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Guthrie Theater
Program
Volume 61, Issue 5
Copyright 2024
EDITORS
Johanna Buch
Christine Stevens
GRAPHIC DESIGNER
Brian Bressler
CONTRIBUTORS
Tracy Brigden
Joseph Haj
Jerey Hatcher
J’Kalein Madison
Kristen Tregar
The Guthrie program is
published by the Guthrie
Theater. To advertise in the
program, call 612.225.6193.
WELCOME
From Artistic Director Joseph Haj • 5
DIAL M FOR MURDER
Creative Team, Cast and Biographies • 6
PLAY FEATURES
In Conversation With Jerey Hatcher
and Tracy Brigden • 16
Dial M for Masterpiece • 20
SUPPORTERS
Annual Fund Contributors • 24
Corporate, Foundation and Public Support • 26
WHO WE ARE
Board of Directors and Guthrie Sta • 28
Inside
GUTHRIE SNAPSHOT
The cast of ‘Art’ took a field trip to the
Minneapolis Institute of Art during rehearsals.
PHOTO: PATRICK SABONGUI, ROBERT O. BERDAHL AND MAX WOJTANOWICZ
GUTHRIE THEATER \ 3
PHOTO: JOSEPH HAJ (T CHARLES ERICKSON)
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4 \ GUTHRIE THEATER
Dear Friends,
From Artistic Director
Joseph Haj
WELCOME
PHOTO: JOSEPH HAJ (T CHARLES ERICKSON)
Frederick Knott’s Dial M for Murder is a classic thriller and a favorite among
fans of the genre, which is beloved for its gripping narratives, intricate schemes
and edge-of-your-seat suspense. Like any good thriller, it sends us on a roller
coaster of emotions — curiosity, excitement, fear — as the story relentlessly
pursues each unraveling secret and immerses us in a world of intrigue.
We love thrillers because they deliver a rush of adrenaline without placing us
in any real danger; we participate in the solve, but from a safe distance. We
have the privilege of knowing more details than the characters, which allows
us to judge their actions and feel immense satisfaction when we figure things
out before they do. In the hands of local playwright Jerey Hatcher, this
brilliant adaptation oers new themes of identity and risk: When pushed to
the brink, which identity do you stand by? What are the consequences of not
being true to yourself?
Hatcher has been a key contributor to the artistic legacy of Minnesota and the
Guthrie, and we’re honored to feature his work once again. I’m also thrilled that
our Senior Artistic Producer Tracy Brigden is making her Guthrie directorial
debut and infusing this production with both her expertise and deep love of
the genre. She and Hatcher have been friends and collaborators for decades
(see page 16 for their joint interview), and their ostage camaraderie only
enhances the story about to unfold. Dial M for Murder is one of their favorite
thrillers, and I’m confident it will soon be one of yours.
Let the games begin,
GUTHRIE THEATER \ 5
Dial M for Murder
adapted by Jerey Hatcher
from the original by Frederick Knott
directed by Tracy Brigden
SCENIC DESIGNER
COSTUME DESIGNER
LIGHTING DESIGNER
SOUND DESIGNER/COMPOSER
VOCAL COACH
FIGHT DIRECTOR
INTIMACY BY
RESIDENT CASTING DIRECTOR
STAGE MANAGER
ASSISTANT STAGE MANAGER
ASSISTANT DIRECTOR
NYC CASTING CONSULTANT
FIGHT CAPTAIN
Walt Spangler
Valérie Thérèse Bart
Xavier Pierce
John Gromada
Keely Wolter
Aaron Preusse
Doug Scholz-Carlson
Jennifer Liestman
Karl Alphonso*
Kathryn Sam Houkom*
Vanessa Brooke Agnes
McCorkle Casting, Ltd.
Lori Vega*
CREATIVE TEAM
THE PLAY
Acknowledgments
Dial M for Murder (Hatcher) is presented by arrangement with Concord Theatricals
on behalf of Samuel French, Inc. www.concordtheatricals.com
Originally commissioned and produced at The Old Globe (Barry Edelstein, Erna Finci Viterbi
Artistic Director; Timothy J. Shields, Managing Director).
SCENIC DESIGN SPONSORED BY
6 \ GUTHRIE THEATER
Recorded Voices
Pearce Bunting* (BBC Interviewer); Jerey Hatcher (BBC Newsreader);
David Andrew Macdonald* (Tony Wendice); Lori Vega* (Maxine Hadley)
Understudies
Understudies never substitute for performers unless announced prior to the performance.
Pearce Bunting* (Lesgate/Tony Wendice)
Ann Michels* (Margot Wendice/Maxine Hadley)
John Middleton* (Inspector Hubbard)
*Member of Actors’ Equity Association
SETTING
The living room of the Wendice flat in London, 1954.
This production will be performed with one 15-minute intermission.
SPECIAL THANKS
The Guthrie gratefully recognizes the following producers:
Leading Producers
Marc & Alicia Belton, Katherine A. Harris & The Hegardt Foundation, Patricia & Peter Kitchak
Producers
Timothy A. Huebsch, Mary & Ray Mithun, Steven & Catherine R. Webster
Associate Producers
Martha Goldberg Aronson & Daniel Aronson, Abdhish & Mary Bhavsar,
Jennifer Reedstrom Bishop & Jon Bishop, Dr. Mary Anne Ebert & Paul Stembler,
Diane & Tony Hofstede, Lisa Johnson Kelly & Chris Kelly, Renee D. Montz,
Anne Paape, ReBecca & Mark Rolo, Gerald & Julie Rudowsky,
The Jan Willette Family, Tom & Nancy Willette
INSPECTOR HUBBARD
MARGOT WENDICE
LESGATE
TONY WENDICE
MAXINE HADLEY
Brian Thomas Abraham*
Gretchen Egolf*
Peter Christian Hansen*
David Andrew Macdonald*
Lori Vega*
CAST
in alphabetical order
GUTHRIE THEATER \ 7
Cast
Brian Thomas Abraham (Inspector Hubbard) GUTHRIE Debut. THEATER
Broadway: Original companies of Life of Pi and Harry Potter and the Cursed
Child; Regional (selected): The Huntington; Center Theatre Group (Mark
Taper Forum); Geen Playhouse; Berkshire Theatre Festival; Milwaukee Rep;
Laguna Playhouse; San Diego Repertory Theatre. FILM/TELEVISION “Super
Pumped,” “Brooklyn Nine-Nine,” “The Shield,” “The Young and the Restless,”
“Drake & Josh,” “Victorious,” “Good Fortune.” AUDIO Award-winning
audiobook narrator. TRAINING University of North Carolina School of the
Arts. www.brianthomasabraham.com
Gretchen Egolf (Margot Wendice) GUTHRIE A Streetcar Named Desire.
