Woman and Scarecrow
by Marina Carr
Oct 6 – 29, 2023
Thu – Sat @ 7:30pm, Sun @ 2pm
A conversation with the cackling shadows that appear at the edge of death.
Afflicted by a mysterious ailment, a woman lies on her deathbed in what should be the prime of her middle age. In her existential haze, a fierce and darkly witty figure called Scarecrow appears at her bedside. The pair banter, argue, and laugh about the bittersweetness of being alive. Meanwhile, something monstrous rattles from inside the woman’s wardrobe, clawing at the doors to be released.
- Running time: 2 hours, including a 15 minute intermission.
- ASL Performance Oct 12
- Content Warning: Themes of death, grief, illness. References to suicide. Sounds of hand-to-hand combat and theatrical blood used.
- Recommended for ages 15 and up.
Sponsored by Ellyn Bye and Neil Kelly Company
Season sponsor: Ronni Lacroute
About the Playwright
Marina Carr’s plays to date are Ullaloo, 1989; Low in the Dark, 1991; The Mai, 1994; Portia Coughlan, 1996; By the Bog of Cats, 1998; On Raftery’s Hill, 1999; Ariel, 2000; Woman and Scarecrow, 2004; The Cordelia Dream, 2006; Marble, 2007; 16 Possible Glimpses, 2009; Hecuba, 2015, The Boy at the Abbey Theatre 2021, iGirl at the Abbey Theatre 2021, Girl on an Altar at The Kiln Theatre 2022 and Abbey Theatre 2023; Adaptations are Anna Karenina (adapted from Tolstoy’s novel), 2016, Blood Wedding (a new version of Lorca’s play), 2019, and Virginia Woolf’s To the Lighthouse. 2021; Plays for children are Meat and salt, 2003 and The Giant Blue Hand, 2007. Future projects include a remount of Kiln Theatre critically acclaimed production of Girl on an Altar at the Abbey Theatre.
Her work has been produced by The Abbey Theatre, The Gate, Druid, Landmark, The Royal Court, Wyndhams Theatre, The RSC, The Tricycle, The MacCarter Theatre, San Diego Rep, Milwaukee rep.
She is translated into many languages and produced around the world.
She also wrote a new, contemporary translation of Rigoletto for Opera Theatre Company, which toured Ireland in 2015, and wrote an original oratorio Mary Gordon as part of a commission for Wicklow County Council that brought together choirs from throughout County Wicklow with solo singers and the RTÉ National Symphony Orchestra in November 2016.
Prizes include Windham-Campbell Prize 2017 for her body of work, the Susan Smith Blackburn Prize, The American/Ireland Fund Award, The E.M Forster Award from the American Academy of Arts and Letters, The Macauley Fellowship, The Puterbaugh Fellowship. She is a member of Aosdana.
She has taught at Trinity College Dublin, at Villanova, and at Princeton. Currently she lectures in the English department at Dublin City University.
She is published by The Gallery Press, Nick Hern Books and Faber & Faber.
Cast
as Woman
as Scarecrow
as Auntie Ah
as Him
* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States, appearing under a Special Appearance Contract.
Creative Team
DIRECTOR
STAGE MANAGER
SCENIC DESIGN
LIGHTING DESIGN
COSTUME DESIGN
DIALECT COACH
Production Photos by Owen Carey
Jason Glick
Jason is excited to be a part of his first full production at Corrib after doing a reading with them earlier this year. He has performed throughout the Portland area at Artists Repertory Theatre, Profile Theatre, and Triangle Productions, among others.
Prior to the pandemic, Jason was co-artistic director of Chapel Theatre Collective in Milwaukie, where he also performed in the world premiere production of Bonnie Ratner’s Blind.
Thank you to Holly and Karl for the opportunity to be a part of this show.
Maria Porter
Maria Porter (she/her/they/them) was last seen at Artists Rep in EM Lewis’ True Story. As an actor Maria has performed in New York and regionally at such theatres as Milwaukee Rep, Hangar Theatre, Clubbed Thumb, Target Margin, Salt Theatre, Hartford Stage, Virginia Stage Company, and The Kennedy Center. Favorite roles include Ranevskaya in The Cherry Orchard, Skriker in The Skriker, and Maggie in Amy and the Orphans. A long time teacher of the Suzuki method, Maria incorporated that work into an original pedagogy and devising technique and has given work demonstrations and master classes in festivals and conferences around the world. Solo and ensemble creations that use this technique have been featured in regional and international festivals in Edinburgh, Denmark, Cuba, Prague, Peru, England and Switzerland. Maria an M.F.A. in Acting from UCSD, is the recipient of the David Newton award for teaching excellence from Long Island University, and is a member the Magdalena Project, an international network of women working in theatre.
