arizona premiere
written by Frederick Knott adapted by Jeffrey Hatcher Printer’s Ad Printer’s Ad LEARNING & EDUCATION USING THEATRE AS A CATALYST TO INSPIRE CREATIVITY
“ATC’S EDUCATION DEPARTMENT HAS BEEN NOTHING SHORT OF A MIRACLE.” -Cheryl Falvo, Crossroads English Chair / Service Learning Coordinator
Theatre skills help support critical thinking, decision-making, teamwork and improvisation. It can bridge the gap from imagination to reality. We inspire students to feel that anything is possible. LAST SEASON WE REACHED
OVER 11,000 STUDENTS
IN 80 SCHOOLS
ACROSS 8 AZ COUNTIES
For more information about our Learning & Education programs, visit EDUCATION.ARIZONATHEATRE.ORG IN THIS ISSUE
November 2014
Title Page ...... 6
Cast List...... 8
About the Play...... 12
ATC Leadership...... 20
About Arizona Theatre Company ...... 22
The Cast...... 28
The Creative Team...... 34
Board of Trustees ...... 40
Theatre Information...... 47
Corporate and Foundation Donors...... 49
Individual Donors ...... 50
Staff...... 59
Brooke Parks in Arizona Theatre Company’s production of Wait Until Dark. Photo by Ken Huth. FROM THE INTERIM MANAGING DIRECTOR
For nearly 20 years, I’ve worked in and with Arizona arts and cultural organizations, but my responsibilities always seemed to be from the audience side of the stage. As we wait for the house lights to dim and curtain to go up, I wholeheartedly share your excitement for the experience of theatre about to unfold.
Recently being named Arizona Theatre Company’s Interim Managing Director is causing my perspective to shift. No longer can I take for granted the massive effort and incredible teamwork required to create a moment of theatre. These days, I’m allowed to wander backstage and into the scene shop, the costume department, the wig room, the props department and more. Producing professional theatre is a humongous undertaking – and requires the skills, experience, dedication, talents and teamwork of a great many people.
Our annual Gala in Tucson in September was themed “Backstage Pass” and much of the event’s focus was on the talented individuals who work in the wings or rafters or anywhere that doesn’t involve being onstage. Generous ATC supporters contributed to purchase state-of-the-art audio equipment, electric scene-moving devices and sophisticated workshop tools. The equipment may not be sexy (except to the production department) – but the results should be evident on the stage.
Once the show starts, allow the actors to entertain you and the plot to grab your attention. But right now, please take a moment to appreciate the efforts of all the talented and dedicated people working backstage that are responsible to make this production happen.
They are – WE ARE – Arizona Theatre Company and we are delighted to welcome you.
Matt Lehrman
Interim Managing Director
PHOTO CREDITS FOR PAGE 5: Top Left: Paige Lindsey White in Other Desert Cities. Top Right: Anneliese van der Pol & Loren Dunn in The Importance of Being Earnest. Middle Right: Kyle Sorrell, Mark Anders, Jon Gentry and Bob Sorenson in Around the World in 80 Days. Bottom Left: James T. Alfred in The Mountaintop. Bottom Right: Jessica Skerritt & Company in Xanadu. Photos by Tim Fuller.
4 48 YEARS OF AWARD-WINNING T H EATRE
ARIZONA’S NATIONALLY-RENOWNED PROFESSIONAL THEATRE
Special Thanks to I. Michael and Beth Kasser Season Sponsors David Ira Goldstein Matt Lehrman Jessica L. Andrews Artistic Director Interim Managing Director Managing Director Emeritus
presents a co-production with Geva Theatre Center
Mark Cuddy Tom Parrish Artistic Director Executive Director WAIT UNTIL DARK
written by Frederick Knott adapted by Jeffrey Hatcher
David Ira Goldstein...... Director Vicki Smith...... Scenic Designer Marcia Dixcy Jory...... Costume Designer Don Darnutzer...... Lighting Designer Brian Jerome Peterson ...... Sound Designer Adriano Gatto...... Fight Director Jean Gordon Ryon...... Dramaturg Elissa Myers, CSA & Paul Fouquet, CSA...... Casting T. Greg Squires...... Resident Lighting Designer Timothy Toothman*...... Stage Manager Glenn Bruner*...... Assistant Stage Manager *Member of Actors’ Equity Association.
On this original Arizona Theatre Company and Geva Theatre Center co-production, the ATC and GTC Production Staffs are responsible for scenic construction, costume construction, lighting, projections, sound, props, furniture, wigs, scene painting and special effects.
Wait Until Dark is presented by special arrangement with SAMUEL FRENCH, INC.
Wait Until Dark adapted by Jeffrey Hatcher was originally produced by Geffen Playhouse, Randall Arney, Artistic Director; Ken Novice, Managing Director; Behnaz Ataee, General Manager; Regina Miller, Chief Development Officer.
The video and/or audio recording of this performance by any means whatsoever is strictly prohibited.
COVER ART BY: Esser Design 2014-2015 SEASON SPONSORS: I. MICHAEL AND BETH KASSER
6 Printer’s Ad CAST (in order of appearance)
Craig Bockhorn*...... CARLINO Ted Koch* ...... ROAT Brooke Parks*...... SUSAN Joseph Kremer*...... SAM Peter Rini*...... MIKE Lauren Schaffel* ...... GLORIA
*Member of Actors’ Equity Association.
SETTING: The action takes place in October, 1944, in a basement apartment of an old brownstone in Greenwich Village.
ACT I: ACT II: Scene 1: Friday evening. Scene 1: About an hour later. Scene 2: Saturday afternoon.
THERE WILL BE ONE 15-MINUTE INTERMISSION.
