orlando - profile theatre

AT THE PERFORMANCE

PROFILE THEATRE ORLANDO | P1

Orlando .............................................................................................................. Beth ThompsonChorus ..................................................................................................................Crystal MuñozChorus ..................................................................................................................Ben Newman*Chorus ..................................................................................................................... Ted Rooney*Chorus ........................................................................................................... Elizabeth Rothan*

Scenic Design ......................................................................................................... Tal SandersLighting Design ..........................................................................................................Carl FaberCostume Design...................................................................................................Alison HeryerSound Design ........................................................................................................Em GustasonProps Design ....................................................................................................Drew DannhornStage Manager.................................................................................................. D Westerholm*Production Assistant ..........................................................................................Ross Jackson

CAST

DESIGNERS & PRODUCTION

BY SARAH RUHL

Profile Theatre Presents

DIRECTED BY MATTHEW B. ZREBSKI

Orlando (Sarah Ruhl) is presented by special arrangement with Samuel French, Inc.

THIS SEASON IS FUNDED IN PART BY

VIDEO AND/OR AUDIO RECORDING OF THIS PERFORMANCE BY ANY MEANS WHATSOEVER IS STRICTLY PROHIBITED.

*Member of Actors’ Equity Association, the professional union of actors and stage managers.

RUN TIME IS APPROXIMATELY TWO HOURS WITH ONE FIFTEEN MINUTE INTERMISSION.

ADAPTED FROM THE NOVEL BY VIRGINIA WOOLF

Profile Theatre is a member of Theatre Communications Group (TCG), the national organization for the American theatre.

P2 | PROFILE THEATRE ORLANDO

We say it all the time. WHAT MASK AM I WEARING TODAY?

ABOUT SARAH RUHLSarah Ruhl’s plays include The Oldest Boy; In the Next Room, or the vibrator play; The Clean House; Passion Play; Dead Man’s Cell Phone; Melancholy Play; Eurydice; Orlando; Late: a cowboy song, Dear Elizabeth and Stage Kiss. She is a two-time Pulitzer prize finalist and a Tony award nominee. Her plays have been produced on Broadway at the Lyceum by Lincoln Center Theater, off-Broadway at Playwrights’ Horizons, Second Stage, and at Lincoln Center’s Mitzi Newhouse Theater. Her plays have been produced regionally all over the country, often with premiers at Yale Repertory Theater, Berkeley Repertory Theater, the Goodman Theater, and the Piven Theatre Workshop in Chicago. In 2014 she was

the second most produced playwright in the country. Her plays have also been produced internationally and have been translated into over twelve languages. Originally from Chicago, Ms. Ruhl received her M.F.A. from Brown University where she studied with Paula Vogel. She has received the Susan Smith Blackburn award, the Whiting award, the Lily Award, a PEN award for mid-career playwrights, and the MacArthur “genius” award. You can read more about her work at www.SarahRuhlplaywright.com. Her book of essays 100 Essays I Don’t Have Time to Write was published by Faber and Faber last fall. She teaches at the Yale School of Drama. She lives in Brooklyn with her family.

She bridges the vast and the life-sized, the straightforward and the artful, the lyrical and the starkly dramatic.

Countless academics and literary scholars have contemplated Virginia Woolf ’s phantasmagoric satire on gender…looking through the lens of history…the way each era shines on a man or woman…illuminating that fundamental power struggle that seems to rest in the bones of humans. And what has always struck me about this vigorous story—both in Woolf ’s original and now Sarah Ruhl’s inventive, theatrical rendering—is that it elevates so far above a “man vs. woman” dynamic. It also dares to bring a hammer down on cisgender culture, perhaps cracking open our perceptions of ourselves, helping us to embrace that, in fact, we are not as divided as we want to believe, that within each of us lies both woman and man, a potential union that yields the greatest empathy for it opens our senses to all in the world.

In the big picture, and politically, those are the issues I consider as I dive into this fantastical setting. But, this is also about an individual. A person named Orlando. It is personal. And it’s always in the intimate story that the most powerful questions lie. As I witness this person struggle and celebrate through hundreds of years, in so many forms and in so many roles, I ask: what is the mask?

We say it all the time. “What mask am I wearing today?”

