OKLAHOMA_.pdf by shensengvf


									                Portland Center Stage



                      Portland Center Stage
Artistic Director Chris Coleman         Sept. 20 – Oct. 30, 2011

                 PORTLAND CENTER STAGE


                  Rogers and Hammerstein’s


                 Music by Richard Rodgers
        Book and Lyrics by Oscar Hammerstein II
   Based on the play Green Grow the Lilacs by Lynn Riggs
             Original Dances by Agnes de Mille
                 Directed by Chris Coleman

Scenic Designer       Costume Designer       Lighting Designer
William Bloodgood        Jeff Cone             Ann Wrightson

Sound Designer    Musical Director/Conductor Choreographer
Casi Pacilio           Rick Lewis              Joel Ferrell

          Fight Director                  Dialect Coach
          John Armour                  Mary McDonald-Lewis

Stage Manager Assistant Stage Manager Production Assistant
Mark Tynan*         Emily N. Wells*      Kailyn McCord

       Oklahoma! will be performed with one intermission.

Oklahoma! is presented through special arrangement with R&H
            Theatricals: www.rnhtheatricals.com

     * Member of Actors’ Equity Association, the Union of
  Professional Actors and Stage Managers in the United States.


Rodney Hicks*.................................Curly

Joy Lynn Matthews-Jacobs*...........Aunt Eller

Brianna Horne*................................Laurie

Troy Valjean Rucker*......................Ike Skidmore

Don Kenneth Mason*......................Fred/Dream Curly/Ensemble

Timothy Ware*.................................Slim/Ensemble

Jarran Muse*.....................................Will Parker

Justin Lee Miller*..............................Jud Fry

Marisha Wallace*..............................Ado Annie Carnes

Jonathan Raviv*.................................Ali Hakim/Fight Captain

Kelcy Griffin*……............................Gertie Cummings/
                                            Ensemble/Dance Captain

Sheila Jones*.......................................Ellen/Ensemble

Berwick Haynes*.................................Andrew Carnes

Tyrone Roberson*................................Cord Elam/Ensemble

Gregory J. Hanks*................................Mike/Ensemble

Kemba Anika Shannon*......................Dream Laurey/Ensemble

Sumayya Ali*......................................Virginia/Ensemble

Bianca Burgess*...................................Ilene/Ensemble

Marlene Villafane*..............................Vivian/Ensemble


Conductor...............................................Rick Lewis

Piano......................................................Tyler Evans

Keyboards...............................................Eric Little

Bass.........................................................Sean Vinson

Percussion................................................Ben Wasson

Violin.............................................Mary Rowell

Cello.............................................. Elizabeth Byrd

Trumpet.........................................Clark Rust

Reeds............................................ Dave Milne

Reeds............................................Ward Baxter

Reeds........................................... Ward Baxter/Eryn Vercammen

* Member of Actors’ Equity Association, the Union of
Professional Actors and Stage Managers in the United States.

Cover image design by Julie McNamara; art direction by
Michael Buchino.

Portland Center Stage operates under an agreement among the
League of Resident Theatres (LORT), Actors’ Equity
Association, The Union of Professional Actors and Stage
Managers in the United States, and the Society of Stage
Directors and Choreographers. PCS is a member of LORT,
Theatre Communications Group, Portland Business Alliance, the
Portland Oregon Visitors Association and the Oregon Natural
Step Network.

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


Act I, Scene 1 – Laurey's Farmhouse
Oh What a Beautiful Morning
The Surrey with the Fringe on the Top
Kansas City
Reprise of The Surrey with the Fringe on the Top
I Cain't Say No
Many a New Day
People Will Say We're in Love

Act I, Scene 2 – The Smokehouse
Pore Jud Is Daid
Lonely Room

Act I, Scene 3 – The Grove
Out of My Dreams

Act II, Scene 1 – Skidmore's Ranch
The Farmer and the Cowman

Act II, Scene 2 – Skidmore's Back Porch
All Er Nothin'
Reprise of People Will Say We're in Love

Act II, Scene 3 – Laurey's Farmhouse


When the Land Run of 1889 opened "free" land to non-Indian
settlement, African Americans from the Old South rushed to the
Oklahoma Territories. African Americans in Oklahoma and
Indian Territories created their own communities for many
reasons, but especially escape from discrimination and abuse
present in many mixed communities in the Deep South and
Midwest. All-Black settlements offered the advantage of being
able to depend on neighbors for financial assistance and of
having open markets for crops.

In the early 20th century, there were around fifty Black towns in
the Oklahoma territories. In fact, the largest predominantly black
town in North America was Boley, Oklahoma. In its prime
Boley was home to many businesses and institutions. There
were numerous cotton gins and banks, schools both public and
private, several fraternal clubs and churches of every
denomination. Boley had a railroad depot, a post office, a
telephone company and a power plant. The municipality also
successfully bid to host Oklahoma’s main black fraternal lodge,
a black tuberculosis hospital and the State Training School for
Negro Boys. All who visited Boley, including Booker T.
Washington, marveled at the ambition and vigor of the

The end of the civil war and subsequent rise of Jim Crow laws
coincided with the huge rise of the cattle industry in the
American West. The demand for seasonal labor was intense and
many of the African American men migrating west found work
on the cattle trails of Texas and Oklahoma. It’s estimated that

one in three working cowboys was African American, Mexican
or Native American.