THEATER Broadway: Jackie, Ring Round the Moon (Lincoln Center Theater on
Broadway); O-Broadway (selected): Second Stage; The Flea; Vineyard
Theatre; WP Theater; London: The Autumn Garden (Jermyn Street Theatre);
International: Suddenly Last Summer (The English Theatre Frankfurt);
Regional (selected): Twelfth Night, Candida, As You Like It (Pittsburgh Public
Theater); A Picasso, Faith Healer, Private Lives (Barrington Stage Company);
The Constant Wife (Denver Center); Betrayal (The Huntington). FILM/
TELEVISION Selected: The Son, The Talented Mr. Ripley; “Hijack,” “Doctor
Who,” “The Good Wife,” “Law & Order,” “Journeyman.” TEACHING Selected:
LAMDA; RCSSD. TRAINING The Juilliard School. www.gretchenegolf.com
Peter Christian Hansen (Lesgate) GUTHRIE Murder on the Orient
Express, Freud’s Last Session, Clybourne Park, Cat on a Hot Tin Roof,
Dollhouse, Macbeth, A View From the Bridge, Jane Eyre and others. THEATER
Penumbra Theatre: benevolence, Wedding Band; Jungle Theater: Venus in
Fur; Park Square Theatre (selected): Holmes and Watson, Agatha Christie:
Rule of Thumb, Opus, Enchanted April, Romeo and Juliet; Ten Thousand
Things: Othello; Gremlin Theatre (selected): The Thin Place, Journey’s End,
Ideation, Rocket to the Moon, H20, Sea Marks, Burn This, After Miss Julie;
Dark & Stormy Productions; Mixed Blood Theatre; Torch Theater;
Playwrights’ Center. AWARDS Ivey Awards (Burn This, Clybourne Park)
David Andrew Macdonald (Tony Wendice) GUTHRIE Debut. THEATER
Broadway: Skylight, Rocky the Musical, Mamma Mia!, Coram Boy, Two
Shakespearean Actors; First National Tour: An Inspector Calls; O-Broadway:
Paradise Lost (Theatre Row); The Green Heart, A Night and Her Stars (MTC);
Regional (selected): Alley Theatre; Arena Stage; Cleveland Play House; Geva
Theatre Center; Hartford Stage; Royal Manitoba Theatre Centre; McCarter
Theatre Center; The Old Globe; Studio Theatre; Yale Rep. FILM/TELEVISION
Tommy Battles the Silver Sea Dragon, Movement and Location; “Elementary,”
“Person of Interest,” “The Blacklist,” “The Big C,” “Sex and the City,” “Law &
Order,” 10 years as Prince Edmund on “Guiding Light.” TRAINING The Juilliard
School. He is also a volunteer firefighter and EMR in the state of Minnesota.
www.davidandrewmacdonald.com
BIOGRAPHIES
8 \ GUTHRIE THEATER
Lori Vega (Maxine Hadley) GUTHRIE Debut. THEATER O-Broadway:
Downstate (Playwrights Horizons); New York: The Scream Inside (Working
Theater); One Night, P*SSY C*CK KNOW NOTHING, Pay No Attention to the
Girl (Target Margin Theater); The Bacchae (The Classical Theatre of Harlem);
Regional: The Good John Proctor (Trinity Rep); Babel, Ushuaia Blue (CATF);
Nonsense and Beauty (Repertory Theatre St. Louis); Roe (Connecticut
Repertory Theatre); Halftime With Don (NJRep); A Midsummer Night’s
Dream, As You Like It (Lake Tahoe Shakespeare Festival). AUDIO Audible: The
Method, I Think You’re Projecting. FILM/TELEVISION “Pretty Little Liars,” “And
Just Like That,” “FBI,” “Bull,” “El Deafo.” TRAINING LAMDA; B.A., Cornell
University. @thelorivega (IG), www.lorivega.net
Pearce Bunting (US Lesgate/Tony Wendice) GUTHRIE Debut. THEATER
Broadway: Mamma Mia! (Winter Garden Theatre); National Tour: Mamma
Mia!; Regional (selected): A Unique Assignment (upcoming), Diesel Heart,
Parks, The Things They Carried, All the Way, The Great Society, Radio Man
(History Theatre); Five Minutes of Heaven (Illusion Theater); Peter and the
Starcatcher (Theater Latté Da); As You Like It, Pericles (Ten Thousand
Things); Holmes and Watson (Park Square Theatre); The Seagull, The Master
Builder (Theatre Novi Most); A Doll’s House (Jo Strømgren Kompani). FILM/
TELEVISION The Public Domain, Meat, First Person Singular; “Boardwalk
Empire,” “Law & Order: SVU,” “Homicide: Life on the Street.” AWARDS
Barrymore Award (Best Performance by a Lead Actor). TRAINING Yale School
of Drama
Ann Michels (US Margot Wendice/Maxine Hadley) GUTHRIE Sunday in the
Park With George, The Cocoanuts, My Fair Lady, The Primrose Path, Roman
Holiday, A Streetcar Named Desire, A Christmas Carol, She Loves Me, The
Pirates of Penzance. THEATER Chanhassen Dinner Theatres: Holiday Inn, Mary
Poppins, Bye Bye Birdie, Easter Parade, Anything Goes; Ordway: White
Christmas, Paint Your Wagon; Children’s Theatre Company: A Wrinkle in
Time; Jungle Theater: Hedwig and the Angry Inch; Theater Latté Da: Five
Points, Parade, Sunday in the Park With George, Wings; Nautilus Music-
Theater: Man of La Mancha, The Last Five Years; Illusion Theater; Old Log
Theater; History Theatre; Theatre de la Jeune Lune; Torch Theater
John Middleton (US Inspector Hubbard) GUTHRIE Debut. THEATER
Jungle Theater; Park Square Theatre; Torch Theater; Theater Latté Da;
Gremlin Theatre; Frank Theatre; Girl Friday Productions; Sandbox Theatre;
Carlyle Brown & Company; Actors Theater of Minnesota
GUTHRIE THEATER \ 9
Creative Team
Jerey Hatcher (Adapter) GUTHRIE The Falls, The Critic, The Government
Inspector, To Fool the Eye, Ella, The Pirates of Penzance, H.M.S. Pinafore.
THEATER Broadway: Never Gonna Dance (book); Plays (selected): Three
Viewings, Compleat Female Stage Beauty, A Picasso; Adaptations (selected):
Mitch Albom’s Tuesdays With Morrie; Henry James’ The Turn of the Screw;
Frederick Knott’s Wait Until Dark; Regional/O-Broadway (selected): MTC;
Primary Stages; Red Bull Theater; The Old Globe; Yale Rep; Geen
Playhouse; Seattle Rep; Children’s Theatre Company; History Theatre. FILM/
TELEVISION Stage Beauty, Casanova, The Duchess, Mr. Holmes, The Good
Liar; “Columbo,” “The Mentalist.” AWAR DS Selected: Rosenthal New Play
Prize; Charles Frankel Prize; Barrymore Award; Charles MacArthur
Fellowship Award; McKnight Fellowship; Barrymore Award for Best New
Play; 2013 Ivey Lifetime Achievement Award
Frederick Knott (Author) was a British writer once described by The
New York Times as a “notoriously unprolific playwright.” He crafted just
three plays in his career, all of which were thrillers: Dial M for Murder (1952),
Write Me a Murder (1961) and Wait Until Dark (1966). After leaving the Royal
Artillery in 1946, he wrote Dial M for Murder over the course of 18 months. It
was rejected by several theater producers until the BBC made it a television
series in 1952. A subsequent stage production in London led to the play
being staged on Broadway by the end of that same year, running for 16
months. The Alfred Hitchcock film premiered in 1954. Knott died in New York
City in 2002.
