FIFTH THIRD BANK S DRACULA PAGE 4 THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME PAGE 8 A DOLL S HOUSE, PART 2 PAGE 12

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1 FIFTH THIRD BANK S DRACULA PAGE 4 THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME PAGE 8 A DOLL S HOUSE, PART 2 PAGE 12 1

2 FIFTH THIRD BANK S DRACULA SEPT. 7 OCT. 31, NEW SURPRISES AND NEW SCARES Louisville s favorite vampire entertainment returns with a new director at the helm! Read about some of the exciting changes that you ll get to see on stage in this fall s production. PAGE 4 THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME SEPT. 18 OCT. 10, BRAVERY IN A BEWILDERING WORLD In Simon Stephens s adaptation of Mark Haddon s acclaimed novel, Christopher Boone, an autistic teenager, uncovers more than he expects when he investigates the murder of his neighbor s dog. A DOLL S HOUSE, PART 2 OCT. 2 NOV. 4, KNOCK KNOCK PAGE 8 Read about A Doll s House, Part 2, Lucas Hnath s witty, moving examination of marriage that picks up 15 years after the shocking finale of Henrik Ibsen s masterpiece. AROUND ACTORS 16 NEURODIVERSITY ON THE STAGE Learn about some of the ways Actors and the theatre field are embracing neurodiversity on stage and around the theatre. PAGE EVENTS CALENDAR

3 VOLUME 18, ISSUE 1 MANAGING EDITOR Laura Humble SENIOR EDITORS/WRITERS Hannah Rae Montgomery Jenni Page-White Jessica Reese Amy Wegener GRAPHIC DESIGNER Mary Kate Zihar CONTRIBUTING WRITERS Laura Humble CONTRIBUTING PHOTOGRAPHERS Jordan Bean Bill Brymer Christine Jean Chambers 316 West Main Street Louisville, KY MANAGING DIRECTOR Kevin E. Moore TICKET SERVICES CALL OR ATL.TIX ONLINE ActorsTheatre.org GROUP SALES WELCOME TO ACTORS THEATRE S 55 TH SEASON! We re delighted to welcome you back to Actors Theatre for another season of stories that we hope will entertain and inspire you! Join us this fall as our 55 th season kicks off with the electrifying Fifth Third Bank s Dracula. For 24 consecutive years, we have brought this thrilling, high-stakes vampire adventure to Louisville audiences, making it one of the community s favorite fall traditions. In September, we open The Curious Incident of the Dog in the Night-Time, a Tony Award-winning play based on the bestselling novel of the same name. Directed by Actors Theatre s own associate artistic director, Meredith McDonough, Curious Incident follows Christopher Boone, an autistic teenager who sets out to find the real culprit after being wrongly accused of a crime. Later this fall, we re thrilled to produce Lucas Hnath s (The Christians, 2014 Humana Festival) A Doll s House, Part 2, which picks up the story of Henrik Ibsen s famous play 15 years after the original ends. As Nora returns to the home she left behind, we find ourselves asking: what does a woman owe her family? What does she owe herself? In addition to welcoming you to the new season, we re happy to welcome you back to the printed version of Limelight. We want you to know that we ve heard you. Based on your feedback about last season s digital Limelight, we ve decided to return the newsletter to its original print form in order to best serve you, our patrons. The digital version will still be available on our website, ActorsTheatre.org, but meanwhile, enjoy your print copy! Thank you so much for your thoughts last season, and above all, thank you for your loyalty to the theatre. As you may be aware, Les Waters, our former artistic director, finished up his last season with us in June of this year. While we are sad to see him go, we re excited to see what incredible art he puts on stages around the country in the future! In the meantime, Actors Theatre is in the process of searching for a new artistic director. Under the leadership of board member Dr. Allan Tasman, that search is currently underway. We re very optimistic about the future leadership of the theatre, and hope to have more news about our artistic director search in the coming months. Thanks again for joining us this season. See you at the theatre! FAX STOP BY the Box Office at Third & Main. Free short-term parking just inside the Main Street entrance. Kevin E. Moore Managing Director 3

