REDWOOD

Written by Brittany K. Allen
Directed by H. Adam Harris

LETTER FROM THE DIRECTOR

I am so happy to finally share Redwood with you! This play, by Brittany K. Allen, examines many topics but at the heart is this particular truth: skin doesn't forget.

With the creation of sites like Ancestry.com and 23andMe we can now look at a little chart of our DNA. That chart will tell us the percentages of our individual race and ethnic background. Those percentages trace our origins, but they give us no stories. They give us numbers, but no names. Redwood imagines what those missing stories might be and how they might intersect with our contemporary lives. It asks a character to go digging, to unpack with more clarity, their legacy in this country. That unpacking, as always, leads to complicated conversations between family members, strangers, and lovers. In this play, we witness a confluence of identities and hear a variety of stories, but the message that moves me most is that skin doesn’t forget. The body remembers. Genetic research shows that trauma can be passed on through generations. We are beginning to process that scientific truth on the personal level, but what does it mean at the national level? How has this country’s shared trauma of race politics, blood laws, and centuries of prejudice shaped us? And, if given a choice, would our ancestors have endured such pain on our behalf?

All these questions are explored with humor and heart. Redwood is a play about love and family. The play makes us laugh, even if it’s because, as our collective black grandmother would say, we “laugh to keep from crying." That shared laughter opens our minds and our hearts. As laughter fills the room, so does love. That love reaches out and binds us-- similar to the roots of the Redwoods. Those great branching behemoths are some of the oldest trees in the world. Their roots don’t go deep, but they laterally extend over 100 feet, interconnecting with the roots of the trees around them. This mass network of roots allows the trees to stabilize and nourish one another. If we could extend our love in that same way beyond our disparate communities, imagine what our love could do for one another. I hope this production encourages you to acknowledge our historic ache. To investigate your own missing stories. To drive back the shadows with communal laughter and an open heart. Know that we cannot escape our histories and our traumas, they are present with us. But through laughter, hard conversations, and a little ancestral magic, this play reminds us that love, radical love, will see us through.

H. ADAM HARRIS
REDWOOD DIRECTOR

CAST

Meg CHINA BRICKEY*
Drew KEVIN FANSHAW
Beverly THOMASINA PETRUS*
Uncle Stevie BRUCE A. YOUNG* | T. MYCHAEL RAMBO*
Instructor DWIGHT XAVEIR LESLIE*
Harriet/Hattie MORGEN CHANG
Allie/Alameda DANA LEE THOMPSON
Tatum MAX WOJTANOWICZ*

CREATIVE & CREW

Scenic Design SARAH BAHR
Costume Design TREVOR BOWEN •
Lighting Design KARIN OLSON
Sound Design DAN DUKICH
Stage Manager/Properties JOHN NOVAK*
Assistant Director CHRISTIAN BARDIN
Choreographer AUSTENE VAN
Dramaturg from 2020 Production MORGAN HOLMES
Production Manager MATTHEW EARLEY
Technical Director MATTHEW ERKEL
Production Assistant/Crew CHARLIE HOLM
Head Electrician RAY STEVENSON
Head of Wardrobe AMBER BROWN
Scenic Charge Artist JENI RADDATZ TOLIFSON
Board Operator/Programmer MICAYLA THEBAULT-SPIEKER
Stichers ERIN CONNOR, AMBER BROWN
COVID Compliance Officer BARRY INMAN
Carpenters JULIA REISINGER, KAT HUNTER
Electricians MICAYLA THEBAULT-SPIEKER, ANDY KEDL

SPECIAL THANKS

The Jungle would like to thank these people who were key in the development of the 2020 production of Redwood: Emma Gustafson, Sheena Janson Kelley, C. Michael Menge, Molly O'Gara, Veronica Stark, Tony Stoeri

The world premiere of “Redwood” was produced by Portland Center Stage at the Armory, Portland, Oregon 2019

Marissa Wolf, Artistic Director Cynthia Fuhrman, Managing Director

Redwood was developed, in part, at the Lark Play Development Center, Kansas City Repertory Theatre, Manhattan Theatre Club and Ensemble Studio Theatre

* These actors and stage managers are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

• Member of USA; United Scenic Artists. United Scenic Artists, Local USA 829, IATSE, is a labor union and professional association of Designers, Artists, Craftspeople, and Department Coordinators, organized to protect craft standards, working conditions and wages for the entertainment and decorative arts industries.

