JULIANNE ARGYROS STAGE / DECEMBER 9 - 24, 2005

David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR

presents LA POSADA MAGICA´

written and directed by Octavio Solis music by Marcos Loya

SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN MUSICAL DIRECTOR Christopher Acebo Shigeru Yaji Lonnie Rafael Alcaraz Marcos Loya

CHOREOGRAPHER PRODUCTION MANAGER STAGE MANAGER Linda Kostalik David Leavenworth Jamie A. Tucker*

Brian and Sadie Finnegan Target HONORARY PRODUCERS CORPORATE PRODUCER

The Lila Wallace-Reader’s Digest Fund has provided major support for the commissioning, workshop and production of La Posada Mágica through its New Works for Young Audiences Program.

La Posada Mágica • SOUTH COAST REPERTORY P1 CAST OF CHARACTERS (In order of appearance)

Horacio ...... Miguel Najera* Eli/Bones/Lauro ...... Kevin Sifuentes* Gracie ...... Tiffany Ellen Solano* Mom/Mariluz ...... Crissy Guerrero* Papi/Jose Cruz ...... Danny Bolero* Refugio/Buzzard ...... Sol Castillo* Consuelo/Widow ...... Denise Blasor* Caridad/Widow ...... Christine Avila* Musicians/Ensemble ...... Marcos Loya, Lorenzo Martinez*

SETTING Christmas Eve. The present.

LENGTH Approximately two hours, including one 15-minute intermission.

PRODUCTION STAFF Casting Director ...... Joanne DeNaut Production Assistant ...... Jennifer Ellen Butler Costume Design Assistant ...... Merilee Ford Assistant to the Lighting Designer ...... Mat Stovall Stage Management Intern ...... Andrew Metzroth Dresser ...... Kelly Marshall Additional Costume Staff ...... Catherine Esera, Amanda Seymour Deck Crew ...... Nina Evans

ACKNOWLEDGEMENT Las Amigas de la Cultura, Sylvia Krenzien, Teri Rocco, and Alice Rumbaugh, for the special exhibit in the Julianne Argyros lobby.

Cellular phones, beepers and watch alarms should be turned off or set to non-audible mode during the performance. Please refrain from unwrapping candy or making other noises that may disturb surrounding patrons.

The use of cameras and recorders in the theatre is prohibited. Smoking is not permitted anywhere in the theatre.

* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Official Airline

P2 SOUTH COAST REPERTORY • La Posada Mágica The Gift of Grace

hen I was commissioned to write a family cause I had just settled on that name for my protago- Christmas play for South Coast Repertory, I nist. How could she have known? She hadn’t read the Whad no idea there would be deep synchronici- play, nor had I spoken of it to her. And yet here now, ties with my own life. I simply thought I would write our daughter was not only another play for another theatre and that would be coming into our house, that. But while my talented collaborators (director she was filling our play. José Cruz González and composer Marcos Loya) and I It seemed fitting. toiled away on our first draft of Posada at the Sun- Gracie was born dance Theatre Lab in Utah, I received a call from my on September 24, wife Jeanne that she was pregnant with our daughter, 1994, and the play it- and that changed everything. self was delivered The play suddenly revealed to me the essential three months later. universal sanctity of life, the glowing sense of hope and love that babies al- ways suggest for the world. But the confluence of this play with my wife’s news also transformed the holiday of Christ- mas for me. The adoration be- stowed on the in- fant

Jesus spoke more Gracie has been played by three actresses since its pre- deeply and directly to miere in 1994: Ruth Livier (1994), left; Crissy Guerrero my new status as a fa- (1995-1998), top; and Tiffany Ellen Solano (1999-2005), with Mauricio Mendoza as Papi and Crissy Guerrero as ther. The Nativity be- Mom in 2002. came a metaphor for the profound responsibility we all owe to the fragile innocent children we dare to bring We brought her for one of the first performances, and into this brutal world. to this day, I can’t help but feel that the wide brown Later that spring, as I continued to write Posada eyes of the infant Graciela have shone their grace on and Jeanne pored over all the books of baby names, La Posada Mágica. she told me that she wanted to name our baby girl –Octavio Solis Graciela, or Gracie, for short. This stunned me be- PHOTOS: HENRY DiROCCO

La Posada Mágica •SOUTH COAST REPERTORY P3 The Historical Procession of Las Posadas

