Primary Trust

By Eboni Booth

Directed by Malkia Stampley

contents
features

1 A Note from Susan V. Booth

3 A Peek into the Pulitzer Prize

6 Primary Trust

11 Artist Profiles

24 About Goodman Theatre

27 Accessible & Enhanced Performances

Welcome
It’s a funny thing, loneliness.
It’s easy to think of it in numerical terms. “One is the loneliest
number,” we were told. And so, we associate being lonely with
being alone. Singular. And yet, there’s a growing awareness that
we—the collective and more than one "we"—are lonelier than
we have ever been. And that we’re lonely together.
Everyone’s got a theory about the provenance of this: we live in
virtual community online and so have little time left for personal
connection; the pandemic eroded our social skills and shifted
our attention to internal rumination rather than external
collaboration. However it happened, it’s happened. We’re
lonely, just now. And confirming my belief that the best artists
are folks with antennas tuned more acutely to the human
condition than most, Eboni Booth wrote Primary Trust—and it
just chimed like a bell with everyone who encountered it.
This play is a kind of Rorschach; each person who sees it
projects their own particular vulnerabilities onto it. And the
uncanny thing is that it makes you feel better, no matter who
you are and where you’re coming from, when you meet it. A
little less lonely.
A question I ask of every play is what it might cause an
audience member to do? And while I’m pretty sure that more
than a few of you are going to leave here wanting a mai tai (just
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wait), my hope and belief is that even more of you are going to
leave here having turned to a stranger and smiled. Connected.
I cannot imagine a better outcome.

Susan V. Booth
Artistic Director

A Peek into the Pulitzer Prize

by Neena Arndt

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On May 6, 2024, Columbia University announced the winners
of 23 Pulitzer Prizes, each in a different category. Among them
was Eboni Booth, earning the Pulitzer Prize for Drama for
Primary Trust. In winning this prize, she joins a long list of
storied playwrights who have won the award since its inception
in 1918.
The Pulitzer (pronounced PULL-it-zer) Prizes are named after
Hungarian-American newspaper publisher and politician Joseph
Pulitzer, who willed $250,000 to Columbia University to
establish both the prizes and the Columbia School of Journalism.
Although the first prizes were awarded in 1917, no drama prize
was awarded that year. In 1918, however, Jesse Lynch Williams
won for his play Why Marry?, a comic examination of the mores
of marriage. Just three years later, Zona Gale became the first
woman to win the prize, but it wasn’t until the 21st century that
Suzan-Lori Parks became the first Black woman to win: her play
Topdog/Underdog was honored in 2002. Seven years later, in
2009, Lynn Nottage won for Ruined, which had been developed
as part of the Goodman’s New Stages festival in 2007 and had
its world premiere in the Goodman’s Owen Theatre in 2008.
Since then, Katori Hall and Jackie Sibblies Drury became the
third and fourth Black women to win the prize, while Nottage
notched a second win for Sweat. With her 2024 win, Booth
becomes the fifth Black woman and the 20th woman to be
awarded the Pulitzer Prize for Drama. Booth began her career as
an actor working both in theaters around New York and on
television, appearing in The Good Fight and The Americans,
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among others. In recent years she has expanded her career to
include playwriting, quickly racking up fellowships, workshops
and productions of her plays. Upon winning the Pulitzer, she
now sits in the exalted company of writers like Eugene O’Neill
(Long Day's Journey into Night) and Tennessee Williams (The
Glass Menagerie), as well as living legends such as Paula Vogel
(How I Learned to Drive), Annie Baker (The Flick) and Lin-
Manuel Miranda (Hamilton).
The prize honors “a distinguished play by an American author,
preferably original in its source and dealing with American life.”
Each year, the Pulitzer Prize Board assembles a jury for each
category, selecting experts in that field. Those juries then select
a winner in their respective categories. Plays must have had their
world premieres in the previous calendar year, and must be
written by authors who are citizens or permanent residents of the
United States, or who have made the United States their
longtime primary home. Prize winners are awarded $15,000 and
a place in the history books.
Primary Trust, which depicts a New York man undergoing
unprecedented changes in his life, is undoubtedly a
“distinguished play by an American author.” Prior to the May
announcement, the Goodman had already programmed the play
as part of its 2024/2025 Season; no one knew that the play
would receive this award. Although most excellent plays never
win a Pulitzer, and therefore a play’s Pulitzer status can’t be
used to judge it, the prize remains a prominent accolade, and the

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Goodman is thrilled to produce this extraordinary work that has
been so recently honored.