ADDITIONAL STAFF
Ashley Simon...... Assistant to the Stage Manager Jonathan Snipes ...... Original Music
Arizona Theatre Company operates under agreements between the League of Resident Theatres (LORT) and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States; Stage Directors and Choreographers, an independent national labor union; and United Scenic Artists Local USA-829, IATSE.
To learn more about Wait Until Dark, please visit the Education page on our website at arizonatheatre.org for a comprehensive free Play Guide. The Play Guide contains information about film noir, cultural context of 1940s America and more. Play Guides are also available in The Temple Lounge for a nominal charge to cover printing.
Cell phones and other devices that make a noise can greatly disturb your fellow audience members and the performers. PLEASE TURN THEM OFF before the performance and again at intermission.
8 Printer’s Ad Printer’s Ad Printer’s Ad ABOUT THE PLAY
THE MORE IT CHANGES, THE MORE IT STAYS THE SAME By Jean Gordon Ryon, Dramaturg, Geva Theatre Center
What happens when you take a thriller from the 1960s and reset it in another time period? In this case, a surprising intensification of the elements that made the play a success to begin with.
Wait Until Dark was written by Frederick Knott (who had previously written Dial M for Murder) and was a hit on Broadway in 1966 with Lee Remick and Robert Duvall. It was subsequently turned into the now-classic movie with Audrey Hepburn and Alan Arkin. It has been a staple at regional and community theatres ever since. This thriller is famous for building suspense to a terrifying last half-hour. (The movie’s climactic scene was included as number 10 in Bravo’s 100 Scariest Movie Moments.) The play is based on a time-honored premise: helpless woman forced to defend herself against all odds. A recently blinded woman, still adjusting to her new reality, is beset by dangerous con men who believe she is in possession of a valuable object. Will she survive? Will help arrive in time? These questions have kept audiences on the edge of their seats for years. The finely wrought plot has a million-dollar payoff at the end, and yet, the piece has not had quite as many productions in recent years. Could it be that the piece felt slightly…dated? Old-fashioned without being vintage? Would there be value in revisiting the script, and perhaps changing the time period, making whatever changes were dictated by the new era?
These were the thoughts of the artistic team at the Geffen Playhouse in Los Angeles, who had contacted the Frederick Knott estate to get permission to “fiddle” with the script. They then approached writer Jeffrey Hatcher to adapt it. “Often the first knee-jerk reaction is to update the script,” said Hatcher in a recent conversation. “But the elements of the story absolutely would not work in a modern setting.” Without giving away too much of the plot, let’s just say that if the characters had access to any of the new technology of the last thirty years, there would be no story. So what would happen if the story were moved back in time, say to sometime in the fifties or forties? What time period would preserve enough of the components of modern daily life essential to the plot, and yet have enough about its own personality to contribute to the story in interesting ways? The team turned their attention to other eras, and finally identified the World War II years, specifically 1944.
1944, three years after America entered World War II, was “deep enough into the war that its effects were being fully felt by people at home. Men could have gone away and come back. But it wasn’t so close to the end that the world was about to go back to normal again,” said Hatcher. It was a time when focus on the war effort made people on the home front feel both energized and anxious. Patriotism and pride wend Encouragement to support the World hand-in-hand with unsettling, rapid social change. War II war effort in any way possible.
12 ABOUT THE PLAY
In the new wartime setting of this play, Hatcher observes, “All the really good, strong, handsome, effective men are gone. What kind of men are left? And how does that inform the character of the men in this play?” Reasons for not being in the military included being deemed physically or “morally” unfit. Men who did serve often returned from the front damaged in some way. “It’s a gen- erally frightening world,” said Hatcher. “It’s a time when people have been embracing violence, either by necessity or by taste.” There’s a war going on and returning soldiers have seen unspeak- able acts. Simultaneously, the war effort has drawn large numbers to cities where the new factory jobs are, and the by-product of this urbanization is a higher crime rate. When one character says, “It’s a dangerous world out there,” he knows whereof he speaks. Call to women to join the labor force in World War II. Because so many men were gone, and wartime manufacturing was at a peak, women entered the work force in record numbers. In the era of Rosie the Riveter, women, who previously had been considered too weak or incapable to hold down physically and mentally demanding jobs, now proved themselves completely able. In this new setting for the play, Susan’s experience reflects that new truth in the world of 1944: she’s alone, she’s considered helpless, and she is tested. The woman-against-the-odds motif mirrors a whole society’s experience.
Another reason to choose 1944, said Hatcher, was that it was a year of many notable movies of the film noir style:Double Indemnity, Laura and Murder My Sweet all came out in that year, and provide a great stylistic reference point. The classic, highly recognizable look of film noir (harsh lighting, dark shadows, light Rosie the Riveter, representing coming through Venetian blinds creating striped shadows across the capabilities of the female factory workers who entered the tortured faces) we immediately associate with a dangerous, work force during World War II. corrupt, often claustrophobic world. Although Wait Until Dark is not necessarily a classic film noir story, its new setting brings out many of the same characteristics: paranoia, ambiguity, a sense of being trapped, and an anxiety that lay under the feelings of success and patriotism in the war years.
13 ABOUT THE PLAY
All these elements exist in the original script, but the new setting makes them stand out in bold relief. One other story element that is interestingly affected by change of time period is Susan’s blindness. In the original script, Susan is in the process of receiving “rehabilitation” to help her adjust to her new reality. “I was the best in blind school today,” she tells her husband (in the movie version). But all such references are removed from this new version. Presumably Susan is not getting much outside help. Up until World War II, federal vocational programs existed to aid veterans and private citizens with disabilities, but to be eligible for these programs, a person had to be deemed “feasible,” that is, able to be trained to be self-supporting. Since it was assumed that blind people would never be able to be self-supporting, little attention was paid to their needs. But the large number of veterans returning home blinded forced a change in attitude and suddenly the blind were not seen as helpless. New programs and research would spring up to facilitate a blind person’s adjustment, making the World War II years a turning point in attitudes toward blindness. Susan’s life as a woman with blindness is on the edge of major change, and her story demonstrates just how justified that change is.