he familiar story of Joseph and Mary’s long-ago search for Tlodgings is related every year at Christmas- time in churches and homes the world over. But in many Latin coun- tries, it actually comes to life again each December, reenacted for nine con- secutive nights in the fes- tive ritual of Las Posadas, which means inns, or lodgings. The idea of com- memorating the Holy Family’s journey to Beth- lehem can be traced to St. Ignatius Loyola, in the 16th Century. He sug- The 2004 cast of ‘La Posada Mágica’ featured from left: Crissy Guerrero, Mauricio Men- gested a Christmas nove- doza, Denise Blasor, Sol Castillo, Carla Jimenez, Tiffany Ellen Solano, Miguel Najera, na, special prayers to be Kevin Sifuentes, Lorenzo Martinez and Marcos Loya. said on nine successive days. In 1850, St. John of the Cross made a religious all the musicians. Singing or chanting special posada pageant out of the proceedings, and seven years later songs, they all walk slowly along, each person carry- the nine-day remembrance was introduced to the Indi- ing a lighted candle. When the procession reaches ans in Mexico by Spanish missionaries. the house chosen for that evening, it divides into two Solemn and deeply religious in feeling at first, groups, one representing the holy pilgrims, the other the observances soon became imbued with a spirit of the innkeepers. fun and, eventually, left the church and began to be The pilgrims line up behind the angel and the celebrated in people’s homes. The posadas have be- children bearing the figures of the Holy Family, and come community affairs with friends, relatives and they file through the house until they arrive at a neighbors sharing in the festivities and visiting a differ- closed door, behind which the innkeepers have sta- ent house each evening. tioned themselves. The pilgrims knock on the door The posada begins with a procession that sets and call out in song, asking for shelter. A chorus of off as soon as it gets dark. Often a child dressed as an voices on the other side asks: “Who knocks at my angel goes first, followed by two more children carry- door so late in the night?” ing figures of Mary and Joseph on a small litter The pilgrims respond. “In the name of Heaven I adorned with twigs. After more boys and girls come beg you for lodging—my beloved wife can no longer the lead figures, then come the grown-ups and last of travel, and she is weary.” But the response is a stony,

P4 SOUTH COAST REPERTORY • La Posada Mágica piñata. Some- times there are separate parties for different age groups— one for teenagers and another for the younger children. In Mexico City, especially, so many posadas are held that active party- goers can manage to attend four or five in one evening… and the festivities often go on until dawn. Over time, posadas have been tailored by their respective communities, so that a re- markable variety of posada styles can be found throughout Mexico and the South- west- hardhearted refusal. “This is no inn. Go ern Unit- away!” After repeated requests for ed States. shelter, the pilgrims explain who they are and that Mary will soon give birth to the Son of God. The innkeepers relent and wel- come the exhausted travelers: “Enter, Holy pilgrims. Come into our humble dwelling and into our hearts. The night is one of joy, for here beneath our roof we shelter the Mother of God.” Everyone enters the room and kneels in prayer, after which the party moves out to the patio for fireworks and fun. Small baskets of sweets, called co- laciones, are offered along with sand- wiches, cookies and a fruited punch. And then it’s time for the most exciting moment of all, the breaking of the fan- cifully decorated candy and nut-filled

Denise Blasor, Carla Jimenez, Crissy Guerrero and Mauricio Mendoza, above and Marcos Loya and Lorenzo Martinez, at right.

La Posada Mágica •SOUTH COAST REPERTORY P5 The Magic of the Celebration The Christmas Candle Poinsettias

“It begins with one simple candle— favorite flower for the posada celebration is the so full of golden light” poinsettia, with its beautiful red star shape. The – La Posada Mágica Alegend of the poinsettia relates the story of a girl named Maria and her little brother Pablo. They were fter Gracie reluctantly joins her church’s posada, very poor but always looked forward to the Christmas she sets about trying to extinguish not only the festival each year, when a large Nativity scene was set Acandle that has been lit in her honor, but all up in the village church and the days leading up to those that represent the other members of her group. Christmas were filled with posadas. But the two chil- With each flame she blows out, another character dis- dren were saddened because they had no money to appears until Gracie is left lost and alone. buy presents. They especially wished to give some- The tradition of candles at Christmastime began thing to the church, but they had nothing. in medieval Europe, where a very large Christmas can- One Christmas Eve, Maria and Pablo set out for dle was burned until the Twelfth Night in remem- church to attend Midnight Mass. On their way they brance of the arrival of the Wise Men to Bethlehem. picked some weeds growing along the roadside to In Victorian times, candles represented good will to- present as their gift to the church. They were merci- ward those less fortunate. They were placed in win- lessly teased by the other children when they arrived dows from December 25 to January 6 to with their humble offering, but Maria and Pablo knew welcome any passersby they had given everything they had. As they needing shelter and food. began to place the weeds around the Nativi- Some people believe ty scene, the green top leaves turned into that flames from burning bright red petals. Soon the manger was sur- candles frighten away evil rounded by the bright red, star-shaped flow- spirits during the darkest ers and everyone in the church believed days of the year. In Nor- they were witnessing a true Christmas mira- way, candles that burn out cle. Since that day, these beautiful flowers on Christmas Eve are that bloom during the Christmas season thought to bring bad luck have been known as Flores de Noche Buena for the family. Another or “Flowers of the Holy Night.” ancient tradition suggests Nochebuena, the Mexican name of that placing a candle in the flower English-speakers call poinsettia, the window symbolically was discovered in Taxco and the valleys sur- lights the way of the Holy rounding Cuernavaca. Known by the Aztecs Family as it provides a in their native Nahuatl language as cuetlaxo- welcome for friends, chitl, it is believed that they brought the neighbors and holiday plant from the tropical climate of Cuernava- guests. ca to their Aztec highlands for cultivation in