Neena Arndt is the Literary Manager and Dramaturg for

Goodman Theatre.

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Goodman Theatre
presents
PRIMARY TRUST
By
Eboni Booth

Directed by
Malkia Stampley

Set Design by
Lex Liang

Costume Design by
Yvonne Miranda

Lighting Design by
Heather Gilbert

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Sound Designer and Co-Composer
Brandon Reed

Co-Composer
Mike Przygoda

Dramaturgy by
Lena Romano

Casting by
Lauren Port, CSA

Production Stage Manager

Patrick Fries*

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CAST
Corrina/ Wally's Waiters/
Bank Customers.....................................Christiana Clark*
Bert...........................................Charles Andrew Gardner*
Onstage Musician.......................................Mike Przygoda
Kenneth...............................................Namir Smallwood*
Sam/Clay/
Le Pousselet Bartender.......................Fred Zimmerman*

UNDERSTUDIES
Kenneth — Daniel Ajak
Corrina/Wally's Waiters/
Bank Customers — Victoria Angelica Cruz
Onstage Musician — Sam Hyson
Sam/Clay/
Le Pousselet Bartender — Christopher Meister
Bert — Keith Surney

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Understudies never substitute for a listed player unless an
announcement is made.

SETTING: Cranberry, New York, a medium-sized suburb of

Rochester. A time before smart phones.

Associate Director — Ericka Ratcliff

Associate Set Designer— Jackie Fox
Line Producer — Kat Zukaitis
Voice and Text Coach — Eva Breneman
Movement Coach — Raquel Torre
Assistant Lighting Designer — Trey Brazeal
Assistant Sound Designer — Daniel Etti-Williams
Production Assistant — Jojo Wallenberg
Stage Management Intern — Nihan Baysal

PRIMARY TRUST is presented by arrangement with Concord

Theatricals on behalf of Samuel French, Inc.
www.concordtheatricals.com The video and/or audio recording
of this performance by any means whatsoever are strictly
prohibited. Goodman productions are made possible in part by
the Illinois Arts Council, a state agency and the Chicago
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Department of Cultural Affairs and Special Events. Goodman
Theatre is a constituent of the Theatre Communications Group,
Inc., the national service organization of nonprofit theaters; the
League of Resident Theatres; the Illinois Arts Alliance and the
American Arts Alliance; the League of Chicago Theatres; and
the Illinois Theatre Association. Goodman Theatre operates
under agreements between the League of Resident Theatres and
Actors‘ Equity Association, the union of professional actors and
stage managers in the United States; the Society of Stage
Directors and Choreographers, Inc., an independent national
labor union; the United Scenic Artists of America, Local 829,
AFL-CIO and the Chicago Federation of Musicians, Local No.
10-208, American Federation of Musicians. House crew and
scene shop employees are represented by the International
Alliance of Theatrical Stage Employees, Local No. 2. *Denotes
member of Actors‘ Equity Association, the union of professional
actors and stage managers in the United States.

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Profiles
DANIEL AJAK, he/him (US Kenneth) makes his Goodman
Theatre debut! Credits: Much Ado About Nothing, Hamlet
(Great River Shakespeare Festival); A Christmas Carol
(Guthrie); Romeo & Juliet, The Book of Will (Texas
Shakespeare Festival); Our Town, Hair (Asolo Rep); and
Chicago Fire (NBC). BFA in Performance (North Dakota State
University). MFA in Acting (FSU/ Asolo Conservatory).
@getajaked23

CHRISTIANA CLARK*, she/her (Corrina/Wally’s

Waiters/Bank Customers) Goodman Theatre: the ripple the
wave that carried me home, The Notebooks of Leonardo
Davinci, The Winter’s Tale and The Trinity River Plays.
Broadway: Doubt (Roundabout). Off-Broadway: Flex (Lincoln
Center); blood work (National Black Theatre); and Pure
Confidence (59E59). Regional: Oregon Shakespeare Festival,
Chicago Shakes, Guthrie, Penumbra, Pillsbury House, Berkeley
Rep, Dallas Theatre Center and Shakespeare Theatre DC.
Film/TV: Candyman, Law & Order: Organized Crime, FBI:
Most Wanted and Chicago Fire. Represented by Gray Talent
Group.

