By Suzan-Lori Parks - The Theatre School
presentsby Suzan-Lori ParksDirector – Nathan SinghFight Director – Nick SandysVocal Coach – Phil TimberlakeScenic Designer – Christina HubbardCostume Designer – Madison BriedéLighting Designer – Emmaleigh Pepe-WinshellSound Designer – David SambaDramaturg – Madeline KranzStage Manager – Caroline D’AngeloJanuary 22 – 31, 2016The Theatre School at DePaul UniversitySondra and Denis Healy Theatre2350 N Racine Ave, Chicago IL, 60614Email: theatreboxoffice@depaul.edu (773) 325-7900Presenting Level Sponsor
CAST[in order of appearance]Hester, La Negrita. Samantha NewcombThe Welfare Lady/Bully. Ayanna Bria BakariAmiga Gringa/Beauty. Lily RozenweigChilli/Jabber.Nosakhere Cash-O’BannonReverend D./Baby.Jerome BeckThe Doctor/Trouble. Sam KotanskyPlace: Here, Time: Now.The play will be performed with one 10-minute intermission.PRODUCTION STAFFFaculty Advisor.Lisa PortesAssistant Directors. Emily Witt, Danielle SzaboAssistant Stage Manager. Cat AndradeMusical Assistant.Mark ElliottAssistant Scenic Designer. Sophia Blood, Jessica OlsonTechnical Director. Marisa MelitoAssistant Technical Director.Todd BleimanMaster Carpenter.Shelby MadeyAssistant Costume Designer.Olivia EngoborFirst Hand. Eric SanchezMakeup Assistant. Hailey RakowieckiAssistant Lighting Designer.Jamie DavisMaster Electrician. Jack RileyAssistant Sound Designer. Haley FeilerSound Technician.Tyler BlakemanProduction Photos. Michael BrosilowAudio Describer.Victor ColeScenery and Property Crew.Cullen Clancy, Grainne Devons-Ortlieb,Kya Brickhouse, Johnny TranCostume Crew. Emma Colbaigh, Olive Early, Kiera Pitts, Natalie RousseauMake-up Crew.Jessie GlionnaLighting Crew. Andrei Borges, Allison Millar,Juan Pablo Ocasio, Evan Rossi, Kiana SchalkSound Crew. Alexandria KlotePublicity and House Crew.Grace Grindell, Noah Kurnik,Elise Rivkin, Brianna SchwartzHouse Manager.Bridget FitzpatrickSPECIAL THANKS:Luis Alfaro, Brian Balcom, Michael Burke, Jacob Janssen, Damon Kiely, Erin Kraft,Bonnie Metzgar, Andrew Peter, and Julia Taiwo Oni.2The Theatre School at DePaul University
DIRECTOR’S NOTE“I think there is something deeply strange about the american psyche. And beautiful.Rich and strange. Gorgeous. And possible. And (excuse my language) fucked up. Youknow what I mean? Deeply. Deeply. We reach as high and we dig down as low. And thatis to me what it means to be American: these high reaching low grubbing people. Andin that space, which is an enormity, that possibility was able to happen. It’s a poem. Abeautiful poem. An ascension.It’s like a beautiful Shakespearean Play.” Suzan-Lori Parks on American culture(taken from the Public Forum with Wynton Marsalisat the Public Theatre, NYC 2013)One of the first plays I read when I came to DePaul was Suzan-Lori Parks’ In The Blood.I was moved.I was enraged.I was inspired.It changed the way I looked at poverty, race, gender, and this idea of the Americancaste-system.At the same time, I would walk to school every day and pass the same statue outside theDePaul Student Center (on the corner of Belden and Sheffield). It’s of the Catholic priestJohn Egan striking down his large clenched fist with a quote that reads “What are youdoing for justice?”I asked myself that question every day.It haunted me.I don’t go to rallies or protests. I don’t post a lot on Facebook or Twitter. I began to doubtmy passion for activism. But one day, as if I was hit by lightning, something clicked.Coming to The Theatre School to tell stories is an act of justice. There is great power inthe stories we tell. The students and faculty come into this building every day to asksome of the most difficult questions, to expose the beauty and ruptures of the outsideworld through this personal and communal art-form.I am proud to be at The Theatre School and to be given the opportunity to collaboratewith these fearless artists on this important play. Thank you for giving us the space to tellHester’s story. Nathan SinghIn The Blood3
