OCTOBER 2015

FULL GALLOP WELCOME

Welcome to Full Gallop! With this produc- tion we’re delighted to return to a play The Old Globe launched exactly 20 years ago. Over the course of its history, the Globe has developed a reputation for premiering new musicals that go on to successful lives on Broadway and at regional theatres across the country—but the Globe has served this vital role for plays as well. Full Gallop first appeared at the Globe in 1995, in a produc- tion directed by Associate Artist Nicholas Martin and starring the play’s co-author, Mary Louise Wilson. In the years since that production made the successful leap from San Diego to New York, the play has been produced at theatres across the country. Now Full Gallop comes full circle, and we’re DOUGLAS GATES so glad to welcome it back to The Old Globe. Managing Director Michael G. Murphy and Artistic Director Barry Edelstein.

And who better to capture the spirit and verve of Diana Vreeland than the incomparable Mercedes Ruehl? A bona fide star in her own right, Mercedes has the captivating talent and the command of the stage that this play and its subject demand. Thanks to her performance, along with the work of skilled director Andrew Russell and a top-notch creative team, Full Gallop allows us all a great pleasure that might otherwise have been lost forever: the chance to have an audience with The Empress of Fashion herself. We promise: it’s an experience not soon to be forgotten.

Barry Edelstein, Artistic Director Michael G. Murphy, Managing Director

MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large.

PERFORMANCES MAGAZINE 1 PRODUCTION SPONSORS LEAD PRODUCTION SPONSOR EXTRAORDINARY LEADERSHIP

VALERIE AND HARRY COOPER Since the founding of The Old Globe in 1935, heroic leadership has The following individuals and organizations, recognized for their Valerie Cooper has served on the Globe Board of Directors for many years, including as Secretary, made the theatre a cultural icon in San Diego and a forerunner in tremendous cumulative giving, comprise a special group of friends member of the Executive Committee, and, currently, as a member of the Nominating, Executive, the American theatre. Many individuals have paved that way and who have played leading “behind-the-scenes” roles, helping create and Development Committees. Valerie and her husband, Harry, have played many other important enabled the theatre’s extraordinary success, and the Globe would the productions on the three stages, programs in the community, roles at the Globe and both have co-chaired extremely successful Globe Galas (Valerie in 2004, 2006, like to recognize and honor its most generous and committed and our influence beyond this region. and 2010, and Harry in 2005). The Coopers’ previous sponsorships have includedA Gentleman’s philanthropists who have helped make that possible. Guide to Love and Murder (currently running on Broadway), Vanya and Sonia and Masha and Spike, The Women, and the world premieres of A Catered Affairand Cornelia, as well as the 2012 West Coast premiere of Divine Rivalry. Valerie and Harry are active throughout the San Diego community, — $25 million and higher — supporting the San Diego Museum of Art, Vista Hill Foundation, Patrons of the Prado, Museum of Donald* and Darlene Shiley Contemporary Art San Diego, San Diego Symphony, and American Friends of the Louvre.

— $11 million and higher — Conrad Prebys | San Diego Commission for Arts and Culture PRODUCTION SPONSORS — $8 million and higher — Karen and Donald Cohn | Sheryl and Harvey White NINA AND BOB DOEDE Originally from Pennsylvania and Connecticut, respectively, Nina and Bob Doede met through the — $7 million and higher — investment banking firm Jefferies Group in Los Angeles and eventually settled in La Jolla in 1981. Kathryn Hattox The Globe became one of the Doedes’ favorite organizations, and they have been committed ever — $3 million and higher — since. They have been Circle Patrons and Production Sponsors for a number of years, and Nina Helen K. and James S. Copley Foundation | Audrey S. Geisel | County of San Diego has served on the Board and volunteered in numerous capacities, including co-chairing the 2013

and 2014 Galas. Nina and Bob have also been involved with many other medical, cultural, and — $2 million and higher — educational organizations including UC San Diego, La Jolla Music Society, The Bishop’s School, San The James Irvine Foundation | The Shubert Foundation | Viterbi Family Foundation Diego Museum of Art, and Rady Children’s Hospital. Bob has a history in the investment business over the past 35 years and is currently Chairman of the Board of United Capital Financial Partners. — $1 million and higher — The Lipinsky Family The Kresge Foundation J. Dallas and Mary Clark* Carolyn Yorston-Wellcome Estate of Dorothy S. Prough Qualcomm Foundation California Cultural & Historical Endowment National Endowment for the Arts Bank of America GLORIA RASMUSSEN Stephen & Mary Birch Foundation, Inc. Helen Edison* Mary Beth Adderley Originally from New York, Gloria Rasmussen is an avid patron of the arts and began attending Jeannie and Arthur Rivkin Estate of Beatrice Lynds* Globe Guilders theatre and opera at a very young age. She firmly believes in the importance of introducing children Wells Fargo Victor H.* and Jane Ottenstein Anonymous to the performing arts, and she regularly brought her son, Robert Jr., with her to productions when *In Memoriam he was young. In New York City, Gloria owned and operated numerous boutiques, and she traveled with her first husband as his work sent him around the world. After moving to Coronado, Gloria married Dick Rasmussen, in whose memory she has sponsored Double Indemnity, Into the Woods, Kiss Me, Kate, and Full Gallop. Gloria is on the board of San Diego Opera and ardently supports the performing arts, arts education, sciences, and organizations that increase the quality of life for children. ARTIST SPONSOR

ARTIST SPONSOR FOR MERCEDES RUEHL PAMELA J. WAGNER AND HANS TEGEBO JO ANN KILTY Pam Wagner has enjoyed The Old Globe since high school, when her family relocated from Northern Before relocating to San Diego, Jo Ann Kilty had a career in advertising and sat on the board of California. After almost 20 years as a co-owner of a software company, she retired and was finally directors of National Car Rental. Jo Ann is passionate about the arts and has served as chair of the able to devote time to her love of the arts. Pam has sponsored numerous students in dance, music, Del Mar Foundation’s Cultural Arts Committee and on the board of the California Center for the and theatre and supports a local middle school drama club, The Lilac Theatre. Pam has been a patron Arts, Escondido. In 2009 she joined the Globe’s Board and serves on the Development Committee. of the Globe for over 10 years and is a member of the Board of Directors. She is also a board member Jo Ann was recognized as Honorary Chair for the 2011 Globe Guilders Fashion Show and co-chaired for the Love Library at San Diego State University and Patrons of the Prado. Pam met Hans Tegebo this year’s 80th Anniversary Gala, “Club 3515,” and the 2012 Globe Gala. through their mutual love of art; he is a talented sculptor and ceramicist and will soon complete a one-of-a-kind house that is a livable piece of art. They spend a great deal of time in New York City and continue to travel the world together.

2 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 3 OUR THANKS In 1995, the Season Sponsor program was initiated by Globe Board members to secure a foundation of support for artistic Season Sponsors ($60,000 and higher) and education programs. Since that time, Season Sponsors have contributed millions of dollars collectively to underwrite the annual operating budget, and The Old Globe is pleased to acknowledge the following Season Sponsors who have generously supported the 2015-2016 season.

Leading Season Sponsors ($75,000 and higher)

JOAN AND IRWIN JACOBS VALERIE AND HARRY COOPER GILLIAN AND TONY THORNLEY Sponsors since 2002 Sponsors since 2005 Sponsors since 2009 U-T SAN DIEGO EDUARDO CONTRERAS / T CHARLES ERICKSON KAREN AND DONALD COHN DARLENE MARCOS SHILEY GLOBE GUILDERS AUDREY S. GEISEL Charter Sponsors since 1995 In memory of Donald Shiley Charter Sponsor since 1995 Sponsor since 1998 Charter Sponsor since 1995 JUNE E. YODER PAM FARR AND BUFORD ALEXANDER RHONA AND RICK THOMPSON Sponsor since 2010 Sponsors since 2011 Sponsors since 2013

KATHRYN HATTOX SHERYL AND HARVEY WHITE CONRAD PREBYS AND MARY BETH ADDERLEY Sponsor since 1998 Sponsors since 2000 DEBRA TURNER Sponsor since 2004 HAL AND PAM FUSON VICKI AND CARL ZEIGER SUSAN AND JOHN MAJOR Sponsors since 2004 Sponsors since 2013 Sponsors since 2014 Sponsors since 2014

Charter Sponsor since 1995 Sponsor since 2007

PETER COOPER AND ELAINE AND DAVE DARWIN BRIAN AND SILVIJA DEVINE PAULA AND BRIAN POWERS NORMAN BLACHFORD Sponsors since 2011 Sponsors since 2012 Sponsors since 2012 Sponsors since 2008 Leading Production Sponsors ($50,000 and higher)

Sponsor since 2000 JIM COX

BUCK LEWIS DIANE AND JOHN BEROL ELAINE LIPINSKY JEAN AND GARY SHEKHTER GLORIA RASMUSSEN ANN DAVIES ANONYMOUS Sponsors since 1996 FAMILY FOUNDATION Sponsors since 2014 Sponsor since 2012 Sponsor since 2013 Sponsor since 2008 Sponsor since 2012

