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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. Off-

Broadway: 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 most-

produced 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 disappoint-

ment 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!

Find us on Facebook, Instagram and Twitter.

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.