By Henrik IbsenAdapted by D. L. Smith

Center Square TheatreNovember 6-16, 2008

by Jean AnouilhAdapted by Christopher Fry

AN ENEMY OF THE PEOPLE

Fall 2008 Playbill

Center Stage TheatreNovember 13-23, 2008

Designated a Center of Excellence in the Fine and Performing Arts by the Oregon University System

“Creating Space at the Center — Where We Stand”

Welcome to another example of the excellent quality of our work.

Our upcoming season is an eclectic mix that will offer a broad range of periods and styles of theatre. This fall we present Christopher Fry’s translation of Jean Anouilh’s Ring Round the Moon. Guest artist and adjunct faculty member David

Kelly will direct our first Season at the Center effort. Faculty director Dennis Smith has created a new adaptation of Henrik Ibsen’s An Enemy of the People for our Season Off Center production.

SOU Theatre Arts continues to be the largest exclusively undergraduate theatre arts program in the western United States. The quality of the program attracts students from an expanding radius to our campus.

We need more academic space to deliver the level of quality in our program that we are capable of. At this point, we are at the beginning of a fundraising process that will need to show support from our patrons, our alumni and friends to stimulate support from private and public funding sources.

We are pleased to note that the SOU Theatre Arts building expansion has been placed in the top ten projects the Oregon University System has recommended to the governor and legislature.

You will find a contribution form on the next page. I hope you will consider being a part of our fundraising efforts at the earliest stages. Your support will help us realize our dream for our students and our community. Please contact me if you would like to be involved in exploring the means to raise the funds that will help us to realize our potential as one of the most dynamic and creative undergraduate theatre programs in the country.

We have a vital program, with strong faculty, talented students, and a tremendous spirit. On behalf of Theatre Arts at SOU, I thank you for being a part of our growth and our students’ success. Your continued patronage makes our work possible.

– Chris Sackett 1

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FacultyChris Sackett ................................................Department ChairAlan Armstrong ........................Center for Shakespeare StudiesJim Giancarlo .....................................Musical Theatre FacultyDavid Kelly..................................................... Adjunct FacultyLaurie Kurutz ........................... Costume Construction FacultyEric Levin ..................................Director of Theatre EducationDale Luciano ................................................ Directing FacultyMaggie McClellan ...................... Voice and Movement FacultySean O’Skea .......................................... Scenic Design FacultyDeborah Rosenberg ............................ Costume Design FacultyEzra Severin ..................................Technical Direction FacultyDennis Smith .................................................... Acting Faculty

StaffChristi Courian ...................................Administrative AssistantBrooke Friendly ................. Ashland Center for Theatre StudiesSu Grossmann ....................................Administrative AssistantJane Hickinbotham .............................Staff Technical Manager

Department of Theatre Arts Faculty and Staff

THEATRE POLICIES

Please turn off your cellular phone, pager, beeper and wrist watch alarm before entering theatre. No cameras or recorders in the theatre. No food or drink in the theatre.

Children under six years of age not admitted except to children’s show.

Late seating is not guaranteed and latecomers may not be admitted to the theatre. When appropriate, latecomers will be seated in the rear of the theatre and may take their regular seats at intermission. No late seating in the Center Square Theatre.

No smoking anywhere in the Theatre Arts Building.

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by Jean AnouilhAdapted by Christopher Fry

Scene:

The play takes place in a winter-garden, in spring

Length:

Two hours and thirty minutes with two ten-minute intermissions

Music composed by Francis Poulenc for the original 1947 production of Jean Anouilh’s L‘Invitation au Chateau

Produced by special arrangement with Dramatists Play Service, Inc.

