Einerman, Julie Massey, Michael Mellini, Tanya

OnStage – Feathers and Teeth

Feathers and Teeth features

Page 3 - A Conversation with Feathers and

Teeth Playwright Charise Castro Smith

Page 11 - Stage Screams: The Horror Genre in Theater

Page 14 - A Costume Designer’s Perspective

Page 15 - Listen Up: Making Noise with

Feathers and Teeth Foley Artist Carolyn

Hoerdemann

Page 17 - Paving the Way for Latino/a Work:

Feathers and Teeth Director Henry Godinez

Champions New Voices at the Goodman

1

The Production

Page 20 - Why Feathers and Teeth? A Letter from Artistic Director Robert Falls

Page 22 - Artist Profiles

The Theater

Page 47 - A Brief History of Goodman Theatre

Page 50 - Ticket Information, Parking,

Restaurants and More

Page 55 - Staff

Leadership and Support

Page 66 - Civic Committee

Page 70 - Leadership

Page 90 - Support

At the Goodman

Page 149 - New Voices and New Stories: the

Annual New Stages Festival

Page 159 - Events

Page 164 - Exploring Identity with Students and Youth Artists at the Goodman

Page 167 - What’s Next

2

SEPTEMBER – OCTOBER 2015

GOODMAN THEATRE

Co-Editors-: Neena Arndt, Lori Kleinerman,

Michael Mellini, Tanya Palmer

Graphic Designer: Cori Lewis

Production Manager: Michael Mellini

Contributing Writers/Editors: Neena Arndt,

Jonathan L. Green, Lori Kl einerman,

Julie Massey, Michael Mellini, Tanya Palmer, Teresa Rende, Steve Scott,

Willa J. Taylor.

Cover photo by Paul Elledge

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A Conversation with Feathers and Teeth

Playwright Charise Castro Smith

By Neena Arndt

Charise Castro Smith, who penned the genreblending play Feathers and Teeth, sat down

3

4 with the Goodman’s Associate Dramaturg

Neena Arndt to discuss her inspirations for the play and why she likes to mix comedy with horror.

Neena Arndt: What was the catalyst for

Feathers and Teeth?

Charise Castro Smith: I trained as an actor and only started seriously writing about five years ago. As an actor I was always cast as girlfriends or in sidekick roles. The juicy, cool roles I wanted to play were usually dudes. I would love to play Richard III, but chances are they’re going to cast a dude. I started thinking about this with my last play, The Hunchback of

Seville, in which the lead character is a hunchback lady. So for this play I thought,

“What about female psychopaths? Where are they on stage?” I wanted to create an awesome, crazy role for a woman to play. I started with the character of Chris and originally thought the play was going to be about this young girl who was a psychopath. I read The Psychopath Test: A Journey Through

the Madness Industry by Jon Ronson, which I really loved. The book explores whether this condition of non-empathy is a nature or nurture issue. But then my thought process moved away from that and I started watching

‘70s horror films and became really interested

5 in how horror can actually be a way to understand the obsessions or fears of a culture. It also provides access to some really primal issues—this play is a horror play, yes, but it’s also about a grieving family. As I was finishing the play and developing it in subsequent workshops, I became very interested in the idea of revenge plays.

NA: How would you describe the genre of the play?

CCS: My friend put it in a way that I really love—she called it a “thrilledy.” She said, “It’s a thriller comedy.” And I was like, “Oh yeah?

Okay, yeah, I’ll take that.” I love the juxtaposition of a genre with comedy. The play

I mentioned earlier, The Hunchback of Seville, is historical, but it’s funny. A play I’m currently working on is science fiction, but it’s also funny.

NA: Feathers and Teeth has a lot of elements of horror but also involves a family that recently lost its matriarch.

What are you looking to explore about grief and loss, or about what it means to lose a parent?

CCS: I’m extremely fortunate that both my parents are living. My grandma died seven years ago and I was very close with her. With

6 grief, I think first you try to deny it and then you are angry. Then there are the stages of grief, right? Seven years later I’ve accepted it in a way, but I don’t know if there’s ever a way to really forget about it or fully let it go. You just kind of negotiate it. In the play, Chris, the daughter, deals with loss in a really specific way by seeking revenge and acting out; she’s really angry. Arthur, her father, handles it in a different way. He’s totally in denial and shuts the door to the past. Both of those methods of coping really come back to bite them—literally.

I think there’s this primal thing that we can manage in different ways, but ultimately we can’t really control it.

NA: This play was developed over the past several years as part of the Goodman’s

New Stages Festival. How did that process work for you?

CCS: [Director] Henry Godinez and I have developed a way of talking about the play and

I totally trust his vision. During that process I learned how not to tip my hand too much early on—how to preserve the suspense as long as possible. Sometimes people ask me what I

7 want the audience to know about the play going into it. My response is “not much.” The fun things about the play are the surprises.

Stage Screams: The Horror Genre in

Theater

By Neena Arndt

For the first time in its history, Goodman

Theatre dips a toe into the crimson waters of horror with Feathers and Teeth. The play focuses on a family whose matriarch recently succumbed to cancer, but rather than taking the form of a taut emotional drama, Feathers

and Teeth plumbs its emotional depths through a mysterious combination of humor and horror.

In the play, the family home is invaded by someone or something who, like the family’s grief, threaten to eat them alive.

“People think horror is too morbid,” says Scott

T. Barsotti, a Chicago-based playwright known for curdling the blood of audiences with his eerie work, “but to me, closing yourself off to entire realms of the emotional spectrum is far more morbid than any ghost story.” Barsotti’s plays have been produced most frequently at

WildClaw Theatre, a seven-year-old venture

8 whose tagline boldly declares “storytelling is in our blood.” The company was formed to fill a void in Chicago’s robust theater scene, as few companies regularly produce horror plays.

Barsotti, however, is convinced horror works are on the rise. “Playwrights are getting more comfortable straying away from traditional ideas of comedy and drama and experimenting with genre—not just horror, but science fiction and fantasy as well.”

Horror traces its origins from folklore, religious traditions and cultures across the world focused on death and the possibility of an afterlife. Demons, werewolves, witches and other supernatural creatures make frequent appearances, giving forms and names to the deep-seated fears that lurk within us all.

Western literature and theater are dotted with elements of horror, from the sword-wielding demons in Dante’s Inferno to the ghost of

Banquo in Shakespeare’s Macbeth, to the gigantic helmet that falls from the sky and crushes a character in Horace Walpole’s The

Castle of Otrano. Horror didn’t become a truly defined genre until the 19th century when writers like Mary Shelley and Edgar Allan Poe began penning stories and novels with chilling narratives involving the reanimation of

9 corpses, or a heart that beats long after its owner has expired.

Even while horror literature grew in popularity, few theater artists embraced it fully. One notable exception was Max Maurey, who served as the artistic director of Paris’ Le

Théâtre du Grand-Guignol from 1898 to 1914.

Under his leadership the theater earned a reputation for presenting horror plays that featured bleak worldviews and copious special effects. Grand-Guignol playwrights often created characters who suffered from insanity or underwent hypnosis; these altered mental states allowed them to commit unsavory acts, including torture and graphic murders. And while for much of theater’s history evil characters in plays had been punished or brought to justice, Grand-Guignol criminals were rarely taken to task; this invoked a frighteningly chaotic world for the audience. In one such play, André de Lorde’s Le Laboratoire

des Hallucinations, a surgeon discovers his wife’s paramour on his operating table and renders him zombie-like in a gruesome brain surgery; when the patient awakes in a crazed state, he drives a nail through the doctor’s head. In another de Lorde play, L’Horrible

Passion, a nanny strangles her young charges.

10

De Lorde’s interest in such horrible acts was rooted in a burgeoning understanding of mental illness, and he often collaborated with

Alfred Binet, a psychologist best known for developing IQ tests. Patrons of Grand-Guignol likely saw little science in de Lorde’s work, however, and

Maurey took pride in the number of audience members who fainted during performances— the average was two each night.

The Grand-Guignol closed its doors in 1962 after suffering a decline in audiences since the

1940s. The theater’s leaders chalked up its demise to the Holocaust. “Before the war, everyone felt that what was happening onstage was impossible,” said its final director, Charles

Nonon. “Now we know that these things, and worse, are possible in reality.” Yet, whatever toll the atrocities of war might have taken, horror found an audience in the late 20th century on film. Inspired both by literature and ever-improving special effect techniques, filmmakers dominated the horror genre, addressing topics ranging from nature gone awry (The Birds), to physical manifestation of the devil (Rosemary’s Baby), to cannibalism

(The Texas Chainsaw Massacre). As a literary genre, horror held strong, with Stephen King

11 selling 350 million (and counting) copies of his books.

Why, then, has such a prevalent genre enjoyed lesser popularity on stage? Barsotti offers his theory: “We see more horror in literature and film because horror is a genre primarily concerned with the imagination, and that makes it inherently more cerebral, introspective and reactive. Inner monologue and anxiety are much easier to depict in prose or through film editing than they are on stage, and of course visual effects can help a lot of the storytelling in cinema. That can be harder to pull off live.” Still, he is quick to point out,

“Theater has a way of sucking us in, while film keeps us at a distance and reading happens at our own pace—we can put a book down if we start to get too creeped out. But nothing beats the empathic experience an audience has with live actors.”

Thrilling Nights at the Theater

By Michael Mellini

Horror may not be the most prevalent genre on stage, but several plays and musicals have

attempted to send audiences home in fright.

12

Learn about a few below!

Dracula

Bela Lugosi terrorized theater audiences in a

1927 stage version of Bram Stoker’s novel. A nurse armed with smelling salts was even stationed in the lobby of Broadway’s Fulton

Theater to revive fainting theatergoers.

Dracula descended on Broadway again in

2004, this time in a short-lived musical version.

Sweeney Todd: The Demon Barber of Fleet

Street

Seeking revenge on the judge who wrongfully imprisoned him, deranged barber Sweeney

Todd teams up with local pie shop owner Mrs.

Lovett, who has the gruesome idea of baking

Sweeney’s victims into her entrées. Stephen

Sondheim’s 1979 musical received the Tony

Award for Best Musical and was adapted into a

2007 film from Hollywood’s macabre masters

Tim Burton and Johnny Depp.

The Woman in Black

Adapted from Susan Hill’s novel, The Woman

in Black has haunted London audiences with its chilling ghost story for 25 years and counting.

13

A businessman visiting the secluded mansion of a recently deceased client encounters a mysterious figure who may be responsible for tragic events that have struck the local townspeople.

Little Shop of Horrors

Inspired by the 1960 horror comedy B-movie of the same name, the Little Shop of Horrors musical infuses the tale of nebbish florist

Seymour Krelborn with toe-tapping tunes reminiscent of the Motown era. When Seymour acquires a unique looking plant at a mysterious market, he soon discovers that not only can the plant talk, but it’s developed a taste for human flesh. The musical ran off-Broadway for more than five years and Frank Oz directed a

1986 film adaptation.

Carrie

Tormented telekinetic teen Carrie White wreaks havoc on her high school wrong-doers in a musical adaptation of Stephen King’s novel. The 1988 musical ran only five performances and became notorious within theater circles as one of Broadway’s most high profile flops. In 2012, the musical’s creative team reworked much of the show at off-

Broadway’s MCC Theater. The new version has

14 since played regional theaters across the country, including Bailiwick Chicago.

Frankenstein

National Theatre of Great Britain and director

Danny Boyle (Slumdog Millionaire) brought

Mary Shelley’s novel to electrifying life in a much-lauded stage adaptation of the horror tale. Oscar nominee Benedict Cumberbatch

(The Imitation Game) and Johnny Lee Miller

(Elementary) alternated in the roles of Dr.

Victor Frankenstein and his monster, making the play one of London’s hottest tickets in

2011.

A Costume Designer’s Perspective

Feathers and Teeth is set in 1978 in a

Midwestern factory town. Charise Castro

Smith’s script includes stage directions that reference pop culture, fashion trends and important figures from the era including Farrah

Fawcett, Led Zeppelin, polyester suits, The

Brady Bunch and Richard Nixon. Costume designer Christine Pascual was tasked with designing clothes that would befit a seemingly tight-knit family of the late ‘70s. Above are

15 sketches of Pascual’s costumes featured in the play.

Listen Up: Making Noise with Feathers

and Teeth’s Foley Artist Carolyn

Hoerdemann

Actress Carolyn Hoerdemann takes on the unique role of a Foley artist in Feathers and

Teeth by providing a live soundscape for the mysterious creature that invades the home of the family at the center of the play. Below

Hoerdemann describes the responsibilities of a

Foley artist and why she’s excited to fill the stage with intriguing noises each night.

Named for Jack Foley, the term “Foley artist” dates back to the early days of radio dramas and silent films, when filmmakers needed someone on hand in the studio to create sound effects. Universal Studios called on radio drama artist Jack Foley to provide sounds for their productions. A Foley artist’s sound station could feature any number of props including brushes, metal, bells, doors and much more.

My experiences as a Foley artist began years

16 ago when I was in a play that featured a Foley artist performing alongside the actors on stage. As we mimed with props, the Foley artist provided the accompanying sounds. It was fascinating and moving. I have also directed radio horror plays for WildClaw

Theatre of Chicago’s Deathscribe, an annual horror festival of live radio dramas that utilize

Foley artists on stage. It’s a very unique and fun night at the theater.

My involvement with Feathers and Teeth was sort of a happy accident. The play began life as a reading during the Goodman’s 2013 New

Stages Festival. Director Henry Godinez and

Charise Castro Smith felt they needed the visceral sound of Feather and Teeth’s creature to be included to achieve the full effect of the play. The casting director asked if I would be able to create the sounds of the creature with my voice, which then resulted in me creating more sound effects in the rehearsal room, and this ultimately became a happy alchemy of voice and Foley artistry. I was thrilled when I was asked to return for the play’s workshop production at New Stages the following year.

Hearing the sound effects live rather than prerecording them adds another layer to the play

17 that’s so alive, juicy and tangible. Charise now says she can’t imagine the play without the sound effects present. I’m truly humbled and thrilled at this sentiment.

I approached creating the noises of the creature just like I would any character. I must try to find the truth and vulnerability of the creature. It has motivations, desires and needs just like any other character and forms connections with each of the characters in the play. I did look to certain things for inspiration: from baby animals to noises I make myself when in an intense situation.

Despite not playing a human like my co-stars,

I’m present with the cast throughout the rehearsal process. I have my own little Foley station set up, and as I watch the scenes unfold, I play with sound just as the other actors play off each other. We work together to find the right rhythms and nuances that will adhere to Charise and Henry’s overall vision.

Paving the Way for Latino/a Work:

Feathers and Teeth Director Henry

Godinez Champions New Voices at the

Goodman

By Neena Arndt

This season, the Goodman will present three

18 works by Latino/a writers: Charise Castro

Smith’s Feathers and Teeth; José Rivera’s

Another Word for Beauty, a musical exploration of a Colombian women’s prison; and an adaptation of Roberto Bolaño’s soaring novel 2666. This abundance of Latino/a work reflects a substantial shift in the Goodman’s programming priorities over the past two decades; Artistic Associate Henry Godinez, who directs Feathers and Teeth, has fostered and championed the work of countless Latino/a playwrights, directors, designers and actors during his tenure. “Before I directed the

Goodman/Teatro Vista co-production of Cloud

Tectonics by José Rivera in 1995, the Goodman had never produced a play by a Latino writer,”

Godinez recalls.

In 2003, Godinez spearheaded the Goodman’s first Latino Theatre Festival, which showcased

Latino theater artists from Chicago and around the world, including companies from Barcelona and Mexico City. The Goodman hosted five more Latino Theatre Festivals over the next decade while simultaneously producing more

Latino work in its regular seasons. Works by

19 playwrights like Karen Zacarías, Eduardo

Machado and Quiara Alegría Hudes were staged, while small Latino/a companies expanded their audience bases by performing in the Festival—providing Chicago audiences more chances to enjoy the works of these world-class theater artists. “It is incredibly gratifying to now see Latino work as an integral part of the Goodman’s programming, and the commissioning of Latino playwrights as an ongoing priority,” Godinez comments.

Feathers and Teeth has made two appearances in the Goodman’s New Stages Festival with

Godinez as director, first as a staged reading in

2013 and then as a workshop production in

2014. “It’s such a pleasure to be part of the development of a new play, especially one as interesting as Feathers and Teeth,” remarks

Godinez. “The play has grown most significantly in the clarity of its arc as a thriller, and how best to keep the audience in suspense until the very last minute. That affects how the characters evolve and how the plot lines are revealed.” As Feathers and Teeth receives its world premiere, Godinez adds Smith to the ranks of the playwrights whose work he has shepherded to the Goodman stage. “Charise takes realism and infuses it with a combination

20 of 1970s campy television and truly frightening elements of a horror thriller,” Godinez says.

“She does so without ever compromising the central story of a teenage girl’s genuine, heartbreaking loss and grief. It’s remarkably human.”

Notes

Why Feathers and Teeth?

