Download Vanya and Sonia and Masha and Spike

PORTLANDCENTERSTAGE
Presents
Vanya and Sonia and
Masha and Spike
By Christopher Durang
Directed by Rose Riordan
January 10 – February 8, 2015
Artistic Director | Chris Coleman
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PORTLANDCENTERSTAGE
Presents
Vanya and Sonia and Masha and Spike
By Christopher Durang
DIRECTED BY ROSE RIORDAN
Scenic and Lighting
Designer Daniel
Meeker
Costume Designer
Mike Floyd
Sound Designer
Casi Pacilio
Composer
Jana Crenshaw
Stage Manager
Kelsey Daye Lutz
Production Assistant
Stephen Kriz Gardner
Casting
Rose Riordan and Brandon Woolley
Hirschhorn, Joan Raffe/Jhett Tolentino, Martin Platt & David
Elliot, Pat Flicker Addiss, Catherine Adler, John O’Boyle,
Joshua Goodman, Jamie deRoy/Richard Winkler, Cricket
Hooper, Jiranek/Michael Palitz, Mark S. Golub & David S.
Golub, Radio Mouse Entertainment, Shawdowcatcher
Entertainment, Mary Cossette/Barbara Manocherian, Megan
Savage/Meredith Lynsey Schade, Hugh Hysell/Richard Jordan,
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Cheryl Wiesenfeld/Ron Simons, S.D. Wagner, John Johnson in
association with McCarter Theater Center and Lincoln Center
Theater.
Originally commissioned and produced by McCarter Center
Theater, Princeton, N.J., Emily Mann, Artistic Director;
Timothy J. Shields, Managing Director; Mara Isaacs, Producing
Director; and produced by Lincoln Center Theater, New York
City under the direction of Andre Bishop and Bernard Gersten in
2012.
Vanya and Sonia and Masha and Spike is presented by special
arrangement with Dramatists Play Service, Inc., New York.
“Here Comes the Sun”
Written by George Harrison
Published by Harrisongs, Ltd. (ASCAP)
Used by permission. All rights reserved.
Performed with one intermission.
The videotaping or other video or audio recording of this
production is strictly prohibited.
The Actors and Stage Manager employed in this production are
members of Actors’ Equity Association, the Union of
Professional Actors and Stage Managers in the United States.
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CAST
Andrew Sellon…………………Vanya
Sharonlee McLean……………..Sonia
Carol Halstead…………………Masha
Nick Ballard……………………Spike
Eden Malyn……………………Nina
Olivia Negron………………….Cassandra
“You can multitask, how wonderful. You can tweet. You
twitter and tweet, you email and text, your life is abuzz with
electrical communication. I know older people always think the
past was better, but really – instead of a text with all these lower
case letters, and no punctuation, what about a nicely crafted
letter, sent through the post office?”
-Vanya in Vanya and Sonia and Masha and Spike
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Christopher Durang’s character Vanya is speaking toward the
end of the play when this thought spills out of his frustrated
mouth. It’s the beginning of an avalanche of thoughts about
modern culture, contemporary behavior and Dinah Shore. And it
comes as a bit of a shock at that point in a story that has felt as
light and tangy as lemon meringue. We come to feel and
understand that Mr. Durang has had a lot of things on his mind
and they come barreling out in a monologue all at once furious,
well-argued and sidesplitting. It’s a monologue I have heard in
my head before, though never formed as eloquently as it is here.
In Vanya and Sonia and Masha and Spike, one of our most
gifted satirists chooses the world of Chekhov, that famous
Russian observer of life, as the canvas for his latest comedic
exposé. Why, you might ask? This is the author who broke out
famously in the 80s with Sister Mary Ignatius Explains It All
For You – a scaldingly funny romp through Catholic school, led
by the wholly un-PC and somewhat fascistic Sister Mary. This is
the guy who, with Betty’s Summer Vacation, created an
aggressively twisted world in which the seemingly innocuous
turns savage. Why take up Chekhov? Who knows? But what it
allows him to explore is a privileged family that has lost its
momentum; a pair of narcissists hypnotized by their own
reflection; and a series of visions of the future that keep rearing
their heads. It’s a wild ride, and ultimately excavates some of
the biggest questions we have about where our culture is
heading.