Below is an excerpt from a blog by cast member Sumayya Ali
describing the process of working on dialect with Mary
McDonald-Lewis in Oklahoma!. At PCS, we encourage artists
and company members to share the experiences of creating
shows with our audience on our blog. Read Sumayya’s and
other great insights on our blog at pcs.org/blog.

The Inveiling of a Consciousness with Miss Mary Mac

I have learned that here at Portland Center Stage, authenticity is
taken very seriously. We are expected to speak and sing as the
African Americans did in Oklahoma in 1906. The dialect turns
out to be completely different from that of their white
counterparts. To learn what it means, we were formally
introduced to AAVE, African American Vernacular English.
When Mary McDonald-Lewis was introduced as our dialect
coach, there were naturally reservations amongst the cast. "How
is this white woman from California going to assist me in
speaking 'black'?" In our first session, my mixed feelings turned
into self realization. Mary is truly a master of her craft. She has
the perfect skill set to assist us on this lingual journey.

With Mary, we approached the dialect from a historical,
sociological and geographical perspective. The phonological
characteristics of AAVE can be traced back to many beautiful
African languages. When our ancestors were enslaved,
education was forbidden and our own dialect was formed and
subsequently carried throughout the country during The Great
Migration. Mary supplemented our studies and analysis with
audio recordings of different African Americans and
Oklahomans from different generations. They made me feel
warm inside. The recordings’ melodious tone and speech pattern
felt like home.

In the process of formal education, and within the desire to excel
professionally, African American Vernacular English is often
abandoned, beaten down, strangled out, and hidden by many of
us. With minstrelsies, starting during Jim Crow and lingering in
present day caricatures like Sha-Nay-Nay, I have always felt like
it was my responsibility to not perpetuate such ridiculous
stereotypes. One way to do that is by communicating in
“Standard English.” Studying the history of the dialect caused
me to re-examine myself and my way of thinking. Why is it that
this dialect is associated with people that are dumb, 'ghetto',
uneducated, and immoral? It’s simply a dialect. I must not let it
be hijacked and dishonored by minstrel characters or rappers
with destructive messages. It is time to embrace and reclaim
AAVE- even celebrate this dialect. I am honored to have the
opportunity to do so through applying it to Oklahoma. This
linguistic study has definitely led to an unveiling of a

                                                  - Sumayya Ali


“What does it mean to be an American?” That is the question
that always seems to stand at the center of Oklahoma! for me. A
community of hard-working, toughened pioneers – out in the
last holdout of the Wild West – looking forward to statehood,
legitimacy, becoming welcomed into the larger fold. A
community looking forward to the opportunity to claim their
piece of the American dream.

So when the notion first popped into my head to tell this story
about an African-American community, I had to take a breath –
and ponder what the implications of the choice might be. The
idea first showed up during auditions for Ragtime two seasons
ago. First, I was knocked out by the depth of African-American
talent in the musical theater world. Second, I was struck by the
number of young women who chose to sing Rodgers &
Hammerstein – and how gorgeous the music sounded coming
out of their mouths.

I reread the script: Could the story still make sense? Well on a
first reread, there was nothing that jumped out at me. But would
the history actually support the choice?

A little digging started to reveal a treasure trove. There were
already a number of African-Americans in the Oklahoma
territory by the end of the 19th century, who had arrived as
slaves with their Native American masters along the ‘Trail of
Tears’. But in 1889 when “Indian Territory” was opened up to
homesteaders, hordes of African Americans migrated from the
South, fleeing the social and economic oppression of the post-
Civil War era. By 1900 there were 137,000 African Americans
living in the territory; almost 50 all black towns; and the
wealthiest enclave of African-American citizens in the country
resided in Tulsa, Oklahoma. There was even a movement to
transform the territory into an all-black state. Nearly one in
three cowboys was African-American.

Why had I never heard any of this? And what might the
resonance be of seeing this classic American tale acted and sung
through the lens of this rather extraordinary moment in the
history of an African-American community?

Through this glorious cast and this beloved music, that’s what
we will all get to discover together.

                                               - Chris Coleman


Sumayya Ali (Virginia/Ensemble) Sumayya Ali is incredibly
grateful and excited to be a part of this ground breaking
production of Oklahoma! This versatile soprano has been
successful in opera, musical theater, pop and dance. Most
recently Ms. Ali has performed in City Center's Lost in the
Stars, The Kennedy Center's Master Class, and the revival of
Ragtime on Broadway. She has played various roles in operas
throughout the America and Europe and was in the top 100 of
the sixth season of American Idol. She danced as a company
member and featured soloist with Step Afrika for two years.
Sumayya received a BA from Spelman College as well as a
Master's in music from The New England Conservatory. She

would like to dedicate this performance to her mother and new
baby, Hasibas Nabila and Zahara.

