda and Hugh Straley
Isabel Stusser
Randy Sullivan
Seda Terek
Mick and Penny Thackeray
Marie Thompson
Eric and Heather Tuininga
Nancy Uscher
Muriel Van Housen
Yvonne and Bruno Vogele
Jessica Wagoner
Ellen Walker
Judy and Mike Walter
Jim and Sharron Welch
Greg Wetzel
Leora Wheeler
Jerry and Karen White
Wayne Winder and
Amy Eisenfeld
Carol Wolfe Clay
Robert and Cathy Wright
Spring Zoog and
Richard T. Marks
$100–$249
In Memory of Haig Bosmajian
—
Anonymous (16)
—
Diane Aboulafia
Blaise Aguera y Arcas
Peter Aiau
Rebecca Albiani and
Mitchell Levy
Dina Alhadeff
Kathy Alm and Bill Goe
Georgia Angus
Bridget Ardissono
Robert Atkins
Thomas Auflick
Scott Bailey
Harriet and Jon Bakken
Monique Barbeau and
Rodney Snyder
Sybil Barney
Janet Bartlett
Shari Basom
Shawn Baz
Tom and Cari Beck
Susan and Glen Beebe
Sheryl Beirne
Ann Beller
Sandra and Jonathan Bensky
Irv and Luann Bertram
Steven Billeau
Rebecca Bloom
Diane Bode
Rev. M. Christopher Boyer
Philip Brazil
Sonja Brisson and
Mick Van Fossen
Jim Bromley and Joan Hsiao
Mary and Tom Brucker
Scott and Cindy Buchanan
The Bullfrog
Kurt and Miriam Bulmer
Blake Bundesmann
Jean Burch Falls
Margaret Bustion
Brian and Rebecca Butler
J.L. Byrne and C.M. Hersh
Carrie Campbell
Jena Cane
Jeffrey Cantrell
Lisa and Joel Carlson
Lisa Carpenter
Melissa Chase
David and Marilyn Chelimer
Catherine Clemens and
Daniel Speth
Lori Coates
Lynne Cohee and Matt Smith
Nancy and Monty Correll
Megan Coughlin
Christina and Fernando Cuenca
Dorothy Culjat and Carl Chard
Grace and Robert Cumbow
Vince and Darcie Curley
Jason Dardis
Lisa Dart-Nakon
G. David Kerlick
Rick and Heidi Davis
Jeff Davis
Reiner and Mary Decher
William Diefenbach
Debbie Dimmer
Kimrick and John Dolson
Marcia and Daniel Donovan
Mike Doubleday
Laura and William Downing
Karen Dunn and Ken Mapp
Keith and Karen Eisenbrey
Mary Ellen Olander
John Erlick
Juli Farris
Debbie and Douglas Faulkner
Eric and Polly Feigl
Gilbert Findlay
Patricia A. Flynn
Gerald Folland
Davis Fox
David Francis
David Friedt and
Marilyn Brockman
Amanda Froh
Susan and Albert Fuchs
Wendy Gage
Gameshowdynamos.com
Rosalie Gann and Steven Breyer
Kathryn Gardow
Mark and Diane Gary
Fredric and Ze Gerber
Georgine Goldberg
Philip B. Gough, PhD
Mark Gunning and
Helen Lafferty
Linda Haas
Karen Halpern
Amber Hanaway
Margaret and Tom Hartley
Adam Hasson
Barbara and
Douglas Herrington
Paul Herstein
Elisabeth Hill
Leonard Hill and Cathy Stevulak
Shirley and Melvin Hogsett
Corey Holmes and
Jim Anderson
William Hopkins
Lewis and Lisa Horowitz
Maureen Hughes
Kathleen and Roger Huston
Melissa Huther and Gordon Hof
Bob Ingram
Barb and Mike Ingram
Allison Jacobs
Kristin Jamerson
Lisa Jaret
Margaret and Stephen Jenkins
Warren Jessop
Avis Jobrack
Bill Johns and Stephanie Kallos
Lauren Johnson
Dan Johnson and Jill Chelimer
Brenda Joyner
Carl Kadie
Steve and Suzanne Kalish
Paris Kallas and Arthur Faherty
Paul Kassen
Bill Katica
Renee S. Katz
Sharon Kean
Ian F. Keith
J.C. Kelly and G.P. Scully
Darragh Kennan
Evan and Tremaine Kentop
Gary Kirk and Norma Fuentes
Monique Kleinhans and
Bob Blazek
Ross Kling
Donna S. Klopfer
Jorji Knickrehm and Jason Rich
Tim and Leslie Knowles
Brian and Peggy Kreger
Larry Kucera
Kychakoff Family
Ellen Lackermann and
Neal Stephenson
Richard Lamoreaux
Susan Lansverk
Hana Lass and Connor Toms