Tracy Brigden (Director) GUTHRIE Directing debut; Senior Artistic
Producer since 2022. THEATER Artistic Director at City Theatre (16 years);
Freelance Directing (selected): Atlantic Theater Company; Hartford Stage;
Cincinnati Playhouse in the Park; Westport Country Playhouse; New York
Stage and Film; Barrington Stage Company; TheaterWorks Hartford;
Pittsburgh Public Theater; Prior to City Theatre: Artistic Associate at MTC;
Associate Artistic Director at Hartford Stage. AWARDS Finalist for the Zelda
Fichandler Award; Multiple Connecticut Critics Circle Awards, including Best
Director and Best Production; Berkshire Theatre Critics Award. TRAINING
M.F.A., Dramatic Writing, Point Park University; B.S., Theatre – Directing,
Northwestern University. www.tracybrigden.com
Walt Spangler (Scenic Designer) GUTHRIE A Christmas Carol (2010–2019),
My Fair Lady, Time Stands Still, Arms and the Man, The Importance of Being
Earnest (2013). THEATER Broadway: Between Riverside and Crazy, Escape to
Margaritaville, Tuck Everlasting, Desire Under the Elms, Scandalous, A
Christmas Story, Hollywood Arms; O-Broadway: MTC; The Public Theater;
Atlantic Theater Company; Playwrights Horizons; Classic Stage Company;
Signature Theatre; Regional: Goodman Theatre; Steppenwolf; La Jolla
Playhouse; Shakespeare Theatre Company; Yale Rep; Williamstown Theatre
Festival; Hartford Stage; Long Wharf Theatre; Goodspeed Musicals; Mark
Taper Forum; Children’s Theatre Company. OPERA MN Opera; San Francisco
Opera; Lithuanian National Opera and Ballet Theatre; ENO; Lyric Opera of
Chicago. TRAINING M.F.A., Yale School of Drama. www.waltspangler.com
10 \ GUTHRIE THEATER
Valérie Thérèse Bart (Costume Designer) GUTHRIE Into the Woods, The
Servant of Two Masters. THEATER Regional: Poor Yella Rednecks (South
Coast Repertory/MTC, world premiere); It’s Christmas, Carol! (OSF, world
premiere); A Doll’s House, Part 2 (Actors Theatre of Louisville); Vietgone
(Alley Theatre/Denver Center); The Great Leap (Denver Center/Seattle Rep,
world premiere); O-Broadway: Wives (Playwrights Horizons, world
premiere); Little Women (Primary Stages); Too Heavy for Your Pocket
(Roundabout Theatre Company, world premiere); Vanity Fair (Pearl Theatre,
world premiere). OPERA A Thousand Acres (Des Moines Metro Opera, world
premiere); Listen, Wilhelmina! (Wolf Trap Opera, world premiere). OTHER For
You, Paige (TikTok musical, world premiere); Tina Packer’s Women of Will.
www.valeriebart.com
Xavier Pierce (Lighting Designer) GUTHRIE ‘Art’, The Tempest, Blithe
Spirit, Native Gardens, Harvey. THEATER The Public Theater; Steppenwolf;
OSF; Asolo Rep; Chicago Shakespeare Theater; Ford’s Theatre; Portland
Stage; McCarter Theatre Center; Long Wharf Theatre; Repertory Theatre St.
Louis; Seattle Rep; Arena Stage; California Shakes; Cincinnati Playhouse in
the Park; Indiana Repertory Theatre; Arden Theatre Company; PlayMakers
Repertory Company; Westport Country Playhouse; George Street Playhouse;
Syracuse Stage; Two River Theater; Olney Theatre Center; Intiman Theatre;
Arizona Theatre Company; Florida Studio Theatre; Arkansas Shakespeare
Theatre; Triad Stage. OTHER Member of United Scenic Artists 829. TEACHING
Faculty, Florida A&M University. TRAINING M.F.A., Design for Stage and Film,
NYU Tisch School of the Arts; Florida A&M University
John Gromada (Sound Designer/Composer) GUTHRIE The
Carpetbagger’s Children, Love’s Fire. THEATER Broadway: 40+ productions,
including Birthday Candles, All My Sons, Torch Song, The Elephant Man, The
Trip to Bountiful, The Best Man, A Bronx Tale, Rabbit Hole, Clybourne Park,
Dividing the Estate, Seminar, Proof, Enchanted April and A Few Good Men;
O-Broadway: Drinking in America, A Sherlock Carol, The Cake, Amy and the
Orphans, Old Hats, Measure for Measure, The Orphans’ Home Cycle,
Shipwrecked!, The Skriker, Machinal; Hundreds of productions at major
regional theaters. FILM/TELEVISION A Bronx Tale, The Trip to Bountiful, The
Interrogators, Showing Roots. AWA RDS Drama Desk Awards; Lucille Lortel
Award; Obie Award; Hewes Design Awards; NEA Opera/Musical Theater
Fellowship. TRAINING Duke University
Keely Wolter (Vocal Coach) GUTHRIE ‘Art’, For the People, The
Importance of Being Earnest, Shane, Blues for an Alabama Sky, Sally & Tom,
Vietgone, Sweat, Noura, The Great Leap. THEATER Theater Latté Da: Chicago,
Hedwig and the Angry Inch, Five Points, Assassins, Man of La Mancha, Six
Degrees of Separation, Peter and the Starcatcher, Ragtime, Lullaby, Sweeney
Todd, All Is Calm; Jungle Theater: Georgiana & Kitty: Christmas at Pemberley,
Is Edward Snowden Single?, The Wickhams, Miss Bennet, Lone Star Spirits,
Le Switch, Constellations; Penumbra Theatre: benevolence, Wedding Band;
MN Opera: The Fix. TRAINING Royal Central School of Speech and Drama;
Viterbo University
GUTHRIE THEATER \ 11
Aaron Preusse (Fight Director) GUTHRIE Over 25 productions, recently
including ‘Art’, For the People, Into the Woods and Murder on the Orient
Express. THEATER Ordway: Jesus Christ Superstar, The Pirates of Penzance;
MN Opera: Carmen; Park Square Theatre: Hamlet; Commonweal Theatre
Company: The Three Musketeers; Red Bird Theatre: Buried Child; Gremlin
Theatre: Dial M for Murder; Theatre Pro Rata: The Illusion; Lyric Arts: Superior
Donuts; Exposed Brick Theatre: Muyehpen; Theatre in the Round: The Three
Musketeers; Old Log Theatre: The Play That Goes Wrong. FILM/TELEVISION
Stunt Coordinator: Bitcon, Profile of a Killer; Utility Stunts: Marmalade, Body
Language, Christmas Break-In, Thin Ice. www.fakefighting.com
Doug Scholz-Carlson (Intimacy) GUTHRIE Intimacy: A Christmas Carol;
Fight Direction: Born Yesterday, Long Day’s Journey Into Night; Actor: A
Christmas Carol, Sweeney Todd, Gross Indecency. THEATER Artistic Director:
Great River Shakespeare Festival; Director: Hamlet (upcoming), The Winter’s
Tale, Cymbeline, Macbeth, Shakespeare in Love; Actor: Henry V, The African
Company Presents Richard III. OPERA Director: La Fanciulla del West, Albert
Herring (MN Opera); Sweeney Todd (Austin Opera); Intimacy Director: Dead
Man Walking, Medea, Fire Shut Up in My Bones (Metropolitan Opera);
Romeo and Juliet (San Diego Opera); Don Giovanni, Flight (MN Opera).