Bianca Burgess (Ilene/Ensemble) Bianca is super excited to
join the cast of Oklahoma! at PCS! Bianca is a B.F.A graduate
of Marymount Manhattan College in NYC under the direction of
Katie Langan. Former member of Washington Reflections
Dance Company. Tours: 1st National Chitty Chitty Bang Bang
and 42nd Street in Asia. The Spirit of Kwanzaa at the Kennedy
Center. Drastic Cuts choreographed by Donald Byrd at the
Paramount Theatre in Seattle, Washington. Thank you God for
the ability and talents to perform. Love to my fiance Stephen
and my awesome family for their continual support

Kelcy Griffin (Gertie Cummings/Ensemble/Dance Captain)
Kelcy is thrilled to be making her PCS debut! A proud Chicago
native, Kelcy was most recently seen in the National Tour of
Dreamgirls (Michelle U/S). She is also a graduate of the
University of Michigan. Some Regional credits include Deena
Jones in Dreamgirls (Cohoes Music Hall), Pilar in Legally
Blonde (Gateway Playhouse), The Producers, Miss Saigon
(Music Theatre of Wichita) and Aida (ACCC). NYC Readings:
Cool Papa's Party (feat Wayne Brady). Kelcy would like to
thank her family first and always for their continued support.
She is so incredibly blessed! So much thanks and love to
Nicholas, Dustin and Judy Boals, INC. Always believe!!

Gregory J. Hanks (Mike/Ensemble) Gregory J. Hanks is
thrilled to be appearing in the Portland Center Stage production
of Oklahoma!. Regional credits include: Hairspray (Arkansas
Repertory Theatre and Phoenix Theatre), Dreamgirls (Cohoes
Music Hall), Oklahoma!, The Producers, Chicago, All Shook
Up, The Will Rogers Follies (Surflight Theatre), The Full Monty
and Crazy for You (Alexander Kasser Theatre). Gregory holds a
Bachelor of Fine Arts in Musical Theatre from Montclair State
University in New Jersey. Last but not least, he thanks his
amazingly supportive family and friends. Jeremiah 17:7

Berwick Haynes (Andrew Carnes) Berwick Haynes is
overjoyed to be making his Portland Center Stage debut. Most
recently from the San Francisco Bay Area, he was last seen in
Marin Theatre Company's production of Woody Guthrie's
American Song (Man). He studied theatre at both San Francisco
and Hayward State Universities. Some of his regional credits
include Mitch in The 25th Annual Putnam County Spelling Bee
(San Jose Repertory Theatre), Ken in Ain't Misbehavin' (Artpark
& Company), Carbon in Cyrano de Bergerac (Tennessee
Repertory Theatre), Otto Frank in The Diary of Anne Frank
(Stage One of Louisville), Horse in The Full Monty (Drury Lane
Water Tower), Timothy in The Cay (California Theatre Center,
where he originated the role), and Anyone Can Whistle directed
by Lonny Price with Patti LuPone and Audra McDonald
(Ravinia Festival). To Lonnie, Kim and Steph he sends undying
love and gratitude. And to all, L'Chaim!

Rodney Hicks (Curly) Rodney Hicks is beyond thrilled to have
this extraordinary opportunity and to be working at Portland
Center Stage on this iconic show. Broadway: Clarence Norris in
The Scottsboro Boys, Benny in RENT (Closing Cast/DVD),
Peter in Jesus Christ Superstar, Original Cast of RENT (Original
Cast Recording); Off-Broadway: The Scottsboro Boys (Original
Cast Recording), The Nightshade Family, Jacques Brel
(Original Revival Cast/Cast Recording), Dorian Gray,
Irrationals, Beautiful, From My Hometown (Audelco
Nomination Leading Actor in a Musical), RENT (Obie Award),
Lotto (Audelco Award Supporting Actor in a Play), Bring in the
Morning; Regional: White Noise (Tyler), Miss Saigon (John),
Noah’s Great Rainbow (Murigande), King Lear (Edmund), The
60’s Project (Roy), Ain’t Misbehavin’, Two Gentlemen of
Verona (Valentine), Patron St. of Peanuts (George W. Carver),
Lobby Hero (William), Hair (Hud), Golden Boy (Joe
Bonaparte), Letters from ‘Nam (Marion); TV: Hope & Faith
(Guest Star), Law & Order: C.I. (Guest Star), Student Affairs
(Series Regular), NYPD Blue (Guest Star).

Brianna Horne (Laurey) Brianna, a South Jersey native, is a
recent Wagner College graduate with a B.A. in Theatre
Performance. Regional: The Threepenny Opera (Arden
Theatre), Johnny Baseball and Best of Both Worlds (American
Repertory Theatre), All Shook Up (Ogunquit Playhouse); Once
On This Island (Hangar Theatre), AIDA (TRIArts Sharon
Playhouse), In Sun and Snow (Walnut Street
Theatre). Thanks to the team at Cathy Parker Management.

Sheila Jones (Ellen /Ensemble) Back in high school, Sheila
Jones swore she’d never do Oklahoma! again and her teacher
said, “Never say never.” Truer words were never spoken. Now,
she is beyond thrilled to be making her PCS debut in
Oklahoma!. She attended Florida State University and received
a BFA in Music Theatre then left for Hong Kong to do Festival
of the Lion King (Nala). She recently made her New York City
debut in a one act called It’s Gonna Work Out Fine. Favorite
credits include Once on This Island (Ti Moune), Cats
(Demeter), Ragtime (Sarah), and Hair (Ensemble). She would

like to thank the Lord, family, and friends for being her rock!