Laura and James Laudolff
Meredith Lehr and
William Severson
Alan and Sharon Levy
Dale Lindsley and Carol Stanley
Arni Litt
Sue Livingstone and
Donald Padelford
Kirby and Marlene Luther
Sabrina MacIntyre and
Thomas Delfeld
Alice Mailloux
Nick and Marina Malik
Steve and Trina Marsh
Edward and Juli Martinez
Karri Matau and Shelton Lyter
David Mattson
Donna McCampbell
Cathy and Michael McCarty
Deirdre and Jay McCrary
Ann McCutchan
Joe McDermott and
Michael Culpepper
Nancy and Jim McGill
Mary Metz
Tami and Joe Micheletti
Michael and Yoriko Mikesell
Bruce and Elizabeth Miller
Jocelyn and Michael Miller
William Miller
Scott Miller
Vanessa Miller and
Eric McConaghy
Montsaroff Family
Phoebe Ann and
Malcolm A. Moore
Teresa Moore
Diane M. Morrison and
Joel C. Bradbury
Bryan and Patricia Morrison
Jill and Ed Mount
George Mount and
Amy Allsopp
Martha Mukhalian and
Ronald S. Eckerlin
Allen and Amy Murray
Peter and Amy Beth Nolte
Peter Norby
Christopher and B.J. Ohlweiler
Joni Ostergaard and
William Patton
Glen and Heather Owen
Norm Paasch
John and Margaret Pageler
Bill and Monica Parent
Lenore Pearlman
Meredith Perlman
Sarah Perry
Jane Pesznecker
Molly Peterson
Peterson, Cline, and
Husted Families
Mary Peterson and
Agnes Govern
Judy Pigott
Robert Pillitteri
Lauren and John Pollard
Bettina Pool
Charles Quentin Powers and
Carrie Powers
John Purdon
Doug and Kathie Raff
Arlene Ragozin
Randall Family
Eric Raub
Colby Ray
Toni Read
Brian and Roberta Reed
Julie Renick
Joe and Rain Reynolds
Steven and Fredrica Rice
Eric and Karen Richter
Ted and Teresa Rihn
Roberta Roberts
Lynn and Bob Rodgers
Charles Royce
Stephen and Elizabeth Rummage
Aris Running
Paula and John Russel
Robert Rust
Dolores and Tom Ryan
Harvey Sadis and Harriett Cody
Sam and Ruth Ann Saunders
Marguerite Schellentrager
Robert Schlosser
Tina Scoccolo and Kevin Steiner
Mike Scully
Carole Sharpe and
Lou Piotrowski
John Sheets
Frances Sherwood
Polly Shinner
Jeanette Smallwood
Bernice Smith
Fred Smith and Sandra Berger
Randy Smith and
Sharon Metcalf
Rebecca Staffel
Lynn Stansbury
Jennifer Stepler and
John Gannon
Diane and Larry Stokke
Margaret and
Christopher Summitt
Shelly Sundberg
Constance Swank
Rebecca Talbot-Bluechel and
Gordon Bluechel
Anne Taussig
Edward and Jeri Tharp
Annie Thenell and Doug Moll
Robert and Marion Thomas
Marie Annette Tobin
Maria Tomchick
Eugene Usui
Loma Vander Houwen
Sharon and Michael Vanderslice
Miceal F. Vaughan
Moya Vazquez
Nikki Visel
Hattie and Arthur Vogel
Colette Vogele
Padmaja Vrudhula
Julie Wade and Tom Phillips
Tracy Waggoner and Tom Graff
Victoria Ward
Patricia A. Ward
Clay Warner
James Weber and Mary Mitchell
John and Margaret Wecker
Joella Werlin
Maxine Wheat
Margo and Jon Whisler
Cynthia Whitaker
William White
Evan Whitfield
Alexandra Wilber and
Andrew Himes
Ann Williams
Rob Williamson and
Kim Williams
Lin and Judith Wilson
Michael Winters
Dan and Judy Witmer
Becky and Rob Witmer
Morton and Martha Wood
Ruth Woods
Sara Yingling and
Jason Johnson
Judith Y. Young
This list recognizes donors
with combined donations of
$100 or more made between
May 20, 2014 and November
20, 2015. Thank you! If
you wish to change your
acknowledgement listing,
please contact Kaeline Kine,
Development Associate and
Events Manager, at (206)
733-8228 x270 or kaelinek@
seattleshakespeare.org.
