FEBRUARY 2018 WELCOME MIKE HAUSBERG

Welcome to The Old Globe and this production of Uncle Vanya. Our goal is to serve all of and beyond through the art of theatre. Below are the mission and values that drive our work. We thank you for being a crucial part of what we do.

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.

STATEMENT OF VALUES

The Old Globe believes that theatre matters. Our commitment is to make it matter to more people.

The values that shape this commitment are: TRANSFORMATION Theatre cultivates imagination and empathy, enriching our humanity and connecting us to each other by bringing us entertaining experiences, new ideas, and a wide range of stories told from many perspectives.

INCLUSION The communities of San Diego, in their diversity and their commonality, are welcome and reflected at the Globe. Access for all to our stages and programs expands when we engage audiences in many ways and in many places.

EXCELLENCE Our dedication to creating exceptional work demands a high standard of achievement in everything we do, on and off the stage.

STABILITY Our priority every day is to steward a vital, nurturing, and financially secure institution that will thrive for generations.

IMPACT Our prominence nationally and locally brings with it a responsibility to listen, collaborate, and act with integrity in order to serve. PERFORMANCES MAGAZINE 1 JOIN US PRODUCTION SPONSORS At The Old Globe, we have the world’s best family of supporters. We cannot make theatre matter without your support. MARY BETH ADDERLEY Each year we plan a series of unique, exclusive experiences for our donors, and we Mary Beth Adderley is a native San Diegan who has been passionately involved with The Old Globe for would love to welcome you to our behind-the-scenes events, lunches with actors, many years and currently serves on the Globe’s Board of Directors. Mary Beth is deeply interested in the Lipinsky Family VIP Suite, and more. development of new musicals, and in 2014 she helped fund a workshop in that culminated in the public concert performances of Bright Star at Vassar College. She is also on the board of South Coast Join us today! Every gift makes an impact. Every gift makes theatre matter. Repertory and is an Emerita Trustee of Vanderbilt University. Mary Beth has sponsored numerous Globe productions including The American Plan, Richard O’Brien’s The Rocky Horror Show, Allegiance, Bright Star, Rain, and Guys and Dolls. She has also been a generous supporter of the Globe Gala for many years.

SILVIJA AND BRIAN DEVINE FRIENDS OF THE OLD GLOBE For Silvija and Brian Devine supporting the performing arts is a lifelong endeavor. Having lived all over • Gifts starting at $50 and the country, their regional theatre history spans the nation and includes San Francisco’s American up to $2,499 Conservatory Theater, New York’s Roundabout Theatre Company, and Washington, DC’s Arena Stage,

• Benefits include special events, DOUGLAS GATES where they saw The Great White Hope with and Jane Alexander before its Broadway discounts, backstage tours, debut. Shortly after moving to San Diego in 1990, the Devines became involved with San Diego Repertory program listing, and more Theatre, La Jolla Playhouse, and The Old Globe, where Silvija joined our Board of Directors in 2012. In • Contact Robin Hatfield at addition to theatre, Silvija and Brian ardently support live music of all genres—including at La Jolla (619) 684-4142 or Music Society, on whose board Silvija also serves—as well as multiple charities for education. In 2016, [email protected] Brian retired as Chairman of the Board of Petco, and the Devines remain strong advocates for animal welfare organizations, including the San Diego Humane Society and SPCA.

HAL AND PAM FUSON HAL FUSON Hal and Pam Fuson became Globe regulars shortly after moving from to Encinitas in 1983. During their two children’s teenage years, they subscribed to the Globe as a family. The children went off to college, and Hal and Pam gained new insights by attending evening shows with Post-Show Forums. Hal served as the Globe’s Board Chair from 2011 through 2014, a voyage of discovery that engaged the couple in new challenges and reinforced for them the vital role that The Old Globe plays in the cultural life of San Diego. Now they often bring their grandchildren to Globe productions, anxiously waiting until after the curtain to hear how their young brains have processed the lines of Cole Porter or .

CIRCLE PATRONS • Gifts starting at $2,500 • Access to the Lipinsky Family JEAN AND GARY SHEKHTER VIP Suite, private events with Jean and Gary Shekhter came to the United States from the Soviet Union in the late 1970s. Grateful for artists, personal ticketing all that their new country and community provided them, the Shekhters have been generous supporters services, and more of many charitable institutions. Jean has served on the Globe’s Board since 2008 and serves on the • Contact Matthew Richter at Executive and Development Committees. Gary and Jean reside in Rancho Santa Fe. They have sponsored (619) 684-4143 or The Twenty-seventh Man, Rain, Picasso at the Lapin Agile, and Ken Ludwig’s Robin Hood!, and they [email protected] are honored to sponsor Uncle Vanya, as well as support the Globe-commissioned translation of this classic work. DOUGLAS GATES 2 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 3 EXTRAORDINARY LEADERSHIP The Old Globe is deeply grateful to our Artistic Angels and Benefactors, whose vital support of the Annual Fund Since the founding of The Old Globe in 1935, heroic leadership has made the theatre a cultural icon in San Diego and a leader in the helps us make theatre matter. For additional information on how to support the Globe at these extraordinary levels, American theatre. The following individuals and organizations, recognized for their tremendous cumulative giving, comprise a special please contact Llewellyn Crain at (619) 684-4141 or [email protected]. group of friends who have played leading “behind-the-scenes” roles, helping to create productions on the three stages and programs in 2018 Artistic Angels ($200,000 and higher annually) the community. — $25 million and higher — — $1 million and higher — Donald* and Darlene Shiley Mary Beth Adderley Bank of America — $11 million and higher — Diane and John Berol Conrad Prebys* Stephen & Mary Birch Foundation, Inc. City of San Diego Commission for Arts and Culture California Cultural & Historical Endowment J. Dallas and Mary Clark* — $9 million and higher — Peter Cooper Karen and Donald Cohn Valerie and Harry Cooper Elaine and Dave Darwin KAREN AND DONALD COHN† ELAINE AND DAVE DARWIN SILVIJA AND BRIAN DEVINE AUDREY S. GEISEL — $8 million and higher — Ann Davies Sheryl and Harvey White Helen Edison* Pam Farr & Buford Alexander — $7 million and higher — Globe Guilders Kathryn Hattox* Joan and Irwin Jacobs Viterbi Family and The Kresge Foundation The Erna Finci Viterbi Artistic Director Fund The Lipinsky Family Estate of Beatrice Lynds* — $4 million and higher — National Endowment for the Arts Audrey S. Geisel Victor H.* and Jane Ottenstein The James Irvine Foundation Qualcomm Foundation EDUARDO CONTRERAS / U-T SAN DIEGO Paula & Brian Powers PAULA AND BRIAN POWERS JEAN AND GARY SHEKHTER † THE ERNA FINCI VITERBI DARLENE MARCOS SHILEY — $3 million and higher — Estate of Dorothy S. Prough* ARTISTIC DIRECTOR FUND In memory of Donald Shiley Helen K. and James S. Copley Foundation Jeannie and Arthur Rivkin In memory of Erna Finci Viterbi County of San Diego Jean and Gary Shekhter The Shubert Foundation Theatre Forward Gillian and Tony Thornley *In memoriam Wells Fargo Carolyn Yorston-Wellcome 2018 Benefactors ($100,000 to $199,999) Anonymous (1) For additional information on how to support the Globe at these extraordinary levels, please contact Llewellyn Crain at (619) 684-4141 or [email protected]. PUBLIC SUPPORT Financial support is provided by The City of San Diego.

The Old Globe is funded by the County of San Diego.

MARY BETH ADDERLEY TERRY ATKINSON PETER COOPER ANN DAVIES Special thanks to the County of San Diego Board of Supervisors.

We thank all our generous patrons and supporters—including government funders—who make theatre matter. All public funding represents less than three percent of our annual budget, but that support, especially from The City of San Diego, is crucial.

Please tell your local and state representatives that theatre matters to you. If you support public funding for the arts, as the majority of Americans does*, contact them today.

DOUGLAS GATES *Source: Americans for the Arts 2015 public opinion poll. PAM FARR AND HAL AND PAM FUSON DEBRA TURNER KAREN AND STUART TANZ BUFORD ALEXANDER For national, state, and county: www.usa.gov/elected-officials DOW DIVAS For San Diego: www.sandiego.gov/city-hall