DIRECTOR’S NOTES BY MATTHEW B. ZREBSKIOr perhaps we use the term “hat.” We talk about the myriad roles we must endure to get through our lives. And I consider: when do we wear the mask to hide? When do we wear the mask to assimilate? And when do we stumble upon the mask that, in that moment, projects our actual truth. Of course, I suspect all three are happening simultaneously, in rapid succession. Orlando is doing it at every turn, showing us the desperate search to discover acceptance from others and from self amidst

the constructed social norms—all to soothe an inherent loneliness.

That process of discovery is like being inside an ever changing painting, inside a

blank canvas where the splatters of color decorate and then quickly evaporate. That process of discovery is like being inside an ever changing symphony, inside a silence where fragments of melody puncture the void and then quickly fade. That process of discovery is like being inside an ever changing costume, inside a dress form where vibrant threads of fabric cover and then quickly unravel.

But finally…that process of discovery? It isn’t like anything. It is being inside our skin. Naked. In every sense. Completely exposed. Completely vulnerable. It is a remembering. Born whole. All things. Not alone. And inside the chaos of time, remembering that.


By Natalie Genter-Gilmore

Profile Theatre’s In Dialogue program offers our audiences and community the opportunity to engage with the work, the themes and the aesthetic of our featured writer through a broad, vibrant and ever changing series of events and presentations. Join us before or after performances of Orlando. All events are free and open to the public, unless otherwise noted.

Opening Night ReceptionSATURDAY, NOVEMBER 7TH | POST-SHOW

Mat Chat with Orlando director Matthew B. Zrebski SUNDAY, NOVEMBER 8TH | POST-SHOW

Dinner Dialogue (Additional Tickets Required) THURSDAY, NOVEMBER 12TH 5:15PM GRACIE’S RESTAURANT

World of Woolf: A Series of Readings FRIDAY, NOVEMBER 13TH | 6:45PM

The Work of Sarah Ruhl Lecture with Professor Karin Magaldi SATURDAY, NOVEMBER 14TH | 6:45PM

Mat Chat with the Orlando cast SUNDAY, NOVEMBER 15TH | POST-SHOW

45th Parallel Chamber Music Our year-long collaboration concludes with two performances of a specially curated concert inspired by Orlando.WEDNESDAY, NOVEMBER 18TH | 6:45PM THURSDAY, NOVEMBER 19TH | 6:45PM

Adapting Orlando for the Stage Lecture with Gemma WhelanFRIDAY, NOVEMBER 20TH | 6:45PM

The Life of Virginia Woolf Lecture with Kathleen WorleySATURDAY, NOVEMBER 21ST | 6:45PM

Virginia Woolf and Vita Sackville-West met at a dinner party in 1923. For almost two decades, they sparked in each other love, friendship and literary inspiration. Though open homosexual relationships were virtually unheard of in the era, Vita and Virginia were part of a daring and experimental social circle of intellectuals and writers that embraced unconventional relationships. Both women were married, and yet carried on their passionate love affair for many years.

Throughout their relationship both women were writing prolifically, and producing some of their best work. Woolf completed To the Lighthouse, Mrs. Dalloway, Orlando and A Room of One’s Own. Sackville-West published All Passion Spent and The Edwardians among many others. Both served as critic and supporter of each other’s work. Vita writes in a letter, “I shall work so hard, partly to please you, partly to please myself. It is quite true that you have had infinitely more influence on me intellectually than anyone, and for this alone I adore you.” Hogarth Press, the publishing company Virginia owned with her husband, even published several of Vita’s novels.

Vita’s husband, Harold Nicolson, often worked as a diplomat so the couple was frequently abroad. Vita and Virginia wrote lengthy, affectionate letters during these separations. Vita wrote, “...there is at the back of my mind all the time...a glow, a sort of nebula, which only when I examine it hardens into shape; as soon as I think of something else it dissolves again, remaining there like a sun through a fog, and I have to reach out for it again, take it in my hands and feel it’s contours: then it hardens. Virginia is coming on Saturday.”

The two maintained this relationship for many years. Though they often quarreled about Vita’s perceived infidelity, Virginia wrote to Vita, “Never do I leave you without thinking its for the last time. Since I am always certain you’ll be off and on with another next Thursday week…” Indeed, the character of Orlando reflects Vita’s many romances and lack of fidelity. These tensions took their toll, and the love affair cooled in the early 1930s. However Vita and Virginia remained close friends and were in touch until Virginia died in 1941.