Director: David KellyChoreographer: Suzanne SeiberScenic Designer: Sean O’Skea

Costume Designer: Deborah RosenbergSound Designer: Stephen Abts

Lighting Designer: Maxwell Bowman

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Joshua, a crumbling butler ......................................James O’Hanlon

Hugo, a young man about town ............................... Sam Ashdown*

Frederic, his brother in love with ............................. Sam Ashdown*

Dianna Messerschmann, engaged to Frederic, secretly in love with Hugo ............................................................ Jordan Leigh Wakefield

Lady India, Messerschmann’s mistress, secretly in love with ...................................................................... Juliana Rose Slemenda

Patrice Bombelles, Messerschmann’s secretive secretary ...............................................................................Nicholas Ferrucci

Madame Desmortes, Aunt to Hugo, Frederic and Lady India .................................................................................. Ashleigh Bragg

Capulat, her faded companion ......................................Tara Watkins

Messerschmann, Diana’s father, a melancholy millionaire .....................................................................................Robert Chikar

Romainville, a lepidopterist, patron of the arts ....... Jonathan Dyrud

Isabelle, a ballet dancer ..........................................Monique Barbee

Her Mother, a teacher of the pianoforte ................. Danielle Chaves

A General ................................................................Jeremy Vandroff

Genevieve, a housemaid .................................................Elsbeth Poe

Marcel, a servant ....................................................Jeremy Vandroff

Acknowledgements to:James Edmondson, Michael J. Hume,

Robynn Rodriguez, and Terri McMahon

Cast

*This student has undertaken this assignment as the culminating creative project to satisfy the thesis requirement for their Bachelor of Fine Arts Degree.

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Ring Round the Moon Production CrewStage Manager ............................................... Katherine LewisFight Choreographer ............................................ Kristin MunAssistant Costume Designers .... Michelle Coon, Brittney Spady Assistant Lighting Designer .................................. Kristin LakeAssistant Scenic Designer .................................... Ryan Nicolai Assistant Stage Manager ....................... Kimberlee Freimoeller Assistant Technical Director ......................... Christopher Cook Master Carpenter .................................................. Zach Myers Carpentry ................. John Paul Brandenburg, Shayne Hanson, ............................................. Corynne Haslach, Tim Homsley, ...................... Kolio Kolev, Carlos Lopez, Meryn MacDougall, ...................................... Mariko Thomas, Hannah Wagenblast Master Electrician .........................................Kaylyn Kilkuskie Light Crew ......Krystal Brewer, Erik Brown, Justin Campanoli, ........... Graham Jones, Pam Merten-Hindorff , Kevin Novotny, ....Christopher O’Neil, Neil Peterson, Ryan West, Kevin Young Makeup Crew .................... Megan Breedlove, Sophia Soberon, ................................................................ Hannah Stellmacher Paint Crew Charge .............................................. Ryan Nicolai Paint Crew ................................. Cody Ball, Cassandra Carper, ....................Roxanne Miftahittin, Sean Minor, Maire Murphy, .............................................. Katherine Ogilvie, Renea Smith, ...........................................Victoria Weber, Samantha Grafton Prop Master .......................................................... Olivia Todd Props .................................. Jacob Friedheim, Blaine Johnston, ..................... Jordan Rich, Samantha Schireson, Rosetta Shaw, ......................................Shadee Vossoughi, Samantha WordenProduction Assistant ........................................ Adam Johnson Run Crew ................................Rebecca Denley, Ariel Jackson, ................. Aislyn Marshall, Jessie Weigel, Jordan Leigh Zwick Sound Engineer ..............................................Robert Erickson Sound Operator ..................................................Steven SagertWardrobe Supervisor .......................................Russel Rivinius Wardrobe Crew ............................ Lee Collyer, Meagan Kirby, ............................................................. Talyssa Viela-Crandall

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Director’s NotesI am honored to be directing at Southern Oregon University,

where I have been made to feel at home teaching for the past three years and getting to know and love these hard-working, talented students. This is a beautiful play to share with them, which seems on the surface to be a festive ̶ albeit cynical and melancholy ̶ look at the world of love, capitalism and entitlement.

Ring Round the Moon is Christopher Fry’s very British adaptation of the French play L‘Invitation au Chateau. The English title was found in a song Fry had written for a Cinderella pantomime: “We shall be wed/With a ring around the moon.” He also subtitled the play, “a charade with music.” When Peter Brook commissioned Fry to translate the play, neither man wanted to retain the darker issues found under the surface of Anouilh’s original.

When James Edmondson produced Ring Round the Moon at the Oregon Shakespeare Festival in 1980, he added some short scenes that had been omitted by Fry, taken from a direct English translation. Taking my cue from Jim, I have chosen to add a scene from the original Anouilh that deals with anti-Semitism which is vital to the development of the wealthy Messerschman, his relationship with his daughter and his survival as an outsider in this world of privilege. I have chosen to set the play in 1934, just before the Nazi’s were coming to power in Europe, as it captures the last moment of innocence before Europe is engulfed in “the fire from heaven.”