† For County of San Diego: www.sandiegocounty.gov/content/sdc/general/bos.html SHERYL AND HARVEY WHITE VICKI AND CARL ZEIGER †Charter Sponsor since 1995 4 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 5 I am absolutely delighted to welcome to the furthest reaches of San Diego County, from schools and you to The Old Globe and our first senior centers to military bases and correctional facilities. show of 2018 in the Sheryl and Harvey White Theatre, Uncle Vanya. Hard work here pays off elsewhere as well. In the last few FROM BARRY The Globe is celebrated for many months, two productions that started here at the Globe— things, one of which is making the Anna Ziegler’s The Last Match and Steve Martin’s Meteor old new again. Classic theatre comes Shower—have found second lives in New York. These are just The classics have been a constant in my of our most idiosyncratic and original stage have enjoyed collaborations with him going to life several times a year on Globe the latest in a long line of shows that the Globe has brought to career in theatre. Shakespeare has enjoyed directors. Over the past decade or so Richard back decades; many have toured the world stages, and this production of the life and sent out into the world. pride of place, of course, but I’ve directed has been exploring what’s been dubbed a with Richard and his work. All are actors of beloved Chekhov play features a new and produced great works by other canonical “conversational theatre.” In it, the characters the top echelon. I want to single out three translation by some of the best in the Your support is what makes all of this possible. Without the and lesser-known writers of the past as speak, behave, and interact as truthfully as of them: Roberta Maxwell, Jon DeVries, and world. We are thrilled to share it with you. support of our incredible family of donors, the Globe would well. The first theatre I ran, Classic Stage possible, and the audience listens in. The my dear friend Jay O. Sanders. These giant not be the leading American theatre it is today. I hope that, Company in New York, was (and still is) actors focus with uncommon rigor on each talents are stage royalty, and to have them all For me, this is an especially exciting time because I am after enjoying this production, you will consider becoming a driven by a mission to find the contemporary other and invite the audience to lean into in San Diego simultaneously is a professional beginning my term as Chair of the Globe’s Board of Directors. donor and joining the Friends of The Old Globe or the Circle pulse that beats in even the oldest plays. I their interactions. They don’t artificially honor and a personal happiness. I am It is an honor to support and work with this treasured theatre, Patrons. Special experiences and excellent benefits await you, learned countless lessons there about how turn to the audience, they don’t “cheat out” delighted to introduce their work to you. and I am consistently inspired by the quality—and, quite but most of all, you will help sustain and grow this cherished to bring a play from another time, culture, to make sure they are always seen at every honestly, the quantity—of work the incredible creative teams, theatre. and language to vivid life for contemporary moment, they don’t push their voices to These four ingredients of great classic theatre artists, and staff produce here. For most regional theatres, American audiences, and those lessons have be heard. They simply converse with each come together as beautifully as they do 15 productions a year would be unheard of, but the Globe Thank you for joining us—enjoy the show! held me in good stead in producing this other as people do in real life, as if no one because they are in service of the towering doesn’t stop there. unique and powerful production of Uncle were watching. And the audience listens, imagination of Anton Chekhov. Theatre Vanya. Here are the top four. closely, as if overhearing a conversation at artists around the world feel a special kinship Through groundbreaking programs like Globe for All, sensory- the next table in a restaurant. Through this to this writer, and we aspire to live our lives friendly performances, Community Voices workshops, and so First, for a play written in a language other style Richard generates an intimacy that is in art precisely as he did. He teaches us that many more, the Globe is impacting lives and bringing theatre Nicole A. Clay than English, you need a good translation. as deep as it is real. He makes a new kind art that’s simple in form can make an impact Chair, Board of Directors The sound of Chekhov I hear in my mind’s of theatre, one in which the drama unfolds far more potent than art that’s spectacularly ear is informed by the Victorian translations as relationships between people grow or wrought. He shows us the massive power of the hugely influential Constance Garnett: falter over time. It is original, bracing, and that lies hidden in the quotidian, and he BOARD OF DIRECTORS wordy, formal, and prim. In reaction to affecting. I’m thrilled to welcome Richard’s demonstrates that in life as in art, affection, Nicole A. Clay† Vicki L. Zeiger† Peter J. Cooper† those stuffy texts, modern playwrights unique artistry here. compassion, humor, and faith must suffuse CHAIR IMMEDIATE PAST CHAIR VICE CHAIR, ARTS ENGAGEMENT have fashioned their own “new versions” all that we do. Chekhov drew on a deep well Ann Davies† Paula Powers† Anthony S. Thornley† of the plays—David Mamet, Sarah Ruhl, Third, superb designers. Richard has of empathy for the follies and pains involved VICE CHAIR, NOMINATING SECRETARY TREASURER —but these also wrap the developed this style in collaboration with in being human. He had an acute sense DIRECTORS Jo Ann Kilty Rhona Thompson HONORARY DIRECTORS EMERITUS DIRECTORS plays in a gauzy alternative voice, perhaps a core group of stage designers who are of the expressive possibilities of language Mary Beth Adderley Evelyn Olson Lamden Evelyn Mack Truitt Mrs. Richard C. Adams* Garet B. Clark more interesting and contemporary than leading figures in their fields. Sound designer and its limits, and in writing his plays he Terry Atkinson Sheila Lipinsky Debra Turner Clair Burgener* J. Dallas Clark* Garnett’s, but still not Chekhov’s. Larissa Will Pickens is Richard’s close partner in affirmed that the theatre is an especially R. Morgan Busalacchi Keven Lippert Jordine Von Wantoch Mrs. John H. Fox* Bea Epsten Volokhonsky and Richard Pevear, the two using advanced technology to make this profound venue for explorations of the bold Stephanie R. Bulger, Ph.D. Thomas Melody Pamela J. Wagner Audrey S. Geisel Sally Furay, R.S.C.J.*° † idea that love and loss, the glorious and Donald L. Cohn ° Kim Neapole Reneé Wailes Paul Harter Kathryn Hattox*° most important translators of Russian conversational acting style fully audible Ellise Coit Noelle Norton, Ph.D. Lynne Wheeler Gordon Luce* Bernard Lipinsky* literature into English, and perhaps the to the entire theatre. Set designer Jason the sad, are together the essential compass Elaine Bennett Darwin†° David Jay Ohanian Sheryl White†° Dolly Poet* Delza Martin* two most influential thinkers about the Ardizzone-West and costume designers points by which all of us navigate our lives. George S. Davis Sandra Redman Karin Winner† Deborah Szekely Conrad Prebys* art of translation at work today, have done Susan Hilferty and Mark Koss make a visual I’m relishing these months in the presence of Silvija Devine Sue Sanderson Hon. Pete Wilson Darlene Marcos Shiley something different. In collaboration with world of small details that are as rich with Uncle Vanya, my favorite among Chekhov’s † Stephen P. Embry Karen L. Sedgwick †Executive Committee Patsy Shumway Richard Nelson they have made a translation history as the relationships in the play. And four masterpieces. Work of this caliber is the Pamela A. Farr† Jean Shekhter† Carolyn Yorston-Wellcome † member whose fluency, clarity, and transparency are a lighting designer Jennifer Tipton, arguably Globe at its best, and I am proud of it. Robert Foxworth Ann Steck *In memoriam Harvey P. White° † Steven J. Stuckey marvel. Their achievement is to bring us into one of the very greatest practitioners of Harold W. Fuson, Jr. ° °Past Chair Jack Galloway Karen Tanz† direct contact with Chekhov, to bring him her art at work anywhere in the world, Thanks for coming. Enjoy the show. Patricia A. Hodgkin Michael Taylor to us with an immediacy and freshness that effortlessly sculpts space and conjures Daphne H. Jameson Dean H. Thompson reveals him anew. I am honored that they atmosphere with rare emotional force. accepted the Globe’s commission to bring ASSOCIATE ARTISTS OF THE OLD GLOBE the English-speaking theatre an entirely new Fourth, you need exceptional actors. The In recognition of their unique contribution to the growth of The Old Globe and their special talent, we take great pride and pleasure in and fresh Chekhov. entire cast of Vanya has worked with Richard acknowledging as Associate Artists the following individuals who have repeatedly demonstrated, by their active presence on our stages and previously and knows the rigors of his artistic in our shops, that wherever else they may work, they remain the heart and soul of the Globe. Second, you need a visionary director. process and the power of the conversational William Anton Tim Donoghue Mark Harelik John McLain Steven Rubin Conrad Susa* Not only is Richard Nelson a playwright of style he deploys. Some have done multiple Gregg Barnes Richard Easton Bob James Jonathan McMurtry Ken Ruta Deborah Taylor consequence and renown, but he is also one productions with him in recent years; others Jacqueline Brookes* Tovah Feldshuh Charles Janasz Stephen Metcalfe Douglas W. Schmidt Irene Tedrow* Lewis Brown* Monique Fowler Peggy Kellner* Robert Morgan Seret Scott Sada Thompson* Victor Buono* Robert Foxworth Tom Lacy Patrick Page Richard Seer Wayland Capwell* Ralph Funicello Diana Maddox Ellis Rabb* David F. Segal James Winker Kandis Chappell Lillian Garrett-Groag Nicholas Martin* Steve Rankin Richard Seger* Robert Wojewodski Eric Christmas* Harry Groener Dakin Matthews William Roesch Diane Sinor* G. Wood* Any feedback on tonight’s show or any of the Globe’s work? Patricia Conolly A.R. Gurney* Deborah May Robin Pearson Rose Don Sparks Email Barry at [email protected] and he’ll get back to you! George Deloy Joseph Hardy Katherine McGrath Marion Ross David Ogden Stiers *In memoriam 6 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 7 Barry Edelstein Timothy J. Shields ERNA FINCI VITERBI ARTISTIC DIRECTOR MANAGING DIRECTOR CAST

SÓNYA ALEXÁNDROVNA...... Yvonne Woods PRESENTS VÁNYA, her uncle...... Jay O. Sanders ALEXÁNDER SEREBRYAKÓV, her father...... Jon DeVries ELÉNA, her stepmother...... Celeste Arias MÁRYA, her grandmother...... Roberta Maxwell MARÍNA, her former nanny...... Kate Kearney-Patch UNCLE VANYA MIKHAÍL ÁSTROV, a local doctor...... Jesse Pennington UNDERSTUDIES...... for Mikhaíl Ástrov – Carlos SCENES FROM COUNTRY LIFE IN FOUR ACTS Angel-Barajas†; for Márya, Marína – Yadira Correa†; for Eléna – Morgan Taylor†; for Sónya Alexándrovna – Wenona Truong†; for Alexánder Serebryakóv – Eric Weiman†; for Ványa – Jared Van Heel†

Production Stage Manager...... Theresa Flanagan BY

ANTON CHEKHOV SETTING

The kitchen of Serebryakóv’s estate. TRANSLATED BY Act I: May. Between two and three in the afternoon. RICHARD NELSON, RICHARD PEVEAR, Act II: Two months later, July. Night. Act III: Two month later, September. Early afternoon. AND LARISSA VOLOKHONSKY Act IV: A few hours later.

There will be one 15-minute intermission. Jason Ardizzone-West Susan Hilferty Jennifer Tipton Will Pickens SCENIC DESIGN Mark Koss LIGHTING SOUND DESIGN COSTUME DESIGN

PRODUCTION STAFF

Caparelliotis Casting Theresa Flanagan Voice Coach...... David Huber CASTING PRODUCTION STAGE MANAGER Assistant Director...... Stephen Schmitz Assistant Scenic Design...... Eileen McCann Assistant Costume Design...... Shelly Williams DIRECTED BY Assistant Lighting Design...... Anne McMills RICHARD NELSON Production Assistant...... Samantha Bauman-Martin

This production is supported in part by the Jean and Gary Shekhter Fund for Classic Theatre.

The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, This translation of Uncle Vanya by Richard Nelson, Richard Pevear, and Larissa Volokhonsky was commissioned by the union of Professional Actors and Stage Managers in the United States. The Old Globe with generous support from the Jean and Gary Shekhter Fund for Classic Theatre. †Student in The Old Globe and University of San Diego Shiley Graduate Theatre Program. This translation has been adapted for The Old Globe’s production. Yadira Correa and Jared Van Heel appear in this production courtesy of Actors’ Equity Association.

