The great American saga about sibling rivalry, family secrets—and the struggle to be good.Adapted by ensemble member Frank Galati Directed by co-founder Terry Kinney

Tickets start at just $20 | steppenwolf. org | 312-335-1650

“This is an important Steppenwolf show… a significant achievement and, for fans of this great artist

and this company, not to be missed”– Chicago Tribune

“Witness the implosion of one of the more feverishly emotional, deeply dysfunctional

families on the American literary landscape” – Chicago Sun-Times

CONTENTS 3

6 Welcome to George Orwell’s 1984 Letter from Steppenwolf for Young Adults Artistic and Educational Director Hallie Gordon

10 Bios

16 10 Things you didn’t know about George Orwell’s 1984 By Steppenwolf Intern Irina Gavrilova

20 Understanding the Landscape in George Orwell’s 1984 Dystopia By Lauren Sivak

23 Continuing the Conversation: The Compass By Education Assistant Jared Bellot

CONTENTS

E D I TO R

NEEL McNEILL

C O N T R I B U TO R S

JARED BELLOT

ANNA BRENNER

HALLIE GORDON

EVAN HATFIELD

JOEL MOORMAN

MADELINE LONG

MEGAN SHUCHMAN

D E S I G N

SHILLA SHAKOORI

C O V E R

Cast Member

ADAM POSS

Photographer

MICHELLE NOLAN

TO A D V E R T I S E

Contact: smARTMagazines/smARTSponsorships

Bryan Dowling 773-360-1767 or bryan@media8midwest.com

This program is printed on FSC® certified paper with the use of soy-based inks.

Anna D. Shapiro† Artistic Director

David Schmitz Managing Director

Hallie Gordon Artistic and Educational Director of SYA

S T E P P E N W O L F F O R Y O U N G A D U LT S P R E S E N T S

Adapted by Andrew White Directed by Hallie Gordon

F E AT U R I N G

MATTHEW ABRAHAM, ATRA ASDOU, LANCE BAKER*, ELIZABETH BIRNKRANT, MANNY BUCKLEY*,

DENNIS WILLIAM GRIMES, TYRONE PHILLIPS, ADAM POSS*

P R O D U C T I O N

COLLETTE POLLARD+ Scenic Design

AMANDA CLEGG LYON Lighting Design

SALLY DOLEMBO Costume Design

ANDREW ROVNER Sound Design and Original Music

JOSEPH A. BURKE Projection Design

JOEL MOORMAN Director of Photography

RYAN BOURQUE Fight Choreography

JESSAMYN FULLER Casting Director

DEB STYER* Stage Manager

Steppenwolf Theatre Company is a constituent of Theatre Communications Group (TCG), the national organization for nonprofit professional theater.

† member of the Steppenwolf Theatre Company ensemble. * member of Actors’ Equity Association, the union of professional actors and stage managers. + member of United Scenic Artists, Local 829 of the IATSE.

Nineteen Eighty-Four by George Orwell (Copyright, 1949)

By permission of Bill Hamilton as the Literary Executor of the Estate of the Late Sonia Brownell Orwell

Adapted by Andrew White

This adaptation of 1984 was originally developed and produced by the Lookingglass Theatre Company in 2004 at their theater in Chicago’s Water Tower Water Works

Corporate Sponsor of Steppenwolf’s Career Readiness Program

Leading Corporate Season Production Sponsor of Steppenwolf for Young Adults

Corporate Season Sponsor of Steppenwolf for Young Adults

Major Foundation Support for Steppenwolf for Young Adults is Provided by

The Steppenwolf Associates, a community of dynamic young professionals, dedicate their support to Steppenwolf for Young Adults.

Steppenwolf for Young Adults is a citywide partner of the Chicago Public Schools (CPS) School Partner Program.

4 CONTENTS CONTENTS 5

Hallie Gordon Artistic and Educational Director, Steppenwolf for Young Adults

WELCOME TO GEORGE ORWELL’S 1984

When I considered revisiting 1984 as part of this year’s Steppenwolf for Young Adults season, I thought about all those things, since these were the aspects of the story that clung to my memory from having read the book as a student over 25 years ago. I picked up the book again to re-read in advance of this production, and I saw something very different. I saw all the above-mentioned elements of oppression and political terror, but I was struck by how emotional, how personal, how agonizingly honest it was about our needs as humans. I found upon re-reading that, against the backdrop of war-mongering and paranoia, there was the struggle of a single individual to reassert his own dignity, to rekindle his own humanity and decency, to find love, to know peace. I became most interested in what makes us human, what keeps us grounded as individual people, no matter the excesses of the state: surveillance and control, police powers run rampant, and the hijacking of historical narrative. The elemental drives that impel us to seek solace in each other, to connect and commiserate, to find tenderness and companionship, are indomitable human instincts that cannot be quashed by forces outside us.

I became interested in Winston’s journey to reclaim his humanness, his struggle to remember the past, and how important his memory of the past is in preserving his own sense of self. If we can remember the way things were, then we can change how things are. At some point our memory becomes our truth. Especially when it is all we have. In my new reading of the novel, and in this outstanding adaptation by Andrew White, Winston’s story has become a personal journey for me, not a political one.

Don’t get me wrong: the politics of this play are palpable and inescapable - they are everywhere. They are in the way characters look at each other, suspect each other, in the clothes they wear. It is in the climate of fear endured by people who only know they are alive because they are afraid of being killed. It is the lack of privacy, the destruction of and individuality. The political reality of the world in 1984 is plain to see.

My question: How do you remain fully human in the face of such a reality? Can you? When there is not enough food, not enough work, when you live in a world of grime and squalor. When you lose your entire family at a young age to violence in a way that haunts you always. Winston is younger in our play. And he is struggling with a childhood shattered by war - like many children do today, the world over. In our own country we continually struggle with race, poverty, mass shootings, and many other issues that cause a rift between parties. I hope that by casting 1984 in a non-traditional way and by setting it in a time and place that is familiar yet unspecified, it will allow you to experience and look at 1984 through a new lens. It is my hope that you will recognize in Winston some part of yourself - for though we do not reside in a country where there is the kind of tyranny and persecution portrayed in the novel, each of us must hold fast to what is most true and compassionate in us, despite the brutality and bloodletting in the world around us. I am thrilled to present this deeply human take on this literary classic, and hope that you will find in it new aspects of it you may not have previously appreciated.

What do you remember when youthink about George Orwell’s 1984? Big Brother? Newspeak? Thought Police? Rats?

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GO SEE MIND-BLOWING THEATER ON YOUR OWN TERMS.

6 WELCOME

The Scene is a special opportunity for high school students to score an affordable ticket to a Steppenwolf production, meet Chicago’s most celebrated artists and connect with other teens who are passionate about theater. Each ticket includes dinner and post-show discussion with the actors.

TICKETS ARE $10 (CAN ONLY BE USED DURING THE TEEN EVENT SERIES)

All performances take place at 1650 N Halsted St Must present student ID at door

Purchase tickets at the door 30 minutes before the show, or in advance by calling Steppenwolf Audience Services at 312-335-1650. Use code 20753.

Questions? Please contact Steppenwolf for Young Adults Education Assistant Jared Bellot at 312-654-5643 or jbellot@steppenwolf.org.

Foundation support is provided by The Siragusa Foundation.