All these factors, brought out by the resetting of the time period, enhance and deepen the story. In the end, the most memorable feature of the play is the terrifying roller-coaster ride it gives its audience. Fasten your seat belts.
The set of Arizona Theatre Company’s production of Wait Until Dark, designed by Vicki Smith. Photo by Ken Huth.
14 ABOUT THE PLAY
Frederick Knott (Playwright) was born to English missionaries in Hankow, China, in 1916. He was educated at Oundle School from 1929 to 1934 and later gained a law degree from Cambridge University. He is the author of the BBC television production and stage play, Dial M for Murder, which premiered at the Westminster Theatre in Victoria, London, in 1952, and wrote the screenplay for the 1954 Hitchcock film of the same name. In 1960, Knott wrote the stage thrillerWrite Me a Murder, produced at the Belasco Theatre in New York in 1961. Wait Until Dark was produced on Broadway at the Ethel Barrymore Theatre in 1966, directed by Arthur Penn and starring Lee Remick, who won a Tony Award nomination for her performance. The film version, also titledWait Until Dark, was released in 1967 and starred Audrey Hepburn in the lead role. Knott died in New York City in 2002.
Jeffrey Hatcher (Adapter) is the author of Sherlock Holmes and the Adventure of The Suicide Club, Ten Chimneys, Dr. Jekyll and Mr. Hyde, Ella and co-author of Work Song: Three Views of Frank Lloyd Wright and Tuesdays with Morrie – all of which have been seen on Arizona Theatre Company’s stages. Mr. Hatcher authored the book for the Broadway musical, Never Gonna Dance. Off-Broadway, he has had several plays produced, includingThree Viewings and A Picasso at Manhattan Theatre Club, Scotland Road and The Turn of the Screw at Primary Stages, Tuesdays with Morrie (with Mitch Albom) at Minetta Lane Theatre, Murder by Poe and The Turn of the Screw with The Acting Company, Neddy at The American Place Theatre and Fellow Travelers at Manhattan Punchline. His plays – among them, Compleat Female Stage Beauty, Mrs. Mannerly, Murderers, Mercy of a Storm, Smash Armadale, Korczak’s Children, To Fool the Eye, The Falls, A Piece of the Rope, All the Way with LBJ, The Government Inspector and Work Song (with Eric Simonson) – have been seen at such theatres as Yale Repertory Theatre, The Old Globe, South Coast Repertory, Seattle Repertory Theatre, Intiman Theatre, Florida Stage, The Empty Space, California Theatre Center, Madison Repertory Theatre, Illusion Theater, Denver Center Theatre Company, Oregon Shakespeare Festival, Milwaukee Repertory Theater, The Repertory Theatre of St. Louis, Philadelphia Theatre Company, Coconut Grove Playhouse, Asolo Repertory Theatre, City Theatre, Studio Arena Theatre and dozens more in the U.S. and abroad. Mr. Hatcher wrote the screenplays for Stage Beauty, The Duchess and Casanova, as well as authoring episodes of the Peter Falk series, Columbo. He is a member and/or alumnus of The Playwrights’ Center, The Dramatists Guild of America, Writers Guild of America and New Dramatists.
15 Printer’s Ad Printer’s Ad Printer’s Ad Printer’s Ad ATC LEADERSHIP
David Ira Goldstein celebrates his 23rd season as Artistic Director of Arizona Theatre Company. In over two decades, he has produced over 190 mainstage plays, workshops and presentations including acclaimed appearances by the Royal National Theatre of Great Britain and the Theatre Royal Bath. He received the 2010 Leader of the Year Award in Arts and Humanities from the Capitol Times and the 2003 Governor’s Arts Award as Individual Artist for his contributions to the arts in Arizona.
This season he directed Wait Until Dark for ATC. He has directed over 40 mainstage productions for ATC ranging from classics to new plays to musicals, including Xanadu, Next to Normal, The Sunshine Boys, Hair, Much Ado about Nothing, My Fair Lady, Valley Song, The Illusion, The Pajama Game, Side Man, [title of show], How I Learned to Drive, The Mystery of Irma Vep, Scapin, The Two Gentlemen of Verona, The Boys Next Door, Shadowlands, Fully Committed, The Pirates of Penzance, H.M.S. Pinafore, Willi, Dreams from a Summer House, Other People’s Money, The Heidi Chronicles, Noises Off and A Midsummer Night’s Dream, as well as many world premieres including The Kite Runner by Khaled Hosseini, Sherlock Holmes: The Final Adventure (winner of the Edgar Award from the Mystery Writers of America), Inventing van Gogh, Rocket Man, Private Eyes, Over the Moon and Dracula by Steven Dietz, and Ten Chimneys, Dr. Jekyll and Mr. Hyde (Edgar Award nominee) and Sherlock Holmes and the Adventure of The Suicide Club (Edgar Award nominee) by Jeffrey Hatcher.