In a world in which many things (including plays) are easily categorized, Charise Castro

Smith’s Feathers and Teeth is a delightful anomaly. At first glance, it’s a dark parody of such late ‘70s family sitcoms as The Brady

Bunch, replete with shag carpeting, lacquered hairstyles and uneasy family dinners. Beneath its chrome-and-plastic surface, though, the play is an emotional journey through the mind and attitudes of its protagonist Chris, whose typically adolescent traumas are heightened by recent family turmoil: the death of her mother and the arrival of her stepmother Carol, whose chirpy demeanor may be hiding a darker reality. And there are other forces—unseen but distractingly, perhaps ominously, vocal. Are they figments of Chris’ fevered imagination? Or

21 are they something more insidious, more terrifying—perhaps a portent of untold horrors to come?

A wily mashup of family drama, absurdist satire, farce and out-and-out suspense,

Feathers and Teeth is also exuberant in its theatricality, especially in its onstage use of a

Foley artist—the usually unseen but ubiquitous source of sound effects, reactions and mysterious voices—to heighten the sense of other-worldly weirdness that Chris is experiencing. Added as part of the first public reading of the play (in our 2013 New Stages

Festival) and developed subsequently through the play’s New Stages workshop production last fall, this element has become central to the fun and foreboding that Castro Smith has captured in this new work. Under the able directing hand of Resident Artistic Associate

Henry Godinez and a skilled company of actors and designers, Feathers and Teeth is perhaps one of the most unusual plays the Goodman has ever produced. It’s also a haunting and entertaining introduction to one of the most idiosyncratic playwrights now at work in the

American theater.

22

For generations the idea of “the creature under the bed” has been a staple of children’s stories and adult nightmares, encapsulating the unknown fears that lie in wait just out of sight.

In Feathers and Teeth, Castro Smith has taken this age-old trope and given it new vitality, in a play that will amuse you as it scares you. And it might just remind you of those undefinable but powerful terrors that plague us all, even in our own backyards.

Robert Falls

Artistic Director

Goodman Theatre

Robert Falls, Artistic Director

Roche Schulfer, Executive Director

Presents

FEATHERS AND TEETH

By CHARISE CASTRO SMITH

Directed by HENRY GODINEZ

Set Design by KEVIN DEPINET

Costume Design by CHRISTINE PASCUAL

23

Lighting Design by JESSE KLUG

Sound Design by MIKHAIL FIKSEL

Casting by ADAM BELCUORE, CSA; ERICA

SARTINI-COMBS

Dramaturg: TANYA PALMER

Production Stage Manager: KIMBERLY

OSGOOD*

Feathers and Teeth was produced in a developmental production by Goodman

Theatre in the New Stages Festival.

Lead Support of New Play Development: Time

Warner Foundation

Major Support of New Work Development: The

Pritzker Pucker Family Foundation

Support of New Work Development: The

Harold And Mimi Steinberg Charitable Trust

Additional support provided by the season,

New Work and production sponsors.

GOODMAN THEATRE PROUDLY THANKS ITS

MAJOR CONTRIBUTORS FOR THEIR GENEROUS

SUPPORT OF THE 2015/2016 SEASON

ABBOTT/ABBOTT FUND, Sponsor Partner for

Disgraced and the Season Opening Celebration

24

LESTER AND HOPE ABELSON FUND FOR

ARTISTIC DEVELOPMENT, Instituting New

Work Initiatives

ALLSTATE INSURANCE COMPANY, Major

Corporate Sponsor for Wonderful Town,

Community Engagement Partner and Sponsor

Partner of the Goodman Gala

PAUL M. ANGELL FAMILY FOUNDATION, Major

Support of General Operations

THE EDITH-MARIE APPLETON

FOUNDATION/ALBERT AND MARIA GOODMAN,

Major Contributors

JULIE AND ROGER BASKES, 2015/2016 Season

Sponsors

BMO HARRIS BANK, Major Contributor,

Benefactor of the Season Opening Celebration and the Goodman Gala

JOYCE CHELBERG, Major Contributor

THE ELIZABETH F. CHENEY FOUNDATION,

Major Support of New Play Development

THE CHICAGO COMMUNITY TRUST, Major


JOAN AND ROBERT CLIFFORD, 2015/2016

Season Sponsors

COMED/EXELON, Official Lighting Sponsor for

Wonderful Town, Guarantor of the Season

Opening Celebration and Benefactor of the

Goodman Gala

PATRICIA COX. Albert Season and New Work

25

Sponsor

THE CROWN FAMILY, Major Support of the

Student Subscription Series

THE DAVEE FOUNDATION, Major Support for the expansion of New Stages

SHAWN M. DONNELLEY AND CHRISTOPHER M.

KELLY, Major Contributors

EDELMAN, Major Corporate Sponsor

EFROYMSON FAMILY FUND

EFROYMSON-HAMID FAMILY FOUNDATION,

Education and Community Engagement Season

Sponsors

JULIUS N. FRANKEL FOUNDATION, Major


RUTH ANN M. GILLIS AND MICHAEL J.

MCGUINNIS, 2015/2016 Season Sponsors

GOODMAN THEATRE SCENEMAKERS BOARD,

Sponsor Partner for the PlayBuild Youth

Intensive

GOODMAN THEATRE WOMEN’S BOARD, Major

Production Sponsor for The Sign in Sidney

Brustein’s Window and Major Support of

Education and Community Engagement

Programs

ADNAAN HAMID AND ELISSA EFROYMSON,

Major Contributors

IRVING HARRIS FOUNDATION, Major

Contributor

26

THE JOYCE FOUNDATION, Principal Support for

Diverse Artistic and Professional Development

JPMORGAN CHASE, Major Corporate Sponsor for Wonderful Town, Benefactor of the Season

Opening Celebration and the Goodman Gala

KATTEN MUCHIN ROSENMAN LLP, Major

Corporate Sponsor for Another Word for

Beauty and Guarantor of the Season Opening

Celebration

THE JOHN D. AND CATHERINE T. MACARTHUR

FOUNDATION, Major Support of General

Operations

SWATI AND SIDDHARTH MEHTA, Major

Contributors

PEPSICO, Official Beverage Sponsor for A

Christmas Carol

POLK BROS. FOUNDATION, Principal

Foundation Support of the Student

Subscription Series

CAROL PRINS AND JOHN HART, Albert Theatre

Sponsors

ALICE AND JOHN J. SABL, Major Contributors

MICHAEL A. SACHS AND FAMILY, Education and Community Engagement Season Sponsors

THE SHUBERT FOUNDATION, Leading

Contributor of General Operating Support

TARGET, Major Corporate Sponsor of the

Target Student Matinees

27

TIME WARNER FOUNDATION, Lead Support of

New Play Development

THE WALLACE FOUNDATION, Lead Support of

New Work Audience Development

KIMBRA AND MARK WALTER, 2015/2016

Season Sponsors

As of August 27, 2015

Cast (In Alphabetical Order)

Hugo Jordan Brodess*

Ellie Ali Burch

Chris Olivia Cygan

Carol Christina Hall

Foley Artist Carolyn Hoerdemann

Arthur Eric Slater*

Setting: A factory town in the Midwest, Spring

1978

Additional Staff:

Shadow Puppet Design: Andrea Everman;

Fight Consultant: David Wooley

28

Understudies never substitute for a listed player unless an announcement is made at the beginning of the play.

Ali Burch—Carol, Foley Artist

Jenna Ebersberger—Chris, Ellie

Paul Fagen—Arthur

Brian Muldoon—Hugo

The video and/or recording of this performance by any means whatsoever are strictly prohibited.

Goodman productions are made possible in part by the National Endowment for the Arts; the Illinois Arts Council, a state agency; and a

CityArts 4 program grant from the City of

Chicago Department of Cultural Affairs and

Special Events.

Goodman Theatre is a constituent of the

Theatre Communications Group, Inc., the national service organization of nonprofit theaters; the League of Resident Theatres; the

Illinois Arts Alliance and the American Arts

Alliance; the League of Chicago Theatres; and the Illinois Theatre Association.

Goodman Theatre operates under agreements between the League of Resident Theatres and

Actors’ Equity Association, the union of

29 professional actors and stage managers in the

United States; the Society of Stage Directors and Choreographers, Inc., an independent national labor union; the Chicago Federation of

Musicians, Local No. 10-208, American

Federation of Musicians; and the United Scenic

Artists of America, Local 829, AFL-CIO. House crew and scene shop employees are represented by the International Alliance of

Theatrical Stage Employees, Local No. 2.

*Denotes member of Actors’ Equity

Association, the union of professional actors and stage managers in the United States.

PROFILES

JORDAN BRODESS* (Hugo) returns to

Goodman Theatre, where he previously appeared in the New Stages Festival production of Feathers and Teeth. Chicago credits include American Myth at American

Blues Theater. Regional credits include Red

(Dallas Theater Center), Eat Your Heart Out

(The Humana Festival of New American Plays at Actors Theatre of Louisville), Black Tie

(WaterTower Theatre) and A Christmas Carol

(ATL). Mr. Brodess’ film and television credits

include The Killer Inside Me and Crisis. He holds a BFA from the University of Oklahoma and was an apprentice at the Shaw

30

Festival (Ontario) and Actors Theatre of

Louisville.

ALI BURCH (Ellie) makes her Goodman

Theatre debut. Chicago credits include understudying in Monstrous Regiment at

Lifeline Theatre, hamlet is dead. no gravity at

Red Tape Theatre and Tea At Five at First Folio

Theatre. Regional credits include That High

Lonesome Sound (The Humana Festival of New

American Plays) and At The Vanishing

Point, Blissful Orphans, A Christmas Carol and Dracula

(Actors Theatre of Louisville, where she was an acting apprentice during the 2014/2015 season).

Additional regional credits include Hello Out

There at Savage Rose Theatre. Ms. Burch is represented by Paonessa Talent.

OLIVIA CYGAN (Chris) returns to Goodman

Theatre, where she appeared in the New

Stages Festival reading and workshop production of Feathers and Teeth. Chicago credits include Tusk Tusk at Piven Theatre

Workshop; productions at TimeLine Theatre

Company and Theatre Seven of Chicago and

31 readings and workshops at the Goodman,

Steppenwolf Theatre Company and Victory

Gardens Theater. Ms. Cygan is a theater major at Northwestern University, where her credits include Pride and Prejudice, Aimée and Jaguar,

The Grapes of Wrath and the upcoming As You

Like It. This winter, she will appear as Lady

Anne in The Gift Theatre’s Richard III at the

Steppenwolf Garage.

CHRISTINA HALL (Carol) returns to

Goodman Theatre, where she previously served as an understudy for Ask Aunt Susan.

Chicago credits include Soon I Will Be

Invincible (Lifeline Theatre); Mr. Burns...

(Theater Wit); Always, Patsy Cline (Theo

Ubique Cabaret Theatre, Jeff Award nomination for Best Actress in a Musical); The Wild Party

(Bailiwick Chicago, Jeff Award for Best

Ensemble and Best Musical), as well as work with Kokandy Productions, Strawdog Theatre

Company, Interrobang Theatre Project,

Porchlight Music Theatre, Bohemian Theatre

Ensemble, The Inconvenience, Muse of Fire and Promethean Theatre Ensemble. She holds a BFA in acting from Southern Methodist

University.

32

CAROLYN HOERDEMANN (Foley Artist) returns to the Goodman, where she appeared in Measure for Measure, Camino Real and the

New Stages Festival production of Feathers

and Teeth. She was last seen at Door County

Shakespeare and in Travesties at American

Players Theatre. Ms. Hoerdemann has also worked at Chicago Shakespeare Theater,

Steppenwolf Theatre Company, European

Repertory Company, Trap Door Theatre, TUTA,

Collaboraction, Chicago Children’s Theatre and others.This fall she can be seen in Greg Allen’s adaptationof Ghosts at Mary-Arrchie Theatre

Co. Film and television credits include Chicago

Fire, Empire, the upcoming independent film

Pilgrim and the web series Under Covers. Ms.

Hoerdemann also teaches performance at

DePaul University.

ERIC SLATER* (Arthur) returns to the

Goodman, where he previously appeared in the

2013 and 2014 productions of Smokefall, and as Bob the Sheep in Revenge of the Space

Pandas as part of the David Mamet Festival.

Most recently he appeared in Writers Theatre’s production of The Diary of Anne Frank. He has worked in Chicago at Court Theatre, Next

Theatre, Steppenwolf’s Garage Theatre and

Chicago Children’s Theatre, among many

others. Off- and off-off-Broadway credits include productions with The Public Theater,

York Theatre Company, The Kitchen, Theater

33 for the New City, The Kraine Theater and The

Brick Theater. Regional work includes productions at American Repertory Theater,

Institute of Contemporary Art/Boston, Grand

Arts, Detroit Institute of Arts Museum, Madison

Repertory Theatre and Dobama Theatre. Mr.

Slater is a company member of Rivendell

Theatre Ensemble and a founding member of the New Ensemble, an immersive theater company. TV credits include playing Greg

Sullivan on season two of Chicago Fire.

CHARISE CASTRO SMITH (Playwright) returns to the Goodman, where her play

Feathers and Teeth was featured as part of the

2013 and 2014 New Stages Festival. Her plays include Estrella Cruz [The Junkyard

Queen] (Ars Nova ANT Fest/Yale

Cabaret/Upcoming: Halcyon Theatre);

Boomcracklefly (Miracle Theater in Portland,

Oregon); The Hunchback of Seville

(Washington Ensemble Theatre/Upcoming:

Trinity Repertory Company), Washeteria (Soho

Repertory Theatre) and That High Lonesome

Sound (The Human Festival of New American

Plays). She is currently working on

34 commissions from Trinity Repertory Company and South Coast Repertory. As an actress, Ms.

Castro Smith has appeared in Antony and

Cleopatra (Royal Shakespeare

Company/GableStage/The Public Theater) and on television in The Good Wife and

Unforgettable. She is an alumna of Ars Nova’s

Playgroup and was a 2012/2013 Van Lier

Fellow at New Dramatists. She received her

MFA from the Yale School of Drama and her BA from Brown University.

HENRY GODINEZ (Director) is the Resident

Artistic Associate at Goodman Theatre. His

Goodman directing credits include The Sins of

Sor Juana and Mariela in the Desert by Karen

Zacarías; José Rivera’s Boleros for the

Disenchanted (and world premiere at Yale

Repertory Theatre); Regina Taylor’s Millennium

Mambo; Luis Alfaro’s Electricidad and Straight

as a Line; The Cook by Eduardo Machado; Zoot

Suit by Luis Valdez; the Goodman/Teatro Vista co-production of José Rivera’s Cloud Tectonics and the 1996–2001 productions of A Christmas

Carol. He also served as the director of the

Goodman’s Latino Theatre Festival. Mr.

Godinez’s other Chicago credits include Water

by the Spoonful (Court Theatre), A Civil War

Christmas (Northlight Theatre), A Work of Art

at Chicago Dramatists, A Year with Frog and

35

Toad and Esperanza Rising (Chicago Children’s

Theatre), Two Sisters and

a Piano (Apple Tree Theatre/Teatro Vista coproduction) and Anna in the Tropics (Victory

Gardens

Theater). Co-founder and former artistic director of Teatro Vista, Mr. Godinez’s other directing credits include work at Portland

Center Stage, Signature Theatre Company in

New York City, Kansas City Repertory Theatre,

Oak Park Festival Theatre and the Colorado

Shakespeare Festival. As an actor, Mr. Godinez appeared most recently in the

Goodman/Teatro Buendía world premiere of

Pedro Páramo. He has also appeared on television in Above the Law, The Beast, The

Chicago Code, Boss and Chicago Fire. He is the recipient of the 1999 Theatre Communications

Group Alan Schneider Director Award, the

Distinguished Service Award from the Lawyers for the Creative Arts and was honored as the

2008 Latino Professional of the Year by the

Chicago Latino Network. Born in Havana, Cuba,

Mr. Godinez is a professor at Northwestern

University and serves on the Board of Directors of the Illinois Arts Council and Albany Park

Theater Project.

36

KEVIN DEPINET (Scenic Designer) returns to the Goodman, where he recently designed scenery for Smokefall, Brigadoon and The

Iceman Cometh. He has designed for

Steppenwolf Theatre Company, Chicago

Shakespeare Theater, McCarter Theatre, Court

Theatre, Writers Theatre, Drury Lane Theatre,

Chicago Children’s Theatre, Denver

Center Theatre Company, Arden Theatre

Company,

Milwaukee Repertory Theater, Glimmerglass

Opera, Cincinnati Playhouse in the Park,

American Players Theatre, Indiana Repertory

Theatre and The Mark Taper Forum. Broadway credits include associate designer for August:

Osage County, The Motherf**ker with the Hat and Of Mice and Men. National tour credits include Camelot and Ragtime. Mr. Depinet has also designed for the National Theatre of Great

Britain in London, the Discovery Channel,

Netflix, 21st Century Fox and Disney.