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Nick Ballard
Spike
Nick is so excited to be a part of this amazing play in this great
city. Originally from Louisiana, he now lives in Los Angeles
where it never rains and doesn’t get below 50 degrees. Some of
his favorite performances include the Los Angeles premieres of
Dog Sees God (GLAAD Media Award/Los Angeles Drama
Critics Circle/LA Weekly nominations) and Anita Bryant Died
For Your Sins (GLAAD Media Award nomination), world
premieres of Heavier Than… and John Michael LaChiusa’s
Sukie and Sue, and Sexual Perversity in Chicago. You can
currently see him in The Weinstein Company’s film Operation
Barn Owl and the Ron Howard/Brian Grazer-produced film The
Rose Window. TV credits include recurring roles on Days of Our
Lives and Holliston, also roles on on MTV’s Happyland, Bones,
90210, Clover’s Life (pilot), CSI:NY and Valentine. He would
like to thank his wife Natalie for her never-ending support.
Carol Halstead
Masha
Carol is delighted to be back in Portland where she played the
shoe-loving Haley in Bad Dates, Olivia in Twelfth Night and
Queen Elizabeth in The Beard of Avon. She appeared on
Broadway in Gore Vidal's The Best Man. Off-Broadway: The
Duchess of Malfi, Pericles, Walking Down Broadway, Easter
Candy, The Mask, Alan Ball's The Amazing Adventures of Tense
Guy. Recent regional: The Mousetrap and Clybourne Park
(Dorset Theatre Festival), A Song at Twilight (Portland Stage
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Company), Good People (The Old Globe), August: Osage
County (Fulton Theatre), God of Carnage (Hudson Stage), The
Clean House (Syracuse Stage), Private Lives (The Kitchen).
Other work at The Shakespeare Theatre Company, Baltimore’s
Center Stage, Cleveland Play House, Kansas City Repertory
Theatre, San Jose Repertory Theatre (West Coast premiere of
Teresa Rebeck's Bad Dates, Dean Goodman Choice Award for
Best Solo Performance), over 20 productions with Denver
Center Theatre Company. Carol is an ongoing guest artist and
yoga/meditation teacher with The Chautauqua Theater
Company. Television and film: Law & Order: Criminal Intent,
Jonny Zero, As the World Turns, All My Children, Towel Head
and The Whipper Snapper. Carol lives in NYC where she trains
as a third degree black belt in Seido Karate.
Eden Malyn
Nina
Eden Malyn is thrilled to be making her Portland Center Stage
debut. Past theater credits include work shopping the role of
Donna Ruth for Center Theatre Group’s Different Words for the
Same Thing, originating the role of Cambria at Theatre 80 in
New York in the new musical Behind Closed Doors: A 2nd Class
Cabaret, and a handful of parts at awesome little theaters around
Los Angeles, where she resides. You might know her as Zanna
from season two of Showtime’s House of Lies, from little TV
spots here and there, from a dozen or so national commercials,
or as Emily in the cult classic zombie comedy DeadHeads. Look
for her recurring role as Erin Sikowitz in season three of the
Netflix original, Orange is the New Black this spring, as well as
a starring role in the new indie feature Maybe Someday. Eden
would like to thank her wonderful and supportive fiancé,
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Christopher Rivas, without whom there isn’t much point, her
amazing manager Avi Simon, who’s always on her side and
never says NO, and her wonderful mentor Jamison Jones, for his
brilliant tutelage, constant inspiration and encouragement.