Don Kenneth Mason (Fred/Dream Curly/Ensemble) Don
Kenneth Mason is delighted to make his Portland Center Stage
debut. Previously theater roles include: Guys and Dolls (Rusty
Charlie), Camelot (Sir Sagramore), Kiss Me Kate (Paul), Once
on This Island (Papa Ge u/s), 42nd Street (Andy u/s). Don has
also appeared at Radio City Musical Hall in Christmas Across
America and at the Tokyo Disney Resort. Proud (new!) member
of Actors’ Equity.

Joy Lynn Matthews-Jacobs (Aunt Eller) Oh so happy to be
here in beautiful Portland! Most recently spreadin' rhythm
round in Ain't Misbehavin' and before that featured in Kurt
Weil’s Lost in the Stars for the Encores series at New York City
Center. Broadway: The Music Man, Marie Christine. First
National Tours: Ragtime, Show Boat. Off Broadway: Created
the role of Power Woman in Menopause the Musical;
Manhattan Theater Club’s Our Leading Lady, Created the role
of Delia in Asylum-The Strange Case of Mary Lincoln.
Regional: Bloody Mary in South Pacific, Sylvia in All Shook
Up, Wanda in Crowns, Reno Sweeney in Anything Goes, Lady
Thiang in The King & I, Aldonza in Man of La Mancha, to name
a very few. Opera: Carmen. Film: Menace II Society. Soloist
with symphonies great and small all across the country.

Justin Lee Miller (Jud Fry) Justin is thrilled to be making his
Portland Center Stage debut in Oklahoma! He recently finished
long runs in both the National Tour and Las Vegas companies
of The Phantom of the Opera. This spring he played Jake in
Porgy and Bess at Atlanta Opera. He has performed in a dozen
productions of Porgy and Bess across Europe and North
America. Justin has appeared in various productions with Los
Angeles Opera, Lyric Opera Chicago, Opera-Comique Paris, the
Bard Music Festival, Sarasota Symphony, Nashville Symphony,
New York City Center Encores!, North Shore Music Theater,
Weston Playhouse, Fulton Opera House and the Paper Mill
Playhouse. He is a graduate of the University of Michigan
Musical Theater department, and a proud member of both
Actors Equity and AGMA, the trade unions of professional stage

Jarran Muse (Will Parker) Jarran is grateful to be a part of this
company of Oklahoma!, and thrilled to make his debut at
Portland Center Stage. Born in New Jersey, he has always had a
fascination with the beauty of the Pacific Northwest, so he is
even more excited to get out and explore the Oregon Trails!
Broadway/NYC: Irving Berlin's White Christmas (Jimmy),
Dreamgirls (Frank); National/International Tours: Dreamgirls
(Curtis & CC u/s), Hairspray (Seaweed u/s), 42nd Street (Billy
Lawlor); Regional: My One and Only, 25th Annual...Spelling
Bee, Joseph...Dreamcoat, Crazy For You, The Wiz, The Wild
Party. Cruise Ships: Norwegian Cruise Line (Singer/Dancer).
Thanks to God for this blessing, to Chris for the opportunity, to
KSR for the appointment, and to my family for their continued
support and LOVE!" Proud AEA member. Twitter @jarranmuse

Jonathan Raviv (Ali Hakim/Fight Captain) This is Jonathan’s
Portland Center Stage debut. Recent credits include Tony
Kushner’s Homebody/Kabul at the Curious Theater and Mary
Zimmerman’s Arabian Nights at Berkeley Rep. Regional
credits: Inana and Eelwax Jesus at the Contemporary American
Theater Festival, The Light in the Piazza at Arena Stage, Weston
Playhouse and The Goodman Theater; The Chosen at Writers’
Theatre; Lady Madeline at Steppenwolf Theatre; Brigadoon at
The Marriott Theatre in Lincolnshire; Fiddler on the Roof at
Drury Lane Oakbrook; Andrew Lippa’s The Wild Party at The
Lakeshore Theatre. New York acting credits: The Persians at the
APAP Conference; A Diner, A Shiner at American Globe and
Hello My Name Is... at Theatre Row. Jonathan would like to
thank Chris and the rest of the creative team for this opportunity.
He would also like to thank his family for their love and support.