CHRISTINE PASCUAL (Costume Designer) most recently collaborated with the Goodman on the workshop productions of Feathers and

Teeth, Carlyle and The Magic Play for the New

Stages Festival 2014. Other Goodman credits include New Stages 2012 and 2013; The

Happiest Song Plays Last; Fish Men; El

37

Nogalar; Massacre (Sing to Your Children) (coproduction with Teatro Vista); Congo Square

Theatre Company’s Black Nativity and Joe

Turner’s Come and Gone (co-production with

Congo Square Theatre Company). Chicago credits include The Projects, The Royale,

Welcome to Arroyo’s, It’s a Wonderful Life,

True West, Topdog/Underdog, The People’s

Temple and Living Out (American Theatre

Company); Tamer of Horses, A View from the

Bridge and Between You, Me and the

Lampshade (Teatro Vista); Disconnect, The

Elaborate Entrance of Chad Deity, Relatively

Close, The Romance of Magno Rubio,

Hambone, Blackbird and We are Proud to

Present... (Victory Gardens Theater); Bud, Not

Buddy (Chicago Children’s Theatre); Trevor,

Simpatico and Megacosm (A Red Orchid

Theatre); Tigers Be Still (Theatre Wit); Sizwe

Banzi is Dead, The Piano Lesson, The First

Breeze of Summer and Flyin’ West (Court

Theatre); Our Lady of the Underpass (16th

Street Theater and Teatro Vista); The House

on Mango Street (Steppenwolf Theatre

Company); Sanctified, St. James Infirmary,

Seven Guitars, Elmina’s Kitchen, From the

Mississippi Delta and A Soldier’s Play (Congo

Square Theatre Company); Ten Cent Night

(Chicago Dramatists) and Elliot, A Soldier’s

38

Fugue (Rivendell Theatre Ensemble and Teatro

Vista at Steppenwolf Theatre Company). Off-

Broadway credits include The Elaborate

Entrance of Chad Deity at Second Stage

Theatre. Regional credits include The Island at

American Players Theatre; Fences at Virginia

Stage Company and Joe Turner’s Come and

Gone at Centerstage. Ms. Pascual was a 2010

Henry Hewes Design Award nominee and an exhibitor at the 2011 Prague Quadrennial and the United States Institute for Theatre

Technology’s 2012 conference.

JESSE KLUG (Lighting Designer) most recently collaborated with the Goodman at the 2014

New Stages Festival. Other Goodman credits include New Stages Amplified and the

2011/2012 Season’s El Nogalar. Chicago credits include productions at Chicago

Shakespeare Theater, Drury Lane Theatre,

Victory Gardens Theater, Lookingglass Theatre

Company, Steppenwolf Theatre Company,

Court Theatre, Writers Theatre, Marriott

Theatre, TimeLine Theatre Company,

Paramount Theatre, American Theatre

Company and Chicago Dramatists. Mr. Klug’s off-Broadway credits include The Elaborate

Entrance of Chad Deity at Second Stage

Theatre (Lucille Lortel and Hewes Design

39

Award nominations), The Screwtape Letters at the Westside Theatre, Romulus at the

Guggenheim Museum and The Hourglass and

the Poisoned Pen at the New York Musical

Theatre Festival. Regional credits include the national tour of The Screwtape Letters and productions at the Fulton Theatre, the Geffen

Playhouse, Portland Center Stage, the Indiana

Repertory Theatre, the Shakespeare Theatre

Company and Milwaukee Repertory Theater.

Mr. Klug is the resident lighting designer at

Drury Lane Theatre, Route 66 Theatre

Company and Chicago Tap Theatre. He is the winner of Jeff and After Dark awards.

MIKHAIL FIKSEL (Sound Designer) returns to the Goodman, where he previously worked on

The Upstairs Concierge, The World of Extreme

Happiness, Venus in Fur, Buzzer, Black n Blue

Boys/Broken Men, Fish Men, Massacre (Sing to

Your Children), El Grito del Bronx and the New

Stages Festival. Recent Chicago credits include

The Old Man and The Old Moon, Hamlet,

Hesperia, The Real Thing and Travels with My

Aunt at Writers Theatre; Mojada, Oedipus El

Rey and Tree at Victory Gardens Theater;

Blood and Gifts, Concerning Strange Devices

from the Distant West and Our Kind of Town at

TimeLine Theatre Company; War with the

Newts at Next Theatre Company; Awake and

40

Sing! at Northlight Theatre; I Will Kiss These

Walls, Home/Land and Feast at Albany Park

Theater Project; Pirates of Penzance, Mikado,

Woyzcek, Frankenstein and Oedipus at The

Hypocrites; Petrified Forest, The Master and

Margarita and Uncle Vanya at Strawdog

Theatre Company; Pony at About Face Theatre and 1001 at Collaboraction. Mr. Fiksel’s regional and off-Broadway credits include The

Elaborate Entrance of Chad Deity at the Dallas

Theater Center, Second Stage Theatre and the

Geffen Playhouse; In the Next Room...or the

vibrator play at the Repertory Theatre of St.

Louis and Mauritius at Milwaukee Chamber

Theatre. He has received seven Jeff Awards, a

Lucille Lortel Award, an After Dark Award, nominations for the Henry Hewes Design

Award and for the LA Drama Critics Circle

Award and was recently honored with the

Michael Maggio Emerging Designer Award. Mr.

Fiksel is an ensemble member of 2nd Story, an artistic associate with Teatro Vista,

Collaboraction, Wildclaw and Redmoon Theater and on the faculty at Loyola University

Chicago. Mikhailfiksel.com.

TANYA PALMER (Dramaturg) is the director of new play development at Goodman Theatre,

41 where she coordinates New Stages, the theater’s new play program, and has served as the production dramaturg on a number of plays including the world premieres of The

Upstairs Concierge by Kristoffer Diaz, Ask Aunt

Susan by Seth Bockley, Smokefall by Noah

Haidle, Magnolia by Regina Taylor, The Long

Red Road by Brett C. Leonard and the Pulitzer

Prize–winning Ruined by Lynn Nottage. Prior to her arrival in Chicago, she served as the director of new play development at Actors

Theatre of Louisville, where she led the reading and selection process for the Humana Festival of New American Plays. She is the co-editor, with Amy Wegener and Adrien-Alice Hansel, of four collections of Humana Festival plays, published by Smith & Kraus, as well as two collections of 10-minute plays published by

Samuel French. Originally from Calgary,

Alberta, Canada, she holds an MFA in playwriting from York University in Toronto.

KIMBERLY OSGOOD* (Production Stage

Manager) has stage-managed more than 65 productions at Goodman Theatre since 1990.

Among them are The World of Extreme

Happiness, Ask Aunt Susan, Buzzer, Smokefall,

The Seagull, The Long Red Road, Ruined,

Talking Pictures, Hughie, The Trojan Women,

42

Big Love (also at Brooklyn Academy of Music),

Garden, Schoolgirl Figure, Lillian, Vigils, Mirror

of the Invisible World, Escape from Paradise,

Gertrude Stein: Each One as She May, The

Notebooks of Leonardo da Vinci (also at Lincoln

Center Theater’s Serious Fun Festival), Eliot

Loves and Marvin’s Room. Additional credits include productions for Steppenwolf Theatre

Company, Northlight Theatre and Court

Theatre. Before coming to Chicago, Ms.

Osgood spent eight years with Cincinnati

Playhouse in the Park, where she served as director of the Intern Company and production stage manager.

Robert Falls (Goodman Theatre Artistic

Director) Most recently, Mr. Falls reprised his critically acclaimed production of The Iceman

Cometh, featuring the original cast headed by

Nathan Lane and Brian Dennehy, at the

Brooklyn Academy of Music. Last season, he also directed Rebecca Gilman’s Luna Gale at the Kirk Douglas Theatre in Los Angeles and a new production of Mozart’s Don Giovanni for the Lyric Opera of Chicago. Other recent productions include Measure for Measure and the world and off-Broadway premieres of Beth

Henley’s The Jacksonian. This season at the

Goodman, Mr. Falls and Goodman Playwrightin-Residence Seth Bockley will co-direct their

43 world premiere adaptation of Roberto Bolaño’s

2666, and Mr. Falls will also direct the Chicago premiere of Rebecca Gilman’s Soups, Stews,

and Casseroles: 1976. Among Mr. Falls’ other credits are The Seagull, King Lear, Desire

Under the Elms, John Logan’s Red, Jon Robin

Baitz’s Three Hotels, Eric Bogosian’s Talk Radio and Conor McPherson’s Shining City; the world premieres of Richard Nelson’s Frank’s Home,

Arthur Miller’s Finishing the Picture (his last play), Eric Bogosian’s Griller, Steve Tesich’s

The Speed of Darkness and On the Open Road,

John Logan’s Riverview: A Melodrama with

Music and Rebecca Gilman’s A True History of

the Johnstown Flood, Blue Surge and

Dollhouse; the American premiere of Alan

Ayckbourn’s House and Garden and the

Broadway premiere of Elton John and Tim

Rice’s Aida. Mr. Falls’ honors for directing include, among others, a Tony Award (Death of

a Salesman), a Drama Desk Award (Long Day’s

Journey into Night), an Obie Award (subUrbia), a Helen Hayes Award (King Lear) and multiple

Jeff Awards (including a 2012 Jeff Award for

The Iceman Cometh). For “outstanding contributions to theater,” Mr. Falls has also been recognized with such prestigious honors as the Savva Morozov Diamond Award

(Moscow Art Theatre), the O’Neill Medallion

44

(Eugene O’Neill Society), the Distinguished

Service to the Arts Award (Lawyers for the

Creative Arts) and the Illinois Arts Council

Governor’s Award.

ROCHE EDWARD SCHULFER (Goodman

Theatre Executive Director) is in his 36th season as executive director. On May 18, 2015 he received the Lifetime Achievement Award from the League of Chicago Theatres. In 2014, he received the Visionary Leadership Award from Theatre Communications Group. To honor his 40th anniversary with the theater, Mr.

Schulfer was honored with a star on the

Goodman’s “Walkway of Stars.” During his tenure he has overseen more than 335 productions, including close to 130 world premieres. He launched the Goodman’s annual production of A Christmas Carol, which celebrates 38 years as Chicago’s leading holiday arts tradition this season. In partnership with Artistic Director Robert Falls,

Mr. Schulfer led the establishment of quality, diversity and community engagement as the core values of Goodman Theatre. Under their tenure, the Goodman has received numerous awards for excellence, including the Tony

Award for Outstanding Regional Theater, recognition by Time magazine as the “Best

45

Regional Theatre” in the US, the Pulitzer Prize for Lynn Nottage’s Ruined and many Jeff

Awards for outstanding achievement in

Chicago area theater. Mr. Schulfer has negotiated the presentation of numerous

Goodman Theatre productions to many national and international venues. From 1988 to 2000, he coordinated the relocation of the

Goodman to Chicago’s Theatre District. He is a founder and two-time chair of the League of

Chicago Theatres, the trade association of more than 200 Chicago area theater companies and producers. Mr. Schulfer has been privileged to serve in leadership roles with Arts Alliance Illinois (the statewide advocacy coalition); Theatre Communications

Group (the national service organization for more than 450 not-for-profit theaters); the

Performing Arts Alliance (the national advocacy consortium of more than 18,000 organizations and individuals); the League of Resident

Theatres (the management association of 65 leading US theater companies); Lifeline

Theatre in Rogers Park and the Arts & Business

Council. He is honored to have been recognized by Actors’ Equity Association for his work promoting diversity and equal opportunity in Chicago theater; the American

Arts Alliance; the Arts & Business Council for

46 distinguished contributions to Chicago’s artistic vitality for more than 25 years; Chicago magazine and the Chicago Tribune as a

“Chicagoan of the Year”; the City of Chicago;

Columbia College Chicago for entrepreneurial leadership; Arts Alliance Illinois; the Joseph

Jefferson Awards Committee for his partnership with Robert Falls; North Central

College with an Honorary Doctor of Fine Arts degree; Lawyers for the Creative Arts; Lifeline

Theatre’s Raymond R. Snyder Award for

Commitment to the Arts; Season of Concern for support of direct care for those living with

HIV/AIDS; and the Vision 2020 Equality in

Action Medal for promoting gender equality and diversity in the workplace. Mr. Schulfer is a member of the adjunct faculty of the Theatre

School at DePaul University, and a graduate of the University of Notre Dame where he managed the cultural arts commission.

For Feathers and Teeth:

Jerrell L. Henderson, Kathryn Sims Watts:

Assistants to the director

Shannon Golden: Production Assistant

Nicole Malmquist: Assistant Lighting

Designer

Sarah Espinoza: Assistant Sound Designer

Jon Beal: Assistant to the Fight Consultant

47

Annika Bennett: Literary Intern

Colleen Layton: Stage Management Intern

HISTORY

Called America’s “Best Regional Theatre”

by Time magazine, Goodman Theatre has won international recognition for its artists, productions and programs, and is a major cultural, educational and economic pillar in

Chicago. Founded in 1925 by William O.

Goodman and his family in honor of their son

Kenneth (an important figure in Chicago’s cultural renaissance in the early 1900s),

Goodman Theatre has garnered hundreds of awards for artistic achievement and community engagement, including Tony

Awards and two Pulitzer Prizes. Under the leadership of Artistic Director Robert Falls and

Executive Director Roche Schulfer, the

Goodman’s priorities include new plays (over

100 world or American premieres in the past

30 years), reimagined classics (including Falls’ nationally and internationally celebrated productions of Death of a Salesman, Long’s

Day’s Journey into Night, King Lear and The

Iceman Cometh, many in collaboration with

48 actor Brian Dennehy), culturally specific work, musical theater (26 major productions in 20 years, including 10 world premieres) and international collaborations. Diversity and inclusion are primary cornerstones of the

Goodman’s mission; over the past 25 years, more than one-third of Goodman productions

(including 31 world premieres) have featured artists of color, and the Goodman was the first theater in the world to produce all 10 plays in

August Wilson’s “American Century Cycle.”

Each year the Goodman’s numerous education and community engagement programs, including the innovative Student Subscription

Series, serve thousands of students, teachers, life-long learners and special constituencies. In addition, for nearly four decades the annual holiday tradition of A Christmas Carol has led to the creation of a new generation of theatregoers in Chicago.

Goodman Theatre’s leadership includes the distinguished members of the Artistic

Collective:

Brian Dennehy, Rebecca Gilman, Henry

Godinez, Steve Scott, Chuck Smith, Regina

Taylor, Henry Wishcamper and Mary

Zimmerman. The Chairman of Goodman

Theatre’s Board of Trustees is

49

Joan E. Clifford; Swati Mehta is President of the Woman’s Board.

From the Goodman Archives: American

Buffalo, 1975

Forty years ago this fall saw the world premiere of a contemporary classic: American

Buffalo, by Chicago native David Mamet. A revelatory story of honor and betrayal set in a junk shop in the then-seedy Lincoln Park neighborhood, American Buffalo was perhaps the most notable play to come out of Goodman

Stage 2, a series created to showcase new voices and emerging artists. Under the direction of junior Goodman staff members

Gregory Mosher and Roche Schulfer (now celebrating his 36th season as executive director), Stage 2 brought the Goodman debuts of a number of young Chicago artists

(including directors Robert Falls and Frank

Galati) and a wide range of provocative new plays. Produced at the Ruth Page Auditorium under Mosher’s direction, and featuring the actors Bernard Erhard, J. J. Johnston and a young William H. Macy, American Buffalo blended urban grit with profanity and offended some local critics—but not Richard Christiansen at the Chicago Daily News, who called it “a triumph for Chicago theater—and a treasure

50 for Chicago audiences.” A New York production soon followed, and today American Buffalo remains one of the most highly regarded plays of the late 20th century.

The Theater

GOODMAN THEATRE

170 North Dearborn Street | Chicago, Illinois

60601 | 312.443.3800 | GoodmanTheatre.org

Box Office Hours: Daily 12–5pm

SUBSCRIPTION AND TICKET INFORMATION

Subscriptions and tickets for Goodman productions are available at the Goodman Box

Office. Call 312.443.3800 or stop by the box office. All major credit cards are accepted:

American Express, Discover, Mastercard and

Visa. Tickets are available online:

GoodmanTheatre.org

GROUP DISCOUNTS

Discounts are available for your group of 10 or more for most Goodman productions, except A

Christmas Carol, for which the minimum is 15.

Call Kim Furganson at 312.443.3820 or email

Groups@GoodmanTheatre.org and ask about

51 discounts, full-house sales, dinners and receptions for your group event.

GREAT GIFTS FROM THE GOODMAN

You’ll find a number of popular items related to the Goodman and Goodman productions—from posters, T-shirts, pins and mugs to published scripts—at the Goodman Gift Shop in the theater’s lobby. Gift certificates are available in any denomination and can be exchanged for tickets to any production at the Goodman. To order Goodman Gift Certificates, call the

Goodman Box Office at 312.443.3800, or stop by the next time you attend a show.

PARKING

DON’T MISS OUT ON THE NEW $16.50

PARKING RATE!