Mr. Goldstein has been a guest director at theatres all across the country including Arizona Opera, The Pasadena Playhouse, Berkeley Repertory Theatre, Seattle Repertory Theatre, Florida Stage, Center Repertory Theatre, Kansas City Repertory Theatre, Northlight Theatre, San Jose Repertory Theatre, Village Theatre, Geva Theatre Center, Laguna Playhouse, Repertory Theatre of St. Louis, Mixed Blood Theatre, The Children’s Theatre Company in Minneapolis, Alaska Repertory Theatre, and Illusion Theatre. His musical A Marvelous Party: The Noël Coward Celebration, which originated at ATC, has played extensively across the U.S., winning many awards including four Jeff Awards in Chicago (including Best Director), the Elliot Norton Award in Boston, several Bay Area Critics Awards and the Los Angeles Drama Critics Award for Best Production.
Before coming to Arizona, Mr. Goldstein was Associate Artistic Director of ACT Theatre in Seattle. His many productions there included Glengarry Glen Ross, Hapgood, Breaking the Silence, Lloyd’s Prayer, the world premieres of God’s Country by Steven Dietz and Willi by John Pielmeier, as well as a joint Soviet-American production of The Falcon. He was Associate Artistic Director at Actors Theatre of St. Paul from 1983-86. Mr. Goldstein holds an M.F.A. from the University of Minnesota. He has been a visiting instructor and director at ASU, University of Washington, University of Minnesota and University of Northern Iowa. He has served as a panelist for the National Endowment for the Arts, Theatre Communications Group, Arts Midwest, and the Arizona, Minnesota, Oregon and Washington State Arts Commissions. Mr. Goldstein is a proud member of Stage Directors and Choreographers Society and Actors’ Equity Association. He is married to KJZZ radio announcer Michele Robins. They share their home with their dog and cats: Rio, Rocky, Cary, Reggie, and Dexter.
20 ATC LEADERSHIP
Matt Lehrman experienced his first Arizona Theatre Company production, A Walk in the Woods, as an audience member in 1989, shortly after moving to Arizona. He’s delighted to join ATC as Interim Managing Director as of September 2014.
Mr. Lehrman is best known in Arizona as the founder (in 2003) and CEO of Alliance for Audience and ShowUp.com, a pioneering initiative within Arizona’s arts and cultural community to stimulate public engagement with theatre, music, dance, art and cultural attractions statewide.
He was recognized by the Arizona Republic as “Best Cheerleader for the Arts,” and has received accolades from the ariZoni Theatre Awards, the Arizona Office of Tourism and the Arts and Business Council of Greater Phoenix. He has served as Faculty Associate at Arizona State University, teaching upper level seminars on Arts Entrepreneurship and Arts and Public Policy.
As the Principal of Audience Avenue, LLC, Mr. Lehrman is a popular speaker and consultant to arts and cultural organizations nationally, excited to explore the options and opportunities of not-for- profits when viewed from the audience-side of their mission statement.
Beginning in 1995, Mr. Lehrman served as the Scottsdale Cultural Council’s Vice President of Marketing & Communications, the not-for-profit agency that manages the Scottsdale Center for the Performing Arts and the Scottsdale Museum of Contemporary Art. Mr. Lehrman began his career as a lobbyist on banking and mortgage finance issues in Washington, D.C., in the mid 1980s.
He is a graduate of Oberlin College.
21 ATC LEADERSHIP
Jessica L. Andrews was named Managing Director Emeritus in September 2014. She returned last year as Managing Director, having retired from ATC in July 2009 after eleven seasons as Managing Director and three as Executive Director. From September 2010 – September 2011, she returned to ATC as Interim Managing Director. Following her tenure at ATC, she founded jandrews consulting and is currently consulting with Invisible Theatre and The Mini-Time Machine Museum. Previous consultancies include Borderlands Theater, The Loft Cinema, Pan Left Productions, University of Arizona Poetry Center through the Tucson Pima Arts Council, Metro Theater Company, The Vineyard Playhouse, Emerge! Center Against Domestic Abuse, and Break-Away Tours.
Ms. Andrews is the recipient of the 2008 Governor’s Arts Award for an Individual, the 2013 Lumie for Lifetime Achievement from the Tucson Pima Arts Council, the 2007 Distinguished Achievement in Theatre Management Award from the United States Institute of Theatre Technology, and a 2002 Woman on the Move Award from the Tucson YWCA.
During her career, she served on the Executive Committee of the League of Resident Theatres, and on the Board of Directors of Theatre Communications Group. Since her arrival in Arizona, she has served on the Theatre Panel of the Arizona Commission on the Arts, was the president of Arizona Theatre Alliance, on the Board of the Maricopa Partnership for Arts and Culture, and Arizona Citizens for the Arts, and is a member of Women at the Top, Nonprofit Executives Together; Nature, Arts, Culture and Heritage Organizations, and the Advisory Board of Arizona Woman Magazine. She also chaired a task force for the Pima Cultural Plan and served on the Livable Communities Mobilization Council of the Tucson Regional Economic Organization Blueprint.
From 1990-94, Ms. Andrews served as Managing Director of The Shakespeare Theatre (Washington, D.C.), and was the Director of the Theater Program for the National Endowment for the Arts from 1987-1990. From 1985-87, she was Managing Director of Indiana Repertory Theatre and from 1980-85 was Director of the Theatre Division of the national service organization, FEDAPT. Previously, Ms. Andrews was Managing Director of Geva Theatre Center in Rochester, NY, and Hartford Stage Company.
In 2010, Ms. Andrews taught a class on Theatre Management and Organization at Arizona State University. She has guest lectured at University of Arizona, Arizona State University and Yale School of Drama, and has been a reader for the Fund for New American Plays at the Kennedy Center. She served as co-chair of the Arts Committee for the 1997 UK/AZ Festival, and during the summer of 1995, taught a class in theatre management at the Centro Nacional de los Artes in Mexico City. She has served on grants panels for nine state arts agencies and on the Theatre Grants Panel for the U.S./Mexico Fund for Culture. She has served on the NEA Theater Program’s Professional Companies, Challenge Review, Creation and Presentation, and Education and Access panels, and was an NEA site reporter for the Theater and Musical Theater Program.