TRAINING M.F.A., University of Washington; B.A., St. Olaf College
Jennifer Liestman (Resident Casting Director) GUTHRIE Artistic Team
member since 2003; More than 70 productions, workshops and readings
since 2015, including ‘Art’, For the People, The Importance of Being Earnest,
Shane, Into the Woods, Murder on the Orient Express, Hamlet, The Little
Prince, Sally & Tom, Vietgone, Sweat, A Raisin in the Sun, The Tempest,
A Christmas Carol, Dickens’ Holiday Classic, Noura, Floyd’s, West Side Story,
Familiar, Watch on the Rhine, Native Gardens and Disgraced. FILM/
TELEVISION Casting Consultant: Master Servant. TEACHING University of
Minnesota/Guthrie Theater B.F.A. Acting Program; Other universities in MN
and the U.S. TRAINING B.A., Theatre, MSU Moorhead
Karl Alphonso (Stage Manager) GUTHRIE The Importance of Being
Earnest, Murder on the Orient Express, Blues for an Alabama Sky, Sally &
Tom, Sweat. THEATER Oregon Shakespeare Festival (14 seasons, selected):
Stage Manager: Mother Road, The Book of Will, Manahatta, UniSon,
Vietgone, The Happiest Song Plays Last; Assistant Stage Manager: A
Midsummer Night’s Dream, Shakespeare in Love, Fingersmith, The Liquid
Plain, Party People, The Pirates of Penzance, American Night, The White
Snake; Iowa Summer Rep (2006–2007); QTP India (2001–2005). TRAINING
M.F.A., Theatre, The University of Iowa; M.A., University of Mumbai
12 \ GUTHRIE THEATER
Kathryn Sam Houkom (Assistant Stage Manager) GUTHRIE Vietgone,
The Tempest, The Glass Menagerie. THEATER Ordway: Beauty and the Beast,
Irving Berlin’s White Christmas, In the Heights, Annie; Ten Thousand Things:
Twelfth Night; Children’s Theatre Company (19 seasons, selected): Annie,
Last Stop on Market Street, A Year With Frog and Toad, The Snowy Day and
Other Stories, Cinderella, The Wizard of Oz, Peter Pan, Busytown, Alice in
Wonderland, The 500 Hats of Bartholomew Cubbins; Artistry: Memphis;
PRIME Productions: The Roommate; Minnesota Orchestra; MN Opera;
Lookingglass; Virginia Stage Company; Steppenwolf; The Kennedy Center;
Pearl Theatre (O-Broadway); Contemporary American Theater Festival;
Park Square Theatre; Mixed Blood Theatre
McCorkle Casting, Ltd. Pat McCorkle, C.S.A., and Rebecca Weiss, C.S.A.
(NYC Casting Consultant for 2023–2024 Season) GUTHRIE 100+ productions
since 1998. THEATER Broadway: 50+ productions, including On the Town,
Amazing Grace, End of the Rainbow and A Few Good Men; O-Broadway:
60+ productions, including Tribes, Our Town and Driving Miss Daisy;
Regional: Hundreds of regional theaters, including Barrington Stage
Company, George Street Playhouse and Connecticut Repertory Theatre.
FILM/TELEVISION Currently casting six feature films for theatrical release;
Previously, over 75 films, including three recent films for Hallmark, Premium
Rush, Ghost Town, The Thomas Crown Aair, Die Hard With a Vengeance
and Thirteenth Warrior; Select TV credits include “Twisted” (ABC), Humans
for “Sesame Street,” “Californication” (Emmy Award nomination) and
“Chappelle’s Show.” www.mccorklecasting.com
GUTHRIE THEATER \ 13
Shop in
the name
of love.
From stylish accessories to
heartwarming gifts, take home
a special something for a loved
one (or yourself) inspired by the
bold and vibrant reds of Dial M
for Murder and Valentine’s Day.
Level One / guthriestore.com
STAFF PICKS YOU’LL LOVE
Magnetic poetry for fun ways
to share sentiments
Handmade earrings in
the iconic shape of love
A cute, woven catchall for
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www.farmerskitchenandbar.com
Shop in
the name
of love.
From stylish accessories to
heartwarming gifts, take home
a special something for a loved
one (or yourself) inspired by the
bold and vibrant reds of Dial M
for Murder and Valentine’s Day.
Level One / guthriestore.com
STAFF PICKS YOU’LL LOVE
Magnetic poetry for fun ways
to share sentiments
Handmade earrings in
the iconic shape of love
A cute, woven catchall for
all your favorite things
GUTHRIE THEATER \ 15
PLAY FEATURE
In Conversation
With Jerey Hatcher
and Tracy Brigden
Nothing sends a chill down your spine like a meticulously crafted
thriller, and Dial M for Murder is inarguably one of the greats. Just ask
Adapter Jerey Hatcher and Director Tracy Brigden, who have been
tirelessly preparing to bring the sophisticated and suspenseful world
of Frederick Knott’s classic tale to the Guthrie stage. We sat down with
these two longtime friends and collaborators to learn more about the
show and how they’re working to ensure the audience doesn’t miss a
single delicious detail.
J’KALEIN MADISON: Rumor has it you two
have worked together before. Describe
your relationship leading up to Dial M
for Murder at the Guthrie.
TRACY BRIGDEN: Jerey and I have
worked together several times. I think
our first collaboration was when I was
the line producer for his play Three
Viewings at Manhattan Theatre Club in
New York City. Later, when I became
Artistic Director at City Theatre, I
thought: Who is one of my favorite
American playwrights? Jerey Hatcher,
of course. So I started programming his
plays as often as I could. I commissioned
him to write two plays for City Theatre,
and I directed and produced several of
his plays there, including Dr. Jekyll and
Mr. Hyde.
JEFFREY HATCHER: We also have
cocktails a lot. It’s a very martini kind of
relationship. [both laugh]
JM: I love that. Jerey, how does it
feel to hear Tracy call you one of her
favorite American playwrights?
JH: I find that hard to believe, but I’ll
take it. It’s always wonderful to have
a strong relationship with a director.
Whenever Tracy and I work together, it’s
very simpatico. The Guthrie is a sacred
space, and it’s a great privilege to be
here working with Tracy, especially for
her Guthrie directorial debut.
JM: Jerey, what was your creative
process like as you developed your
stage adaptation of Dial M for Murder?
By J’Kalein Madison
Communications Manager
16 \ GUTHRIE THEATER
JH: Dial M for Murder is a nearly perfect
play. I’m a big fan of Frederick Knott,
who wrote the original play and the
screenplay for the 1954 Alfred Hitchcock
film. The first rule of adaptation is: Don’t
screw it up. Whatever works, leave
that alone. It’s like a Swiss watch: You
might fiddle around with it, but you
don’t want to upend the mechanism.
My first challenge was making Dial M for
Murder current without changing the
time period. If you update things too
much, suddenly the plot doesn’t work
anymore. So I had to retain the original
setting but throw in a few twists.
JM: Tracy, you’re a big fan of the
Hitchcock film. As a director, what
were your thoughts when you first read
Jerey’s script?
TB: Jerey was so brilliant to keep
the bones of the original but give it
some new twists and turns to keep
contemporary audiences on their toes.
For instance, in the original play, Margot
has an aair with a man named Max. In
Jerey’s version, she has an aair with
a woman named Maxine, making the
extramarital aair a lesbian relationship.