I dedicate this work to the memory of my friend, Sandy McCallum.

– David Kelly

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About the Playwright“The object of art is to give life a shape”– Jean Anouilh.

Jean Anouilh {ah-noo-ee’} was born in Bordeaux on June 23, 1910 and died in Switzerland on October 3, 1987. His father was a tailor, and his mother played violin in the orchestra of a casino near their hometown. He began writing plays at the age of 12, but he briefly studied law, worked as a copywriter and an actor’s secretary before he decided to be solely a writer.

Throughout his career (which spanned over five decades), he wrote many plays, as well as screenplays, books and comedies for the cinema. He is considered one of the most prolific French playwrights, and was the most successful playwright in Europe after World War II.

Although his style cannot be attributed to any particular trend or discipline, he uses elements of Sartre’s existentialism, and was influenced by Louis Jouvet (a prominent French actor/director), Jean Giraudoux (popular French dramatist), and Pirandello (Classical Italian dramatist). Under the influence of these artists, his work progressed from realistic depictions of the world as corrupt and squalid to having a great balance between farce and seriousness.

Anouilh created six distinct categories for defining and separating his works, each one named by an adjective that best described the caliber or type of works therein: “Black” (tragedies, realistic plays), “pink” (fantasy dominates), “brilliant” (combination of pink and black plays in aristocratic environments), “jarring” (black plays with bitter humor), “costumed” (with historical characters), “baroque,” and “mes fours” (my failures). Aside from his “brilliant” Ring Round the Moon, some of his most memorable works were an adaptation of Antigone (1944) and Beckett (1959; for which he won a Tony award).

Anouilh wrote Ring Round the Moon in 1947, and it is full of the elements he often used in some of his “pink” and “brilliant” plays. The choreography and music add unique style and rhythm. Seriousness and a cynical view of life give hidden meaning and tragic humor to the farce and social caricatures.

Ring Round the Moon is a comedy about high society, and the lengths people will go to for happiness, entertainment and love. It is ripe with humor and juxtapositions, which only add to the topsy-turvy journey of the characters’ descent into a world where the conflicts are hysterically real and human, and are resolved in the most fanciful fashion. Every character arrives at the Winter garden not quite aware of what is in store for him/her, and it is “brilliant” to watch the action play out over the course of a cotillion, not quite sure ourselves where things will end up. – Mya Brynn Ewing, Dramaturg

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David Kelly (Director) directed the “Complt. History of America (Abridged)” and “The Complt. Wks. of Wlm. Shakespeare (Abridged)” at the Oregon Cabaret Theatre. He also has directed numerous play readings and school tours at OSF, and was the producer and director of the 2008 Daedalus Project, OSF’s annual AIDS benefit. Kelly has been a cast member at OSF since 1991. He is a graduate of the Professional Theatre Training Program at the University of Delaware

Suzanne Seiber (Choreographer) has performed and choreographed at the Oregon Shakespearean Festival, Oregon Cabaret Theatre, Rogue Music Theatre, and the Craterian Ginger Rogers Theatre. Suzanne was awarded the Rex Rabold Memorial Award by the Oregon Theatre Arts Association for her work with theatre students in the Rogue Valley. She has taught dance at SOU since 1991. She received her Master’s in Dance from the University of Oregon and studied with top dancers in the Los Angeles area.

Stephen Abts (Sound Designer) is a senior originally form Danville, CA. His previous SOU credits include Sound Designer for “Many Moons,” Assistant Stage Manager for “Arcadia,” and Stage Manager for “Hunting Cockroaches.” Sam Ashdown (Hugo/Frederic) is a senior and is originally from Newburg, OR. His past SOU credits include Czesio in “Hunting Cockroaches,” Captain Brice in “Arcadia,” General in “Lorca in a Green Dress,” and C.K. Dexter Haven in “The Philadelphia Story.”Monique Barbée (Isabelle) is a junior at SOU and is originally from Grants Pass, OR. Her previous SOU credits include Alcyone and Atalanta in “Metamorphoses,” Hope Cladwell in “Urinetown,” Andromache in “Women of War,” and Leper 2 in “The White Plague.”Max Bowman (Lighting Designer) is a senior at SOU and is originally from Tumwater, WA. His previous SOU credits include Assistant Lighting Designer for “Women of War,” “Urinetown,” and Metamorphoses.” Credits at other theatres include Lighting Designer for “Into the Woods,” “Honk!,” and “Our Town” at Black Hills High School.