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

February 10 – March 11, 2018

8 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 9 THE PLAY

But the original Russian word is not a criticism or a judgment. And there will be a live mixer in the back of the house, turning And it’s a very common word. We couldn’t really find the right on and blending the different microphones, using a system that word to do all that. So the word we chose is misfit. So, “We are my sound designers have invented over the last 10 years working all misfits.” And that goes to the very heart of what the play is all with me. So we’re creating a totally acoustic world in which about, what these people are feeling and what they’re trying to actors can speak in conversational voices, with their backs to the sort out about their lives. I think that shows you how complicated audience, and still be heard. Now this might cause confusion, A SHARED it is to translate Chekhov, when you can go from one translation because the audience is likely used to actors really talking at that says, “We’re all creeps,” to another that concludes, “We’re all them and showing them things. But if they’re willing to just lean misfits.” Two different plays. forward and actively listen, I think it’s incredibly rewarding. Experience How would you describe your approach to the play as a We have also lowered the stage and added another row of seats director? into the theatre, so that the playing area is much smaller. That creates, again, a kind of intimacy, a sense of being in the same I think we are trying to present this play in a way in which it is place with the actors and overhearing what’s going on. usually not presented. Chekhov in America is often presented in sort of an atmospheric way, with bored people sitting in chairs Is there anything you’re hoping as a director and a writer and looking into the distance and talking about philosophy and that the audience will take away from this experience? not even listening to each other. For me the play is all about Richard Nelson discusses translating and directing Anton Chekhov’s classic play for The Old Globe. relationships; it’s about conversations between people who are The play is about complicated people in complicated situations. I really talking and listening to each other. And we the audience think that the characters are rich, funny, complicated, resilient, will overhear these conversations. That’s a very different style. lost, and angry. And at times scared. The play treats the world Interview by Danielle Mages Amato Nothing will be “presented” to the audience—there’s just going seriously, but it isn’t gloomy. I hope the audience is willing to to be a world in front of them. They can lean forward and actively lean forward and listen, to recognize that we’re all in this room How would you describe Uncle Vanya? his style, to convey the plays as best as we can into English. The listen to these conversations as they slowly reveal the depth and together, the actors and the audience, sharing a living experience. way we work is in steps. Larissa is fluent in not just contemporary complexity of these characters. If they can have that experience with these amazing characters It’s a story about a very complicated family, very closely knit, but also 19th-century Russian, and she’s just a very astute and this extraordinary play by Chekhov, I would be thrilled.  with a lot of history. They are all good people; they all strive to do literary mind. She does the first draft, and then she hands it over What techniques are you using to create that effect? good things and matter in the world, and then a series of events to Richard, who is a translator but also a poet and brilliant stylist. Photos: (left, from left) Kate Kearney-Patch, Elisabeth Waterston, Jessica Collins, and Jeremy Strong in A Month in the Country at Williamstown Theatre Festival, directed by sort of opens up the question for them of whether things matter The two of them go back and forth, and then they send it to me. Well, most radically, hanging above the stage will be a series Richard Nelson, translated by Nelson with Richard Pevear and Larissa Volokhonsky. at all. One of my co-translators, Larissa Volokhonsky, talks about I look at it from the perspective of a playwright and a director, of tiny microphones, and focused on every seat of the house, Photo by T Charles Erickson. (below) Anton Chekhov (center) working with the actors of it as Chekhov’s most religious play, and she has convinced me of asking, “Why is that person saying that?” or, “Why is the other including the first and back rows, will be a series of speakers. the Moscow Art Theatre, 1896. that. It really asks questions about whether there is a meaning person not saying that?” And we start to make decisions based to this life. upon character and not just upon language. And so we meet, and we argue in the very best sense of the word. We are all trying What’s the history of this project? to do what Mr. Chekhov wanted from our perspectives, and we agree when we’ve serviced each of our points of view. This Uncle Vanya is a part of a translation project I began with Larissa and Richard Pevear in 2010. They’re the two most What do you think makes Chekhov unique as a playwright? esteemed translators of Russian classic prose into English in the world today. Their translation of Anna Karenina was an Oprah There are so many things, but two simple ones. One: he always Book Club choice and sold 900,000 copies in the U.S. alone. likes his characters. He’s never judging them, never using a They’ve translated pretty much all of Dostoyevsky, much of character to make a point about something. It’s human beings Tolstoy and Pushkin, and on and on. Ten years ago I wrote them a that he’s putting on stage, so rich and so alive, and that’s just fan letter. I said I was a playwright and I admired their work very thrilling. And I think in terms of the language, what’s exciting much, but I noticed that they had not translated any plays. They and also very difficult for the translator is that Chekhov writes wrote right back and said they were very interested in working in a kind of ordinary language. He’s not writing high poetry; he’s with me to do just that. So we began a series of translations; not writing a heightened language or melodramatic language. we do one a year. We started with A Month in the Country by But there’s so much going on in the way he has these characters Turgenev, and then we did Gogol’s The Inspector. We did a couple speak that it’s a hard thing to translate. of Bulgakov’s plays, and we have now been tackling Chekhov starting with and The Seagull, and now There’s one word in Uncle Vanya that in a sense makes the whole Uncle Vanya. play untranslatable, and it’s a word that’s used maybe six or seven times in the play. Ástrov at one point says something like, What’s your approach to translation as a team? What is “You come into a country and the people here are all…” and then the process like? the word, chudak. And later he says, “Look at me, I’ve grown a moustache, I’ve become a chudak.” And then at the very end of the We’re trying very much to convey exactly what Mr. Chekhov play he says, “You know, I think we’re all chudaki.” Now, that word wrote. Not to adapt the plays in the sense of modernizing them, is so important, and it’s been translated so many different ways: or adding extra language, but trying to keep to his rhythms and creep or crackpot or old fart!

10 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 11 THE PLAY

“CHEKHOV IS AN INCOMPARABLE ARTIST, AN ARTIST OF LIFE.” —LEO TOLSTOY Bringing the Sound to Life Will Pickens describes his innovative sound design for Uncle Vanya.

The life and legacy of Anton Chekhov. Interview by Danielle Mages Amato By Danielle Mages Amato What has your past collaboration with Richard Nelson been like?