P6 SOUTH COAST REPERTORY • La Posada Mágica special nurseries. Prized for the curative properties of the milk that dripped from the leaves, stems and flowers when cut, the plant also produced pig- ment from the red leaves used to dye cotton fibers. The poinsettia plant was brought from Mexico to America by Dr. Joel Roberto Poinsett (1770-1851), who used as served as U.S. ambassador to Mexico following that an offering country’s independence from Spain. Poinsett fell in to the gods and a tribute love with the nochebuena plant when he first saw it to the Aztec emperor, Moctezu- adorning the churches of Taxco in 1823. He sent ma II. On certain holidays, it decorated specimens back to the States to decorate his mansion the idols in temples and palaces, and priests em- in South Carolina one Christmas, and upon his return bodying the gods and the cosmos wore elaborate cos- home several years later, he was astonished to find the tumes of colored paper. Cutouts of dark paper were entire town of Charleston growing made to represent evil spirits, while white paper rep- the festive red flower. resented good spirits and was used by healers and witches in their rituals. Color schemes select- Papel Picado ed for papel picado are fre- quently linked with specific aper cutting has festivities. Sky blue or pink been a folk art and white are commonly Pever since paper chosen for celebra- was invented in 105 A.D. tions in honor of by Ts’ai Lun, an official in the Virgin the court of Ho Ti, em- Mary, yel- peror of Cathay. The low and white humble nature of its for patron saints. Vibrant origins and the pink, orange and pur- anonymity of its prac- ple are the key tones tice has caused paper cut- employed for ofren- ting to be ignored as an art form, das (offerings) asso- though artists, artisans and collectors ciated with El Día de los are becoming increasingly aware of Muertos, or the Day of the this valuable folk heritage. Dead. Shades of purple In Mexico, the technique is called are also widely used at Easter. The colors of the Mex- papel picado, which means “pierced paper.” After the ican flag—red, white and green—are set aside for ven- Spanish Conquest of Mexico, papel de China (tissue erating the nation’s patroness, La Virgen de paper) was introduced and became the material of Guadalupe, as well as for commemorating Indepen- choice for Christian holiday decorations. Paperwork dence Day, September 16. Rainbow hues are appro- was apparently among the imports that poured in priate for Christmas and non-religious festivities. from the Orient via the annual Pacific treasure fleet Cut from colored tissue paper (or plastic) to sim- that traveled between the Far East and Acapulco, ulate lace, papel picado can be seen today hanging laden with such exotic goods as silver, ivory, spices from Day of the Dead altars and decorating graves and porcelain. Once the craft arrived in Mexico, it be- during November. Also during Christmas, papel pica- came the basis for many important and widespread do decorates indoor and outdoor festivities in Mexico. folk art forms. In Mexico, the art of paper-cutting goes back to Visit the online Playgoer’s Guide to La Posada Mágica pre-Columbian times, when bark paper (made by at www.scr.org to read more about these and other women from bark collected by men in the spring) was Mexican holiday traditions.

La Posada Mágica •SOUTH COAST REPERTORY P7 Sing Along with the Posada ‘Vamos A Pie’ ‘We go on foot’ Vamos a pie caminando We go on foot Caminando, caminando Walking, walking Una posada Buscando Searching for a posada Buscando para El. Searching for Him Velas prendidas alumbran Burning candles shine on La noche más santa de Dios God’s holiest night Este camino termina This path ends En oración. With a prayer Vamos con fe caminando We walk along in faith Caminando, caminando Walking, walking Los angeles saben cuando The angels know when Saben cuando llegará. They know when He will arrive To the most beautiful posada A la posada más linda Filled with light and love Llena de luz y amor On this night we will see En esta noche veremos The savior Al Redentor. We go on foot Vamos a pie caminando Walking, walking Caminando, caminando Searching for a posada Una posada buscando Searching, searching Buscando buscando. ‘Este Canto Mio’ ‘My Song’ Este canto mío canto con pasión I sing my song with passion Por el Niño Dios quien es mi salvación For baby Jesus, my salvation Si mi voz al cielo no alcanza If my voice won’t reach heaven Es porque le falta esperanza It is because it lacks hope Gloria gloria gloria al Señor Glory, glory, glory to the Lord Eschuchame y hazme el favor Listen to me, do me a favor Quiero ver el Rey de la humanidad I want to see the King of humanity En la Noche Buena de la Navidad. On Christmas’ holy night I feel pleasure in my heart Mucho gusto siento en mi corazón Every time I sing, holy is my song Cada vez que canto, santa es mi canción The moment is near Ya se acerca el momento de The birth of a new faith El Nacimiento de la Nueva Fe. Glory, glory, glory to the Lord Gloria gloria gloria al Señor Listen to me, do me a favor Eschuchame y hazme el favor I want to see the King of humanity Quiero ver el Rey de la humanidad On Christmas’ holy night En la Noche Buena de la Navidad. Words by Octavio Solis; music by Marcos Loya Translation by Santiago Uceda

P8 SOUTH COAST REPERTORY • La Posada Mágica CHRISTINE AVILA DENISE BLASOR DANNY BOLERO Caridad/Widow Consuelo/Widow Papi/Jose Cruz