On your next visit you can receive a discounted pre-paid rate of $16.50* for Government

Center Self Park by purchasing passes at

InterParkOnline.com/GoodmanTheatre. If you do not purchase a pre-paid parking pass and park in Government Center Self Park, you can still receive a discounted rate of $21* with a garage coupon available at the Goodman

Theatre gift shop. Government Center Self

Park is located directly adjacent to the theater on the southeast corner of Clark and Lake

52

Streets. Learn more at

GoodmanTheatre.org/Parking.

*Parking rates subject to change.

USHERING

We are looking for people who love theater and would like to share their time by volunteer ushering at the Goodman. Ushering duties include stuffing and handing out programs, taking tickets at the door and seating patrons.

If you are interested in becoming a volunteer usher, please call the ushering hotline at

312.443.3808.

ACCOMMODATIONS FOR THE DISABLED

The Goodman is accessible to the disabled.

Hearing assistance devices are available at the

Gift Shop at no charge to patrons.

MEZZTIX

At 10am each day, all remaining mezzanine tickets for the current day’s performance(s) are available for half price at GoodmanTheatre.org by entering the promo code “mezztix” during the purchase process. MezzTix may also be purchased at noon, day of any show(s), at the box office. All MezzTix purchases are subject to availability; not available by phone; handling fees apply.

53

10TIX

$10 mezzanine tickets are available to students online at 10am and at the box office starting at 12noon. Log on to

GoodmanTheatre.org and enter promo code

10Tix for that day’s performance. Limit four tickets per student I.D. A student I.D. must be presented when picking up tickets at will call.

All 10Tix purchases are subject to availability; not available by phone; handling fees apply.

GOODMAN PREFERRED PARTNERS

HOTEL

Chicago Kimpton Hotels

Chicago Kimpton Hotels are the exclusive hotels of Goodman Theatre. The Kimpton

Hotels are an acknowledged industry pioneer and the first to bring the boutique hotel concept to America. They are offering

Goodman patrons special discounted rates at

Hotel Allegro, Hotel Burnham and Hotel

Monaco. All rates are based on availability.

These rates are not applicable at the Hotel

Palomar.

Rooms must be booked through the Chicago

VIP reservations desk based at the Hotel

Allegro at 312.325.7211. You must mention the code GMT to access the rates.

RESTAURANTS

Petterino’s

150 North Dearborn Street, next to the

Goodman | 312.422.0150

Bella Bacino’s

75 East Wacker Drive | 312.263.2350

Blackfinn Ameripub

65 West Kinzie Street | 312.836.0290

Chuck’s: A Kerry Simon Kitchen

224 North Michigan Avenue | 312.334.6700

Catch Thirty Five

54

35 West Wacker Drive | 312.346.3500

Howells and Hood


Noodles & Company

47 South Clark Street | 312.263.1927

Park Grill


Randolph Tavern

188 W. Randolph Street | 312.683.3280

River Roast

315 North LaSalle St. | 312.822.0100

Trattoria No.10

10 North Dearborn Street | 312.984.1718

CATERERS

55

Paramount Events | 773.880.8044

Sopraffina Marketcaffé | 312.984.0044

True Cuisine, Ltd./Sweet Baby Ray’s Catering

630.238.8261 ext. 215

IN CONSIDERATION OF OTHER PATRONS

Latecomers are seated at the discretion of management. Babes-in-arms are not permitted. Please refrain from taking video or audio recordings inside the theater. Please turn off all electronic devices such as cellular phones and watches. Smoking is not permitted.

EMERGENCIES

In case of an emergency during a performance, please call

Goodman Security at 312.443.5555.

STAFF

ROBERT FALLS, ARTISTIC DIRECTOR

ROCHE SCHULFER, EXECUTIVE DIRECTOR

ARTISTIC COLLECTIVE

STEVE SCOTT PRODUCER

CHUCK SMITH RESIDENT DIRECTOR

56

MARY ZIMMERMAN MANILOW RESIDENT

DIRECTOR

HENRY GODINEZ RESIDENT ARTISTIC

ASSOCIATE

BRIAN DENNEHY, REBECCA GILMAN,

REGINA TAYLOR, HENRY WISHCAMPER

ARTISTIC ASSOCIATES

SETH BOCKLEY PLAYWRIGHT-IN-RESIDENCE

ADMINISTRATION

PETER CALIBRARO MANAGING DIRECTOR

JOHN COLLINS GENERAL MANAGER

CAROLYN WALSH HUMAN RESOURCES

DIRECTOR

JODI J. BROWN MANAGER OF THE BUSINESS

OFFICE

RICHARD GLASS SYSTEMS ADMINISTRATOR

CRISTIN BARRETT ADMINISTRATIVE

COORDINATOR

DANA BLACK ASSISTANT TO THE EXECUTIVE

DIRECTOR

ASHLEY JONES BUSINESS OFFICE

ASSOCIATE

ERIN MADDEN COMPANY MANAGER

OWEN BRAZAS IT GENERAL HELP DESK

MARISSA FORD SPECIAL PROJECTS

ASSOCIATE

ARTISTIC

57

ADAM BELCUORE ASSOCIATE

PRODUCER/DIRECTOR OF CASTING

TANYA PALMER DIRECTOR OF NEW PLAY

DEVELOPMENT

NEENA ARNDT ASSOCIATE DRAMATURG

ERICA SARTINI-COMBS ASSOCIATE

CASTING DIRECTOR

JULIE MASSEY ASSISTANT TO THE ARTISTIC

DIRECTOR

JONATHAN L. GREEN LITERARY

MANAGEMENT ASSOCIATE

JOSEPH PINDELSKI ASSISTANT TO THE

PRODUCER

RACHAEL JIMENEZ CASTING ASSISTANT

DEVELOPMENT

DORLISA MARTIN DIRECTOR OF

DEVELOPMENT

HOLLY HUDAK ASSOCIATE DIRECTOR OF

DEVELOPMENT/SENIOR DIRECTOR OF MAJOR

GIFTS

JEFF M. CIARAMITA SENIOR DIRECTOR OF

SPECIAL EVENTS & STEWARDSHIP

SHARON MARTWICK DIRECTOR OF

INSTITUTIONAL GIVING

KATE WELHAM DIRECTOR OF

INSTITUTIONAL GRANTS AND DEVELOPMENT

OPERATIONS

MARTIN GROCHALA DIRECTOR OF SPECIAL

GIFTS AND PLANNED GIVING

58

VICTORIA S. RODRIGUEZ MANAGER OF

STEWARDSHIP AND COMMUNITY

ENGAGEMENT EVENTS

SCOTT PODRAZA MANAGER OF ANNUAL

GIVING

ALLI ENGLESMA-MOSSER MANAGER OF

INDIVIDUAL AND MAJOR GIFTS

CHRISTINE OBUCHOWSKI

DEVELOPMENT/BOARD RELATIONS

COORDINATOR

AMY SZERLONG INSTITUTIONAL GIVING

COORDINATOR

MICHELLE NEUFFER DEVELOPMENT

COMMUNICATIONS COORDINATOR

PAUL LEWIS PROSPECT RESEARCH

COORDINATOR

JOSH CARTER DEVELOPMENT ASSISTANT

VICTORIA PEREZ INSTITUTIONAL GIVING

ASSISTANT

JOCELYN WEBERG WOMEN’S BOARD &

BENEFIT EVENTS ASSISTANT

EDUCATION & COMMUNITY ENGAGEMENT

WILLA TAYLOR DIRECTOR OF EDUCATION&

COMMUNITY ENGAGEMENT

TERESA RENDE EDUCATION & COMMUNITY

ENGAGEMENT COORDINATOR

ELIZABETH RICE EDUCATION PROGRAMS

ASSOCIATE

59

BOBBY BIEDRZYCKI CURRICULUM AND

INSTRUCTION ASSOCIATE

MARKETING/PUBLIC RELATIONS

LORI KLEINERMAN MARKETING & PR

DIRECTOR

JAY CORSI DIRECTOR OF ADVERTISING &

SALES

KIMBERLY D. FURGANSON MARKETING

ASSOCIATE/GROUP SALES MANAGER

GABRIELA JIRASEK DIRECTOR OF NEW

MEDIA

JENNY GARGARO ASSOCIATE DIRECTOR OF

MARKETING AND RESEARCH

MICHAEL MELLINI MARKETING

COMMUNICATIONS COORDINATOR

RACHEL WEINBERG NEW MEDIA ASSISTANT

HANK GREENE AUDIENCE

DEVELOPMENTASSOCIATE

DAVID DIAZ MARKETING PROJECT

ASSOCIATE

ERIK SCANLON CONTENT CREATOR

CASEY CHAPMAN SUBSCRIPTION SALES AND

TELEFUND CAMPAIGN MANAGER

SHARI EKLOF TELEMARKETING SALES

ASSOCIATE

JILLIAN MUELLER SHIFT SUPERVISOR

JANET BALOU, JOHN DONNELL,

FREDERICKA GASTON, RAY JAMES, SUSAN

MONTS-BOLOGNA, JILLIAN MUELLER,

JAMES MULCAHY, WILL OPEL, SCOTT

RAMSEY SUBSCRIPTION

SALES/FUNDRAISING

PUBLICITY

DENISE SCHNEIDER PUBLICITY DIRECTOR

60

KIANA HARRIS PUBLICITY MANAGER

RAMSEY CAREY PUBLICITY ASSOCIATE

GRAPHIC DESIGN

KELLY RICKERT CREATIVE DIRECTOR

CORI LEWIS, CECILY PINCSAK GRAPHIC

DESIGNERS

CAMERON JOHNSONVIDEOGRAPHER

TICKET SERVICES

ERIK SCHNITGER DIRECTOR OF TICKET

SERVICES

SUMMER SNOW ASSOCIATE DIRECTOR OF

TICKET SERVICES

BRIDGET MELTON TICKET SERVICES

MANAGER

CLAIRE GUYER ASSISTANT TICKET SERVICES

MANAGER

EMMELIA HALPERN-GIVENS TICKET

SERVICES SUPERVISOR

PHILIP LOMBARD GROUP SALES

REPRESENTATIVE

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TERRI GONZALEZ, KEYANA MARSHALL,

ALEX MARTINEZ, RON POPP, RACHEL

ROBINSON, SHAWN SCHIKORA TICKET

SERVICES REPRESENTATIVES

PRODUCTION

SCOTT CONN PRODUCTION MANAGER

MATTHEW CHANDLER ASSOCIATE

PRODUCTION MANAGER, ALBERT

AMBER PORTER ASSISTANT TO THE

PRODUCTION MANAGER

BEN JONES PRODUCTION APPRENTICE

STAGE MANAGEMENT

KIMBERLY OSGOOD PRODUCTION STAGE

MANAGER

RYAN TREVIRANUS FLOOR MANAGER

SCENIC ART

KARL KOCHVAR RESIDENT SCENIC ARTIST,

USAA

TIM MORRISON, DONNA SLAGER SCENIC

ARTISTS

SCENERY

RYAN SCHULTZ TECHNICAL DIRECTOR

LUKE LEMANSKI, ANDREW MCCARTHY

ASSISTANT TECHNICAL DIRECTORS

JOHN RUSSELL SCENE SHOP FOREMAN

SANDY ANETSBERGER, JOSH EDWARDS,

62

STEPHEN GEIS, CASEY KELLY, DAVE

STADT CARPENTERS

MICHAEL FROHBIETER SCENE SHOP

ASSISTANT

MICHAEL BUGAJSKI, WILLIAM

CZERWIONKA ASSISTANT CARPENTERS

JASON HUERTA DRAFTSPERSON

JAMES WARD LOGISTICS ASSISTANT

JAMES NORMAN HOUSE CARPENTER

JESS HILL HOUSE RIGGER CARPENTER

ALISON PERRONE, JESSICA STOPAK

STAGEHAND

PROPERTIES

ALICE MAGUIRE PROPERTIES SUPERVISOR

BRET HAINES PROPERTIES HEAD

CHRISTOPHER KOLZ PROPERTIES

CARPENTER

JEFF HARRIS PROPERTIES ARTISAN

RACHELLE MOORE STADT PROPERTIES

ASSISTANT

NICK HEGGESTAD ASSISTANT TO THE

PROPERTIES SUPERVISOR

BRET HAINES PROPERTIES HEAD

ELECTRICS

GINA PATTERSON LIGHTING SUPERVISOR

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PATRICK FEDER ASSISTANT LIGHTING

SUPERVISOR

SHERRY SIMPSON ELECTRICS HEAD

MIKE DURST, PATRICK HUDSON, JAY REA

ELECTRICIANS

ARIANNA BROWN, BRIAN ELSTON, BILL

MCGHEE, ERIC VIGOELECTRICS OVERHIRE

SOUND

RICHARD WOODBURY RESIDENT SOUND

DESIGNER

DAVID NAUNTON HOUSE AUDIO

SUPERVISOR

STEPHANIE FARINA AUDIO HEAD

CLAUDETTE PRYZGODA SOUND BOARD

OPERATOR

COSTUMES

HEIDI SUE MCMATH COSTUME SHOP

MANAGER

EILEEN CLANCY ASSISTANT TO THE

MANAGER

JESSICA RODRIGUEZ ASSISTANT TO THE

DESIGNER

NOEL ALYCE HUNTZINGER SHOP

ASSISTANT

BIRGIT RATTENBORG WISE HEAD DRAPER

MCKINLEY JOHNSON DRAPER

HYUNJUNG KIM FIRST HAND

64

AMY FRANGQUIST, KELLY ROSE STITCHERS

SUSAN LEMERAND CRAFTS

KATELYN HENDUCKS MILLER, YVETTE

WESLEY WARDROBE

JENEÉ GARRETSON WARDROBE HEAD

OPERATIONS & FACILITIES

JUSTINE BONDURANT DIRECTOR OF

OPERATIONS

CHRIS SMITH FRONT OF HOUSE MANAGER

KYLE SHOEMAKE GUEST SERVICES

MANAGER

DEMI SMITH, MELISSA YONZON HOUSE

MANAGERS

ARTHUR MATHEWS ASSISTANT HOUSE

MANAGER

CHINA WHITMIRE, ANDY MEHOLICK

GUEST SERVICES ASSOCIATES

SAMANTHA BUCKMAN, DANIEL GOMEZ,

KIERSTEN KOLSTAD PART-TIME GUEST

SERVICES ASSOCIATES

JOSHUA SUMNER FACILITIES COORDINATOR

RODRIGO GARCIA, ADAM KAUFMAN

FACILITIES TECHNICIANS

JAVIER MARTINEZ SECURITY OFFICER

TAWANDA BREWER, MIGUEL MELECIO,

RANDY SICKELS CUSTODIANS

STEPHANIE BOUDREAUX, ELIZABETH

CREA, VALENTINO DAVENPORT, ALLISON

65

DUDA, MARGARET DUNN, NATHANIEL

FISHBURN, LINDSEY FISHER, KATE

FITZGERALD, CRISTINA, GRANADOS,

DESMOND GRAY, TERRY KRAUS, MICHAEL

KRYSTOSEK, JUDY LOYD, KERI MACK,

REBECCA MILES-STEINER, SARA MILLS,

LILA MORSE, PARIS NESBITT, TAYLOR

PITTMAN, VIRGINIA REYNOLDS, REBECCA

CAO ROMERO, KELLY STEIK, DENISE

STEIN, KATIE WALSH, KRISTYN ZOE

WILKERSON, JORDAN ZEMAN FRONT OF

HOUSE STAFF

AFFILIATED ARTISTS

KRISTIANA COLÓN, SANDRA DELGADO,

JENNI LAMB, CALAMITY WEST

PLAYWRIGHTS UNIT

MARTI LYONS MAGGIO DIRECTING FELLOW

CONSULTANTS & SPECIAL SERVICES

CROWE HORWATH LLP AUDITORS

M. GRAHAM COLEMAN DAVIS WRIGHT

TREMAINE LLP LEGAL COUNSEL

RICHARD L. MARCUS/OGLETREE,

DEAKINS, NASH, SMOAK & STEWART P.C.

LOCAL LABOR COUNSEL

CAMPBELL & COMPANY FUNDRAISING

CONSULTANTS

ELLWOOD & ASSOCIATES INVESTMENT

CONSULTANTS

MEDICAL PROGRAM FOR PERFORMING

ARTISTS MEDICAL CONSULTANTS

INTEGRATED FACILITY MANAGEMENT

CONSULTING, LLC FACILITY MANAGEMENT

CONSULTANTS

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HMS MEDIA, INC. VIDEO PRODUCTION

INTERNS

COLLEEN LAYTON STAGE MANAGEMENT

EMILY HART MARKETING/PR/PUBLICITY

ASHLEY DONAHUE DEVELOPMENT

KATIE CALLAHAN CASTING

MARGARET COLE EDUCATION AND

COMMUNITY ENGAGEMENT

ANNIKA BENNETT MARY LYNNE

ANDERSON-COOPER LITERARY

MANAGEMENT AND DRAMATURGY

LUCINDA ALLEN PRODUCING

MORGAN LAKE SOUND

Civic Committee

The Honorable Mayor Rahm Emanuel

The Honorable Governor Bruce Rauner

Civic Committee Members

Ellen Alberding President, The Joyce

Foundation

Kris and Trisha Rooney Alden, James L.