C A S T (in alphabetical order)

O N S TA G E

MATTHEW ABRAHAM° Young Winston

ATRA ASDOU° Julia

LANCE BAKER*° O’Brien

ELIZABETH BIRNKRANT° Syme and Ensemble

MANNY BUCKLEY* Parsons

DENNIS WILLIAM GRIMES° Tillotson

TYRONE PHILLIPS° Ampleforth and Ensemble

ADAM POSS*° Winston

O N F I L M

SIMONE MARINO-BEARD Winston’s Sister

IAN BELKNAP Goldstein

ROBERT BREULER†

Pictured as Big Brother

RUDY GALVAN News Anchor

AILA PECK Winston’s Mother

STEVE SILVER Winston’s Father

U N D E R S T U D I E S

RUDY GALVAN Winston, Ampleforth and Parsons

AILA PECK Julia and Syme

BENEDICT SANTOS SCHWEGEL Young Winston

STEVE SILVER O’Brien and Tillotson

S E T T I N G

A familiar yet unknown place.

There will be a post-show discussion immediately following the performance.

° also actor in film flashbacks * member of Actors’ Equity Association, the union of professional

actors and stage managers. † member of the Steppenwolf Theatre Company ensemble.

A D D I T I O N A L S TA F F

MICHAEL COTEY Assistant Director

JON BEAL Assistant Fight Choreographer

ANDREW ROVNER Sound Board Operator

HILARY SHIELDS Wardrobe Apprentice

PENNY LANE STUDIOS Additional Hair & Makeup Services

KAREN THOMPSON Light Board Operator

NICOLE KELLY Child Supervisor

AJ BURKART, RYAN LUWE, MARK VINSON Additional Carpenters

ZOE SHIFFRIN Assistant Charge Artist

VICTORIA APODACA, ANDREW LEX, KIRA LYON Additional Properties

BRADLEY BURKE, STEPHANIE FRANKIEWICZ Animation

IZIK ALEQUIN 1st Assistant Film Director

ALEX GOLDBERG 2nd Assistant Film Director

JOSHUA McCANNON Boom Operator

ALISON MCLEOD Stage Management Apprentice

S P E C I A L T H A N K SBy the Hand Club For Kids

McHenry County Conservation District

As a courtesy to the actors and your fellow patrons, please turn off your cell phones before the performance and after the intermission. The taking of photographs and the use of any type of recording device are not allowed in the theater during performances and is a violation of state and federal copyright laws. Digital media will be deleted, and tape or film will be confiscated.

CAST AND CONTRIBUTORS

UPCOMING EVENTS1984 SATURDAY, NOVEMBER 7 AT 7:30PM (post-show)

THE COMPASS SATURDAY, FEBRUARY 27 AT 7:30PM (POST-SHOW)

8 CAST AND CONTRIBUTORS

L A N C E B A K E R (O’Brien) is thrilled to be directed by Hallie Gordon again, who cast him in his first show after graduating college, Pillar Studio’s 1993 adaptation of The Screwfly Solution. Other more recent Chicago credits include Thom

Pain (based on nothing) (Theater Wit); King Lear, Henry VIII, Amadeus (Chicago Shakespeare Theater); Invisible Man, Travesties (Court Theatre); The Agony and the Ecstasy of Steve Jobs (16th Street Theater); Becky Shaw, Hunger and Thirst (A Red Orchid Theatre); The Humans, Speed-the-Plow (American Theater Company); Mauritius, Lady (Northlight Theatre); A Steady Rain (Chicago Dramatists); Dollhouse, Lobby Hero (Goodman Theatre); Up Against It (Lookingglass Theatre Company); This is Our Youth, Dealer’s Choice (Roadworks); and Mad Forest (Remains Theatre).

E L I Z A B E T H B I R N K R A N T (Syme) is delighted to return to Steppenwolf Theatre Company, where she last appeared in The Water Engine (also Theater on the Lake) and The Berlin

Circle. Other Chicago credits include Ghost Gardens (Pegasus Theatre); The Revenants (Wildclaw Theatre); Darlin’ (Step Up Productions); The Gacy Play (Sideshow Theatre Company) and Sis3ters (Roadworks). Television credits include Chicago Fire. Elizabeth is a graduate of The University of Chicago, and trained at The School at Steppenwolf, The William Esper Studio and Black Box Acting, where she is now an instructor.

M A N N Y B U C K L E Y (Parsons) returns to Steppenwolf Theatre Company where he was last seen in Of Mice and Men. Other Chicago credits include Hit the Wall (The Inconvenience; Black Theater Alliance Award);

Dorian (House Theatre); Hellcab (Profiles Theatre Company); Southbridge (Chicago Dramatists); and The Last Days of Judas Iscariot (The Gift Theatre Company). Manny can next be seen in Looking Over the President’s Shoulder (American Blues Theater), a solo show about the first African American chief butler of the White House. Film and television credits include Chicago Fire, Under Covers, Sugar and Pilgrim. Manny is a proud member of American Blues and Actor’s Equity, and represented by Paonessa Talent.

1984 BIOS

Cast Member Lance Baker Cast Member Tyrone Phillips

Cast Members Adam Poss and Atra Asdou Cast Members Elizabeth Birnkrant and Manny Buckley

M AT T H E W A B R A H A M (Young Winston) is thrilled to be returning to Steppenwolf Theatre Company after being seen in Marie Antoinette. Chicago credits include two seasons of A Christmas Carol as Tiny

Tim (Goodman Theatre); and A Midsummer Night’s Dream (Chicago Shakespeare Theater). Matthew has been seen in numerous television commercials, voice over and print ads. He received training at Piven Theatre Company and North Shore Center for Performing Arts. When Matthew is not performing or attending school, he is busy playing the clarinet for his elementary school band, playing soccer and reading his favorite non-fiction and fantasy chapter books. “Thank you to my family, teachers and friends for always supporting my passion for the arts. A special thank you to my Steppenwolf family for giving me this amazing opportunity!”

AT R A A S D O U (Julia) is honored to be making her Steppenwolf Theatre Company debut with this production of George Orwell’s 1984. Other Chicago credits include 2016’s Blood Wedding, Bengal Tiger at the Baghdad Zoo (Lookingglass

Theatre Company); Inana (Timeline Theatre); A Christmas Carol (Goodman Theatre); Heartbreak House (Writers Theatre); Dirty (The Gift Theatre Company); Seminar (Haven Theatre Chicago); as well as performing The Harold regularly with Spider in the Car (iO Theatre). Television credits include Chicago P.D. and various commercials. Atra is a graduate of Loyola University Chicago, Second City Conservatory, Second City Training Center’s Severn Darden Graduate Program and iO Chicago. She is represented by Gray Talent Group. “Thanks to my loved ones and this tireless cast and crew.”

GEORGE ORWELL’S

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to England, where he worked successively as a private tutor, schoolteacher and bookshop assistant, and contributed reviews and articles to a number of periodicals. Down and Out in Paris and London was published in 1933. In 1936 he was commissioned by Victor Gollancz to visit areas of mass unemployment in Lancashire and Yorkshire, and The Road to Wigan Pier (1937) is a powerful description of the poverty he saw there. At the end of 1936 Orwell went to Spain to fight for the Republicans and was wounded. Homage to Catalonia is his account of the civil war. He was admitted to a sanatorium in 1938 and from then on was never fully fit. He spent six months in Morocco and there wrote Coming Up for Air. During the Second World War he served in the Home Guard and worked for the BBC Eastern Service from 1941 to 1943. As literary editor of Tribune he contributed a regular page of political and literary commentary, and also wrote for The Observer and later for the Manchester Evening News. His unique political allegory, Animal Farm, was published in 1945, and it was this novel, together with Nineteen Eighty-Four (1949), which brought him world-wide fame. His works have been sold in over 80 translation markets.