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VICTORIA ANGELINA CRUZ, she/her (US Corrina/US
Wally's Waiters/ US Bank Customers) makes her debut at the
Goodman! Chicago credits: Taming of the Shrew (Olde School
Shakes); Rage, A Christmas Carol (Dallas Theatre Center); He’s
Born, He’s Borne (Undermain Theatre); Safe at Home (Kitchen
Dog Theatre); Sublime (Stage West Theatre); Hamlet, The
Tempest (Shakespeare Dallas); Two Kids in the Universe
(Teatro Dallas); Twisters; Lawmen:Bass Reeves (Paramount +);
and The Short Game. @vcruzact

CHARLES ANDREW GARDNER*, he/him (Bert) returns to

the Goodman where he previously appeared in Objects in the
Mirror, Stop. Reset. and Buzzer. Charles is a Company Member
with Timeline Theatre Company where he appeared in
Boulevard of Bold Dreams, Kill Move Paradise, Paradise Blue
and My Kind of Town. Other Chicago credits: Steppenwolf,
Lookingglass and 16th Street. TV credits: Mayor of Kingstown
(Paramount+), Somebody Somewhere (HBO), The Chi
(Showtime), Chicago Med and Chicago PD (NBC). Film credits:
Heist 88 (Paramount+), Olympia (Amazon) and Long Ride
Home. Charles is the SAGAFTRA Chicago Local President, a
DePaul University professor and the owner/ CEO of The Actor’s
Cup LLC and Stay Creative Clothing.
@CharlesAndrewGardner.

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SAM HYSON (US Onstage Musician) is a Chicago-based
musician with a passion for international music. He performs on
violin, accordion and other instruments playing Bengali folk
music, Arabic music, Mariachi and more. He co-founded
Chicago Folklore Ensemble, with whom he created two albums
of music and a book of immigrant stories. Previous theater
experience includes A Christmas Carol (Goodman Theatre),
Indecent (DePaul & Roosevelt Universities) and Unveiled
(WaterTower Theatre, Dallas, TX). samhyson.com

CHRISTOPHER MEISTER, he/him (US Sam/US Clay/US Le

Pousselet Bartender) Goodman Theatre: Mother Road (New
Stages 2015); stop. reset. (US). Chicago: The Normal Heart
(Redtwist Theatre); Botticelli in the Fire (First Floor Theatre);
Death of a Salesman (Hypocrites); Brief Study of an Endless
Thing (Gift Theatre); Trust (Lookingglass) Yellowface (Silk
Road); Under Construction (Jackalope). Regional: Stop Kiss
(Nebraska Rep); The Hollow (Acadia Rep); Desire (Dirigo
group). TV: Shining Girls, Chicago Fire/P.D./Med, The Big
Leap, Empire. Film: The Dilemma, The Life of David Gale.
Repped by Grossman & Jack Talent @meisteralready

MIKE PRZYGODA, he/ him (Co-Composer/Onstage

Musician) is a composer, music director and multi-
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instrumentalist from Chicago. Previous credits include Another
Word for Beauty, Sarita, The Matchmaker, Father Comes Home
From The Wars Parts 1, 2, & 3, We're Only Alive For A Short
Amount Of Time, Rust, Joe Turner's Come And Gone
(Goodman Theatre); A Home What Howls (Steppenwolf); and
Water Riot (New York Live Arts/National Black Theatre). He
has a Jeff Award for Artistic Specialization in Percussion for
Moby Dick (Building Stage).

NAMIR SMALLWOOD* (Kenneth) is pleased to return to

Goodman Theatre after appearing in the New Stages pro -
duction of Revolution(s) by Zayd Ayers Dohrn. He joined the
Steppenwolf Theatre Company ensemble in 2017. Chicago
credits include Victory Gardens, Northlight Theatre, The Gift
Theatre and Writers' Theatre. Regional credits include work
with Marin Theatre Company, Pillsbury House Theatre, Ten
Thousand Things and Guthrie Theater. New York credits
include Pipeline and Pass Over at Lincoln Center and the
Broadway production of Pass Over. Film and Television credits
include Rounding, Chicago Fire (NBC), Elementary (CBS),
Power Book IV: Force (Starz) and American Rust (Amazon
Prime).

KEITH SURNEY, he/him (US Bert) is excited to be a part of a

Goodman Theatre production. Keith is a Veteran, a Columbia

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College graduate and an ensemble member at Trap Door
Theater. Credits include Native Son (LifeLine); The Pragmatist,
Princess Ivonna and Medea Material (Trap Door Theatre).