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.

ABOUT THE ARTISTS

CHINA BRICKEY

Meg | She/Her
China Brickey is so grateful to be returning to Jungle Theater and to this show that is so near and dear to her heart. Selected Twin Cities theatre credits include: Guthrie Theater: A Christmas Carol; Theater Mu: Today is my Birthday; Park Square Theater: Pride and Prejudice, Romeo and Juliet; The Ordway: Smokey Joe's Cafe, Mamma Mia; Children's Theatre Company: Matilda, The Wiz, Snowy Day, Diary Of a Wimpy Kid; Penumbra Theater: Girl Shakes Loose. China is a graduate of Millikin University's Acting BFA program with a minor in Music. Upcoming: Weathering at Penumbra Theater. ChinaBrickey.com; IG: China.Brickey

Kevin Fanshaw

Drew | He/Him
Kevin is a Twin Cities-based actor and aspiring director. He has performed at Penumbra Theatre, Park Square Theatre, Gremlin Theatre, Theatre Coup d’Etat, and many more. Kevin received an Ivey Award in 2016 for his performance in Equus, and was named Best Emerging Actor of 2016 by City Pages. He has a degree in performance from the University of Wisconsin - La Crosse.

Thomasina Petrus

Beverly | She/Her
Previously starring in Lady Day at Emerson’s Bar and Grill in 2018, Thomasina Petrus is excited to return to the Jungle’s stage. In addition to her work at the Jungle, Petrus has portrayed lead characters on Penumbra, Park Square, Mixed Blood, Illusion, Guthrie, Capri and Old Arizona Theatre stages. A true “hometown girl”, she has cultivated her talents as an actor and jazz vocalist through mentorships and friendships of some of the Twin Cities most beloved artists, performing with/for James “Cornbread” Harris, Sr., Jevetta Steele, Stokley, Regina Williams, Prince, T. Mychael Rambo, Lou Bellamy, Lewis Whitlock, and Marion McClinton... and of course her famous "Thomasina's Cashew Brittle"

(available in the lobby, or visit thomasinascashewbrittle.com) .

Bruce a. Young

Uncle Stevie | He/Him
Bruce A. Young is thrilled to be back at the Jungle, teaming up with old friends and colleagues for this long awaited production. He will next appear in the MIXED BLOOD production of Most Beautiful Home—Maybe by Mark Valdez and ashley sparks, to be performed in Los Angeles, Syracuse and Phoenix later this spring. He has performed regionally in such productions as; Othello, Elliot’s Song, The Crucible, and Sweat. Broadway credits include MacBeth, Elliot Loves and Rose Rage. Film and television; The Sentinel, Enough, Grey’s Anatomy, Risky Business, Cold Case, An Innocent Man, Phenomenon, and The Unit.

T. Mychael Rambo

Uncle Stevie | He/Him
Regional Emmy Award winning actor, vocalist, arts educator and community organizer; T. Mychael Rambo has made an indelible mark in the Twin Cities performing principal roles at: Penumbra, the Guthrie, Ordway Theatre, Illusion Theatre, Mixed Blood, New Dawn Theatre, Park Square Theatre, 10,000 Things, Theater Latte Da, Children’s Theatre and Minnesota Opera. Nationally and internationally his stage credits include Carnegie Hall and performances abroad in Africa, Europe and South America. He has appeared in local and national television commercials, feature films, HBO mini-series, and other television programming. T. Mychael is an accomplished residency artist and an 18-year affiliate professor at the University of Minnesota.

Dwight Xaveir Leslie

Instructor | He/Him
Children’s Theatre Company: Cinderella; Matilda the Musical; Dr. Seuss’s How the Grinch Stole Christmas!; Last Stop on Market Street; The Wiz; Corduroy. Ordway: Smokey Joe’s Café and Mamma Mia!. Enlightened Theatrics: Hair. New Theatre in the Square: Next to Normal. Matt Davenport Productions: World of Wonder. McLeod Summer Playhouse: Joseph and … Dreamcoat; Rock of Ages. Gainesville Theatre Alliance: Godspell; Mary Poppins; Beauty and the Beast; Once on This Island. He is excited to making his jungle debut with the cast of REDWOOD, and grateful to be sharing theatre with everyone here.