Artist Biographies

*CHRISTINE AVILA (Caridad/ Liar, “American Family” and nu- Widow) returns to SCR for her Widow) was a member of the merous commercials. Her tenth appearance in La Posada original cast of La Posada Mági- awards include several Drama- Mágica. This year she per- ca at SCR and Zoot Suit at the Logue awards, Teacher of the formed in the world premiere of Mark Taper Forum. Regionally, Year (UCLA Extension) and two Los Muertos by Timothy McNeil, she has appeared at the Padua citations from the City of Los directed by David Fofi, at the Hills Playwrights Festival, San Angeles (SIPA & Fred C. Nelles Elephant Theatre; and in the Jose Repertory, La Jolla Play- School for Boys). She is a West Coast premiere of Electri- house, Colorado Springs Shake- seven-time participant at the cidad by Luis Alfaro, directed speare, Pasadena Shakespeare Sundance Playwrights Festival. by Lisa Peterson, at the Mark Co. and the Bilingual Founda- Ms. Avila is a founding member Taper Forum. She appeared in tion for the Arts. Some of her of We Tell Stories, The Classical Ten Tiny Love Stories by Rodrigo favorite roles are Antonio in The Theatre Lab and was an Associ- Garcia, directed by Luis Alfaro Merchant of Venice at the Los ate Artist at the former LATC. and performed in and directed Angeles Women’s Shakespeare She graduated from UCLA and The Wide, Wide Sea at Bilingual Company; Spider Woman in studied with Sandy Meisner at Foundation of the Arts and Murray Mednick’s The Coyote the Neighborhood Playhouse, NoHo Festival. She has per- Cycle (Jugoslavia); Cassandra in New York. She was a student formed at the Los Angeles The- Steven Berkoff’s Agamemnon; of Tad Danielewski, Los Ange- atre Center as the Bride in Hermione in A Winter’s Tale; les and is a student and associ- Blood Wedding, directed by Suzanne in Figaro Gets A Di- ated teacher at the Steve Eastin Margarita Galban and as Yerma vorce; and Lola in Dogeaters. Studios. in Yerma and as Martirio in Her screen credits include House of Bernarda Alba with “House,” “The West Wing,” Liar, *DENISE BLASOR (Consuelo/ Carmen Zapata. She played

La Posada Mágica •SOUTH COAST REPERTORY P9 SOL CASTILLO CRISSY GUERRERO MARCOS LOYA Refugio/Buzzard Mom/Mariluz Musician/Ensemble

Jenny in The Threepenny Opera, and the soon-to-be-released shop); Selena (Abraham) at the directed by Angelina Reaux, Happy Feet with Robin Williams. Doolittle Theater; Lalo at the and was part of Ron Sossi’s Ms. Blasor is a proud member Mark Taper Forum; World Goes Odyssey Theatre adaptation of of Actor’s Equity. Round at the Rubicon (Robby Faust. She was Artistic Director Nomination); Paloma at Casa of Los Angeles Diversified The- *DANNY BOLERO (Papi/Jose Sousa; Pacific Overtures (Man- ater Company, where she per- Cruz) was born in East LA, and jiro); Mystery of Edwin Drood formed and adapted The Three is very happy to return to South (John Jasper, Inland Empire Sisters. She designed and ap- Coast Repertory. A graduate of Award); Beggars Holiday with peared in the Ovation Award- the American Center for Music the late, great Carl Anderson; nominated production of He Theater, he has recently taken and Guido in Nine and Che in Who Gets Slapped with Bud Cort on the challenge of ’60s Doo Evita, for both of which he re- and performed and produced Wop, becoming one of the ceived the Los Angeles Drama- the original musical production newest members in the revival Logue Award. Television ap- of Caderas. Other stage credits of the band Cannibal and the pearances include “The Mullets” include leading roles in the Headhunters. His theatrical (recurring), “Beverly Hills, world premieres of House of the credits span from Broadway to 90210,” “Ally McBeal,” “Los Al- Spirits at LATC; Cervantes’ Inter- regional, as well touring the varez” (pilot) and “Malcolm in ludes at Stages, directed by world from Bali to Venice as a the Middle.” Mr. Bolero can Florinel Fatulescu; Made in production singer for Royal next be seen as Che in Evita for Lanus, directed by Lillian Gar- Caribbean Cruise Lines. On the Lawrence Welk Resort in Es- rett at The Old Globe; and Ac- Broadway he appeared in condido, January 2006. As al- celerando by Lisa Loomer. She Joseph and the Amazing Tech- ways for Mom and Dad. played Juana in The False nicolor Dreamcoat starring Chronicle of Juana La Loca at Michael Damian and in the first *SOL CASTILLO (Refugio/Buz- the Festival Cervantino in Mexi- national tour with Sam Harris. zard) returns to SCR for his co and has performed in Eu- Regional theatre credits include sixth season in La Posada Mági- rope and Puerto Rico. Film Man of La Mancha (tour) with ca. He was also seen at SCR in credits include The Disappear- Robert Goulet; Bark at the the world premiere of The Hol- ance of Garcia Lorca with Andy Coast Playhouse; The Fanta- low Lands, the Theatre for Garcia; Univers’l, directed by sticks (El Gallo) at the Arizona Young Audiences production of Ana Nicholas; Noriega, God’s Theater Company; Cesar Chavez Sideways Stories from Wayside Favorite with Bob Hoskins, di- in Ed Begley’s Cesar and Ruben School and the Pacific Play- rected by Roger Spottiswoode; at the El Portal Theater, St. Ed- wrights Festival workshops of Team America: World Police wards University (new work- Sea of Tranquility and Refer-