Ring Round the Moon Student Bios

Ring Round the Moon Guest Artists

continued on page 12

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Ashleigh Bragg (Madame Desmortes) is a senior at SOU and is originally from Bakersfield, CA. She played Cheese Grater in “Beauty and the Beast,” Agatha in “Guys and Dolls,” Rose Seller in “Oliver,” and Factory Worker in “Anna in the Tropics” at the Pacific Conservatory of the Performing Arts in Santa Maria, CA.Danielle Chaves (Isabelle’s Mother) is a sophomore originally from Lake Oswego, OR. Her previous SOU credits include Penny Pennywise in “Urinetown” and Edmee in “Finding the Sun.” Credits at other theatres include Dolly Levi in “Hello, Dolly!,” Stage Manager in “Our Town,” and Mrs. Shinn in “The Music Man.” Rob Chikar (Messerschmann) is a sophomore from Ventura, Calif. Previous SOU credits include Bum in “Hunting Cockroaches,” and Stage Manager for “Angels in America.” Other credits include Beverly Corlton in “The Man Who Came to Dinner” and Antipholus of Ephesus in “Comedy of Errors.” He stage managed at the Kern Shakespeare Festival.Nicholas Ferrucci (Patrice Bombelles) is a senior originally from Puyallup, WA. Previous SOU credits include Phaeton/Silenus/Eros in “Metamorphoses,” Jester in “Many Moons,” and Nick in “Swimming in the Shallows.” Credits at other theatres include Submarine/Ensemble in “A View from the Bridge” at the Oregon Shakespeare Festival. Katherine Lewis (Stage Manager) is a senior at SOU and is originally from Ashland, OR. Katherine transferred from the University of Oregon. Previous SOU credits include Assistant Director for “Metamorphoses,” Assistant Director for “Women of War,” and Stage Manager for “Swimming in the Shallows.” Ryan Nicolai (Assistant Scenic Designer/Paint Crew Charge) is a junior at SOU and is originally from Beaverton, OR. His previous SOU credits include Assistant Scenic Designer for “Hunting Cockroaches” and “Urinetown,” and Paint Charge for “Swimming in the Shallows,” “Arcadia,” and “Urinetown.” Juliana Rose Slemenda (Lady India) is a senior from Silverton, OR. Her previous SOU credits include Lady Croom in “Arcadia,” Tracy Lord in “The Philadelphia Story,” Sophie in “Entertaining Strangers,” and Beth in “Dinner with Friends.” Credits at other theatres include Hermia in “A Midsummer Night’s Dream” and Jenny Mae in “The Diviners.”

Ring Round the Moon Student Bios (cont.)