4 DR A CULA originally dramatized by John L. Balderston and Hamilton Deane from Bram Stoker s world-famous novel, Dracula adapted and originally directed by William McNulty directed by Drew Fracher S E P T. 7 O C T. 3 1,

5 NEW SURPRISES AND NEW SCARES Every year as Halloween approaches, the infamous Count Dracula takes the Bingham Theatre stage by storm, terrifying and delighting audiences with his fearsome thirst for blood. A tradition for theatregoers young and old in the Louisville community, this adaptation of Bram Stoker s classic novel is a much-anticipated favorite and this fall, the gripping tale of the Transylvanian vampire comes to life with a new director at the helm. Before rehearsals started, veteran Actors Theatre collaborator Drew Fracher who also directs our beloved production of A Christmas Carol sat down with Resident Dramaturg Hannah Rae Montgomery to chat about the fun of fast-paced action, vampire hunting, and why he s thrilled to direct this spine-tingling show. (Continued on next page) 5

6 HANNAH RAE MONTGOMERY: You ve already been involved with our production of Dracula as its fight choreographer. What excites you most about stepping into the new role of director this season? DREW FRACHER: I m very excited about getting to direct Dracula. I ve worked on the fights and the action sequences for many years, so I feel like I have a good handle on how the play works and the story we re trying to tell. The show s already full of action, but my hope is to take some of those action moments and pump them up even more for example, I have some fun ideas about additional victims for Dracula to prey on, so that we really see the carnage he wreaks upon the community before our heroes bring him to justice. I ve worked hard to cast actors who are really physical and have a lot of skill in that realm, so I think we ll be able to do some even more complex fight and movement stuff than we have in the past. We ve also worked with the playwright, William McNulty, on some adjustments to the script, so that the story moves even faster we want it to be a real rollercoaster! Another thing I m concentrating on is making the character of Lucy a bit more hands-on as a vampire fighter, so that she s not just Dracula s victim, but plays a pivotal role in bringing him down and saving herself. The creative team and I are always looking to come up with new surprises and new scares. But I think longtime Dracula fans are totally going to recognize the production that they know and love. The Louisville community has really embraced this show and their enthusiasm for it has been so enduring. I definitely want to honor that. HRM: Speaking of Dracula s popularity, why do you think that people enjoy this production so much? What do you love most about it? DF: Something I love about the show and a huge reason that I think so many other people love it, too is that it s an epic, archetypal melodrama of good versus evil, in which we see the good guys win. I think in today s world, seeing the good guys triumph is a real positive. Plus, the horror aspects of the production are just so much fun! Scary movies and vampire fiction really, horror in general seem to be incredibly popular in our culture. It s so cool to have the opportunity to tell that kind of story in a theatre, where all the scary stuff s happening in real time right in front of us. Hannah Rae Montgomery 6

7 Top: This fall, Louisville actor Neill Robertson reprises his 2017 performance as the blood-crazed Renfield. Photo by Bill Brymer. Bottom, left to right: Lucy (Emily Bennett) delivers the fatal stake to Dracula s (Howard Kaye) heart! Photo by Bill Brymer, Jonathan Harker (Max Monnig) is beset by a frightening ensemble of Dracula s undead minions. Photo by Bill Brymer,

8 THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME a play by Simon Stephens based on the novel by Mark Haddon directed by Meredith McDonough S E P T. 1 8 O C T. 1 0,

9 BRAVERY IN A BEWILDERING WORLD The Curious Incident of the Dog in the Night-Time begins the way many great detective stories do: at the scene of a murder. In Simon Stephens s adaptation of Mark Haddon s bestselling novel, the opening stage directions conjure a disturbing image. A dead dog lies in the middle of the stage. A large garden fork is sticking out of its side. Christopher Boone, 15 years old, stands on one side of it. Though he is briefly suspected of the grisly crime, Christopher Boone is not the culprit. So he resolves to find out who actually killed his neighbor s dog even after his single father, Ed, tells him to keep his nose out of other people s business. (Continued on next page) 9