A N D R E W W H I T E (Adaptor) received a 2004 Jeff Award for Best Adaptation for his adaptation of George Orwell’s 1984. Andrew is a founding member of Lookingglass Theatre Company, where he currently serves as Artistic Director. As a Lookingglass Ensemble Member and performer, he has participated in the workshop and development of more than 30 Lookingglass original adaptations and world premieres. He wrote and directed the company’s 1989 production of Of One Blood, about the 1964 murders of Schwerner, Chaney and Goodman in Mississippi. He wrote the book and lyrics for the musical Eastland produced at Lookingglass in 2012.

C O L L E T T E P O L L A R D (Scenic Design) returns to Steppenwolf Theatre Company where recent credits include Head of Passes, The Heart Is A Lonely Hunter, To Kill A Mockingbird, The House On Mango Street and Harriet Jacobs. Last fall Collette was the Jeff Award recipient for Best Scenic Design for In The Garden (Lookingglass Theatre Company). Recent Chicago credits include The Happiest Song Plays Last and Fish Men (Goodman Theatre); Isaac’s Eye (Writers Theatre); The Illusion (Court Theatre; Jeff Award nomination for Best

and three seasons of A Christmas Carol (Goodman Theatre); the world premiere of Rajiv Joseph’s The Lake Effect and Scorched (Silk Road Rising); and The Beats (16th Street Theatre). Regional credits include the world premiere of Rajiv Joseph’s The North Pool, The Lake Effect (Theatreworks: Silicon Valley); and The History Boys (Studio Theatre). Television credits include Shameless, The Chicago Code, Chicago Fire, The Mob Doctor and Crisis. Adam received his BFA from The Theatre School at Depaul University and is an ensemble member of Erasing The Distance, an organization dedicated to erasing the stigma of mental illness through theatre.

H A L L I E G O R D O N (Director) is currently the Artistic and Educational Director of Steppenwolf for Young Adults at Steppenwolf Theatre Company. As a theatre artist for SYA Hallie has directed Animal Farm,

Leveling Up, the world premiere of The Book Thief, To Kill A Mockingbird, the world premiere of a new adaptation by Tanya Saracho of The House on Mango Street, world premiere of Harriet Jacobs adapted for the stage by Lydia R. Diamond and a new premier of Toni Morrison’s The Bluest Eye also adapted by Lydia R. Diamond which won a Black Excellence Award from the African American Arts Alliance of Chicago. This production also transferred Off-Broadway to The New Victory Theatre. She has also directed for Northlight, and Rivendell Theatre and has done staged readings for The Goodman Theatre, Timeline Theatre, Chicago Dramatists and Steppenwolf Theatre Company. Hallie is the recipient of The Helen Coburn Meier & Tim Meier Achievement Award.

G E O R G E O R W E L L (Author) was born in 1903 in India, where his father worked for the Civil Service. The family moved to England in 1907 and in 1917 Orwell entered Eton, where he contributed regularly to the various

college magazines. From 1922 to 1927 he served with the Indian Imperial Police in Burma, an experience that inspired his first novel, Burmese Days (1934). Several years of poverty followed. He lived in Paris for two years before returning

D E N N I S W I L L I A M G R I M E S (Tillotson) returns to Steppenwolf Theatre Company where he was last seen in The Book Thief. Other Chicago credits include Lips Together Teeth Apart (Eclipse Theatre); Danny

Casolaro Died for You (TimeLine Theatre Company); Our Class (Remy Bummpo Theatre); Rabbit (Stage Left Theatre); Julius Caesar (Chicago Shakespeare Theater); A Christmas Carol (Goodman Theatre); and The Busy World Is Hushed (Next Theatre). Television credits include Empire, Chicago PD, The Girlfriend Experience, Betrayl, Detroit 1-8-7. Film credits include Black Box.

T Y R O N E P H I L L I P S (Ampleforth) is thrilled to be making his Steppenwolf Theatre Company debut. He is the founding artistic director of Chicago’s Definition Theatre Company and holds a BFA from the University of Illinois in

Urbana-Champaign. Chicago credits include Stick Fly (Windy City Playhouse); A Doll’s House, Genesis, The Brothers Size (Definition Theatre Company); and Saturday Night/Sunday Morning (Prologue Theatre at Steppenwolf Garage Rep). Tyrone has also studied at Shakespeare’s Globe and was an artistic intern at the Milwaukee Repertory Theater where his credits include The Mountaintop, Clybourne Park and A Raisin in the Sun. Film and television credits include Boss, Divergent, Gimmick, Intersection and Fare Thee Well. Tyrone is represented by Grossman and Jack Talent. In fall 2015, the Chicago Tribune named Tyrone a “rising star” in Chicago theatre.

A D A M P O S S (Winston) returns to Steppenwolf Theatre Company where he was last seen in the 2011 Next Up series production of Animals Out of Paper. Other Chicago credits include Oedipus el Rey (Victory Gardens Theatre);

the world premiere of Christopher Shin’s Teddy Ferrara, The Solid Sands Below, The Magic Play,

Scenic Design). Collette is a Company Member at The House Theatre Company of Chicago where she has designed twenty-plus productions, including Rose & The Rime, Death & Harry Houdini, The Nutcracker and The Sparrow, all of which have moved to the Adrienne Arsht Center of Performing Arts in Miami, Florida. Regional credits include A Minister’s Wife (San Jose Repertory Theatre); Geller Girls, Good People and The Fairytale Lives Of Russian Girls (Alliance Theatre, all receiving Suzi Bass Award and Atlanta Fan Award Nominations). Collette received her MFA from Northwestern University where she currently co-teaches the Toy Theatre course. She is an Artistic Associate at Timeline Theatre Company, where she recently designed Inana and received a Jeff Award for Best Scenic Design for The Front Page. She looks forward to her upcoming season which includes The Oldest Boy (Marin Theatre); Great Expectations (Oregon Shakespeare Festival); Arcadia (Writers Theatre); One Man Two Guvnors (Court Theatre); Thaddus and Slocum (Lookingglass Theatre Company); and Between Riverside and Crazy (Steppenwolf Theatre Company). “I can’t thank my family—Mark, my husband, Ine and son Hendrik—enough for their constant support.” collettepollard.com

Cast Members Adam Poss and Matthew Abraham

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A M A N D A C L E G G LY O N (Lighting Design) is excited to be a part of 1984. Recent designs include Empire Travel Agency (Woodshed Collective); Gutting (Company Cypher); Melancholy Play (Atlantic Acting School); Travelers (the little OPERA theatre of ny); Promise (Winifred Haun & Dancers); The Rite of Spring (Chicago Repertory Ballet); as well as works for the Chicago Symphony Orchestra, Morningside Opera, Marc Arthur Dance, Dzul Dance, FringeNYC/Fringe Encores and Target Margin Theater. Amanda holds a Bachelor’s from Northwestern and an MFA from NYU’s Tisch School of the Arts. amandaclegglyon.com

S A L LY D O L E M B O (Costume Design) is pleased to return to Steppenwolf Theatre Company where she has previously designed Ironbound, Buena Vista, Life and Limb, The Glass Menagerie, How Long Will I Cry?: Voices of Youth Violence and The Book Thief. Sally is a Chicago-based costume designer, as well as an adjunct lecturer at both Columbia College and Northwestern University. She was a 2007 Fulbright Scholar to Italy, where she researched and worked at Tirelli Costumi in Rome. Select design credits include Second Nature (Lyric Opera of Chicago); Death Tax, The Little Prince (Lookingglass Theatre Company); Peter and the Starcatcher, Next to Normal (Drury Lane Theatre); and Cabaret (Northwestern University). Upcoming credits include A Christmas Story: The Musical (Paramount Theatre) and Chimerica (Timeline Theatre Company). Sally has her MFA from Northwestern University. sallydolembo.com

A N D R E W R O V N E R (Sound Design and Original Music) is thrilled to return to Steppenwolf Theatre Company for his

first Steppenwolf for Young Adults production as a designer. Recent credits include Storm (Walkabout Theater Company); The December Man (Mary-Arrchie Theater Co.); Four (Jackalope Theatre Company); and Circle-Machine (Oracle Productions). He is a proud member of First Floor Theater, where he has designed Edith Can Shoot Things and Hit Them, The Reckoning of Kit and Little Boots. Andrew holds a degree in Drama and Philosophy from Vassar College.