22 Printer’s Ad Printer’s Ad Printer’s Ad Printer’s Ad Printer’s Ad THE CAST
Craig Bockhorn (Carlino) has appeared on Broadway in On Golden Pond, The Lonesome West and Prelude to a Kiss. Off-Broadway and New York credits include The Seagull (Delacorte Theatre); King Lear, The Cripple of Inishmaan and Kit Marlowe (The Public Theater); The Hope Zone and The Truth-Teller (Circle Repertory Company). Mr. Bockhorn has appeared at regional theatres all over the country. Film and television credits include Big Year, TransAmerica, Law & Order (SVU and Criminal Intent), The Michael J. Fox Show, Person of Interest, Boardwalk Empire, Cupid, Kidnapped, Ed and As the World Turns.
Ted Koch (Roat) has appeared on Broadway in The Pillowman, Death of a Salesman and Cat on a Hot Tin Roof. National tours include Frost/Nixon and Death of a Salesman. Regional theatre credits include The Seagull (Huntington Theatre Company); Scott and Hem (Barrington Stage); Strange Interlude (Shakespeare Theatre Company); Donnybrook! (Irish Repertory Theatre); Born Yesterday and God of Carnage (Pittsburgh Public Theater); and Snow Falling on Cedars (Hartford Stage). Film credits include Cold Souls, Hannibal, Englishman in New York, Love to Leenya, Autumn in New York and Dinner Rush. Television credits include The Americans, Person of Interest, The Good Wife, Gossip Girl, The Sopranos, The West Wing, Law & Order and Ed.
Brooke Parks (Susan) has played Ophelia in Hamlet (Yale Repertory Theatre); the Princess of France in Love’s Labour’s Lost and Katrin in Mother Courage (Shakespeare and Company); and numerous roles at the Oregon Shakespeare Festival including Katherine in Henry V, Helen of Troy in Troilus and Cressida, Mariana in Measure for Measure, Caroline Bingley in Pride and Prejudice and Viola in Twelfth Night. She has performed with the California classical repertory company A Noise Within for various productions including A Midsummer Night’s Dream, Macbeth and Coriolanus. Ms. Parks is a graduate of the Yale School of Drama.
Peter Rini (Mike) is pleased to make his Arizona Theatre Company debut. Mr. Rini originated the role of Vinnie Bavasi in Neil Simon’s Proposals; Marco in the Tony Award-winning revival of A View from the Bridge; and Agent Loyal in Tartuffe: Born Again. He also played Commander Harbison on the first national tour ofSouth Pacific. Selected off-Broadway credits include The Talls (Second Stage Uptown); The Old Boy (Keen Company); and Feather: A Musical Portrait (New York Musical Theatre Festival). Regional highlights include Richard Roma in Glengarry Glen Ross (Dallas Theater Center); Don Pedro in Much Ado about Nothing (Hartford Stage/ The Shakespeare Theatre, D.C.); Constant in The Provok’d Wife (American Repertory Theater); and Joseph Tumulty in the world premiere of Edith (Berkshire Theater Festival). Television and film credits include Jason Figueroa on Orange is the New Black, Blue Bloods, SMASH!, all the Law and Order franchises, Sleepers, Boiler Room and The Juror in addition to many national commercial campaigns.
28 THE CAST
Joseph Kremer (Sam) is making his Arizona Theatre Company debut. Mr. Kremer has appeared locally in A Steady Rain, Dead Man’s Cell Phone and The Book Club Play (Actors Theatre of Phoenix); Noises Off, Our Town and Bloody Bloody Andrew Jackson (Phoenix Theatre); The Taming of the Shrew, Love’s Labour’s Lost and Much Ado about Nothing (Southwest Shakespeare Company); and many other companies in the Valley. Mr. Kremer was voted Best Actor in Phoenix by the Phoenix New Times in 2005 and has won various other awards for his performances. He has also been seen and heard in numerous local, national and international commercials throughout the years.
Lauren Schaffel (Gloria) has previously appeared in Basket Weaver in the Samuel French OOB Festival (Playwrights Horizons); the world premiere of Gloria; and in Summer and Smoke, The Glass Menagerie, Battle of Angels and Camino Real as part of the Tennessee Williams Project. Ms. Schaffel most recently appeared in the upcoming feature film Revenge of the Green Dragons, My Dead Boyfriend (directed by Anthony Edwards), and Admission (starring Tina Fey). Notable television roles include Becca on the hit CBS show Still Standing and the voice of Lucy in A Charlie Brown Valentine and Lucy Must Be Traded.
29 “Ingenious! A snazzy double act.” – T N Yr T
BOOK & MUSIC by Joe Kinosian BOOK & LYRICS by Kellen Blair DIRECTED by Scott Schwartz
DEC 31, 2014 t roug JAN 18, 2015
PERFORMING AT THE HERBERGER THEATER CENTER
ARIZONATHEATRE.ORG | 602-256-6995 | SEASON SPONSORS: I. MICHAEL AND BETH KASSER ABOUT ARIZONA THEATRE COMPANY
Charles Janasz and Ali Rose Dachis in Arizona Theatre Company’s production of Vanya and Sonia and Masha and Spike. Photo by Joan Marcus.
Now celebrating 48 years, Arizona Theatre Company (ATC) boasts the largest subscriber base of any performing arts organization in Arizona with more than 130,000 people each year attending performances at the historic Temple of Music and Art in Tucson, and the elegant Herberger Theater Center in downtown Phoenix. Each season of carefully selected productions reflects the rich variety of world drama – from classic to contemporary plays, from musicals to new works, as audiences enjoy a rich emotional experience that can only be captured through live theatre.