10 That Christopher isn t easily deterred probably comes as no surprise to anyone who knows him. As he candidly confesses to his teacher, Siobhan, Christopher doesn t always do what he s told. To be fair, what he s told, he explains, is usually confusing and does not make sense. For example people often say Be quiet but they don t tell you how long to be quiet for. In fact, Christopher struggles with all sorts of everyday communication. Human emotions perplex him; he has trouble reading people s faces and understanding anything beyond the literal meaning of what they say to him. Christopher is autistic, and for him, this means that he can get overwhelmed by sensory stimuli, and sometimes he needs to completely shut down in order to restore the balance in his brain. He doesn t like strangers, and he detests being touched. But Christopher also possesses an extraordinary intellect. He observes the world with startling acuity, noticing in great detail what other people miss. An exceptional mathematician, Christopher will be the first student in his school to take an Advanced Level Examination in math and that same precise, algorithmic logic makes him uniquely suited to detective work. And perhaps most importantly for his investigation, Christopher is hardwired for truth. He is guided by an unrelenting sense of justice, and his candor is both surprising and invigorating. But his tenacity in looking for answers requires personal risk, and it comes at a cost. As Christopher navigates an increasingly unfamiliar emotional landscape, he uncovers much more than he expects about his parents, about his neighbors, and about himself. Smart, original, and brimming with humanity, Curious Incident invites us to experience the play through Christopher s fascinating and rarely explored perspective. And while the world as seen through his eyes is sometimes frightening and confusing, it is also filled with great joy and wonder. What is truly remarkable about Curious Incident is how it dynamically theatricalizes Christopher s way of seeing. From moments of sensory overload to dreamscape to methodical problem-solving, the entire design team brings Christopher s inner state to life through Christopher Boone maneuvers through the world with obsessive orderliness. The wrong color or an uninvited touch can throw him off-balance, but his rigid logic also reveals surprising insight about the world. According to Christopher s father, math is the one thing he s really good at. projections, lights, and sound. Scenic Designer Kristen Robinson s set in the Pamela Brown Auditorium is filled with surprises that transport us inside Christopher s mind. And teaming up with Associate Artistic Director Meredith McDonough to create the kinetic world of the play is Movement Director Sam Pinkleton (whose work was last seen at Actors in 2016 s Peter and the Starcatcher). Together, they ll coordinate yet another dimension of sensory perception the movement of bodies through space using an ensemble of performers to help convey Christopher s unique experience of the world. At its heart, Mark Haddon s novel is a story about difference, about being an outsider and seeing the world in a surprising and revealing way. But in its stage adaptation, it is also a story about parents reckoning with their own shortcomings and finding a way to move past them. It is a story about a committed teacher and her gifted pupil, and about bravery and finding the courage to become the hero of your own story. The Curious Incident of the Dog in the Night-Time makes no bones about the challenges that Christopher will face for the rest of his life. But everyone, not just Christopher, has to navigate a world that s sometimes bewildering. And so in tracing his journey, the play has much to say about how we can make our way through, and find something like grace on the other side. Jenni Page-White 10

11 ADAPTING A BELOVED BOOK British novelist Mark Haddon s The Curious Incident of the Dog in the Night-Time became an international bestseller after it was published in England in It s written entirely from the perspective of an autistic teenager named Christopher, and the book received widespread critical praise for the way it captures Christopher s unique imagination with nuance and clarity. When Haddon approached his friend, celebrated dramatist Simon Stephens, about adapting the story for the stage, the question of how to handle Christopher s narration in the book became a central concern for Stephens. Both Haddon and Stephens agreed that Christopher would never reveal his interior thoughts to a roomful of strangers, so the possibility of having Christopher address the audience directly felt dishonest. The original conceit of Haddon s novel is that it is a book written by Christopher, and only two other people his father, Ed, and his teacher, Siobhan read it. Adhering to that concept, Stephens toyed with the idea of Ed reading parts of the book to the audience. Ultimately, however, he found a better narrator in Siobhan who, in Stephens s adaptation, not only reads Christopher s book, but also encourages him to turn it into a play. For Stephens, the approach of having Christopher s words read aloud by Siobhan was both theatrically and conceptually satisfying. He explains: I think [Siobhan] reads Christopher s book in the same way we read Mark s novel: with a sense of awe and wonder at Christopher s remarkable mind; with a sense of dramatic irony (we understand things in Christopher s writing which Christopher doesn t understand himself); and with a sense of detachment... Because of [her] capacity to see the things about Christopher [that] are ridiculous, she can see more readily the things [that] are magical. The relationship between teachers and students is something that really fascinates me. It struck me that everybody who s ever been to school even those who really hated school has had one teacher who got them more completely than anybody else. I thought if I built the play around the student-teacher relationship, then it could really reach people. So that is what I did. Jenni Page-White 11