J O S E P H A . B U R K E (Projection Design) is a visual artist based in Chicago. Joseph specializes in theatrical lighting and projection design, using his design eye as a powerful extension of storytelling. He believes that his past experience as a musician and passion for visual composition and photography allows him to create and collaborate with other brilliant artists. Joseph’s art has been seen at Steppenwolf Theatre Company, Cleveland’s Playhouse Square, Cleveland Public Theatre, Case Western Reserve University, Travesty Dance Group, Spartan Theatre Company, A-squared Theatre Workshop, The Cassidy Theatre, Base Entertainment, Chamber Opera Chicago and Museum of Contemporary Art, Chicago.

J O E L M O O R M A N (Director of Photography) has worked for Steppenwolf Theatre Company for the past five years as Digital Content Producer, creating over 100 pieces of creative video content for the company, including all original trailers for Steppenwolf ’s subscription and Steppenwolf for Young Adults productions. Recent freelance projects include, Miller Lite’s Party at Brickyard 400, Jimmy McDermott’s short film LULL, trailer for the upcoming civil war documentary When to Die, music video for Ha Ha Tonka’s single Dead to the World and promo video Sandro and Malkovich: Behind the Scene. Past clients include Discovery

Channel, History Channel, A&E and Emusic.com. In theatre, Joel is a company member emeritus of Collaboration, where he served as Associate Artistic Director for two years, producing productions of Intelligent Design of Jenny Chow, Guinea Pig Solo and Casanova. He is a graduate of Purdue University with a BA in theatre.

R YA N B O U R Q U E (Fight Choreography) most recently acted in and designed fights for The Hypocrites twelve-hour Greek adaptation All Our Tragic and designed a 13 minute fight for Chuck Mee’s world premiere of The Glory of The World at the 2015 Humana Festival. He has acted in Cyrano De Bergerac (Chicago Shakespeare Theater); The Mikado, Sophocles: Seven Sicknesses, Woyzeck, The Pirates of Penzance, (The Hypocrites); The Earl (The Inconvenience); Cherrywood (Mary Arrchie Theatre Company); and Chicago PD. He has choreographed fights for William Golding’s Lord of the Flies, Leveling Up, Marie Antoinette, The Book Thief (Steppenwolf Theatre Company); Death and the Maiden, Appropriate, Oedipus El Rey, (Victory Gardens Theatre); Hit The Wall, The Earl,(The Inconvenience); All Our Tragic, Coriolanus, Romeo Juliet, Sophocles: Seven Sicknesses, Woyzeck (The Hypocrites); and Exit Strategy (Jackalope Theatre Company). He is a 2013 Jeff Award winner for his fights in Coriolanus. As a freelance photographer, he captures dance, theatre and music, and he is a company member to The Inconvenience and The Hypocrites. “Thank you family and friends for your love and support.”

D E B S T Y E R (Stage Manager) most recently stage managed Lookingglass Theatre Company’s production of Moby Dick. Other credits include the Tony Award-winning August: Osage County (Broadway, London, Sydney and Chicago), Marie Antoinette, The Night Alive, The Way West, The Wheel, Belleville, The Birthday Party, The Book Thief, Clybourne Park, The Hot L Baltimore, The Brother/Sister Plays, The Bluest Eye (New York and Chicago), 100 Saints You Should Know, Lady Madeline, Men of Tortuga and The Chosen (Steppenwolf Theatre Company); Gypsy and Broadway Bound (Drury Lane Theatre); Take Me Out (About Face Theatre) and American Dead (American Theatre Company). She teaches stage management at Northwestern University.

A N N A D . S H A P I R O (Artistic Director) began working with Steppenwolf in 1995 as the original director of the New Plays Lab and joined the ensemble in 2005. She has directed dozens of notable Steppenwolf productions, including the world-renowned production of Tracy Letts’s August: Osage County, for which she received 2008 Tony, Drama Desk and Outer Critics Circle Awards. In 2011 she was nominated for a Tony Award for Stephen Adly Guirgis’s The Motherf**er with the Hat, which she also directed at Steppenwolf to critical acclaim. Additional Steppenwolf directing credits include A Parallelogram, Up, The Unmentionables, The Pain and the Itch (also at Playwrights Horizons), Man from Nebraska, (named by TIME as one of the Year’s Top Ten in 2003), The Drawer Boy and Three Days of Rain, among others. Broadway credits include the sold-out run of Larry David’s Fish in the Dark, the revival of Steppenwolf ’s This Is Our Youth and the revival of Of Mice and Men, which National Theatre Live selected as the first American production to be broadcast to over 700 cinemas. Anna is a graduate of the Yale School of Drama and Columbia College and the recipient of a 1996 Princess Grace Award, as well as the 2010 Princess Grace Statue Award. She is a professor in Northwestern’s Department of Theatre and served as the Director of the Graduate MFA Directing Program from 2002 – 2014.

D A V I D S C H M I T Z (Managing Director) has worked at Steppenwolf Theatre Company for ten years, serving in the role of Director of Finance and Administration, General Manager and currently as Managing Director. Prior to working at Steppenwolf, David was the General Manager at Lookingglass Theatre Company, Associate Artistic Director of Stage Left Theatre and Business Manager at the entertainment agency Adair Performance. Currently, he serves as Vice President of the Board for The House Theatre of Chicago and is a former board member for the Lincoln Park Chamber of Commerce. David has worked as a strategic planning, business practices, finance and hiring consultant for numerous Chicago organizations, including The House Theatre of Chicago, The Hypocrites and Stage Left Theatre, among others. He holds a BA in theatre from the University of Northern Colorado, an MFA from the Theatre Conservatory at the Chicago College of Performing Arts, Roosevelt University and a Certificate in Non Profit Management from Roosevelt University.

Cast Members Dennis William Grime, Adam Poss and Elizabeth Birnkrant with Director Hallie Gordon

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16 FEATURES FEATURES 17

THINGS YOU DIDN’T KNOW ABOUT 1984 by Steppenwolf Intern Irina Gavrilova

George Orwell, who would’ve turned one hundred and twelve years old this year, continues to be one of the most celebrated dystopian authors of the twentieth century. A journalist-turned-writer, he spent his life advocating against the spread of totalitarianism during and after World War II. His talent for politically relevant allegory was unparalleled, and it is no coincidence that his novels Animal Farm and 1984 are still among the most quoted works of modern literature.

Despite being published over sixty-six years ago, 1984 remains relevant today: technology announcements contain plenty of Orwellian references; newscasters nickname totalitarian leaders “Big Brother” and compare surveillance agencies to Thought Police; and although we don’t yet wake up to a murmur of telescreens, our smartphones might soon become them. Our world is living proof that Orwell’s cautionary tale has indeed survived the test of time.

Given its iconic status, you might think you know everything there is to know about 1984, but don’t be so convinced! Take a look at these facts and make sure you are doubleplusready to explore the Steppenwolf for Young Adults’ production.

1.TH E POWE R OF TH R E E:

The three fictional states in the novel aren’t that fictional. Orwell modelled Oceania, Eurasia and Eastasia after the UK and the US, Soviet Union and China, respectively.