Photo for Globe Guilders: Tanya Thai McBride and Amy Kim Waschke inThe White Snake, 2014 (photo courtesy of McCarter Theatre Center); For additional information on how you may become a Season Sponsor, for Anonymous: Stephen Bienskie and Jenn Harris with cast members of In Your Arms, 2014 (courtesy of New York Stage and Film & Vassar’s please contact Keely Tidrow or Rachel Plummer at (619) 231-1941. Powerhouse Theater); for Diane and John Berol: the cast of A Midsummer Night’s Dream, 2013. 4 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 5 OUR THANKS THE PLAY Welcome to the Globe! for All will visit community venues from Southeast San Diego to the Imperial Valley with Much Ado About Nothing, presenting free In our culture of self-styled experts, Shakespeare November 10-22 to those who for many reasons cannot individually curated experiences, and make it onto our campus. Our soon-to-graduate and newly arrived FROM THE endless digitally-enabled personal M.F.A. candidates will perform As You Like It, which runs November reinventions, it’s bracing to revisit an era 14-22, under the aegis of the Old Globe/USD M.F.A. Program. ARTISTIC in which style was defined by one certain, And, of course, thousands of children will learn about the magic of authoritative, and unquestionable figure. theatre year-round at free student matinees and sensory-friendly The fabulous Diana Vreeland was an icon. performances of The Grinch and other productions. DIRECTOR Imperious, definitive, wise, and witty, she was unlike any American before or since: Your philanthropy makes a difference. We ask you to invest in the Last summer all of us at The Old Globe delighted Listen closely in tonight’s play to Vreeland’s a paragon of fashion and a passionate Globe and help San Diego’s largest not-for-profit performing arts in revisiting Into the Woods, a musical that discourses on color or texture, and what you hear advocate for life lived as if it were art. I cannot imagine a talent better organization close the 45% funding gap between the total cost of premiered here three decades ago and was are more than declarations on what looks nice suited to inhabit Vreeland’s elegance and attitude than Broadway producing each show and earned income from ticket sales. We are and film star Mercedes Ruehl. She channels for us this larger-than- grateful to our audiences and supporters for everything you do, revived in a production that took a brand new and what doesn’t. Instead these are arguments: life doyenne of good taste. Full Gallop premiered at The Old Globe in including purchasing tickets, attending performances, and spreading look at that show. The process reminded us of on beauty and its power to enhance the world; 1995, and just as it comes full circle in returning here, so Ms. Ruehl the word about our productions and other programs with your this theatre’s rich history of originating work on life and how much more richly it can be lived returns to the stage in this witty and wonderful one-woman tour de friends. And we are grateful for your adventurous and open-minded that has gone on to great success elsewhere. The when aesthetics guide the way; on taste as the force. We are delighted to welcome her. spirit, which encourages us to produce the best in entertaining and list of these successes is long and includes not dynamic and lively intersection between self rewarding theatre. As your Globe Board Chair and a firm believer in the transformative only musicals but also plays in many genres. and the world. Vreeland was an avatar of style, powers of the arts, I am pleased to represent and support this amazing Thank you for being here, and for being part of the Globe family. Many are ripe for revival and reexamination. to be sure, but she was also a philosopher, a institution. We are grateful to the Production Sponsors, Valerie and That’s whyFull Gallop is in our 2015-2016 shaper of reality and a maker of meaning. Harry Cooper, Nina and Robert Doede, Gloria Rasmussen, and Pam season. Wagner and Hans Tegebo, and the Artist Sponsor for Ms. Ruehl, Jo It takes a very special actor to embody a Ann Kilty. The play was launched in 1995, back when this character as imposing and significant and even As our 80th Anniversary year draws to a close, several of my favorite Elaine Bennett Darwin space was the Cassius Carter Center Stage. as extravagant as this one. That such a talent is ongoing community outreach programs are gearing up again! Globe Chair, Board of Directors From here its trajectory brought it to New York, with us is precisely the reason that the Globe is London, regional theatres nationwide, and reviving the play. A year ago Mercedes Ruehl let BOARD OF DIRECTORS stages large and small around the world. Now me know that playing Full Gallop was a dream of it comes back home. And just as the innovative hers, and I pressed go in an instant. Mercedes Elaine Bennett Darwin† Vicki L. Zeiger† Ann Davies† artists of Fiasco Theater found new meanings is an American treasure, a fearless talent CHAIR INCOMING CHAIR VICE CHAIR, EDUCATION and resonances in Woods, so tonight’s creative whose boldness is matched by an uncommon Peter J. Cooper† Anthony S. Thornley† Harvey P. White† VICE CHAIR, NOMINATING TREASURER SECRETARY team, led by the charismatic and talented facility with language, a bottomless emotional director Andrew Russell in his Globe debut, finds reservoir, and a striking sense of wit. Like DIRECTORS Jack Galloway Jean Shekhter HONORARY DIRECTORS EMERITUS DIRECTORS Mary Beth Adderley Victor P. Gálvez Ann Steck† Mrs. Richard C. Adams* Garet B. Clark potent new currents of emotion, humanity, and Vreeland, she understands the expressive power Elizabeth Altman Kathryn Hattox† Steven J. Stuckey Clair Burgener* J. Dallas Clark* entertainment in Full Gallop. of style, and hers, live on stage, is unmatched in Terry Atkinson Patricia A. Hodgkin Daniel L. Sullivan, Ph.D. Mrs. John H. Fox* Bea Epsten our current theatre. Indeed, I cannot think of Pamela Cesak Daphne H. Jameson Karen Tanz Audrey S. Geisel Sally Furay, R.S.C.J.* But unlike a big Sondheim musical, tonight’s play another performer at work today whose talents Nicole A. Clay† Jo Ann Kilty Dean H. Thompson Paul Harter Bernard Lipinsky* unfolds on a different scale. It’s more intimate, are as precise a fit for Vreeland as Mercedes, Joseph J. Cohen Sheila Lipinsky Rhona Thompson Gordon Luce* Delza Martin* Donald L. Cohn† Keven Lippert Evelyn Mack Truitt exploring one moment in one individual’s life, and I’m honored to have her here and thrilled † † Dolly Poet* Darlene Marcos Shiley Valerie S. Cooper Paula Powers Debra Turner Deborah Szekely Patsy Shumway and simultaneously more epic, because that to watch her as she makes her magic. Her gifts Conrad Prebys† Stacey LeVasseur Vasquez Silvija Devine Hon. Pete Wilson Carolyn Yorston-Wellcome Elizabeth Dewberry Tim Rafalovich Jordine Von Wantoch one life was lived in a manner that far exceeded revive this play in the truest sense: they make it Stephen P. Embry† Adam Ratner Reneé Wailes the normal. The themes of Diana Vreeland’s life live again, new and vital. *In Memoriam Pamela A. Farr Sandra Redman Pamela J. Wagner were as grand as her personality. Her vision was †Executive Committee Member Karen Fox Sue Sanderson Lynne Wheeler capacious and her impact national. She was The Thanks for coming. Enjoy the show. Robert Foxworth Crystal Sargent Karin Winner† Harold W. Fuson, Jr.† Marguerite Sargis Empress of Fashion, The Oracle of Beauty, and her personal tastes changed—some would say ASSOCIATE ARTISTS OF THE OLD GLOBE created—American style. In recognition of their unique contribution to the growth of The Old Globe and their special talent, we take great pride and pleasure in acknowledging as Associate Artists the following individuals who have repeatedly demonstrated, by their active presence on our stages and Style is one of the key words in the vocabulary in our shops, that wherever else they may work, they remain the heart and soul of the Globe. of art. Every great artist has a style that’s unique to him or her, a voice and vision that is William Anton Tim Donoghue Mark Harelik John McLain Steven Rubin Deborah Taylor Gregg Barnes Richard Easton Bob James Jonathan McMurtry Ken Ruta Irene Tedrow* unmistakable in its idiosyncrasy and specificity. Jacqueline Brookes* Tovah Feldshuh Charles Janasz Stephen Metcalfe Douglas W. Schmidt Sada Thompson* Style is in the first instance concerned with Lewis Brown* Monique Fowler Peggy Kellner* Robert Morgan Seret Scott Paxton Whitehead surfaces: what something looks like, sounds Victor Buono* Robert Foxworth Tom Lacy Patrick Page David F. Segal James Winker like, feels like. But in the hands of genius, style Wayland Capwell* Ralph Funicello Diana Maddox Ellis Rabb* Richard Seger* Robert Wojewodski goes deeper, expressing through surface gesture Kandis Chappell Lillian Garrett-Groag Nicholas Martin* Steve Rankin Diane Sinor* G. Wood* Eric Christmas* Harry Groener Dakin Matthews William Roesch Don Sparks an inner truth and hidden realms of meaning. Patricia Conolly A.R. Gurney Deborah May Robin Pearson Rose David Ogden Stiers *In Memoriam George Deloy Joseph Hardy Katherine McGrath Marion Ross Conrad Susa* 6 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 7 PRESENTS FULL GALLOP CAST

DIANA VREELAND...... Mercedes Ruehl BY

MARK HAMPTON and Production Stage Manager...... Annette Yé MARY LOUISE WILSON SETTING August, 1971, Diana Vreeland’s Park Avenue apartment.

Sean Fanning Mark Mitchell Robert J. Aguilar Matt Starritt PRODUCTION STAFF SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN Dance Consultant...... James Vásquez Assistant Scenic Design...... Eileen McCann Brian Meister Annette Yé Assistant Costume Design...... Shelly Williams ASSISTANT DIRECTOR PRODUCTION STAGE MANAGER Production Assistant...... Hannah May

DIRECTED BY ANDREW RUSSELL

David Stone, Amy Nederlander-Case, Barry and Fran Weissler presented the Manhattan Theatre Club production of Full Gallop Off Broadway in New York City, 1996.

World Premiere at The Old Globe, San Diego, California, 1995.

First presented as a work in progress by The Bay Street Theatre, Sag Harbor, New York.

Produced in cooperation with the family of Diana Vreeland.

Full Gallop is presented by special arrangement with Dramatists Play Service, Inc., New York. The Actor and Stage Manager employed in this production are members of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States.

Sheryl and Harvey White Theatre Conrad Prebys Theatre Center Si desea una sinopsis de esta obra en Español o en Inglés, favor de pedírsela al acomodador que le entregó este programa. If you would like a synopsis of this production in English or Spanish, please request it from an usher. September 26 – October 25, 2015

8 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 9 THE PLAY DIANA “Red is the great VREELAND: clarifier—bright, THE EMPRESS cleansing, revealing. OF FASHION It makes all colors

By Danielle Mages Amato beautiful.” –Diana Vreeland A LOOK INSIDE THE RED ROOM By Zane Alcorn

In 1955, Diana Vreeland, already well-established as fashion editor for Harper’s Bazaar, moved with her husband to a new apartment on Park Avenue. Always fascinated by the power of the color red, Vreeland described to friend and interior designer Billy Baldwin that she wanted her living room to emulate “a garden from hell.” This eccentric description came as no surprise—Vreeland was already well known for promoting outrageous, fun ideas in her famous “Why Don’t You?” column. Vreeland’s resulting Red Room captured her eccentric personality and also served as the perfect artistic haven amid the bustle of the city.