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Production Crew - Both ShowsProduction Manager ............................................................... Sean O’SkeaTechnical Director ...................................................................Ezra SeverinCostume Shop Supervisor .....................................................Laurie KurutzAssistant Production Manager ...............................................Katie Torcom Assistant Costume Shop Supervisors/Truers .........................................Anna-Lisa Chacon, Rachael Jones, Kiova Staley Costume Crafts Supervisor .................................................. Bradly Sosinski Costume Crafts .....................................Danielle Pecoff , Molly BraithwaiteDrapers ..............................................Caitlin Bedford, Adrienne Browning, .....................................................................Morgana Spake, Kiova Staley Fitters .......................................................Zachary Centers, Teresa Lascala, .............................................................. Amy Mazzaferro, Kelsie Williams Haircutter .................................................................................Jacob FellerStitchers .......Riley Arthur, Rose Blackford, Nicole Dibala, Susie Gabumpa, ................ Phaedra Harris, Kelsey Kucera, Cymry Reardon, Erin Schwindt, .............. Rachel Seeley, Natalie Sharp, Irene Vipperman, Kelsey Wambold, ................................. Jordan Whittington, Kelsey Williams, Teresa YurchisArchivist/Photo Documentation ..........Mitchell Harvick, Ryan Celeste Holt Job Description Compiler .......................................................Erin Claxton Key Wrangler ........................................................................ Justin Cowan Light Shop Manager ............................................................ Matthew Stiles Light Shop Assistant ............................................................. Cody Fletcher Lobby Display Crew .... Alyssa Rosenthal (head), Ana Byers, Nicole Fenton, ...........................................................Ashley Scallon, Jacqueline Williams Organization Management ...............................Ashley Billett, Audie Elzea, ...................................Robert Hastings, Natalie Manning, Andrea Murphy, ................................................. Jeremiah Pyland, Cole Sutera, Joe Wegner Prop Shop Assistant ...........................................................Gabe Behrmann Safety Officer.......................................................................... Cody Rogers Shop Steward ........................................................................Karla Badeau Sound Shop Assistant .................................Breon McMullin, Clinton Clark Special Ops Crew .......................................Emily Caldwell, Hillary Ferrell, .......................................Spencer Hamilton, Jeremy Koss, Brandon Tharpe Special Projects ...................................... Sonia Paauwe, Pamela Umpierrez Stage Manager/Directing Projects ...........................................Karen KuranBox Office ...................Mitchell Harvick, Ryan Celeste Holt, James Larson, .........................Jorge Paniagua, Danielle Pecoff, Savel Sabol, Alex YochimConcessions ...............................................Grace Caruso, Haley Songchild Premiere Night .................................... Kaitlin Humphreys, Monica Keaton Playbill Dramaturg .........................................................Mya Brynn EwingHouse Managers ......................................... Holly Edwards, Jorge PaniaguaUshers ......................... Kanaan Amoncio, Alessandra Fritz, Sandra Garcia, ............. Tamlin Horne, Alexandra Jacobs, Jenna Johnson, Gabrielle Lewis, ...................................................Solstice Mallory-McCarty, Jennifer Rader

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Director: Dennis SmithScenic Designer: Andrew Zehrung

Costume Designer: Katherine NowackiLighting Designer: Laura WileySound Designer: Chris Sackett

Scene:

Present day, Silver Springs, California, a small town in the Napa Valley

Length:

Two hours and thirty minutes including a fifteen-minute intermission

by Henrik IbsenAdapted by D. L. Smith

AN ENEMY OF THE PEOPLE

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CastIn order of appearance

Lawrence Hovstad ...........................................Levi Goodman

Kate Stockman ...............................................Deborah Jensen

Peter Stockman ................................................. Alex Yochim*

Alexander Billings .................................................Gregg Land

Kelsey Stockman .........................................Lauryn Hochberg

Kyle Stockman ......................................................... Ian King

Dr. Thomas Stockman ......................... Christopher Carwithen

Rebecca “Becka” Stockman ......................... Mallory Wedding

Perry Aslaksen ...............................................Nicholas Walker

Martin Stone ................................................... David Demuth

Coffee Shop Waiter/TV Cameraman .................. James Larson

Hovstad Secretary/ Townsperson .................. Hannah Grenfell

Townsperson ................................................. Nikolas Horaites

Townsperson ................................................ Ashley Reverman

Townsperson .................................................Brennen Johnson

Townsperson ....................................................... Joanna Ortiz

Townsperson ................................................. Winston Bischof

Townsperson ......................................................Isaac Kosydar

Acknowledgements to:David Ives, Howard Schreiber and RVTV, and Molly Grossmann

*This student has undertaken this assignment as the culminating creative project to satisfy the thesis requirement for their Bachelor of Fine Arts Degree.

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An Enemy of the People Production CrewStage Manager ..............................................................Kryssa BushAssistant Director ..........................................Curtis Goodman

Technical Director....................................... Christopher Green

Assistant Costume Designer ............................Sereena Ojakian

Assistant Lighting Designer ................................ Maria Buzard

Assistant Master Carpenter ........................... Jonathan Stinson

Assistant Scenic Designer .................................. Jamie Thomas

Assistant Stage Manager ........................................Elsa Bishop

Master Carpenter ..............................................Daniel Haskett

Carpentry ............................... Victoria Miller, Joshua Simpson

Master Electrician ......................................Benjamin Sheppard

Light Crew ................ Garrett Alden, Tyler Below, Steve Cook, ..............................Julia Gaskill, Linnea Jefferson, Kyle Miller, .............................Aaron Postma, Kacey Saffery, Ian Shepherd