MORGEN CHANG

Harriet/Hattie | She/Her
Morgen Chang is a Honolulu-born, Twin Cities-based theatre and dance artist. Since 2010 she has worked with local companies such as the Ordway Center, 20% Theatre Company, COLLIDE Theatrical, and Off-Leash Area, and has performed internationally with Folded Paper Dance and Theatre. She enjoys exploring new work, and has been a frequent collaborator with Umbrella Collective, Interact Center for the Arts, and Folktopia. Morgen also serves as Programs Manager for Theater Mu, where she delights in encouraging young artists and developing community-based creative experiences. This is her Jungle Theater debut.

Dana Lee Thompson

Allie/Alameda | She/Her
Dana Lee Thompson, originally from Kansas City, MO, earned her BFA in Theatre Performance at Missouri State University in 2005. She relocated to St. Paul in 2009. This will be Dana’s first production with Jungle Theatre “again”. Other local theatre credits include: History Theatre, Mixed Blood, Artistry, Nimbus Theatre, Lyric Arts Main Stage, Frank Theatre, Little Lifeboats, Underdog Theatre, Wonderlust Productions, Girl Friday, 20% Theatre, Gadfly Theatre, CLIMB Theatre and more.

Max Wojtanowicz

Tatum | He/Him
Max is very glad to be back at the Jungle with this beautiful play! He was last on stage here in You Can't Take It With You. A native of Rice, Minnesota, and a graduate of St. Olaf College, Max has been seen at the Guthrie, Children's Theatre, Ten Thousand Things, Latté Da, History Theatre, Park Square, Old Log, Ordway, Nautilus, and more. He also works as a playwright, educator, and producer. Thank you for supporting live theatre! maxwojtanowicz.com

Brittany K. Allen

Playwright | She/Her
A Brooklyn-based writer and actor, is humbled to share this story with the luminous team at the Jungle. Redwood (Kilroys List 2017 & 2020) received its world premiere at Portland Center Stage in 2019, and will premiere off-Broadway at Ensemble Studio Theatre later this fall. Britt's developed new work in New York with Manhattan Theatre Club, The Public Theater, Ensemble Studio Theatre, Clubbed Thumb, and Ars Nova, and regionally with Kansas City Repertory Theatre. She's a member of the Obie-award winning EST/Youngblood, an alumna of the Emerging Writers Group at The Public, and was a 2017 Van Lier fellow at the Lark Play Development Center. She was the 2021 recipient of both the Daryl Roth Creative Spirit Award, and the Dramatists Guild Foundation's Georgia Engel Prize for Comedic Playwriting. Her playwriting has been supported by residencies at MacDowell and SPACE on Ryder Farm, and she holds commissions from Playwrights Horizons, Manhattan Theatre Club, Studio Theatre, and Portland Center Stage. BFA, NYU-Tisch. This play is for the family, biological and chosen.

H. Adam Harris

Director | He/Him
H. Adam Harris is an actor, director, teaching artist, and cultural equity consultant. He works at the intersection of theatre, education, social justice, and community engagement. He’s a frequent performer with the Children’s Theatre Company: Dr. Seuss’ The Lorax, The Snowy Day, The Jungle Book. He has worked with the Guthrie Theater, Seattle Children’s Theater, New Conservatory Theater Center, Pillsbury House Theatre, Minnesota Orchestra, and the St. Paul Chamber Orchestra. H. Adam is the Artistic/Audience Engagement Associate at South Coast Repertory; Board Chair at Ten Thousand Things; and a freelance equity, diversity, and inclusion consultant for various organizations

Sarah Bahr

Scenic Design | She/Her
Sarah Bahr is a Twin Cities based Costume and Scenic Designer working in theater, dance, and opera. Jungle design credits include Stinkers, Small Mouth Sounds, The Wolves, The Wickhams, Hand to God, Miss Bennet (2019, 2017), Ishmael, Lone Star Spirits and Anna in the Tropics. Other credits include: Thunder Knocking on the Door, The Sins of Sor Juana (Ten Thousand Things); The Hollow (Trademark Theater); To Let Go and Fall (Theater Latté Da); Roe (Mixed Blood Theatre); Albert Herring (Minnesota Opera). Sarah serves as Adjunct Design Faculty at Augsburg University and University of Minnesota. She holds a Design and Technical Theatre MFA from the University of Minnesota. sarahbahr.com