In the original play, Margot’s husband,
Tony, is a tennis player. In Jerey’s
version, he’s a failed writer. This ups the
ante because now Tony has not only lost
his wife to a woman — it’s a woman who
is also a successful writer.
JM: While the lesbian relationship may
be new to this story, history tells us that
many closeted same-sex relationships
were happening in the 1950s. How are
you handling this aspect of the story?
JH: Making Margot’s lover a woman
greatly increases the stakes. In 1954
England, two women being romantically
involved was unheard of — unspoken.
These relationships went on but were
denied by society. In our costume
discussions, we learned that women
would wear a specific brooch during
this time to signal “I’m available” to
other women. It makes the secrets
more closely held and the relationship
between the lovers more fraught.
Because of this, I think the audience will
root for Margot and Maxine in ways they
wouldn’t root for a heterosexual couple.
Jerey Hatcher
Tracy Brigden
GUTHRIE THEATER \ 17
TB: It’s clear that Margot and Maxine
have true feelings for each other. You
know how hard they would have to fight
to make that secret relationship work
in those circumstances, so you’re more
invested in their love story.
JM: Let’s talk about the playmaking
process. How have you collaborated
and leaned on each other in the
rehearsal room?
TB: Jerey has the best sense of timing.
If it’s not working in the rehearsal room,
he can suggest one little thing — like
an actor needs to emphasize a word or
take a drink before they say the line —
and it instantly clicks. Plus, his wicked,
dry humor is always a joy to have
in the room.
JH: When you’ve worked with someone
for 25 years, like I have with Tracy,
you don’t need to be so polite. You
don’t have to say “That’s a good idea”
while thinking “How do I kill this idea?”
You can just say “I don’t think so” or
“Let me play with it.” There’s less of a
dance routine.
JM: Tracy, you mentioned humor
earlier. How are you striking the
balance between comedy and
suspense onstage?
TB: Dial M for Murder isn’t knee-slapping
funny, but there’s witty banter and
situational humor that comes up. The
characters are writers, so they’re smart
and eloquent, and sometimes that
makes them funny.
JH: In any play, you need release points.
In this case, it’s what we call gallows
humor — people talking about death in
ways that are perhaps overtheorized.
And then somebody ends up with a
pair of scissors in the back. The comedy
oers some relief from the suspense.
JM: Tell me about the creative elements.
How are you ensuring the onstage
world encapsulates the Dial M for
Murder mood?
TB: The Wendices live in a posh
neighborhood of London called Maida
Vale, so we wanted to ground the play
in reality while giving it high style. The
color palette is deep and sophisticated,
and the lighting reflects the mid-century,
film-noir style. There’s a bold, elegant
look to the show.
JH: Dial M for Murder was written for
a proscenium stage where everyone
is focused on the same point. Staging
it on a thrust stage is exciting, but
it’s also challenging. You don’t want
people looking at A when they should
be looking at B. Sometimes actors
have to slow their motions so they go
unnoticed. Sometimes you need pinspot
lighting. The director must act like a
filmmaker — cutting from close-up to
medium to long shots so the audience
knows exactly where to look. It’s sleight
of hand: Don’t look here. Look there.
JM: The storytelling relies heavily
on props. How do you keep all the
details straight?
TB: Many props are clues, and many
behaviors of the era involve props. For
instance, the characters are constantly
drinking cocktails. We’ve been joking
that actor David Andrew Macdonald,
who plays Tony, will have his bartender’s
license by the end of the run. It’s a lot
PHOTOS: BRIAN THOMAS ABRAHAM; GRETCHEN EGOLF AND LORI VEGA (JOSHUA CUMMINS)
18 \ GUTHRIE THEATER
to keep straight, but once all the clues
piece together at the end, it’s magic.
JH: It’s tricky because you have to play
fair with the audience. If you say, “We
know he did this because he ate a hot
dog earlier,” you want the audience to
think, “Did we see him eat a hot dog?”
You must present opportunities for the
audience to see things and then later
suggest that if they were clever, they
would have recognized them as clues.
Thrillers are always wrestling with the
audience in terms of expectations. They
can’t get too far ahead of you. You
want the audience to figure things out
90 seconds ahead of the characters —
not 90 minutes.
JM: My last question is probably
unfair, but I have to ask: What is your
favorite thriller?
TB: Before we answer this, I think it’s
important to distinguish thrillers from
mysteries. In a mystery, we follow the
detective sleuthing the crime and discover
the clues along with them until the classic
whodunit ending. In a thriller, we know
right away who committed the crime,
and we watch them do it. The question
becomes: Will they get away with it?
JH: My favorite stage thriller is the
original Dial M for Murder. My favorite
movie thriller is Hitchcock’s North by
Northwest. And Laura is a gorgeous
murder-mystery film from the 1940s.
TB: My mother was a voracious fan of
mysteries and thrillers, and I grew up
with all those great stories. The first
mystery I read was Nancy Drew’s The
Hidden Staircase, so that will always
have a place in my heart. But Dial M for
Murder is up there for me.
JH: I also have to mention The Silence of
the Lambs. I remember how my heart
was beating during the scene where
Clarice Starling is looking for Jame
Gumb in the basement. That’s the real
test of a thriller: Your body responds
at a visceral level. You give your heart
and your blood over to the story — with
blood being the key word.
PHOTOS: BRIAN THOMAS ABRAHAM; GRETCHEN EGOLF AND LORI VEGA (JOSHUA CUMMINS)
IN REHEARSAL
GUTHRIE THEATER \ 19
PLAY FEATURE
Dial M for Masterpiece:
The Ingredients of an
Exceptional Thriller
Both on the stage and on the screen, Frederick Knott’s masterpiece Dial
M for Murder is widely acknowledged as one of the finest thrillers ever
written. The play premiered at the Westminster Theatre in London in
June 1952 and subsequently went on to an enormously successful run in
New York City. The play was so popular that Warner Bros. purchased the
film rights, allowing Alfred Hitchcock, the “Master of Suspense,” to bring
Knott’s tale of murder and betrayal to the screen in 1954.
But what made Dial M for Murder so
well received? Knott only wrote a
handful of plays, so his reputation alone
was insucient to drive its reception.
Instead, Knott’s crafting of Dial M for
Murder deftly incorporated the two
most important elements of any thriller:
suspense and that skin-crawling feeling
spectators experience when something
that is usually safe and familiar becomes
the exact opposite, sometimes referred
to as “the uncanny.”
Thrillers themselves may feel relatively
modern, but in fact, the genre is quite
ancient. Some of the great epic poems
of antiquity, like Homer’s “The Odyssey,”
share characteristics with and use plot
devices similar to present-day thrillers.
Perhaps the most notable among these
is suspense, which has been part of
great storytelling long enough that even
Aristotle described its value in Poetics.
According to Hitchcock, suspense
requires an audience who knows as
much information as possible. The
central question of a thriller is “how”:
How will the killer be caught? How will
an innocent person accused of a crime
be vindicated? This marks the thriller as
distinct from mysteries, which focus on
the identity of the crime’s perpetrator.
In a thriller, the audience typically
knows early on who the criminal is,
and they can see and anticipate the
action unfolding.