P10 SOUTH COAST REPERTORY • La Posada Mágica LORENZO MARTINEZ MIGUEL NAJERA KEVIN SIFUENTES Musician/Ensemble Horacio Eli/Bones/Lauro ences to Salvador Dali Make Me acclaimed musical White Trash tar and various indigenous folk Hot. At San Diego Repertory he Wins Lotto. Ms. Guerrero ap- instruments. Currently, Mr. appeared in Zoot Suit, The peared as Jasmine in Black But- Loya is a Visiting Artist at Cali- Imaginary Invalid and Barrio terfly, Jaguar Girl, Piñata fornia State University, Hollywood. Other theatre cred- Woman and Other Superhero Dominguez Hills, where he will its include the national tour of Girls Like Me at the Mark Taper be teaching a course on Chi- Veteranos: A Tribute, West Side Forum. Concurrently, she cana/o Latina/o music begin- Story, Bye Bye Birdie and Talk- worked as First Assistant Editor ning in January 2006. He will ing to Yellow Roses. Mr. Castillo and Producer of bonus materi- release a CD titled Always from was seen in Showtime’s “Resur- als on the Kids in the Hall doc- the Heart in 2006. His debut rection Blvd.” and Valor Produc- umentary Same Guys, New CD, Love is the Reason, garnered tion’s Who’s James Cagney? Mr. Dresses and as Associate Pro- an Independent Contemporary Castillo dedicates his perfor- ducer and co-star of “Dave Jazz Album of the Year nomina- mance to his lovely wife, terrific Foley’s The True Meaning of tion. In 1996 he composed the daughter, and gives his thanks Christmas” specials which air score for the “American Play- to them and the audience. Mr. annually in Canada. She has house” film adaptation of Tomas Castillo is a proud member of most recently starred in “The Rivera’s and the earth did not Actors’ Equity. Tribute” (a show she co-wrote swallow him (y no se lo trago la and produced) at the Steve tierra). His music is featured in *CRISSY GUERRERO (Mom/Mar- Allen Theater in Hollywood. the films Deep Cover, The Wa- iluz) is happy to be returning However, her proudest accom- terdance, A Million to Juan, Old home to La Posada Mágica. plishment is her far-too- Gringo, Vibes, Stand and Deliv- This is her third season as Mar- adorable daughter Alina, who er, Born in East LA, Hold Me, iluz. She was previously seen first appeared on this stage in Kiss Me, Thrill Me and Kiss Me a at SCR in the role of Gracie for her mother’s belly. Ms. Guer- Killer (for which he received a four seasons. She has spent rero is a proud member of nomination for the Independent seven years touring the world Actor’s Equity. Spirit Award) and was featured singing and dancing as Priscilli- in Director Robert Rodriguez’ ta with El Vez, the Mexican MARCOS LOYA (Composer/Mu- Once Upon a Time in Mexico, a Elvis. She has also been seen sical Director/Ensemble) is an sequel to Desperado. He scored on “Late Night with Conan accomplished musician and and/or composed music for sev- O’Brien,” HBO’s U.S. Comedy composer and a master of eral plays, including the Los An- Arts Festival, The Toyota Come- acoustic guitar. He is also adept geles Theater Center produc- dy Festival, and at Largo and on requinto, jarrana, cuatro, tions of La Victima, August 29 the Roxy starring in the critically 12-string, mandolin, electric gui- (Drama-Logue Award, Best

La Posada Mágica •SOUTH COAST REPERTORY P11 forming solo, with his acoustic Taper Forum. Most recently he ensemble Trio Los Cinco, or toured with The Four Brown with the Marcos Loya Latin Jazz Hats theatre production of Vet- Band. He dedicates his perfor- eranos, A Legacy of Valor. mance to the memory of his fa- ther, Arthur Loya, whose *MIGUEL NAJERA (Horacio). “I courage and love remain a con- always look forward to doing stant source of inspiration. La Posada Magica. This will be my fourth year and hopefully LORENZO MARTINEZ (Musi- I’ll be Horacio for many years cian/ Ensemble) was raised with to come.” A multi-talented the rich, culturally diverse music artist, Mr. Najera is a writer and of Los Angeles and has traveled director as well as an actor. His and performed throughout the recently completed documen- Southwest. He represented Chi- tary, Dancing on the Edge, won TIFFANY ELLEN SOLANO cano music in Paris with Lalo The Outstanding Documentary Gracie Guerrero and Flaco Jimenez. Award in Canada. Founder of His education includes Music an independent film company, Theory and Instrumental Studies Ce Acatl Productions, he wrote Original Music), Stone Wedding at Cerritos College and UCLA’s and directed CAP’s award-win- (Los Angeles Drama Critics Cir- Ethno Musicology program with ning short film Libertad, which cle Award nomination), and emphasis in Mariachi music. screened to critical acclaim on most recently the Southwestern His vast musical experience in- WGBH Boston as part of its tour of Veteranos (A Legacy of cludes Tex-Mex, conjuntos, Latino film series. His acting Valor). His television work in- orquesta styles, mariachi, zyde- career has spanned 25 years in cludes the musical scores for co, jump blues, jazz, jarocho, film, television and theatre. He the PBS productions “Dreams of huasteco, nueva cancion, trio has an MFA in Film, Theatre, Flying,” “Elders,” “Between romantico, early California and and Television Directing from Friends” and “Los Pinateros.” Chicano movimiento music. the California Institute of the His music can be heard in the Other groups Mr. Martinez has Arts, received his BA in Drama “Mangas” episode of the PBS se- performed with include Her- from San Francisco State Uni- ries “Foto Novela” for which he manos Baca and Lil Joe y La Fa- versity and attended the Ameri- also composed the theme. He milia. He was part of the Mari- can Conservatory Theater in San served as musical director for achi concert Las Tres Voces de Francisco. Univision’s long-running “El Oro, backing Lucha Villa, Lola Show de Paul Rodriguez;” the Beltran and Miguel Aceves *KEVIN SIFUENTES (Eli/Bones/ Buenavista/ Disney “Navidad en Meija. He performed with the Lauro) returns to SCR for his las Americas” special; the ABC UCLA Mariachi under the direc- fourth season of La Posada special “Latin Nights;” and tion of Nati Cano of Los Com- Mágica. Earlier this year he NBC’s “Vida Awards.” Mr. Loya peros, and in the Universal film was seen in James Lujan’s Kino has performed and/or toured Who Will Sing the Songs starring and Teresa with Native Voices with a variety of performers in- Freddie Fender and Vicki Carr. at the Autry and also completed cluding Placido Domingo, Linda He performed and recorded the 2005 National Tour of the Ronstadt (with the Houston with Los Perros del Pueblo critically acclaimed By The Symphony Orchestra), Celia Nuevo and Trio Los Cinco with Hand Of The Father, which has Cruz, Tito Puente, Lalo Guer- Marcos Loya, Mundo Armijo aired on PBS’ “Austin City Lim- rero, Chick Corea, Chaka Khan, and Ray Islas. The group per- its.” Theatre credits include Gerald Albright, Hugh formed Dia de Los Muertos and productions with the Mark Masekela, Keiko Matsui, Phillip La Virgen del Tepeyac by Luis Taper Forum, the Los Angeles Bailey, Stephen Stills, Vicki Carr, Valdez at the Japan Theatre, the Theatre Center, San Jose Reper- Luis Enrique and Jose Feliciano. opening ceremony of Luis tory and Cornerstone Theater With Madonna, he recorded “La Valdez’ Bandido at the Mark Company, to name a few. Film Isla Bonita” and appeared in the Taper Forum and with Culture credits include 29 Palms, Native video. He can be seen per- Clash in La Carpa at the Mark Aspect Ratio, Independence