Trevor Bowen

Costume Design | He/Him
Credits include Lady Day at Emerson Bar and Grill, Fly by Night, Bars and Measures (Jungle Theater); Trevor has designed productions at Steppenwolf Theatre, Pillsbury House Theater, The Kennedy Center, Minnesota Opera, Asolo Rep, Sheen Center, Boston Lyric Opera, Contemporary American Theatre Festival, Children’s Theatre Company, Seattle Children’s Theatre, 5th Ave, Ordway Center, Glimmerglass Opera Festival. Trevor Bowen is a 2021-22 McKnight Theater Artist Fellow at the Playwrights' Center. trevorbowendesign.com

Karin Olson

Lighting Design | She/Her
Karin Olson has been lighting performance for over 20 years, collaborating with design teams at the Guthrie, Penumbra Theatre, Mixed Blood, Park Square Theatre, Frank Theatre, Theater Mu, and with dance companies Stuart Pimsler Dance & Theater, Threads Dance Project, Alternative Motion Project, Collide Theatricals and TU Dance. This will be her 5th Jungle design having previously designed Small Mouth Sounds, School Girls, The Wolves, and The Oldest Boy. She has also designed regionally for Oregon Shakespeare Festival, Syracuse Stage and Trinity Rep. Recent design include Spamtown, USA at the Children's Theatre Company and Taiko Arts Midwest's HERbeat at the Ordway. karinolsonlighting.com

Dan Dukich

Sound Design | He/Him
Dan is very happy to be working with the Jungle for the first time. He has worked on stages all across North America and Europe as a composer, musician and sound designer. Dan has also worked locally with companies such as Open Eye Figure Theatre, Frank Theatre, Park Square Theatre, and more. He holds a BA in Theatre Arts from the University of Minnesota.

JOHN NOVAK

Stage Manager/ Properties | He/Him
After graduating with honors from St. Olaf College in 1989, John began a nomadic career as a technician and opera stage manager, crisscrossing the nation until he found a home at the Jungle Theater in 1997. Since then, he has collaborated on more than 100 Jungle productions as stage manager and/or properties manager. His other home is in the Central neighborhood of Midtown Minneapolis, which he shares with his spouse, the multi-talented creator and performer Bradley Greenwald.

AUSTENE VAN

Choreographer
Austene Van is an actor, director, and choreographer. Past work includes: A Raisin in the Sun, Steel Magnolias, Familiar, Disgraced, Trouble in Mind (Guthrie Theater); Into the Woods, Intimate Apparel (Ten Thousand Things); Wedding Band, Detroit '67, The Owl Answers (Penumbra Theatre); Skeleton Crew, The Royale (Yellow Tree Theatre); Annie (Ordway); Rule of Thumb, Gee’s Bend, Lady Day (Park Square); McKnight Theater Artist Fellowship Award 2014. Producing Artistic Director of Yellow Tree Theatre & New Dawn Theatre Company.

CHRISTIAN BARDIN

Assistant Director | She/Her & They/Them
Christian is an interdisciplinary artist and teacher originally from Houston, Texas. She recently composed and directed the short opera YR GOD MY GOD under Minnesota Opera’s MNiatures commission and is currently part of Red Eye Theater’s Works-In-Progress incubator. They co-directed The Nature Crown (Theatre Forever/Guthrie Theater), and have assisted for Ten Thousand Things, Theater Mu, and others. Performance credits include work at the Jungle (Miss Bennet: Christmas at Pemberley, Lone Star Spirits), Minnesota Opera, Guthrie Theater, and Sandbox Theatre, among others. Christian is releasing Shorts - an album of original music - later this year. ig: c_bard for updates

Morgan Holmes

Dramaturg | She/Her
Mo Holmes is an all-around Twin Cities theatermaker. She is the 19-20 Playwrights' Center Many Voices Mentee. This is her Jungle debut. Dramaturgy credits include FLOYD'S (Guthrie Theater), DIESEL HEART (History Theatre), and MARIE AND ROSETTA (Park Square Theatre).

Charlie Holm

Production Assistant/Crew | He/Him
Charlie is a production assistant based mainly out of Minneapolis, returning for their fifth year at the Jungle Theater. Graduate of MCTC, they spend their time outside of the theater scene as a seamstress for fashion and cosplay, and as a regular panelist at Convergence, speaking on the intersections of pop culture, philosophy, and social justice.