Alexander Co-Trustee, The Elizabeth Morse

Charitable Trust

Heather Y. Anichini, The Chicago Public

Education Fund

67

Brian Bannon, Commissioner, Chicago Public

Library

Melissa L. Bean, Chairman of the Midwest,

JPMorgan Chase & Co.

Philip Bahar, Executive Director, Chicago

Humanities Festival

Mr. and Mrs. Norman Bobins

Michelle T. Boone, Commissioner, City of

Chicago, Department of Cultural Affairs and

Special Events

Kevin J. Brown, President & CEO, Lettuce

Entertain You Enterprises, Inc.

Patrick J. Canning, Managing Partner,

Chicago Office KPMG LLP

Gregory C. Case, President and CEO, Aon

Corporation

Gloria Castillo, President, Chicago United

Adela Cepeda, President, A.C. Advisory, Inc.

John Challenger, CEO, Challenger, Gray &

Christmas

Frank Clark, Former Chairman and CEO,

ComEd

68

Lester and Renée Crown, Crown Family

Philanthropies

Paula and James Crown, Crown Family

Philanthropies

The Honorable Richard M. Daley

Douglas Druick, President and Eloise W.

Martin Director, Art Institute of Chicago

Chaz Ebert

Richard J. Edelman, President and CEO,

Edelman

Torrey N. Foster, Jr., Regional Leader

(Chicago), Heidrick & Struggles

Anthony Freud, General Director, Lyric Opera of Chicago

Denise B. Gardner

Sarah Nava Garvey

Elisabeth Geraghty, Executive Director, The

Elizabeth F. Cheney Foundation

Madeleine Grynsztejn, Pritzker Director,

Museum of Contemporary Art Chicago

Sandra P. Guthman, President and CEO, Polk

Bros. Foundation

Joan W. Harris, The Irving Harris Foundation

Christie A. Hefner

Anne L. Kaplan

Richard Lariviere, President and CEO, The

Field Museum

Cheryl Mayberry and

Eric T. McKissack

69

Terry Mazany, President and CEO, The

Chicago Community Trust

Michael H. Moskow, Vice Chairman and

Senior Fellow of the Global Economy, The

Chicago Council on Global Affairs

Langdon Neal and

Jeanette Sublett

Richard S. Price, Chairman and CEO, Mesirow

Financial Holdings, Inc.

Jim Reynolds, Founder, Chairman and CEO,

Loop Capital

Linda Johnson Rice, Chairman, Johnson

Publishing

John Rowe, Former Chairman and CEO,

Exelon Corporation

Jesse H. Ruiz, Partner, Drinker Biddle & Reath

LLP

Michael and Cari Sacks

Vincent A.F. Sergi, National Managing

Partner, Katten Muchin Rosenman, LLP

Robert Sullivan, Regional President, Fifth

Third Bank

Franco Tedeschi, Vice President (Chicago),

American Airlines

Genevieve Thiers and

Daniel Ratner, Founder, SitterCity,

ContactKarma, Opera Moda

Elizabeth Thompson

70

Maria (Nena) Torres and

Matthew Piers

Mr. Carlos E. Tortolero, President, National

Museum of Mexican Art

Arthur Velasquez, Chairman, Azteca Foods,

Inc.

Frederick H. Waddell, Chairman and CEO,

Northern Trust Corporation

Laysha L. Ward, President, Community

Relations, Target Corporation and President,

Target Foundation

Benna B. Wilde, Program Director, Arts and

Culture, Prince Charitable Trust

Donna F. Zarcone, President and CEO, D.F.

Zarcone & Associates LLC

*As of August 2015

LEADERSHIP

GOODMAN THEATRE BOARD OF TRUSTEES

Chair

Joan E. Cliffordˆ

Vice Chairmen

Roger Baskesˆ

Alice Young Sablˆ

Patrick Wood-Princeˆ

President

Adnaan Hamidˆ

Vice Presidents

Sunny P. Chicoˆ

Rebecca Fordˆ

Rodney L. Goldsteinˆ

Maria Greenˆ

Catherine Moulyˆ

Michael D. O’Halleranˆ

Kimbra Walterˆ

Treasurer

David W. Fox, Jr.ˆ

Assistant Treasurer

Jeffrey W. Hesseˆ

Secretary

Susan J. Wislowˆ

Immediate Past Chairman

Ruth Ann M. Gillisˆ

Founding Chairman

Stanley M. Freehling

71

Honorary Chairman

Albert Ivar Goodmanˆ

Honorary President

Lewis Manilow

Honorary Life Trustees

The Honorable Richard M. Daley and Mrs. Maggie Daley*

Life Trustees

James E. Annableˆ

María C. Bechily

Deborah A. Bricker

Peter C.B. Bynoeˆ

Lester N. Coneyˆ

Patricia Coxˆ

Shawn M. Donnelley

Paul H. Dykstraˆ


Ruth Ann M. Gillis

Albert Ivar Goodmanˆ

Sondra A. Healyˆ

Lewis Manilow

James F. Oatesˆ

Carol Prinsˆ

Members

72

Kristin Anderson-Scheweˆ

Anjan Asthana

Douglas Brown

Lamont Changeˆ

Philip B. Clement

Kevin Cole

Loretta Cooney

Kathleen Keegan Cowie

Marsha Cruzan

Julie M. Danisˆ

Brian Dennehy

Robert F. Denvir

Suzette Dewey

Billy Dexter

Robert A. Fallsˆ

Kristine R. Garrettˆ

Harry J. Harczak, Jr.ˆ

Brian L. Heckler

Steve Hilton

Deidre Hogan

Vicki V. Hoodˆ

Linda Hutsonˆ

Carl Jenkins

Sherry John

Cathy Kenworthy

Jeffrey D. Korzenik

Sheldon Lavin

Joseph Learnerˆ

Elaine R. Leavenworth

73

Gordon C.C. Liao

Anthony F. Maggiore

Amalia Perea Mahoney

Thomas P. Maurerˆ

Nancy Lauter McDougal

Swati Mehtaˆ

Gigi Pritzker Puckerˆ

Alison P. Ranney

Elizabeth A. Raymond

Timothy M. Russell

Ryan Ruskin

Roche Schulferˆ

Vincent A.F. Sergi

Jill B. Smart

Chuck Smith

Shelly Stayer

Steve Traxler

Patty VanLammeren

J. Randall Whiteˆ

Neal S. Zuckerˆ

Emeritus Trustees

Kathy L. Brock

Alvin Golin

Richard Gray

Leslie S. Hindman

H. Michael Kurzman

Eva Losacco

Richard L. Pollay

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Carole David Stone

Linda B. Toops

Dia S. Weil

Maria E. Wynne

Eugene Zeffren

Past Chairmen in bold

ˆExecutive Committee Member

*Deceased

GOODMAN THEATRE WOMEN’S BOARD

Officers

President

Swati Mehta

1 st Vice President

Margie Janus

2 nd Vice President

Cynthia Scholl

3 rd Vice President

Christine Pope

Treasurer

Darlene Bobb

Secretary

Marcia S. Cohn

75

Committee Chairs

Annual Fund

Joan Lewis

Carole Wood

Auction

Diane Landgren

Cynthia Scholl

Civic Engagement

Anu Behari

Nancy Swan

Education

Renee Tyree

Lorrayne Weiss

Gala

Linda Krivkovich

Susan J. Wislow

Hospitality

Linda W. Aylesworth

Membership

Frances Del Boca

Monica Lee Hughson

Margie Janus

Program

Denise Stefan Ginascol

Member-at-Large

Andra S. Press

Past Presidents

76

Sherry John

Joan E. Clifford

Alice Young Sabl

Susan J. Wislow

Linda Hutson

Carol Prins

Sondra A. Healy

Members

Sharon Angell

Christine Branstad

Mary Ann Clement

Jane K. Gardner

Ellen Gignilliat

Judy Goldberg

Ava LaTanya Hilton

Julie Korzenik

Wendy Krimins

Diane Landgren

Kay Mabie

Amalia Perea Mahoney

Pauline M. Montgomery

Merle Reskin

Mary Schmitt

Beth Herrington Stamos

Sara F. Szold

Sustaining Members

Kathleen Fox

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78

Dr. Mildred C. Harris

Mary Ann Karris

Cynthia E. Levin

Nancy Thompson

Honorary Members

Katherine A. Abelson

Mrs. James B. Cloonan

Joan M. Coppleson~

Nancy S. Lipsky

Nancy Lauter McDougal

Karen Pigott~

Gwendolyn Ritchie

Mrs. Richard A. Samuels~

Orli Staley

Carole David Stone~

Mrs. Philip L. Thomas~

Rosemary Tourville~

Susan D. Underwood~

~Past President

GOODMAN THEATRE SCENEMAKERS BOARD

The Scenemakers Board is an auxiliary group comprised of diverse, young professionals who support the mission of the theater through fundraising, audience development and advocacy.

President

Gordon C.C. Liao

Vice President

Jason Knupp

Treasurer

Justin A. Kulovsek

Secretary

Kelli Garcia

Members

Nirav D. Amin

Brigitte R. Anderson

Elizabeth M. Balthrop

Lauren Blair~

Shelly Burke

Tom Cassady

Tracy Clifford

Chanel Coney

Vanessa Córdova

Morgan Crouch

Erin Draper

Stephanie E. Giometti

Tony Glenn

Heather M. Grove

Jackie Avitia Guzman

Kevin E. Jordan

De-Anthony King, MBA

Shannon Kinsella~

Megan A. McCarthy

79

Craig A. McCaw

Cheryl McPhilimy~

Lee S. Mickus

Teresa Mui

Gary Napadov

Jessey R. Neves

Mollie E. O’Brien

Eddie Patel

Jaimie Mayer Phinney

Desmond D. Pope

Caitlin Powell Gimpel

Della D. Richards

Kristin M. Rylko

Jeffrey P. Senkpiel

David H. Smith

Kristin Atchison Thompson

Stephen Vaughn

Anne C. Van Wart

Stephanie D. Wagner

Maria Watts

Ginger Wiley

~Past President

GOODMAN THEATRE SPOTLIGHT SOCIETY

We gratefully recognize the following people who have generously included Goodman

Theatre in their wills or estate plans.

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81

For more information on the Spotlight Society call Marty Grochala at 312.443.3811 ext. 597.

Anonymous (4)

Judy L. Allen

Kristin L. Anderson-Schewe and Robert W.

Schewe

Susan and James Annable

Julie and Roger Baskes

Joan I. Berger

Drs. Ernest and Vanice Billups

Norma Borcherding

Deborah A. Bricker

Joe and Palma Calabrese

Robert and Joan Clifford

Lester N. Coney

Patricia Cox

Terry J. Crawford

Julie M. Danis

Ron and Suzanne Dirsmith

Shawn M. Donnelley

Paul H. Dykstra


Gloria Friedman

Harold and Diane Gershowitz

Ellen and Paul Gignilliat

Denise Stefan Ginascol

Michael Goldberger

June and Al Golin

82

Albert I. Goodman

Richard and Mary L. Gray

Marcy and Harry Harczak

Sondra and Denis Healy

Vicki and Bill Hood

Linda Hutson

Shelly Ibach

Wayne and Margaret Janus

B. Joabson

Stephen H. Johnson

Mel and Marsha Katz

Rachel E. Kraft

H. Michael and Sheila Kurzman

Anne E. Kutak

Richard and Christine Lieberman

Nancy S. Lipsky

Dr. Paul M. Lisnek

Dorlisa Martin and

David Good

Meg and Peter Mason

Tom and Linda Maurer

Elizabeth I. McCann

Karen and Larry McCracken

Nancy Lauter McDougal and Alfred L. McDougal

Kevin C. McGirr

James F. Oates

Elizabeth Anne Peters

Karen and Dick Pigott

Peter and Susan Piper

Susan Powers

Carol Prins

Connie Purdum

Charlene Raimondi

Elizabeth A. Raymond

Merle Reskin

Angelique A. Sallas, PhD

Natalie Saltiel

Roche Schulfer

Mr. and Mrs. Robert E. Shaw

Rose L. Shure

Michael Silverstein

Elaine Soter

Hal S. R. Stewart

Carole David Stone

Judith Sugarman

Marlene A. Van Skike

Dia S. Weil

Randy and Lisa White

Maria E. Wynne

James G. Young

The Goodman holds dear the memory of the following individuals who have honored the work on our stages with a bequest. Their generosity will help to ensure that future generations will be able to share in their passion for live theater.

83

Hope A. Abelson

Alba Biagini Trust

George W. Blossom III

Camilla F. Boitel Trust

Estate of Marjorie Douglas

Bettie Dwinell

Joan Freehling

Florence Gambino

Bernard Gordon Trust

Evolyn A. Hardinge

Patricia D. Kaplan

Theodore Kassel

Charles A. Kolb

Kris Martin

Mr. and Mrs. William McKittrick

Neil Pomerenke

Carol Ann Poremba

Alice B. Rapoport

Gladys L. Ripley

Verla J. Rowan

George Northup Simpson, Jr.

Vlada Sunders

Lenore Swoiskin

SPOTLIGHT SOCIETY ADVISORY COUNCIL

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85

The Advisory Council is a group of estate planning professionals who aid the Goodman with its planned giving program. The Goodman is grateful to its members for the donation of their time and expertise.

Anita Tyson, Council Chair, JPMorgan Private

Bank

Christine L. Albright, Holland & Knight LLP

Susan T. Bart, Sidley Austin LLP

Gwen G. Cohen, Morgan Stanley

Beth A. Engel, Wells Fargo Private Bank

Robert G. Gibson, Clifton Allen LLP

Barbara Grayson, Mayer Brown LLP

Robert E. Hamilton, Hamilton Thies & Lorch

LLP

David A. Handler, Kirkland & Ellis LLP

Charles Harris, Katten Muchin Rosenman LLP

Louis S. Harrison, Harrison & Held, LLP

Kim Kamin, Gresham Partners, LLC

Thomas F. Karaba, Crowley Barrett & Karaba

Ltd.

Rick Knoedler, Northern Trust

Kevin Lane, Vedder Price PC

Michael A. Levin, BMO Harris Bank N.A.

Sandra K. Newman, Perkins Coie

Lucy K. Park, Perkins Coie

Ruth A. Pivar, Quarles + Brady LLP

Terry L. Robbins, Robbins & Associates LLC

86

Eileen B. Trost, Freeborn & Peters LLP

Impact Creativity, a program of theatre

Forward

Impact Creativity is an urgent call to action to save theater education programs in 19 of our largest cities. Impact Creativity brings together theaters, arts education experts and individuals to help over 500,000 children and youth, most of them disadvantaged, succeed through the arts by sustaining the theater arts education programs threatened by today’s fiscal climate. For more information on how

“theater education changes lives,” please visit: www.impactcreativity.org

($100,000 or more)

AOLˆ

The Hearst Foundations

($50,000 or more)

The Schloss Family Foundation

Wells Fargo

($25,000 or more)

Buford Alexander and Pamela Farr

Steven and Joy Bunson

James S. and Lynne Turley

($10,000 or more)

Dorfman & Kaish Family Foundation

87

Alan and Jennifer Freedman

Jonathan Maurer and Gretchen Shugart

National Endowment for the Arts

Lisa Orberg

Frank and Bonnie Orlowski

RBC Wealth Management

George S. Smith, Jr.

Southwest Airlinesˆ

TD Charitable Foundation

($2,500 or more)

Paula Dominick

John R. Dutt

Christ and Anastasia Economos

Bruce R. and Tracey Ewing

Jessica Farr

Mason and Kim Granger

Colleen and Philip Hempleman

Howard and Janet Kagan

Joseph F. Kirk

Susan and John Major Donor Advised Fund at the Rancho Santa Fe Foundation

John R. Mathena

Daniel A. Simkowitz

John Thomopoulos

Isabelle Winkles

($1,000 or more)

Leslie Chao

Steven & Donna Gartner

Ruth E. Gitlin

Karen A. and Kevin W. Kennedy Foundation

Adrian Liddard

Robin & Bob Paulson Charitable Fund

Mark Rosenblatt

Stephanie Scott

ˆIn-kind support

Business Council Co-Chairs

Joan Clifford (ex officio)

Billy Dexter, Heidrick & Struggles

Maria Green, ITW

Joe Learner, Savills Studley, Inc.

Founding Chair

Robert A. Wislow, CBRE/U.S. Equities Realty,

Inc.

Steering Committee

Barbara Grant Bereskin, Lincoln Avenue

Partners

Marsha Cruzan, U.S. Bank

Kristine R. Garrett, The PrivateBank

Rodney L. Goldstein, Frontenac Company

Members

Anjan Asthana, McKinsey & Company

Doug Brown, Exelon Corporation

Peter C.B. Bynoe, Equity Group Investments

Lamont Change, Change Advisory Group

Sunny P. Chico, SPC Educational Solutions

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Philip B. Clement, Aon Corporation

Robert A. Clifford, Clifford Law Offices

Kevin L. Cole, Ernst & Young LLP

Lester N. Coney, Mesirow Financial

Sarah Copeland, GCM Grosvenor

Stephen D’Amore, Winston & Strawn LLP

Robert F. Denvir, Winston & Strawn LLP

Sidney Dillard, Loop Capital

Paul H. Dykstra, Ropes and Gray LLP

Therese K. Fauerbach, The Northridge Group,

Inc.