Baldwin took her words to heart. He packed the room with majestic colors and designs that covered every wall and piece of furniture. Each element within the room held a story, whether old or new, that Diana Vreeland. LOUISE DAHL-WOLFE RICHARD AVEDON filled the space to the brim. Everything from an antique English (above) Doe Avedon and Diana Vreeland, New York, 1946. armchair to Vreeland’s own stitchwork on the pillows made this (right) The Red Room, Diana Vreeland’s apartment in New York City. Legendary tastemaker and visionary editor Diana Vreeland captivated the imaginations of thousands of readers—and in the room a stunning live-in sculpture. She took great pride in giving reinvented the world of fashion magazines during her 35-year-long end, revolutionized an entire industry. Photographer Richard tours that revealed her deep emotional connection with everything career at Harper’s Bazaar and Vogue. And when that career came to Avedon, whose star rose alongside Vreeland’s, often quoted her editor-in-chief, she transformed Vogue into the top American in the room. Although too extravagantly packed for large social an abrupt end in 1971, she achieved something perhaps even more as saying, “I know what they’re going to wear before they wear it, fashion magazine. events (though she always found room for more flowers), Vreeland spectacular: she reinvented herself. what they’re going to eat before they eat it, and where they’re going often hosted small parties at her apartment. While guests discussed to go before it’s there.” She socialized with Andy Warhol, advised In 1971, she was fired from Vogue by publishers. But at nearly 70 in the Red Room she would invite individuals to talk in the kitchen, Vreeland began her magazine career at 33, when she was spotted at a Jacqueline Kennedy on her wardrobe, and launched the careers of years of age, Vreeland wasn’t ready to retire. Instead, she began simultaneously maintaining her sense of elegance and privacy. party by Carmel Snow, the editor of Harper’s Bazaar. Vreeland radiated dozens of photographers, models, and fashion designers. a remarkable second act as a special consultant to The Costume a unique sense of style that captivated Snow, and the very next day, Institute at The Metropolitan Museum of Art, where she oversaw Vreeland was exhilarated by the resulting “redness” of the she offered Vreeland a job. In 1936, Vreeland began publishing her Despite her success, she was passed over for the top job at Harper’s 15 extraordinary exhibitions. room, seeing the abundance of red as a work of art. She also “Why Don’t You?” column, a lighthearted and outlandish series of Bazaar, and she left the magazine soon after to join Vogue, where she felt that it would be an excellent challenge for any skilled suggestions for turning an ordinary life into a stylish one. Why don’t became editor-in-chief in 1963. At Vogue, she was famous for her Biographer Amanda Mackenzie Stuart summed up Vreeland’s artist to capture on camera, in one interview boasting that “anyone you, Vreeland suggested, “wear fruit hats? Currants? Cherries?” or international focus—she welcomed global styles and flew models perspective this way: “Diana understood that fashion means far who can photograph this place would find the Sistine Chapel a “tie black tulle bows on your wrists?” or “rinse your blond child’s hair and photographers all over the world for extravagant shoots. She more than just clothes: it tells the world what we are, and its power cinch.” The iconic room revealed Vreeland’s deep relationship in dead champagne to keep it gold, as they do in France?” featured British icons like the Beatles and Twiggy, and she embraced lies in the intimate way it bridges the gap between our fantasies with her art and to this day defines her distinct sense of style. unconventional beauty on the pages of the magazine. “Push their and the outer world.” Diana Vreeland’s drive, personality, and Very soon after she was hired, Vreeland became fashion editor faults,” Vreeland would say. “If they have a space between their teeth, extraordinary creative vision made her a cultural icon—a woman Zane Alcorn is a director/writer and former Old Globe artistic intern. for Harper’s. Her distinct voice and unique point of view quickly make it the most beautiful thing about them.” During her years as whose fantasies defined fashion for an entire generation. 10 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 11 THE PLAY A TOTAL ORIGINAL “Diana MERCEDES RUEHL TALKS ABOUT DIANA VREELAND