Jeni “Jen-I (eye)” Raddatz Tolifson

Charge Scenic Artist | She/Her
Jeni has been painting scenery for the Jungle since 2018: Little Women (back wall and floor), Full Sets: The Wickhams, The Children, The Wolves, School Girls, Small Mouth Sounds, Stinkers, Ride the Cyclone, Miss Bennet, and A Doll’s
House, Part 2. She has also collaborated with Theater Latté Da (Hedwig and the Angry Inch, Bernarda Alba, A Little Night Music), Park Square Theatre (Hedwig and the Angry Inch, Pride and Prejudice), Artistry (The Bridges of Madison County, Victor Victoria), Mixed Blood, Yellowtree, Lyric, and other
various stages in the Twin Cities. She obtained her training working as a scenic artist for the Denver Center Theater Company working on shows for the DCPA for over a decade. Jeni is also a professional freelance muralist, sign painter, and logo designer. An animal loving, aspiring Master Gardener, novice punk musician, and upcycled jewelry maker, she moved back to her home of MN in 2018 (after 20 years in Denver, CO) with her amazing husband, hilarious stepson, and nutty bischon.

FROM THE PLAYWRIGHT

A letter from Brittany K. Allen

Though the characters and conceit in Redwood are fabricated, I like to say that a couple slivers of autobiography inspired the play. For starters: several years ago, one of my maternal aunts began to chart my family’s genealogy, and I quickly became fascinated by both my aunt’s commitment to this work, and the way assorted family members (self included) were and were not able to receive her research. The idea for Stevie’s quest was born of the tension between two questions—1) what is it to want to situate yourself on the earth through this ancestor-seeking exercise? and 2) what feelings can that work churn up—particularly for Black Americans?

Second sliver: when I began writing Redwood, I was in an interracial relationship (my first adult one, for what it's worth) and often found myself having conversations that forced me to be articulate as both the considerate partner, and the Black woman who’s ever-aware of the racial power dynamics in every room she enters. Around the time of Mike Brown’s murder, my then-partner and I had this dreadful fight that I’ve since realized was about a much larger feeling I had, though I could not put words to this at the time. In hindsight, I needed him to understand why I was grieving a stranger's death so personally—but this was, in some ways, an impossible ask. So instead I picked a fight about the dishes, and the day became a bellwether. Like Mom in the play, I obfuscated.

After that frustrating conversation, I got obsessed with mapping a more general dynamic, which I’ve since perceived in a thousand conversations I’ve had with white loved ones. I noticed that I’d made a habit of getting tongue-tied and livid in certain conversations which seemed to be skating over something unspeakable. I took a lazy survey of Black and POC friends, and realized I wasn’t alone—in fact, lots of folks had experienced the kind of intimate fight wherein we reckoned briefly with the paradox that many historically disenfranchised bodies walk around with in America: I (in this case, Black lady) mistrust you (in this case, white man) for something vast and ancient that is not your fault, yet you walk with it. Yet I love you! Yet, you walk with it…

Now I present all this personal dredge not in the interest of throwing shade at exes, but to underline what feels really important to me about this story. I believe that this work many of us are doing now, on both national and intimate stages—you may call it “de-colonizing” or “genealogical spelunking”, whatever your verb—sometimes, we forget that it is personal. It is one thing to “know” your politics and your history, the horrors this nation was built on, in the abstract. It is one thing to “know” who you’ll probably fall in love with, or how you’ll probably speak your truth in a vulnerable moment. But we humans are so contradiction-contingent, so clumsy. I wanted to write a play that honors both the heft of every maddening conversation that permits both race and respect in the room, and the undeniable murk of those moments.

To do all this, I thought to write about a family who already has a system in place (humor) that helps them metabolize the historical irony of their situation. But just as happened in my own family, when all the grime and specifics of history are thrust into my characters’ faces, that coping mechanism fails, and muddle ensues. The couple in the play know everything one could ostensibly get from a Zinn book about America, but they have not personalized the stories; that’s what puts them at risk. Mom and Steve have failed to articulate their anxieties, and this failure becomes a growing wound that gnaws at them. As I drafted, I realized I was fixating on how all of us—but particularly Black folks—find ways to talk over that original America paradox: this land is blood-soaked and haunted, yet some of us have survived to love it. I love you. Yet you walk with it. Yet I love you...

