Ke’Leb is a Bellarmine University sophomore Theatre Major. He has theatrical experience from his high school career, and remains active in Bellarmine’s Theatre Department. He has worked on and performed in a few Bellarmine productions; he last played as Count Claudio in Bellarmine’s Much Ado About Nothing and most recently directed Bellarmine’s STAGE production of Sherlock Holmes: The Final Adventure. He would like to thank his family and friends for their continued support — and last, but not least, the audience for coming out to view the production.
Marilyn: ABBY BRAUNE
Abby is crazy excited to be a part of A Behanding in Spokane. This is her sixth production with Louisville Repertory Company! Other favorite shows include The House of Blue Leaves (Bunny), Company (April), Arsenic and Old Lace (Elaine), and Reservoir Dogs (Orange). In her spare time, Abby enjoys selling drugs to kittens, writing raps about Ruth Bader Ginsburg, and eating cheese. A Behanding in Spokane has been an awesome experience. Abby is so pleased to be a part of this rad cast.
Carmichael: RENA CHERRY BROWN
Rena is thrilled to take on this challenging role with LRC. She relocated to Louisville from Maryland last year, where she spent her 50th year on stage, her twenty-fifth with Washington, DC professional theatre. Rena was nominated for five Helen Hayes Acting Awards in Washington, and awarded Outstanding Lead Actress for her role as Dr. Vivian Bearing in Wit, and Outstanding Supporting Actress as Claire in A Delicate Balance. Since arriving in Louisville, Rena has appeared with Bunbury Theatre in Women on Fire, with Little Colonel Playhouse in Outside Mullingar, with Savage Rose in Medea, will be appearing in Everyman with Savage Rose later this month, and with Theatre in River City in the fall. Rena has two published children’s books, is an avid knitter, and resides with her husband John and Chocolate Lab Rugsby.
Mervyn: BRYCE WOODARD
Bryce is actually a seven-year-old sitting on the shoulders of an eight-year-old in a grown man’s clothes. He is a James Beard Award® runner-up. Thank you to Lorie, Jackson and August for their patience.
Director: ANGELA D. MILLER
Angela would like to extend her many thanks to you for supporting Louisville Repertory Company tonight. She has previously directed LRC’s productions of Proof, Sylvia, and The Glass Mendacity. Before moving to Louisville, Angela enjoyed working at the Old Globe Theatre and directing in San Diego. She completed her Master‘s Degree in Australia and was awarded an Artist-in-Residency to direct the production Terminus for CentrStage Theatre. Angela has also directed locally for Finnigan Festival, Derby City Playwrights, Little Colonel Playhouse and numerous Bellarmine Theatre productions. Angela teaches at Bellarmine University. She is an Associate Member of Stage Directors and Choreographers Society and Vice President of the LRC Board of Directors. Many thanks to Jane and her design team, to her family, ditto and Jeff for their ongoing support.
Producer: SEAN CHILDRESS
Stage Manager: JANE MATTINGLY
Jane is switching things up by taking a backstage role in her first production with LRC, with whom she is excited to be working. She last appeared on The Bard’s Town stage in Crooked and in the past three Finnigan/Derby City Playwrights Festivals, and recently worked with Angela on Women on Fire at Bunbury Theatre as an actor and the show’s dance choreographer.
Scenic Design: CLARE HAGAN
One day, Clare decided to try theatre. Seventeen interesting months later, her credits include Writer/Director for Debate Case (staged reading), crew for The Chamber Theatre, and Scenic Designer for four Bellarmine plays. See her as Pearl in Bellarmine’s 10-Minute Play Festival March 16–21. Also, she survived Angela’s Tech Class.
Scenic Design / Stagehand: SAM STOESS
Lighting Design: ARIANA DESROSIER
Prop Master: KATY CROUCH
Prop Master: HALEY HUNT
Haley is a sophomore at Bellarmine University and is really excited to do the props work for the show. It‘s her first show outside of school and she hopes everyone enjoys it! Huge thanks to my co-props person Katy for all her help!