DRAMATURGY NOTE“Theatre, for me, is the perfect place to ‘make’ history - that is, because so much ofAfrican-American history has been unrecorded, disremembered, washed out, one of mytasks as a playwright to.locate the ancestral burial ground, dig for bones, find bones,hear the bones sing, write it down. The bones tell us what was, what is, will be.” Suzan-Lori ParksIn the Blood and its bones are with Hester, a homeless black woman, and her family, thepeople in her life, and the higher ups who condemn her. And these bones are here andnow (literally, Parks writes, “Place: Here, Time: Now.)Though it could be anywhere, anytime, we are in Chicago, USA, in 2016. Where AfricanAmericans comprise 13.2% of the national population and 26% of those living belowthe poverty line. Where ten years ago an editorial in the Philadelphia Inquirer stated, “Themain reason more black children are living in poverty is that the people having them arethe ones least capable of supporting them.” And where, as I write this (in December of2015), thousands of protesters have shut down Michigan Avenue in protest of anotherblack life taken by police. Of a massive coverup. Of a broken system whose cracks rununder all of our feet, but are much wider and deeper for some.In the Blood is a piece of our world, and one that most of us, in our places of privilege, donot look in the face every day. But this is our world, and we all must find our place in thisstory, this reality and this history. Because we are all, each and every one of us, complicitin the history of this world. We are all, each and every one of us, complicit in the systemsthat grew from our past and influence our present. If circumstances were different, wouldyou be Hester? Would I? Would you be one of the ‘higher ups’? Are you? How are youinfluencing what will be?History is inconceivably large. So too is the present: our “here and now,” and how itworks. But this play demands that you find yourself in it; in a small story of a woman andher life, in the injustices and realities of Chicago and America, and in the world and itshappenings. Because when we see ourselves in every person, hear ourselves in everystory, and assess our place in every system, every injustice, and all the history behindthem, we come a step closer to a more just and equitable world, and a future that is alittle bit better for all of us. Madeline Kranz4The Theatre School at DePaul University
BIOGRAPHIESAyanna Bria Bakari (The Welfare Lady /Bully), BFA3/Acting. Ayanna is fromWashington, D.C. Recent credits includeJoe Turner’s Come and Gone (MollyCunningham), Man of La Mancha (DonQuixote), Medea (Medea), and An AmericanDaughter (Judith B. Kaufman).Lily Rosenzweig (Amiga Gringa / Beauty),BFA4/Acting. Lily Rosenzweig is fromNorthern California. Theatre School creditsinclude An Enemy of the People; Really,Really; The Trojan Women; Symphony ofClouds; Great God Pan; After Miss Julie; andCock.Jerome Beck (Reverend D. / Baby), MFA2/Acting. A Texas native from the Dallasmetroplex, Jerome served as an ArtisticAssociate of Sundown CollaborativeTheatre in Denton, Texas, and now serveson the Advisory Board. He plans tocontinue acting after graduation and startproducing work that engages people ofcolor in the Chicago area. He was last seenas Bynum Walker in August Wilson’s JoeTurner’s Come and Gone.Nathan Singh (Director), MFA2/Directing.Nathan has directed The Children’s Hourand The Great God Pan at The TheatreSchool. He comes from Los Angeles wherehe directed new works, operas, and sitespecific happenings. Some of his favoritecredits include Scar Tissue at Company ofAngels (published in Best American ShortPlays of 2010-2011) and See What I WannaSee at Musical Theatre Repertory (MTR).Site-specific works include Flash Theatre:Go Thy Way With Joy for Playwrights’Arena and Flash Theatre: A Call to Art fora fundraiser at the Los Angeles TheatreCenter. Opera works include AmericaTropical for the Autry National Center, LaPlaza de Culturas y Artes on Olvera St,and USC Vision and Voices, Shipwreck forthe Definiens Project and USC Spectrum.He has assisted Michael Rohd on Willfulland Laurie Woolery on The Tenth Muse atthe Oregon Shakespeare Festival. Nathanreceived a BA in Theatre from the USCSchool of Theatre.Nosakhere Cash-O’Bannon (Chilli /Jabber), BFA3/Acting. Nosakhere