Tyrone Roberson (Cord Elam/Ensemble) Tyrone Roberson is a
versatile artist who has participated in wide array of idioms
including opera, musical theater, concerts, recordings and film.
In 2002, Tyrone performed Porgy & Bess in a historic “Live
from Lincoln Center” broadcast with the New York City Opera.
He also sang the role of Jake with the Living Arts World Tour of
Porgy and Bess. In 2007, Tyrone returned to New York City
Opera to perform their new production of Margaret Garner.
Tyrone has been in various musical theater productions such as:
Le Hot Blu, Scrooge: The Musical, and Blues in the Subway.
Tyrone has toured extensively throughout Europe and South
America performing Negro Spirituals, jazz and gospel music.
Tyrone recently gave presentations of Negro Spirituals at the
College of the Holy Cross Worcester, MA and Bridgewater
State University Bridgewater, MA. Tyrone is currently working
on his first screenplay and series of musicals. Tyrone feels
blessed to be a part of Portland Center Stage's ground-breaking

Troy Valjean Rucker (Ike Skidmore) Select NY/Regional:
Zanna, Don’t!; Elegies for Angels…; 365 Days/365 Plays; Show
Boat; Ragtime; South Pacific; Angels In America (PAGE Award
Nomination); L’Histoire du Soldat; Babes In Toyland.
National/European Tours: Jesus Christ Superstar; International
Symphony Orchestra. Opera/Concerts: New York City Opera;
Carnegie Hall; Lincoln Center; Kennedy Center; Aretha
Franklin with the Detroit Symphony Orchestra.
TV/Commercials: Preston on “Drama Queenz” (web series),
History Channel, NBC, UPN, Ford Motor Company.

Kemba Anika Shannon (Dream Laurey/Ensemble) Kemba is a
native of Baltimore and began dancing at the age of five.
Theater credits include: The Lion King (Los Angeles), The Color
Purple (Broadway), Cirque du Soliel (Zummanity), AIDA and
FAME: The Musical (European Tour). Back-up dance credits
include: Madonna (Drowned World Tour), Pink (World Tour),
Celine Dion (Taking Chances World Tour), Kanye West,
Fantasia, Rhianna (Nike Rock Star Workout). TV credits include:
American Dream, MTV Music Awards, World Music Awards,
The Grammy Awards, and others. Kemba received a BFA from
Towson University and has trained with Alvin Ailey American
Dance Theater, Martha Graham School, Broadway Dance
Center, The Edge, Lula Washington and others.
Marlene Villafane (Vivian/Ensemble) Marlene made her
debut in Aaron Davis Hall with the Harlem School of the
Arts. A native New Yorker, she’s thrilled to be in Portland
Center Stage’s Oklahoma! She’s a La Guardia High
School of Music and Art graduate; BM/MM, Manhattan
School of Music. International: Porgy and Bess (Clara);
Hal Prince’s Show Boat (Julie); National and Regional:
J.C. Gonzalez’s Warm (Lori) Stephen Schwartz director;
Unmitigated Truth (Lilly/Leading Lady) Melvin Van
Peebles’ Line 13th St (Molly); Pushcart Players’ Stone
Soup and other Stories, Peter and the Wolf (Wolf),
Cuentos del Arbol (Woman 2). She also performs for
senior citizen centers with the group Vocal Ease. TV:
Telemundo Que le Parece?; NBC’s Today’s Show.
Winner of the IMTA Grand Prize for Best Vocalist of
2009. She’s currently writing a musical as well. Thanks
God, parents, family, Al, Harriet Bass, Chris Coleman,
Joel Ferrell and the cast!

Marisha Wallace (Ado Annie Carnes) Marisha is excited to be
returning to PCS. She was last seen in One Night with Janis
Joplin. Marisha hails from Goldsboro, NC. She received a BFA
in Musical Theatre and Theatre Education at East Carolina
University. She is a winner of the North Carolina Singing
Sensation competition and a finalist in the Broadway’s Next Big
Star competition. Theatre credits include: Dreamgirls (Effie);
Chicago (Mama Morton); RENT (Joanne); Smokey Joe's Cafe
(BJ); Hair (Dionne); Wedding Singer (Holly); Best Little
Whorehouse in Texas (Doatsey Mae/Jewel). Marisha would like
to thank God for all her blessings and her Mom, family and
friends for all of their support and love. Many thanks to Chris
Coleman and the production team for this opportunity. And
finally to my honey Dom, I love you with all my heart!

Timothy Ware (Slim/Ensemble) Timothy Ware is proud to join
Oklahoma! at Portland Center Stage. Some of his credits
include: Broadway National Tours: Mamma Mia! (Sky),
Mamma Mia! Las Vegas (Eddie), Jesus Christ Superstar and
Dreamgirls. Regional: The Fantasticks (Arena Stage), RENT
(Connecticut Rep. Theatre), Godspell (Syracuse Stage), The

Colored Museum (Crossroads Theatre), Purlie (Pasadena
Playhouse/ Goodman Theatre) and Like Jazz (Mark Taper
Forum). Studied acting at Alabama State University (BA) and
UCLA’s MFA program. This is for Skye, Summer and Barry.