P12 SOUTH COAST REPERTORY • La Posada Mágica Day, Steel, Street Corner Jus- ty, SAG, AFTRA and AGVA. MARCOS LOYA (Composer/Mu- tice, And The Earth Did Not Film credits include commer- sical Director) See biography Swallow Him and Hearts of cials, television guest spots, in- on page P-11. Stone. His numerous televi- dustrials, interactive videos and sion credits include “ER” and independent films. She sends CHRISTOPHER ACEBO (Scenic recurring roles on “Resurrec- her love to all of her family Design) designed Habeas Cor- tion Blvd.” and “The New and friends and hopes that pus last season; the world pre- Rockford Files.” Mr. Sifuentes Gracie’s spirit touches your mieres of The Beard of Avon, gives special thanks to his fam- heart half as deeply as it has Hold Please and California ily and friends for their love, hers. Scenarios and the West Coast support, insight and funny sto- premiere of The Countess at ries. He is a proud member of PLAYWRIGHT, DIRECTOR SCR. Recent productions in- Actors’ Equity. & DESIGNERS clude the world premieres of The Clean House at Yale Reper- *TIFFANY ELLEN SOLANO OCTAVIO SOLIS (Playwright/ tory Theatre, Electricidad at (Gracie) is pleased to be re- Director) is a playwright and The Goodman Theatre and Liv- turning to SCR to bring to life director living in San Francisco. ing Out and Chavez Ravine at Octavio Solis’ beautiful charac- His works Man of the Flesh, the Mark Taper Forum. Other ter, a role that garnered her the Prospect, El Paso Blue, Santos & regional design work includes Young Artist’s Award for “Most Santos, La Posada Mágica, El productions for the Guthrie Outstanding Young Performer Otro, Dreamlandia, Bethlehem, Theater, La Jolla Playhouse, in Live Theatre.” La Posada Gibraltar and The Seven Vi- The Goodman Theatre, Denver Mágica is very dear to her sions of Encarnacion have Center Theatre Company, The heart and she is thrilled to be been mounted at theatres na- Children’s Theatre Company of reuniting with the talented cast tionwide. Burning Dreams, Minneapolis, Portland Center and crew whom she genuinely co-written with Julie Hebert Stage, East West Players, Great loves and considers family. and Gina Leishman, was pro- Lakes Theater Festival, The Ms. Solano has spent most of duced by San Diego Repertory; Kennedy Center, Missouri her life on stage, beginning in and his collaborative project Repertory, among others. Up- musical theatre, and later per- with Erik Ehn, Shiner, was coming productions at Berke- forming in straight plays and mounted by Undermain The- ley Rep, Oregon Shakespeare Shakespeare. She portrayed atre in Dallas. His most recent Festival and La Jolla Playhouse. Ginya in Nine Armenians at project was The Ballad of Pan- Mr. Acebo is an ensemble the Mark Taper Forum and cho and Lucy, a musical come- member of Cornerstone The- Denver Center Theatre, played dy written for Campo Santo ater Company in Los Angeles. Miranda in The Tempest at the and performed in San Francis- He received his MFA in design Los Angeles Theatre Center co. Solis has received an NEA at the University of California, and received critical acclaim Playwriting Fellowship, two San Diego and is a past recipi- for her depiction of Anne in playwriting grants from The ent of the NEA/TCG fellowship The Diary of Anne Frank. Kennedy Center, the Will for designers. He is a member Other performances include Glickman Playwright Award, of the faculty at Cal State Uni- lead roles in David and Lisa, the 1998 TCG/NEA Theatre versity, Los Angeles. Brighton Beach Memoirs, West Artists in Residence Grant, the Side Story, Fiddler on the Roof 1998 McKnight Fellowship SHIGERU YAJI (Costume and Under the Gaslight. Most grant from The Playwrights’ Design) has designed costumes recently, she can be seen per- Center in Minneapolis and the for over 50 SCR productions in- forming at Disney’s California 2000-2001 National Theatre cluding most recently Habeas Adventure 2000 seat Hyperion Artists Residency Grant. His Corpus, Cyrano de Bergerac, Theatre as Jasmine in Aladdin DV feature film Prospect has Lovers and Executioners and - A Musical Spectacular. just screened at the Film Arts Major Barbara. His other re- Though her heart is truly in the Festival in San Francisco. Solis cent work has been seen at theatre, she also enjoys film is a member of the Dramatists Yale Repertory Theatre, Cor- and music work. She is a Guild and an alum of New nerstone Theater Company, proud member of Actors’ Equi- Dramatists. San Jose Repertory Theatre and