BILL’S BASH IN-KIND DONORS
In-Kind Donations made to Seattle Shakespeare’s Annual Gala,
Bill’s Bash, in 2015
2bar Spirits
The 5th Avenue Theatre
The 14/48 Projects
ACT Theatre
David Allais
Eric Allais
Sarah and Bob Alsdorf
Alvin Goldfarb Jewelers
Annex Theatre
ArtsWest Playhouse and Gallery
Bakery Nouveau
Banya 5 Spa
Stella and Steve Bass
Terry Barenz Bayless
Lynly Beard
Ben Franklin Crafts & Frames
Redmond
Beneath the Streets
Black Bottle GastroTavern
Tom Blank and
Jeannie Buckley Blank
Marisa Bocci
Book-It Repertory Theatre
John Bradshaw
Christine Marie Brown
Burke Museum
Casa Casuale
Jorge Chacon
Charles Smith K Vintners
Classical KING FM 98.1
Coastal Kitchen
Columbia Winery
Cornish College of the Arts
Laurie Corrin
Cynthia Cunningham
Nicole Dacquisto Rothrock and
Tim Rothrock
Keith Dahlgren
Reiner and Mary Decher
Gillian Dey
Dick’s Drive-In’s Ltd., L.P.
Dimitriou’s Jazz Alley Restaurant
and Nightclub
Mike Dooly
DW Distilling
Edmonds Center For The Arts
Emerald City Trapeze Arts
Emerald Downs
Experience Music Project
Barbara and Tim Fielden
Jane and Stan Fields
Flowers on 15th
Jocelyne Fowler
David Fuqua
Jim Gall
Ray Gonzalez
Lynne Graybeal and
Scott Harron
GreenStage
Mary Ann Gwinn
Meg and David Haggerty
Jerry and Michelle Hahn
Hands On Location Massage
Anastasia Higham
John and Ellen Hill
Kathy Hogan
Hoodsport Winery
Inn at the Market
The Innkeeper of
Don Quixote Restaurant
Intiman Theatre
Chuck and Kristin Jazdzewski
Jet City Improv
JM Cellars
Bill Johns
Ted and Edwin Jones
Jones Soda
K Vitners Walla Walla
Stephanie Kallos
Landmark Theatres
Annie Laureau
Hana Lass
Law Offices of Harnisch, Green
Leavenworth Winery Tours
Lecosho Restaurant
LeMay America’s Car Museum
Roger Levesque
Lil’ Kickers
Lombardi’s Restaurant & Wine Bar
Macklemore & Ryan Lewis /
Macklemore LLC
Mangetout Catering
Brent Martin
Mary Anne and Chuck Martin
Mayflower Park Hotel
Beth McCaw and Yahn Bernier
McCaw Hall at Seattle Center
Sarah Merner and
Craig McKibben
Mia’s Cafe
Vanessa Miller
Nancy Miller-Juhos and
Fred Juhos
Richard Monroe
Todd Jefferson Moore and
Joby Moore
George Mount
Meg and David Mourning
Mulleady’s Irish Pub and
Restaurant
Conner Neddersen
Robert Nellams
New Century Theatre Company
Northstar Winery Walla Walla
Northwest Film Forum
Northwest Folklife
Olympia Coffee Roasting
Company
On Safari Foods, Inc.