was bornand raised in Chicago. Recent credits atThe Theatre School include Eurydice (Lordof the Underworld) and Man of La Mancha(Sancho).Sam Kotansky (The Doctor / Trouble),BFA4/Acting. Sam is from Baltimore,Maryland. Previous credits at The TheatreSchool include The Lady from the Sea, VideoGalaxy, Terminus, From Up Here, and ReallyReally. He can also be seen as Isaac in thenew webseries They Wake Up, directed bySam Haines. Sam is an Equity MembershipCandidate.Samantha Newcomb (Hester, La Negrita),BFA3/Acting. Samantha hails fromPortland, Oregon. She most recentlyappeared as Zonia Loomis in Joe Turner’sCome and Gone. She was also seen lastseason in Book of Days, Medea, and U.S.Drag. Samantha is a Jackie RobinsonFoundation Scholar and is currently anEquity Membership Candidate.Phil Timberlake (Vocal Coach) Phil is anAssociate Professor of Voice and Speechat The Theatre School. He is an AssociateTeacher of Fitzmaurice Voicework andholds a Roy Hart Theatre Voice Teacherdiploma. Phil is an ensemble memberof Lifeline Theatre, where he hasreceived three Joseph Jefferson CitationNominations for Best Supporting Actor.Nick Sandys (Fight Director) has beenadjunct faculty at The Theatre School since1994, and he is a Certified Teacher andFight Director with the Society of AmericanFight Directors. He has choreographedover 50 shows at The Theatre School.In The Blood5
BIOGRAPHIES [cont.]Outside DePaul, he is the Resident FightDirector at Lyric Opera of Chicago wherehe has designed combat for over 45productions. He has also choreographedviolence for Goodman Theatre (over 30shows, including The Iceman Cometh [BAM2015] and the world premieres of Ruined,Stage Kiss, and August Wilson’s Gem Of TheOcean), as well as for Steppenwolf Theatre(including the Tony-winning Who’s Afraid OfVirginia Woolf[Broadway 2012]), NorthlightTheatre, Lookingglass Theatre, IndianaRepertory, Baltimore Centerstage, KansasCity Rep, Portland Opera, Florentine Opera,Dallas Theater Center, Remy BumppoTheatre, First Folio Theatre, Next Theatre,Shattered Globe, TimeLine, Eclipse, andmany other regional theatres and colleges.His fight choreography has won fourJoseph Jefferson Nominations, winning in2008 for Requiem For A Heavyweight.Danielle Szabo (Assistant Director) BFA3/Theatre Arts. Danielle hails from Flint,Michigan. She is double majoring inPhilosophy and has a Classical Studiesminor. Her Theatre School credits includeThe Memo (dramaturg), Better Living(assistant director), and the upcomingTranslation of Likes (dramaturg).Emily Witt (Assistant Director), BFA3/Playwriting. Emily Witt is from Wilburton,Oklahoma. Recently, she was the Assistant Director of The Children’s Hour andplaywright of Ripe at the 2014 Wrights ofSpring Festival.Mark Elliott (Musical Assistant). Mark hasprovided musical direction for nearly onehundred productions. He has worked forAlabama Shakespeare Festival, Center Theatre, Candlelight Dinner Playhouse, Roosevelt University, Fox Theatricals, CenterlightTheatre and Appletree Theatre, amongothers. He has also collaborated on manyproductions at The Theatre School wherehe is the Composer-In-Residence. He has6The Theatre School at DePaul Universityserved as musical director for the annualJoseph Jefferson Awards and Joseph Jefferson Citations on several occasions.Christina Hubbard (Scenic Designer),BFA3/Scenic Design. Christina has workedas an intern at Arkansas ShakespeareFestival, Hangar Theatre, and has studiedat Cobalt Studios at their three-weekScene Painting Intensive. Christina hasalso worked as a Freelance Scenic Artist inthe Chicago area. Recent credits of hersinclude the Chicago Tribune 2014 NewPlay of the Year, The Humans, at AmericanTheatre Company.Sophia Blood (Assistant Scenic Designer),BFA2/Scenic Design. Sophia is from NewHampshire. In the Fall she was the AssistantScenic Designer for Joe Turner’s Come andGone and will be the Scenic Designer in theSpring for What the F is Goin’ on in Kilgore,Texas?.Marisa Melito (Technical Director), BFA3/Theatre Technology. Marisa is fromYoungstown, Ohio. Past Theatre Schoolcredits include Technical Director for TheseShining Lives, Assistant Technical