Audience knowledge marks a distinction
between an event that is suspenseful
and one that is surprising. In his
interviews with filmmaker François
Truaut, Hitchcock explains the
dierence between these two often-
confused emotional states with a simple
story involving a bomb. If an audience
observes a conversation between
By Kristen Tregar
PHOTO: COURTESY OF ART OF THE TITLE
20 \ GUTHRIE THEATER
two people and suddenly a bomb the
audience was unaware of explodes,
that is surprising. But if the audience
sees the conversation, sees the bomb
and can anticipate when the bomb
is likely to explode, that knowledge
inspires suspense. The audience is led
to a heightened emotional state of
anticipation. They hope that somehow
the explosion will be stopped or the
characters will make it to safety in time,
and they desire to find a way to warn
the characters of the impending danger
in which they find themselves.
In Dial M for Murder, the audience is
positioned as an uninvited voyeur in the
dialogue between two characters who
plot a murder. As a result, the entire
plan is made visible from the outset;
the audience is aware of the characters’
treachery in advance and they have no
choice but to sit in anticipation of the
events that will unfold. And yet, there
are still surprises in store! Things don’t
go quite as expected, which results in a
shift in plans, and the question of how
the truth will come to light remains open
until the very last moments of the play.
But suspense (or the occasional
surprise) alone is not enough to create
a truly great thriller. What many of
the most memorable thrillers have in
common is that they make ordinary lives
and places seem strange and suddenly
dangerous: They include elements
of what Sigmund Freud called “the
uncanny.” The term refers to a feeling
that most people have experienced
but is challenging to fully describe or
name. It’s the eerie sensation one has
when presented with an object, space or
situation that is familiar but unfamiliar at
the same time. The most classic example
is the feeling you get when looking at
PHOTO: COURTESY OF ART OF THE TITLE
Alfred Hitchcock with
the prop phone from the
Dial M for Murder film
GUTHRIE THEATER \ 21
This feature originally appeared in the July – August 2022 issue of The Old Globe’s Performances
Magazine. It has been reprinted with permission and edited for style.
an extremely realistic wax figure (or
in more modern times, an incredibly
lifelike robot). It might seem almost
alive at first, but when viewed for more
than a moment, it becomes clear that
something is not quite right.
In Dial M for Murder, the uncanny
presents itself slightly dierently. Rather
than an object or form creating a sense
of disconnection, it is the space itself —
the home — that creates a disturbance
for the viewer. The setting of the play
is the Wendice apartment. Typically we
think of homes as places of safety and
respite from the pressures of the world,
but as the play unfolds, it becomes
clear their London flat is anything but a
safe home. And while the murder plot
at the center of the story is ultimately
unearthed within the space of that same
apartment, the security of the home is
never fully restored.
Hitchcock’s film adaptation of Dial M
for Murder developed the feeling of the
uncanny even further by shooting it in
3D technology to bring the spectator
right into the action. In the early 1950s,
audiences were still being introduced
to 3D techniques, and the experience
was quite a departure from sitting
comfortably in a theater seat and
watching the action unfold simply on the
screen. Instead, 3D provoked a sense of
mistrust in the viewer’s perception: They
knew they were in the cinema and yet
found themselves simultaneously within
the space of the film. That sensation
added to the overall feeling of insecurity
developed by the film’s narrative itself. It
remains the only movie Hitchcock ever
filmed in 3D.
While Knott authored only a few plays,
he quickly demonstrated his mastery
of the use of both suspense and the
uncanny to provide a thriller that
continues to inspire audiences over 50
years later. By allowing the audience
access to everything they need to
know to see the danger arising, he
manages the spectator’s anticipation
and their hope that all will work out
in the end.
Kristen Tregar received her Ph.D. from the joint program in Theatre at UC San Diego and UC
Irvine. Previously, she earned an M.S. in Forensic Science from John Jay College of Criminal
Justice in New York City and spent a year as an intern with the Westchester County
Department of Public Safety, assisting the Identification Unit with crime scene processing,
fingerprint analysis and ballistics.
While Knott authored
only a few plays, he
quickly demonstrated
his mastery of the use
of both suspense and
the uncanny to provide
a thriller that continues
to inspire audiences
over 50 years later.
22 \ GUTHRIE THEATER
Your gift opens doors.
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Visit www.guthrietheater.org/donate to
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“ Thank you from the bottom of my heart for the
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– Gateway participant
PHOTO: STEPHEN CONRAD MOORE AND KIMBERLY MARABLE IN BLUES FOR AN ALABAMA SKY (DAN NORMAN)
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GUTHRIE THEATER \ 23
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Annual Fund Contributors
We gratefully acknowledge the generosity of our donors whose annual support
enables the Guthrie to remain a vibrant center for theater performance, education
and training in our community. To join this group in ensuring the Guthrie continues to
thrive, contact the Development Team at 612.225.6200 or give@guthrietheater.org.
24 \ GUTHRIE THEATER
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GUTHRIE THEATER \ 25
Corporate, Foundation
and Public Support
Vital support from our corporate, foundation and government partners allows
community members of all ages and abilities to access internationally renowned
theater and celebrated artists. Grants from state and federal agencies and local
and national foundations provide crucial operating support as well as key funding
for new and ongoing programs. To learn more, contact the Development Team
at 612.225.6166. For information about sponsorship opportunities and corporate
benefits, contact us at corporatecircle@guthrietheater.org.
SUPPORTERS
This activity is made possible by the voters
of Minnesota through a Minnesota State
Arts Board Operating Support grant,
thanks to a legislative appropriation from
the arts and cultural heritage fund.
$250,000 and above
$100,000 – $249,999
David & Janis Larson Foundation
26 \ GUTHRIE THEATER
Fred C. & Katherine B. Andersen Foundation; Harold & Mimi Steinberg Charitable Trust; WEM Foundation
$50,000 – $99,999
$25,000 – $49,999
$15,000 – $24,999
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Talcott Resolution; Tennant Foundation; The Thomas & Julianne Youngren Foundation
$5,000 – $14,999
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$2,500 – $4,999
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Hugh J. Andersen Foundation; The Edward R. Bazinet Foundation
Laurents/Hatcher
Foundation
GUTHRIE THEATER \ 27
WHO WE ARE
Board of
Directors
Chair
Jennifer Reedstrom Bishop
Past Chair
John Junek
Director
Joseph Haj
Treasurer
David Dines
Secretary
Susan W. Allen
Directors
Martha Goldberg Aronson
Y. Marc Belton
Abdhish Bhavsar
Peter Brew
Amy Fiterman
Darrel German
Todd Hartman
Diane Hofstede
Timothy A. Huebsch
David Hurrell
Hans Kabat
Christine Kucera Kalla
Jay Kiedrowski
John A. Knapp
David M. Lilly, Jr.
Kristen Ludgate
W. Thomas McEnery
Munir Meghjee
Jennifer Melin Miller
Renee Montz
David Moore, Jr.