AND RETURNING TO THE STAGE IN FULL GALLOP Vreeland

Interview by Danielle Mages Amato was a total original. What drew you to Full Gallop? called it “society women dressing other society women”—to this glorious journal of She was a I saw the original production Off Broadway dreams. It became about clothing that took with Mary Louise Wilson, and I found it so you to exotic places, not just in the world enchanting that I actually went to see it three but in your imagination! It evoked a very visionary.” times. At that time, I had a development deal romantic, very luxurious kind of style. at NBC, and I was trying to find writers who But all that arose from Diana Vreeland’s –Mercedes Ruehl could develop a character along the lines of imagination, from this dream that she was Diana Vreeland. I was never successful. She’s always chasing. She never quite got exactly a very elusive character—it was like trying what she wanted, but she chased it until the to create something based on magic, but day she died. She just thought like nobody not magic. The play stuck with me for a long else. And there is a courage implicit in time. I was just enchanted with it. someone who is that original and who brings that originality to the public forum. Then, a couple of years ago, I started working with my manager, Craig Dorfman. He knew I Were you aware of her work at Vogue had retreated from acting quite a bit during when you were a very young woman? Mercedes Ruehl. the years my son was growing up, but that I was not finished with acting, not nearly. No, but I was aware of Vogue. I was just Unfolding Vreeland, artwork by Alessandro Gori.Laboratorium, featuring portraits of Vreeland by So one day this great big box arrived at my 21 in 1970, when she left Vogue. She was George Hoyningen-Huene, Priscilla Rattazzi, and Richard Avedon. door with everything that had been printed, moving into a different phase of her life and written, or filmed about Diana Vreeland: not Vogue was moving into a different phase of Are you a person who’s always been a towering creature.” And the truth is, while whom you know to be smart, funny, patient, only Full Gallop, but also her biography, a its definition of fashion: it became much interested in crafting a personal style? I think fashion was in one sense the goal but also have that little something extra that book of photographs she put together, and more for the working woman and less and end of her work, in another sense it marks the rare ones. I’m just plain lucky that the documentary The Eye Has to Travel. And about fantasy as things moved out of the Style has come late to me. I would say, oddly wasn’t. She said more than once that fashion Andrew Russell and Brian Meister had the that’s when we began talking to Barry about great era of change that was the 1960s. The enough, that my own sense of style has only doesn’t matter to anyone if it doesn’t matter time to work with me on this. doing it. ’60s brought the youthquake, the change evolved in the last 10 years. I think it comes to the woman who is wearing it. It’s not the in style that went with it, the revolution in with an image of yourself—when you begin clothing but the life that’s being lived in the And who better to launch you into the Two days before I showed up at rehearsals, I clothing. It was a time for dreams, and then to have an image of yourself that coalesces clothing that’s important. next phase of your career than Diana dropped my son off at college. And here I am. the ’70s came crashing back down to reality. with who you really are and want to be. In Vreeland? It was no longer the kind of atmosphere other words, when you’re not chasing an How do you see this production—and What was it about the play—and the that she thrived in, but I still think she was image, you’re embodying it. It took a great this moment of returning to the It hasn’t escaped my notice that Full Gallop role of Diana Vreeland—that you found devastated when she was fired from Vogue. deal of time for me to arrive at that. stage—as fitting into the trajectory is about a woman who had to retreat from so enchanting? Even though, of course, the work that of your career as a whole? her career—I didn’t necessarily have to, she would do for The Costume Institute Do you see Vreeland as an inspiring but I did—and who is now in the process How do I put this without wading into a would become not just a success, but the figure even for those who aren’t Well, if you’re going to go back to something, of (whether she liked the term or not) sea of clichés? She was a total original. crowning achievement of her career. In interested in fashion per se? I guess total immersion is the way to do reinventing herself, reintroducing herself She was a visionary. She was an aesthete. one of her interviews—I think it was with it. Just jump into the deep end and start into public life in a new way, in a new She was a reporter. She was an arbiter of Dick Cavett—he said, “You have this great Absolutely. Just recently I was speaking with swimming. It’s a little bit terrifying to jump milieu. And in a sense, that’s exactly what style, but from a totally original point of talent to continually reinvent yourself.” two women who live near me, both open- into a solo show. But then I think: why not? I’m doing. The play does, in that way, reflect view. And she had a point of view—a very And she said, “I don’t reinvent myself. minded, intelligent people. And one said to exactly where I am in my life. It’s not the strong point of view—and she never really I just go on with what I’m doing.” me, “Why would you want to do a play about I must say though, I’ve whizzed around first time such an odd synchronicity has doubted the validity of her own instincts, In other words, she was doing the same a fashionista?” But the other said, “Don’t you the block enough to know that a great happened to me. And for me, it’s always which were sublime. She changed Vogue thing at The Costume Institute that she dare let yourself get talked out of that part director and assistant director make all the been a signal of something good. magazine from a place where—I think it had done at Vogue, which was to pursue by someone who says, ‘That’s just trivial,’ difference. In a one-person show, it helps was the photographer Richard Avedon who dreams. or, ‘She’s just a woman of fashion.’ She was to have family: people you’ve worked with, 12 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 13 ARTISTS MERCEDES RUEHL MARY LOUISE WILSON include Pericles, Prince of Tyre, Much Ado MATT STARRITT 2014), Boeing-Boeing, The First Wives Club, and education facilities. Prior to the Globe, (Diana Vreeland) has (Playwright) has enjoyed a long and About Nothing, Measure for Measure, Twelfth (Sound Design) is a Seattle-based, freelance Opus, Dancing in the Dark, Hay Fever, and the he was the Managing Director of Austin appeared in the films The successful acting career on stage as well Night, The Winter’s Tale, The Two Gentlemen sound designer for theatre and dance. Summer Shakespeare Festivals 2008 and Lyric Opera in Austin, Texas; Director of Fisher King (Academy as in television and film. She received a of Verona, and A Midsummer Night’s Dream. In Seattle, he has designed for Seattle 2010-2013. Administration of San Diego Opera; and Award, Golden Globe Tony Award for her portrayal of Big Edie His other recent credits include Everybody’s Repertory Theatre, Intiman Theatre, Seattle General Manager of San Diego Repertory Award, Los Angeles and in the musical Grey Gardens and a Tony Talkin’: The Music of Harry Nilsson, Honky Shakespeare Company, Strawberry Theatre BARRY EDELSTEIN Theatre. Before relocating to San Diego Chicago Film Critics nomination for playing Fraulein Schneider (Craig Noel Award nomination), In the Workshop, Book-It Repertory Theatre, The (Artistic Director) is a stage director, produc- from New York, he held similar positions at Association Awards), Married to the Mob, The in the Broadway revival of Cabaret. She Heights, and Walter Cronkite is Dead. (San Cherdonna and Lou Show, New Century er, author, and educator. Widely recognized Theatre for a New Audience and the Joyce Warriors, Big, Heartburn, Slaves of New York, won Obie and Drama Desk Awards for her Diego Repertory Theatre),Dogfight, The Theatre, BenDeLaCreme, Waxie Moon, as one of the leading American authorities Theater Foundation’s American Theater Another You, Last Action Hero, Lost in Yonkers, performance as the famous fashion icon Whale, Sons of the Prophet, Pageant, Maple zoe | juniper, and Washington Ensemble on the works of Shakespeare, he has direct- Exchange. He also served as negotiating What’s Cooking?, The Amati Girls, Roseanna’s Diana Vreeland in Full Gallop, which she and Vine, The Importance of Being Earnest, Theatre. Nationally, he has designed for ed nearly half of the Bard’s plays. His Globe assistant for the League of Resident Grave, Chu and Blossom, Zeyda and the Hitman, co-wrote with the writer Mark Hampton. Travesties, and Shakespeare’s R&J (Cygnet Alley Theatre, Berkeley Repertory Theatre, directing credits include The Winter’s Tale; Theatres and sales representative for Spooky House, More Dogs Than Bones, and The Full Gallop was subsequently published by Theatre Company), South Pacific, Jane Cornerstone Theater Company, and South Othello; the West Coast premiere of novel- Columbia Artists Theatricals Corporation. Minus Man. She has been seen on Broadway Dramatists Play Service and performed all Austen’s Emma, and Little Shop of Horrors Coast Repertory. He is a part-time lecturer ist Nathan Englander’s play The Twenty-sev- Mr. Murphy serves on the Board of Directors in Neil Simon’s Lost in Yonkers (Tony, Drama enth Man; and the upcoming world premiere over the world. She has published articles (Summer Repertory Theatre), and The Improv for the University of Washington’s School of the National Alliance of Musical Theatre, Desk, Outer Critics Circle, and Helen Hayes of Drama and was a founding member of of Michael John LaChiusa and Sybille Pear- in The New York Times, Playbill, American at Harrah’s and Menopause The Musical the National Corporate Theatre Fund, and Awards), The Goat, or Who Is Sylvia?(Outer Washington Ensemble Theatre. son’s musical Rain. He also directed All’s Theatre, and The New Yorker. (Harrah’s Las Vegas). Mr. Fanning holds an the Balboa Park Cultural Partnership and Critics Circle Award, Tony nomination), Well That Ends Well as the inaugural produc- M.F.A. in Scene Design from San Diego State serves as a Management Trustee for San The Rose Tattoo, The Shadow Box (Tony BRIAN MEISTER ANDREW RUSSELL tion of Globe for All, a new producing plat- Diego County Theatrical Trusts, the pension nomination), and I’m Not Rappaport. Her University. seanfanningdesigns.com. (Assistant Director) has worked on a variety (Director) is a writer and director based in form that tours the works of Shakespeare to and welfare trust for IATSE stagehands Off Broadway credits include Woman Before of productions since graduating from New diverse communities throughout San Diego Seattle with a focus on stage productions MARK MITCHELL in the San Diego region. He was also an a Glass (Obie Award), Other People’s Money York University, including the Broadway County. As Director of the Shakespeare Ini- adjunct faculty member of the Music (Clarence Derwent Award), The Marriage of celebrating outsiders and those on the (Costume Design) is an artist who productions of Julius Caesar, Dracula, tiative at The Public Theater (2008-2012), Department at the University of San Diego. Bette and Boo (Obie Award), Coming of Age fringe. He is the Producing Artistic Director speaks to social issues through textiles. Hollywood Arms, The Rocky Horror Show, Edelstein oversaw all of the company’s Mr. Murphy earned his B.F.A. degree in in Soho, The Vagina Monologues, and Edward of the Tony Award-winning Intiman Theatre, His contributions to Seattle’s cultural Royal Court Theatre’s The Weir, Smokey Joe’s Shakespearean productions, as well as its Stage Management from Webster University Albee’s The Occupant. Ms. Ruehl’s television where he directed Stu for Silverton, a new community bridge a number of disciplines, Cafe, Once Upon a Mattress, Crazy for You, City extensive educational, community outreach, in St. Louis, Missouri, and his M.F.A. in credits include HBO’s Indictment: The musical about America’s first transgender including art, music, theater, fashion, and of Angels, Metamorphosis, Noises Off, Private and artist-training programs. At The Public, Performing Arts Management from Brooklyn McMartin Trial, Gia, Hallmark Hall of Fame’s mayor, and last year’s critically acclaimed education. He is the subject of the award- Lives, The Royal Shakespeare Company’s he staged the world premiere of The Twenty- College of the City University of New York. The Lost Child and Loving Leah, El Jefe, Doubt, productions of Tony Kushner’s Angels in winning short film Burial, and he presented Good, The Little Foxes, West Side Story, Shirley seventh Man, Julius Caesar, The Merchant of Star Spangled Banners, Showtime’s North America, Parts One and Two, among others. a performance and exhibition of the same Bassey On Broadway, Wings, Lily Tomlin’s Venice, Timon of Athens, and Steve Martin’s JACK O’BRIEN Shore Fish, Guilt by Association, and A Girl Currently at Intiman, Mr. Russell has co- title at the Frye Art Museum in 2013. Mr. Appearing Nitely, The Merchant, and Hello, WASP and Other Plays. He was also Associ- (Artistic Director Emeritus) served as the Like Me. She also made guest appearances written with Ana Brown the new play John Mitchell was recently artist-in-residence at Dolly! His Off Broadway credits includeLady ate Producer of The Public’s Broadway pro- Artistic Director of The Old Globe from on “Entourage,” “Law & Order,” “Monday Baxter is a Switch Hitter, a new comic-drama The New Foundation Seattle, where he began Day, Falling, I Love You Because, Bring in the duction of The Merchant of Venice starring 1981 through 2007. Mr. O’Brien directed Mornings,” “Luck,” “Psych,” and “Frasier,” that tells the true story of a softball team developing a new body of work called Burial Morning, Program for Murder, Modigliani, and Al Pacino. From 1998-2003 he was Artistic the 2014 Broadway revival of It’s Only a among others. accused of having too many straight players 2. He lives in Seattle with his partner of 14 The Mother of Us All. Mr. Meister’s extensive Director of Classic Stage Company. Edel- Play starring F. Murray Abraham, Matthew at the 2008 Gay Softball World Series. He years, Kurt B. Reighley, and their spoiled dog touring and regional credits include Viva MARK HAMPTON stein’s other Shakespearean directorial cred- Broderick, Nathan Lane, Stockard Channing, has also co-written the musical The Fourth Gloucester. markmitchellburial.com. La Vida, Dinner, Little Shop of Horrors, Meet (Playwright) is grateful to The Old Globe for its include The Winter’s Tale at Classic Stage and Megan Mullally. His Broadway credits Estate with composer Richard Gray and Me in St. Louis, Ain’t Misbehavin’, Forbidden giving Full Gallop its first production, which Company; As You Like It starring Gwyneth also include: Macbeth with Ethan Hawke, The The 5th Avenue Theatre that puts Dorothy ROBERT J. AGUILAR Broadway, Seven Brides for Seven Brothers, allowed the play to be seen subsequently Paltrow; and Richard III starring John Tur- Nance, Dead Accounts, Catch Me If You Can, Kilgallen, Jack Ruby, Laura Poitras, and (Lighting Design) most recently designed The Rothschilds, A Christmas Carol, The Boy in New York, Los Angeles, London, Paris, turro. Additional credits include the Lucille Impressionism, The Coast of Utopia (Tony Edward Snowden in the same room. In New John Baxter is a Switch Hitter and The Friend, Gross Points, Noël and Gertie, and You Rome, Brussels, South Africa, Spain, and Lortel Award-winning revival of Arthur Award), Dr. Seuss’ How the Grinch Stole York, Mr. Russell has directed for The Public Children’s Hour (Intiman Theatre Festival), Never Can Tell. For The Metropolitan Opera Sweden. Subsequent plays by Mr. Hampton Miller’s All My Sons; the world premiere of Christmas!, Dirty Rotten Scoundrels (Tony Theater, The Ensemble Studio Theatre, New Jasper in Deadland (The 5th Avenue Theatre), his stage management credits include La include The Boswell Sisters, written with Steve Martin’s The Underpants, which he nomination), Henry IV (Tony Award), York University, Jazz at Lincoln Center, Lizard Boy (Seattle Repertory Theatre), Bohème, Four Saints in Three Acts, Dido and Stuart Ross and produced by The Old Globe; commissioned; and Molière’s The Misan- Hairspray (Tony Award), Imaginary Friends, and Naked Angels, among others. He has and Three Sisters (The Seagull Project). His Aeneas, and Phèdre. His work for Repertory Paper Doll, written with Barbara Zitwer, thrope starring Uma Thurman in her stage The Invention of Love (Tony nomination, other regional credits include Angels in Theatre of Lincoln Center includes Play starring Marlo Thomas and F. Murray served as Tony Kushner’s assistant, worked debut. Edelstein has taught Shakespearean Drama Desk Award), The Full Monty (Tony Strindberg, People Are Living There, The Abraham; and The Secret Letters of Jackie and in creative development with David Stone America (Intiman), Little Shop of Horrors (5th acting at The Juilliard School, NYU’s Grad- nomination), More to Love, Getting Away Marilyn, co-written with Michael Sharp, both and Universal Pictures, and assistant Avenue/A Contemporary Theatre), Seven Duplex, The Ride Across Lake Constance, The uate Acting Program, and the University Crucible, and Mary Stuart. with Murder, Pride’s Crossing, The Little produced by Pittsburgh Public Theater. With directed on and Off Broadway. He received Spots on the Sun (Cincinnati Playhouse in of Southern California. His book Thinking Foxes, Hapgood (Lucille Lortel Award, Best Jeannie Berlin he has recently completed the his B.F.A. from Carnegie Mellon University. the Park), Dear Elizabeth, The Vaudevillians, Shakespeare is the standard text on American ANNETTE YÉ Director), Damn Yankees, Two Shakespearean screenplay for a romantic comedy, Crackpot, heyheyandyk.com. Bo-Nita, I Am My Own Wife, Of Mice and Shakespearean acting. He is also the author (Production Stage Manager) served as stage Actors (Tony nomination), Porgy and Bess and is currently working on You Don’t Own Men, The K of ,D and boom (Seattle Rep), of Bardisms: Shakespeare for All Occasions. manager for The Old Globe productions of (Tony Award). Metropolitan Opera: II Me, about the life and music of Lesley Gore. SEAN FANNING Trails (Village Theatre),The Lady with All the Ken Ludwig’s Baskerville: A Sherlock Holmes Trittico. London: Love Never Dies, Hairspray Kiki/Suzanne, a play written for French (Scenic Design) is a Southern California- Answers (A Contemporary Theatre), and If Mystery, Arms and the Man, The Royale, MICHAEL G. MURPHY (Olivier nomination). National Theatre: His actress Barbara Schulz, will premiere in Paris based scenic designer with a career spanning You Give a Mouse a Cookie (Seattle Children’s Quartet, Vanya and Sonia and Masha and (Managing Director) served as General Girl Friday. Six movies for PBS’s “American next season. And Josephine, a musical based over 40 productions on local stages. His Theatre). He also designedNext to Normal, Spike, The Few, Pygmalion, God of Carnage, Manager of The Old Globe from 2003 to Playhouse.” Awards: 2008 Theatre Hall of on the life of Josephine Baker, written with previous Globe credits include the Globe for The Yellow Wood, The 25th Annual Putnam Anna Christie, Groundswell, and the 2010 2012, overseeing the Production, Education, Fame Inductee, 2005 John Houseman Award, Ellen Weston, Steve Doff, and John Bettis for All tour of All’s Well That Ends Well, A Doll’s County Spelling Bee, and Zanna Don’t! for production of Dr. Seuss’ How the Grinch Stole Human Resources, Information Technology, ArtServe Michigan 2008 International producer Kenneth Waissman, will premiere House, Kingdom, and Plaid Tidings – A Special Contemporary Classics, where he is the Christmas! Her other Globe credits include and Facilities Departments, as well as Front Achievement Award, Honorary Doctorate, in April 2016 at Asolo Repertory Theatre in Holiday Edition of Forever Plaid. His credits managing director. He is also the lighting A Gentleman’s Guide to Love and Murder, Dr. of House operations. He also managed the University of Michigan. Honorary Doctor Sarasota. with the Old Globe/USD M.F.A. Program associate for Seattle Repertory Theatre. Seuss’ How the Grinch Stole Christmas! (2011- construction of the Globe’s new theatre of Humane Letters, University of San