Directorfor Esperanza Rising and We’re Going to BeFine, Master Carpenter for Symphony ofClouds, and Assistant Stage Manager forBrewed. Marisa will be Technical Directorfor The Translation of Likes this Spring.Todd Bleiman (Assistant Technical Director),BFA3/Theatre Technology. Todd is anative of the Chicagoland Suburbs. PastTheatre School credits include AssistantTechnical Director for Video Galaxy, MasterCarpenter for Joe Turner’s Come andGone, Metamorphosis, and The PhantomTollbooth, Carpenter for Jackie and Me, andScenery and Properties Crew for Our Town.Shelby Madey (Master Carpenter), BFA3/Theatre Technology. Shelby is from theNorthwest side of Chicago. Her pastshows at The Theatre School include
BIOGRAPHIES [cont.]Master Carpenter for Esperanza Risingand Video Galaxy and Carpenter for Vigilsand Metamorphosis. She will be TechnicalDirector of The Merchant of Venice thiswinter and Assistant Technical Director ofPeter and Wendy this Spring.Madison Briedé (Costume Designer),BFA3/Costume Design. After attendingthe Fashion Institute of Design andMerchandising in Los Angeles, California,where she studied Merchandising andProduct Development for Fashion, Madisonrealized that her passion for clothing layin costume design. Madison has assistedon Theatre School productions of In TheHeights, Symphony of Clouds and TheDuchess of Malfi. Madison will also bedesigning The Theatre School’s productionof The Misanthrope this Spring.Olivia Engobor (Assistant CostumeDesigner), BFA2/ Costume Design. Olivia isfrom Castle Rock, Colorado. She recentlyserved as Assistant Costume Designer forJoe Turner’s Come and Gone.Emmaleigh Pepe-Winshell (LightingDesigner), BFA3/Lighting Design. Recentdesign credits include DOPE, Track 13, andB is for BANG! at Free Street Theatre. Thisspring they will be Master Electrician forThe Misanthrope at The Theatre School.Jack Riley (Master Electrician), BFA2/Lighting Design. Jack cultivated his passionfor theatre at Orange County School ofthe Arts in Santa Ana, California, where hegraduated from the Production and Designdepartment.Madeline Kranz (Dramaturg), BFA4/Theatre Arts. Madeline is from Cleveland,Ohio. They have worked as a dramaturgon Jackie & Me and has appeared in Fefu& Her Friends, Our Town, A Wrinkle inTime, and with DePaul’s Musical TheatreCollaborative.Caroline D’Angelo (Stage Manager), BFA4/Stage Management. Theatre School creditsinclude Esperanza Rising, directed by LisaPortes; A Free Man of Color, directed byPhyllis E. Griffin; Our Town, directed byDamon Keily; A Wrinkle in Time, directedby Ernie Nolan; Barrio Grrrl!; directed byLisa Portes; The Misanthrope, directed byMarc Pinate; Intimate Apparel, directed byPhyllis E. Griffin. Regional credits includeDeathtrap (Engeman Theatre), The LittlePrince, Two Gentlemen of Verona, Henry IV(part 1), Tartuffe (Monmouth). Opera creditsinclude La Boheme and Iphigénie en Taurid(DePaul Opera Theatre).Cat Andrade (Assistant Stage Manager),BFA3/Stage Management. Cat Andradewas born in Chicago and raised inSingapore. Her Theatre School creditsinclude Stage Manager for Elemeno Peaand Assistant Stage Manager for The DayJohn Henry Came to School, The PhantomTollbooth, Jackie and Me, Marat/Sade, andOur Town. This past summer, she was theAssistant Stage Manager on Afterword: TheAACM (as) Opera, Composed by GeorgeLewis and presented at the Museum ofContemporary Art.David Samba (Sound Designer), BFA4/Sound Design. David is a proud memberof Zoo City, Wulfden Theatre Ensembleand Length Boys Official. His past TheatreSchool credits include Symphony of Clouds,The Scavengers, Cock, Bull, and Dante’sInferno. His past Zoo City credits includeThis Is Our Youth, The Pillowman, andBrainfood.In The Blood7