On the Boards
Caitlin Oram
Otters Pond B&B
Pacific Northwest Ballet
Pete’s Wine Shop
Sue and Steven Petitpas
Pioneer Square Courtyard
by Marriott
Point Defiance Zoological Society
Portland Center Stage
PRIME Steakhouse
The Pritchard Family
Pro Sports Club
Puzzle Break Seattle
David Quicksall
The Red Balloon Company
Redmond Floral
Redmond Inn
Reininger Winery
Anne Repass
Restaurants Unlimited
Thea Roe
Rom Mai Thai Restaurant
Salumi Artisan Cured Meats
SANCA
Chuck Schafer and
Marianna Clark
Sea Glass Fine Art Photography
and Handcrafted Portraits
Seattle Aquarium Society
Seattle Children’s Theatre
Seattle Gilbert and
Sullivan Society
Seattle International Film Festival
Seattle Men’s Chorus
Seattle Musical Theatre
Seattle Public Theater
Seattle Repertory Jazz Orchestra
Seattle Repertory Theatre
Seattle Theatre Group
Shakespeare Walla Walla
Matt Shimkus
Sirena Gelato
Suzanne Skinner and Jeff Brown
Sky River Meadery and
Tasting Room
Sleeping Lady Mountain Resort
Laurie Smiley
Ryan Smith
Sorrento Hotel
Spectrum Dance Theatre
St. Cloud’s Foods and Spirits
Garth Stein
Austin Stern
K. C. McNeil
Sheryl Symonds and
Steve Kissinger
Sheila Taft
Nancy Talley and
Arlene Mickelson
Taproot Theatre
Sean Patrick Taylor
Teatro ZinZanni
Ten Mercer
Terra Bella
Theater Schmeater
Theatre22
Annie Thenell and Doug Moll
Amy Thone and Hans Altweis
Tom Douglas Restaurants
Connor Toms
Town Hall Seattle
Tutta Bella Neapolitan Pizzeria
Tuxedos and Tennis Shoes
Catering and Events
John Ulman
Village Theatre
Yvonne and Bruno Vogele
Washington Ensemble Theatre
James Weber and Mary Mitchell
Jay Weinland and
Heather Hawkins Weinland
Westland Distillery
Wing Luke Museum of the Asian
Pacific American Experience
Jeanne and Jim Wintz
Robertson Witmer
Craig Wollam
The Woodhouse Wine Estates
R. Hamilton Wright
Darrell Sanders
STAFF
Leadership
John Bradshaw, Managing Director
George Mount, Artistic Director
Artistic
Amy Thone, Casting Director
Hannah Mootz, Casting Associate
Sheila Daniels, Associate Artist
John Langs, Associate Artist
Box Office
STAY CONNECTED
[email protected]
Seattle Shakespeare
Company
@seattleshakes
Lorri McGinnis, Box Office Manager
Courtney Bennett, Box Office Associate
Jordan Lusink, Box Office Associate
Hannah Mootz, Box Office Associate
Thea Roe, Box Office Associate
Lucinda Stroud, Box Office Associate
Clay Thompson, Box Office Associate
Communications
Jeff Fickes, Communications Director
Thea Roe, Graphic Designer
Development
Kaeline Kine, Events Manager and
Development Associate
Annie Lareau, Institutional Funding Manager
Kyle Thompson, Development Assistant
Education
seattleshakespeare
Michelle Burce, Education Director
Casey Brown, Education Associate
Front of House
Seattle Shakespeare
Company
Dana Masters, House Manager
Courtney Bennett, Assistant House Manager
Operations
seattleshakespeare
Victoria Watt Warshaw, Bookkeeper / Office
Manager
Jeffrey Azevedo, IT Specialist
Production
CONTACT US
Ticket office: (206) 733-8222
Administrative offices: (206) 733-8228
Fax: (206) 733-8202
Seattle Shakespeare
PO Box 19595
Seattle, WA 98109
Louise Butler, Production Manager
Jocelyne Fowler, Costume Shop Manager
Marleigh Driscoll, Properties Shop Manager
Courtney Bennett, Production Management
Intern
BOARD OF DIRECTORS
Board Officers
Sarah Alsdorf, President
Susan Petitpas, Vice President / President Elect
Marisa Bocci, Vice President
David C. Allais, Treasurer
Phillip S. Miller, Secretary
Emily H. Evans, Immediate Past President
Board Members
Steve Bass
Jeannie Buckley Blank
Lynne Graybeal
Roberta Greenwood
David Haggerty
Chris Hansen
Brad Haverstein
Steve Kelley
Nancy Miller Juhos
Patrick O’Kelley
Rosemarie Oliver
Michele Peltonen
Renee Roub
Chuck Schafer
Suzanne Skinner
Laura Stusser-McNeil
Tom Sunderland
Jay Weinland
Jeanne C. Wintz, Ph.D.
Jolene Zimmerman
Advisory Board
Kenneth Alhadeff
John Bodoia
Paula Butzi
Mary E. Dickinson, CPA
Dan Drais
Donald Frothingham
Slade Gorton
Maria Mackey Gunn
Ellen Hill
John Hill
Stellman Keehnel
Sarah Merner
Jane Mills
Meg Pageler Mourning
Laurie Smiley
James F. Tune
Doug Walker
Pat Walker
Steven Wells
Ticket Office Hours
Tuesday–Friday: 1–6 pm
FACILITIES PARTNERS
ENCORE ARTS NEWS
from city arts magazine
Anything
Handsome
Rafael Soldi
inherited a timeless
sophistication.