Born in the southern Russian city of Taganrog, Anton Chekhov worked long Richard and I have been working off and on for the last eight years. He has a very clear vision of what he wants in his shows, or hours as a boy at his father’s general store. Chekhov’s father was a driven and more importantly, he has a clear vision of how the world in which the play takes place works. We have a lot of discussions about often hard man, the son of a serf who had managed to buy his family’s freedom. what the focus of the audience should be and how far they can hear in this story. If you sit in your kitchen with your family and With the help of a scholarship, Chekhov was able to attend medical school in you just stop and listen, what do you hear? It may not be necessary to hear the distant door open and close as people enter the Moscow. His work as a doctor would become a crucial component of both his house three rooms away, but it may be necessary or helpful to hear the storm that is passing. professional life and his personal identity. However, by the time he graduated from medical school, his fame as a writer was already beginning to blossom. What was your approach to the sound design in this production? Although best remembered as a playwright today, Chekhov built his literary reputation on his short stories; he won the prestigious Pushkin Prize for his This design grows from the last few shows that Richard and Scott Lehrer and I have done together. It all started with an idea story “The Steppe” in 1888. By this time, though, Chekhov was already showing that Richard had. He wanted his actors to have a conversation with each other, and therefore, he was going to instruct his actors signs of the tuberculosis that would eventually take his life. not to project, not to act, just to have a conversation. They would not “cheat out” to the audience. They would sit across from each other, with their backs to part of the audience, and talk. Just talk. Ivanov, Chekhov’s first full-length dramatic work, was produced at the Kursk Theatre in Moscow in 1887 and revived in St. Petersburg in 1889. Although Scott and I were presented with this idea in 2010 at , and it created a big problem for us. If two people are Ivanov was a great success, Chekhov’s next major play, The Seagull in 1896, had 50 feet away from you and facing the other way, there is no way you are going to hear them. The easy solution was to put body a famously disastrous opening night; the audience was so unhappy that Chekhov was forced to slink out of the theatre during mics on them, but this idea was immediately scrapped because the voices would not actually come from the microphones, they the second act. Later performances of the play fared better, but Chekhov was still gun-shy in 1898 when he was approached would come from the speakers. And if you put speakers where you generally put speakers, even in a small theatre, the voices by writer and critic Vladimir Nemirovich-Danchenko, who hoped to stage The Seagull at the new theatre he was opening with come from the grid 15 feet above you. This was not acceptable. We needed a way to let the audience hear but still feel like they theatre director Konstantin Stanislavsky. Chekhov eventually agreed, thus beginning his long-term relationship with the were listening in. We wanted the audience to have to lean in to hear the conversation, and we wanted to make it feel as natural Moscow Art Theatre. His collaborations with Stanislavsky and Nemirovich-Danchenko brought Chekhov his greatest critical as possible. success as a playwright and also introduced him to the actress Olga Knipper, who would become his wife. To do this we hung microphones over the actors. In fact, we hung them as low as we could without the actors hitting them: The Moscow Art Theatre staged all of Chekhov’s plays, following The Seagull with Uncle Vanya in 1899, Three Sisters in 1901, and eight feet off the stage floor. As Richard and I have continued working on shows, I’ve started moving the speakers lower as well. finallyThe Cherry Orchard in 1904. Six months after the triumphant opening of The Cherry Orchard,Chekhov succumbed to the We want the audience to always feel they are listening to the person talking and not to the speakers. Because of this we use a tuberculosis he had been fighting for 20 years. He was 44 years old. technology called “microphone matrixing.” This technique delays each microphone individually to each speaker. This allows the audience to sonically locate the characters speaking in their exact location and not from the speakers. Chekhov inherited a theatre of melodrama, of stilted stage speech and formulaic plots. The theatre that came after him would be radically changed by his work. The theatrical innovations that were the hallmarks of all his playwriting are clear in Uncle I understand that your sound team has been speaking to artists around the world about microphone matrixing Vanya. The play takes full advantage of Chekhov’s use of sound—music, song, and offstage effects—to influence mood. As in all and about this approach to sound design in general. his works, Chekhov juxtaposes humor and heartbreak, and he creates moments that are funny and deeply moving at the same time. He uses language and dialogue in ways that were unmatched in the theatre of his day. Broken conversations, unexplained Yes. I got the amazing opportunity to go to Copenhagen to talk to a group of sound designers and artistic directors about this pauses, and half-uttered thoughts point to a drama unfolding below the surface. This use of subtext and what critics would call technique. “indirect action” are among Chekhov’s greatest gifts to the stage. In the early 19th century, Chekhov’s countryman and fellow writer Nikolai Gogol longed for a “deep, rare genius” who could inaugurate a new type of theatre. Watching Uncle Vanya, we can What makes this type of design effective forUncle Vanya in particular? be present for the full expression of that genius.  Uncle Vanya is ultimately a conversation about our perceived role in the family, told to us around a kitchen table. What better Photos: (top left) Anton Chekhov in Melihovo, Russia, 1897. (right) Anton Chekhov. place to be a fly on the wall and listen in?  12 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 13 ARTISTS CELESTE ARIAS JESSE PENNINGTON Home, How Shakespeare Won the West, Rodney’s Wife, Franny’s Way, Wonderland. Her designs for opera include Rigoletto (Metropolitan (Eléna) is excited to make her Old Globe debut in (Mikhaíl Ástrov) was seen this fall in Macbeth Madame Melville, Goodnight Children Everywhere (Olivier Award Opera) and Manon (LA Opera, Staatsoper Berlin). She just completed Uncle Vanya. Her favorite theatre credits include directed by Robert O’Hara at Center for Play of the Year), The General from America, New England, Two her 101st Off Broadway design—Richard Nelson’s Illyria—and Uncle Katya in The Fairytale Lives of Russian Girls (Yale for the Performing Arts Theatre Company. His Shakespearean Actors (Tony Award nomination for Best Play), Some Vanya is her 31st collaboration with him. She works with many well- Repertory Theatre), Grotilde in Thunderbodies Off Broadway credits include Bootycandy (Obie Americans Abroad (Olivier nomination for Comedy of the Year), known artists, including Athol Fugard, the South African writer (Carlotta Festival of New Plays), and Masha in The Award, Lucille Lortel Award nomination), Franny’s and others. His musicals include James Joyce’s The Dead with Shaun with whom she worked as set and costume designer and often as co- Three Seagulls, or MASHAMASHAMASHA! (HERE Way and Rodney’s Wife (Playwrights Horizons), Davey (Tony Award for Best Book of a Musical) and My Life with director on over 34 productions since 1980. Ms. Hilferty also designs Arts Center). Her recent film credits include Rebel The False Servant and Richard II (Classic Stage Albertine and Private Confessions, both with Ricky Ian Gordon. His for film, dance (Alvin Ailey), the circus (Ringling Bros. and Barnum in the Rye, Kate Can’t Swim, The Big Sick, and The Post. Her television Company), The General from America (Theatre for a New Audience), A films include Hyde Park on Hudson (Focus Features), Ethan Frome & Bailey), and concerts (’s World Tour). credits include “Bull” and “.” She received an M.F.A. in Place at the Table (MCC Theater), and The Winter’s Tale and The Taming (Miramax), and Sensibility and Sense (“American Playhouse”). With Her many awards include the Obie Award (Sustained Excellence of Acting from Yale School of Drama. of the Shrew (The Public Theater/New York Shakespeare Festival). Larissa Volokhonsky and Richard Pevear, he has co-translated Ivan Design), The Lilly Award, and The Ruth Morley Design Award. In Mr. Pennington’s regional credits include Major Barbara (Guthrie Turgenev’s A Month in the Country, Nikolai Gogol’s The Inspector, addition, she chairs Graduate Design for Stage & Film at New York JON DEVRIES Theater), Maple and Vine (Humana Festival), Goodnight Children Mikhail Bulgakov’s Molière and Don Quixote, and Anton Chekhov’s University/Tisch. (Alexánder Serebryakóv) has appeared Off Everywhere (American Conservatory Theater), and James Joyce’s The Seagull and The Cherry Orchard (all published by Theatre Broadway in The Whirligig, That Hopey Changey The Dead (Huntington Theatre Company), as well as productions Communications Group). He is an honorary associate artist of the MARK KOSS Thing, Sweet and Sad (Drama Desk, Obie at Geffen Playhouse, Alley Theatre, Williamstown Theatre Festival, Royal Shakespeare Company and a recipient of the Arts and Letters (Costume Design) was the costume designer for Marvel Universe Awards), Sorry, Regular Singing (Lucille Lortel New York Stage and Film, and People’s Light & Theatre Company. Award in Literature from the American Academy of Arts and Letters LIVE! Age of Heroes and the associate costume designer for Ringling Award nomination), , The Wayside He was also seen in the European tour of Richard Nelson’s The and the PEN/Laura Pels “Master Playwright” Award. Bros. and Barnum & Bailey’s Circus XTREME, both produced by Motor Inn (), One Flea Spare, Apple Family Plays in Berlin, Brighton, and Vienna. His film credits Feld Entertainment. His other credits include The Little Mermaid , Agamemnon, Galileo, Goodnight Children include American Gun and When Zachary Beaver Came to Town. RICHARD PEVEAR AND LARISSA VOLOKHONSKY directed by Glenn Casale and co-designed with Amy Clark (Paper Everywhere, The General from America, Sight Unseen, Richard II, Mr. Pennington received his M.F.A. from New York University’s (Co-Translators) Mr. Pevear was born in , grew up on Long Mill Playhouse, national tour); Songbird directed by JV Mercanti (Off Oedipus, and The Ballad of Soapy Smith. His Broadway credits include Graduate Acting Program. Island, and attended Allegheny College (B.A., 1964) and University Broadway); 9 to 5, Cabaret, Hair, The Producers, Sister Act, and Fiddler Devour the Snow, Execution of Justice, Major Barbara, Loose Ends, of Virginia (M.A., 1965). After a stint as a college teacher, he moved on the Roof, all directed by Glenn Casale (California Musical Theatre); The Inspector General, and The Cherry Orchard. He appeared in the JAY O. SANDERS to the Maine coast and eventually to , where he worked Animals Out of Paper and Dead Man’s Cell Phone (San Francisco national tour of August: Osage County and the international tours (Ványa) recently returned from a world tour of as a freelance writer, editor, and translator, as well as a cabinetmaker. Playhouse); The Threepenny Opera (Shotgun Players); Pericles (The of The Apple Family Plays and Forbidden Christmas, or The Doctor Richard Nelson’s trilogy The Gabriel Plays: Election He has published two collections of poetry, many essays and San Francisco Shakespeare Festival); and The Who’s Tommy (Ray of and the Patient with Mikhail Baryshnikov. Mr. DeVries’s film and Year in the Life of One Family out of The Public reviews, and 38 books translated from French, Italian, and Russian. Light Theatre, San Francisco Bay Area Theatre Critics Circle Award). television credits include Kill Your Darlings; American Gangster; The Theater, where he has been a regular presence for Ms. Volokhonsky was born in Leningrad, attended Leningrad State He received his M.F.A. from New York University. International; Evening; Che: Part One; The Baxter; Sarah, Plain and over 40 years with credits including Mr. Nelson’s University, and upon graduating joined a scientific team whose work Tall; Skylark; “Law & Order”; “Law & Order: Criminal Intent”; ”Blue The Apple Family Plays, David Hare’s Stuff Happens, took her to the east of Russia, to Kamchatka and Sakhalin Island. JENNIFER TIPTON Bloods”; “Elementary”; “”; “The Blacklist”; and the title role in Titus Andronicus, and a long list She immigrated to Israel in 1973 and to the United States in 1975, (Lighting) is well known for her lighting for theatre, opera, and dance. others. of appearances in Shakespeare in the Park. He has also performed where she attended Yale Divinity School and St. Vladimir’s Orthodox Her recent work in theatre includes Richard Nelson’s Illyria (The across the country with Bryan Doerries’s Theater of War. A familiar Theological Seminary. Soon after settling in New York City, she was Public Theater). Her recent work in opera includes Charles Gounod’s KATE KEARNEY-PATCH face from film (JFK, The Day After Tomorrow, Tumbleweeds, Edge of married to Mr. Pevear, and a few years later they moved to France Roméo et Juliette (Metropolitan Opera), and her recent work in dance (Marína) was recently seen in The Brightness Darkness, and Angels in the Outfield) and television (“Sneaky Pete,” with their two children. Together they have translated 30 books from includes Alexei Ratmansky’s Romeo and Juliet (Bolshoi Ballet). Ms. of Heaven and As It Is in Heaven, both at Cherry “True Detective,” “Blindspot,” “Law & Order; Criminal Intent,” and Russian, including works by Leo Tolstoy, Mikhail Bulgakov, Nikolai Tipton teaches lighting at Yale School of Drama. She received The Lane Theatre. She has appeared in several Richard “Roseanne”), Mr. Sanders’s voice can regularly be heard narrating PBS Gogol, Anton Chekhov, Fyodor Dostoevsky, and Boris Pasternak. Dorothy & Lillian Gish Prize in 2001, the Jerome Robbins Award Nelson productions, including as Greta Conroy in documentaries for “Nova,” “Nature,” “Wide Angle,” and “Secrets of Their translation of Dostoevsky’s The Brothers Karamazov received in 2003, and the United Scenic Artists Gracie Fellowship and a James Joyce’s The Dead (American Conservatory the Dead.” His own play, Unexplored Interior, which explores the 1994 the 1991 PEN/Laura Pels Translation Award, and their translation of MacArthur Fellowship in 2008. Theater, Huntington Theatre Company, and The genocide in Rwanda, was the inaugural production of Washington, Tolstoy’s Anna Karenina was awarded the same prize in 2002. In 2006 Kennedy Center), Hannah in The General from DC’s new Mosaic Theater Company. they were awarded the first Efim Etkind International Translation WILL PICKENS America (Lucille Lortel Theatre), and Anna in A Month in the Country Prize by the European Graduate School of St. Petersburg. (Sound Design) is glad to be debuting at The Old Globe. He recently (Williamstown Theatre Festival). Her recent theatre also includes YVONNE WOODS worked on the Broadway productions of M. Butterfly and Indecent Foster Mom (Premiere Stages). Ms. Kearney-Patch’s television credits (Sónya Alexándrovna) last appeared at The Old JASON ARDIZZONE-WEST (Cort Theatre), Dames at Sea (Helen Hayes Theatre), Honeymoon in include “How to Get Away with Murder” (pilot), “Momsters: When Globe in Hay Fever. Her other theatre credits (Scenic Design) is a set designer based in Yonkers, New York. His Vegas (Nederlander Theatre), The Realistic Joneses (Lyceum Theatre), Moms Go Bad,” “Law & Order: Criminal Intent,” and “Hack.” She also include Goodnight Children Everywhere (American recent designs include Illyria, Hungry, What Did You Expect?, and Bronx Bombers (Circle in the Square Theatre), A Time to Kill (John just completed work on the short Divine Inspiration. Conservatory Theater),Franny’s Way (Playwrights Women of a Certain Age with Susan Hilferty (The Public Theater), Golden Theatre), and Death of a Salesman (Ethel Barrymore Theatre). Horizons), Miss Julie (Yale Repertory Theatre), Lana Del Rey (world tour), Circus – Wandering City (national tour/ His Off Broadway credits include KPOP (Woodshed Collective/ ROBERTA MAXWELL Burn This (Shakespeare Santa Cruz), Life’s a Dream ETHEL String Quartet and The Ringling), 36th Marathon of One- Ars Nova/Ma-Yi Theater Company), (New York Theatre (Márya) has appeared in theatre, film, television, (Court Theatre), Left (New York Stage and Film), Act Plays (Ensemble Studio Theatre), Caroline, or Change (Tantrum Workshop), Smokefall (MCC Theater), Together We Are Making a and radio in Canada, England, and the United The General from America (Alley Theatre, Theatre for a New Audience), Theater), Bullets Over Broadway (national tour/NETworks Poem in Honor of Life (P.S. 142), Alexandria and Empire Travel Agency States. She has been seen at The Public Theater Les Liaisons Dangereuses (Huntington Theatre Company), Slag Heap Presentations), and Adele Live in New York City with Es Devlin (NBC). (Woodshed Collective), and The Gabriel Plays trilogy, Party People, in The Gabriel Plays trilogy (New York and 2017 (Cherry Lane Alternative), and Forbidden Christmas, or The Doctor His upcoming designs include Jesus Christ Superstar Live! (NBC), One Grounded, Josephine and I, The Apple Family Plays tetralogy, Wild with international tour), Ashes, Slag, and Richard III. and the Patient ( Festival, Spoleto Festival USA, The Thousand Nights and One Day (Prospect Theater Company),The Royale Happy, and Why Torture Is Wrong, and the People Who Love Them (The Her Broadway credits include The Prime of Miss Kennedy Center, and others). She was also seen in the film Happy ( Play House), and Three Wise Guys(The Actors Company Public Theater). Mr. Pickens has also designed regionally at Asolo Jean Brodie, , The Merchant, and . 40th. Ms. Woods trained at The Juilliard School. Theatre). Mr. Ardizzone-West received a bachelor of architecture Repertory Theatre, Berkeley Repertory Theatre, TheaterWorks, Her Off Broadway credits includeThe Carpetbagger’s Children, Indian from Cornell University’s College of Architecture, Art, and Planning, Walnut Street Theatre, The Wilma Theater, Olney Theatre Center, Ink, Hellman v. McCarthy, The Film Society, Ashes, A Whistle in the Dark, ANTON CHEKHOV and an M.F.A. from New York University’s Department of Design for and more. He is a proud member of United Scenic Artists Local USA Lydia Breeze, Ivanov, The Cherry Orchard, Three Sisters, and Richard III. (Playwright) Please see page 12 in this program to learn more about Stage & Film. He is also a member of USA 829. ardizzonewest.com. 829 and Theatrical Sound Designers and Composers Association. Ms. Maxwell played the national tour of Lettice and Lovage opposite Mr. Chekhov. willpickens.com. Julie Harris. She is the recipient of New York theatre’s Obies and SUSAN HILFERTY international television, film, and theatre awards. Her film credits RICHARD NELSON (Costume Design) has designed over 350 productions across the CAPARELLIOTIS CASTING include Gwendolyn Green, The Changeling, Dead Man Walking, Hungry (Co-Translator, Director) Mr. Nelson’s plays include The Gabriels globe, including in the U.S., the U.K., Canada, Japan, Australia, South (Casting) has cast the Globe productions of The Importance of Being Hearts, Popeye, Psycho III, , and Brokeback Mountain. She (Hungry, What Did You Expect?, and Women of a Certain Age) and Korea, New Zealand, Mexico, Malaysia, Spain, Brazil, Germany, and Earnest, Dr. Seuss’s How the Grinch Stole Christmas!, Ken Ludwig’s is a member of Actors’ Equity Association and SAG-AFTRA. The Apple Family plays (That Hopey Changey Thing, Sweet and Sad, South Africa. Her many Broadway designs include Wicked (Tony, Outer Robin Hood!, Skeleton Crew, Velvet, Picasso at the Lapin Agile, The Sorry, and Regular Singing), which were produced at The Public Critics Circle, and Drama Desk Awards, Olivier Award nomination), Blameless, Meteor Shower, fish story, Constellations, The Last Theater in New York, toured internationally, and filmed for public Hands on a Hardbody, Spring Awakening (Tony nomination), Lestat Match, Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery, Rich television. His other plays include Illyria, Oblivion, Nikolai and the (Tony nomination), Annie, Into the Woods (Tony and Drama Desk Girl, Arms and the Man, Buyer & Cellar, The White Snake, The Twenty- Others, Farewell to the Theatre, Conversations in Tusculum, Frank’s nominations, Henry Hewes Design Award), and Frank Wildhorn’s seventh Man, The Royale, Vanya and Sonia and Masha and Spike, Water 14 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 15 ARTISTS by the Spoonful, Time and the Conways, Bethany, The Winter’s Tale, The TIMOTHY J. SHIELDS honors include the San Diego Union-Tribune list of 25 persons Few, Double Indemnity, The Rainmaker, Other Desert Cities, Be a Good (Managing Director) is very pleased to have who shaped the city’s history; the Governor’s Award for the Arts; Little Widow, A Doll’s House, The Brothers Size, Pygmalion, and Good joined the ranks of the Globe’s staff in October. University of Arizona Alumni Association’s Outstanding Citizen, TAKING PHOTOS IN THE THEATRE People. Their Broadway casting credits includeJunk , Meteor Shower, He brings to San Diego many decades of for his contribution to their Fine Arts department; San Diego State Audience members may take photos in A Doll’s House Part 2, The Front Page, Les Liaisons Dangereuses, The theatrical experience. Most recently, he was University’s Outstanding Alumnus; Conservator of American Arts the theatre before and after the Glass Menagerie, Jitney, The Little Foxes, The Father, Blackbird, An Act Managing Director at Princeton, New Jersey’s Award from American Conservatory Theater; the San Diego Press performance and during intermission. of God, Airline Highway, Fish in the Dark, It’s Only a Play, Disgraced, McCarter Theatre Center from 2009 to 2017. Club Headliner Award; San Diego Gentleman of Distinction Award; If you post photos on social media or Holler If Ya Hear Me, Casa Valentina, The Snow Geese, Orphans, The His professional experience includes serving as and a combined tribute from the Public Arts Advisory Council and elsewhere, you must credit the Managing Director at Repertory Theater for 10 years, and the San Diego County Board of Supervisors. Mr. Noel was particularly Trip to Bountiful, Grace, Dead Accounts, The Other Place, Seminar, production’s designers by including the The Columnist, Stick Fly, Good People, Bengal Tiger at the Baghdad as Managing Director at Geva Theatre Center in Rochester, New York, proud of the following three honors representing edu­cation and Zoo, The House of Blue Leaves, Fences, Lend Me a Tenor, and The Royal for six. He has held administrative positions at Children’s Theatre theatre: Honorary Doctorate of Humane Letters, University of San names, websites, social media handles, Family. They also cast for Manhattan Theatre Club, Atlantic Theater Company in Minneapolis, Denver Center Theatre Company, and Diego; Honorary Doctorate in Fine Arts, San Diego State University; and/or tags below. Company, Signature Theatre Company, LCT3, Ars Nova, Goodman McCarter Theatre Center in an earlier period of his career. In service and the annual Awards for Excellence in Theatre named in his Theatre, Steppenwolf Theatre Company, McCarter Theatre Center, to the field, he was the President of the League of Resident Theatres honor by the San Diego Theatre Critics Circle. In 2007, he received Please note: Photos are strictly and Arena Stage, among others. Their film and television credits (LORT) for six years and was the Chair of the ArtPride NJ board. He the National Medal of Arts—the nation’s highest honor for artistic prohibited during the performance. has also served on the boards of Theatre Communications Group (Vice include HairBrained with Brendan Fraser, “American Odyssey” (NBC), excellence—in a ceremony at the White House. Craig Noel died on Photos of the stage are not permitted “How to Get Away with Murder” (ABC pilot), “Ironside” (NBC), and President), Milwaukee’s Latino Arts Board, the Cultural Alliance of April 3, 2010 at the age of 94. Steel Magnolias (Sony for Lifetime). Greater Milwaukee, and Theatre Wisconsin (Founder/President). Over if an actor is present. Video the years he has been a panelist, panel chair, and on-site reporter for recording is not permitted at any THERESA FLANAGAN the theatre program at the National Endowment for the Arts. He holds time in the theatre. (Production Stage Manager) is excited to be working with Richard a B.F.A. in Drama Production from Carnegie-Mellon University in his Nelson again, following Illyria (The Public Theater) andThe Gabriels hometown of , Pennsylvania. CASTING Jason Ardizzone-West, Scenic Design (The Public Theater, international tour). Her other recent New York CAPARELLIOTIS CASTING credits include First Daughter Suite (The Public Theater), Under My JACK O’BRIEN (Artistic Director Emeritus) served as Artistic Director of The Old David Caparelliotis, CSA Susan Hilferty, Costume Design Skin (Little Shubert), Everything You Touch (Rattlestick Playwrights Lauren Port, CSA Theater), Three Days to See, Queen of the Mist, and Almost, Maine Globe from 1981 through 2007. He will next direct the Broadway (Transport Group), and A Walk in the Woods (Keen Company). She revival of Carousel. He most recently directed Charlie and the Joseph Gery Mark Koss, Costume Design is also a Master Teaching Artist with Roundabout Theatre Company. Chocolate Factory on Broadway, Great Scott at San Diego Opera, and @mcarlk the national tour of The Sound of Music. His Broadway credits also include The Front Page, It’s Only a Play, Macbeth with , BARRY EDELSTEIN Jennifer Tipton, Lighting The Nance, Dead Accounts, Catch Me If You Can, Impressionism, The (Erna Finci Viterbi Artistic Director) is a stage PATRON INFORMATION director, producer, author, and educator. Coast of Utopia (Tony Award), Dr. Seuss’s How the Grinch Stole Christmas!, Dirty Rotten Scoundrels (Tony nomination), Henry IV For patron information about Will Pickens, Sound Design Recognized as one of the leading American ticketing, performances, parking, authorities on the works of Shakespeare, he has (Tony Award), Hairspray (Tony Award), Imaginary Friends, The transportation, and more, please visit directed nearly half of the Bard’s plays. His Globe Invention of Love (Tony nomination, Drama Desk Award), The Full directing credits include The Winter’s Tale, Othello, Monty (Tony nomination), More to Love, Getting Away with Murder, www.TheOldGlobe.org/patron-information. The Twenty-seventh Man, the world premiere Pride’s Crossing, The Little Foxes, Hapgood (Lucille Lortel Award, of Rain, Picasso at the Lapin Agile, and Hamlet. He also directed All’s Best Director), Damn Yankees, Two Shakespearean Actors (Tony Well That Ends Well as the inaugural production of the Globe for nomination), and Porgy and Bess (Tony nomination). Metropolitan Opera: II Trittico. : Love Never Dies, Hairspray (Olivier This theatre operates under an agreement All community tour. As Director of the Shakespeare Initiative at between the League of Resident Theatres The Public Theater (2008–2012), Mr. Edelstein oversaw all of the nomination). National Theatre: His Girl Friday. Six movies for PBS’s and Actors’ Equity Association, the union of company’s Shakespearean productions as well as its educational, “American Playhouse.” Awards: 2008 Theatre Hall of Fame Inductee, professional actors and stage managers in the United States. community outreach, and artist-training programs. At The Public, he 2005 John Houseman Award, ArtServe Michigan 2008 International staged the world premiere of The Twenty-seventh Man, Julius Caesar, Achievement Award, Honorary Doctorate, University of Michigan. , Timon of Athens, and Steve Martin’s WASP and Honorary Doctor of Humane Letters, University of San Diego. Film The Directors are members of the Society of Stage Directors and Choreographers, Other Plays. He was also Associate Producer of The Public’s Broadway (actor): Sex and the City 2. Jack Be Nimble: The Accidental Education an independent national labor union. production of The Merchant of Venice starring . From 1998 to of an Unintentional Director, his memoir about the early years of his 2003 he was Artistic Director of . Mr. Edelstein’s career, was released in 2013 by Farrar, Straus and Giroux. other Shakespearean directorial credits include The Winter’s Tale at This Theatre operates under an Agreement with the International Alliance of Theatrical Classic Stage Company; As You Like It starring Gwyneth Paltrow; and CRAIG NOEL Stage Employees Local No. 122. Richard III starring John Turturro. His additional credits include (Founding Director) was born on August 25, 1915, and in 2015 the Lucille Lortel Award-winning revival of Arthur Miller’s All My The Old Globe celebrated the 100th anniversary of the birth of The Scenic, Costume, Lighting and Sound Sons; the world premiere of Steve Martin’s The Underpants, which he this theatre legend who was instrumental in cultivating the San Designers in LORT Theatres are represented by commissioned; and Molière’s The Misanthrope starring Uma Thurman in Diego arts community. Mr. Noel was first appointed director in United Scenic Artists Local USA-829, IATSE. her stage debut. Mr. Edelstein has taught Shakespearean acting at The 1939, directing 15 productions prior to World War II. Following the Juilliard School, New York University’s Graduate Acting Program, and war he directed more than 200 plays of all styles and periods and the University of Southern California. His book Thinking Shakespeare produced an additional 270 productions. His vision for The Old is the standard text on American Shakespearean acting. He is also the Globe resulted in the establishment of the Shakespeare Festival author of Bardisms: Shakespeare for All Occasions. He is a graduate of and the San Diego Junior Theatre in the late ’40s, the expansion to Tufts University and the University of Oxford, where he studied as a two theatres in the ’50s, Globe Educational Tours in the ’70s, and Rhodes Scholar. Teatro Meta and the Old Globe/University of San Diego Graduate Theatre Program in the ’80s. During the 1940s, Mr. Noel served as dialogue director for the 20th Century Fox Studios and was the director of the Ernie Pyle Theatre in Tokyo. Described by Variety as the éminence grise of San Diego theatre, Mr. Noel is one of the few San Diegans to have had an entire year (1987) proclaimed in his honor, and to be named one of San Diego’s “Living Treasures.” He was a founder of the California Theatre Council and a former vice president of the California Confederation of the Arts. His numerous 16 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 17 ARTS ENGAGEMENT OPENING THE DOOR TO CORPORATE DONORS Artistic Angels ($200,000 and higher annually) Benefactors ($100,000 to $199,999)