FRED ZIMMERMAN*, he/him (Sam/Clay/Le Pousselet

Bartender) Chicago credits: The Rose Tattoo (Goodman
Theatre); Bounce (Goodman Theatre and The Kennedy Center);
Dealing, 84 Charring Cross Road, The Gamester, Into the
Breeches (Northlight); The American Clock (Court); The Merry
Widow, My Fair Lady (Chicago Lyric Opera); Billy Elliot, Guys
& Dolls (Drury Lane Oakbrook Theater); How to Succeed …
(Porchlight); Miracle on 34th St. (CCPA) and 18 productions at
The Chicago Marriott Theater. National Tours: Show Boat,
Ragtime and Christmas Spectacular Starring the Radio City
Rockettes (CONY). Regional credits: 42nd Street (MUNY).
Film & Television: Chicago Fire, Chicago PD, Fred Claus and
Doubt (ABC).

EBONI BOOTH (Playwright) is a writer and actor from New

York City. Her plays include Primary Trust (Roundabout
Theatre, Pulitzer Prize for Drama, Outer Critics Circle Award)
and Paris (Atlantic Theater). For television, she has written for
Hulu’s We Were the Lucky Ones and HBO Max’s Julia. As an
actor, Eboni has appeared in productions at Playwrights
Horizons, LCT3, Manhattan Theater Club, Ars Nova, WP

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Theater, Page 73, Soho Rep., Clubbed Thumb, and more. Eboni
is a resident playwright at New Dramatists, and the recipient of a
Dramatists Guild Horton Foote Award, a Steinberg Playwright
Award, a Helen Merrill Award for Playwriting, and a John
Gassner Award. She is a graduate of Juilliard’s playwriting
program and the University of Vermont.

MALKIA STAMPLEY, she/her (Director) is a Milwaukee

native and the Goodman’s BOLD Artistic Producer. Directing
credits: Nunsense and Nina Simone: Four Women (Milwaukee
Rep, KC Rep); The October Storm (Raven, Jeff-nominated Best
Director); Boulevard of Bold Dreams (TimeLine); STEW
(Shattered Globe, Milwaukee Chamber); Black Nativity (Black
Arts MKE); The Gift of the Magi (American Players); Five
Guys Named Moe (Skylight Music); Lady Day at Emerson’s
Bar and Grille (Farmers Alley); Exit Strategy (Northwestern).
She is an Ensemble Member of Congo Square.

LEX LIANG (Scenic Designer) is a scenic and costume

designer for theater and live events based in NYC. NYC/Off-
Broadway: 50+ productions; Regional: Actors Theatre of
Louisville; Alliance Theatre; Asolo Repertory Theatre;
Cleveland Play House; Cincinnati Playhouse in the Park; Dallas
Theater Center; Denver Center; Geva Theatre Center; The
Guthrie; La Jolla Playhouse; Long Wharf Theatre; Maltz Jupiter

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Theatre; Paper Mill Playhouse; Pasadena Playhouse; Portland
Center Stage; Syracuse Stage; Woolly Mammoth. Other:
Founder and owner of LDC Design Associates, an experiential
event design and production company in New York City. Recent
projects/clients include Absolut Vodka, Johnson & Johnson,
Invesco, The Kardashians, Tony Awards Gala, NY Fashion
Week, NYC Wine & Food Festival, William Hill Winery.
www.lexliang.com. @MrLexLiang

YVONNE MIRANDA (Costume Designer) is excited to make

her debut at Goodman Theatre. She is a United States Marine
Corps war veteran who holds degrees in Fashion and Stage
Design. Miranda was nominated for the 2022 Helen Hayes
Award for Best Costume Design for her work on Woolly
Mammoth Theatre and Baltimore Center Stage’s co-production
of Ain’t No Mo and has been named American Theatre’s Role
Call People to Watch. www.yvonnemirandadesigns.com

HEATHER GILBERT (Lighting Designer) Goodman Theatre:

King of the Yees, Carlyle, Pedro Paramo, New Stages.
Broadway: Parade (Tony, Drama Desk Nomination), The Sound
Inside (Drama Desk, Outer Critics Circle Award; Tony
Nomination), Cult of Love (Second Stage). Off Broadway: Dead
Outlaw (Drama Desk Nomination). Chicago: Steppenwolf,
Writers Theatre, Northlight, Victory Gardens, Court Theatre,

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Steep Theatre, among others. Regional: The Muny, Center
Theatre Group, Studio Theatre, Actors Theatre of Louisville,
Alley Theatre, American Repertory Theater, Magic Theatre,
Williamstown Theatre Festival, Oregon Shakespeare Festival,
Pasadena Playhouse, Berkeley Repertory Theatre and Olney
Theatre Center. She is the Head of Lighting Design at Columbia
College Chicago and received her MFA at The Theatre School
at DePaul University.