Lynn Myhran
Wendy Nelson
Todd Noteboom
Anne Paape
Ann Rainhart
ReBecca Koenig Rolo
Robert A. Rosenbaum
Jerry Rudowsky
Kenneth F. Spence
Kweli P. Thompson
Meredith Boone Tutterow
Steven C. Webster
Todd Zaun
Lifetime Directors
Martha Atwater
Karen Bachman
David C. Cox
William George
Pierson M. Grieve
Polly Grose
Stephen W. Sanger
Douglas M. Steenland
Irving Weiser
Margaret Wurtele
Charles A. Zelle
Guthrie
Sta
ARTISTIC
Artistic Director
Joseph Haj*
Executive Assistant
to the Director
Alise Hansen
Senior Artistic Producer
Tracy Brigden*
Associate Producer
Addie Gorlin-Han
Director of Education and
Professional Training
Maija García
Education Program Manager
Alli St. John
Professional Training
Program Manager
Jeremy Jones
Education and Professional
Training Coordinator
Berto Borroto
Artistic Associate/
Resident Casting Director
Jennifer Liestman
Resident Dramaturg
Carla Steen
Director of Community
Engagement
Amanda White
Community Engagement
Associate
Blossom Johnson
Artistic Administrative
Assistant
Cody Kour
DEVELOPMENT
Director of Development
Krista Mathews*
Campaign Director
Jennifer Baumgartner
Director of Institutional
Partnerships
Emily Essert
Director of Individual Giving
Sarah Stout Miller
Development
Communications and
Grants Manager
Emily Rojer Hurley
Individual Giving Manager
Kristina Sorum
Development Engagement
Manager
Sara Wabrowetz
Annual Giving Ocer
Tsiang Belgrove
Campaign Coordinator
Laura LeVoir
Development Events
Associate
Sophie Bassat
Lead Kitchak Lounge Host
Madeline Skjervold
Kitchak Lounge Hosts
Richard Giovinazzo
Jack Kloppenborg
MANAGEMENT
Managing Director
Trisha Kirk*
Assistant to the
Managing Director
Jacob Hopson
General Manager
Diana A. Brown*
Event and Facility
Sales Manager
Olivia Smith
Company Manager
Carolyne Hall
Assistant Company Manager
Kaleigh Chelberg Knights
COVID Safety Manager
Jodi M. Metz, PA-C
Director of Finance
Janet E. Balej*
Accounting Manager
Rose Block
Accounting Specialist
Kristin Ostebee
Accounts Payable Specialist
Andrew Buckholtz
Accounts Receivable
Associate
Bill Bertram
Director of Facilities
Bryce Wasiloski
Building Engineer Manager
Brian Oberholtzer
Building Engineer
Michael Flaherty
Facilities Assistant
Austin Anderson
Environmental Services
Manager
Jerry Angulo
Housekeeping Supervisors
Micah Nelson
Eva Nereson
Housekeepers
John Deboer
Thaddeus Jameson
María Luna
Public Safety Manager
Anthony Pangal
Lead Public Safety
Specialist
Joy Showalter
Public Safety Specialist and
Facilities Administrative
Assistant
Francis Sieg
Public Safety Specialists
Nayblut Kasuh
Jack Nelson
Jules Pivec
Brandon Rodriguez
Amner Sosa
Trevor Swedeen
Eric Wilbur
Velora Wilson
Director of Information
Technology
Bill Schneider
Database Administrator
Chris Jensen
Information Technology
Generalist
Amy Van Patten
Director of
Human Resources
Autumn Amadou-Blegen*
Senior Human Resources
Generalist
Judi Orland
Human Resources
Generalists
Eve Her
Ava Skrade
Interim Director of Marketing
and Communications
Elizabeth Deacon
Communications Manager
J’Kalein Madison
Marketing Associate
Allie McCurnin
Digital Marketing Manager
Joshua Cummins
Videographer
Matt Melander
Digital Marketing Associate
Ebbie Benson
Writer and Creative Services
Manager
Johanna Buch
Senior Graphic Designer
Brian Bressler
Graphic Designer
Sierra Ross
Writer and Editor
Christine Stevens
Director of Guest Services
Hunter Gullickson
Guest Services Manager
Caitlin Childe-Archuleta
Guest Services Generalist
Hunter Goldsmith
Lead Guest Services
Specialists
Myles Kobe Bowen
Kevin Drew
Guest Services Specialists
Donna Cerkvenik
Katie Chizek
Z Dillard
Sydney Fors
Alia Gaildon
Cathy Hanson
Julian Ibrahim
Brittany Jacobs
Landon Kuhlmann
Em Rode
Guest Services and
Retail Associates
Michael Gonzalez-Cameron
Delta Keating
Lauren LaFond
Eileen Merrigan
Louisa Schirmacher
28 \ GUTHRIE THEATER
Esau Sponslier
Alex Stevenson
Diego Symouksavanh
Director of Retail and
Merchandising
Kay McGuire
Accessibility Coordinator
Robyn DeCourcy
Lead Stage Door Attendant
Anna Tift
Director of
Audience Services
PattiJo Verdeja
Audience Services
Supervisors
Abigail Schmidt
Dawn Tessmer
Audience Services
Coordinator
Naomi Brecht
Season Ticket and
Group Sales Manager
Kemi Ojelade
Box Oce Manager
Jess Martin
Assistant Box Oce
Manager
Jon-Paul Schaut
Box Oce Supervisors
Dyane Ocampo-Avila
Cassandra Velcko
Box Oce Specialists
Davis Brinker
Cici Cancellieri
Jonatan Chipoco
Benjamin Ellis
Matthew Everett
Noah Hamilton
Marian Hughes
Katie Johnson
Kyle Kepulis
Ben Kockelman
Madison Lind
Jordan Muschler
Karen Prince
DeZhane Rouse
Steven Schroer
Abraham Swee
Brian Thurn
Becky Welander
House Manager
Lindsay Higgins
Associate House Manager
Victor Garcia Benitez
Lead Ushers
Sharon Hanson
Jason Litzinger
Savannah Whisenhunt
Ushers
Elliot Allen
Audra Arnaudon
Patricia Arnold
Adam Bjoraker
Malia Breezee
Fi Brogan
Jon Bushee
Jaina Carroll
Emma Collins
Pat Collins
Renee Craig-Ethen
Mary Kay Crawford-Lorfink
Jace Cruz
Michael Donnelly
Alfredo Pástor Espín
Jessie Fanshaw
Patty Graham
Rosanne Gronseth
Karl Gustafson
Jennifer Hadtrath
Kate Hedlund
Abby Heil
Baylie Heims
Ella Hendrickson
Ann Hite
Zoe Hollander
Alyssa Isaacson
Addison Jacobson-Schulte
Kirk Jensen
Mick Johnson
Maycee Klein
Paula Klimek-Partch
Aaron Kogle
Alex Kouhi
Jack Lavandowska
Brady Linderman
Raymond Lee
Tim Lenz
Patrick Mach
Eli Martinez
Deborah Moore
Stephanie Moran
Nolan Murphy
Anna Myers
Jonathan O’Neill
Faith Peterson
Sharon Peterson
Sara Preus
Isaac Risseeuw
Yuki Rogers
Claire Ronayne
James Rubendall
Danielle Shorty
Foster Smith
Pamela Sorenson
Krista Steichen
Emma Tonn
Lisa Torrez
James Velek
Tina Weitzel
Joani Werner
Tristan Wilkes
Thomas Wille
Damon Ziebarth
PRODUCTION
Director of Production
Joel Krause*
Production Manager
Sarah Gullickson
Assistant Production
Manager
Sara L’Heureux
Production Stage Manager
Karl Alphonso
Events Production Manager
MJ Leer
Technical Director
Jonathan JollyStone
Associate Technical Director
Jon Woelfer
Assistant Technical Director
Liz Jovanovic
Scene Shop Coordinator
Jesse Delaney
Scene Shop Shopper/Buyer
Matthew A. Gilbertson
Production Carpenter
Christopher Sibilia
Production Automation
Technician
John Stillwell
Lead Carpenter
Dalen O’Connell
Carpenters
Will Bankhead
Bridget Gustafson
Jared Shofstall
Head of Scenic Art