12 A Doll s House, PART 2 by Lucas Hnath directed by Pirronne Yousefzadeh OCT. 2 NOV. 4,

13 KNOCK KNOCK A loud knock, and then another, and another, echo in an almostempty room. On the other side of the door stands Nora, who s about to come face-to-face with the family she walked out on 15 years ago that is, if anyone s home. Enter Anne Marie, the nanny who raised both Nora and Nora s children. She finally lets Nora in, but she doesn t exactly offer a warm welcome. There s the door, she later snaps. I know you know how to use it. In Lucas Hnath s A Doll s House, Part 2, Nora s return sparks not only long-overdue personal reckonings, but also a bitingly funny, deeply moving interrogation of the meaning and necessity of marriage. (Continued on next page) 13

14 As the slightly cheeky title suggests, A Doll s House, Part 2 is a sequel. Henrik Ibsen s 1879 drama A Doll s House depicts the events leading up to Nora s decision to leave her husband Torvald and their three young children. In the end, Nora suddenly realizes how little Torvald respects her and how caged she s felt within their marriage, and the final scene concludes with a resounding door slam as she sets off to forge her own path. In Ibsen s time, Nora s departure and the play s piercing social commentary were controversial. Now, the Norwegian playwright s work is a cornerstone of Western literature but whatever happened to Nora? Perhaps it s audacious to attempt a follow-up to A Doll s House, especially one that doesn t require any familiarity with the original. In the Tony Awardnominated Part 2, however, acclaimed playwright Hnath does just that, exploring what s changed and what hasn t since Nora first appeared on stage more than a century ago. As Hnath began writing the play, which premiered simultaneously in California and on Broadway last year, he polled people about what they thought Nora s fate might have been. Given the limited options for a divorced woman in the late 19 th century, the results painted a grim picture. Hnath went in the opposite direction, imagining instead that Nora has done well for herself extremely well, in fact. When she takes the stage at the top of Part 2, she s a successful, selfsufficient novelist. But a judge is blackmailing her because she s also an advocate for a radical proposition: abolishing marriage. At risk of losing the life she s built, Nora has returned to her former home in order to settle some unfinished legal business with Torvald, igniting a series of confrontations filled with barbed humor and rapid-fire dialogue. Though set in the 1890s, A Doll s House, Part 2 offers an incisive perspective on how we in the 21 st century continue to grapple with marriage, motherhood, and gender roles. The play crackles with modern wit and language, finding comedy in the contradictions between Victorian refinement and our decidedly more profane vernacular. The creative team behind Actors Theatre s production in the Victor Jory Theatre elaborates on this sensibility by including wryly anachronistic details in the scenic design and costumes. But as director Pirronne Yousefzadeh notes, Hnath s style isn t just for laughs; it also heightens the way in which the play is holding a mirror up to our society and how we expect certain things of women how we re still carrying an inherited set of traditions from a patriarchal culture that is alive and well. In much of Hnath s work, tense situations and conflicted characters fuel explorations of thorny ideas. His writing often invites audiences to reexamine their own beliefs, and this call to personal reflection is among the reasons Yousefzadeh is looking forward to returning to Actors to direct A Doll s House, Part 2. I think the play fails if I always side with Nora or if I always side with Torvald, she muses. How much can I actually find myself, as an audience member, wrestling with their different points of view? Neither Hnath nor Yousefzadeh is a stranger to Louisville. Three of Hnath s plays have been featured in the Humana Festival: Death Tax (2012), nightnight (part of Sleep Rock Thy Brain in 2013), and The Christians, an Actors Theatre commission that premiered in the 2014 Festival and became one of the most produced plays in the country. Yousefzadeh s Actors Theatre directing credits include That High Lonesome Sound (2015 Humana Festival), and she s also an alumna of the Professional Training Company. When circumstances force Nora to knock again on the door of her old life, the result is not unlike a boxing match, with opposing sides squaring off for one round after another. It s wit, however, that propels A Doll s House, Part 2, not brute force. Yousefzadeh compares the play to a showdown between razor-sharp lawyers and says that it creates a space for a passionate exchange of ideas about how we live and what we believe in. What does a woman owe her family? What does she owe herself? In a world in which men and women aren t equal, is it even possible for them to build true partnerships? Interviewing Hnath on CBS Sunday Morning last year, Mo Rocca remarked, This is the kind of play that I think a lot of people leave arguing about. Laughing, Hnath replied, Yes. That makes me happy! I want more argument.... You go home, hopefully, and start making your own case for why you think what you think. Jessica Reese 14