“THE SPLITTING UP OF THE WORLD INTO THREE GREAT SUPERSTATES WAS AN EVENT WHICH COULD BE AND INDEED WAS FORESEEN BEFORE THE MIDDLE OF THE TWENTIETH CENTURY. THE FIGHTING, WHEN THERE IS ANY, TAKES PLACE ON THE VAGUE FRONTIERS WHOSE WHEREABOUTS THE AVERAGE MAN CAN ONLY GUESS AT. BUT IN ONE COMBINATION OR

ANOTHER, WE ARE PERMANENTLY AT WAR.” – GOLDSTEIN, “1984”

For further information about the play, please explore our Steppenwolf for Young Adults’ study guide. Study guides are available for free for all teachers attending the production and accessible for all on our website at steppenwolf.org/sya.

2.WHAT’S I N A NAM E?

The original title of the novel wasn’t at all as catchy and had no numbers. For a while, the manuscript was called The Last Man in Europe. The author decided to change it when his publisher suggested to pick something simpler and, therefore, easier to sell.

3.A N U M B E RS GAM E:

Moreover, the story wasn’t even taking place in 1984 at the beginning. Orwell first picked the year 1980, then 1982. Though he was determined to set the novel in a relatively near future, he continued feeling both dates were too close to the present as he edited the piece. After a lot of consideration, he finally settled on 1984.

4.TH E AUTHOR’S I LLN E SS:

Can the pen really be mightier than the sword? For Orwell, it came close. The author wrote most of the novel while terminally sick with tuberculosis. Editing, rewriting and typing made him weaker by the hour. The character of Winston, who is plagued by a choking cough and can barely finish his morning exercise, is in strikingly similar physical condition to Orwell’s at the time of writing the novel.

“SMITH, 6079! ALL OCEANIA DEPENDS ON EACH OF US KEEPING FIT AND AT THE READY. IF YOU ARE UNABLE TO PARTICIPATE IN TOMORROW’S MORNING

EXERTHENICS, I SHALL REPORT IT TO MINIHEALTH. IN THE MEANTIME, NO POINT IN RUINING IT FOR THE REST OF US.”

- EXERCISE INSTRUCTOR, “1984”

10.2+2=5:

Orwell started thinking about the novel way before actually sitting down to write it. On May 18th, 1944, five years before 1984 was published, he sent a letter to Noel Wilmett in which he included the famous phrase “two and two could become five if the [dictator] wished it.”

8.G EORG E S NOWDE N?

According to the British newspaper The Register, Amazon sales of the novel 1984 skyrocketed a whopping 9.538% in June 2013. What caused this unusual spike in popularity? Edward Snowden’s NSA leaks.

“THE N.S.A., SPECIFICALLY, TARGETS THE COMMUNICATIONS OF EVERYONE. IT INGESTS THEM BY DEFAULT.”

– EDWARD SNOWDEN

“WE LIVE FROM BIRTH TO DEATH UNDER THE EYE OF THE THOUGHT POLICE. EVEN WHEN YOU ARE ALONE YOU CAN NEVER BE SURE YOU ARE ALONE.”

– GOLDSTEIN, “1984”

9.ROOM 101:

Orwell spent several years working as a BBC reporter, and the workplace clearly left a lasting impression: the famous torture room in the novel – Room 101 – is inspired by a BBC Broadcasting room of the same number.

“THE THING IN ROOM 101 IS THE WORST THING IN THE WORLD. THAT VARIES FROM INDIVIDUAL TO INDIVIDUAL. IT MAY BE BURIAL

ALIVE, OR DEATH BY FIRE, OR DROWNING, OR IMPALEMENT OR FIFTY OTHER DEATHS. THERE ARE CASES WHERE IT IS SOME

QUITE TRIVIAL THING, NOT EVEN FATAL.” – O’BRIEN, “1984”

“FREEDOM IS THE FREEDOM TO SAY THAT TWO PLUS TWO EQUALS FOUR.” – WINSTON, “1984”

STEPPENWOLF 19 18 GEORGE ORWELL’S 1984

5.TH E MODE R N TE LE SCR E E N:

In the world of the play, the characters are constantly being watched by Big Brother through multiple telescreens inside their homes and workplaces. To find a modern equivalent of the telescreen, you don’t have to search too long – just tag a friend in a Facebook picture! Facebook uses a software called DeepFace which, according to ExtremeTech, recognizes faces with 97.25% accuracy – operating in a scarily familiar way to the Telescreen.

6.TH E M E MORY HOLE:

Winston’s job at the Ministry of Truth is to alter news materials to fit the government’s requirement. The Party’s altering of historical facts is an allusion to real-life examples of historical revisionism. During the Stalinist era, for example, members of the Communist Party were tasked with changing city names, editing textbook content and altering photographs. This process supported the legitimacy of Stalin’s doctrine and political choices, and helped consolidate his power against the enemies of the state.

“WHO CONTROLS THE PAST CONTROLS THE FUTURE; WHO CONTROLS THE PRESENT CONTROLS THE PAST.”

– WINSTON, “1984”

7.APPLE ‘84:

Did you think Orwell was too ahead of his time describing a world ruled by technology? Not so much. In January 1984, only 34 years after his death, Apple introduced its first Macintosh computer with a commercial referencing the novel. The tagline was: “You’ll see why 1984 won’t be like ‘1984’.”

UNDERSTANDING THE LANDSCAPE IN ORWELL’S 1984 DYSTOPIA

By Lauren Sivak

TH E M I N I STR I E S:

M I N I STRY OF PEACE– this ministry is responsible for the defense of Oceania and governs its armed forces, specifically the army and navy. Contrary to its name, the Ministry of Peace is responsible for keeping Oceania perpetually in a state of war. Its slogan? “War is peace.”

M I N I STRY OF TR UTH (M I N ITR U)– responsible for the alterations of historical events (propaganda) to fulfill the desires of the Party. Additionally, the Ministry of Truth, where Winston Smith works, is responsible for introducing Newspeak to the population.

The year is 1984. The world is not as it was. Three world superstates fight for control, a new language is being introduced and the people of Oceania live in a total surveillance society. Four Ministries are in complete control, maintaining power and order by any means necessary.

Inspired by what he believed the world would reflect in the year 1984, George Orwell created a setting replete with dystopian undertones and a government called INGSOC that has too much power. Read on for a better understanding of the setting, terminology and structures that make up the world of 1984.

M I N I STRY OF PLE NTY (M I N I PLE NTY)– responsible for controlling Oceania’s planned economy and rationing out goods, food and supplies to its citizens. The Ministry of Plenty is essential in convincing the people of Oceania that they are in a state of perpetual poverty and scarcity, and to be grateful for what the government is providing.

M I N I STRY OF LOVE (M I N I LOVE)–part of Oceania’s interior ministry system, the Ministry of Love upholds and re-enforces loyalty to Big Brother through a variety of unorthodox methods. The Thought Police are part of this ministry, and carry out the work of MiniLove to ensure loyalty from all citizens.

OTH E R PROM I N E NT LOCATION S:

VICTORY MAN S ION S– the apartment complex where Winston lives.

TH E GOLDE N COU NTRY–a beautiful grassy field and a place Winston sees only in his dreams. Julia and Winston meet for their first private rendezvous in a place that reminds Winston of The Golden Country.

CHAR R I NGTON’S S HOP–a junk shop full of antiques owned and operated by Charrington where Winston purchases a journal and where Winston and Julia eventually seek privacy and refuge.

CH E STN UT TR E E CAFÉ–a café frequented by Winston and his colleagues that serves only Victory Gin.