Chris Coleman (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. In the 12
years of his leadership, the Express grew from a shoestring
operation to one of the most highly regarded small theaters in
the country. At PCS recent direction includes The Imaginary
Invalid, Sunset Boulevard, The Chosen, Snow Falling on
Cedars, Ragtime, Grey Gardens, Crazy Enough, The
Importance of Being Earnest, Guys and Dolls, Cabaret, The
Beard of Avon and The Little Dog Laughed. He also made his
Portland acting debut last season in Opus. Chris has directed at
major theaters across the country, including Actor’s Theater of
Louisville, Oregon Shakespeare Festival, ACT Theatre, The
Alliance Theatre, Dallas Theatre Center, Asolo Center for the
Performing Arts, Pittsburgh Civic Light Opera, 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 has
long been a public advocate for the arts, both locally and
nationally. From 1998 – 2004 he served on the board of
directors of Theatre Communications Group (TCG), the national
service organization for professional theaters, and he currently
chairs the Creative Advocacy Network board. Since moving to
Oregon, Chris has skied down Mt. Hood, rappelled in The
Dalles, climbed a ropes course in Eastern Washington, biked
through most neighborhoods of the city and hiked all over the
state. Chris’s favorite things about Portland: farmer’s markets,
Timbers games, Ruby Jewel ice cream, zoo concerts, chamber
music, food carts, and cars that stop for pedestrians.

William Bloodgood (Scenic Designer) William returns to
Portland Center Stage for his eleventh production, having
previously designed the scenery for The Cripple of Inishmann
(2000), Cat on a Hot Tin Roof (2004), Misalliance (2007), The
Beard of Avon and Twelfth Night (2008), Snow Falling on
Cedars (2010), An Iliad (2010), and The Imaginary Invalid
(2011). William has designed for many regional theaters in the
U.S. and abroad, including Arena Stage in Washington, D.C.,
Birmingham Repertory Theatre in the U.K., Berkeley Repertory
Theatre, Alley Theatre in Houston, Arizona Theatre Company,
Chicago Shakespeare Theater, Children’s Theatre Company in
Minneapolis, Denver Center Theatre Company, Hong Kong
Repertory Theatre, Indiana Repertory Theatre, Intiman Theatre
in Seattle, Kansas City Repertory Theatre, La Jolla Playhouse,
Old Globe Theatre in San Diego, Seattle Repertory Theatre,
Syracuse Stage, and especially for the Oregon Shakespeare
Festival. Most recently he designed the United States National
Exhibit for the Prague Quadrennial of Performance Design. He
now teaches at the University of Texas in Austin.

Jeff Cone (Costume Designer) This is Jeff’s thirteenth season at
PCS. In that time he has designed costumes for fifty-two
productions. Of those shows, thirty-one have been in the last
five seasons at the Armory. Favorite productions include West
Side Story, Cabaret, Alfred Hitchcock’s The 39 Steps, One Flew
Over the Cuckoo’s Nest, Sometimes a Great Notion, Snow
Falling on Cedars and The Imaginary Invalid. Jeff received
Drammy awards for his costume designs for Dirty Blond and Act
A Lady. In addition to his resident costume designer duties, Jeff
is happy to manage the costume shop here at Portland Center

Ann G. Wrightson (Lighting Designer) Ann designed the
Broadway production of Souvenir, and she was a Tony nominee
for her work on the Pulitzer Prize- and Tony Award-winning
August: Osage County, which she designed for Broadway,
London, Sydney and the National Tour. Ann’s recent work
includes The Diary of Anne Frank (Indiana Rep), Crimes of the
Heart (The McCarter Theatre), Fences (The Huntington
Theatre) and The Unmentionables (Yale Rep). Past projects
were seen at Steppenwolf, The Kennedy Center, Denver Theatre
Center, Arena Stage, The Alliance, Cleveland Play House and
the Oregon Shakespeare Festival to name a few. Her awards
include a 2009 IRNE Award for Best Lighting for Fences at The
Huntington, a Backstage Garland Award for Magic Fire at OSF
and an AUDELCO nomination. This is her first production at
Portland Center Stage.

Casi Pacilio (Sound Designer) Here we go again for another
season at the Armory. Music, comedy , suspense, history and
some fun. Casi's credits with PCS include Futura with
composer Jana Losey, Ragtime (PAMTA award), Opus, One
Night with Janis Joplin, The 25th Annual Putnam County
Spelling Bee, The Chosen, Alfred Hitchcock’s The 39 Steps,
Snow Falling on Cedars, A Christmas Story, Grey Gardens, The
Little Dog Laughed, Sometimes a Great Notion, The Beard of
Avon, Twelfth Night, Cabaret, The Pillowman, Act a Lady, I Am
My Own Wife, West Side Story, Celebrity Row and six seasons
of JAW. Other credits include H2M's My Mind is Like an Open
Meadow (Drammy award), Squonk Operaís Bigsmorgasbord-
WunderWerk (Broadway, off-Broadway, regional, touring, PGH
awards), I Am My Own Wife, I Think I Like Girls, Burning Deck
(La Jolla Playhouse, CA), Playland, 10 Fingers and Lips
Together, Teeth Apart (City Theatre, PA). Her film credits
include Creation of Destiny, Out of Our Time and A Powerful

Joel Ferrell (Choreographer) Oklahoma! marks Joel’s seventh
collaboration with PCS. He served as choreographer/associate
director for My Fair Lady and as choreographer for Sunset Blvd.,
Ragtime, Guys and Dolls, Cabaret and West Side Story. Joel was
named an artistic associate for the Dallas Theater Center In 2009
where he had directed Reasons to be Pretty, Dividing the Estate,
Cabaret and A Christmas Carol. Joel is the former artistic
director of Casa Mañana Musicals Inc. in Fort Worth, Texas,
where he directed more than forty productions, including Big
River, The Rocky Horror Show, Once on this Island, Sleuth and
Carousel. In Portland, he has directed My Way and Sisters of
Swing for the Broadway Rose Theatre Company. He is honored
to return to PCS and work with Chris Coleman and his staff.