Sharonlee McLean
Sonia
This production marks Sharonlee’s 23rd here at PCS. She also
completed her 10th summer participation in JAW last summer –
as part of the cast of Adam Bock’s play A Life. Throughout the
years, here in Portland, there have been projects performed at
theaters like Artists Repertory Theatre, CoHo Productions,
Portland Playhouse, Clackamas Repertory and Portland
Repertory Theatre. Her last feature film: Extraordinary
Measures playing Sheri Thompson, Harrison Ford’s secretary.
Her last television series: guest starring as Mrs. Cox on
Leverage. Drammy Awards: A Question of Mercy at Artists
Repertory Theatre (1999), The Thugs at Portland Center Stage
(2007), The Receptionist at Portland Center Stage (2009), Body
Awareness at CoHo Productions (2013). PAMTA Awards:
nomination for Fiddler on the Roof at Portland Center Stage
(2014). Sharonlee comes to Portland from Hollywood. In her 30
something years she did her share of film, television and stage.
Nominated for a Daytime Emmy for the role of Annie
Degeralamo on the soap Santa Barbara.
Olivia Negron
Cassandra
Broadway: Cuba and His Teddy Bear with Robert De Niro,
Serious Money (by Caryl Churchill) with Alec Baldwin. OffBroadway: Circle Repertory, La MaMa, Henry Street
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Settlement, HB Studios, TheatreSource and Women’s Interart.
Regional: Canon Theater, Beverly Hills (The Vagina
Monologues with Nancy Travis, Doris Roberts and Marcia
Wallace), Mark Taper Forum (Living Out by Lisa Loomer),
Atlanta’s Alliance Theatre, Philadelphia Theatre Company,
South Coast Repertory (Birds by Lisa Loomer), Coconut Grove
Playhouse, Merrimack Repertory Theatre and TheatreWorks
(The Clean House). Film: Outliving Emily (2015 release),
Everything Relative (Sundance Film Festival, 1996) and
Captivity (with Elisha Cuthbert). Television: Devious Maids,
Law & Order, Without a Trace, Law & Order: SVU and The
Rock (series regular). New Media: Patricia Madrazo in Grand
Theft Auto V. Ms. Negron is the artistic director of Young
Shakespeareans, producers of children’s Shakespeare festivals.
Andrew Sellon
Vanya
Andrew most recently starred as Charlie in a 30th anniversary
revival of The Foreigner at the Maltz Jupiter Theatre. Last
winter, he performed three extremely different roles in
productions for Asolo Repertory Company: Jim Casy in The
Grapes of Wrath, Vanya in Vanya and Sonia and Masha and
Spike, and Canon O’Byrne in Philadelphia, Here I Come!. Other
favorite New York and regional roles include: Nikola Tesla
in The Dangers of Electric Lighting (New York
premiere), Clown in The 39 Steps, Gidger in The Violet
Hour (first New York revival), all 35 roles in I Am My Own
Wife, the Fool in King Lear, Dr. Rance in What the Butler Saw,
Bazzard in The Mystery of Edwin Drood and Vladimir
in Waiting for Godot. Film: Begin Again, The
Smurfs, Mamarosh. TV: The Mysteries of Laura, The Blacklist.
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Education: B.A. in English from Harvard, M.F.A. in Acting
from The University of North Carolina at Chapel Hill, where he
also taught acting for two years. Andrew is deeply grateful for
the ongoing support of his extended family and especially his
husband, Tim. Web site: www.andrewsellon.com
It’s safe to say that Vanya and Sonia and Masha and Spike is
one of the hottest plays on American stages this season. After
winning the 2013 Tony Award for Best New Play – along with a
Drama Desk Award for Outstanding Play and the New York
Drama Critic’s Circle Award – it quickly became the mostproduced new play in America this season.
During one of the many recent productions on stages across the
country, playwright Christopher Durang sat down with
dramaturg Danielle Mages Amato to muse about his new hit
play:
Where did the idea behind this play come from? Why
Chekhov?