Touching lives through the power of theatre, ATC is the preeminent professional theatre in the state of Arizona. Under the direction of Artistic Director David Ira Goldstein, Interim Managing Director Matt Lehrman and Managing Director Emeritus Jessica L. Andrews, ATC operates in two cities – unlike any other League of Resident Theatres (LORT) company in the country.
ATC shares the passion of the theatre through a wide array of outreach programs, educational opportunities, access initiatives and community events. Through the schools and summer programs, ATC focuses on teaching Arizona’s youth about literacy, cultural development, performing arts, specialty techniques used onstage, and opens their minds to the creative power of dramatic literature. With approximately 450 Learning & Education activities annually, ATC reaches far beyond the metropolitan areas of Tucson and Phoenix, enriching the theatre learning experience for current and future audiences.
OUR VISION Touching lives through the power of theatre.
OUR MISSION To create professional theatre that continually provides new levels of artistic excellence that resonates locally, in the state of Arizona and throughout the nation. Arizona Theatre Company strives to: • Produce a broad repertoire ranging from classics to new works; • Engage artists to produce theatrical work of the highest caliber; • Provide an educational bridge between our communities and our work; • Assure access to the broadest spectrum of citizens; • Achieve cultural diversity in all endeavors; • Operate from a position of financial strength and fiscal responsibility.
31 Printer’s Ad Printer’s Ad THE CREATIVE TEAM
David Ira Goldstein (Director) Please see Mr. Goldstein’s Artistic Director biography on page 20. Vicki Smith (Scenic Designer) has designed The Mountaintop; Ma Rainey’s Black Bottom; The Kite Runner; Touch the Names; Love, Janis; Hank Williams: Lost Highway; Dirty Blonde; Master Class; The Last Night of Ballyhoo; Fences; and many more at ATC. She has also designed for Denver Center Theatre Company, Geva Theatre Center, Utah Shakespeare Festival, Children’s Theatre Company, Oregon Shakespeare Festival, Indiana Repertory Theatre, Kansas City Repertory Theatre, Penumbra Theatre Company, Seattle Repertory Theatre, Actors Theatre of Louisville, Milwaukee Repertory Theater, Dallas Theater Center, Pittsburgh Public Theater, Alley Theatre, Berkeley Repertory Theatre and many others. Ms. Smith was Associate Designer at ACT Theatre and has received Bay Area Critics Circle Awards for The Kite Runner and Execution of Justice; a Drama-Logue Award for Cyrano; and Colorado Theatre Guild and Denver Ovation Awards for Mariela in the Desert, Doubt, Plainsong, I’m Not Rappaport and Pierre, which was also selected for the 2007 Prague Quadrennial Design Exposition.
Marcia Dixcy Jory (Costume Designer) has previously designed Somebody/Nobody and Ten Chimneys at ATC. Ms. Jory’s regional theatre credits include ACT, Seattle Repertory Theatre, Intiman Theatre, Seattle Children’s Theatre, Guthrie Theater, Long Wharf Theatre, Hartford Stage, Opera Company of Boston, Kentucky Opera, Manhattan Theatre Club and Circle in the Square. She has also designed over 70 productions as a resident costume designer for Actors Theatre of Louisville. Ms. Jory is a faculty member at Santa Fe University of Art and Design and her book on costume design, The Ingenue in White, is published by Smith and Kraus. www.marciadixcyjory.com.
Don Darnutzer (Lighting Designer) has designed 59 shows for ATC since 1981. His most recent designs include The Mountaintop; Sherlock Holmes and the Adventure of The Suicide Club; Ma Rainey’s Black Bottom; Touch the Names; Love, Janis; and I Am My Own Wife. He designed the lighting for Broadway’s production of It Ain’t Nothin’ but the Blues and off-Broadway’sHank Williams: Lost Highway, Almost Heaven and The Immigrant. He has worked for American Conservatory Theater, Guthrie Theater, The Kennedy Center for the Performing Arts, Oregon Shakespeare Festival, Cleveland Play House, New Orleans Opera, Denver Center Theatre Company, Portland Opera, Kansas City Repertory Theatre, Alley Theatre, Seattle Repertory Theatre, BB King’s Blues Club in NYC, Palm Beach Opera, Shakespeare Theatre Company, The Repertory Theatre of St. Louis, Actors Theatre of Louisville, Coconut Grove Playhouse and Geva Theatre Center.
Brian Jerome Peterson (Sound Designer) celebrates his 29th season at ATC, where he has designed 76 productions, including Around the World in 80 Days, The Importance of Being Earnest, The Sunshine Boys, Jane Austen’s Emma, The Great Gatsby, God of Carnage, Ma Rainey’s Black Bottom, Lost in Yonkers, Ain’t Misbehavin’, George is Dead, Somebody/Nobody, Enchanted April, Touch the Names, I Am My Own Wife, Twelfth Night, Tuesdays with Morrie, Crowns, Macbeth, The Pirates of Penzance, The Immigrant, A Streetcar Named Desire, Oh Coward!, Copenhagen, Fully Committed and The Mystery of Irma Vep (for which he won an ariZoni Award) and the world premieres of Sherlock Holmes and the Adventure of The Suicide Club, Dr. Jekyll and Mr. Hyde, Sherlock Holmes: The Final Adventure, Inventing van Gogh, Rocket Man, Minor Demons and The Holy Terror. His designs have been heard in many theatres including Geva Theatre Center, Berkeley Repertory Theatre, Seattle Repertory Theatre, Cleveland Play House, Northlight Theatre, Portland Center Stage, Actors Theatre of Louisville and San Jose Repertory Theatre.