La Posada Mágica •SOUTH COAST REPERTORY P13 the Oregon Shakespeare Festi- shows; My Fair Lady, Forever from Moscow and assisted on A val, as well as the current Plaid, Morning’s at Seven, Little Naked Girl on the Appian Way. Broadway-bound, national tour- Shop of Horrors, Comedy of Er- Previously he stage managed ing production of Cathy Rigby’s rors and The Importance of Anna in the Tropics, Lovers and Peter Pan, for which he previ- Being Earnest. He also was a Executioners, Intimate Ex- ously received an Emmy Award designer for Universal Studios, changes and Mr. Marmalade. nomination. He is the recipient Japan, where he designed the He also stage managed the of numerous awards and recog- live shows Terminator 2 in 3D, world premiere of Richard nitions including six Los Ange- and Monster Makeup, the at- Greenberg’s The Violet Hour, les Drama Critics Circle Awards tractions Jurassic Park the Ride the West Coast premiere of Hor- and a Bay Area Theatre Critics and Snoopy Studios, along with ton Foote’s The Carpetbagger’s Circle Award. Mr. Yaji is a exterior architectural facades Children, Relatively Speaking member of the United Scenic throughout the park. He is a and the world premiere of Rolin Artists Local 829 and the UC member of the United Scenic Jones’ The Intelligent Design of Irvine Drama Department facul- Artist/IATSE - Local 829. Jenny Chow. He worked as ty. SCR’s stage manager for the LINDA KOSTALIK (Choreogra- Second Stage productions of LONNIE RAFAEL ALCARAZ pher) is a newly retired Profes- The Dazzle, True West, Play (Lighting Design) is an Associ- sor from the Theatre Arts and Strindberg, the world premiere ate Professor at UC Irvine and a Dance Department at Cal State of But Not for Me and the Pacif- professional Lighting Designer. Los Angeles and has worked ic Playwrights Festival work- He has designed at various re- extensively with the award-win- shop production of Land- gional theatre houses, such as ning Los Angeles County High locked. He has stage managed SCR, Berkeley Repertory, Sierra School of the Arts as choreogra- three seasons of La Posada Repertory, the Arena Stage in pher for the Musical Theatre Mágica. He has worked as as- Washington, DC and Utah Ensemble. Her career as dancer, sistant stage manager on the Shakespearean Festival. In ad- choreographer, and educator Mainstage productions of New dition to his eleven seasons spanned 40 years. She contin- England, Our Town and Arca- with La Posada Mágica, shows ues to choreograph productions dia and the Second Stage pro- at SCR include Bunnicula, The for professional theatres such as ductions of BAFO and Three Hoboken Chicken Emergency, SCR, Playwrights Horizons, The Days of Rain. Mr. Tucker has Play Strindberg, Dimly Per- Goodman Theatre, the Interna- worked at the Long Beach Civic ceived Threats to the System, tional City Theatre and others. Light Opera on No, No, Nanette, Sidney Bechet Killed a Man (for “Professor K” has directed Can Can, A Chorus Line, The which he received a Drama- Grammy nominee Bobby Ro- King and I and Man of La Man- Logue Award), BAFO, Later Life driguez in A Latin Jazz Christ- cha. If you can’t find him in and Three Viewings and he will mas Show and is currently the theatre, he is likely to be on be designing Man From Nebras- working on a new musical re- the diamond, or riding in par- ka later in the season. He de- view The Tribute with Crissy adiseridehawaii, Hawaii’s bike signed Culture Clash’s The Birds Guerrero and Dave Foley. She ride to stop AIDS. at both SCR and Berkeley continues work in videography Repertory, along with their na- and design. As always, it is a DAVID EMMES (Producing Artis- tional touring show, Radio pleasure to be back with the tic Director) is co-founder of Mambo, which has been seen SCR family. Happy Holidays! SCR. He has received numer- in Los Angeles, San Diego, San ous awards for productions he Francisco, Arizona, New York, *JAMIE A. TUCKER (Stage Man- has directed during his SCR ca- Seattle and Washington, DC. ager) completed his MFA in reer, including a Los Angeles Recent design experience in- Dance, specializing in Stage Drama Critics Circle Award for cludes I Ask You, Farewell to Management, at UCI in 1994. the direction of George Bernard Manzanar and Waking Up In Earlier this season he stage Shaw’s The Philanderer. He di- Lost Hills with Cornerstone The- managed The Caucasian Chalk rected the world premieres of ater Company; Utah Shake- Circle and Bunnicula and last Amy Freed’s Safe in Hell, The spearean Festival’s 2004 sum- season A View from the Bridge, Beard of Avon and Freedom- mer and 2003 fall seasons of The Clean House, The Retreat land, Thomas Babe’s Great Day