Kerie Darner
(She/her) Kerie is thrilled to be working with Corrib Theatre for the first time and to be a part of telling this very special story. Kerie is a local actor, singer, mother, and theatre lover. She's had the privilege of working with Artists Repertory Theatre, Oregon Children's Theatre, Bridgetown Conservatory, Lakewood Theatre, as well as many groups in the San Francisco Bay Area. She studied acting at The Actors Conservatory here in Portland. Some of Kerie's favorite roles include Sylvia in The Thin Place, Marian in The Music Man, Anna in The King and I, and Mother in Never in my Lifetime. Kerie is honored to be a part of bringing this magical and thought provoking tale to life, and thanks her husband and son for their endless support.
Ashley Song
Ashley is an actor/producer and co-owner of Desert Island Studios, an independent film studio dedicated to creating more accessibility and affordability to film resources for independent storytellers. She's also a screenwriter and board member of the Oregon Media Production Association, winning the Service & Inspiration Award for her advocacy efforts within the creative industry. She's produced three feature films, and a number of narrative shorts that have screened at festivals like Filmfort, Portland International Film Festival, and CINE / SEEN, among others. Ashley received her BFA from New York University with training in The Method at The Lee Strasberg Theatre & Film Institute and film acting from Stonestreet Studios. Ashley is a proud memebr of AEA. IG: @ashleysong official @desertislandstudiospdx
Cast5
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Cast6
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Holly Griffith
Abbie Northrop
Abbie Northrop is a recent graduate of Linfield University and is thrilled to be a part of Metaverse. This is their first time stage managing a show outside of college theatre and they can’t wait for the next. They recently were the Assistant Lighting Designer for The Hombres with ART, and Stage Manager forFrankenstein at Linfield. They’ve also gotten awards from KCACTF for their work as a sound designer for Treasure Island at Linfield, and hope they can continue to work in that field, along with stage management.
Kyra Sanford
Kyra Sanford is a freelance scenic designer, props master, carpenter, and painter in the Portland area, working for theatres such as Milagro, PassinArt, Theatre Vertigo, Defunkt Theatre, Profile Theatre, Portland State University, Clark College, Lincoln High School, Third Rail Rep, and various others. She received her BFA in scenic design from The Conservatory of Theatre Arts at Webster University.
sanfordscenic.com
Kelly Terry
Allison Normin Johnson
Allison Normin Johnson (she/her) is a designer and costumer who is delighted to be working in live theatre again. This is her first production with Corrib. She has worked in costume shops in Virginia, Arkansas, and locally at Portland Center Stage and Artists Repertory Theatre. Some of her favorite projects have been devised and emerging works with the CoHo Clown CoHort and Theatre 33, among others. Allison grew up in Beaverton and has returned to the area after earning her BA in Theatre Design from Willamette University. While earning her degree she spent considerable time studying art history in London, where her partner still lives. You can see more of her work on her website at www.allisonjcreates.com
Karl Hanover
Elizabeth Young
Elizabeth Young (Sound Design) is happy to be working on another Corrib production, particularly with such a female-focused production and design team. She has been involved in theatre behind the scenes, with sound designs for Corrib Theatre, CoHo Theatre, Theatre Vertigo, and Post5, and choreography and direction for Anonymous Theatre, and is a proud company member of Anonymous Theatre. She has also appeared onstage with many theatre companies around town and beyond, including most recently in Don’t Hug Me at Broadway Rose Theatre Company. Much gratitude to Tracy and Gemma for the opportunity, and to Darius, Julian, and Mark for ignoring the strange noises emanating from the study.
Sophina Flores
Sophina Flores holds a BA in Theatre and Dance from Amherst College. She is the founder of local dance theatre company Roots & All Theatre Ensemble, centering marginalized identities and breaking the boundaries of realism, who you may know from productions such as Liminal and The Between Spaces. She has stage managed for shows such as Sweeney Todd, Urinetown, Big Love, Peer Gynt, and The Importance of Being Earnest. Most recently she stage managed Milagro’s Duende de Lorca. As a theatre maker, playwright, director, deviser, and choreographer, her work centers the intersectionality of identities as a bisexual Puerto Rican woman, and prominently features themes of mental illness and trauma, with surrealist or magical realist motifs.