15 SPOTLIGHT: ACTORS ALUMNA PIRRONNE YOUSEFZADEH Helena Modjeska. Photo by Christine Jean Chambers. Director Pirronne Yousefzadeh is an alumna of the Professional Training Company, and she s previously directed several plays at Actors, including That High Lonesome Sound (2015 Humana Festival). Below, she reflects on what it means to return to Louisville for A Doll s House, Part 2: Coming back to Actors Theatre always feels like coming home. I have such gratitude for Actors because it s where I spent one of the most formative years of my career as a member of the Professional Training Company. Having had that first-hand, hands-on experience, I have a deep appreciation for the way this production will be supported by everyone on staff and in the PTC. I know I m going to have a directing assistant, and I m going to have PTC actors observing my rehearsals, and that s a way of giving back to a program and a theatre that has given me so much. DID YOU KNOW? The U.S. premiere of Henrik Ibsen s landmark play A Doll s House took place in Louisville in Helena Modjeska, pictured above, performed the lead role at Macauley s Theatre, which was on Walnut Street (now Muhammad Ali Boulevard). In Modjeska s version, Nora was renamed Thora, and in the end, she chose to stay with her family! The modjeska, a caramelmarshmallow candy that s a Louisville specialty, was named after the renowned Polish actress. It is no exaggeration to say that my career would not be the same if not for my year at Actors. It forged my path in countless ways, and many of the people whom I still work with and whom I consider part of my tribe as an artist are people I met at Actors. Every time I come back, every show that I do, that sense of accumulated history feels deeper and more profound. 15

16 NEURODIVERSITY ON THE STAGE Actors Theatre opens the Brown-Forman Series with The Curious Incident of the Dog in the Night-Time, which features an autistic teenager as the hero of its story. Here s a look at some of the ways Actors and the theatre field at large are embracing neurodiversity on stage and around the theatre. Talleri McRae, Actors Theatre s Access, Inclusion, and Education Consultant. work has been instrumental in widening the scope of our programming to include options that speak to a broader range of neurodiversity, including but not limited to people on the autism spectrum. For example, last February during the run of Little Bunny Foo Foo, Actors Theatre held its firstever sensory friendly performance. A sensory friendly show affords a relaxed atmosphere with lower-volume sounds, slightly raised house lights, and the freedom for audience members to move about or leave the theatre as need be. In conjunction with this, McRae helped us create guides to prepare patrons to navigate the theatre and know what to expect in advance from the show itself; these guides are beneficial to individuals who prefer having details ahead of time when experiencing something new. This past June, McRae facilitated a conversation entitled From Accommodation to Transformation: Neurodiversity on Our Stages at Theatre Communications Group s National Conference. In it, she and a panel of neurodiverse artists discussed what accommodations theatre communities can make for neurodiverse performers and theatre artists. Here s what McRae had to say about their conversation: How do we increase access to theatre for populations who may otherwise experience barriers? Over the past few years, this question has come to the fore more and more in discussions among theatre communities. At Actors Theatre we strive to always keep this question in consideration, and with the upcoming production of The Curious Incident of the Dog in the Night-Time this fall, we are working to be more intentional about it than ever. One of our greatest resources on this front is Talleri McRae, who currently serves as Actors Theatre s Access, Inclusion, and Education Consultant. McRae s The session itself used inclusive casting as a starting point, not an ending point. So we talked about how Indiana Repertory Theatre, Syracuse Stage, Kansas City Repertory Theatre, Mixed Blood Theatre and now Actors Theatre of Louisville have made inclusive casting choices, but we also talked about other ways to push inclusive practices even further. We asked the question: what if other kinds of neurodiversity, not just autism, were more commonly seen on stage? 16