David W. Fox, Jr., Northern Trust

Kate S. Gaynor, Marsh Private Client Services

Ruth Ann M. Gillis, Exelon Corporation

(Retired)

Harry J. Harczak, Jr., CDW (Retired)

John H. Hart, Hart Davis Hart Wine

Sondra A. Healy, Turtle Wax, Inc.

Brian L. Heckler, KPMG LLP

Steve Hilton, McDonalds Corporation

Renee Hochberg, Towers Watson

Deidre Kiselus Hogan, American Airlines

Jeffrey W. Hesse, PWC, LLP

Steve Hilton, McDonalds Corporation

Vicki V. Hood, Kirkland & Ellis LLP

Ralph V. Hughes, Macy’s

Carl A. Jenkins, BMO Harris Bank

Peter C. John, Williams Montgomery & John

Cathy Kenworthy, Interactive Health

Jeffrey D. Korzenik, Fifth Third Bank

Elaine R. Leavenworth, Abbott

Anthony F. Maggiore, JPMorgan Chase

William F. Mahoney, Segal McCambridge

Singer & Mahoney, Ltd.

Michael D. O’Halleran, Aon Corporation

Marshall Peck, InterPark

Steve Pemberton, Walgreens

Michael A. Pope, McDermott Will & Emery

Elizabeth A. Raymond, Mayer Brown LLP

Timothy M. Russell, CDK Global

John J. Sabl, Sidley Austin, LLP

Vincent A.F. Sergi, Katten Muchin Rosenman

LLP

Marsha Serlin, United Scrap Metal, Inc.

Steve Traxler, Jam Theatricals, Ltd.

Steve Trepiccione, HSBC

Patty VanLammeren, Allstate Insurance

Company

Steven A. Weiss, Schopf & Weiss LLP

J. Randall White, The Nielsen Company

(Retired)

Patrick Wood-Prince, Jones Lang LaSalle

Neal S. Zucker, Corporate Cleaning Services

90

SUPPORT

Honor and Memorial Gifts

91

Honor gifts provide an opportunity to celebrate milestones such as anniversaries, birthdays, graduations or weddings. Memorial gifts honor the memory of a friend or loved one. Due to space limitations we are unable to include gifts of less than $100. Below are the commemorative gifts made between August

2014 and August 2015.

In Honor of 2666

Maria (Nena) Torres and Matt Piers

In Honor of Kristin Anderson-Schewe

Bea Anderson

Thea Ide

In Honor of James Annable

Bettylu and Paul Saltzman

Steve and Florence Zeller

In Honor of Debbie Bricker

Steven and Lauren Scheibe

Marc and Cindy Levin

In Honor of Peter Calibraro

Sheldon and Goldie Holzman

In Honor of the New Stages reading of Carlyle

Bernard and Marcia Kamine

In Honor of Jeff Ciaramita on his

30 th Anniversary

Goodman Theatre Women’s Board

In Honor of Marcia Cohn

Norman and Virginia Bobins

In Honor of Patricia Cox

Kristin Anderson-Schewe and Robert Schewe

92

Priscilla and Steven Kersten

In Honor of Ruth Ann Gillis and

Michael McGuinnis

Exelon Corporation

Lisbeth Stiffel

In Honor of Lindsey and Jenna Good

Dennis and Nancy Good

In Honor of Albert and Maria Goodman

Linda and E. Radford Decker

In Honor of Linda Hutson’s Birthday

Sallyan Windt

In Honor of Scott and Bobbi Lebin

Dennis and Vivian Callahan

In Honor of David Naunton and

Alice Maguire

David and Mary Skinner

In Honor of Jim Oates’ 90 th Birthday


In Honor of Jim Oates and

Adam Grymkowski

James and Judith Oates

In Honor of Christine Pope

Anonymous

Dian and Ted Eller

Holly Hayes and Carl W. Stern

In Honor of Carol Prins

Sylvia Neil and Daniel Fischel

Maril, Joe and Jane Patt

In Honor of Alice Sabl

Kathleen and Nicholas Amatangelo

Suzanne Martin and Hart Weichselbaum

Josephine Strauss

In Honor of Steve Scott

Steven and Susan Marcus

In Honor of Barbara Stone Samuels

W. Clement and Jessie V. Stone Foundation

Trustee Emeritus Grant

In Honor of Regina Taylor

Kristin Anderson Schewe and Bob Schewe

Joan and Robert Clifford

Ruth Ann M. Gillis and Michael J. McGuinnis

In Honor of Willa Taylor

Jo G. Moore

In Honor of Susan Underwood

Richard and Elaine Tinberg

In Honor of Lorrayne Weiss

Sudy and Thomas Altholz

In Honor of Susan Wislow

Ms. Barbara Neuberg

Patty and Dan Walsh

In Memory of Hoda Aboleneen

Omar, Ashraf and Hani Khalil

In Memory of Dr. Morton A. Arnsdorf

Rosemary Crowley

93

In Memory of Rev. Willie Taplin Bar

Rev. Calvin S. Morris, Ph.D.

In Memory of George S. Brengel

Janyce D. Brengel

In Memory of Connie S. Carimi

Anglique A. Sallas, Ph.D

In Memory of Rosaline Cohn

Alice Sabl

In Memory of Donald W. Collier

Kay Lemmer Collier

In Memory of Shirley Coney

Kristin Anderson-Schewe and Bob Schewe

Terry Athas

Nandi Ballard

Kelli Caudill

Jackie Collins

Brian Diedrich

Ellie Forman

Adam and Charmaine Goldman

Linda Johnson Rice

Marty Kaplan


Rachel and Marc Mangoubi

Mike Markowitz

Dorlisa Martin and David Good

Dana Mikstay

Richard Price

Kristin Provencher

Kristen Schaffnit

94

95

Denise Schneider

Katie Seeman

Roche Schulfer and Mary Beth Fisher

Michael Simon

Francois Teissonniere

Daniel and Elizabeth Weil

Kneeland and Sharon Youngblood

In Memory of Dr. W. Gene Corley

Lynd Corley

In Memory of Elizabeth Elser Doolittle

Susan and Peter Coburn

In Memory of Margueite C. Gaines

Stephanie R. Gaines

In Memory of Sarah Goldberg

Sandra Blau

Nancy Thompson

In Memory of Carlo Maggio

Douglas R. Brown and Rachel E. Kraft

Shawn M. Donnelley and Christopher M. Kelly

Genevieve M. Maggio

Gladys C. Nicosia

Roche Schulfer and Mary Beth Fisher

In Memory of Michael Maggio

Leigh and Henry Bienen

Sandra Gidley

Rachel E. Kraft

Carlo and Genevieve Maggio

James F. Oates and Adam Grymkowski

96

In Memory of Abby S. Magdovitz-

Wasserman

Dr. David Wasserman

In Memory of Barbara B. Schultz

Burton J. Schultz

In Memory of Merle Wolin

A. Sue Samuels

In Memory of the Honorable

Stephen R. Yates

Deborah Yates

Institutional Support: Corporate,

Foundation and Government Donors

Goodman Theatre is grateful to all of its institutional donors for their generous support between August 2014 and August 2015. Listed below are contributors at or above the $1,000 level.

Ovation Society ($200,000 and above)

Goodman Theatre Women’s Board

The Shubert Foundation

The Wallace Foundation†

Program Sponsors

($100,000 – $199,999)

Paul M. Angell Family Foundation

Edith-Marie Appleton Foundation

The Joyce Foundation

Polk Bros. Foundation

Producer’s Circle ($50,000 – $99,999)

Abbott/Abbott Fund

Allstate Insurance Company

BMO Harris Bank†

The Elizabeth F. Cheney Foundation†

The Chicago Community Trust

The Crown Family†

Edelman

Edgerton Foundation

Exelon/ComEd

Fifth Third Bank

Goodman Theatre Scenemakers Board

JPMorgan Chase

Julius N. Frankel Foundation

Katten Muchin Rosenman LLP

The John D. & Catherine T. MacArthur

Foundation†

National Endowment for the Arts

Northern Trust Bank

PepsiCo†

Target Corporation

Time Warner Foundation†

Director’s Circle ($30,000 – $49,999)

American Airlines

Blue Cross Blue Shield of Illinois

97

Ernst & Young LLP

GCM Grosvenor

Illinois Arts Council Agency

ITW

KPMG LLP

Laurents/Hatcher Foundation, Inc.

The Harold and Mimi Steinberg Charitable

Trust†

Premiere Circle ($20,000 – $29,999)

Clifford Law Offices

CNA

Conant Family Foundation

Jacky and Michael Ferro — The Sun-Times

Foundation/The Chicago Community Trust

The Glasser and Rosenthal Family

Lloyd A. Fry Foundation

Interactive Health

Johnsonville Sausage, LLC

Macy’s

Marsh Private Client Services

Mayer Brown LLP

McDonald’s Corporation

Mesirow Financial

Prince Charitable Trusts

PwC LLP

The Rhoades Foundation

United Scrap Metal, Inc.

98

U.S. Bank

Patrons ($15,000 – $19,999)

Baxter International Inc.

John R. Halligan Charitable Fund

Heidrick & Struggles

HSBC North American Holdings

Walter E. Heller Foundation

Loop Capital

The Northridge Group, Inc.

The PrivateBank

Towers Watson

Walgreen Co.

Winston & Strawn, LLP

Distinguished Guarantors

($10,000 – $14,999)

Anonymous

Helen V. Brach Foundation

The Buchanan Family Foundation

FTD Group, Inc.

Harris Family Foundation

Kirkland & Ellis LLP

Madden, Jiganti, Moore & Sinars LLP

McKinsey & Company, Inc.

Peoples Gas

Guarantors ($5,000 – $9,999)

Automatic Building Controls

99

Ardmore Associates, LLC

Creative Schools Fund

Cramer-Krasselt

Holland Capital Management

INTREN, Inc.

Jenner & Block LLP

Leo Burnett Worldwide

Neiman Marcus Michigan Ave.

Nesek Digital

Ogletree Deakins

Edmond and Alice Opler Foundation

Dr. Scholl Foundation

The Siragusa Foundation

Standard Parking

Theater Forward

Principals ($2,500 – $4,999)

Robert W. Baird & Co. Incorporated

Clevestory Consulting LLC

Ingredion

Katz & Stefani, LLC

Lichten Craig Architecture & Interiors

Marquette Associates

William Blair & Company

WSF Associates & Partners, LLC

Sustainers ($1,000 – $2,499)

Adage Technologies

The Bill Bass Foundation

100

101

Lauren Blair Consulting

BNSF Railway Foundation

Butler Family Foundation

Complete Mailing Service, Inc.

Corporate Value Management

Ellwood Associates

Huber Financial Advisors

PMI Energy Solutions, LLC

Primera Engineers, Ltd.

Pritzker Traubert Family Foundation

Sahara Enterprises, Inc.

W.R. Weis Company, Inc.

Individual Premiere Society Members And

Major Donors

The Premiere Society is a group of Goodman friends providing the core support for outstanding productions and award-winning education programs that reflect and enrich

Chicago’s diverse cultural community.

Membership in the Goodman Premiere Society is extended to individuals and couples who make an annual gift of $2,500 or more.

Ovation Society ($100,000 and above)

Julie and Roger Baskes


The Davee Foundation

Ruth Ann M. Gillis and Michael J. McGuinnis

102

Albert and Maria Goodman

Kimbra and Mark Walter

Director’s Circle ($50,000 – $99,999)

Joyce Chelberg

Patricia Cox

Shawn M. Donnelley and Christopher M. Kelly

Efroymson-Hamid Family Foundation

Sherry and Peter John

Swati and Siddharth Mehta

Carol Prins and John Hart

Merle Reskin

Alice and John J. Sabl

Helen and Sam Zell

Chairmans Circle ($25,000 – $49,999)

Anonymous (2)

Susan and James Annable

Bill and Linda Aylesworth

Deborah A. Bricker

Marcia S. Cohn

Conant Family Foundation

Julie M. Danis and Paul F. Donahue

Drs. Robert and Frances Del Boca

Ellen and Paul Gignilliat


Roy and Diane Landgren

Andra and Irwin Press

103

Michael A. Sachs in Memory of Alice B.

Rapoport

Cynthia and Michael R. Scholl

Shaw Family Supporting Organization

Lorrayne and Steve Weiss

Susan and Bob Wislow

Premiere Circle ($15,000 – $24,99)

Anonymous

Darlene and Robert Bobb

Christine and Paul Branstad

Linda and Peter Bynoe

Gery and Sunny Chico

Cecilia Conrad and Llewellyn Miller

James and Kathleen Cowie

Paul Dykstra and Spark Cremin

John and Denise Stefan Ginascol

Mr. and Mrs. Rodney L. Goldstein

Monica and William Hughson

Patricia L. Hyde/The Komarek-Hyde-McQueen

Foundation

Wayne and Margie Janus

Linda and Peter Krivkovich

Julie and Joe Learner

Dr. Marc and Cindy Levin

Michael and Debra Liccar

Mr. and Mrs. Thomas P. Maurer

Catherine Mouly and

LeRoy T. Carlson, Jr.

104

M. Ann O’Brien

Christine and Michael Pope

J.B. and M.K. Pritzker Family Foundation

Orli and Bill Staley

Sara F. Szold

James L. and Renee L. Tyree


Dress Circle ($10,000 – $14,999)

Anonymous (2)

Mr. and Mrs. Douglas Brown

Maria Green

Bruce and Jamie Hague

Sondra and Denis Healy/

Turtle Wax, Inc.

Jeffrey W. Hesse and

Julie Conboy Hesse

David D. Hiller

Vicki and Bill Hood

The Margaret and James C. Johnson Charitable

Foundation

Joan and Rik Lewis

Amalia and William Mahoney

Donald L. Martin II

Chris and Eileen Murphy

Alexandra and John Nichols

James F. Oates

Elizabeth Raymond and Paul Hybel

Ryan Ruskin and Mike Andrews

105

Mary and Edward H. Schmitt, Jr.

Nancy and Kevin Swan

Distinguished Guarantors ($5,000 –

$9,999)

Anonymous (4)

Kristin Anderson-Schewe and Robert Schewe

Sharon and Charles Angell

Rajeev and Monika Bahri

John and Caroline Ballantine

Mary Jo and Doug Basler

María C. Bechily and Scott Hodes

Anjan Asthana and Anu Behari

Steve and Lynn Bolanowski

Ms. Jean Bramlette

Douglas R. Brown and

Rachel E. Kraft

Mary Kay and Art Bushonville

Carol and Tom Butler

Tom and Dianne Campbell

Kevin and Eliza Cole

Bob and Loretta Cooney

Brad and Becky Cosgrove

Sheryl and Dominic Curcio

Judy and Tapas K. Das Gupta

James and Nina Donnelley

Feitler Family Fund

Christine Finzer

David and Alexandra Fox

Albert and Suzanne Friedman/Friedman

Properties

Jane K. Gardner

Jonathan and Kristine Garrett

Mr. and Mrs. Alvin Golin

Sabrina and Antonio

Brenda and James Grusecki

Joseph S. Haas

Mary Kay and Ed Haben

Lynn Hauser and Neil Ross

Keith and Jodi Hebeisen

Brian L. Heckler and

Coley M. Gallagher

Kimberlee S. Herold

Leslie S. Hindman

Linda Hutson

Fruman, Marian, and Lisa Jacobson

Russell N. Johnson and Mark D. Hudson

Loretta and Allan Kaplan

Joseph B. Kastenholz and

Mary Griffin

Dietrich and Andrew Klevorn

Jean A. Klingenstein

Robert Kohl and Clark Pellett

Robert and Cheryl Kopecky


Dr. Paul M. Lisnek

Ms. Eva T. Losacco

Jim and Kay Mabie

106

Orlanda B. Mackie, M.D.

Anthony and Julianne Maggiore

Ralph and Terrie Mannel

Jane and William McMillan, Ph.D.

Ms. Iris Nicholaichuk

Katherine and Norm Olson

Ms. Abby O’Neil and

Mr. Carroll Joynes

Bruce and Younghee Ottley

Ms. Marianne J. Parrillo

Karen and Dick Pigott

Mr. and Mrs. Richard L. Pollay

Daniel Ratner Foundation

Anthony N. Riviello

Renee and Edward Ross Foundation

Lisa Walker Rudnick

Patrick and Shirley Ann Ryan

Roche Schulfer and

Mary Beth Fisher

Beth and Steven Schulwolf

Mr. and Mrs. Vincent A.F. Sergi

Mr. and Mrs. Douglas Steffen

Rebecca Ford and Don Terry

Richard and Elaine Tinberg

Anne Van Wart and Michael Keable

Patty and Dan Walsh

Dia S. and Edward S. Weil, Jr.