I lived in New York for 22 years, and in 1996, with my partner
John Augustine, I moved to Bucks County, Pennsylvania. We
live on a little hill, overlooking a pond, and a blue heron does
come there. My house, it’s a farmhouse, pretty and a little
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quaint, and it made me think of the Chekhov plays, like The
Seagull and Uncle Vanya, where the people who live in the
country are rather unhappy. They feel that their lives are boring;
there’s no stimulation for them. Then there are characters like
the glamorous actress Madame Arkadina in The Seagull, who
are wandering about living in cities and being in plays and
having affairs. I suddenly realized that I was now the age of the
older characters in Chekhov. I’d mostly seen and read the plays
in my 20s and 30s, and I certainly had empathy for the older
characters, but they felt very distant from my experience. And
now I thought, “Oh my gosh, I’m the same age as Uncle
Vanya.” (Actually, I went back and looked up how old Vanya is
in the play, and he’s 47! I’m a lot older than that. But aging was
different back then, and most of the great actors who’ve played
that role are older.)
Even though I was now the age of Chekhov’s older characters,
and I lived in a place in the country, I realized that I didn’t feel
bitter in the way that the Chekhov characters did—I’d been in
the city, and I actually wanted to get out of the city. But I
thought to myself: What if I had only gone away from home
briefly, and I hadn’t pursued the things that interested me? What
if my fictional sister and I had ended up taking care of our
parents through a very prolonged illness, and so on. I realized it
was a “what if” play.
What if you, yourself, had been a character in a Chekhov
play?
Yes—what if my real life had been like one of those Chekhov
characters. Chekhov was a definite jumping-off point for the
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play, but it’s very much not a parody of Chekhov. I’ve done
parodies in the past, and this is much more its own thing. And I
did my very best to write it so that you don’t have to know
Chekhov to respond to it. I thought I was going to have much
more about unrequited love, which is a theme that comes up in
Chekhov so much. But it became much more about disappointment with how your life has gone. That’s a theme that isn’t
unique to Chekhov. And it doesn’t sound like a comedy at all.
But it is a comedy!
This interview is courtesy of our friends at the The Old Globe
Theatre. To read the rest of Durang’s chat with their Literary
Manager/Dramaturg Danielle Mages Amato visit
www.pcs.org/Durang-on-VSMS.
Tell us what you think of the show!
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Christopher Durang
Playwright
Christopher Durang’s plays include A History of the American
Film (Tony nomination, Best Book of a Musical), The Actor’s
Nightmare, Sister Mary Ignatius Explains It All For You (Obie
Award, Off-Broadway run, 1981-83), Beyond Therapy (on
Broadway in 1982, with Dianne Wiest and John Lithgow), Baby
with the Bathwater (Playwrights Horizons, 1983), The Marriage
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of Bette and Boo (Public Theater, 1985; Obie Award, Dramatists
Guild Hull Warriner Award), Laughing Wild (Playwrights
Horizons, 1987) and Durang Durang (an evening of six plays at
Manhattan Theatre Club, 1994, including the Tennessee
Williams parody For Whom The Southern Belle Tolls). In 1996,
he was commissioned by the Rodgers and Hammerstein
Foundation to write a new book for the popular musical Babes
in Arms. Sex and Longing was commissioned by Lincoln Center
Theater and was presented on Broadway in fall 1996 starring
Sigourney Weaver. The Idiots Karamazov, a full-length play
with music written with Albert Innaurato, was revived at the
American Repertory Theatre. His play Betty’s Summer Vacation
(Drama Desk Award nomination) had its world premiere at
Playwrights Horizons in February 1999 to great critical acclaim