17 THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME a play by Simon Stephens based on the novel by Mark Haddon directed by Meredith McDonough Sam Breslin Wright in Little Bunny Foo Foo, Photo by Bill Brymer. The conversation at the TCG National Conference covered a broad range of ideas, providing valuable insight to anyone wishing to know more about neurodiversity and theatre. For anyone interested in watching a recorded version online, go to ActorsTheatre.org/Neurodiversity. McRae acknowledges that creating a truly inclusive theatre community is a process, and sometimes mistakes will be made. If you re doing this work right, it is messy, it is hard so you re like, I m sorry, I didn t mean to do that, I messed up, I said the wrong thing, I did the wrong thing. I ll try better next time, McRae said near the end of the panel. With that in mind, we remain committed to expanding our community of theatre lovers and theatre creators, and to making Actors Theatre a welcoming place for all. Laura Humble SENSORY FRIENDLY PERFORMANCE October 7, 2018 at 2:30 p.m. Pamela Brown Auditorium What does it take to become the hero of your own story? As we look to expand our family of theatre lovers, we are excited to share with you that we are offering a sensory friendly performance of The Curious Incident of the Dog in the Night-Time. A sensory friendly show affords a relaxed atmosphere with lower-volume sounds and slightly raised house lights. Audience members may move about or exit the theatre as needed. 17

18 FALL 2018 A COMPLETE GUIDE TO EVENTS AT ACTORS THEATRE 9/5 FIFTH THIRD BANK S DRACULA BLOOD DRIVE from 10 a.m. 3 p.m. at Fifth Third Bank s location in Fourth Street Live! Support Actors Theatre and the Red Cross by helping us reach our goal of 50 pints! To reserve your spot, contact Carrie Syberg, Director of Community Partnerships, at , ext /5 BEHIND-THE-SCENES TECH EVENT: FIFTH THIRD BANK S DRACULA 6 p.m. Season Ticket Holders: FREE General Admission: $15 After a light reception, guests will have a chance to step into the theatre and glimpse what goes on during a technical rehearsal. 9/7 TEEN NIGHT: FIFTH THIRD BANK S DRACULA 7:30 p.m. Tickets: $10 with valid student ID (Promo Code: TEEN) Calling all teens, grades 8-12! Bring your friends, see a great show, meet the cast and connect with other teens passionate about theatre! 9/7 OPENING NIGHT RECEPTION: FIFTH THIRD BANK S DRACULA immediately following the 7:30 p.m. performance 9/10 & 9/11 PROFESSIONAL TRAINING COMPANY NEW PLAY PROJECT #1 BY A. REY PAMATMAT 7 p.m. and 9 p.m. on 9/10 and 9/11 Conrad-Caldwell House Museum 1402 St. James Ct., Louisville, KY Actors Theatre has commissioned three playwrights to write one-act plays for the Professional Training Company to develop and perform this fall. 9/13 GIVE FOR GOOD LOUISVILLE A 24-hour online giving day created to inspire people to make our community a better, more vibrant place to live. Support Actors Theatre and help us reach our goal by visiting giveforgoodlouisville.org. 9/15 BEHIND-THE-SCENES TECH EVENT: THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME 7 p.m. Season Ticket Holders: FREE General Admission: $15 After a light reception, guests will have a chance to step into the theatre and glimpse what goes on during a technical rehearsal. 9/20 OPENING NIGHT KORBEL TOAST & RECEPTION: THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME immediately following the 7:30 p.m. performance 9/26 & 9/27 PROFESSIONAL TRAINING COMPANY SOLO MIO ROUND #1 7:30 p.m. on 9/26 3 p.m. on 9/27 Bingham Theatre Join the 47 th Professional Training Company as they present their solo pieces, written and performed by each actor. The event is FREE, but ticketed. Please visit ActorsTheatre.org. Donations benefiting the Professional Training Company Showcase Fund will be accepted at the performance. 9/28 TEEN NIGHT: THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME 8 p.m. Tickets: $10 with valid student ID (Promo Code: TEEN) Calling all teens, grades 8-12! Bring your friends, see a great show, meet the cast and connect with other teens passionate about theatre! 18