14 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 15 ARTISTS EDUCATION Diego. Film (actor): Sex and the City 2. Jack in his honor, and to be named one of Be Nimble: The Accidental Education of an San Diego’s “Living Treasures.” He was a Unintentional Director, his memoir about founder of the California Theatre Council SPECIAL THANKS the early years of his career, was released in and a former vice president of the California Intiman Theatre the summer of 2013 by Farrar, Straus and Confederation of the Arts. His numerous Giroux. honors include the San Diego Union-Tribune list of 25 persons who shaped the city’s CRAIG NOEL history; the Governor’s Award for the Arts; (Founding Director) was born on August 25, University of Arizona Alumni Association’s This theatre operates under an agreement between the League of Resident Theatres 1915, and in 2015 The Old Globe celebrates Outstanding Citizen, for his contribution and Actors’ Equity Association, the union of the 100th birthday of this theatre legend to their Fine Arts department; San Diego professional actors and stage managers in the United States. who was instrumental in cultivating the State University’s Outstanding Alumnus; San Diego arts community. Noel was first Conservator of American Arts Award from American Conservatory Theater; the San The Directors are members of the Society appointed director in 1939, directing 15 of Stage Directors and Choreographers, productions prior to World War II. Since Diego Press Club Headliner Award; San an independent national labor union. then he directed more than 200 plays of Diego Gentleman of Distinc­tion Award; all styles and periods and produced an and a combined tribute from the Public Arts Advisory Council and the San Diego This Theatre operates under an Agreement additional 270 productions. His vision for with the International Alliance of Theatrical The Old Globe resulted in the establishment County Board of Supervisors. Mr. Noel was Stage Employees Local No. 122. of the Shakespeare Festival and the San particularly proud of the following three Diego Junior Theatre in the late ’40s, the honors representing edu­cation and theatre: expansion to two theatres in the ’50s, Globe Honorary Doctorate of Humane Letters, The Scenic, Costume, Lighting and Sound Designers in LORT Theatres are represented by Educational Tours in the ’70s, and Teatro University of San Diego; Honorary Doctorate United Scenic Artists Local USA-829, IATSE. Meta and the Old Globe/University of San in Fine Arts, San Diego State University; and Diego Graduate Theatre Program in the the annual Awards for Excellence in Theatre ’80s. During the 1940s, Mr. Noel served as named in his honor by the San Diego dialogue director for the 20th Century Fox Theatre Critics Circle. In 2007, he received Studios and was the director of the Ernie the National Medal of Arts—the nation’s Pyle Theatre in Tokyo. Described byVariety highest honor for artistic excellence—in a SUMMER as the éminence grise of San Diego theatre, ceremony at the White House. Craig Noel Mr. Noel is one of the few San Diegans to died on April 3, 2010 at the age of 94. have had an entire year (1987) proclaimed SHAKESPEARE INTENSIVE MIKE HAUSBERG

Each year, a select group of talented high school students participate Barry Edelstein and visiting artists from Twelfth Night, The Comedy Coming in 2016 in the Summer Shakespeare Intensive. This four-week program, of Errors, and Kiss Me, Kate, including Jan Gist, James T. Lane, Jake which guides students through workshops and rehearsals, Millgard, Megan M. Storti, and Sara Topham. culminated this year with a public performance on August 10 of two one-hour versions of Shakespeare plays: Love’s Labor’s Lost, directed Congratulations to all of the talented students who took to the stage by Ray Chambers, and The Tempest, directed by Vivia Font. Students to conjure Shakespearean magic. We can’t wait to see you in the were able to show all they had learned for the hundreds of friends spotlight again! By David Ives Book by Sybille Pearson Adapted from Alexis Piron’s Music and Lyrics by By Lawrence Wright and family members who were in attendance. La Métromanie Michael John LaChiusa Directed by Molly Smith Directed by Michael Kahn Based on the short story by The Old Globe presents Presented in Association with W. Somerset Maugham the Arena Stage production Shakespeare Theatre Company Directed by Barry Edelstein of Camp David The program is an unparalleled opportunity for serious high school May 13 – June 19 January 30 – March 6 March 24 – May 1 students to develop their skills in a professional setting and perform at The Old Globe. Students in the Summer Shakespeare Intensive study classical theatre technique, voice, movement, and stage combat while rehearsing for the final performance. Throughout the Intensive, the students have the unique opportunity to study the Bard and his work and see the productions of the Globe’s Shakespeare Festival, which By Anna Ziegler Directed by Gaye Taylor By Nick Payne By Kimber Lee runs concurrently with the program. Festival company members Upchurch Directed by Richard Seer Directed by May Adrales lend the students insights into the art of performing Shakespeare April 9 – May 8 May 28 – June 26 February 13 – March 13 that the students then apply to their own performances. This year, the students received invaluable training from Artistic Director

(top) Students in the Summer Shakespeare Intensive take part in a workshop with Jan Gist focusing on projection and stage presence. (right) Students have an impromptu jam session with instruments from the prop shop in the rehearsal room. (619) 23-GLOBE (234-5623) www.TheOldGlobe.org VIVIA FONT 16 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 17 80 YEARS OUR THANKS “MY TICKET ONLY COVERS HALF OF MY THEATRE EXPERIENCE?” A LOOK BACK: Yes, but you can help by joining The Old Globe family and making a tax-deductible gift to the Annual Fund!

RISING FROM As a not-for-profit theatre, the Globe relies greatly on the generous support of patrons like you to sustain and grow its wide array of artistic and education programs, which includes endeavors such as the Summer Shakespeare Intensive THE ASHES for high school students, sensory-friendly performances, Globe for All, and the show that you are about to see.

In addition to directly impacting the Globe’s ability to remain a world-class institution and the largest arts organization in San Diego, you will enjoy a wide variety of benefits exclusive to our family of donors.

BRONZE $125 • Subscription seating upgrade priority (commensurate with giving level) • Ticket fees waived for single-ticket purchases • Complimentary backstage tour • 10% discount on Helen Edison Gift Shop purchases

SILVER $250 All Bronze benefits, plus:

NOWELL WISCH • Listing as an Annual Fund donor in at least two programs Meet the Artist Events • Opportunity to purchase tickets before the general public • Discounts at participating restaurants

GOLD $500 All Silver benefits, plus: • Listing as an Annual Fund donor in all programs for one year • Invitation to attend one Meet the Artist event • Bard cards for complimentary dessert or beverage at Lady Carolyn’s Pub • Three complimentary blanket rentals for the Lowell Davies Festival Theatre

(top) Valeda Turner bids adieu to the Old Globe Theatre amid the ashes of the

fire in 1978. (left) A group of men, including one dressed as Shakespeare, DOUGLAS GATES PLATINUM $1,000 accept donations to rebuild the Old Globe Theatre after it was destroyed. Opening Night Dinners and Receptions All Gold benefits, plus: (lower right) Firemen douse the Old Globe Theatre during the fire. • Invitations to select Opening Night Receptions • Voucher for an admission for two to the Lipinsky Family Suite • Invitation to attend two Meet the Artist events As Balboa Park celebrates its centennial in The rebuilding began immediately. The ashes of adversity, The Old Globe forged a • $10 gift certificate for Helen Edison Gift Shop purchases 2015, The Old Globe also marks a major immediate need for a space to produce that community stronger than ever, and in 1982, milestone: our 80th Anniversary. Throughout summer’s San Diego National Shakespeare the new 581-seat Old Globe Theatre opened DIAMOND $1,500 the year, our programs will feature articles and Festival resulted in the construction of the with a production of Shakespeare’s As You All Platinum benefits, plus: photo essays looking back over eight decades of Festival Stage, an award-winning outdoor Like It. • Invitations to all Opening Night Dinners Globe history. theatre that was completed in just 100 days. • Invitation to one Circle Patron lunch with Globe artists Just two years later, the Festival Stage • Invitation to all three Meet the Artist events In the early dawn hours of March 8, 1978, To raise the money to rebuild the Globe, was destroyed by another arson fire. • Specially selected gift from the Helen Edison Gift Shop the Old Globe Theatre, home of 322 Craig Noel used this dark moment to rally Again the Globe rebuilt, this time under Treats at Lady Carolyn’s Pub productions between 1935 and 1978, was San Diegans behind the theatre, reminding the leadership of Jack O’Brien, and the destroyed by an arson fire. Fortunately, them of its value and importance. In an current 612-seat Lowell Davies Festival the administrative offices, rehearsal hall, outpouring of love and loyalty, the city held Theatre was constructed in 1985. To learn more or to become a member today, contact Annual Fund Manager Robin Hatfield at dressing rooms, scenery and costume shops, car washes and bake sales, gave generously (619) 231-1941 x2311 or [email protected], or visit www.TheOldGlobe.org/support. and the Cassius Carter Centre Stage were to a telethon campaign, and in a true show of spared from the flames. But the loss of the grassroots support, donated over 6 million Top photo: Othello’s Noah Bean and Kristen Connolly chat with Globe Associate Producer Justin Waldman at a 2014 Meet the Artist event. Globe Theatre hit artists and audiences hard. dollars to build the new theatre. Out of the 18 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 19 OUR THANKS CORPORATE DONORS ANNUAL FUND DONORS

Lead Season Sponsors ($75,000 or more) Season Sponsors ($60,000 - $74,999) The Old Globe’s ability to maintain the highest standard of excellence, while keeping ticket prices affordable, is due in large part to the financial support of more than 2,000 individuals, businesses, foundations, and government agencies. Please join us in giving warm thanks and recognition to these leaders who have made tonight and our other performances possible. The Old Globe appreciates the support of those who have stepped into the spotlight.