Makeup Crew ............Katelyn Annis, Carly Parce, Amy Rogers

Media ....................................................... Catherine Ridenour

Paint Crew Charge ............................................... Kristen Mun

Paint Crew ........................Tamara Burgess, Brittany Rodmaker

Prop Master ........................................................ Amanda Patt

Props ......... Amanda Everett, Marissa Hunt, Anthony Kupsick, .........................................................Robyn Pucay, Savel Sabol

Production Assistant ........................................... Katie Pitman

Run Crew ....................... Marissa Christensen, Gina Patterson, ............................................. Nick Rementeria, Nathan Svedin

Sound Engineer ............................................... Amelia Richart

Sound Operator .................................................Joshua Bowen

Wardrobe Supervisor ...........................................Caitlin Baird

Wardrobe Crew ........................................Amanda-Paige Daly

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Director’s NotesHenrick Ibsen, the great Norwegian playwright and social

advocate, used his play, An Enemy of the People, to explore some very disheartening questions of his day ̶ not just questions of environmental pollution, but also of corporate greed, political deceit, personal ethics and moral courage. But that was 1882. This is now.

In October of 2008, New York Times columnist Thomas Friedman observed in his piece “Why How Matters” that he found himself “re-reading a valuable book …called How: Why How We Do Anything Means Everything in Business (and in Life).” Its author, Dov Seidman, is the C.E.O. of LRN, which helps companies build ethical corporate cultures.

“Seidman basically argues that in our hyper-connected and transparent world, how you do things matters more than ever,” wrote Friedman, “because so many more people can now see how you do things, be affected by how you do things and tell others how you do things.”

Friedman relates Seidman’s comment that “in a connected world, countries, governments and companies also have character, and their character ̶ how they do what they do, how they keep promises, how they make decisions, how things really happen inside…how they engender trust, how they relate to their customers, to the environment and to the communities in which they operate ̶ is now their fate.”

Friedman also cited Charles Mackay in this article, who wrote a classic history of financial crises called Extraordinary Popular Delusions and the Madness of Crowds, first published in London in 1841. Mackay wrote that “money...has often been a cause of the delusion of multitudes. Men, it has been well said, think in herds; it will be seen that they go mad in herds, while they only recover their senses slowly, and one by one.”

But that, of course, was way back then. This is now.

– Dennis Smith

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About the Playwright and AdaptorHenrik Ibsen (March 20, 1828-May 23, 1906), often referred to as

“the father of modern drama,” was perhaps one of the most remarkable dramatists that ever lived. Ibsen was born into an upper middle-class merchant family, in Skien, Norway, and his ancestors were some of Norway’s most notable families. Unfortunately, shortly after he was born, his family’s financial situation turned towards poverty, and remained as such until Ibsen left home at the age of fifteen.

His childhood was spent observing his mother clinging to religion for solace, and his father’s descent into depression. His upbringing is the catalyst for many of the characters he created in his plays, who suffer financial hardship and struggle with intensely personal conflicts, as they try to conform to what is expected of them within society (as seen with Nora in A Doll’s House). Ibsen’s appeal and at times his “downfall” was that he was a revolutionary of sorts, whose plays depicted scenarios that were not always viewed as tasteful, and often were critical of Victorian values of modesty, decency, morality, and compliance to social rules and roles.

In 1882, at the age of 54, Ibsen finished An Enemy of the People, and it was received with mixed reviews due to some of the implied annotations on society. In An Enemy of the People, rather than depicting conflicts among individuals, Ibsen constructs a conflict between an individual and an entire community.

An Enemy of the People was written primarily in response to the harsh criticisms his prior play Ghosts had received due to its themes and references to venereal disease. An Enemy of the People was Ibsen’s way to challenge the common Victorian belief that the community is usually a lawful and trustworthy institution, making a statement that it is better to stand alone in truth than to be a part of the ignorant or corrupt masses which suppress it. He makes it clear that he (and Dr. Stockman) stand alone, not unified with any society or government.