and sold-out houses and was extended three times. It was the
recipient of four Obie Awards, for distinguished playwriting,
directing, acting and set design. His musical (with music by
Peter Melnick) Adrift in Macao premiered at New York Stage
and Film in the summer of 2002. Mrs. Bob Cratchit’s Wild
Christmas Binge was commissioned by Pittsburgh’s City
Theater and had its world premiere in November 2002. In the
early '80s, he and Sigourney Weaver co-wrote and performed in
their acclaimed Brecht-Weill parody Das Lusitania Songspiel
and were both nominated for Drama Desk Awards for Best
Performer in a Musical. In 1993, he sang and tried to dance in
the five-person Off-Broadway Sondheim revue Putting it
Together, with Julie Andrews at Manhattan Theatre Club. And
he played a singing congressman in Call Me Madam with Tyne
Daly as part of “Encores.” He can be heard on cast recordings of
both productions. In movies, he has appeared in The Secret of
my Success, Mr. North, The Butcher's Wife, Housesitter, The
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Cowboy Way, The Object of my Affection, Simply Irresistible
and The Out of Towners, among others. For television, he wrote
for a Carol Burnett special called Carol and Robin and Whoopi
and Carl; and for PBS’ series Trying Times, he wrote a teleplay
called The Visit starring Swoosie Kurtz as Wanda, the upsetting
houseguest. He’s written several screenplays, including The
House of Husbands (co-authored with Wendy Wasserstein), The
Adventures of Lola for Tri-Star and director Herbert Ross, The
Nun who Shot Liberty Valance and his own adaptation of Sister
Mary … which aired on Showtime with Diane Keaton in the
title role; and two sitcom pilots, Billy and Meg (for Fox
Television) and Dysfunction! – The TV Show for Warner
Brothers. He hopes one day they will be produced, perhaps in
heaven. He has an M.F.A. from the Yale School of Drama. Early
in his career, he won a Guggenheim, a Rockefeller, the CBS
Playwriting Fellowship, the Lecompte du Nouy Foundation
grant and the Kenyon Festival Theatre Playwriting Prize. In
1995, he won the prestigious three-year Lila Wallace Readers
Digest Award; as part of his grant, he ran a writing workshop for
adult children of alcoholics. Since 1994, he has been co-chair
with Marsha Norman of the Playwriting Program at the Juilliard
School in Manhattan. He is a member of the Dramatists Guild
Council.
Rose Riordan
Director
Rose is in her 17th season at Portland Center Stage, where she
serves as associate artistic director. At PCS she has directed The
Typographer’s Dream, LIZZIE, A Small Fire, The
Mountaintop, The People’s Republic of Portland, The Whipping
Man, The North Plan, Red, One Flew Over The Cuckoo’s
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Nest, A Christmas Story, The 25th Annual Putnam County
Spelling Bee, The Receptionist, A Christmas
Carol, Frost/Nixon, How to Disappear Completely and Never
Be Found, Doubt, The Underpants, The Pillowman and The
Thugs, which won four Drammy Awards, including Best
Ensemble and Best Director. She has also recently directed, for
various other theaters, Adam Bock’s Phaedra, The Passion
Play, Telethon and The Receptionist. In 1999 she founded
Portland Center Stage’s annual JAW: A Playwrights Festival.
JAW has been instrumental in developing new work for the PCS
repertory: Bo-Nita, The People’s Republic of Portland, The
Body of an American, The North Plan, Anna
Karenina, Outrage, Flesh and Blood, Another Fine Mess, O
Lovely Glowworm, Celebrity Row, Act a Lady, The Thugs and A
Feminine Ending. Rose has also directed some of the staged
readings for JAW festivals—The
Thugs (2005), Telethon (2006), A Story About a Girl (2007), 99
Ways to F*** a Swan (2009), The North Plan (2010), San
Diego (2012), The People’s Republic of Portland (2012), Mai
Dang Lao (2013) and A Life (2014). She enjoys being part of a
company committed to new work and having a beautiful
building in which to work.