Benefactors ($100,000 and above) Anonymous Globe Guilders Conrad Prebys & Debra Turner City of San Diego Commission for Arts & Culture Kathryn & John Hattox Qualcomm Foundation Karen & Donald Cohn HM Electronics, Inc. Gloria Rasmussen Elaine & Dave Darwin The James Irvine Foundation Darlene Marcos Shiley, in memory of Donald Shiley Mr. & Mrs. Brian K. Devine Microsoft The Shubert Foundation Audrey S. Geisel/Dr. Seuss Fund at Paula & Brian Powers Sheryl & Harvey White Foundation Production Sponsors ($30,000 - $59,999) The San Diego Foundation Season Sponsors ($60,000 to $99,999) Valerie & Harry Cooper Joan & Irwin Jacobs Fund of the United Ann Davies Jewish Community Foundation June E. Yoder Pamela Farr & Buford Alexander Rhona & Rick Thompson Vicki & Carl Zeiger Hal & Pam Fuson Gillian & Tony Thornley

Artist Circle ($20,000 - $29,999) Production Sponsors ($30,000 to $59,999) Alan Benaroya Las Patronas S. Mark Taper Foundation The Legler Benbough Foundation Elaine Lipinsky Family Foundation Evelyn Mack Truitt Diane & John Berol Jeffrey & Sheila Lipinsky Family Foundation Union Bank County of San Diego National Corporate Theatre Fund U.S. Bank Nina & Robert Doede Patrons of the Prado ViaSat Hervey Family Non-endowment Fund The Prado at Balboa Park Viterbi Family Fund of the Jewish at The San Diego Foundation Price Philanthropies Foundation Community Foundation Leonard Hirsch, in memory of Elaine Hirsch Jean & Gary Shekhter Pamela J. Wagner & Hans Tegebo Ms. Jeanette Stevens Wells Fargo

Artist Circle ($20,000 to $29,999)