Heidi Larson
Scenic Arts Coordinator
Kathleen Carlson
Lead Scenic Artist
Lydia Francis
Costume Director
Amy Schmidt
Costume Workroom Manager
T. Tyler Stumpf
Costume Design Assistant
Jacourtney Mountain-Bluhm
Drapers/Tailors
Juliann Benson
dj gramann ii
Annie Rupprecht
Dana Shepard
First Hands
Denee Anderson
Clare Brauch
Jeanie Jordan
Mary Linda
Stitcher
Teresa Davich
Costume Craftsperson
Vanessa J. Lopez
Head of Wardrobe
Lauren E. Noyes
Wardrobe Assistants
Deborah Murphy
Meghan Otenbaker
Head of Wigs, Hair and Makeup
Jessica Rau
Wig and Wardrobe Technicians
Madison Blotz
Molly Fox
Jenny Gants-Moen
Zamora Simmons-Stiles
Production Wig, Hair and
Makeup Artist
Bee Tremmel
Head of Lighting and
Projection
Tom Mays
Associate Head of Lighting
and Projection
Alice Trent
Production Electrician
Andrew Sullivan
Lead Electrician
Megan Winter
Lead Light Board Operator
Angelina Vyushkova
Light Board Operator
Mary Shabatura
Head of Props
Karin Rabe Vance
Prop Shop Coordinator
Dan Fritsche
Production Props Artisan
Je Harris
Props Shopper/Buyer
Rebecca Jo Malmström
Props Artisan
Erin Brandt
Head of Sound
Reid Rejsa
Production Sound Engineers
Paul Estby
Grace Heatherington-Tilka
Lead Sound Board Operator
Brandon Smith
Sound Board Operator
Matthew Koch
Head of Stage Operations
Sam Diekman
Production Stagehands
Matt Dawson
Craig Rognholt
Stagehands
Peter Artley
Vivian Santana
Props Liaison
Jessica Kelley
PRODUCTION
OVERHIRES
Carpenters
Lillian Crawford
Michael Hall
Jonathan Haller
Scenic Artists
Annie Henly
Sara Herman
Erika Soukup
Costume Design Assistant
Abby Vaughan
Wardrobe Technician
Hannah Fiedler
Wig Assistants
Juli Acton
Valencia Montgomery Johnson
Electricians
Paul Epton
Jack Hinz
Andy Kedl
Jon Kirchhofer
Karin Olson
Props Artisan
Joseph Cruz
AS OF JANUARY 11, 2024
* Member of the Senior
Management Team
GUTHRIE THEATER \ 29
ACKNOWLEDGMENTS
Many volunteers give their time and talents in support of
the Guthrie’s activities. If you’d like to support the Guthrie
by becoming a volunteer, apply at guthrietheater.org or
email volunteers@guthrietheater.org.
The Guthrie is a member of the League of Resident Theatres.
The Guthrie is a member of the American Arts Alliance
and Minnesota Citizens for the Arts, government advocacy
groups at the federal and state levels, respectively.
The actors and stage managers employed
in this production are members of
Actors’ Equity Association, the Union of
Professional Actors and Stage Managers
in the U.S.
Directors and choreographers are
members of the Stage Directors and
Choreographers Society, a national
theatrical labor union.
The scenic, costume, lighting, sound and
projection designers in LORT theaters
are represented by United Scenic Artists,
Local USA 829 of the International Alliance
of Theatrical Stage Employees.
Guthrie scenic artists are also represented
by United Scenic Artists, Local USA 829.
Guthrie costume and wardrobe
employees, stagehands and craftspersons
are represented by IATSE Local 13.
All scenery, props and costumes are designed specifically for
Guthrie productions and built in the theater’s shops.
OUR MISSION
The Guthrie Theater engages exceptional theater artists
in the exploration of both classic and contemporary plays
connecting the community we serve to one another
and to the world. Through its extraordinary artists, sta
and facility, the Guthrie is committed to the people of
Minnesota and, from its place rooted deeply in the Twin
Cities, influences the field as a leading 21st-century
arts organization.
OUR VISION
The Guthrie creates transformative theater experiences
that ignite the imagination, stir the heart, open the mind
and build community through the illumination of our
common humanity.
OUR CORE VALUES
Artistic Excellence
Community
Diversity, Equity, Inclusion and Accessibility
Fiscal Responsibility
PHOTO: DREW CARLSON
All artists, programs, dates and prices subject to change.
MINNESOTAORCHESTRA.ORG
|
612-371-5656
|
#MINNORCH
TROUPE VERTIGO:
CIRQUE FAIRYTALES
WITH THE MINNESOTA ORCHESTRA
SAT MAR 2 7PM Sarah Hicks, conductor
SUN MAR 3 2PM
Save 25% on kids’ tickets for matinee show
Stunning acrobatics and vivid music combine in a visual and musical
extravaganza featuring the Minnesota Orchestra and Troupe Vertigo. The
Los Angeles-based circus-dance-theater group dazzles audiences across
the country with powerful choreography. Featuring music from Prokofiev’s
Cinderella and Tchaikovsky’s Sleeping Beauty. You and your whole family
will be entertained by this mind-blowing, magical event!
Reserve tickets now for the best seats!
30 \ GUTHRIE THEATER
PHOTO: DREW CARLSON
All artists, programs, dates and prices subject to change.
MINNESOTAORCHESTRA.ORG
|
612-371-5656
|
#MINNORCH
TROUPE VERTIGO:
CIRQUE FAIRYTALES
WITH THE MINNESOTA ORCHESTRA
SAT MAR 2 7PM Sarah Hicks, conductor
SUN MAR 3 2PM
Save 25% on kids’ tickets for matinee show
Stunning acrobatics and vivid music combine in a visual and musical
extravaganza featuring the Minnesota Orchestra and Troupe Vertigo. The
Los Angeles-based circus-dance-theater group dazzles audiences across
the country with powerful choreography. Featuring music from Prokofiev’s
Cinderella and Tchaikovsky’s Sleeping Beauty. You and your whole family
will be entertained by this mind-blowing, magical event!
Reserve tickets now for the best seats!
by WILLIAM SHAKESPEARE
directed by JOSEPH HAJ
RICHARD II
HENRY IV
HENRY V
March 23 – May 25
Heavy is the
head that wears
the crown.
Principal
support
from
Experience Shakespeare’s
History Plays performed in
rotating repertory at the
Guthrie for the first time in
30+ years. Featuring a single
company of actors, this epic
event will immerse audiences
in England’s tumultuous
monarchy like never before.
THREE THINGS TO KNOW
• Due to the large cast, multiple
sets and extensive costumes,
Shakespeare’s History Plays are
rarely produced at this scale in the
American theater.
• The Guthrie produced the History
Plays during our 1990–1991 Season
when Artistic Director Joseph Haj
was in the acting company. We
have not performed in rotating
repertory since 1998.
• Seeing all three plays is encouraged,
but each story stands on its own if
you prefer to see one or two plays.
A three-part theatrical event
612.377.2224 / guthrietheater.org
Sponsored
by