TheatreBy Freedome Bradley-Ballentine and Mike Hausberg For the past three years, The Old Globe has partnered with creativity takes them. The Globe’s Teaching Artists have done South Bay Community Services (SBCS) to make theatre an excellent job of drawing out the participants and finding Producer Circle ($30,000 to $59,999) matter to people living in Chula Vista and the South Bay. Patty the characters tucked away inside them. Language doesn’t Chavez, SBCS’s Director of Communications and External have to be a barrier to theatre.” Affairs, loves talking about the transformation she has seen because of the Globe’s arts engagement programs. “During For Ms. Chavez, her favorite part is the faces of the young the first year the Globe was here, our members were so shy people. “It’s Shakespeare, and they’re so into it and their and didn’t know what to say. Now, three years later, they walk eyes are wide open and they’re laughing. There was a family in and they just own it. It’s such a difference.” who had never been to Globe for All. This year’s included three Latinx women, some Spanish dialogue, some The road hasn’t always been easy. Rachel Pinuelas-Morineau, music, and the little girls responded to it, they recognized the Community Engagement Director at SBCS, said, “I think for language. That was spectacular.” our members, culturally, they didn’t feel like they belonged to theatre.” As a result, inclusion and accessibility became Ms. Pinuelas-Morineau sees the relationship between her key components of the programs. “By experiencing the art community members and the Globe’s Teaching Artists and Artist Circle ($25,000 to $29,999) in their communities, they felt like they could be one with how it has impacted everyone at SBCS. “It’s difficult to end it. Especially since many of them had never been exposed to the classes. I get pictures at the end of the workshops with sad theatre. This is a first for a lot of them.” faces because it’s ending. But the Teaching Artists let them know that it’s not the end. It’s just a continuation in their For some at SBCS with little experience of theatre in general, relationship with theatre.” and Shakespeare in particular, their first reactions are typically, “Oh, I don’t speak English.” But Ms. Chavez and Photos: Arts engagement programs at South Bay Community Services. Ms. Pinuelas-Morineau kept at it. They told their members the classes would be bilingual, which helped bring some into the programs. Yet others still said no.