National Corporate Theatre Fund (NCTF) is a not-for‑profit created to increase and Bank of America Higgs, Fletcher & Mack, LLP Random House Children’s Books Director Circle ($15,000 - $19,999) strengthen support from the business community for this country’s most distinguished Barney & Barney Holland America Line San Diego Gas & Electric professional theatres. The following donors support these theatres through their California Bank & Trust Hyatt Regency La Jolla at Aventine Sanderson Family Foundation contributions to NCTF ($10,000 and above): Pamela & Jerry Cesak Daphne H. & James D. Jameson Sheraton San Diego Hotel & Marina Buford Alexander & Marsh & McLennan Companies Nikki & Ben Clay Jo Ann Kilty Torrey Pines Bank Pamela Farr Jonathan Maurer and Gretchen Shugart Joseph Cohen & Martha Farish The Lodge at Torrey Pines Jordine Skoff Von Wantoch Allianz Global Corporate McGraw Hill Financial Elizabeth Dewberry MetLife/TCG A-ha! Program: Think It, Do It Mandell Weiss Charitable Trust & Specialty MetLife Neiman Marcus Dr. Steve & Lynne Wheeler American Express Morgan Stanley AOL National Endowment for the Arts The San Diego Foundation (This grant was made possible by the Ariel W. Coggeshall Fund of the San Diego Foundation Malin Burnham Center for Civic Engagement) Bank of America OneBeacon Entertainment BNY Mellon Lisa Orberg Director Circle ($10,000 to $19,999) Bloomberg Frank & Bonnie Orlowski Steven & Joy Bunson Pfizer, Inc. Terry Atkinson Karen Fox Caroline & Nicolas Nierenberg Chubb Group of Insurance Companies RBC Wealth Management Melissa Garfield Bartell & Michael Bartell Carol L. Githens The Kenneth T. & Eileen Norris Foundation Cisco Systems, Inc. Roe Green Foundation Citi The Schloss Family Foundation Jane Smisor Bastien Diana R. Glimm Tom & Lisa Pierce CMT/ABC The Shubert Organization, Inc. Richard & Kathy Binford Lee & Frank Goldberg Peggy & Peter Preuss ($10,000 - $14,999) DeWitt Stern Skadden, Arps, Slate, Meagher Bjorg Family Dr. & Mrs. Harry F. Hixson, Jr. Allison & Robert Price Paula Dominick & Flom California County Superintendents Deni Jacobs Rivkin Family Fund I at Mister A’s ResMed Foundation Dorsey & Whitney Foundation Southwest Airlines Edgerton Foundation TD Charitable Foundation Educational Services Association Barbara G. Kjos The San Diego Foundation Epiq Systems Theatermania.com/Gretchen Shugart The Anthony Cerami & Anne Dunne Brooke & Dan Koehler Mickey Stern Founder Circle ($5,000 - $9,999) Ernst & Young Travelers Entertainment Foundation for World Health Carol & George Lattimer Karen & Stuart Tanz GEN7 Wines Maxwell Technologies Ford Foundation James S. & Lynne Turley Carlo & Nadine Daleo Susan & John Major Karin Winner Alan & Jennifer Freedman UBS Dan & Phyllis Epstein National Endowment for the Arts Brent Woods & Laurie Mitchell Goldman, Sachs & Co. Wells Fargo Ted Hartley & RKO Stage Willkie Farr & Gallagher LLP The Hearst Foundations FOUNDER CIRCLE R. Patrick & Sharon Connell Elaine Galinson & Herbert Liz & Gary Helming ($5,000 to $9,999) Bernard J. Eggertsen & Solomon Donor Advised Alexa Kirkwood Hirsch PUBLIC SUPPORT Anonymous Florence Nemkov Fund of the Jewish Community Hutcheson Family Fund at Joan & Jeremy Berg Marion Eggertsen Foundation The San Diego Foundation Jay Biskupski & Catherine Imrie Barbara & Dick Enberg Drs. Tom & Jane Gawronski Russell & Mary Johnson Major funding provided by the City of San Diego Commission for Arts and Culture. Barbara Bloom Dr. & Mrs. Robert Epsten Norm Hapke & Jerri-Ann & Gary Jacobs The Old Globe is funded by the County of San Diego. Carol & Jeff Chang Arlene & Richard Esgate Valerie Jacobs Hapke William Karatz Barbara Charlton Carol Spielman-Ewan & Joel Ewan Gordon & Phyllis Harris J. Robert & Glady H. King Colwell Family Distributable Fund Susanna & Michael Flaster David Whitmire Hearst, Jr. Family Trust at The San Diego Foundation Foundation 20 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 21 Morris & Phyllis Gold Fund of the Mack Lewis & Kate Herring Dianne & Bruce Ramet Doris Trauner, M.D. & OUR THANKS Jewish Community Foundation Marshall & Judy Lewis Fund of the Gerry & Jeannie Ranglas Richard Stanford Regina Kurtz, in fond memory Teresa George Rodney & Dolores Smith Fund at Jennifer Lake & Robert & Edry Goot Jewish Community Foundation Dr. Robert Reese Jeffrey & Sheila Truesdell of Al Isenberg Terrie Georgi The San Diego Foundation Donald Francis Donovan Carol & Don Green Edward & Nancy Lyon Robert Reid Natalie C. Venezia & Paul A. Sager Peter Landin & Michelle Cardinal Arthur Getis & Roberta King Nancy & Alan Spector and Family Susan Lane & Torrey Harmon Richard & Candace Haden Carl Maguire & Margaret Sheehan Stuart & Linda Robinson Kathy & Jim Waring Levinson Family Fund of the Gilcrest Family: Andy, Karen, Nancy Steinhart & Dr. & Mrs. James E. Lasry Jeff & Judy Handler Sally & Luis Maizel Mr. & Mrs. Todd Ruth Sandy Wichelecki & Jewish Community Foundation A.J. & Tommy Rebecca Goodpasture Thomas D. Lookabaugh Foundation Kaaren Henderson Drs. Betty Joan Maly & Frank Ruyak & Denise Graham Suzanne Dukes Chris & Louise Lischewski Wendy Gillespie Miriam Summ Joy & Ronald Mankoff Jamie Henson & John Meyers Susan & Haddon Salt Dennis & Carol Wilson Peter Manes & Yoko Sakaguchi Robert Gleason & Marc Matys Karen & Don Tartre Jasna Markovac & Gary Miller Robert Houskeeper Rev. Stephen J. Mather Brigid Hom-Schnapp & Cass Witkowski Family Paul & Maggie Meyer Sheila & Tom Gorey Tim & Judy Tillyer Carlos Martinez & Steven Jacobson Gerald M. Hermanson & Ronald McCaskill & Robyn Rogers Russell Schnapp Joseph & Mary Witztum Money/Arenz Foundation, Inc. George C. Guerra C. Anne Turhollow & Marcia A. Mattson Donna L. Buckner Bill & Mim McKenzie Paul Searby Brendan M. & Kaye I. Wynne Michael G. Murphy Ms. Cheryl Haimsohn Michael J. Perkins James & Estelle Milch Fund of the Robert & Sabine Hildebrand Dr. & Mrs. Paul E. Michelson Linda J. Seifert Chester Yamaga & Jean Samuels Bernard Paul Guy & Laura Halgren Michael T. Turner & Jewish Community Foundation Bruce & Jane Hopkins Dr. & Mrs. Robert Morrison Tim & Luci Serlet Matthew & Judith Pollack Pat & Rick Harmetz Suzanne Poet Turner Charles & Ilene Mittman Stephanie & Carl Hurst Charles & Susan Muha Linda & Andrew Shelton The Jerome Robbins Foundation Patrick Harrison & Eleanor Lynch Nita & Henk van der Werff Ursula & Hans Moede Joseph & Donna Hynes Shirley Mulcahy Beverly & Howard Silldorf *In Memoriam Chrissy & Roger Roberts Philip & Kathy Henry Mary R. Warkentin Jim & Ruth Mulvaney Foundation Mrs. Susan Inot Darrell Netherton Anne & Ronald Simon Patricia K. Shumway Rhonda Heth & Thomas Mabie Jan Harden Webster & Raul Ortega at The San Diego Foundation Steven & Barbara Jaffe Jan Newmark Norman & Judith Solomon Beth & Kevin Smith Bill & Nancy Homeyer The Patricia and Christopher Weil Marsha J. Netzer Ed & Linda Janon Evy & Ed Newton Don Stanziano & Michael Sikich This list current as of Pat & Jack Thomas Gary & Carrie Huckell Family Foundation William & Carla Nolan Tony & Nancy Janus Phil & Pam Palisoul Kathleen Steele August 21, 2015. Cherie Halladay Tirschwell Drs. Sonia & Andy Israel Shirli Fabri Weiss and Sons The Oceanaire Seafood Room Dr. & Mrs. Clyde W. Jones Lori Partrick Ronald & Susan Styn Carol Vassiliadis Pat JaCoby James E. & Kathryn A. Whistler Virginia Oliver Michael & Katherine Lee Julius J. Pearl Fund at Clifford & Kay Sweet Carol & Larry Veit Jackie Johnston Fund at Rod & Barbara Orth Allen Lemberg & Family The San Diego Foundation John & Gail Tauscher Mary Kay West Katleman Family Fund of the The San Diego Foundation Barbara B. Oswalt Sherry & Rick Levin In Memory of Margaret Peninger Roger Thieme & Sylvia Steding Jim & Mary Jane Wiesler Jewish Community Foundation Nowell Wisch Christopher & Susan Pantaleoni Lois & Larry Lewis James & Judy Queenan Pamela & Marty Wygod Dr. Gerald & Barbara Kent Ellen & Tim Zinn Tim & Leslie Paul Edythe Kenton Robert & Doris Reed CRAIG NOEL CIRCLE Ken & Sheryl King DIAMOND Bernard Reiter Fund of the ($2,500 to $4,999) Webster & Helen Kinnaird ($1,500 to $2,499) Jewish Community Foundation PATRON INFORMATION Dr. & Mrs. Wayne Akeson Jack Kirkland Gary & Barbara Blake Family Fund Michael Robertson & Dale Johnston Lawrence G. Alldredge & Sherry & Larry Kline of the Jewish Community Esther Rodriguez Dawn Moore Jane & Ray* Klofkorn Foundation The Ralph B. Rogers Foundation TICKET SERVICES HOURS SEATING OF LATECOMERS In Memory of Freda Altschuler & Curt & Nancy Koch Greg & Loretta Cass Crystal Ann Rubin Monday: Closed Although we understand parking is often at a premium, the seating of Sylvia Goldin Rosalie Kostanzer & Michael Keefe Bill Eiffert & Leslie Hodge Ryan Family Charitable Foundation Anonymous (8) Bob & Laura Kyle Gay and Lesbian Fund for San Diego Jay & Julie Sarno Tuesday – Sunday: Noon – last curtain latecomers is extremely disruptive. Latecomers may be given alternative Drs. Gabriela & Mike Antos Jean & David Laing at The San Diego Foundation Robert & Lisa Shaw Hours subject to change. Please call ahead. seating and will be seated at an appropriate interval. Judith Bachner & Eric Lasley Terry & Mary Lehr Robert D. Heylmun Mr. William D. Smith & PHONE (619) 23-GLOBE (234-5623) Rick & Donna Baldridge The Leist Family Dr. & Mrs. M. Joseph McGreevy Dr. Carol Harter Bobbie Ball Ronald & Ruth W. Leonardi Rena Minisi & Rich Paul John & Margery Swanson FAX (619) 231-6752 YOUNG CHILDREN Jan Bart James & Pamela Lester Carol Moran & Greg Pfleger Casey & Julie Tibbitts EMAIL [email protected] or [email protected] Children under five years of age will not be admitted to performances. Mr. & Mrs. Bear Paul Levin The Musser Family Brenda & Robert Tomaras WEBSITE www.TheOldGlobe.org Joan Jordan Bernstein Robin J. Lipman John & Josette Rekettye Stan & Anita Ulrich Linda & Robert Bernstein Barbara & Mathew Loonin Dr. Sara Rosenthal & Karen Walker ELECTRONIC DEVICES AND CAMERAS Charlotte & Charles Bird Dr. Robert & Marcia Malkus Dr. Julie Prazich Howard & Christy Zatkin ADMINISTRATION HOURS The video and/or audio recording of this performance by any means Joan Bishop, in memory of Jackie & Charlie Mann Ryde Family Memorial Foundation Monday – Friday: 9:00 a.m. – 5:00 p.m. whatsoever is strictly prohibited. Please silence all digital watches, Harold McNeil Lois I. Marriott at The San Diego Foundation GOLD Paul Black Dr. Ted & Marcy Mazer Marilies Schoepflin, Ph.D. ($500 to $999) PHONE (619) 231-1941 pagers, and cellular phones prior to entering the theatre. Steve & Elizabeth Bluhm Elizabeth & Edward McIntyre Ms. Lari Sheehan Howard E. Abrams WEBSITE www.TheOldGlobe.org Barbara Bolt Don & Judy McMorrow Alan & Esther Siman Mrs. Marilyn Adams ADDRESS ASSISTED LISTENING SYSTEM Dr. Herman & Irene Boschken Elizabeth B. Meyer Dave & Phyllis Snyder B.J. Adelson The Old Globe Bea & Bill Briggs Dr. Howard & Barbara Milstein Bob & Mike Stivers George Amerault, Jr. P.O. Box 122171 For the convenience of our hard-of-hearing and hearing-impaired Anita Busquets & William Ladd Judith Morgan Jack & Louise Strecker Anonymous (4) San Diego, CA 92112-2171 patrons, The Old Globe has an Assistive Listening System in all three Mary-Kay Butler Akiko Charlene Morimoto & Greta & Stephen Treadgold Earl Asbury Dr. & Mrs. Edgar D. Canada Hubert Frank Hamilton, Jr. Judith Wenker Katherine Austin theatres: the Sheryl and Harvey White Theatre, the Old Globe Theatre, Edward & Pamela Carnot Nancy & James Mullen Bruce & Patricia Becker ORDERING TICKETS/CHANGE OF ADDRESS and the Lowell Davies Festival Theatre. A limited number of the Cecilia Carrick & Stan Nadel Joyce & Martin Nash PLATINUM Sally & John Berry The Old Globe accepts Visa, Discover, MasterCard, and American lightweight headsets, as well as induction neck loops, may be obtained Harry & Sandra Carter Lyn Nelson ($1,000 to $1,499) Bob & Joyce Blumberg George & Ellen Casey Arthur & Marilyn Neumann Anonymous (2) Deb & Brand Brickman Express. Phone orders for non-subscribers are subject to a $3.50-per- from the house manager prior to performances. Rudy & Carol Cesena Lawrence Newmark Jonathan & Alicia Atun Robert & Pamela Brooks ticket service charge. Ticket exchanges are subject to a service charge for Garet & Wendy Clark Susan C. Parker David A. & Jill Wien Badger The Bunn Family non-subscribers. If you have moved, please notify the Ticket Services PUBLIC TOURS Ms. Heidi Conlan/ Mr. & Mrs. Thomas C. Pastore Amnon & Lee Ben-Yehuda Brent Carey The Sahan Daywi Foundation Patricia Payne Sondra & Robert Berk Fund of the Luc Cayet & Anne Marie Pleska Office to update our records. Call (619) 234-5623 during Ticket Services Go behind the scenes at The Old Globe to learn about the history, three Richard & Stephanie Coutts Col. & Mrs. Ben Pollard Jewish Community Foundation Ms. Lisa Churchill & hours, mail your change of address to the Ticket Services Office, or stages, shops and craft areas. Open tours: most Saturdays and Sundays Susan Barlow Cowell Bill & Mo Popp Dr. Susan Forsburg Mrs. Lazare F. Bernhard email [email protected]. at 10:30 a.m. Groups by reservation. $5 adults; $3 seniors and students. Jane Cowgill Daniel Porte Jr., M.D. & Elaine Chortek Richard T. Clampitt Gigi & Ed* Cramer Mrs. Sally Dubois Dorothy R. Dring Ronald D. Culbertson Call (619) 238-0043 x2145 for information/reservations. Darlene G. Davies, in memory The Arthur & Jeanette Pratt Devora & Ron Eisenberg Hon. Vincent Di Figlia UNABLE TO ATTEND? of Lowell Davies Memorial Fund Jacqueline & Stan Drosch Norman & Patricia Gillespie LOST AND FOUND Jim & Sally Ditto Joseph & Jane Rascoff Joyce Glazer Berit & Tom Durler If you find you are unable to use your tickets, please give them to a Mr. & Mrs. Ira S. Epstein Sarah B. Marsh-Rebelo & Mr. William & Dr. Susan Glockner Georgia Ellis friend, or turn them in to the Ticket Services Office and receive a tax If you have misplaced a personal item while at the theatre, please Mary & David Fitz John G. Rebelo Louise & Doug Goodman Nate & Margaret Englund receipt for your donation. Tickets must be received by show time. contact the Ticket Services Office or Security as soon as possible. If we Jean & Sid Fox Wade and Candi Rich Chris Graham & Michael Albo Drs. George & Susan Dersnah Fee Samuel I. & John Henry Nancy J. Robertson Isaacs Brothers Foundation at Richard & Beverly Fink are unable to locate your item, we’ll happily take down your contact Fox Foundation Cathy & Larry Robinson The San Diego Foundation Family Foundation RESTROOMS information and a description of the item and contact you if it is found. at Union Bank of California Carole Sachs Louis & Mary Beth Kelly Pauline Forman Restrooms are located in the lower lobby of the Old Globe Theatre, The Old Globe does not assume liability for items left behind on the Chuck Freebern Warren & Beverly Sanborn Warren & Karen Kessler Robert & Stacey Foxworth Charles & Millicent Froehlich Dr. Myron & Doreen Schonbrun Robert J. Kilian & Dr. Ben & Sue Frishberg the lobby of the Sheryl and Harvey White Theatre, and adjacent to the premises. Joy & Dr. Fred Frye Todd Schultz & Paul Scott Silvera Kathleen M. Slayton Steven & Susan Garfin Lowell Davies Festival Theatre. Barbara & Albert Garlinghouse Charles & Sherry Sheppard Bill & Linda Kolb J. M. Gillman Bill & Judy Garrett Drs. Joseph & Gloria Shurman Daniel & Arline Genis Dee E. Silver, MD NATURAL HERB COUGH DROPS—COURTESY OF RICOLA USA, INC.—ARE AVAILABLE UPON REQUEST. PLEASE ASK AN USHER. 22 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 23 Barry Edelstein, Artistic Director Michael G. Murphy, Managing Director