Since our first preview of this production, we've undergone a global pandemic, and a mass movement to end Black death by police violence that began in the streets of this beautiful city. I know I don't need to tell the Jungle audience, then, how painful and dire is this business of reckoning. How we must name the pain before we can even begin to imagine the better future. I wrote this play, and then named it after the oldest, biggest, most resilient tree in this country, in an attempt to depict that ladder of fury, frustration, sorrow, and love that some of us climb on the way to growing up or getting out.

EXPLORING FURTHER INTO REDWOOD’S ROOTS

SYMBOLISM OF THE REDWOOD

"...a major goal of the play is to acknowledge the hugeness of any family’s tree and show how we are all of us in America tangled up in one another. And at the play’s end — spoiler alert — I enlisted the chorus as Meg and Drew’s intertwined ancestors because I wanted to show in a brief burst how diverse these stories are once you really go digging.

Everyone in America, I'll assert, was affected by slavery. And I wanted to show a gamut of those uniquely affected lives, from Hattie to Tatum to Napoleon to the matriarch Alameda."

-EXCERPTED FROM "OUR TANGLED ROOTS: AN INTERVIEW WITH REDWOOD PLAYWRIGHT AND PERFORMER BRITTANY K. ALLEN" PORTLAND CENTER STAGE AT THE ARMORY REDWOOD PROGRAM

ABOUT THE JUNGLE THEATER

The Jungle Theater creates courageous, resonant theater that challenges, entertains, and sparks expansive conversation. As a neighborhood theater with national impact, the Jungle focuses on telling stories that matter, with deep care and attention to detail. The Jungle is deeply rooted in its Lyn Lake neighborhood in Minneapolis and plays a vital role in the economic and cultural development of the area. The Jungle was founded in 1991 by Bain Boehlke and counts among its credits a dozen Ivey Awards and numerous top production awards from critics.

Photo by Dan Norman, (FEATURING GABRIELLE DOMINIQUE, JORDAN M. LEGGETT, BECCA HART, JOSH ZWICK, SHINAH BRASHEARS; RIDE THE CYCLONE 2019)

OUR MISSION

The Jungle Theater creates courageous, resonant theater that challenges, entertains, and sparks expansive conversation.

OUR VISION

To be a neighborhood theater with national impact, indispensable to our community and aspirational to the field.

OUR VALUES

STORIES MATTER

Because we believe in the power of live theater to interrogate and celebrate our shared experience, we create work that helps our audience make meaning of the world and deepen connections with each other.

ARTISTRY IS A HABIT OF ATTENTION

Because we believe that exquisitely crafted theater makes us feel more alive and calls to our highest potential, we pursue beauty in our work by practicing care and attention to detail in all that we do.

A PLAY ISN’T COMPLETE WITHOUT AN AUDIENCE

Because we see our audience as our final collaborators, and because we believe meaningful encounters demand intimacy, we strive to make the Jungle a place where all are welcome and everyone is home.

A GREAT THEATER CARES FOR ITS PEOPLE

Because the work we make and share depends on human time, labor, and love, we are committed to being good to one another. This means we challenge one another creatively, value each other’s time and talent, and collaborate in a spirit of good will and abundance.

JUNGLE THEATER STAFF

Artistic Director | CHRISTINA BALDWIN
Managing Director | ROBIN GILLETTE
Artist and Audience Services Manager | BARRY INMAN
Advancement & Artistic Associate | ALISON RUTH
Marketing Manager | CARLY CAPUTA
Finance Manager | FIONA ROBINSON
Production & Facilities Manager | MATTHEW EARLEY
Season Stage Manager | JOHN NOVAK
Artistic Cohort | SEQUOIA HAUCK, JUCOBY JOHNSON, JAMES RODRÍGUEZ, ANGELA TIMBERMAN
Development Consultant | DON SOMMERS
Front of House | Heather Baldwin, Rossi-Anne Jaffe, Anika Barland, Zach Staads, Kendra Buro, Nick Haug

JUNGLE THEATER BOARD OF DIRECTORS

Board Chair | BEN SCOTT
Board Vice Chair | JULIANE RAY
Treasurer | BARBARA KLAAS
Secretary | DAVID DOBMEYER

THANK YOU TO OUR GENEROUS DONORS

The Jungle extends our gratitude to the many supporters who help bridge the gap between annual operating costs and ticket sales. Thank you for making another season of engaging, provocative theater possible.

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