Sallyan Windt

Patrick and Meredith Wood-Prince

107

Maria E. Wynne

The Gene and Tita Zeffren Foundation

Neal S. Zucker

Guarantors ($2,500 – $4,999)

Anonymous (4)

Joe Abbas

Al Alt

Edgar H. Bachrach

Christine and John Bakalar

Elizabeth Balthrop

Mariterese and Pat Balthrop

C. Barbera-Brelle

Sandra Bass

Rebecca and Jonathan Berger

Maria and Robert Bernacchi

Leonard and Phyllis Berlin

Philip D. Block III and

Judith S. Block

Dr. Deborah P. Bonner

Jan Brengel

Douglas R. Brown

Sharon S. Burke, M.D.

Janette Burkhart-Miller

Peter Calibraro and Mike O’Brien

Mr. Eli H. and Mrs. Elizabeth Campbell

Catherine Cappuzzello and

David Paul

Richard and Ann Carr

108

Ms. Michele Chinsky

Donna and Mark Chudacoff

Julie Cisek and Harry L. Jones

Erin Clifford

James and Edie Cloonan

Carol and Douglas Cohen

Lorren Renee Reynolds and

Joyce R. Cohen

Marge and Lew Collens

Kay Collier

George and Janice Connell

In Memory of Dr. W. Gene Corley by Lynd

Corley

Shannon Cowsert and

Thadd Ullrich

Paul R. Cox

Mary Kate and Bob Cullen

Mr. and Mrs. James W. DeYoung

Michael Domek

Megan and Jordan Dorfman

David Dziedzic

Sidney & Sondra Berman Epstein

Ron and Judy Eshleman

Carmen Fair

Katherine G. File and Daughters

The Filer Family

Robert and Karen Fix

Jim and Yvonne Fogerty

Tom & Virginia Frattinger

109

Kate Friedlob

Denise Michelle Gamble

John and Sarah Garvey

James J. and Louise R.

Glasser Fund

Ethel and Bill Gofen

Nancy and Gordon Goodman

Chester Gougis and Shelley Ochab

Barbara Grauer

Lori Gray-Faversham

Gordon and Sarah Gregory

Joan M. Hall

Katherine Harris

Drs. Mildred and Herbert Harris

Dr. Robert A. Harris

Holly Hayes and Carl W. Stern

Ted and Dawn Helwig

Eva L. Hershman

Mrs. Sheila K. Hixon

Eugene Holland

Lou and Mary Holland

Kathy and Joe Horvath

Huber Financial Advisors

Stewart Hudnut

Segun Ishmael M.D.

Nancy Jeffrey

Andrew and Monica Johnson

Stephen H. Johnson

Anne L. Kaplan

110

Jared Kaplan

Nicholas* and Mary Ann Karris

Dr. Claudia A. Katz

Cathy and Bill Kenworthy

Omar S. Khalil

Hunter and Susan Kingsley

Shannon and Gene Kinsella

Mrs. Annette R. Kleinman

Jason and Deborah Knupp

Nancy and Sanfred Koltun

Jeff and Julie Korzenik

Chuck and Cindy Kreisl

Drs. Vinay and Raminder Kumar

Scott and Bobbi Lebin

Malcolm and Krissy MacDonald

Chris and Susan Marshall

Scott and Susan McBride

Dr. and Mrs. John P. McGee

John and Etta McKenna

Pamela G. Meyer

Ellie and Bob Meyers/

Harvey B. Levin Charitable Trust

Lee Mickus

Julie and Scott Moller

Paulette Myrie-Hodge

Suzu and David Neithercut

James and Judith Oates

Lee and Sharon Oberlander

Cathy and Bill Osborn

111

112

Robert and Catherine Parks

Penny Pritzker and Bryan Traubert

Michael A. Pruchnicki

Dave Rice Consulting

RicorsoDesign.com

Rob and Martha Rouzer

Jude Runge and Thomas Nussbaum

Bettylu and Paul Saltzman

A. Sue Samuels

Barbara and Richard Samuels

Richard and Ellen Sandor Family Foundation

Linda and Mitchell Saranow

Kenneth D. Schmidt, M.D.

Mark Schulte and Mary Holcomb

Drew Scott

Karen Seamen and Chris Schenk

Susan and Harry Seigle

Jill and Steve Smart

Marge and Larry Sondler

David and Jeni Spinney

Michael and Salme Harju Steinberg

Alberta R. Stevens

Hal S. R. Stewart

Carole David Stone

Kelly and Jami Stone

Brian and Sri Sullivan

Dan and Catherine Sullivan

Liisa Thomas and Stephen Pratt

Mr.* and Mrs. Philip L. Thomas

113

Mr. and Mrs. Richard L. Thomas

Ms. Nancy Thompson

Nancy Ali and Kulbir Thukral

Tomasik Kotin Kasserman

Mr. Brady I. Twiggs

Susan and Bob Underwood

Ms. Gloria A. Walton

Dr. David Wasserman - in memory of Abby S.

Magdovitz-Wasserman

Ms. Vanessa J. Weathersby

Polly Weiss and Robert Kasper

Christina Wolf

William Wolf and

Meredith Bluhm-Wolf

Sandy Worley and Marc Walfish

Ronald & Geri Yonover Foundation

Ms. Sandra L. Yost

Celebrity ($1,000 – $1,999)

Anonymous (6)

Drew Ahrens

Mr. and Mrs. Thomas Altholz

Carol Lynn Anderson

Kay and Michael Anderson

Mr. and Mrs. Brian S. Arbetter

Mr. Gustavo Bamberger

Ken Belcher

The Bill Bass Foundation

Andrea Billhardt

114

Lauren Blair and David Wheeler

Mr. and Mrs. Andrew K. Block

Brainard Nielsen Marketing

Amanda Bramham

Rick Brickwell

The Bromley Family

Mark and Jami Bronson

Beth Sprecher Brooks

Sue and John Brubaker

Dean L. and Rosemarie Buntrock Foundation

Shelly Burke

Mr. and Mrs. John. D. Burns

Maureen and Scott Byron

Mark Cappello

Carbonari Family Foundation

Charles Carlson

Roger and Virginia Carlson

Ms. Cecilia M. Carreon

Lamont and Paulette Change

Ahyoung Cho and James Chiu

Mr. and Mrs. Peter Coburn

C. Cwiok

The Dahlen Family

Bruce and Linda DeViller

Suzette Graff Dewey

Ms. Roberta S. Dillon

Lenny and Patricia Dominguez

Kenneth Douros

Ms. Joan Govan Downing

Allan and Ellen Drebin

Stephen and Dorne Eastwood

Richard and Gail Elden

Donald and DeAnna Elliott

Charles and Carol Emmons

Janice L. Engle

David Feiner and Maggie Popadiak

Charles Ferguson

Jim and Karen Ferguson

Fred and Sonja Fischer

Mr. Marvin E. Fletcher

Kathleen S. Fox

Rev. Mark A. Fracaro

Michael and Jean Franke

Kitty and Lee Freidheim

Jennifer Friedes and

Steven Florsheim

Kelli Garcia

Charles Gardner and Patti Eylar

James Georgantas and Family

Elizabeth Gilligan

Robert D. Graff

Heather M. Grove

Mary Hafertepe

Mirja and Ted Haffner Family Fund

Samuel and Melissa Hamood

Mrs. Louise Hart

Susan Harvey

Dorothy G. Harza

115

116

Barbara and Jim Herst

The Hickey Family Foundation

Hodge Family Fund of the DuPage Foundation

Dr. Jeronna Hopkins

Mr. Brian W. Huebner

Tex and Susan Hull

James A. Jolley, Jr. and

R. Kyle Lammlein

Ms. Aisha M. Jones

Phillip and Jo Jones

Mr. & Mrs. Bernard S. Kamine

Susan Lynn Karkomi

The John and Bette Kayse Family

Priscilla Kersten

Koldyke Family Fund

Wendy Krimins

Marybeth and Patrick Kronenwetter

Justin Kulovsek

Alice and Sheldon Kurtz

Patrick R. Lagges

Wesley, Katherine and Anthony Lee

Dave and Kris Mahon

Beatrice C. Mayer

Mr. Milan McGraw

The Edward and Lucy Minor

Family Foundation

Harold and Margaret Moe

Donald R. Monson and Ying Hsu

Gary Napadov

Jessey R. Neves

Mollie E. O’Brien

Barbara and Daniel O’Keefe

Chuck and Roxanne Osborne

Linda and Jaxon Oshita

Douglas and Judy Palmer

David S. Petrich

Philip and Myn Rootberg Foundation

Mr. Daniel Polsby

Desmond D. Pope

Thomas K. Prindable

Mr. and Mrs. Albert Pritchett

Steve and Sue Puffpaff

Alicia Reyes

Linda Johnson Rice

Carol J. Roberts

Jacquelyn and Levoyd Robinson

David Rosholt and Jill Hutchison

Mr. J. Kenneth Rosko

Ms. Jill Rostkowski

Abbie Helene Roth and

Sandra Gladstone Roth

Sandra and Earl Rusnak, Jr.

Angelique A. Sallas, Ph.D.

Cynthia M. Sargent

Allen and Janet Schwartz

Dr. Elizabeth Sengupta

Mike and Vickie Silver

Melissa and Chuck Smith

117

Ronald and Mary Ann Smith

Dr. Stuart P. Sondheimer and Bonnie Lucas

Jacqueline Spillman

118

Anne and Scott Springer

Fredric and Nikki Will Stein

Teresa Samuel and James Stewart

Liz Stiffel

Phil and Judy Stinson

Norm and Lynda Strom

Judith Sugarman

Gilbert Terlicher

Encompass Meetings

Anne and William Tobey

Rosemary and Jack Tourville

Steve Traxler

Stephen Vaughn

Stephanie Wagner and

Ian Smithdahl

Charles J. Walle, Jr.

Chester and Norma Davis Willis

Roycealee J. Wood

Richard and Mary Woods

Michael and Jennifer Zellner

Star ($500 – $999)

Anonymous (8)

Naila and Rafiq Ahmed

Nirav D. Amin

Linda and Arrie Ammons, Jr.

Robert Anderson

Mrs. Batja S. Astrachan

Jacqueline Avitia-Guzman

Backas and Feingold

Richard and Janice Bail

John and Sharon Baldwin

JoAnn Ballard

Nandi Ballard

Ms. Bonnie A. Barber

Tom and Deb Barnstable

Paul and Sylvia Bateman

Emily and Jesse Bauer

Ronald Bauer and Michael Spencer

William Baumgardt

Mr. and Mrs. James Bay

Joe Beason and Nick Dorochoff

Nancy G. Becker

Loren and Esther Berry

Lina Bertuzis

Helen and Charles Bidwell

Leigh and Henry Bienen

Nathaniel Blackman III

Mr. David Blount

Dr. Felicia R. Bohanon

Michael and Kate Bradie

Jacqueline Briggs and Eric Gidal

Robert and Joell Brightfelt

Margaret Scanlan Brown

Gertrude S. and Jon Bunge

119

Michael J. and Suzanne C. Burke

Edson and Judy Burton

Valerie Butler-Newburn

Robert and Geneva Calloway

Catherine Campise

Mary Beth and Phil Canfield

Barbara and Donato Cantalupo

Ray Capitanini

Lynn and Caitlyn Carollo

Julius Carter

Lori and Jerome Cataldo

Julie A. Clarkson

Mr. Steven B. Coker

Dr. and Mrs. Warwick Coppleson

Nancy L. Corrie

Ms. Rosemary Costello

Jarod C. Couch

Bruce and Kathie Cox

Mrs. Katherine Crouch

Morgan Crouch

Maureen and George Crowley

The Cunningham Family

Oscar and Melissa David

Felicia Davis

George and Melissa Davis

James and Carrie Davis

Nancy Dehmlow

Dave and Tracy Deno

Maha Halabi Ditsch

120

Robert and Carol Dobis

Brent Dobsch and Kathleen Kumer

Dr. and Mrs. Bruce Donenberg

Donovan Family

Mr. and Mrs. Scott and

Barbara Downing

Mr. Raymond H. Drymalski

Nneka C. Dudley

Tim and Elizabeth Dugan

Joan and John Dysart

Nancy and Edward Eichelberger

Sitaramesh Emani

George* and Sue Emmerick

Scott and June Enloe

Carol W. Evans

Mary and Bruce Feay

Thomas and Nancy Fehlner

Fay Ferguson

Ms. Joan Flashner

Deborah A. Flattery

Mr. and Mrs. Peter B. Foreman

Peter and Megene Forker

Jim and Sandy Foster

Jerry Freedman and Elizabeth Sacks

Ms. Beverly Friend

Tom and Marcia Fritz

Kathleen Frye

Lisa A. Garling

Susan and Scott Garrett

121

Barbara and Chuck Gately

Patricia Gentry

Diane and Edward Gerch

Stephanie Giometti

Samuel and Paula Golden

Mr. Eric W. Gossard

Grande Family

Ms. Cher Grant

Dianna Grant-Burke, M.D.

Burt and Patricia Greenberg

Mr. Byron L. Gregory

Craig and Debbi Griffith

Jacquelyne Grimshaw

Ms. Thomasine L. Gronkowski

Dr. and Mrs. Rolf M. Gunnar

Solomon Gutstein

Barbara and Robert Hall

Beatrice Hall

Mr. Edward Halloran

Chris and Mary Hammond

Sarah and Joel L. Handelman

Hanna Lee Style

Jill B. Hartman

Kristen Elizabeth Hayes

David A. and

Mary Alice S. Helms

Gloria and Dale Henderson

Eric and Shelley Hendrickson

Michael and Linda Hickok

122

E. Hilliard-Smith

James and Margot Hinchliff

Mary P. Hines

Drs. Stevan and Ivonne Hobfoll

Michele Hooper and

Lemuel Seabrook

Martin Horner and

Mark Jones

Lois Howe

Mr. Del Hume

William Ibe

Mr. and Mrs. Gordon Ide

Nicole A. Jackson

Kathy Janicek

Ms. Celeste A. Jensen

John Hern and Ed Jeske

Jewison Family

Ms. Arlene Johnson

Billy Johnson

Jenifer Johnson

Nancy and Carl Johnson

Sukina Johnson

Ericka Jones

Laura and Eric Jordahl

Kevin E. Jordan

JustCos Engineering

Michael and Suzanne Kahn

Ronald and Bonita Kas

Polly B. Kawalek

123

Dr. Susan A. Kecskes

Mr. and Mrs. William K. Ketchum

Kevin and Anne Kivikko

Patricia and Richard Klein

Ruth Kleinfeldt

Mr. Ira Kleinmuntz

Genevieve Koester

Chris and Juliana Kowalewski

Randy Kroszner and

David Nelson

Neal and Kathleen Kulick

Ms. Michele Kurlander

Stephanie Kushner

Mr. Gabriel A. Labovitz

Steven and Susan Larson

Ms. Patricia R. Lauber

Marsha and Sheldon Lazar

Mr. and Mrs. Peter Lederer

Ruby Burwell-Myers

Sheila Fields Leiter

Robert B. Lifton and

Carol Rosofsky

Peter Littlewood

Jim and SuAnne Lopata

Mr. Robert Luebke

Michael and Karyn Lutz Family Foundation

Attorney John Lyke

Kathleen Malone

Mr. Daniel Manoogian

124

Stephen and Susan

Bass Marcus

The Marroquin Family

John and Julie Mathias

Gerald McCarthy

Michael McCaslin

Craig A. McCaw

Edward and Ann McGrogan

Ms. Cheryl McPhilimy

Mr. Ernst Melchior

Laurens and Marilyn Mets

Ms. Karen A. Michael

Rhonda and James Mitchell

In memory of Mr. John Moore IV

Simon and Carolyn Moore

Miriam Moore-Hunter

Elizabeth Mork and

Jeremy Harper

Cathy and Frank Moroni

Rev. Calvin S. Morris, Ph.D.

Ms. Martita Mullen

Deirdre Nardi

Abraham and Avis Lee Neiman

Dr. Iris Newman

Ms. Melanie Nuby

Lawrence and Nancy O’Brien

Brian P. O’Donoghue

Christine Oliver

Thomas B. Orlando

125

Gloria Palmer-Pitts

John and Dawn Palmer

Ms. Joan L. Pantsios

Grayce Papp

Debra R. Parker

J. Patterson

Mark Pellegrino

Ms. Natalia M. Perry

Mr. Raymond Perry

Charles and Jane Petit

Laura H. Pichon

Thomas and Susan Pluss

Gary and Ann Poole

Arch Pounian

Jean Prebis

Dr. and Mrs. Richard A. Prinz

Priority Energy

V. Pristera, Jr.

Rene Prusacki

Lisa Ramsey

Barbara Rapp

Anne and Richard Raup

Dr. Mark and Mrs. Lydie Regazzi

Sandra and Ken Reid

Lisle Savings Bank

Cynthia M. Reusché

Della D. Richards

Tom and Susan Ricks

Mr. Gary Riebe

126

127

Michael and Mimi Roberts

Termaine Robertson

Dr. Paul Rockey

Beverly J. Rogers

Jean Rollins and

Thomas Helms

Rosemoor Assessments Substance Abuse/Mrs.