BRANDON REED (Sound Designer/Co-Composer) is thrilled

to return to Goodman Theatre, having been an associate sound
designer for The Matchbox Magic Flute, LUCHA TEOTL,
Antonio’s Song and Good Night, Oscar. Chicago: Northwestern,
First Folio, Windy City Playhouse, Congo Square, Teatro Vista
and more. Regional: Barter Theatre, American Players Theatre,
Lookingglass, PlayMakers Repertory Company, Constellation
Stage & Screen, Cape Fear Regional Theatre and more. He was
the 2019 USITT Robert Cohen Sound Achievement Winner and
a USA 829 designer. He currently is the Assistant Professor of
Sound Design at Ball State University. MFA: University of
Illinois at Urbana-Champaign. BS: Ball State
University. www. brandonreedsounddesign.com

ERICKA RATCLIFF* (Associate Director) was last with the

Goodman performing in The Penelopiad. She serves as Artistic

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Director of Congo Square Theatre Company and is an ensemble
member with Lookingglass and Congo Square Theatre. Some of
her directing credits include Chlorine Sky (Steppenwolf); White
(Definition Theater); Welcome to Matteson and What to Send
Up When It Goes Down (Congo Square Theatre). Ericka has
also acted with Alliance, Mixed Blood, Centerstage, Northlight,
Chicago Shakespeare and Second City, among others.

LENA ROMANO, she/her (Dramaturgy) is a Chicago based

artist and currently works as the BOLD Producing Associate at
the Goodman. She also serves on the board of Chicago
Dramatists. Goodman producing credits: The Sweetest Season:
A Gathering of Indigenous Creativity (2022, 2023, 2024), New
Stages Festival (2022, 2023), Fannie Lou Hamer: Speak On It!,
Zulema, In My Granny’s Garden (Night Out in the Parks
Productions). Other credits in various positions: Cambodian
Rock Band (Victory Gardens and South Coast Repertory);
Curve of Departure, Little Black Shadows, The Sisters
Rosensweig (South Coast Repertory); Good People (Chance
Theater); One Flea Spare, Mourning in America, Jane: Abortion
and the Underground, Without a Choice (Connective Theatre
Company). Upcoming Goodman producing credits include:
Betrayal (2025) and Antiquities (2025).

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LAUREN PORT (Casting) joined the Goodman as Casting
Director in August of 2019 after eleven years casting in NYC,
where she worked on many Goodman productions over the
years, including Father Comes Home from the Wars, Parts 1, 2
and 3, Uncle Vanya, The Sign in Sidney Brustein’s Window,
Disgraced and Sweet Bird of Youth. Broadway highlights: Junk;
Meteor Shower; A Doll’s House Part 2; The Front Page; It’s
Only a Play; Disgraced; Fish in the Dark; The Trip to Bountiful;
Grace; Death of a Salesman; Seminar; Stick Fly; Bengal Tiger at
the Baghdad Zoo; Lend Me a Tenor and Fences. Television/Film
includes: New Amsterdam (NBC); American Odyssey (NBC)
and Steel Magnolias (Sony for Lifetime). Lauren is a five-time
Artios Award winner, a recipient of the 40th Annual Media
Access Awards and a proud member of the Casting Society of
America.

PATRICK FRIES* (Production Stage Manager) most recently

stage managed English at the Goodman. Other credits include
work with Audible Theatre, Berkeley Rep, The Hypocrites,
Chicago Symphony Orchestra, Next Theatre, Northwestern
University, Powerhouse Theatre, National High School Institute,
Porchlight Music Theatre, Teatro Vista and The Second City.
Pat is an ensemble member with Rivendell Theatre Ensemble in
Chicago.