34 THE CREATIVE TEAM
Adriano Gatto (Fight Director) is Certified with Full Distinction by Fight Directors Canada and his work has been seen in over 50 productions across the country, most recently at the Irish Classical Theatre, Torn Space Theatre and MusicalFare. He has taught stage combat and also choreo- graphed at many institutions, including the Eastman School of Music and Niagara University, where he currently serves as the Artist in Residence. As an AEA member, Mr. Gatto was awarded an Acting Fellowship to train at the Shakespeare Theatre Company with Michael Kahn. Additional acting credits include productions with Folger Shakespeare Theatre, Round House Theatre and Indiana Repertory Theatre, among others.
Jean Gordon Ryon (Dramaturg) serves as New Plays Coordinator at Geva Theatre Center where, among other duties, she produces the Regional Writers Showcase and the Young Writers Showcase. She was dramaturg for 1776, John Bull’s Other Island, That Was Then, Shear Madness, The Underpants, The Clean House, Almost Maine, The Music Man, Company, Perfect Wedding, The 39 Steps, Last Gas and Geva’s current production of A Christmas Carol. Ms. Ryon holds a degree in drama from Tufts University and a master’s degree in Arts Administration from Goucher College. Her most recent directing credits include Grace and Glorie, Master Class and Blithe Spirit for Blackfriars, The Chosen and The Immigrant for JCC’s CenterStage, Juno and the Peacock, Da, Translations, Waiting for Godot, The Cripple of Inishmaan and Shining City for RCP’s Irish Players, and Romeo and Juliet and Much Ado about Nothing for RCP’s Shakespeare Players. Ms. Ryon is also the Artistic Director of The Geriactors, a traveling troupe of mature actors.
Elissa Myers Casting, Paul Fouquet, CSA (Casting) has cast dozens of ATC shows over the last 25 years. Broadway casting credits include seven shows, including the Tony Award-nominated Having Our Say and 25 off-Broadway shows. Regional casting includes Denver Theatre Company Center, Cleveland Play House, Alabama Shakespeare Festival and Magic Theatre. Film and televi- sion credits include the PBS movie Souls on Fire (2013); three “Movies of the Week” (with Tyne Daly, Claire Danes, Christopher Reeve, Ed Asner and Daniel J. Travanti); five pilots and two PBS specials by Wendy Wasserstein and Terrance McNally (with Bernadette Peters, Nathan Lane, Blythe Danner, Spike Lee and Paul Sorvino); the Peabody Award-winning mini-series Liberty, as well as the Emmy Award-winning mini-series Benjamin Franklin and John & Abigail Adams; and the mini-series God in America, The People v. Leo Frank, Dolley Madison and Louisa May Alcott. The office has so far received 15 nominations and has won three Artios Awards for Outstanding Achievement in Casting.
T. Greg Squires (Resident Lighting Designer) began working for ATC in 1988 as a lighting and sound technician. Since becoming the Resident LD, he is responsible for remounting all of the designs in Phoenix and was the designer for Permanent Collection and Tuesdays with Morrie. Mr. Squires has been the Associate Lighting Designer for Michael Gilliam, Dennis Parichy, Ann Wrightson, Don Darnutzer, Allen Lee Hughes, York Kennedy, David Lee Cuthbert and Peter Maradudin. In addition to ATC, Mr. Squires has designed lights and/or sound for Laguna Playhouse, Pasadena Playhouse, Creede Repertory Theatre, Borderlands Theater and Childsplay. Recently, Mr. Squires was Sound Designer for Actors Theatre of Phoenix productions of This, Circle Mirror Transformation and Dead Man’s Cell Phone, all of which received ariZoni Award nominations.
Timothy Toothman (Stage Manager) is the Artistic Associate at ATC. He most recently stage managed ATC’s productions of Around the World in 80 Days, The Importance of Being Earnest, Freud’s Last Session, Lombardi, Daddy Long Legs and God of Carnage, among others. Mr. Toothman spent five seasons as the Production Stage Manager for the Geva Theatre Center in Rochester, NY and was then Company Manager for five years for Sunshine Too, a national touring ensemble of deaf and hearing actors. He has also managed producing and presenting theatres in Indiana and Maryland. Prior to
35 THE CREATIVE TEAM moving to Arizona, Mr. Toothman spent eleven years as a program and grants director for the Maryland State Arts Council and the Connecticut Commission on the Arts. Mr. Toothman stage managed the National Heritage Awards Program for the National Endowment for the Arts for ten years and was the Production Stage Manager for six seasons at the Vineyard Playhouse on Martha’s Vineyard.
Glenn Bruner (Assistant Stage Manager) is in his 18th season as Production Stage Manager at ATC where he has stage managed, among many others, Vanya and Sonia and Masha and Spike, Venus in Fur, Other Desert Cities, The Mountaintop, Next to Normal, The Great Gatsby, The Mystery of Irma Vep, [title of show], The Kite Runner, Hair, Enchanted April, and the world premieres of Jeffrey Hatcher’s Sherlock Holmes and the Adventure of The Suicide Club and Ten Chimneys, and Steven Dietz’s Sherlock Holmes: The Final Adventure, Rocket Man, Inventing van Gogh, and Over the Moon. Mr. Bruner has worked at Kansas City Repertory Theatre, Alley Theatre, Dallas Theater Center, Pasadena Playhouse, Center Stage, Studio Arena Theatre, and Maine’s Portland Stage Company. Mr. Bruner was the 2012 recipient of the Lucy Jordan Recognition Award, presented annually by the Western Region of Actors’ Equity Association. He has been a member of AEA since 1981.