THE THEATRE SCHOOL FACULTY/STAFFJohn Culbert. DeanDean Corrin. Associate DeanLinda Buchanan. Associate Dean of CurriculumJason Beck.Assistant DeanShane Kelly.Chair, Design andTechnical TheatreBarry Brunetti.Chair, Theatre StudiesDamon Kiely. Chair, PerformanceADMINISTRATIONAnna Ables. Director of Marketingand Public RelationsMitsu Beck. Executive AssistantTracee Duerson.Director of AdmissionsMatthew Krause.Business ManagerJoshua Maniglia.Technical Operations ManagerElizabeth Soete.Assistant VP of DevelopmentAndrea Tichy.Manager of PR and Special EventsMelissa Tropp.Admissions AssistantJeanne Williams. Coordinator of Academic ServicesDexter Zollicoffer.Diversity AdvisorACTING & DIRECTINGDexter Bullard.Head of Graduate ActingTrudie Kessler. Head of Undergraduate ActingLisa Portes.Head of Directing,Artistic Director Chicago PlayworksGreg AllenCheryl Lynn BruceKirsten FitzgeraldAndrew GallantLinda GillumNoah GregoropolousJohn JenkinsNick JohneDamon KielyCameron KnightKymberly MellonSusan MessingMatt MillerKurt NaebigRachael PattersonKimberly SeniorAnn WakefieldMOVEMENTPatrice Egleston. Head of MovementKristina FlutyVanessa GreenwayKimosha MurphyNick Sandys PullinClifton RobinsonMary SchmichVOICE AND SPEECHClaudia Anderson.Head of Voice and SpeechDeb DoetzerMark ElliottPhyllis E. GriffinTrudie KesslerPhil TimberlakeDESIGNChristine Binder.Head of Lighting DesignLinda Buchanan. Head of Scene DesignNan Cibula-Jenkins.Head of Costume DesignVictoria Delorio. Head of Sound DesignNan Zabriskie. Head of Make Up and WigsJeff BauerTodd HensleyNick KeenanJason KnoxJack K. MagawLiviu PasareHenrijs PriessJanice PytelBirgit Rattenborg-WiseNoelle Thomas8The Theatre School at DePaul UniversityTECHNICAL THEATREShane Kelly.Head of Theatre TechnologyDeanna Aliosius.Head of Costume TechnologyNarda E. Alcorn . Head of Stage ManagementJason BrownRichard BynumKevin DepinetRichie FineChris FreeburgJoel HobsonEd LeahyDavid NauntonCourtney O’NeillRussell PooleMichael RourkeJim SavageNoelle ThomasAlden VasquezLaura WhitlockTHEATRE STUDIESBarry Brunetti. Head of Theatre ArtsMarcie McVay.Head of Theatre ManagementCarlos Murillo.Head of PlaywritingAlan Salzenstein.Head of Arts LeadershipRachel Shteir.Head of DramaturgySuzanne BizerAaron CarterTosha FowlerBrian GillCriss HendersonJim JensenChris JonesJan KallishJay KellyTavia La FolletteKristin LeaheyBrian McKnightBonnie MetzgarShade MurrayErnie NolanBill O’ConnorTanya PalmerCoya Paz-BrownriggMara RadulovicMaren RobinsonRoche SchulferSandy ShinnerKrissy VanderwarkerLIBERAL STUDIESBea BoscoLou ConteyKevin FoxLin KahnSuzanne LangJames McDermottChris PeakRachel SlavickDavid ChackJason FliessCarolyn HoerdemannRyan KitleyReggie LawrenceDan MoserJames ShermanTECHNICAL STAFFSo Hui Chong.Costume TechnicianTim Combs.Technical DirectorMyron Elliott . Costume Shop ManagerChris Hofmann.Director of ProductionKelsey Lamm.Production CoordinatorJen Leahy. Theatre Technical DirectorAmy Peter.Properties MasterAaron Pijanowski. Assistant Theatre Technical DirectorGerry Reynolds. Scene Shop ForemanRon Seeley. Master ElectricianAdam Smith.Sound TechnicianShelia Hunter. DraperJoanna White.Scenic ArtistAUDIENCE SERVICESJulia Curns.Box Office ManagerPeter Kelly. Theatre School House ManagerDavid Keohane. Administrative AssistantLaura Rice. Group Sales RepresentativeCecilia Falter. Theatre School House ManagerLeslie Shook. Theatre Manager
MISSION STATEMENTThe Theatre School at DePaul University educates, trains, and inspires students of theatre ina conservatory setting that is rigorous, disciplined, culturally diverse and that strives for thehighest level of professional skill and artistry.A commitment to diversity and equality in education is central to our mission. As an integralpart of the training, The Theatre School produces public programs and performances froma wide repertoire of classic, contemporary, and original plays that challenge, entertain, andstimulate the imagination. We seek to enhance the intellectual and cultural life of our university community, our city, and the profession. For admissions information, telephone (773)325-7999 or 1-800-4-DEPAUL.CHICAGO PLAYWORKS FOR FAMILIES AND YOUNG AUDIENCESChicago Playworks offers a live theatre experience to students, teachers and parents in theChicago metropolitan area. It is our mission to provide theatre for children that reflects theirexperiences in a contemporary, multi-ethnic, urban environment.Founded as the Goodman Children’s Theatre in 1925, Chicago Playworks is the city’s oldestcontinuously operating children’s theatre. It has been the first theatre