VITA AND VIRGINIA

The effect of Vita on Virginia is all contained in Orlando, the longest and most charming love letter in literature, in which she explores Vita, weaves her in and out of the centuries, tosses her from one sex to the other, plays with her, dresses her in furs, lace and emeralds, teases her, flirts with her, drops a veil of mist around her.

–Nigel Nicolson, son of Vita Sackville-West

Virginia and Vita in 1932


TV: Grimm. Ben is an instructor at Portland Actors Conservatory, and has directed in Israel and the University of Northern Colorado. BA University of Northern Colorado. MFA University of Missouri-Kansas City.

TED ROONEYChorusThanks to Profile Theatre, Ted is making his first appearance in a fully staged play in Portland since he was Launce

in Two Gentlemen of Verona at Lewis & Clark College in 1984. Regional Theatres: Ahmanson, Williamstown, The McCarter, The Wilma, The Arden, Portland Stage, Idaho Shakespeare. 10 off-off Broadway credits and 10 with The Actors Co-op (LA): Uncle Vanya, The Foreigner, Man of La Mancha, Terra Nova, Damn Yankees, and Twelfth Night. Ted has 35 TV guest-star credits, over 20 principal film roles and over 35 commercials. MFA from Temple University.

ELIZABETH ROTHANChorusElizabeth Rothan has dedicated her life to the performing arts as actor, playwright, director, producer and teacher.

She has worked with playwrights Mark Medoff in The Gulf War Chronicle, Meline Marnich in Quake and Mac Wellman in Two September. Regional credits include: Mrs. Warren’s Profession, Retreat from Moscow, Dixie Swim Club, Be Aggressive, and the role of Simone de Beauvoir in Transatlantic Liaison at the Harold Clurman Theater in NYC. Elizabeth has taught diverse acting disciplines at Eugene O’Neill’s National Theater Institute, University of Portland, Linfield College, and is currently teaching at Portland Actors Conservatory. Upcoming directing credits include Midsummer Night’s Dream at PAC (December, 2015) and Andrea Stolowitz’s Successful Strategies (June, 2016) at Theater 33.

BETH THOMPSONOrlandoBeth Thompson is a performer, teacher and maker of new works. She was last seen in Profile’s In the Next Room…

playing Annie. She is deeply grateful to Virginia, Vita and Sarah Ruhl for Orlando’s challenging, fluid, luminescent Truth and the opportunity to play in it. Portland is Beth’s home and here she collaborates with Shaking the Tree Theatre, Many Hats Collaborations, The Forgery, Theatre Vertigo, Portland Playhouse, PCS’s JAW Festival, Action/Adventure, and Oregon Children’s Theatre. www.bethjthompson.com

CRYSTAL MUÑOZChorusCrystal is excited to return to Profile, having last appeared as Consuela in Eyes for Consuela. Favorite Portland credits include

Twelfth Night (Portland Shakespeare Project), A Pigeon and a Boy and The Ministry of Special Cases (JTC’s Page2Stage), The Huntsmen (Portland Playhouse), Kiss of the Spider Woman (triangle productions), and Hamlet (Anon It Moves). Crystal is also a 2013 Drammy winner (Matilde in The Clean House, Lunacy Stageworks).

BEN NEWMANChorusPortland stage credits include: Middletown at Third Rail Repertory Theatre, CoHo Summerfest, Blood

Knot and True West at Profile Theatre, Promising Playwrights/Visions to Voices at Portland Center Stage. New York: High Plains (A Western Myth) at Jimmy’s No. 43 and Edinburgh Fringe Festival ‘13, The Town of No One at NY Fringe ‘11, Henry VI, Part III with Classic Stage Company, Romeo and Juliet at Columbia Stages, One Flew Over the Cuckoo’s Nest with Wide Eyed Productions. Regional: Kansas City Repertory Theatre, Denver Center Theatre, Kansas City Actors Theatre, Riverside Shakespeare Festival.