Sound Designer: ALEX BOWMAN
Costume Designer: CAITLIN WILSON
Master Carpenter / Scenic Design Mentor: JACK ASHBY
Master Carpenter / Scenic Design Mentor: STEPHEN PETERSON
Lighting Design Mentor: MARTIN FRENCH
Martin has worked in a variety of theatrical positions, over many years, in a number of countries. Here in Louisville, his design work includes lighting for Savage Rose, The Alley Theater, Mind‘s Eye, Wayward Players, and Bellarmine STAGE, among others. He will next be seen acting in Everyman, and directing at the Derby City Playwrights Festival.
This dark comedy by award-winning Irish playwright Martin McDonagh is his first play set in the United States. Carmichael has been searching for her missing left hand for almost half a century. Enter two bickering lovebirds with a hand to sell, and a hotel clerk with an aversion to gunfire, and we're set for a hilarious roller coaster of love, hate, desperation and hope!
"A Behanding in Spokane" turns over American daily existence, exposing the obsessions, prejudices, madness, horrors, and, above all, absurdities that crawl beneath it.
Based on oral histories of residents, industry reps, activists, scientists,
environmentalists, the media, and more from Rubbertown and the surrounding neighborhoods,
tells the stories of Louisville's "Chemical Corridor", in a multi-faceted
exploration of the complex interrelationships in this part of our community.
This play will be LFL's 10th collaboratively created piece, and we have been researching
and devising this project throughout the past year and a half. Co-Artistic Director Shannon
Woolley Allison says, “the opportunity to tell a story about our hometown is very exciting,
and it is the first time we have done so in fourteen years of creating original work.”
Prevailing Winds is LFL's contribution to the ACA YES! Fest — A Year of Environment and
Sustainability, a year-long celebration of the region's dynamic arts and cultural organizations
united, exploring these important issues. As part of our company's commitment to community
involvement and partnerships, this production is co-sponsored by Louisville Repertory Company.
LFL has received partial funding from Alternate ROOTS, Louisville Metro Council, the Arts and
Cultural Attractions (ACA) Network of GLI, and the Kentucky Foundation for Women in support of
the research, devising, and production phases of our tenth original work.
TICKETS: Contact The Kentucky Center Box Office at 502.584.7777 or
www.kentuckycenter.org Admission - $20 | $15 - Students/Seniors | *Community Night - $10 | CALL FOR GROUP RATES
(admission does not include Kentucky Center box office and processing fees)
A farce with strong adult themes. Mature Audiences ONLY.
Amanda, an anorexic poet of some pretensions, has been married for three weeks, but her husband, Ford, has been missing
for two. She calls a crisis hot line and reaches Bea, a volunteer. Bea's answer to Amanda's problems is to diminish them
by complaining about her own deceased husband's inattentiveness, her son's embarrassing nature, and also to dispense hilarious
but useless) advice. Just as Amanda nears her wit's end, Ford walks in so she simply hangs up on Bea. Meanwhile, across town,
Serge, a completely vain runway model, paces as he waits for the arrival of his latest paramour. He is intruded upon by a former
one-night stand, Otto, who worships him and who tips the scales at about three hundred pounds. Otto tortures, harangues and
cajoles Serge while swilling Yoo-hoo, eating junk food and taking phone calls from his mother until Serge can take no more.
Serge explodes but is interrupted by a phone call-his new lover will not be coming. This leaves Serge and Otto in the same state:
Both are now victims of fickle romance. the scene shifts back to Amanda's at the crack of dawn. Serge is banging on the door,
looking for his lover, surprising Amanda. It was with Serge that Ford had spent his lost two honeymoon weeks. Having followed Serge,
it isn't long until Otto shows up, with breakfast, threatening suicide. Next to arrive is Bea, furious at Amanda for hanging up on
her as Bea does not tolerate rudeness. As riotous chaos builds, we learn that Bea is Otto's mother, that Otto and Amanda are old
school friends, that Serge will settle for both Amanda and Ford and that Ford has absolutely nothing to say. Bea takes charge and
offers a solution. Although short on practicality, it is long on pleasure.
Presented by Dramatists Play Service, Inc.
Poisonously funny…the wittiest talk in town. — NY Times
One of the funniest new plays to zoom into New York in years. — NY Post
Mean, smart and hilarious—his best play yet…built to barrel down the laugh track and explode when it hits human misery. — Washington Post
Work by writers such as Nicky Silver should be given a warm welcome, and kudos to Louisville Repertory Company for bringing us The Food Chain. This is heady, provocative, and highly entertaining theatre. — Keith Waits, arts-louisville.com
Contains Brief Nudity and Sexual Content. Mature Audiences ONLY.