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SUSAN V. BOOTH (Goodman Theatre Artistic Director)
joined Goodman Theatre in the fall of 2022, having previously
served as Artistic Director of Atlanta’s Tony Award-winning
Alliance Theatre, premiering new work that went on to national,
international and commercial life. She has directed at the
Goodman, Hartford Stage, Ford's Theatre, La Jolla Playhouse,
St. Louis Repertory Theatre, Cincinnati Playhouse, New York
Stage and Film, Actors Theatre of Louisville, Northlight
Theatre, Victory Gardens, Court Theatre and others. She has
held teaching positions at Northwestern, DePaul and Emory
Universities. She is past president of the Board of Directors for
the Theatre Communications Group, the national service
organization for the field and a 2024 Leadership Greater
Chicago Daniel Burnham Fellow.

JOHN COLLINS (Goodman Theatre Executive Director)

began his career with a summer internship at the Goodman,
where he has since served in various senior leadership positions
over the past two decades. During his tenure, Collins has
overseen numerous production transfers to Broadway, regional
and international venues and tours of Goodman productions,
including The Who’s TOMMY; Good Night, Oscar; War Paint;
Desire Under the Elms; and Chinglish (Broadway); The Iceman
Cometh (New York/BAM); The White Snake (China); and Luna
Gale (Los Angeles). He also helped open the Alice Rappaport
Center for Education & Engagement—a 10,000 square foot
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center for expanded programming and activities. Collins is a
past Chairman and current board member of the League of
Chicago Theaters, and a board member of the Chicago Loop
Alliance and the League of Resident Theatres (LORT). He is a
graduate of Marquette University and resides in Chicago with
his wife Melissa and their children, Shea and Evan.

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about us
AMERICA’S “BEST REGIONAL THEATRE” (Time
magazine), the Goodman is a premier not for-profit organization
distinguished by the excellence and scope of its artistic
programming and civic engagement. Led by Artistic Director
Susan V. Booth and Executive Director John Collins and
committed to core values of Quality, Diversity and Community,
the Goodman makes inclusion the fabric of the organization
through its artistic priorities—including new play development,
large scale musical theater works and reimagined classics.
Distinctions include two Pulitzer Prizes, 22 Tony Awards and
nearly 200 Jeff Awards. The Goodman was first to produce all
10 plays in August Wilson’s “American Century Cycle,” and its
annual A Christmas Carol, now in its fifth decade, has created a
new generation of theatergoers. The Goodman also serves as a
production partner with local, national and international
companies.
Our nationally recognized Education and Engagement programs
use the tools of our profession to inspire youth, lifelong learners
and audiences to find and/or enhance their voices, stories and
abilities. The Alice Rapoport Center for Education and
Engagement (est. 2016) is the home of such programming, most
offered free of charge, and has vastly expanded the theater’s
ability to serve our city (with 85% of youth participants from
underserved communities).
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Goodman Theatre was founded by William O. Goodman and
family in honor of their son, Kenneth, a figure in Chicago’s
early 1900s cultural renaissance. The family’s legacy endures
through Albert Ivar Goodman who, with his late mother, Edith-
Marie Appleton, contributed the funds for the new Goodman
center in 2000. Today, Goodman leadership also includes the
distinguished members of the Artistic Collective. Julie Danis is
Chairman of Goodman Theatre’s Board of Trustees, Lorrayne
Weiss is the Women’s Board President and Kelli Garcia is
President of the Scenemakers Board for young professionals.
Goodman Theatre was built on the traditional homelands of the
Council of the Three Fires: the Ojibwe, Odawa and Potawatomi
Nations. We recognize that many other Nations consider the
area we now call Chicago as their traditional homeland—
including the Myaamia, Ho-Chunk, Menominee, Sac and Fox,
Peoria, Kaskaskia, Wea, Kickapoo and Mascouten—and
remains home to many Native peoples today. While we believe
that our city’s vast diversity should be reflected on the stages of
its largest theater, we acknowledge that our efforts have largely
overlooked the voices of our Native peoples. This omission has
added to the isolation, erasure and harm that Indigenous
communities have faced for hundreds of years. We have begun a
more deliberate journey towards celebrating Native American
stories and welcoming Indigenous communities; learn more at
GoodmanTheatre.org/Accountability.

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accessible & enhanced
performances
Audio-Described Performance and Touch Tour: October 26
at 2pm, Touch Tour at 12:30pm

American Sign Language (ASL) Interpreted Performance:

October 25 at 7:30pm

Open-Captioned Performance: October 27 at 2pm

Spanish Subtitles Performance: October 26 at 7:30pm

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