MATTHEW B. ZREBSKIDirectorA founding member of Playwrights West, Matthew B. Zrebski is a multi-award winning director, playwright, composer, script consultant, teaching artist, and producer whose career has been defined by new play development and innovative productions of classic stories. Recent directing credits include Up the Fall (PHAME), Bob: A Life in 5 Acts (Theatre Vertigo; Drammy Award, Best Director), The Sweatermakers (Playwrights West), The Giver (OCT) and Ablaze (Staged!). He serves as the Resident Teaching Artist at Portland Center Stage and holds a BFA in Theatre from the Meadows School of the Arts at Southern Methodist University.

TAL SANDERSScenic DesignTal is an Assistant Professor of Theatre and Dance at Pacific University. He is a member of the United Scenic Artists, and has designed lighting and scenery for many aspects of entertainment including: theatre, film, television, theme parks, concert stages, cruise ships, mall décor and zoos. He previously designed for the Neil Simon season at Profile Theatre. Tal holds an MFA from CalArts.

CARL FABERLighting DesignRecent lighting design credits include: Dead Man’s Cell Phone and Eyes for Consuela (Profile Theatre), 4000 Miles and The Price (Artists Rep), Mary Poppins (NWCT, PAMTA nomination), Trouble in Mind (Arena Stage), Wilderness (Uferstudios, Berlin), The Experiment (Boston ICA), Brother Brother (Theater Freiburg). Founding Member and Resident Designer for NYC-based immersive theater company Woodshed Collective. Touring: Bon Iver, The National. Grounds Lighting Designer: Eaux Claires Music Festival. Lighting Supervisor: Williamstown Theatre Festival ‘08–‘09. Broadway Associate/Assistant: The Book of Mormon, Bloody Bloody Andrew Jackson, August: Osage County. Education: Catlin Gabel, Vassar College. www.carlfaber.com.

CAST & CREATIVE TEAM


ALISON HERYERCostume DesignAlison Heryer is a designer for theatre film and print. Her work as a costume designer includes productions at Steppenwolf Theatre, The New Victory Theatre, Portland Center Stage, Kansas City Repertory Theatre, ZACH Theatre, Redmoon Theater and La MaMa. Recent awards include the Austin Critics Table Award for Costume Design and the ArtsKC Inspiration Grant. Heryer holds an MFA in Theatrical Design from the University of Texas at Austin and is a member of United Scenic Artists. She is currently the Assistant Professor of Costume Design in the School of Theatre + Film at Portland State University.

EM GUSTASONSound DesignEm is delighted to be making his Profile debut with this amazing show and team of collaborators. He has recently been recognized at the Drammys for his work on The Sweatermakers, for which he won Outstanding Sound Design. He has worked around town with companies including Coho, Playwright’s West, OCT, Third Rail, PCS and most recently Portland Playhouse. He holds a BA in technical theatre and audio recording from The Evergreen State College.

DREW DANNHORNProps DesignDrew is an artist, tinkerer and dreamer. He is a Drammy Award winning prop designer (The Giver) who has been involved in more than a hundred local productions. Other prop credits include: Third Rail Repertory, Portland Center Stage, Oregon Children’s Theatre, Mount Hood Repertory, Hand2Mouth Theatre, Bag & Baggage, Broadway Rose, and Gypsy Films. Drew is a graduate of Northwestern University’s theatre school and a former student of The Actor’s Gymnasium.

D WESTERHOLMStage ManagerPortland Stage Management credits: Fall Festival: Passion Play; In the Next Room, or the vibrator play; Dead Man’s Cell Phone; True West; Festival of One Acts; Buried Child; Eyes for Consuela; The Road to Mecca (Profile Theatre); The Price (Artists Repertory Theatre); The Light in the Piazza (Portland Playhouse). Oregon Shakespeare Festival, non-equity Assistant Stage Manager: The Unfortunates (2013), A Midsummer Night’s Dream (2013), Troilus and Cressida (2012), The Very Merry Wives of Windsor, Iowa (2012), Julius Caesar (2011), The African Company Presents Richard III (2011). BA in Theatre Management from Western Washington University, MFA in Stage Management from Columbia University.

ROSS JACKSONProduction AssistantRoss assisted on True West, Inside Out Tour and Festival of One Acts with Profile. Ross also recently stage managed the tour of The Lady Onstage. Other recent credits include; The International and UCI’s Coast-to-Coast Showcase (Playwright’s Horizons), The Anarchist Girl (New Musicals Inc.), and several productions with the University of California, Irvine from which he holds his Master of Fine Arts degree. This summer, Ross had the pleasure of working as the Stage Management Intern for Wicked on Broadway.