Amy E. Allison...... General Manager LIGHTING Matthew B. Williams...... Major Gifts Associate Dave Henson...... Director of Marketing and Communications Shawna Cadence...... Lighting Director Diane Addis...... Membership Administrator Mark Somers...... Director of Finance Jack Bender...... Assistant Lighting Director Rico Zamora...... Development Assistant Richard Seer...... Director of Professional Training Ryan Osborn...... Master Electrician, Globe Lauryn Greschke...... V.I.P. Donor Ticketing Robert Drake...... Director of Production Jim Dodd...... Master Electrician, White Derek Floyd...... Grants Assistant Kevin Liddell...... Master Electrician, Festival ARTISTIC Steve Schmitz...... Lighting Assistant DONOR SERVICES Eric Louie, Justin Waldman...... Associate Producers Michael Anderson, Silvana Burrato, Jyothi Doughman, Janette Jack, Danielle Mages Amato...... Literary Manager/Dramaturg Shawn McCombs...... Follow Spot Operators, Globe Barbara Lekes, Richard Navarro, Stephanie Reed, Bernadette Hanson...... Artistic Associate Michael Anderson, Sammy Bauman-Martin, Laura Regal, Stephen Wade...... Suite Concierges Michelle Panek...... Interim Artistic Associate Bradley Bergholtz, Dean Collins, Derek Lauer, Xavier Luevano, Shawn McCombs, Kyle Montgomery, Karen Ann Daniels...... Community Outreach Manager MARKETING Sean Murray, Michael Paolini, Robert Thoman, Susan Chicoine...... Public Relations Director PRODUCTION Bo Tindell, Kimberlee Winters...... Electricians Ed Hofmeister...... Associate Director of Marketing Debra Pratt Ballard...... Associate Director of Production Mike Hausberg...... Public Relations Associate SOUND Ron Cooling...... Company Manager Andrew Waltz...... Digital and Print Publications Coordinator Paul Peterson...... Sound Director Carol Donahue...... Production Coordinator Jordyn Patton...... Marketing Assistant Jeremy Nelson...... Master Sound Technician, Globe Jackson Smith...... Assistant Company Manager Stephen Wade...... Marketing/Events Assistant Clayton Nicodemus...... Master Sound Technician, White Luis Amezcua, Brian Holloway...... Shuttle Drivers Carolann Malley...... Distribution Staff RJ Givens...... Master Sound Technician, Festival Alex Heath...... Deck Audio, Festival STAGE MANAGEMENT SUBSCRIPTION SALES Kevin Dawes...... Deck Audio, Globe Leila Knox...... Production Stage Manager Scott Cooke...... Subscription Sales Manager Kevin Dawes, Rachel Doemelt, Terry Dycus, Arthur Faro, Stephen Jones, Janet Kavin, Adrian Gonzalez,David Scott, TECHNICAL Pamela Malone, Yolanda Moore, Philip Patterson, Austin Taylor...... Sound Technicians Ken Seper, Cassandra Shepard, Jerome Tullmann, Benjamin Thoron...... Technical Director Grant Walpole...... Subscription Sales Representatives Wendy Berzansky...... Associate Technical Director ADMINISTRATION Lucas Skoug...... Assistant Technical Director Alexandra Hisserich...... General Management Associate TICKET SERVICES Eileen McCann...... Resident Design Assistant Carolyn Budd...... Assistant to the Artistic Bob Coddington...... Ticket Services Director Eliza Korshin...... Technical Assistant/Buyer and Managing Directors Marsi Bennion...... Ticket Operations Manager Gillian Kelleher...... Master Carpenter Darlene Davies...... The Old Globe Historian Cristal Salow...... Group Sales Manager Carole Payette...... Charge Scenic Artist Caryn Morgan...... Lead Ticket Services Representative Christian Thorsen...... Stage Carpenter/Flyman, Globe INFORMATION TECHNOLOGY Christian Amezcua, Kari Archer, Matt Costa, Robert Dougherty...... Festival Master Carpenter Dean Yager...... Information Technology Director Kathy Fineman, Merri Fitzpatrick, Bea Gonzalez, Daniel Capiro, Chris Chauvet, John Ralston...... Information Technology Assistant Manager Alejandro Gutierrez, Amanda King, Damon Shearer, Jason Chohon, David Garcia, Brittany Summers...... Information Technology Assistant John Sweeney...... Ticket Services Representatives Jack Hernandez, Sloan Holly, Francisco Ramirez, Kurtis Weichers...... Carpenters PATRON SERVICES HUMAN RESOURCES W. Adam Bernard...... Lead Scenic Artist Mike Callaway...... Patron Services Director Sandy Parde...... Human Resources Director Jason Chohon...... Automation Coordinator Juliana Johnson, Mary Taylor...... House Managers Manny Bejarano...... Human Resources Coordinator Angela Montague Kanish...... Front of House Assistant COSTUMES MAINTENANCE Nic Hagan...... Food and Beverage Manager Stacy Sutton...... Costume Director Tim Acosta, Stephanie Passera, Ramon Juarez...... Facilities Director Charlotte Devaux Shields...... Resident Design Associate Brandon Potter...... Pub Shift Supervisors Mack Benjamin, Violanda Corona, Ismael Delgado, Maureen Mac Niallais...... Assistant to the Director Roberto Gonzalez, Bernardo Holloway, Deborah Montes, Angela Price, Shelly Williams...... Design Assistant/Shopper Reyna Huerta, Jason McNabb, Jose Morales, Michelle Thorsen, Jennifer Van Atta, Erin Cass, Wendy Miller...... Tailor/Drapers Victor Quiroz, Maria Rios, Leonardo Rodriguez, Jacquelyn Weber...... Pub Staff Anne Glidden Grace, Colleen Powers...... Assistant Cutters Vielka Smith...... Building Staff Linda Bahash, Mary Miller...... Tailoring/Construction Stephanie Rakowski...... Gift Shop Supervisors Nunzia Pecoraro, Heather Premo...... Stitchers PROFESSIONAL TRAINING SECURITY/PARKING SERVICES Stephanie Parker...... Lead Craft Artisan Shana Wride...... Program Coordinator Edward Camarena...... Security Supervisor Christine Jones...... Craft Artisan Brian Byrnes, Maria Carrera, Cynthia Caywood, Security Officer Jakey Hicks...... Wig and Makeup Supervisor Ray Chambers, Gerhard Gessner, Jan Gist, Sherisa Eselin...... Kim Parker...... Assistant to Wig and Makeup Supervisor Fred Robinson, Abraham Stoll...... M.F.A. Faculty Jonathon Ayon, Joshua Caldwell, Francisco Dukes, Jeff Howell, Janet Larson, Kim Eddo...... Wig Assistant Peet Cocke, Corey Johnston, Nate Parde, Robin Roberts...... M.F.A. Production Staff Jonathan Martinez, Eleuterio Ramos, Beverly Boyd...... Wardrobe Supervisor Anna Salgado, Jakob Schmidt...... Security Guards Beth Merriman...... Wardrobe Supervisor, Globe Alexander Thomas...... VIP Valet Attendant Debbie Callahan, Ana Maldonado, EDUCATION Franzesca Mayer, Anna Noll, Crystal Mercado...... Education Programs Manager Corrine Roache...... Wardrobe Crew, Globe Carol Green...... Speakers Bureau Coordinator Jack O’Brien...... Artistic Director Emeritus Anna MacDonald...... Wardrobe Crew Chief, White Lisel Gorell-Getz...... Master Teaching Artist Craig Noel...... Founding Director Garrett Bazzle, Danielle Griffith, Rebecca Hawkins, Caroline Agan, Catherine Hanna, Jason Heil, Katie Knox, Nicole Sukolics-Christianson, Jason Maddy, Erika Malone, Heather Pauley, Noelle Van Wyk...... Wardrobe Crew, Festival Christopher Salazar, Damon Shearer...... Teaching Artists Marie Jezbera...... Rental Agent FINANCE PROPERTIES Cindy Hunt...... Senior Accountant Neil A. Holmes...... Properties Director Trish Guidi...... Accounts Payable/Accounting Assistant Kristin Steva Campbell...... Assistant to the Director Adam Latham...... Payroll Coordinator/Accounting Assistant M.H. Schrenkeisen...... Shop Foreman Tim Cole...... Receptionist Rory Murphy...... Lead Craftsman David Medina...... Properties Buyer DEVELOPMENT Annamarie Maricle...... Associate Director, Kristine Hummel-Rosen...... Properties Assistant Institutional Grants Nick Pecher, Trish Rutter...... Craftspersons Bridget Cantu Wear...... Associate Director, Planned Giving David Buess...... Property Master, Globe Eileen Prisby...... Events Director Kristen Flores...... Stage and Property Master, White Rachel Plummer, Keely Tidrow...... Major Gifts Officers Andrew Recker...... Property Master, Festival Robin Hatfield...... Annual Fund Manager

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