ROOM 101– located in the Ministry of Love, Room 101 is a tool used by the Party to torture prisoners with their worst nightmares and break down any resistance to the principles of Oceania.

WOR LD MAP:

OCEAN IA–one of three world super powers and the setting of our play, Oceania controls the most land, including North and South America, Great Britain, Australia and the southern part of Africa. At the start of the play Oceania is at war with Eurasia.

E U RAS IA–a landmass that comprises northern Asia and all of Europe. At the start of the play Eurasia is at war with Oceania.

EASTAS IA–a landmass that comprises all of China and the southern and eastern parts of Asia. At the start of the play Eastasia is an ally of Oceania during its war against Eurasia.

20 FEATURES FEATURES 21

22 FEATURES

UP NEXT:THE COMPASSby JARED BELLOT Education Assistant

For our second show of the season, Steppenwolf for Young Adults will be trying something we’ve never done before, and we need you to make it work. The Compass is a groundbreaking, live, interactive performance that puts students in the driver’s seat, and asks YOU, the audience, to join a jury of your peers in exploring the intersection of technology and decision-making. For this play, we’re asking you to step up and speak up like never before. You will be asked to think. You will be asked to persuade others of your opinion. You will be asked to determine the fate of the people standing on stage. How it ends all depends on you and your peers. This is not your typical SYA play. This is an SYA experience.

Not sure whether to go to the movies with your best friend or put in some extra time studying for that big exam? Do you want to get into a good college, but aren’t sure how

to do it? Should you even bother asking your crush out?

WELL GET READY, BECAUSE THIS SPRING, STEPPENWOLF FOR YOUNG ADULTS WANTS TO INTRODUCE YOU TO THE COMPASS, A BRAND NEW APP FROM THE NOT-TOO-DISTANT FUTURE THAT MAKES ALL OF YOUR CHOICES FOR YOU, SO YOU DON’T HAVE TO.

EVERY DAY, WE MAKE HUNDREDS OF DECISIONS, SOME BIG, SOME SMALL.

BUT WHAT IF YOU NEVER HAD TO MAKE A DECISION AGAIN IN YOUR LIFE?

PROJECT

The play will be devised, which means the script doesn’t even exist yet – Michael Rohd (the director/devisor) and the cast are collaborating to create it, even as you read this! The show has been in development over the course of the past two seasons. “We’ve been interviewing experts, conducting cross-generational workshops, inviting other artists to respond to the theme with their own short works—all of this research has pushed and pulled at our core concept in key ways” says Rohd of the process. “The show has been truly impacted by these interactions and encounters, which I find exciting.” But the play won’t be complete until you add your voice the day of the show. So get ready to make some decisions.

OTH E R TE R M S TO KNOW:

GOLDSTE I N–a former high-ranking official, Goldstein is now believed to be the head of the resistance and leading a revolution against Oceania’s ruling Party.

THOUG HT POLICE (TH I N KPOL)–officers responsible for eliminating thoughtcrime by any means necessary (spies, helicopters, surveillance, etc).

THOUG HTCR I M E (CR I M ETH I N K)– to have any idea that opposes the beliefs of Oceania’s ruling party, INGSOC.

FACECR I M E– to allow a thoughtcrime to be visibly recognizable on your face.

PROLE S– from the name Proletariat, the Proles represent Oceania’s largest and poorest class of people. Often referred to as ‘animals,’ the Proles are considered inferior and unimportant and thus their actions are mostly unsupervised by the Party.

PROLE DI STR ICT–similar to public housing today, the Prole District is where the Proles live.

TE LE SCR E E N–a two way screen that is inside every Party member’s house; this ensures that each Party member is under constant surveillance and monitoring.

TWO M I N UTE S OF HATE–daily televised moments of crimethink that show images of revolt and enemies of the Party, such as Goldstein; citizens are expected and encouraged to boo, scream and hiss during these two minutes, which ensures citizens know who the enemy is and what happens to traitors of Oceania.

N EWS PEAK–official language of Oceania, which is being distilled down as much as possible.

FEBRUARY 24 - MARCH 12, 2016

The Steppenwolf Ensemble

Alan Wilder

Anna D. Shapiro

Jeff Perry

Jim True-Frost

Molly Regan

Austin Pendleton

Tarell Alvin McCraney

Ora Jones

Frank Galati

Kate Arrington

Rick Snyder

Rondi Reed

Sally Murphy

John Malkovich

Tim Hopper

Kathryn Erbe

Alana Arenas

Bruce Norris

Mariann Mayberry

Tom Irwin

K. Todd Freeman

Randall Arney

Lois Smith

Martha Plimpton

Amy Morton

John Mahoney

Jon Michael Hill

Gary Cole

Kevin Anderson

Martha Lavey

Gary Sinise

Yasen Peyankov

Laurie Metcalf

Tracy Letts

Moira Harris

Robert Breuler

Joan Allen

Tina Landau

Eric Simonson

William Petersen

James Vincent Meredith

Terry Kinney

Francis Guinan

Ian Barford

T H E S T E P P E N W O L F E N S E M B L E first began performing in the mid-1970s in the basement of a Highland Park church, the ambitious brainchild of three high school and college friends: Jeff Perry, Terry Kinney and Gary Sinise. Fast forward 40 years and the Steppenwolf Theatre Company has become the nation’s premier ensemble theater—redefining the landscape of acting and performance. The ensemble has grown to 44 members who represent a remarkable generation of actors, directors and playwrights. Thrilling, powerful, groundbreaking productions from Balm in Gilead and The Grapes of Wrath to August: Osage County—and accolades that include the National Medal of Arts and 12 Tony Awards—have made the theater legendary. Steppenwolf ’s artistic force remains rooted in the original vision of its founders: an artist-driven theater, whose vitality is defined by its sharp appetite for groundbreaking, innovative work. That work is represented in production photos displayed throughout the theater.

STEPPENWOLF 25

ArtisticJonathan Berry Aaron Carter Hallie Gordon Artistic ProducersJessamyn Fuller Casting Coordinator and School at Steppenwolf DirectorTracy Letts Amy Morton Yasen Peyankov Associate Artists

Steppenwolf For Young AdultsHallie Gordon Artistic and Educational DirectorMegan Shuchman Associate Education Director Jared Bellot Education AssistantEmilio Robles Senior Facilitator of Curriculum and InstructionSindy Castro Amanda Dunne-Acevedo Fatimah Asghar Cara Greene Epstein Greg Geffrard Ali Hoefnagel Jeremy Ohringer Thom Pasculli Ashley Roberson Mara Stern Teaching Artists

AdministrationRachel D. Freund Director of Operations and ManagementCourtney Anderson Events Management DirectorScott Macoun It DirectorJackie Snuttjer Finance DirectorSamer Sharba Network Systems AdministratorYolanda Davis Human Resources & Professional Leadership Programs CoordinatorJovito Alvarez Finance ManagerBrian Hurst Finance CoordinatorPaul G. Miller Executive AssistantLupe Garcia Quiles Events Management Associate

Angela Johnson Office Management Associate & ReceptionistLauren Sivak Special Projects Coordinator

DevelopmentSandy Karuschak Director of DevelopmentEric Evenskaas Associate Director of Development Kristy Conway Director of Foundation and Government RelationsEmilie De Angelis Director of Campaign GiftsMegan A. McGuane Director of Corporate RelationsKendra Van Kempen Director of Special EventsLauren Fisher Donor Relations ManagerSuzanne Miller Annual Fund ManagerAnna Brenner Development CoordinatorJessica Gretch Individual Giving CoordinatorKaryn Todd Development AssociateSarah Tongren Special Events Associate