19 10/4 OPENING NIGHT KORBEL TOAST & RECEPTION: A DOLL S HOUSE, PART 2 immediately following the 7:30 p.m. performance 10/5 10/7 ST. JAMES COURT ART SHOW from 10 a.m. 6 p.m. on 10/5 and 10/6 from 10 a.m. 5 p.m. on 10/7 Stop by our booth at the 62 nd Annual St. James Court Art Show! 10/6 PLAY DISCUSSION: THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME immediately following the 2:30 p.m. performance Victor Jory Lobby Join in a moderated discussion of the play focusing on the text, themes and characters. Please visit ActorsTheatre.org for an updated start time closer to the event date. 10/8 & 10/9 PROFESSIONAL TRAINING COMPANY NEW PLAY PROJECT #2 BY MARA NELSON-GREENBERG Actors Theatre has commissioned three playwrights to write one-act plays for the Professional Training Company to develop and perform this fall. 10/13 INSIDE THE COFFIN 11 a.m. 12 p.m. Bingham Theatre General Admission: $15 Join us as our production team shows off and explains many of the tricks and special effects in Dracula. 10/19 & 10/20 PROFESSIONAL TRAINING COMPANY SOLO MIO ROUND #2 2 p.m. on 10/19 10:30 a.m. on 10/20 Victor Jory Theatre Join the 47 th Professional Training Company as they present their solo pieces, written and performed by each actor. The event is FREE, but ticketed. Please visit ActorsTheatre.org. Donations benefiting the Professional Training Company Showcase Fund will be accepted at the performance. 10/28 PLAY DISCUSSION: A DOLL S HOUSE, PART 2 immediately following the 2:30 p.m. performance Victor Jory Lobby Join in a moderated discussion of the play focusing on the text, themes and characters. Please visit ActorsTheatre.org for an updated start time closer to the event date. 10/12 TEEN NIGHT: A DOLL S HOUSE, PART 2 8 p.m. Tickets: $10 with valid student ID (Promo Code: TEEN) Calling all teens, grades 8-12! Bring your friends, see a great show, meet the cast and connect with other teens passionate about theatre! 19

20 Non-Profit Organization US Postage PAID Louisville, KY Permit No WEST MAIN STREET LOUISVILLE, KENTUCKY Kevin E. Moore, Managing Director Thank you to our sponsors: The Shubert Foundation Doris Duke Charitable Foundation The Harold and Mimi Steinberg Charitable Trust The Gheens Foundation Jennifer Lawrence Arts Fund at the Fund for the Arts SAVE THE DATE PRESENTS 2O19 Saturday, January 26, 2019 Louisville Marriott Downtown Ballroom Doors open at 6 p.m. Dinner served at 8 p.m. The curtain is about to open on Lobster Feast 2019: It s Showtime! Immerse yourself in the glamour and excitement of the stage by outfitting yourself in celebration of the theatre we all love. Enjoy the silent and live auctions, signature cocktails, lobster buffet, and dancing, all in support of Actors Theatre of Louisville. Limited tickets are available, so order NOW! Sav e t h e dat e : Ja n ua ry 26 Order tickets and tables at LobsterFeast.org or contact Mark D. Warner at ext or

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