Rick Lewis (Musical Director/Conductor) Previous PCS shows:
The Huntsmen (JAW), Imaginary Invalid, Sunset
Boulevard, 25th Annual Putnam County Spelling Bee, Ragtime
(Drammy Award, Musical Director), Grey Gardens, A
Christmas Carol (Composer), Guys and Dolls (Drammy
Award), Cabaret, West Side Story (Drammy Award), The
Fantasticks and Bat Boy. He is the creator of the hit off-
Broadway musicals The Taffetas, Have a Nice Day!, The
Cardigans (NYC Bistro Award, “Outstanding Musical
Review”), and most recently A Taffeta Wedding. He was
assistant conductor/vocal director for the pre-Broadway
workshop of Cy Coleman’s The Life. He has musical directed
for Alyssa Milano, Susan Egan, Michael Maguire, Jodi Benson
and Debbie Gravitte, and the late Allan Jones. Rick has written
for Disney Live Family Entertainment, American Hawaii
Cruises, American West Steamboat Company and American
Classic Voyages, and the Portland Spirit (Cinnamon Bear
Cruise). Rick is a private vocal coach, concentrating on musical
theatre audition and performance. rlewismusic.com.

Mary McDonald-Lewis (Dialect Coach) Mary McDonald-
Lewis has been a professional artist since 1979. She resides in
Portland and works nationally. As director, she launches
Readers Theatre Repertory's 11th Season with American
Dreamers. She is dialect coach for Portland Center Stage, and
coached The 39 Steps, Snow Falling on Cedars, Ragtime, Grey
Gardens, The Chosen, Sunset Boulevard, and more. She will
coach Cymbeline this season. She’s the series coach for the TV
series Leverage and coaches other films and TV shows,
including Being Human and Grimm. On stage she has been
found in everything from comedy to the classics, and was last
seen onstage in You Can't Take It With You for Anonymous
Theatre. Voice acting is Mary Mac’s day job, and she’s been
heard by millions in her commercial and animation work. Mary
was “Lady Jaye” on GI Joe, along with dozens of other
characters on other cartoon shows, and puts people to sleep as
the voice of "Lunesta." Mary holds her MFA in Theatre Arts
from the University of Portland. She thanks Finnegan and
Sullivan for always wagging their tails when she comes home.

John Armour (Fight Director)
John has been choreographing violence for more than 20 years.
 He is based in Portland, Oregon where he choreographs for
many local theater companies and teaches throughout the region
at colleges, high schools and middle schools. John's work is
regularly seen on stage at the Portland Opera, Portland Center
Stage, Artists Repertory Theater, Oregon Children's Theater,
Miracle Theater and many others in the Portland metropolitan
area. John’s work has twice been recognized within the
Portland theater community for best fight design.

Mark Tynan (Stage Manager) Imagine being in a room full of
artists, watching the birth of an idea, a movement given purpose,
a sentence, phrase, scene, act given life. Then imagine that
room translating to the stage with lighting, sound, costumes,
scenery and props, then you can imagine what Mark’s job is
like. Special thanks to the phenomenal PCS production
assistants, Kailyn McCord, Kelsey Daye, and Lydia Comer who
help keep the vision attainable. Prior to PCS, Mark toured
nationally and internationally with musicals including
Dreamgirls, The King and I with Rudolf Nureyev, How to
Succeed…, Grand Hotel, The Phantom of the Opera and Rent.
Other Portland credits include several summers with The
Broadway Rose Theatre Company in Tigard. Other regional
credits include The Alley Theatre, Houston, TX, and La Jolla
Playhouse, La Jolla, CA. Remember, take time to smell the
Emily N. Wells (Assistant Stage Manager) Emily is thrilled to
be joining the team at PCS! Proud Equity member for 15 years
spent in NYC, on tour and regionally. Highlights: B’way:
Electra, Swan Lake, Jersey Boys. Off-Broadway: at Primary
Stages - Adrift in Macao; Dedication, or the Stuff of Dreams
(with Nathan Lane, Marian Seldes); String of Pearls; at
Playwrights Horizons - Floyd and Clea Under the Western Sky;
at the Lucille Lortel - Summer of the Swans; Sarah, Plain &
Tall. Readings and workshops for Playwrights Horizons,
NAMT, North Shore Music Theatre. National Tour: Buddy: The
Buddy Holly Story. Regional: Ordway Center, Ogunquit
Playhouse, La Jolla Playhouse, Theatreworks/USA among
others. Directing: Theatreworks/USA, Sam French Festival
Finalist, Playhouse on the Square, Circuit Playhouse, LA
Directors’ Lab, La MaMa Umbria, Yokota Air Base. BA
Washington University in St. Louis, MFA University of
Kailyn McCord (Production Assistant) Kailyn McCord has
lived in Portland for the last seven years, attended Reed College,
and found her love for theater first on the Portland Center Stage
Run Crew. She is thrilled to begin her first season as a
Production Assistant, and has previously worked Run Crew for
shows including Ragtime, A Christmas Carol, Alfred
Hitchcock’s The 39 Steps, The Chosen, Sunset Boulevard, and A
Christmas Story. Thanks to Mark Tynan, Emily Wells, Jamie
Hill, Joey Edwards, and Katie Nolen for all their support and