Marketing, Communications & Audience ServicesJohn Zinn Director of Marketing and CommunicationsDonovan Foote Design DirectorMadeline Long Communications DirectorErika Nelson Marketing Director Greta Honold Audience Engagement Creative ProducerJoel Moorman Digital Content ProducerKevin Castillo Digital Marketing ManagerNeel McNeill Marketing ManagerShilla Shakoori Graphic DesignerCasey VanWormer Audience Services DirectorJimmy Freund Social Media Director and Audience Services Supervisor

Billie Rye Bryant Audience Services ManagerStephanie Heller Audience Services Subscription ManagerMike Brunlieb Sarah Nelson Audience Services SupervisorsMolly Layton Group Sales AssociateRoseann Bishop Subscriptions and Audience Services AssistantCraig Barnes Rebecca Butler Rebekah Camm Sarah Carter Reynaldo Dumas Kevin Greene Elizabeth Gottman Michelle Jacobson Geehoon Lim Annaliese McSweeney Dana McGarr Jake Allen Miller Charles Strater Audience Services Associates

Audience OutreachTiffany Rae Wilson Audience Outreach ManagerMax Lando Audience Outreach SupervisorBenjamin Adams Charles Frydenberg Rukmini Girish Marilyn Hillary Alisa Mahjoub N.J. Phillips Isaiah Polstein Michael Russell Audience Outreach Associates

OperationsCory Jeanes Facilities DirectorPeter Van Kempen Operations ManagerAdrian Castro Operations CoordinatorDavid Albert Marshall Hansen Harold Jaffe Facilities StaffDavid Barati Victor David Padam Dhungel Tul Ghaley Madan Gurung Noor Alam Islam Ababe Mekonen Aminata Talawally

Bhagirath Timsina Custodial StaffEvan Hatfield Director of Audience ExperienceDanielle Shindler Front of House ManagerAaron Aptaker Autumn Cranor Colleen Debelius Anna Donnell Ali Drumm Leanna Harney Bridget Holmes David Koslovsky Murphy Mayer Richard Mosqueda Will Quam Maia Reed-Siragusa Eleni Sauvageau Leah Siesfeld Chelsea Smith Annabel Steven Brittany Stock Toby Walters Front of House StaffMayom Acien Mustafa Chaudry Don Coulson Parking StaffLauren Louer, The Saints Volunteer Usher Coordination

ProductionTom Pearl Production ManagerBrianna Parry Assistant Production ManagerErin Cook Company ManagerRussell Poole Technical DirectorMike Donohue Assistant Technical DirectorChristopher Kristant Shop ForemanKyle Land Russell Scott Jon Woelfer Scenic CarpentersMelissa Rutherfoord Charge Scenic ArtistJenny DiLuciano Properties MasterCharles Moser Master Properties ArtisanEmily Guthrie Jay Tollefsen Assistant Properties Masters

Jessica Stratton Wardrobe, Hair and Make-Up SupervisorAJ Littlefield Staff WardrobeCaryn Weglarz Klein Costume DirectorMae Haskins Assistant Costume DesignerLaurel Clayson Head DraperLynae Vandermeulen Work Room Supervisor and DraperDaisy Lindas Assistant Costume DirectorStaci Weigum Costume Shop AssistantJ. R. Lederle Lighting SupervisorErnesto Gomez Master ElectricianRick Haefele House CarpenterDawn Przybylski Stage CarpenterMartha Wegener Audio EngineerGregor Mortis Assistant Audio EngineerCassie Calderone Malcolm Ewen Christine D. Freeburg Laura D. Glenn Jonathan Nook Deb Styer Stage Managers

Professional Leadership ProgramZhanna Albertini Izik Alequin Brian Balcom Katie Creeggan Tam Dickson Courtney Evans Kenya Hall Jaclynn Joslin Janette Martinez Alison McLeod Joshua McCammon Denise Serna Hilary Shields Selby Souza Lydia Strini Valerie Tu Claire Weibel Steven Yandell Catharine Young

TERRY KINNEY, JEFF PERRY and GARY SINISE Executive Artistic Board

ANNA D. SHAPIRO Artistic Director

DAVID SCHMITZ Managing Director

Steppenwolf Staff

STEPPENWOLF 27 26 GEORGE ORWELL’S 1984

Board of Trustees

Executive CommitteeNora Daley

ChairEric Lefkofsky

SecretaryPaul W. Goodrich

TreasurerCarole L. BrownDouglas R. BrownElizabeth H. ConnellyKeating CrownRich FeitlerMatthew GrayCaryn HarrisL. Heather MitchellLynn Lockwood MurphyKenneth J. PorrelloDeborah H. QuazzoRandall K. RoweBruce SaganHarry J. SeigleStephanie B. SmithJohn R. WalterHelen Zell

TrusteesSarah BeardsleyMichael W. BenderHenry S. BienenMarlene Breslow-BlitsteinEbs BurnoughTerri L. CableRobin Tennant ColburnBeth Boosalis DavisAmy EshlemanJuliette FeldD. Cameron FindlayLawrence M. GillAimee GrahamRobert J. Greenebaum, Jr.John H. HartJon Michael HillDennis D. HowarterGeorge A. JosephTina LandauDonna La PietraTracy LettsMary LudfordRonald J. Mallicoat, Jr.Holly MaloneyTarell Alvin McCraneyJanet MelkDavid E. MendelsohnVerett MimsChristopher M. MurphyYasen PeyankovDavid C. PisorMerle ReskinRobert SanbornManuel “Manny” SanchezAnna D. ShapiroMatthew ShapiroColette Cachey SmithburgElliot A. Stultz

Emeritus TrusteesJ. Robert BarrLawrence BlockMichael CahanJohn N. Fox, Jr.Gloria Scoby

Past ChairpersonsWilliam L. AtwellLarry D. BradyDouglas R. BrownLaurence EdwardsJohn N. Fox, Jr.Elliott LyonGordon MurphyWilliam H. PlummerBruce SaganGloria ScobyDonna Vos

WE GRATEFULLY ACKNOWLEDGE THOSE WHO PROVIDE SIGNIFICANT SUPPORT FOR STEPPENWOLF FOR YOUNG ADULTS DURING THE 2015/16 SEASON.

PHOTOGRAPHER MICHAEL LITCHFIELD

B E N E F A C T O R S $ 5 0 , 0 0 0 – 9 9 , 9 9 9Alphawood FoundationAllstate Insurance CompanyPaul M. Angell FoundationThe Joyce Foundation‡Polk Bros. FoundationSteppenwolf Associates*

P R O D U C E R S $ 2 5 , 0 0 0 – 4 9 , 9 9 9Ann and Richard CarrThe Crown Family‡Lloyd A. Fry Foundation‡J.P.Morgan

P A T R O N S $ 1 0 , 0 0 0 – 2 4 , 9 9 9Baker & McKenzie LLPHelen Brach FoundationCNA Financial CorporationKent and Liz DautenThe Field Foundation of IllinoisLynn Lockwood Murphy and Barrett B. Murphy‡Northern TrustLouise and Robert SanbornDr. Scholl Foundation

S U S T A I N E R S $ 5 , 0 0 0 – 9 , 9 9 9Ms. Sara AlbrechtRobert and Isabelle Bass Foundation, Inc.Michael Bender and Sheridan PriorDouglas R. BrownMr. and Mrs. John A. Canning, Jr.Carol and Douglas CohenMr. and Mrs. Keating CrownNene FoxhallJohn H. Hart and Carol PrinsIllinois Tool Works FoundationDavid and Susan KaltJanet MelkChristopher and Eileen MurphyDaniel F. and Ada L. Rice FoundationSeigle Family Foundation

Anna D. Shapiro and Ian BarfordSiragusa FoundationToni Sandor SmithNina B. Winston