BY AMANDA MANITACH
WHO Rafael Soldi, the 28-year-old photographer and curator, originally from Lima, Peru.
Soldi moved to Seattle five years ago after
coming to the U.S. to study photography and
curation at the Maryland Institute College of Art.
Together with a trio of collaborators, he recently
co-launched the Strange Fire Collective, which
showcases work by women, people of color,
and queer and trans artists through a series
of publications and exhibitions. Soldi’s own
photography charts loss and discovery with
poignant, spare iconography.
THE LOOK “I aspire to be a minimalist, but I
just can’t. I love beautiful things too much, so
my style meets somewhere in the middle. My
home and my wardrobe are greyscale, neutrals
and blue. I love classics: chambray, walnut,
brass, denim, marble, natural wool, navy velvet.
If something can be described as handsome,
I’ll probably like it. My everyday outfit is a variation on jeans, oxford shirt or T-shirt and desert
boots. In the colder months, a denim jacket. I
always wear my grey Tretorn ankle rain boots
when it rains. I love white jeans and wear them
year-round.”
ICONS “Paul Newman or James Dean in a crisp,
white T-shirt. My grandmother was an Italian
archeologist in Peru and she traveled the world.
Her style was very understated but impossibly
chic—lots of linen, vintage Marimekko dresses
and scarves. I don’t think she even knew how
chic she was.”
LAUREN MAX
UP NEXT Along with developing his latest
body of work, Life Stand Still Here, Soldi is
conducting ongoing interviews released every
Thursday on the Strange Fire Collective site and
planning multiple upcoming exhibitions around
the country.
ENCORE ARTS NEWS
Here’s the Beef
Unpacking Seattle’s steakhouse boom
BY JONATHAN ZWICKEL
SUDDENLY SEATTLE IS BOOMING with
beef. This year, three steakhouses opened
in the city, with a fourth coming soon. Girin
came first, cool and glass-walled, occupying
almost an entire quarter block on the ground
floor of a new apartment tower in Pioneer
Square. Loft-like Seven Beef and elegant
Bateau opened next, on First Hill and Capitol
Hill in October. In February Flint Creek
Cattle Co. will open in Greenwood.
It used to be that options for the
traditional steakhouse experience were
limited to carpet-floored national chains
like Ruth’s Chris and Morton’s, and local
strongholds of conspicuous consumption—
El Gaucho, Metropolitan Grill and Daniel’s
Broiler. They’re still here, representing a
swanky formality that’s either classic or
passé, depending on your point of view.
Two years ago, a wave of artisanal seafood
restaurants minted several new icons;
focused on local products, places like the
Walrus and the Carpenter and Westward
are showrooms of local ecology as much
as they are places to eat. Now Seattle’s
restaurateurs are now looking to Northwest
purveyors to provide locally sourced beef
inside sleek, modern spaces. In the same way
Seattle chefs deepened our understanding of
aquaculture, they’re hoping to progress our
consumption of red meat.
10 ENCORE STAGES
Seafood, especially the type native to
coastal Washington, is generally considered
an ecologically sound source of protein. But
beef is mostly a resource-heavy ecological
nightmare, with its ravenous, waste-spewing
heifers crammed into sprawling lots and its
less-than-ethical processing.
So how do we reconcile eating beef in
2015? Ask the minds behind the steakhouse
boom and they’ll tell you it’s a matter of
mindfulness.
Both Bateau’s Renee Erickson and Seven
Beef’s Eric Banh are choosing grass-fed,
grass-finished cows for their source of beef.
These au naturale bovines grow to fullsize in two years—twice as long as regular
“commodity cows,” which are typically fed
a corn-based diet to which they’re partly
allergic, necessitating heavy antibiotics.
Grass-fed cows are said to be healthier and
“happier.” They’re also more ethical to eat
and, objectively speaking, more delicious.