CAST & CREATIVE TEAMProfile Theatre was founded in 1997 with the mission of celebrating the playwright’s contribution to live theatre. Profile’s mission is to produce

a season of plays devoted to a single playwright, engaging with our community to explore that writer’s vision and influence on theatre and the world at large. Since its founding by Jane Unger, Profile has grown to be one of the most well-regarded theatres in Portland, with a reputation of bringing intelligence, excellence and passion to the stage.

2015 Sarah Ruhl

2014 Sam Shepard

2012–2013 Athol Fugard

2011–2012 15th Anniversary Season

2010–2011 Lee Blessing

2009–2010 Horton Foote

2008–2009 Neil Simon

2007–2008 John Guare

2006–2007 Wendy Wasserstein

2005–2006 Lanford Wilson

2004–2005 Terrence McNally

2003–2004 Romulus Linney

2002–2003 Edward Albee

2001–2002 Harold Pinter

2000–2001 Arthur Miller

1999–2000 Constance Congdon

1998–1999 Tennessee Williams

1997–1998 Arthur Kopit

Actors’ Equity Association (AEA), founded in 1913, represents more than 49,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefits, including health and pension plans. AEA is a member of the AFL-CIO, and is affiliated with FIA, an international organization of performing arts unions. The Equity emblem is our mark of excellence.www.actorsequity.org


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THANK YOU TO OUR GENEROUS DONORS This list acknowledges gifts given between October 1, 2014 and September 30, 2015.


BOARD OF DIRECTORS

RESOURCE COUNCILLue DouthitErika GeorgeLeslie JohnsonMike LindbergLen MagazineSusan Magazine

Patrick StupekGeorge ThornJane Unger, Founding Artistic Director Julie VigelandPriscilla Bernard Wieden

Steve Young, ChairRichard BradspiesPaul DudenLinda Jensen

Margaret McKayMary SimeoneMelissa Stewart

STAFFAdriana Baer, Artistic DirectorMatthew Jones, Managing DirectorLauren Bloom Hanover, Director of Education & Community EngagementPaul Jacobs, General ManagerNatalie Genter-Gilmore, Marketing & Communications ManagerD Westerholm, Patron Information ManagerJillian Gibson, Artistic Associate

PROFILE THEATRE WAS FOUNDED IN 1997. EACH SEASON, PROFILE THEATRE EXPLORES THE VISION AND PERSPECTIVE OF A SINGLE PLAYWRIGHT.

WEB PROFILETHEATRE.ORG PHONE 503.242.0080 EMAIL [email protected]

PRODUCTION MANAGERD Westerholm

MASTER ELECTRICIANRuth Nardecchia

DIRECTING OBSERVERGavin Knittle

INTERNSLeah Siegel, Stage Management

Stormy Candido, Costumes

Soren Gillaspy, Dramaturgy

Marissa Ramirez, Community Engagement and Marketing

ASL INTERPRETERSDot Hearn Rich Hall

DIALECT COACHKarl Hanover

FOR THIS PRODUCTION

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MAGIC

BE A PROFILE INTERN! Profile Theatre’s internship program is unique in its structure and its breadth of opportunity. An internship with Profile is entirely project

based, giving our interns the chance to be a crucial part of the artistic and/or administrative team, while being provided with the guidance and supervision of a member of Profile’s staff. We are now accepting intern applications for the 2016 season. Intern in any of the following areas:

Design (Scenic, Lighting, Props, Costumes, Sound), Stage Management, Artistic Producing/Artistic Direction, Dramaturgy, Education,

Development/Audience Engagement and Marketing

To learn more contact Director of Education & Community Engagement Lauren Hanover at [email protected].

2016 SEASONTANYA BARFIELD

THE CALL[ 2.4.16 – 2.21.16 ]

BLUE DOOR[ 4.7.16 – 4.24.16 ]

FALL FESTIVAL: ANTIGONE PROJECT[ 9.7.16 – 9.11.16 ]

BRIGHT HALF LIFE[ 10.27.16 – 11.13.16 ]

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orlando - profile theatre

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