Norma Johnson-Giles

Sarene L. Rosen

Georgia Ross

Joseph Ross and

Jean Shutler

Drs. Howard and

Phyllis Rubin

Priscilla Ryan and

Frank Battle

Kristin M. Rylko

SafeChgo

Ms. Sharon Salveter

Ayoka Noelle Samuels

Richard and Susan Sanders

Fred and Pamela Sasser

Anthony Scannicchio

Gail Schaffner

Melissa and Nathan Schau

Anita Schausten and

Gregg Steamer

Richard and Cynthia Schilsky

Catherine and Mark Schmid

Jenny and Philip Schwartz

Donald and Victoria Scott

Mr. and Mrs. A. William Seegers

Mr. Michael P. Seng

Jeffrey P. Senkpiel

David and Judith Sensibar

Lori and Dan Shachtman

Alan Rosenfield and Maureen Shea

Renee and Michael Sichlau

Dr. and Mrs. Kenneth I. Siegel

Father Kenneth C. Simpson

Diahann Sinclair

Mr. Jed Skae

David B. and May T. Skinner Foundation

James and Mary Jo Slykas

Drs. Frank and April Smith

Mark E. Soczek

Ken Sotak and

Julie Garcia-Sotak

William and Dee Dee Spence

Van and Beth Stamos

Waymon and Cheryl Starks

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Birgit Rattenborg Wise

New Voices and New Stories: The Annual

New Stages Festival (October 28–

November 15)

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Dear Audience Member,

Each fall for the last 11 years, the Goodman’s artistic staff has had the opportunity to pull back the curtain and invite audiences to see the new projects we’ve been researching, developing and dreaming about behind the scenes. Featuring a handful of the best new plays we’ve read over the course of the last year, the annual New Stages Festival serves as a testing ground, drawing our audiences into a conversation about the works we’re considering for future seasons. New Stages also functions as a laboratory where accomplished theater artists from Chicago and around the country can experiment with new and ambitious ideas on a larger scale than many new play development processes allow.

The goal is to create a pathway for new plays to move to full productions at the Goodman and the work has paid off: each year since its inception, at least one play from New Stages has gone on to be presented as part of the

Goodman’s regular season, including this season’s Feathers and Teeth, Another Word for

Beauty, Carlyle and the special theatrical event

2666.

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Moving a new play from words on a page to full production is a labor-filled and time-intensive process. The writer often begins in isolation, but by definition a play relies on a group of collaborators–actors, designers, a director–for it to take shape. In spite of the months, sometimes years, of work that goes into the creation of a new play, playwrights often aren’t truly able to see what they’ve created until the moment the play is in front of an audience.

With this in mind, the Goodman expanded New

Stages in 2011, adding three fully staged developmental productions to its existing lineup of staged readings. These productions, which offer three weeks of rehearsal, modest production values and multiple performances, provide playwrights with all the elements of a full production without some of the pressures of a world premiere–such as the scrutiny of critics.

This year’s plays are wildly ambitious in terms of the scope of stories being told and the theatrical language used to tell them. Full descriptions of the New Stages developmental productions and staged readings follow on the next pages. Remember, tickets to all New

Stages readings and productions are free. We hope to see you at the theater, where you will

152 be among the first to see these compelling new stories and take part in the conversation about the future of American theater.

Sincerely,

Tanya Palmer

Director of New Play Development

Mother Road (Developmental production) by Octavio SOlis directed by Juliette Carrillo

October 28 – November 14

Originally commissioned by the National

Steinbeck Center, Octavio Solis’ Mother Road is inspired by John Steinbeck’s Depression-era masterpiece The Grapes of Wrath. Steinbeck’s novel depicts the Joad family’s journey from

Oklahoma to California in search of work after they were drove from their home by drought and economic hardship.

Set in the present day, Mother Road serves as a reimagining of Steinbeck’s work. In the play, we meet farmer William Joad, the last remaining member of a branch of the Joad family who stayed behind in Oklahoma. He fought to hold on to the family farm, and now,

153 old and childless, William has no kin left to whom he can pass down the land. He hires a private detective in hopes of finding another surviving member of the Joad clan. The detective proves successful, but the man he finds is not who William expected.

Enter Martín Jodes, a young Mexican American man descended from Steinbeck’s protagonist,

Tom Joad. Tom ran off to Mexico, where he raised a family; some of his descendants, including Martín’s mother, returned to

California in search of work. And so William

Joad meets Martín Jodes in Weedpatch,

California, once the government work camp site where Tom Joad and other laborers found work and shelter during the Depression. Now, that same town is home to migrant farm laborers arriving from across the southern border—facing many of the same economic hardships, exploitive work conditions and systemic prejudice that Joad and his fellow

Okies faced when they migrated to California over 80 years ago.

What follows is a journey like the one the

Joads embarked on in The Grapes of Wrath.

Rendered with a combination of mythic theatricality, precisely observed naturalism and

154 raucous humor, Solis’ revisionist look at this quintessentially American story reveals a country that is both changed and unchanged, where the land and its people continue to be in peril, but where home and family can mean safety and survival.

Objects in the Mirror (Developmental production) by Charles Smith directed by Chuck Smith

October 30 – November 15

In 2009, playwright Charles Smith traveled to

Adelaide, Australia, to see a production of his play Free Man of Color. The production featured a young Liberian actor named

Shedrick Yarkpie in the title role. Impressed by

Shedrick’s talent and intrigued by his life story,

Smith got to know the actor and learned about his tumultuous journey from war-torn Liberia, through a number of refugee camps in Western

Africa, before his final relocation to Australia.

Shedrick came of age during the bloody rule of

Charles Taylor, an American-educated freedom fighter turned warlord who served as president of Liberia from 1997 to 2002, during which

155 time he ran the country as a personal fiefdom, looting its resources and instigating rebellion across the region. Opposition to his rule culminated in the outbreak of a civil war that lasted from 1999 to 2003, a conflict marked by its unprecedented use of child soldiers, most of whom were between the ages of eight and 10.

It was from this environment that the young

Shedrick escaped with his uncle John, moving from refugee camp to refugee camp in hopes of finding their names on a list of those shortlisted for relocation to the United States.

Along the way, Shedrick lost family members to war and disease—and when his dead cousin

Zaza’s name appeared on a list of refugees granted asylum in Australia, Shedrick took on his late relative’s identity in order to gain a new home and life.

He arrived safely in Adelaide, but Shedrick

Yarkpie had vanished in the rearview mirror, leaving Zaza Workolo in his place. Shedrick lost his country, childhood, family and own name. He’s haunted by the ghost of the cousin and can’t relinquish the person he used to be.

Smith, reunited here with longtime collaborator and Goodman Resident Director Chuck Smith, chronicles Shedrick’s quest to recover his

sense of self in this moving new play about

156 hope, memory and survival.

King of the Yees (Developmental production) by Lauren Yee directed by Joshua K. Brody

November 1 – 15

Visit any Chinatown in America and you will likely find a small sign posted over an inconspicuous door with this family name character: 余

The Yee Fung Toy (the Yee Family Association) originated in 1886 when Yee clansmen immigrated to America during construction of the First Transcontinental Railroad. The men created the association to establish a gathering space for celebrations and social services like medical care and funerals. Since that time, Yee

Family Associations have sprung up around the country and world. Only male Yees can join the association and all business is conducted in

Cantonese. Larry Yee of San Francisco is one of the grand elders of the national organization. His daughter, Lauren Yee, is a playwright whose new play King of the Yees explores the world of her father, dying

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Chinatowns and how we honor the lineage of our families when that lineage is hundreds of years in the past and thousands of miles away.

In King of the Yees, Lauren takes us down a rabbit hole into the imagined streets of San

Francisco’s Chinatown, introducing us to characters at the same time foreign and familiar, racing through time and space to find her now-missing father.

Lauren is also a character in her own play. In the midst of King of the Yees, while Lauren is still writing the play, she assembles a team of actors on stage to play herself, her father, disgraced state senator Leland Yee, stylish criminal Raymond “Shrimp Boy” Chow and the

1,000 year-old Revered Yee Chung-Sheung, among others.

Bitingly hilarious and heartbreakingly honest,

King of the Yees presents a shockingly funny and confusing world similar and true to our own. King of the Yees leaps across cultural and national borders to examine just how much of ourselves comprises our own identities and how much is influenced by what our family wants us to be.

158

Lady in Denmark (Staged reading) by Dael Orlandersmith directed by Chay Yew

Saturday, November 14, at 10:30am

Owen Theatre

In this one-woman show, Obie Award winner and Pulitzer Prize finalist Dael Orlandersmith takes us through the life of Helene, a Danish

American woman who, in the wake of her husband’s death, finds solace in the music of

Billie Holiday. Known for her darkly poetic style and piercing insight into human psychology,

Orlandersmith weaves a narrative that explores jazz, family and the end of life.

The Amateurs (Staged reading) by Jordan Harrison directed by Oliver Butler

Saturday, November 14, at 2pm

Owen Theatre

Mr. Larking is God. Or at least he’s playing God in a 14th century production of the story of

Noah’s flood. As his co-stars prepare to perform for the Duke, the crew is plagued by deadlines, a fear of the Black Death (which

159 already claimed one of the leads) and a secret that could divide them all. The Amateurs is a comic tale of plagues, purpose and finding your voice in the moment.

Rödvinsvänster (Red-Wine Leftists): 1977

(Staged reading) by Rebecca Gilman directed by Wendy C. Goldberg

Sunday, November 15, at 10:30am

Owen Theatre

Kyle, an auto worker from Reynolds,

Wisconsin, has been chosen by his union to travel to socialist Sweden to see how Volvo has reimagined the assembly line for its workers.

The play is part of a trilogy from Goodman

Theatre Artistic Collective member Rebecca

Gilman that also includes Soups, Stews, and

Casseroles: 1976, which will be produced in the Owen Theatre this spring.

Public Events

Want to learn more about what inspires the work on our stages? Take advantage of these

160 events to enrich your Goodman Theatre experience.

Artist Encounter: Feathers and Teeth

Sunday, September 27 | 5–6pm

Polk Rehearsal Room

Join Feathers and Teeth’s playwright Charise

Castro Smith and director Henry Godinez for an in-depth conversation about the play.

Tickets are $5 for the general public, FREE for

Subscribers, Donors and students.

Playbacks: Feathers and Teeth

Owen Theatre

Following each Wednesday and Thursday evening performance of Feathers and Teeth, patrons are invited to join us for a post-show discussion about the play with members of the

Goodman’s artistic staff. FREE.

Accessibility Performances of Feathers

and Teeth:

ASL-Signed Performance

October 7 | 7:30pm

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Audio-Described Performance

October 11 | 2pm

Touch tour at 12:30pm

Open-Captioned Performance

October 18 | 2pm

GoodmanTheatre.org/Access

Dive into Goodman Theatre’s History at a

New Exhibit at the Newberry Library!

Stagestruck City: Chicago’s Theater:

Tradition and the Birth of the Goodman

September 18 – December 31

The Smith Gallery in the Newberry Library

60 W. Walton St.

FREE and open to the public

This fall, the Newberry Library presents an exhibition entitled Stagestruck City: Chicago’s

Theater Tradition and the Birth of the

Goodman, which explores the founding of the

Goodman within the context of more than 60 years of a robust and ever-changing Chicago theater scene. Colorful programs and posters offer a glimpse of the city’s late 19 th and early

20 th century theater, and letters, scripts and photographs shed light on the life of Kenneth

Sawyer Goodman,

162 the Chicago businessman/playwright after whom the theater was named in 1925.

For more information please visit

Newberry.org/Stagestruck-City

Curator-led Exhibition Tours:

September 29, 6pm

November 12, 6pm

December 12, 11am

JOIN THE PREMIERE SOCIETY: SUPPORT

GOODMAN THEATRE’S PRODUCTIONS AND

PROGRAMS

Goodman Theatre has won international renown for the quality of its productions, the depth and diversity of its artistic leadership and the excellence of its many education and community programs.

As a not-for-profit, the Goodman cannot sustain its standard of excellence on ticket sales alone. By providing additional financial support, our donors help keep our stages full of thought-provoking productions, support our free education and community programming and champion the theater’s commitment to developing new plays.

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Premiere Society members enjoy the definitive theatergoing experience, including Premiere Concierge services, opportunities to meet artists and attend VIP events with behind-the-scenes access at the theater.

For more information, visit

GoodmanTheate.org/Support, call

312.443.3811 ext. 220 or email

Development@GoodmanTheatre.org

.

Engaging Communities. Expanding Minds.:

The Alice B. Rapoport Center for Education and Engagement at Goodman Theatre

Opening Early 2016

The new Center will offer nationally renowned, arts-centered programs for Chicago teachers, students and lifelong learners. These

immersive and illuminating programs will impact thousands of individuals through the transformative power of theater. Working in active collaboration with educators and other community partners, we aspire to create a home for all. Please join us.

To learn more about the Alice B. Rapoport

Center for Education and Engagement visit GoodmanTheatre.org/Center or call

312.443.3811 ext. 597.

164

Exploring Identity with Students and

Youth Artists at the Goodman

By Teresa Rende

“You made him see that gap. Between what he was assuming about you, and what you really are,” Emily says to her husband, Amir, in the first scene of Disgraced, the opening production of the

Goodman’s 2015/2016 Season. The couple is recounting a recent experience in which a waiter made racist assumptions about Amir, and the speed with which those assumptions were upended once Amir spoke. This gap, between what others assume about us and who we really are, is a divide which Goodman

Education and Community Engagement is particularly curious to explore.

Each summer we have the joy of welcoming 80 students from across Chicagoland into

Goodman Theatre’s PlayBuild Youth Intensive, our six-week program for 14-to-18-year-olds.

165

PlayBuild is designed to validate the voices of its participants and inspire them to examine their own potential for creativity through storytelling techniques. The program culminates in a public presentation of an original performance conceived and executed by the participants. In light of the 10 th anniversary of Hurricane Katrina, and the unrest facing our nation in recent years in the wake of deaths of men of color such as

Trayvon Martin, Michael Brown and Freddie

Grey, the young artists of PlayBuild 2015 spent the summer investigating image and identity. Their performance was built around the central metaphor of water, an element capable of providing life and taking it away.

The stories shared during PlayBuild forced each of us to consider our true selves and the biases that may shape our perception of those we encounter every day.

We are excited to carry this crucial investigation of identity into the 2015/2016

Student Subscription Series (SSS), during which Goodman education staff will work with teachers to design lesson plans to enhance their theatergoing experience. This season,

SSS students will attend performances of

Disgraced, A Christmas Carol, Another Word

for Beauty, Carlyle and The Sign in Sidney

Brustein’s Window. Each of these works uniquely explores the self that we are now,

166 expected to be and hope to become. They also ask us to examine how we manage our professional, religious and familial relationships when opinions don’t align. Are we beholden to something greater than ourselves? Who has the right to define beauty, and when and where we can experience it? What are the ethics of representation and who governs them? How is the self manipulated in social and mass media, and is our reputation a reflection of action or opinion?

In PlayBuild Youth Intensive’s culminating performance, The Water is Rising, the ensemble asked themselves and their audience, “Who am I? Who was I yesterday, who will I be tomorrow and how do I make the world better for those who come next?” While the 80 artists of The Water is Rising started this investigation with Goodman Education and

Community Engagement this summer, we cannot wait to continue exploring identity throughout the 2015/2016 school year with the

2,800 Chicago public high school students who will join us for these productions.

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COMING SOON

Bah Humbug! Holiday Shows:

Goodman Theatre’s 38 th annual production of A Christmas Carol

November 14 – December 27 | Albert Theatre

Presented in Partnership with The Second

City

Twist Your Dickens

December 4 – December 27 | Owen

Theatre

Visit GoodmanTheatre.org for more information

New Stages Festival

October 28 – November 15 | Owen

Theatre

New Stages is a celebration of innovative new works designed to give playwrights an opportunity to take risks and experiment.

Chicago audiences get a first look at these new plays, many of which go on to become successful full productions. New Stages productions are FREE.

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January 16 – February 21, 2016 | Albert

Theatre

Another Word for Beauty by JOSÉ RIVERA | music by HÉCTOR

BUITRAGO directed by Steve Cosson

Each year the female inmates at a Bogotá,

Colombia, prison compete in a beauty pageant intended by their jailers to motivate and rehabilitate them. Inspired by true events,

Another Word for Beauty is a haunting and soulful examination of women trapped within a prison’s walls and the events and circumstances that led to their arrests.

On Stage Now

September 12 – October 18 | ALBERT

Theatre

Disgraced by Ayad Akhtar directed by Kimberly Senior

Amir Kapoor has turned his back on his upbringing in pursuit of the American dream— he’s married to a beautiful woman, lives in a luxurious Manhattan apartment and is eyeing a lucrative promotion at his powerful law firm.

But when Amir hosts a dinner party for his

African American co-worker and her Jewish husband, the initially pleasant evening

169 explodes into a volatile argument over race, religion and class in the modern world.

Einerman, Julie Massey, Michael Mellini, Tanya

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