Setting the Stage for 25

“It has more of the miracle, more of the mystic belief in it than
any of my others.”
                             - G.B. Shaw on Heartbreak House

The evening of November 12, 1988 in the Portland Center for
the Performing Arts had its own mystical miracle feeling for
those of us who were there. A theater packed with 900 people
that included most of the city’s leadership from all quarters—
government, philanthropy, business, the arts, education—
gathered in wide-ish lapels and black tie, high heels and ropes of
pearls (it was the 80s) for the opening performance of Portland’s
newest theater company, the fulsomely named Portland Center
Stage/Oregon Shakespeare Festival. Heartbreak House, directed
by OSF Artistic Director Jerry Turner, was an apt selection.
Bernard Shaw’s play is a philosophy lesson in change, a play
built upon the idea of one era ending and another beginning.

I have a collage of memories from that night. Of excitement
(TIME Magazine is in the house! The audience is thrilled! The
party is epic!) and panic (the critic from TIME got locked in the
stairwell and almost missed the second act! An actor got locked
in the stairwell and almost missed his entrance! Who locked all
these stairwells?!!!) and sheer joy—we had just opened, on our
very first night, one of the 20 largest theater companies in
America. It was a once-in-a-lifetime experience. When I arrived
in Portland in May of ’88, we were a start up staff of about six
people, in a huge room with two folding tables, a few chairs, a
few phones and one desktop computer. Over the next few
months, we found a place to build scenery (and that place is still
our scene shop today); hired staff (costume shop and scene shop
crews, box office and house management); mailed brochures;
recruited volunteers; solicited contributions; cast actors; built
partnerships; assembled all the tools and equipment needed to
run a professional theater company; and attended over 50
subscription parties, promoting the theater as if it was
Tupperware®. As you can imagine, November 12 was a giddy

It took countless committed people to make the opening night
happen: Civic leaders in Portland who wanted to establish a
fully professional resident theater in the city, and animate the
new performing arts venue; leaders from the Oregon
Shakespeare Festival who had the daring to open a branch
company 300 miles from home; and, most importantly, the
donors and subscribers who stepped up to generously support us
with contributions and season ticket orders, months before that
first performance was nothing more than a gleam in PCS/OSF
Producer Dennis Bigelow’s eye.

Next fall, we’ll begin our celebratory 25th Anniversary Season.
Planning has started for all the ways we hope to celebrate with
you, from the shows on stage to the events and displays that
we’ll bring to you all season long. And we invite you to be part
of the celebration. We’d love to know your memories of
Portland Center Stage. Have you attended every season? What
have been your favorite productions over the years, no matter
how many seasons you’ve been coming? Do you have a
personal story related to PCS (first date, chance meeting,
milestone event)? We’d like to collect as many memories as
you’re willing to share. So look for opportunities to do just that
as we move through this season. Or save this email address:

anniversary@pcs.org, and as your ideas and reminiscences come
to you, send them in! This party starts September 2012.

                                          - Cynthia Fuhrman,
                    Director of Marketing and Communications


Madeline Nelson and Jim Lafky
We have been supporters of Portland Center Stage for over 20
years and are proud to sponsor this production of
Oklahoma!. We are thrilled to see this American classic come
alive on stage.

Troutman Saunders
The law firm of Troutman Sanders is proud to sponsor Portland
Center Stage and its production of Oklahoma!, the first musical
written by the legendary Rodgers and Hammerstein. Just as the
song “Oh What a Beautiful Morning” changed musical history,
Portland Center Stage continues to rewrite the rules of modern
theater. We salute PCS, now in its 24th season, and celebrate the
latest in a long string of successful productions.

Helen and Jerry Stern
“People will say we're in love," and we are with Portland Center
Stage. We are thrilled with all of its accomplishments, and are
pleased to be able to assist them in presenting memorable
performances for the Portland community. We are certain that
the production of Oklahoma! is outstanding, and will appeal to
all of us. Aren't we lucky?

US Bank
Oklahoma! was the first collaboration between Rogers and
Hammerstein. Chris Coleman has brought us a new look at this
classic show – recognizing the little known fact that as many as
one in three American cowboys was black. At U.S. Bank we’re
in the business of helping people make sense of the past as they
build for the future! We’re proud to continue our support of
Portland Center Stage and to sponsor this production. Like you,
we’re looking forward to seeing a new take on one of the
landmarks of musical theater.

The Oregonian
The Oregonian has been telling the story of Northwest since
1850. We strive to be a strong corporate citizen, involved in our
community's many worthy causes; supporting the arts, helping
those who need a hand, promoting education and literacy and
celebrating our community. It is our honor to be a proud
sponsor of this year's Portland Center Stage productions.

The Mark Spencer Hotel is the Official Hotel of Portland
Center Stage.


To top