Ms. Pinuelas-Morineau recounted a story regarding a promotora (a community promoter) who passed on the initial opportunity to participate in the Community Voices Director Circle ($10,000 to $24,999) playwriting workshops. Her friend convinced her to go to the second session, but even then she thought there was no part for her in theatre. “She wanted to just be a rock. She’d go into a little ball and wouldn’t talk.” But after spending some time in the classes, she opened up and is now writing and speaking with the rest of the class. “It’s exciting to see where their

Founder Circle ($5,000 to $9,999) Craig Noel Circle ($2,500 to $4,999) Edward Jones Financial Advisor, David S. Tam California Coast Credit Union Nordson Wawanesa Insurance

To find out more about South Bay Community Services, The Old Globe invites your company to become a Corporate Partner and make theatre matter to more people while please visit www.SouthBayCommunityServices.org and www.CVPromise.org. receiving exclusive benefits. Contact Bridget Cantu Wear at (619) 684-4144 or [email protected]. 18 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 19 Director Circle ($10,000 to $24,999) Maggie Acosta & Arlene & Richard Esgate Rebecca Moores Larry Shushan Karen Fox Caroline & Nicolas Nierenberg ANNUAL FUND DONORS Jan & Rich Baldwin Drs. Tom & Jane Gawronski Polly & Greg Noel Melissa Garfield Bartell & Carol L. Githens The Kenneth T. & The Old Globe’s ability to maintain the highest standard of excellence, while keeping ticket prices affordable, is due in large part to the Michael Bartell Diana R. Glimm Eileen L. Norris Foundation financial support of more than 2,000 individuals, businesses, foundations, and government agencies. Please join us in giving warm Alan Benaroya Lee & Frank Goldberg Tom & Lisa Pierce thanks and recognition to these leaders who have made tonight and our other performances possible. The Old Globe appreciates the Joan & Jeremy Berg Laurie Gore & Julie Osman Peggy & Peter Preuss support of those who have stepped into the spotlight. Richard & Kathy Binford Dr. & Mrs. Harry F. Hixson, Jr. Allison & Robert Price Family The Bjorg Family Gail & Doug Hutcheson Foundation Fund of the DeeAnne & Michael Canepa Jerri-Ann & Gary Jacobs Jewish Community Foundation Artistic Angels ($200,000 and higher annually) The Anthony Cerami & Anne Dunne Daphne H. & James D. Jameson Gloria Rasmussen City of San Diego Commission Audrey S. Geisel/Dr. Seuss Fund at Jean & Gary Shekhter Foundation for World Health Mary & Russ Johnson The Harold and Mimi Steinberg for Arts & Culture The San Diego Foundation Darlene Marcos Shiley, Barbara & Ric Charlton Brooke & Dan Koehler Charitable Trust Karen & Donald Cohn HM Electronics, Inc. in memory of Donald Shiley Carlo & Nadine Daleo Bob & Laura Kyle Deborah Szekely Elaine & Dave Darwin The James Irvine Foundation The Erna Finci Viterbi George Davis Jean* & David Laing Jordine Skoff Von Wantoch Mr. & Mrs. Brian K. Devine Paula & Brian Powers Artistic Director Fund Nina & Robert Doede Las Patronas Dr. Steve & Lynne Wheeler Edgerton Foundation Carol Ann & George W. Lattimer Karin Winner Dan & Phyllis Epstein Susan & John Major Benefactors ($100,000 to $199,999) Mary Beth Adderley Hal & Pam Fuson Karen & Stuart Tanz Terry Atkinson Globe Guilders Debra Turner Founder Circle Money/Arenz Dr. Herman & Robert Gleason & Peter Cooper Price Philanthropies Foundation Viasat ($5,000 to $9,999) Foundation, Inc. Irene Boschken Marc Matys ♥ Ann Davies Qualcomm Sheryl & Harvey White Foundation Jules & Michelle Arthur ♥ Judith Morgan Bea & Bill Briggs Cathryn Golden Pamela Farr & Buford Alexander The Shubert Foundation Vicki & Carl Zeiger Karen & Jim Austin Susan Parker Dr. Stephanie Bulger Sheila & Tom Gorey Jane Smisor Bastien Bernard Paul & Maria Sardini Anita Busquets & George C. Guerra Ovation Circle ($60,000 to $99,999) George & Karen Bullette Christopher & Angela Peto William Ladd Charles Gyselbrecht & Mary-Kay Butler John & Marcia Price Dr. & Mrs. Edgar D. Canada Eric Taylor Diane & John Berol Joan & Irwin Jacobs Fund of the National Endowment for the Arts Harry & Sandra Carter Family Foundation Debbie & Daniel Carnick Thomas & Cristina Hahn Nikki & Ben Clay Jewish Community Foundation Rhona & Rick Thompson Carol & Jeff Chang Rivkin Family Fund I Edward & Pamela Carnot Ms. Cheryl Haimsohn Gillian & Tony Thornley Joseph Cohen & Martha at The San Diego Cecilia Carrick & Stan Nadel Guy & Laurie Halgren Producer Circle ($30,000 to $59,999) Farish Charitable Gift Fund Foundation George & Ellen Casey Patricia & Richard Harmetz of the Jewish Community Chrissy & Roger Roberts Greg & Loretta Cass Patrick Harrison & California Arts Council Elaine Lipinsky Family Foundation Theatre Forward Foundation Dawn & Phil Rudolph Jan & Tom Ciaraffo Eleanor Lynch California Bank & Trust Jeffrey & Sheila Lipinsky Evelyn Mack Truitt Colwell Family Distributable Warren & Beverly Sanborn City of Chula Vista Performing Nishma & John Held California Department of Corrections Family Foundation Union Bank Fund at The San Diego Sing Your Song, Inc. and Visual Arts Grant Phil & Kathy Henry and Rehabilitation Neiman Marcus United Foundation Dolores & Rodney Smith Garet & Wendy Clark Bill & Nancy Homeyer County of San Diego Patrons of the Prado U.S. Bank R. Patrick & Sharon Connell Iris & Matthew Strauss Ms. Heidi Conlan/ Gary & Carrie Huckell Hervey Family Non-endowment Fund The Prado at Balboa Park Pamela J. Wagner & Hans Tegebo Bernard J. Eggertsen & Miriam & Gene Summ The Sahan Daywi Pat JaCoby at The San Diego Foundation Random House Children’s Books Reneé & Bob Wailes Florence Nemkov Cherie Halladay Tirschwell Foundation The Jasada Foundation Hyatt Regency La Jolla at Aventine Sanderson Family Foundation June E. Yoder Marion Eggertsen C. Anne Turhollow & Richard & Stephanie Coutts Jerry* & Marge Katleman Laurents / Hatcher Foundation Ms. Jeanette Stevens Barbara & Dick* Enberg Michael J. Perkins Susan B. Cowell Dr. Gerald & Barbara Kent The Blanche & Irving Laurie Foundation Theatre Communications Group Carol Spielman-Ewan & Carol Vassiliadis Jane Cowgill Edythe Kenton Warren & Karen Kessler Theatre Forward advances the American theatre and its communities by providing funding and other resources to the country’s leading nonprofit theatres. Joel Ewan Carol & Larry Veit Gigi Cramer, in memory of Theatre Forward and our theatres are most grateful to the following funders ($10,000 and above): Anna & Tom Fay Chris & Pat Weil Ed Cramer Robert J. Kilian & Susanna & Michael Flaster Jeffery E. White Andrew M. DeCaminada Kathleen M. Slayton Buford Alexander & Pamela Farr EY The Schloss Family Foundation In memory of Aubree Wickline Angie DeCaro J. Robert & Gladys H. King American Express Alan & Jennifer Freedman Stephanie Scott Pauline & Sidney Forman Emma & Leo Zuckerman Marguerite Jackson Dill ♥ Family Trust Mitchell J. Auslander Goldman, Sachs & Co. Daniel A. Simkowitz Elaine Galinson & Herb Solomon Anonymous (1) Jim & Sally Ditto Ken & Sheryl King Bank of America Roe Green Foundation George S. Smith, Jr. Bill & Judy Garrett Carolyn Doherty Jan Klauber & Jim Melli BNY Mellon The Hearst Foundation Southwest Airlines Norm Hapke & Craig Noel Circle Hilit & Barry Edelstein Jane & Ray* Klofkorn Bloomberg Philanthropies Marsh & McLennan Companies, Inc. S&P Global Valerie Jacobs Hapke ($2,500 to $4,999) Dieter Fischer/ Curt & Nancy Koch Steven & Joy Bunson MetLife TD Charitable Foundation Gordon & Phyllis Harris Mr. & Mrs. David C. Ailor ♥ Dieter’s Mercedes Service Inc. Dr. Morton & Marianne Cassini Morgan Stanley Theatermania/Gretchen Shugart Deborah A. & David A. Hawkins Drs. Gabriela & Mike Antos Mary & David Fitz Susan La Pittus Cisco Systems, Inc. National Endowment for the Arts James S. & Lynne Turley Liz & Gary Helming Alicia & Jonathan Atun Jean & Sid* Fox Terry & Mary Lehr Citi Lisa Orberg UBS Hitz Foundation Judith Bachner & Eric Lasley Samuel I. & John Henry The Leist Family Paula A. Dominick Frank & Bonnie Orlowski Wells Fargo Drs. Sonia & Andy Israel David A. & Jill Wien Badger Fox Foundation Ronald & Ruth W. Leonardi Dorsey & Whitney Foundation Pfizer, Inc. Willkie Farr & Gallagher LLP Webster B. & Bobbie Ball at Union Bank of California James & Pamela Lester Epiq Systems Presidio Isabelle Winkles Helen W. Kinnaird Jan Bart Charles Freebern Paul Levin & Joanna Hirst The Estée Lauder Companies Inc. Thomas C. Quick Cindy & John Klinedinst Mr. & Mrs. Bear Dr. Ben & Susan Frishberg Judith & Jack Lief Bruce R. and Tracey Ewing RBC Wealth Management Regina Kurtz, in loving Linda & Robert Bernstein Joy & Dr. Fred Frye Robin J. Lipman memory of Al Isenberg M. Joan Bishop, in memory Joyce Gattas Barbara & Mathew Loonin Peter & Michelle Landin of Harold O. McNeil, Esq. Teresa George Kathleen & Ken Lundgren Artist Circle ($25,000 to $29,999) Peter Manes & Paul Black Terrie Georgi Jackie & Charlie Mann Bank of America Holland America Line Sheraton San Diego Hotel & Marina Yoko Sakaguchi Gary & Barbara Blake Family Arthur Getis & Roberta King Lois Marriott Barney & Barney Jo Ann Kilty Mandell Weiss Charitable Trust Diane McKernan & Steve Lyman Fund of the Jewish Gilcrest Family: Andy, Karen, Marcia A. Mattson The Favrot Fund Sandy & Arthur Levinson Brent Woods & Laurie Mitchell Don & Judy McMorrow Community Foundation A.J., & Tommy Dr. Ted & Marcy Mazer Leonard Hirsch, in memory The Lodge at Torrey Pines Paul & Maggie Meyer Steve & Elizabeth Bluhm Wendy Gillespie Oliver McElroy & of Elaine Hirsch Barbara Bolt Karen Delaurier