The fourth production of dirty sexy derby play, written by Louisville native Brian Walker.
Originally produced to sold out crowds in August 2008 at The MeX Theatre, and a remount in 2012
was produced at The Bard’s Town Theatre. The third production was by LRC at The Bard’s Town
Theatre in March 2014.
A month after the devastating tornadoes of April 3rd, 1974, four couples attend a Derby
Party to forget about their worries and indulge in their fantasies. Secrets are revealed, and
lives are changed in this hilarious and bawdy play that could make David Mamet blush.
Nominated in TWO CATEGORIES for the 2014 BroadwayWorld Louisville Awards
I laughed my ass off. For real. It’s off. — Nick O’Brien, Facebook Post
This critically acclaimed, award-winning evening of comedies combines wit, intellect,
satire and just plain fun.
Presented by Dramatists Play Service, Inc.
John Gassner Playwriting Award
[David Ives] is a playful delight in logic and language…and director James
Tompkins has coached his cast into performances as free, breezy and transparent
as a Mozart scherzo. — Marty Rosen, LEO Weekly, February 11, 2015
Like sketches for some hilarious, celestially conceived revue. The writing
is not only very funny, it has density of thought and precision of poetry ALL
IN THE TIMING is by a master of fun. David Ives spins hilarity out of words.
— NY Times
Theatre that aerobicizes the brain and tickles the heart. Ives is a mordant
comic who has put the play back in playwright A wondrous wordmaster. — Time
An original turn of mind is to be saluted in our tired theatre A playwright
with ideas, his own ideas, in his head is relatively rare. Such a one is
David Ives. — NY Magazine
Catherine (25-35 yrs.): A young woman who inherited at least some of her
father’s mathematical genius, and, she fears, his "instability" as well; she gave
up her life and schooling to take care of her father until his recent death.
Originally played by Mary-Louise Parker.
Claire (30-40 yrs.): Catherine’s older sister, a no nonsense, take charge
kind of gal. She left Robert and Catherine behind, distancing herself from the run
down family home of her youth. She escaped the edge of the University of Chicago
campus to make a new life for herself in New York City. Originally played by Johanna
Robert (55-65 yrs.): A recently deceased mathematician who did brilliant,
breakthrough work in his youth, but whose later years were plagued by delusional mental
illness; he is seen in Catherine’s imagination and in flashbacks. Originally played by
Harold ("Hal") Dobbs (25-35 yrs.): One of Robert’s last Ph.D. students during
the one year his idol and mentor’s illness went into remission, at least enabling Robert
to teach, if not continue his own creative mathematical work. Originally played by Ben
On the eve of her twenty-fifth birthday, Catherine, a troubled young woman,
has spent years caring for her brilliant but unstable father, a famous mathematician
in his fifties and professor at the University of Chicago. Now, following his death,
she must deal with her own struggle with mathematical genius and mental illness; the
arrival of her estranged sister, Claire; and the attentions of 28-year-old Hal, a
former student of her father’s who hopes to find valuable work in the 103 notebooks
that her father left behind. Over the long weekend that follows, a burgeoning romance
and the discovery of a mysterious notebook containing a paradigm-shifting proof about
prime numbers draw Catherine into the most difficult problem of all: How much of her
father’s madness — or genius — will she inherit?
Presented by Dramatists Play Service, Inc.
Tony Award Winner for Best Play
Pulitzer Prize Winner for Drama
When we think of the great American playwrights, we think of Arthur
Miller and Eugene O’Neill and Lillian Hellman, in earlier generations; Wendy
Wasserstein and Tony Kushner, Jon Robin Baitz and Donald Margulies today: They
are always writing about big ideas and wrapping them in family squabbles that
get us where we live. Welcome David Auburn to the club. PROOF is the one you
won’t want to miss this fall. — NY Magazine
" combines elements of mystery and surprise with old-fashioned
storytelling to provide a compelling evening of theatre [PROOF is a] smart and
compassionate play of ideas. — NY Daily News
PROOF surprises us with its aliveness Mr. Auburn takes pleasure in
knowledge At the same time, he is un-showily fresh and humane, and he has written
a lovely play. — NY Observer
[A] wonderfully funny ambitiously constructed work — Variety
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