P14 SOUTH COAST REPERTORY • La Posada Mágica in the Morning, Keith Reddin’s The Retreat from Moscow, Hor- ing Resident Professional The- Rum and Coke and But Not for ton Foote’s The Carpetbagger’s atre and won the 1995 Theatre Me and Neal Bell’s Cold Sweat; Children and the world pre- LA Ovation Award for Lifetime the American premiere of Terry miere of Getting Frankie Mar- Achievement. Mr. Benson re- Johnson’s Unsuitable for Adults; ried—and Afterwards, the criti- ceived his BA in Theatre from the West Coast premieres of cally acclaimed California pre- San Francisco State University. C.P. Taylor’s Good and Harry miere of Nicholson’s Shadow- Kondoleon’s Christmas on lands, the Southern California PAULA TOMEI (Managing Di- Mars; and the Southland pre- premiere of Michael Healey’s rector) is responsible for the miere of Top Girls (at SCR and The Drawer Boy; and the West overall administration of South the Westwood Playhouse). Coast premieres of Peter Coast Repertory and has been Other productions include the Hedges’ Good As New and Mar- Managing Director since 1994. West Coast premieres of Three tin McDonagh’s The Lonesome A member of the SCR staff since Viewings by Jeffrey Hatcher, West. He has won accolades 1979, she has served in a num- The Secret Rapture by David for his direction of five major ber of administrative capacities Hare and New England by works by George Bernard including Subscriptions Manag- Richard Nelson; and Arcadia by Shaw, including the Los Angeles er, Business Manager and Gen- Tom Stoppard, The Importance Drama Critics Circle (LADCC) eral Manager. She is the imme- of Being Earnest by Oscar Award-winners Major Barbara, diate past President of the The- Wilde, Ayckbourn’s Woman in Misalliance and Heartbreak atre Communications Group Mind and You Never Can Tell by House. Among the numerous (TCG), the national service or- George Bernard Shaw, which world premieres he has directed ganization for the professional he restaged for the Singapore are Tom Strelich’s BAFO and not-for-profit theater and serves Festival of Arts. His producing Margaret Edson’s Pulitzer Prize- as a member of the Board. In responsibilities involve the winning Wit, which he also di- addition, she has served as overall coordination of SCR’s rected at Seattle Repertory The- Treasurer of TCG, Vice Presi- programs and projects. He has atre and the Alley Theatre in dent of the League of Resident served as a theatre panelist and Houston. He has directed Theatres (LORT) and has been onsite evaluator for the National American classics including Ah, a member of the LORT Negoti- Endowment for the Arts, on the Wilderness!, A Streetcar Named ating Committee for industry- Executive Committee of the Desire, A Delicate Balance and wide union agreements. She League of Resident Theatres, A View from the Bridge. Mr. represents SCR at national con- and as a panelist for the Califor- Benson has been honored with ferences of TCG and LORT; is a nia Arts Council. After attend- the Drama-Logue Award for his theatre panelist and site visitor ing Orange Coast College, he direction of 21 productions and for the National Endowment for received his BA and MA from received LADCC Distinguished the Arts and the California Arts San Francisco State University, Achievement in Directing Council; served on the Advisory and his PhD in theatre and film awards an unparalleled seven Committee for the Arts Adminis- from USC. times for the three Shaw pro- tration Certificate Program at ductions, John Millington the University of California, MARTIN BENSON (Artistic Di- Synge’s Playboy of the Western Irvine; and has been a guest rector), co-founder of SCR with World, Arthur Miller’s The Cru- lecturer in the graduate school his colleague David Emmes, has cible, Sally Nemeth’s Holy Days of business at Stanford and U.C. directed nearly one third of the and Wit. He also directed the Irvine. She graduated from the plays produced here. He has film version of Holy Days using University of California, Irvine distinguished himself in the the original SCR cast. Along with a degree in Economics and staging of contemporary work, with Emmes, he accepted SCR’s pursued an additional course of including William Nicholson’s 1988 Tony Award for Outstand- study in theatre and dance.

The Actors and Stage Managers em- The Scenic, Costume, Lighting and The Director is a member of the So- ployed in this production are mem- Sound Designers in LORT theatres ciety of Stage Directors and Chore- bers of Actors’ Equity Association, the are represented by United Scenic ographers, Inc., an independent na- Union of Professional Actors and Artists Local USA-829, IATSE. tional labor union. Stage Managers in the United States.

La Posada Mágica •SOUTH COAST REPERTORY P15