In Dennis Smith’s adaptation of An Enemy of the People, all of Ibsen’s themes are modernized to make the story more accessible and relevant to today’s world. Professor Smith speaks to us from a contemporary prospective with his adaptation of An Enemy of the People, and not unlike Ibsen, he prompts us to ask some very important questions: Who or what is the enemy of the people? Are we more interested with what’s happening with Brangelina, Britney Spears and the release of the new iPhone than we are about social, political and global issues? Should we accept the truths of society, rather than finding our own? Can the government and media be trusted as reliable sources for the truth and working for the common good? What is more important: where we arrive, or HOW we get there?

– Mya Brynn Ewing, Dramaturg

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Kryssa Bush (Stage Manager) is a junior at SOU and is originally from Salem, OR. Her previous SOU credits include Stage Managing for “Tongue of the Bird,” and “Lorca in a Green Dress.” She was the Assistant Stage Manger for “Arcadia” and the Production Assistant Stage Manager for “Urinetown.”

Chris Carwithen (Dr. Thomas Stockman) is a senior and is originally from Cottage Grove, OR. His past SOU credits include Orpheus/Apollo in “Metamorphoses,” Robbie Stockfish in “Urinetown,” Dylan Thomas in “Dylan,” Benvolio in “Romeo & Juliet,” Humbug in “The Phantom Tollbooth,” and Son in “The White Plague.”

Curtis Goodman (Assistant Director) is a senior at SOU and is originally from Newberg, OR. He is a graduate of the San Francisco Clown Conservatory and performed in Lunatique Fantastique’s Executive Order 9066 and in a circus showcase with the Pickle Circus.

Colin Green (Technical Director) is a junior at SOU and is originally from Seattle, WA. His previous SOU credits include Assistant Technical Director for “Metamorphoses,” Master Carpenter for “Women of War,” and Assistant Master Carpenter for “Urinetown.”

Deborah Jensen (Kate Stockman) is a senior and is originally from Vernonia, OR. Previous SOU credits include Hannah Jarvis in “Arcadia,” Ann Henning in “Entertaining Strangers,” Mr. Martin’s daughter in “Hotel Paradiso,” Persephone in “Metamorphosis,” and Amy Joy in “Life Under Water.” Deborah has also participated in The 10 Minute Play Festival and other play readings at the Ashland Community Theater.

Gregg Land (Alexander Billings) is a junior at SOU and is originally form Lake Oswego, OR. His previous SOU credits include Gregory in “Romeo & Juliet,” Tiny Tom in “Urinetown,” Kip in “Raised in Captivity,” and Julius Becker in “Prelude to a Kiss.” Credits at other theatres include Frank Butler in “Annie Get Your Gun” and Woody in “And They Dance Real Slow in Jackson.”

continued on page 26

An Enemy of the People Student Bios

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Katherine Nowacki (Costume Designer) is a junior and is originally from Brentwood, CA. Her previous SOU credits include Assistant Costume Designer for “Women of War,” and Draper for “Many Moons” and “Metamorphoses.” Credits at other theatres include Costume Intern at PCPA Theatre Fest and Costume Designer at the Inside Out Theatre for “The Yellow Boat.”

Laura Wiley (Lighting Designer) is a senior and is originally from Milwaukie, OR. Her previous SOU credits include Lighting Designer for “Many Moons,” Projection Designer for “Arcadia,” Programmer for “Metamorphoses,” Assistant Projection Designer for “Swimming in the Shallows,” and Master Electrician for “Hotel Paradiso” and “The White Plague.”

Mallory Marie Wedding (Rebecca “Becka” Stockman) is a sophomore and is originally from Napa, CA. Her previous SOU credits include studio work from “Stop Kiss.” Credits at other theatres include Belinda Blair in “Noises Off,” Viola in “Twelfth Night,” Cassie Cooper in “Rumors,” and Rosalind in “As You Like It.”

Alex Yochim (Peter Stockman) is a senior at SOU and is originally from Clackamas, OR. His previous SOU credits include Bacchus, Hermes, Erysichthon, and Vertumnus in “Metamorphoses,” Hot Blade Harry in “Urinetown,” and Jellaby in “Arcadia.”

Andrew Zehrung (Scenic Designer) is a senior originally from Milwaukie, OR. His previous SOU credits include Master Electrician for “Swimming the Shallows” and “Arcadia.” He was the Assistant Scenic Designer for “Urinetown” and “Metamorphoses.”