20 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 21 Dr. & Mrs. M. Joseph McGreevy Susan & Larry Twomey Richard Clampitt & The Ward Family Robert Halleck & Mr. William D. Smith & Elizabeth & Edward McIntyre Karen Walker Rachel Hurst Charitable Trust Della Janis Dr. Carol Harter Judi Menzel Sue & Bill Weber Katharine Cline & Colleen & Dennis Williams Gail & Richard Harriss Norman & Judith Solomon Elizabeth B. Meyer Shirli Weiss and Sons Michael Lee Dennis & Carol Wilson Diana & Jim Hatfield Bill & Barbara Sperling Dr. Howard & Stephen & Joy Weiss Ronald D. Culbertson Joseph & Mary Witztum Kaaren Henderson Don Stanziano & Barbara Milstein Judith A. Wenker Darlene G. Davies, in Howard & Christy Zatkin Gerald M. Hermanson & Michael Sikich Charles & Ilene Mittman Charitable Fund at The memory of Lowell Davies Anonymous (5) Donna L. Buckner Richard S. Studer Akiko Charlene Morimoto & San Diego Foundation Drs. Charles Davis & Sarah & Chris Herr Ronald & Susan Styn Hubert Frank Hamilton, Jr. Ruth & Stanley Westreich Kathryn Hollenbach Gold Catherine Herring & John & Margery Swanson Nancy & James Mullen James E. & Kathryn A. Dean & Mrs. ($500 to $999) Mack Lewis Norm & Laura Swauger The Musser Family ♥ Whistler Fund Michael H. Dessent Margaret & Tony Acampora Donald J. Hickey Clifford & Kay Sweet Elspeth & Jim Myer at The San Diego James & Ann Marie Elliff Mrs. Marilyn Adams Peggy & John Holl John & Gail Tauscher Joyce Nash Foundation Richard & Beverly Fink B. J. Adelson Stephanie & Carl Hurst Anne Taylor Lyn Nelson AC & Dorothy Wood Family Foundation George Amerault Dr. & Mrs. Bruce W. Johnson Jeffrey & Sheila Truesdell Arthur & Marilyn Neumann Tatiana Zunshine & Miles Grant Steven & Susan Garfin Mrs. Cyla Andrus & Matt Jonelis Natalie C. Venezia & Lawrence Newmark Anonymous (10) Gay and Lesbian Fund for Mr. Darrell Mead Dr. & Mrs. Clyde W. Jones Paul A. Sager Mark C. Niblack, MD San Diego at The San Diego Arleen Antin & Natasha Josefowitz, PhD. Ken & Susan Watson Barbara Parker & Diamond Foundation Leonard Ozerkis Peter & Beth Jupp Drs. Christine White & Geoff Wahl ($1,500 to $2,499) Norman & Patricia Gillespie Lynell Antrim David & Susan Kabakoff Joseph Traube Mr. & Mrs. Thomas C. Jeff & Donna Applestein Geraldo & Scarrain Gomes Fund Hammed Ardalani & Larry & Silvia Kading Carol & Omar Winter Pastore Sally & John Berry Chris Graham & Roberta Robledo Pepe Kahn and Sons Cass Witkowski Family L. Robert & Patricia Payne Robert & Pamela Brooks Michael Albo Earl Asbury Wilfred Kearse & RAdm. & Mrs. Guy Zeller Col. & Mrs. Ben Pollard Ronald D. Culbertson Richard & Linda Hascup Katherine Austin Lynne Champagne Anonymous (8) Bill & Mo Popp Bill Eiffert & Leslie Hodge Jamie Henson & The Backman Family Carol Keppel Dr. Daniel Porte, Jr. & Mr. William & Robert Houskeeper Francis & Linda Bardsley The Kirkegaard Family Mrs. Sally DuBois Dr. Susan Glockner Holmlund Family Fund at the Bruce & Patricia Becker Dr. Marvin M. Kripps The Arthur & Jeanette Pratt Louise & Doug Goodman Rancho Santa Fe Foundation Amnon & Lee Ben-Yehuda Sherry & Rick Levin * In memoriam Memorial Fund Tony & Nancy Janus Bruce & Jane Hopkins Edgar & Julie Berner Marshall & Judy Lewis Fund ♥ Globe Sustainers, donors who have Bobbie Quick Jones & Lucy Jaworski Isaacs Brothers Foundation Mrs. Lazare F. Bernhard of the Jewish Community pledged multiyear gifts Sarah B. Marsh Rebelo & La Jolla Kiwanis Foundation at The San Diego Giovanni & Carolyn Bertussi Foundation John G. Rebelo Jain Malkin Foundation Charles & Charlotte Bird Eric & Lori Longstreet This list is current as of Joseph & Sara Reisman Fund Thomas Melody Joe & Phyl Ironworks Bob & Joyce Blumberg Charles & Robin Luby January 12, 2018. of the Jewish Community Rena Minisi & Rich Paul Kenneth & Marilyn Jones Kay Faulconer Boger, Ed.D Carl Maguire & Foundation Ursula & Hans Moede Dr. Mushrik Kaisey & Maha Hikmat Deb & Brand Brickman Margaret Sheehan Wade and Candi Rich Darrell Netherton & Louis & Mary Beth Kelly Glenn & Jolie Buberl Mr. Neil A. Malmquist Nancy J. Robertson Robert Wheeler Bill & Linda Kolb Beth & Tim Cann Drs. Betty Joan Maly & Dr. Sara Rosenthal & Barbara Oswalt Jeffrey & Hillary Liber Fund of the Luc Cayet & John Meyers Dr. Julie Prazich Christopher & Jewish Community Foundation Anne Marie Pleska Eileen Mason Ms. Gail Rutherford Susan Pantaleoni Loire Valley USA Stephen & Carol Center Margaret Matarese Jean Sargis & George Weaver, Tim & Leslie Paul Sally & Luis Maizel Ms. Lisa Churchill & Rev. Stephen J. Mather in memory of Margi Sargis James & Judith Queenan Joy & Ronald Mankoff Dr. Susan Forsburg Ronald McCaskill & Jackie Schoell Gene & Jennifer Rumsey Jasna Markovac & Mr. & Mrs. Don L. Clark Robyn Rogers Marilies Schoepflin, Ph.D. Susan Salt Gary Miller Tamar Climan Nathan Meyers & Vicki Righettini Dr. Myron & Doreen Schonbrun Second Nature Catering Robert McCommins Rita & Boyd Collier Craig Missler Robert & Lisa Shaw by CHEF DREW Dennis A. McConnell Jerry Coughlan Dr. & Mrs. Robert F. Morrison Ms. Lari Sheehan Louise & Jack Strecker Mim & Bill McKenzie Charley & Barb Crew Charles & Susan Muha Sherry & Charles Sheppard Roger Thieme & Dean & Sue Mills Cara D'Angelo Jan & Mark Newmark Drs. Joseph & Sylvia Steding Marsha J. Netzer Hon. Vincent Di Figlia Noelle Norton & Gloria Shurman Casey & Julie Tibbitts Rod & Barbara Orth Jacqueline & Stanley Drosch Erwin Willis Dee E. Silver, MD Stan & Anita Ulrich Lori Partrick John & Barbara Edgington Rich & June Nygaard Alan & Esther Siman Peggy Ann Wallace Dr. Monica Penner & Aileen & Dan Emer Thomas & Tanya O'Donnell Dave & Phyllis Snyder Sandy Wichelecki & Mr. Amnon Gires Nate & Margaret Englund Virginia Oliver Marisa SorBello & Suzanne Dukes Gerry & Jeannie Ranglas Dr. Joseph & Carol Pastor Peter V. Czipott Chester Yamaga & Jean Samuels Robert & Doris Reed Mrs. Beverly Fremont In memory of Nancy & Alan Spector Helene & Allan Ziman Dr. Robert Reese Judith & Dr. William Friedel Margaret Peninger and Family Anonymous (1) John & Josette Rekettye Douglas Gillingham & Joan & Richard Qualls Ann & Robert Steck Michael Robertson & Dana Friehauf Ellen Quigley & Ted Seay* Kathleen & Al Steele Platinum Dale Johnston J. M. Gillman Dianne & Bruce Ramet Nancy Steinhart & ($1,000 to $1,499) Joy Rottenstein Morris & Phyllis Gold Fund of the Stuart & Linda Robinson Rebecca Goodpasture Lucy Anderson Christine Rounsavell Jewish Community Foundation Mr. & Mrs. Todd Ruth Bob & Mike Stivers Stephanie Bergsma & Frank Ruyak & Fred & Lisa Goldberg Linda J. Seifert Karen & Don Tartre Dwight Hare Denise Graham Edry Goot Tim & Luci Serlet Jack & Pat Thomas Family Fund Sondra & Robert Berk Fund Ryan Family Charitable Bill Green & Tim Simmons Ms. Sherry Shriver Tim & Judy Tillyer of the Jewish Community Foundation Carol & Don* Green Sandy & Stella Shvil Brenda & Robert Tomaras Foundation Julie & Jay Sarno Gary & Anne Grim Anne & Ronald Simon Greta & Stephen Treadgold Pat & Carol Bivens Susan & Gerald Slavet Dean J. Haas Linda Hervey Simpson Suzanne Poet Turner & Janet & Maarten Chrispeels The Corner Drafthouse Richard & Candace Haden Malcolm E. Smith Michael T. Turner Doris & Wayne Christopher Urban Solace