Erickson is right now raising young French
heritage breeds on a Whidbey Island farm
where she has an ownership stake. Banh
sources quarter-carcasses from Heritage
Meats, a family-run butcher 20 miles east of
Olympia. Both say their connection to their
cows is the prime inspiration for their newest
endeavors. (Erickson also owns the Whale
Wins and the Walrus and the Carpenter;
In the same way
Seattle chefs
deepened our
understanding of
aquaculture, they’re
hoping to progress
our consumption of
red meat.
be served beef salad made with eye round;
la lot, ground beef wrapped in a special leaf
and grilled; four types of Vietnamese beef
sausage, grilled or steamed; and beef congee.
Banh insists that Seven Beef isn’t a
Vietnamese steakhouse, however—it’s a
Northwest steakhouse run by VietnameseCanadian siblings (he and his sister Sophie).
The menu boasts standard cuts as well
as unusual specials like zabuton, which
is a hind-quarter cut famous in Japan.
Everything is cooked over a wood fire—which
burns through $40 of firewood a night and
required an expensive ventilation system for
eliminating smoke. If Banh goes through all of
his prime rib for the week by Friday, it comes
off the menu until the next shipment arrives.
“I wouldn’t have the nerve to open this
restaurant 20 years ago,” Banh says. “People
weren’t ready for it.”
Like Erickson’s other establishments,
Bateau leans toward traditional French but
is also deeply rooted in Northwest-grown
GEOFFREY SMITH
Butchering with a
band saw inside
Seven Beef
Banh, Monsoon and Ba Bar.) For the first time
in their decades-long careers, they have the
time, money and space to control every step
of the process, from birth to butchering to
cooking to plating.
“This is the opportunity to be able to be
proud of the beef that we get,” Banh says.
“I’m sure a vegetarian would roll their eyes
and say, ‘Then don’t eat meat!’ but it’s not one
way or the other. It’s how you integrate and be
respectful of the whole environment, whether
human beings, earth or trees. It truly is a
lifestyle.”
Banh expects to go through two cows a week
at Seven Beef. He says only 35 percent of an
800-lb. cow becomes prime cuts like New York,
ribeye and tenderloin. That leaves hundreds of
pounds of lesser parts and trimmings, most of
which ends up as ground beef; what to do with
all that ground beef has long been a problem for
restaurateurs who want to go whole-cow.
When Banh realized that up to five of the
seven courses of a traditional Vietnamese
beef dinner are various types of ground
beef, his latest concept was born. Order the
seven-course dinner at Seven Beef and you’ll
Only at
Mirabella Seattle
A top-down view of Bateau
ingredients. In its impeccable service and
extensive wine list, it’s as close to fine dining
as exists on Capitol Hill. The place is urbane
and spare, white-on-wine walls offset by
an interior window that gives a view inside
the cold-storage case, wherein hulking cow
quarters, butchered and raw, hang from
steel hooks. Somewhere in there is a band
saw used for butchering. With her space
smaller and more intimate than Seven Beef’s,
Erickson expects to go through a single cow
a week.
“To know the environment they’re living in
and that they’re cared for and healthy and to
be able to sell that to your customers is pretty
special,” she says.
The experience of eating steak should
be, in the most fraught and privileged way,
complex. And so it was during dinner at
Bateau on a recent Thursday night.
Bateau’s menu is refined to maybe a dozen
total options; steaks are priced according
to size and degree of dry aging, and not
everything was available during my visit. I
ordered the 16-oz., dry-aged ribeye and my
friend chose the 8 oz. New York strip.
Both were pan-seared and oven-finished
and as vegetal with earthen flavors as a slice
of muscle can be. Mine was exceedingly
tender and, after only a few cuts, wading in
its own ruddy juices. A leaner cut, the strip
didn’t drip—it was almost confectionary
its density, with a dollop of marrow butter
elevating the overall richness.
In both cases, the taste was decadent, with
hints of guilty pleasure and self-justification.
It was the taste of gentrification and it has
haunted me since. n
Living here means being surrounded by the best the
city has to offer. With easy access to such cultural
venues as the Seattle Art Museum, Benaroya Hall, and
Seattle Center, you’ll experience vibrant urban living
at its finest.
Call today for a tour and find out how
you can retire in the middle of it all.
(206) 254-1441
retirement.org/mirabellaseattle
116 Fairview Avenue North
Seattle, WA 98109
GIRIN
501 Stadium Pl S
SEVEN BEEF
1305 E Jefferson St.
BATEAU
Mirabella Seattle is a Pacific Retirement Services Community. Equal Housing Opportunity.
1414 10th Ave.