An Enemy of the People Student Bios, cont.

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Thank You! The faculty, staff and students of the Department of Theatre Arts acknowledge the generosity of the following individuals, who have made donations to the Theatre Arts Building Fund, Scholarship and Operating funds since 2004.

AnonymousSusan BallEd and Maureen BattistellaJan CraigieAnne F. DeckerJohn and Diane EngelhardtRichard L. HayBettie HenryDr. Charles Holloway

and Dr. Barbara GabertCraig Hudson and Jorge SilvaLaurie KurutzAlberta LeeJed and Celia Meese Foundation

Platinum Judith M. BartellAnne F. DeckerRichard L. HayVictoria HexterJennifer and Paul HohenloheCharles and Betty HoweJewish Communal Fund

(Recommended by Robert and Gerry Hodes Family)

Mr. and Mrs. Lewis Lefkowitz, Jr.Oregon Shakespeare FestivalHerb and Frances PetschekShirley PollockJoan T. SpearMr. and Mrs. Cecil StaverRobert and Janice StaverWestern Medical Consultants

GoldAshland Lions ClubJim and Lucille BurkeDr. Charles Holloway

and Dr. Barbara GabertFrank and Eleanor MarzoccoJames McConvilleRobert H. Miller and Doris SegnerKathleen OylerMr. and Mrs. Michael QuirkKathryn Cleland-Sipfle

and William SipfleTreasa SpragueShirley and Barry VitcovSilver Dr. John I. AlexanderAlan Armstrong

and Victoria SturtevantLou Ann and Carmon AubleFran AversaDr. and Mrs. John Burns

Richard Moeschl Herb and Frances PetschekJames PlummerDon and Phyllis ReynoldsChris Sackett

and Brooke FriendlyPeter and Janice SchmitzJoan T. SpearTreasa SpragueRobert and Janice StaverCarl and Jean StrandSteve and Penelope ThorpeAllan WeisbardWisnia Transcription Services

Building Fund Donors

Theatre Department Donors

continued on page 28

28

Theatre Department Donors, cont.Bronze, continuedJean EisenbergLue Douthit and Dee Anne Everson Cindy FaubionMargery GoodmanMichael and Helen HaldermanThe HamazonsJames and Jane HibbertMarjorie and Robert HoeftMary E. HollandCarole and Alan HorobinIBM Matching Grants ProgramCarol IngelsonAlbert and Leatrice IsaacsonHal and Marjorie JamisonBob and Mary Ann JonesSally Jones and Ben BenjaminMiriam and Frederick KolmVivian KornM.J. and Howard LevineAhna LichTonette LongDoris MannionBarbara and Tom MathiesonMr. and Mrs. David MedeirosNan and Ron MillerEdith MontgomeryDick and Marty MooreDr. and Mrs. Frank MooreDorothy OrmesMack PurcellBarbara and Harvey RothMary SanteeRobert SchepplerSallie ShippenJenifer SkilesLloyd and Joanne SorensenDouglas and Diana SpenceJoan SteeleGerald and Ann SteinJames and Gwynn SullivanElizabeth TachellaSue ThomasLiz Vesecky and Herschel KingJulie WadeJane Wetzel

Silver, continued Burt EikleberryDiane Cowan Jan CraigieJim and Helen DeanJudith FaulknerEllen HeimanJack and Marlene HenselmanRobert HilliardEd and Sheila HungerfordSandra and Edward KicePhilip Lang and Ruth MillerSharon L. NelsonBill and Shirley PattonRobert PollockMarie and Bill RadkeJim and Sandi RisserPeggy RubinSusan RustMr. and Mrs. Steve SniderWillis and Daghner StanfillRobert and Joyce StevensRandall StothersGeorgia F. StraussMr. and Mrs. Eugene ThomasRudolf VestRonald and J. Brantley WaittJillian and Kevin WardPatty and Vince WixonBetty and Arthur WolvertonBronzeRhoda B. and S.C. AbrahamsDona AffolterWilliam and Janet AndersonLinda BarnettEd and Maureen BattistellaRaina and Roger BradshawRobert and Patricia ButlerKeith CampbellNancy CarterKen and Lyn ClarkeChristi CourianJohn CowlesPam CurlClark and Carol CustodioJudith Drais

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