Daniel Meeker
Scenic and Lighting Designer
Previously at PCS, Dan designed the set for The People's
Republic of Portland and Red (Drammy Award), the lighting for
Twist Your Dickens and I Love to Eat, and the set and lighting
for The Typographer’s Dream, LIZZIE, The Last Five Years,
Bo-Nita, The Mountaintop, The Real Americans and Mike's
Incredible Indian Adventure. Other recent credits include
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lighting design for the Pickathon Festival; set and lighting
design for The Light in the Piazza, Detroit, Mother Teresa is
Dead, The Huntsmen and Bloody Bloody Andrew Jackson at
Portland Playhouse; set design for Fancy Nancy and The Stinky
Cheese Man for Oregon Children's Theatre; and set design for
The 25th Annual Putnam County Spelling Bee at the Pioneer
Theatre Company. Upcoming projects include The Other Place
at Portland Playhouse, Ramona Quimby for Oregon Children's
Theatre and The People’s Republic of Portland for Portland
Center Stage. Daniel is a member of the faculty of Portland State
University. He is a graduate of Ithaca College and the Yale
School of Drama and a member of United Scenic Artists.
Mike Floyd
Costume Designer
Mike is excited to be designing costumes for this production of
Vanya … at PCS, while also managing the costume shop which
creates the hundreds of outfits needed for this season’s calendar.
On Broadway, he has worked on the recent productions of
Newsies; Priscilla Queen of the Desert (Tony Award for Best
Costumes); Fela! (Tony Award for Best Costumes); and Twyla
Tharp’s Come Fly Away. In New York, his work has been seen
at the Public Theater; the Acting Company; New York Theatre
Workshop; and the New York Classical Theatre. Regionally, he
has worked with Actors Theatre of Louisville, Paper Mill
Playhouse, Nashville Opera, among others. He has taught or
designed at the Brown/Trinity Rep Consortium; Rutgers and
Northwestern universities; Colby, Providence, Colgate colleges;
and the University of California Irvine. Mike received his
M.F.A. in design from the Yale School of Drama and his B.A.
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from Kenyon College. He is a member of USA 829, the union
for stage designers.
Casi Pacilio
Sound Designer
Casi keeps busy with a variety of work and play in Portland and
around the country. PCS credits include Dreamgirls, The Last
Five Years, Othello, A Small Fire, Chinglish, Twist Your
Dickens (2013 and 2014), The Mountaintop, Fiddler on the
Roof, Oklahoma!, The North Plan, Shakespeare’s Amazing
Cymbeline, Black Pearl Sings!, Opus, futura (with composer
Jana Losey), Ragtime (PAMTA Award 2010), The 25th Annual
Putnam County Spelling Bee, Alfred Hitchcock’s The 39 Steps,
Snow Falling on Cedars, Crazy Enough, The Little Dog
Laughed, Sometimes a Great Notion, Cabaret, The Pillowman, I
Am My Own Wife, West Side Story, Celebrity Row and eight
seasons of JAW. National shows: Holcombe Waller Surfacing
and Wayfinders; Hand2Mouth Theatre credits: Left Hand of
Darkness, My Mind is Like an Open Meadow (Drammy Award
2011), Something’s Got Ahold Of My Heart and PEP TALK.
Other theatrical credits include Squonk Opera’s
Bigsmorgasbord-WunderWerk (Broadway, PS122, national and
international touring); I Am My Own Wife, I Think I Like Girls
(La Jolla Playhouse); Playland, 10 Fingers and Lips Together,
Teeth Apart (City Theatre, PA). Film credits include Creation of
Destiny, Out of Our Time and A Powerful Thang. Recordings:
Glitterfruit’s fruit snacks.