ENCORE ARTS NEWS
Living Memory
–Artist Nicole Kistler, who created Illuminated Ghosts with assistance from projection technician David Verkade and Timothy
Firth, animation. The project can be viewed from roughly 5:30 –11
p.m. nightly until the end of February; new forest life will join the
animation over time.
12 ENCORE STAGES
BRUCE CLAYTON TOM
“We forget that there were once 300-foot old-growth trees
in the Duwamish Valley and all over this region—that’s twice
the height of the West Seattle Bridge. Illuminated Ghosts
reminds us of what once was and could be again someday.
This image is an old growth Douglas Fir projected at scale
on the 120-foot concrete silos at Lafarge, so you only see
the middle portion of the tree.”
ENCORE ARTS NEWS
Feast Arts Center Opens in Tacoma
The first gallery Todd Jannausch opened in
2010 took up 40 square feet. Slightly larger than
an elementary school chalkboard, Gallery 40
consisted of a single mobile wall on wheels,
augmented by an awning and portable lights.
He lugged it to art walks and set up outside cafes
and venues, challenging the idea of what makes
a legitimate art gallery in a world that fetishizes
the white cube. During its time, Gallery 40 exhibited work by 35 local artists.
Since then, Jannausch—an accomplished
sculptor in his own right—has organized multiple
unorthodox shows that placed hundreds of mini
art-filled vitrines around the streets of Portland,
Oakland and Seattle. He repurposed a phone
booth into a gallery containing work by more
than 200 artists. Departing from the scrappy
and small-scale, his latest venture is Feast Arts
Center, a 3,500 square foot art venue in Tacoma.
Jannausch and his wife, artist Chandler
Woodfin, had been scheming about a community-driven art center for years. Both had relevant
experience to apply—she teaching drawing and
painting for the past five years at Pratt Fine Arts
Center, Gage Academy of Art and Kirkland Arts
Center; he working as a program manager and
art instructor at Pratt Fine Arts Center for as long.
But they didn’t know where to manifest their
dream.
“We talked about moving to Detroit or
Oakland,” Jannausch says. As artists with a twoyear-old son, pricey Seattle wasn’t a practical
option. “Then we started spending lots of time in
Tacoma. We fell in love with it. It’s the right size
and has everything—museums, independent restaurants, colleges—but it’s a place where working
people can still put something together.”
They quit their jobs. Woodfin sold her car.
They slowly liquidated their possessions, living
slim to save cash. Still, realizing an arts center
proved financially daunting. Then in June,
Jannausch was awarded a small windfall in the
Artist Trust Fellowship, a $7,500 prize issued to
practicing professional artists—just enough cash
to acquire a space.
The couple found their spot quickly: An
abandoned building in the Hilltop neighborhood
that was formerly a car wash, and an automotive
garage before that. Immediately they launched
an Indiegogo campaign, which raised nearly
$22,000 by August. In September they signed a
three-year lease.
Since then, Jannausch and Woodfin have
turned the bays of the old garage into a large
classroom with a family-style worktable, wooden
benches and stacks of flat files. They transformed
an adjoining room into an art gallery. A small
kitchen will host future potlucks and community
meals. Outside, a large fenced-in parking lot is
being finished for summer movie screenings.
When the build-out is complete, the center will
offer roughly nine multi-week classes and eight
weekend workshops at a time.
“We’re especially interested in a low-cost
after-school program that’ll ramp up in the
summer months,” says Jannausch. “We’re trying
to provide price points for everyone, so we’re offering a range of options—like condensed classes
and one-day drop-ins where we supply meals
and art supplies for the day, and anyone can
participate.”
Feast will be fully up and running soon, but
it’s offering a small sampler of classes now:
Among others, a beginning drawing class and
expressive figure drawing course taught by
Woodfin, a one-day coil basket weaving workshop taught by Gerald Bigelow and a dynamic
creative empowerment class taught by Carrie
Akre, a rock vocalist with 25 years of music
industry experience under her belt. Class costs
currently range from $95 to $277.
The first gallery exhibit will open in January,
with work by glass artist Rebecca Chernow. Feast
isn’t taking a commission from work sold by
exhibiting artists. Rather, the gallery is intended
as an extension of its educational program.
“In terms of building community, we could
be doing that anywhere,” Jannausch says. “For
us it’s about trying to bring it wherever we are.
There’s not many layers or steps between what
we do and who we are, between life and art. It
meshes together. We want to bring community
wherever we are.” AMANDA MANITACH
STRAWBERRY
THEATRE WORKSHOP
The birds
A P LAY BY C O NO R MC P H ER SO N
BROWNPAPERTICKETS.COM
JA N 21–
FEB 20
GET WITH IT
Visit EncoreArtsSeattle for
an inside look at Seattle’s
performing arts.