experience for audiences of Chicago’s young people for more than seven decades and was one of the first majortheatres for children in the United States. In 1997 and again in 2003, Chicago Playworks washonored by the Illinois Theatre Association with the Children’s Theatre Division Award, forits outstanding long-term contribution to children’s theatre. In 1980, Chicago Playworks wasawarded the prestigious Sara Spencer Award by the Children’s Theatre Association of America(now the American Alliance for Theatre and Education).Chicago Playworks is a vital aspect of the training at The Theatre School at DePaul University.Students gain pre-professional experience in an extended run before a most demanding andappreciative audience. Chicago Playworks presents three unique productions to more than35,000 young people each season and has entertained more than 1 million schoolchildren andfamilies since 1925.HISTORYThe Theatre School at DePaul University was founded as the Goodman School of Drama in1925, made possible by a gift of 250,000 from William and Erna Goodman to the Art Instituteof Chicago. The gift was in memory of their son, Kenneth Sawyer Goodman, a playwright. Kenneth dreamed about opening a theatre that combined a repertory company with a dramaticarts school, where classes would be taught by professional artists and actors.In 1975 the trustees of the Art Institute of Chicago voted to phase out the Goodman Schoolof Drama over a three-year period. Luckily, DePaul University stepped in and embraced theGoodman School of Drama to keep alive a tradition of dramatic programming. DePaul’s firsttheatre, The College Theatre, opened on the Lincoln Park Campus in 1907.Throughout the years, The Theatre School at DePaul University has grown in reputation andstature. Our new home at Fullerton and Racine opened in September 2013 and was designedby the internationally renowned architect César Pelli and his firm Pelli Clarke Pelli Architects.To learn more about our history, please visit theatre.depaul.eduIn The Blood9
THE THEATRE SCHOOL BOARDSUSTAINING MEMBERSBrian M. Montgomery, ChairSondra Healy, Chair EmeritusJoseph M. AntunovichKathleen M. BetteMonika L. BlackMary Spalding BurnsLorraine M. EvanoffKaren HaleWhitney A. LaskyDon McLeanIrene MichaelsPenelope ObenshainVonita ReescerMerle ReskinHank RichterTrisha RooneyJoseph Santiago Jr.Patricia Costello SlovakLinda UsherMsgr. Kenneth VeloTomer YogevPROFESSIONAL ASSOCIATESScott EllisSamantha FalbeScott FalbeZach HelmCriss HendersonPaul KonradPaula Cale LisbeAmy K. PietzJohn C. ReillyCharlayne WoodardDennis ZacekHONORARY MEMBERSJohn Ransford WattsJoseph SlowikHONOR ROLL OF DONORSListings in the honor roll reflect contributions and pledge payments made toThe Theatre School between July 1, 2014 and June 30, 2015.President’s ClubGifts of 1,000 and above annually qualify for membership in the President’s Club, DePaul’s honor society of donors.* 1,000,000 lifetime giving to DePaul University Donor has made a special philanthropic pledge of 25,000 or greaterto DePaul University between July 1, 2014 and June 30, 2015# Donor has made a memorial gift in honor of Julia Neary, THE ’90,a DePaul Theatre School alumnae and professor who died on January 3, 2015.Alumni & FriendsExelon CorporationFidelity Charitable Gift 50,000 Fund *#Fr. McCabe CircleFocus Lighting, Inc.Sondra Healy, GSD ‘64 (Life GeicoTrustee) & Denis Healy * Paul Gregory, GSD ‘73Janet C. Messmer #David Herro & Jay FrankeSusan Strauss & PeterEdgar JannottaStraussLewis & Hilary K. JosephsLavin Family Foundation 25,000- 49,999Magellan CorporationFr. Levan CirclePaul MillerAllstate Insurance Co.Michael MinkusThe AnnenbergBrian Montgomery, JD ‘89Foundation Thomas Neary Jr. #PNC Bank *Bill & Penny ObenshainPNC Financial ServicesR4 ServicesGroup, Inc. *Trisha Roone
and Laurie Woolery on The Tenth Muse at the Oregon Shakespeare Festival. Nathan received a BA in Theatre from the USC School of Theatre. Phil Timberlake (Vocal Coach) Phil is an Associate Professor of Voice and Speech at The Theatre School. He is an Associate Teacher of Fitzmaurice Voic
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