A S S O C I A T E S $ 2 , 5 0 0 – 4 , 9 9 9AnonymousDeann and Rick BaylessAmy Eshleman and Lori LightfootDr. and Mrs. Jane FlemingMr. John HarneyJohn Hergert and Kathryn StevensIce Miller LLPAnna and Robert A. LivingstonAndrew and Pamela McGaanVerett MimsNewcastle LimitedClint PatonPNCRandy and Betsy RochmanEmily Sachs-Wong and Thad WongLouis & Nellie Sieg FundSkadden, Arps, Slate, Meagher & Flom LLPStephanie B. Smith and Gerald SmithMr. and Ms. Joseph Squeri

G U A R A N T O R S $ 1 , 0 0 0 – 2 , 4 9 9James AdamsKristopher J. AndersonAndrew Annacone and Bela GandhiMike and Karen AtwoodMr. Charles BaroneMr. and Mrs. Eric BelcherJohn and Kerry BenevidesMr. and Mrs. Walter BorstMr. Marcus BradyLois BrowningMichael CanmannElizabeth H. ConnellySusan Cox and Mike BoltonKim Davis and Brian EbleMichael DiMedioDover FoundationMargaret and Chris DuhonLaura and Scott Eisen

James and Kelly EpsteinTom and Pat EricksonAmy and Cameron FindlayMs. Susan FlynnGordon and Wendy GillBeverly Wyckoff and Charles GinsbergCharlie and Mary GofenRichard and Catherine GottfredBob and Amy GreenebaumMr. and Ms. Brooks GruemmerPam and Dennis D. HowarterJohnson & JohnsonMr. and Mrs. Tom KarlsonBrad and Kim KeywellSteven D. LoucksMr. and Ms. Carl LukachRonald J. Mallicoat Jr.Lyn McKeaneyL. Heather Mitchell and Kenny MitchellMr. and Mrs. David MoesMr. and Mrs. Steve MoniesonMr. Michael MurdockBruce NorrisShawna and Jay OwenAkin OwolabiFrank and Mary PhillipsMr. and Mrs. Frank PonterioMr. and Mrs. Michael A. PopePwCJohn RatliffRev. Thomas F. Reilly Jr.Desirée RogersManny Sanchez and Pat Pulido SanchezGuyneth and William H. SharpMr. and Mrs. Pat SullivanMr. and Mrs. Steve TheissTTX CompanyMr. and Mrs. Ben WebsterWorkdayMr. and Mrs. Ray Young

I N - K I N D C O N T R I B U T O R SMarcello’s, A Father & Son RestaurantMotorola Mobility Foundation

‡ Multi Year Pledge

* The Steppenwolf Associates is a community of more than 100 dynamic young professionals who work each season to raise funds for Steppenwolf for Young Adults.

STEPPENWOLF 29

The Young Adult Council is a unique program for passionate and motivated high school students who wish to learn the inner-workings of professional theater from the most celebrated artists in the city. In addition to face time with these leading professionals, Council members attend the best plays in Chicago, learn how to analyze and speak about these plays and lead events for their peers around Steppenwolf productions in hopes of inspiring a new generation of theatre enthusiasts and practitioners.

Applications are available on March 1, 2016.

Like the Steppenwolf Young Adult Council on Facebook! Or visit steppenwolf.org/youngadultcouncil for more information.

Foundation support is provided by The Siragusa Foundation.

2015/16 SEASON

YOUNG ADULT COUNCIL

Corporate Sponsor of Steppenwolf’s Career Readiness Programs

Steppenwolf Customer Service TipsDriving to the theater? Rather than arriving to discover that our garage has reached capacity (which can happen during busy performances), please enter the Steppenwolf Parking Hotline (312-335-1774) into your cell phone and call us when you’re a few minutes away from the theater—we’ll tell you if there’s still space available in our facility, or suggest the most convenient alternative.

Spending your intermission in line at the bar? Enjoy the entire break by ordering and paying for your intermission refreshments before the show. When you exit the theater at the end of the first act, your drinks will be waiting for you.

Need restaurant information or the score of the ballgame? Please visit our book shop and information desk at the south end of the main floor lobby.

Hailing a cab after the play? This is typically an easy affair—Halsted is a busy street and sees a fair amount of taxi traffic. If you’d like assistance hailing a cab or calling a company, though, just ask a member of the house staff; we’re happy to help.

Lost or Found? On-site? Please check in with a member of the house staff. Already left? Call the Front of House office at 312-932-2445.

Want to provide feedback? Your input is always valuable to us. Have an opinion about the play or artistic content? Stick around for the post-show discussion featured after every performance, fill out the 60-Second Survey inserted in this program or join the conversation at facebook.com/steppenwolftheatre. Have a comment about your overall experience at the theater? Please ask us for a customer service form to fill out, or e-mail us at customerservice@steppenwolf.org.

Need to contact a patron during a performance? If you need to contact a patron during a performance in our Downstairs or Upstairs Theaters, please call our Concierge Desk at 312-932-2476. Hours: one hour prior to curtain until 15 minutes after curtain call.

Photo/Video Disclaimer: During your visit, you or members of your family may be filmed, videotaped, and/or photographed by a Steppenwolf employee, contract photographer or the media. Your attendance at Steppenwolf events serves as permission for the use of your image, or the image of your family members, by Steppenwolf.

Content Disclaimer: Steppenwolf does not offer advisories about subject matter, as sensitivities vary from person to person. If you have any questions about content, age-appropriateness or stage effects (such as strobe lights or theatrical fog) that might have a bearing on patron comfort, please contact the box office at 312-335-1650.

Latecomers will be seated at the discretion of the House Manager. The theater reserves the right to limit admission of children younger than the age of six. The taking of photographs and the use of any type of recording device is not allowed in the theater during performances and is a violation of state and federal copyright laws. Digital media will be deleted, and tape or film will be confiscated.

Accessibility at SteppenwolfCommitted to providing services and programming that enhance the experience of guests with disabilities, Steppenwolf is proud to feature:

• Assistive listening devices in our Downstairs and Upstairs theaters.

• Audio-described performances, artistic conversations and touch tours of the stage for patrons who are blind or have low vision.

• Sign language-interpreted and open-captioned performances for guests who are deaf or hard of hearing.

New! Induction loop in the Downstairs TheatreIf you use a hearing aid or cochlear implant that has a T-Coil, feel free to turn it on for the performance!

With the help and expertise of Assistive Hearing Systems Ltd., we completed installation of an induction loop on both the main and balcony levels of our Downstairs Theatre in April. If you use the loop, we would love to hear about your experience—we’re still fine-tuning the system, and all feedback is helpful. Please ask any member of our customer service staff for a survey to complete, or email access@steppenwolf.org.

Would you like to utilize or learn more about these services?Audience Services 312-335-1650 | TTY 312-335-3830 | E-mail access@steppenwolf.org

2015/16 season

Devised and directed by Michael RohdFebruary 24 – March 12, 2016

Do you constantly second guess yourself? Do you always procrastinate? How would you feel if you never had to make a decision again? Meet The Compass, a brand-new app aimed at young people that does the heavy lifting on your daily thinking. The Compass is a groundbreaking, live, interactive performance that explores the intersection of technology and decision-making. Join us as we (and you) navigate the question: When someone else, or something else, tells you what to

do, what exactly are you responsible for? This is not a play. It is an experience.

For more information steppenwolf.org/sya | 312-335-1650

Steppenwolf Theatre Company is a participant in the Audience (R)Evolution Program, funded by the Doris Duke Charitable Foundation and administered by the Theatre Communications Group, the national organization for the professional not-for-profit American theatre.