EncoreArtsSeattle.com
PROGRAM
LIBRARY
BEHIND
THE SCENES
ARTIST
SPOTLIGHT
WIN IT
PREVIEWS
ENCORE ARTS NEWS
“It would be a good thing for artists to not
feel like their situation is always temporary,
like they’re perpetual nomads,” says Jane
Richlovsky. In mid-December, she and a small
group of partners signed papers to close the sale
on the historic Scheuerman Building at 1st and
Cherry in the heart of Pioneer Square.
Richlovsky began leasing the second floor
of the building in 2011, when she and 120 other
artists were evicted from their studios at 619
Western Avenue. Like so many properties,
619—an abandoned warehouse filled with
artist studios for 30 years—had been slated for
demolition, leaving a substantial community
without a place to work. As soon as she caught
wind of the ensuing evacuation, she started
hunting for a new space.
She came across the vacancy on the second
floor at 1st and Cherry in a building that has
housed many memorable businesses, most
recently Café Bengodi and Metsker Maps. A
fringe theatre occupied the basement in the ’80s,
a jazz club in the ’40s. The building’s earliest
tenants were seedier, Richlovsky says, hinting
at a brothel.
Richlovsky struck a deal with the owners:
lower rent in exchange for construction
improvements to the space. She and 10 of her
studio mates from 619 pooled their city-provided
relocation benefits to fund the remodel. Since
then, 13 studios—collectively known as ’57
Biscayne—have been fully restored, including
their hardwood floors, 14-foot ceilings and
original, exposed brick walls.
Richlovsky was wary of ’57 Biscayne going
the way of 619 Western, so for years she haunted
every neighborhood meeting and committee
she could. That’s where she met Greg Smith of
Urban Visions Real Estate and Ali Ghambari
of Cherry Street Coffee, who were sympathetic
about keeping artists in the area and eager to
help facilitate Richlovsky’s dream of an artist
space without an expiration date. The alliance
is paying off. Together, Smith, Ghambari,
Richlovsky and ACT Theatre technical director
Steve Coulter formed Good Arts LLC, and on Dec.
15 they took over the building at 1st and Cherry.
Richlovsky and partners are in talks with
a commercial gallery to occupy the streetlevel storefront. They also plan to restore the
basement to a performance space, and Ghambari
will open Cherry Street Public House in the
former Café Bengodi, which will stay open in the
evenings and serve wine and beer.
“We’re trying to look at the big picture,”
Richlovsky says. “If businesses are benefitting
so much from the arts in their neighborhood,
how can we make that mutually beneficial? For
too long the bigger conversation has been stuck
on ‘Oh these poor artists, look how they’ve been
priced out’ and artists see themselves as victims.
But if we get out of our comfort zone—artists,
businesses, property owners—we can learn a lot
from each other and make things happen that
have never happened before.” AMANDA MANITACH
© Philip Newton
An Historic Pioneer Square Building
Becomes an Arts Hub
POWERFUL HISTORICAL DRAMA
Witness a high-stakes showdown between
Queen Elizabeth I and Mary Queen of
Scots. The riveting battle of wills comes
to Seattle Opera for the very first time
with a “first-rate production” (Opera News)
featuring extravagant period costumes
and stately scenic design.
With English Subtitles.
Evenings 7:30 p.m.
Sunday 2:00 p.m.
Featuring the Seattle Opera
Chorus and members of Seattle
Symphony Orchestra.
PRODUCTION SPONSORS: TAGNEY JONES FAMILY FUND AT SEATTLE FOUNDATION; LENORE M. HANAUER
HAMMERANDHAND.COM
PORTLAND 503.232.2447 CCB#105118
SEATTLE 206.397.0558
WACL#HAMMEH1930M7
Karuna House, designed by Holst Architecture
and built by Hammer & Hand
2013 AIA Portland Design Award, 2014 National Institute of Building
Sciences Beyond Green Award

Seattle Theatre Group_Encore Arts Seattle

Transcription

Similar documents

STEVEN SATER Music by DUNCAN SHEIK

Culture

waterfront research center

Why Shakespeare

JIM PAGE …

1167096_1182921-centerstage jacket.indd

Touch

KTBW March Manager`s Monthly Report

Zootopia-City Lights