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Kelsey Daye Lutz
Stage Manager
Kelsey Daye is a North Carolinian dairy farmer’s daughter. New
York credits include Off-Broadway work with The Actors
Company Theatre; off-off-Broadway work with Theatre for the
New City and The Internationalists. Regional credits include
stage manager for The Typographer’s Dream, The Last Five
Years and A Small Fire and production assistant for Clybourne
Park, Venus in Fur, Midsummer Night’s Dream, The North Plan
and Anna Karenina at PCS; stage management intern for Hard
Weather Boating Party, Shipwrecked, A Raisin in the Sun and 43
Plays for 43 Presidents at Actors Theatre of Louisville; and
assistant stage manager for A Beautiful Star and A Christmas
Carol at Triad Stage. She would like to thank her boys for all
their unconditional love, and Shamus for being wonderful.
Stephen Kriz Gardner
Production Assistant
Previously at Portland Center Stage, Stephen was the production
assistant for Othello, Chinglish, Twist Your Dickens (2013 and
2014), The Mountaintop and Somewhere in Time. In Portland, he
has also worked as the stage manager for Oregon Children's
Theatre on Pinkalicious (remount), The Magic School Bus:
Climate Challenge and Locomotion, as well as assistant stage
managed Pinkalicious and Duck for President. In addition,
Stephen stage managed Spring Awakening, and more recently
The Rocky Horror Show with Live On Stage Theatre Company.
Credits outside of Portland include stage managing Black
Comedy for No Rules Theatre Company in Washington DC and
assisting on Camp Wanatachi at La MaMa Experimental
Theatre in New York. He has been a production assistant on One
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Singular Sensation: Celebrating Marvin Hamlisch, Sondheim!
The Birthday Concert and Company at Lincoln Center.
Internship credits include the Goodman Theatre (Candide and A
Christmas Carol) and Broadway's Wicked.
Chris Coleman
Artistic Director
Chris joined Portland Center Stage as artistic director in May
2000. Before coming to Portland, he was artistic director at
Actor’s Express in Atlanta, a company he co-founded in the
basement of an old church in 1988. Chris recently returned to
Atlanta to direct Phylicia Rashad and Kenny Leon in Same Time
Next Year. Favorite PCS directing assignments include
Dreamgirls, Othello, Fiddler on the Roof, Clybourne Park,
Sweeney Todd, Shakespeare’s Amazing Cymbeline (which he
also adapted), Anna Karenina, Oklahoma!, Snow Falling on
Cedars, Ragtime, Crazy Enough, Beard of Avon, Cabaret, King
Lear, Cat on a Hot Tin Roof, Man and Superman, Outrage,
Flesh and Blood and The Devils. Chris has directed at theaters
across the country, including Actor’s Theater of Louisville,
Oregon Shakespeare Festival, ACT-Seattle, The Alliance, Dallas
Theatre Center, Pittsburgh Public Theatre, New York Theatre
Workshop and Center Stage in Baltimore. A native Atlantan,
Chris holds a B.F.A. from Baylor University and an M.F.A.
from Carnegie Mellon. He is currently the board president for
the Cultural Advocacy Coalition. Chris and his husband,
Rodney, are the proud parents of an 18 lb Jack Russell/Lab mix,
and a 110 lb English Blockhead Yellow lab.
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Scenic Painters
Loren Hillman
Shawn Mallory
Props Artisans
Shawn Mallory
Teresa Pilar Huarte
Draper
Lisa Logan
Stitchers
Susi Jenkins
Foggy Bell
Sound Programmer and Engineer
Scott Thorson
Special Thanks:
The ReBuilding Center
Lead Corporate Champion Umpqua Bank
From the lead actor to the light technician, from the front seats
to the back row, we’re proud to support every inch of Portland
Center Stage. Of course we’re writing this in hope that, as a
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fellow lover of the theater, you’ll come and visit us. But for
now, sit back, enjoy the show and cheers for the season!
Keith and Sharon Barnes
Vanya and Sonia and Masha and Spike won the 2013 Tony
Award for best play and we are delighted to help PCS bring this
Chekhov-centric comedy to Portland audiences.
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