22 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 23 Barry Edelstein, Erna Finci Viterbi Artistic Director Timothy J. Shields, Managing Director

Amy E. Allison...... Director of Administration LIGHTING DEVELOPMENT Llewellyn Crain...... Director of Development Shawna Cadence...... Lighting Director Bridget Cantu Wear...... Associate Director, Dave Henson...... Director of Marketing and Communications Jessica Dean...... Assistant Lighting Director Strategic Partnerships Mark Somers...... Director of Finance Ryan Osborn...... Master Electrician, Globe Annamarie Maricle...... Associate Director, Robert Drake...... Director of Production Areta MacKelvie...... Master Electrician, White Institutional Grants Freedome Bradley-Ballentine.... Director of Arts Engagement Kevin Liddell...... Master Electrician, Festival Keely Tidrow...... Associate Director, Major Gifts Ray Chambers...... Interim Director of Professional Training Stephen Schmitz...... Lighting Assistant Eileen Prisby...... Events Director Evan Hoey, Michelina Miedema, Amber Montoya, Matthew Richter...... Major Gifts Officer ARTISTIC Kevin Orlof, Michael Rathbaun, Ginnie Rinehart, Robin Hatfield...... Individual Giving Manager Eric Keen-Louie, Robert Thoman...... Electricians Matthew B. Williams...... Development Justin Waldman...... Associate Artistic Directors Communications Manager Danielle Mages Amato...... Literary Manager/Dramaturg SOUND Diane Addis...... Donor Services Administrator Lamar Perry...... Artistic Associate Paul Peterson...... Sound Director Rico Zamora...... VIP Services and Ticketing Coordinator Ngozi Anyanwu, Jiréh Breon Holder, Justin Levine, Jeremy Nelson...... Master Sound Technician, Globe Caren Dufour...... Development Assistant Mona Mansour, Laura Marks, Richard Nelson (with Alex Heath...... Master Sound Technician, White Derek Floyd...... Grants Assistant Richard Pevear and Larissa Volokhonsky), RJ Givens...... Master Sound Technician, Festival Stephen Jones...... Telefunding Specialist Mike Sears, Gill Sotu, Karen Zacarías, Kevin Anthenill, Jason Chaney, Krystin Cline, Michael Anna Ziegler...... Commissioned Artists Cornforth, Heidi Gaare, Jessica Jakes, Brooke Rains, DONOR SERVICES Beth Cooper...... Artistic Intern Jeremy Siebert, Miranda Stone...... Sound Technicians Jyothi Doughman, Anthony Hackett, Jerilyn Hammerstrom, Helene Held, PRODUCTION ADMINISTRATION Barbara Lekes, David Owen, Benjamin Thoron...... Production Manager Alexandra Hisserich...... Management Associate Stephanie Reed, Laura Regal...... Suite Concierges Leila Knox...... Associate Production Manager Carolyn Budd...... Assistant to the Artistic and and Production Stage Manager Managing Directors MARKETING Debra Pratt Ballard...... Producing Associate Darlene Davies...... The Old Globe Historian Susan Chicoine...... Public Relations Director Ron Cooling...... Company Manager Ed Hofmeister...... Associate Director of Marketing Carol Donahue...... Production Coordinator INFORMATION TECHNOLOGY Mike Hausberg...... Communications Manager Jennifer Watts...... Assistant Company Manager Dean Yager...... Information Technology Director Alejandra Enciso-Dardashti...... Public Relations Associate John Ralston...... Information Technology Assistant Manager Chanel Cook...... Digital and Print Publications Designer TECHNICAL Brittany Summers...... Information Technology Assistant Eve Childs...... Marketing Assistant Joe Powell...... Technical Director Carolann Malley...... Distribution Staff Wendy Berzansky...... Associate Technical Director HUMAN RESOURCES Eileen McCann...... Resident Design Assistant Sandy Parde...... Human Resources Director SUBSCRIPTION SALES Megan Tuschhoff...... Technical Assistant/Buyer Manny Bejarano...... Human Resources Coordinator Scott Cooke...... Subscription Sales Manager Gillian Kelleher...... Master Carpenter Nisha Catron, Arthur Faro, Janet Kavin, Jack Hernandez...... Master Carpenter, Festival MAINTENANCE Pamela Malone, Yolanda Moore, Ken Seper, Chris Chauvet, Jason Chohon, Justin Davis, Crescent Jakubs...... Facilities Director Cassandra Shepard, Jerome Tullmann, Benjamin Gray, Sloan Holly, Violanda Corona, Ismael Delgado, Roberto Gonzalez, Grant Walpole...... Subscription Sales Representatives Kurtis Weichers...... Carpenters Bernardo Holloway, Reyna Huerta, Johnny Kammerer, Francisco Ramirez...... Scene Shop Operations Assistant Jason McNabb, Jose Morales, Victor Quiroz, TICKET SERVICES Carole Payette...... Charge Scenic Artist Vielka Smith...... Building Staff Bob Coddington...... Ticket Services Director W. Adam Bernard...... Lead Scenic Artist Marsi Bennion...... Ticket Operations Manager Jessica Amador, David Garcia, PROFESSIONAL TRAINING Cristal Salow...... Group Sales Manager Jennifer Imbler, Nichol Richardson...... Painters Shana Wride...... Program Coordinator Kathy Fineman, Christian Thorsen...... Stage Carpenter/Flyman, Globe Amanda Banks, Brian Byrnes, Maria Carrera, Caryn Morgan...... Lead Ticket Services Representatives Benjamin Gray, Alex Newberry...... Run Crew Cynthia Caywood, Ray Chambers, Gerhard Gessner, Kari Archer, Bea Gonzalez, Lauryn Greschke, Jan Gist, Scott Ripley, Fred Robinson, Alejandro Gutierrez, Amanda King, COSTUMES Abraham Stoll, Eileen Troberman...... M.F.A. Faculty Lauren Mezta, Savannah Moore, Stacy Sutton...... Costume Director Scott Amiotte, Corey Johnston, Nate Parde, Evan Nyarady, John Sweeney, Krista Wilford...... Ticket Services Representatives Charlotte Devaux Shields...... Resident Design Associate Nicole Ries, Robin Roberts...... M.F.A. Production Staff Lisa Sanger-Greshko...... Assistant to the Director PATRON SERVICES Shelly Williams...... Design Assistant/Shopper ARTS ENGAGEMENT Mike Callaway...... Patron Services Director Katie Knox...... Design Assistant Karen Ann Daniels...... Associate Director of Arts Engagement Cynthia Ochoa, Laura Rodriguez, Erin Cass...... Draper Melinda Cooper...... Arts Engagement Programs Manager Mary Taylor...... House Managers Wendy Miller...... Tailor Lisel Gorell-Getz...... Master Teaching Artist Angela Montague Kanish...... Front of House Assistant Anne Glidden Grace, Reanne Acasio...... Arts Engagement Operations Coordinator Nicole Sukolics-Christianson...... Assistant Cutters Katherine Harroff, Nic Hagan...... Food and Beverage Manager Mary Miller...... Tailoring/Construction Erika Phillips...... Arts Engagement Programs Associates Jessica Molina, Deborah Montes, Stephanie Passera, Michelle Thorsen...... Pub Shift Supervisors Cat Frazier, Heather Premo...... Stitchers Jorge Rivas...... Programs Assistant Patrice Aguayo, Tyra Carter, Athena Dinunzio, Kristin Womble...... Craft Supervisor/Dyer/Painter Carolyn Agan, Gerardo Flores, Monique Gaffney, Scott Fitzpatrick, Yvette Piscopo, Megan Simpson, Stephanie Parker...... Craft Artisan Jason Heil, Kimberly King, Erika Malone, Blake McCarty, Crystal Mercado, Jake Millgard, Heather Jennifer Van Atta, Vladymir Wong...... Pub Staff Vicky Martinez...... Wig and Makeup Supervisor Pauley, James Pillar, Tara Ricasa, Catherine Hanna Linda Bahash, Barbara Behling, Kim Parker...... Assistant Wig and Makeup Supervisor Schrock, Damon Shearer, Gill Sotu, Skyler Sullivan, Haydee Ferrufino, Ana Maldonado.....Wig Assistant and Wig Running Crew, Globe Valeria Vega...... Teaching Artists Stephanie Rakowski...... Gift Shop Supervisors Jazmine Choi...... Wardrobe Crew, Globe Sarah Lujan...... AXIS Production Assistant Beverly Boyd...... Wardrobe Supervisor SECURITY/PARKING SERVICES Beth Merriman...... Wardrobe Crew Chief, Globe FINANCE Edward Camarena...... Security Manager Anna Campbell...... Wardrobe Crew Chief, White Cindy Hunt...... Senior Accountant Sherisa Eselin...... Security Officer Carissa Ohm...... Wardrobe Crew, White Trish Guidi...... Accounts Payable/Accounting Assistant Francisco Dukes, Mark A. Flores, Jeff Howell, Joseph Marie Jezbera...... Rental Agent Adam Latham...... Payroll Coordinator/Accounting Assistant Lapira, Janet Larson, Eleuterio Ramos, Terri J. Silva, Tim Cole...... Receptionist Charlotte A. Sims, Carlos Valderrama, PROPERTIES Guadalupe Velez...... Security Guards David Buess...... Properties Director Joseph Lapira...... VIP Parking Valet Kristin Steva Campbell...... Associate Properties Director Rory Murphy...... Lead Craftsperson David Medina...... Properties Buyer Jack O’Brien...... Artistic Director Emeritus Jacob Sampson...... Prop Shop Foreperson Craig Noel...... Founding Director Andrew Recker...... Property Master, Globe Richard Rossi...... Stage and Property Master, White Eszter Julian...... Property Master, Festival Kyle Melton...... Properties Carpenter Trish Rutter...... Properties Painter Quinn Becker, Becca Hawkins, Amanda Quivey...... Properties Craftspersons

24 PERFORMANCES MAGAZINE