Ashley Simon (Assistant to the Stage Manager) was Assistant to the Stage Manager for Arizona Theatre Company’s Venus in Fur, Other Desert Cities, The Mountaintop, The Sunshine Boys, Jane Austen’s Emma, Next to Normal, Red, The 39 Steps, Daddy Long Legs, Sherlock Holmes and the Adventure of The Suicide Club, Lost in Yonkers, Woody Guthrie’s American Song, Backwards in High Heels, The Glass Menagerie, Ain’t Misbehavin’, The Kite Runner, A Raisin in the Sun, Hair and The Lady with All the Answers. She was also the Production Stage Manager for ATC’s Summer on Stage 2010, 2011, 2012, 2013 and 2014. Other credits include stage managing The Real Inspector Hound, The Decameron, The Four of Us, Othello and Immortal Longings with The Rogue Theatre and The Mousetrap, Same Time Next Year and Forever Plaid at The Theater Barn in the Berkshires. At Florida Stage, she was Assistant to the Stage Manager for the world premiere of Deborah Zoe Laufer’s End Days.
Jonathan Snipes (Original Music) is a composer and sound designer for film and theatre living in Los Angeles. He is a member of the rap group, clipping. The music heard in this production was written for a 2013 production of Wait Until Dark at the Geffen Playhouse in Los Angeles, directed by Matt Shakman. www.jonat8han.com
Geva Theatre Center (Co-Producer) is dedicated to creating and producing professional theatre productions, programs and services of a national standard since 1972. As Rochester, NY’s leading professional theatre, Geva Theatre Center is the most attended regional theatre in New York State, and one of the 25 most subscribed in the country, serving up to 160,000 patrons annually, includ- ing more than 16,000 students. The 526-seat Elaine P. Wilson Mainstage is home to a wide variety of performances, from musicals to American and world classics. The 180-seat Ron & Donna Fielding Nextstage is home to Geva’s own series of contemporary drama, comedy and musical theatre; Geva Comedy Improv; Geva’s New Play Reading Series and the Hornet’s Nest – an innovative play-reading series facilitating community-wide discussion on controversial topics. In addition, the Nextstage hosts visiting companies of both local and international renown. Geva Theatre Center offers a wide variety of educational, outreach and literary programs, nurturing audiences and artists alike. Since 1995, the organization has been under the artistic direction of Mark Cuddy.
The Actors and Stage The Director is a member The Scenic, Costume, Managers employed in these of the Stage Directors and Lighting and Sound productions are members of Choreographers Society, Designers in LORT Actors’ Equity Association, an independent national Theatres are represented the Union of Professional labor union. by Union Scenic Artists Actors and Stage Managers Local USA-829, IATSE. in the United States. 36 Printer’s Ad Printer’s Ad Printer’s Ad 2014-2015 BOARD OF TRUSTEES
Cameron Artigue Jessica L. Andrews Chair Managing Director Emeritus Attorney, Gammage & Burnham Arizona Theatre Company Robert Glaser Robert Begam Immediate Past Chair Attorney, Begam & Marks Principal, PICOR Commercial Real Estate Services Joanie Flatt President, Flatt & Associates Lynne Wood Dusenberry President Kevin Gebert Community Volunteer Investment Analyst, Holualoa Companies Susan Segal Jay Glaser Vice President (Phoenix) Retired Computer Professional and Attorney, Gust Rosenfeld PLC Community Volunteer Dina Scalone-Romero David Ira Goldstein Vice President (Tucson) Artistic Director, Arizona Theatre Company Executive Director, Therapeutic Riding of Tucson Daniel Hagerty Peter Akmajian Senior Consultant, Arts Manager LLP Treasurer Attorney, Udall Law Firm LLP I. Michael Kasser President, Holualoa Companies Marc Erpenbeck Assistant Treasurer Matt Lehrman President and Chief Legal Officer, George Brazil Interim Managing Director Arizona Theatre Company Robert Taylor Secretary Jennifer Lohse Senior Director of Regulator Policy and Public Program Director, Tucson Foundations Involvement, Salt River Project Jeff Gold Assistant Secretary Retired Entrepreneur and Community Volunteer
EMERITI TRUSTEES HONORARY TRUSTEES Shirley Estes, Donald Nickerson, Betsy Bolding, Joan Kaye Cauthorn, Norma George Rosenberg, F. William Sheppard Feldman, Catherine “Rusty” Foley, Joe Gootter, Sandy Hatfield, Jessica Lazarus, Sandra C. Maxfield, Emily Rosenberg Pollock, Nina Trasoff, Arlene Webster, Ruth A. Zales
A special note of thanks to the partners and staff at Lewis Roca Rothgerber for hosting ATC’s Board of Trustees’ meetings.
40 GET CONNECTED WITH ATC!
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HERBERGER THEATER SERVICES FOR PATRONS ADDITIONAL SERVICES CENTER WITH DISABILITIES The Herberger Theater Center VOLUNTEER USHERS BOX OFFICE INFORMATION strives to be accessible to all AND TICKET TAKERS Monday - Friday: 10am to 5pm patrons. Request special services The Herberger Theater seeks Saturday & Sunday: 12pm to 5pm when purchasing tickets or volunteers to serve as ushers Evenings: one hour prior arriving at the theater. Infrared and ticket takers. New to performance assistive listening headsets are volunteers will attend a tour available in the lobby. Many and orientation. Volunteer LOCATION performing companies provide orientation is held monthly. The Box Office is located on the audio-described performances For more information, please call southeast side of the building, for the visually impaired and ASL 602-254-7399 x176. near the corner of 3rd and interpretation for the hearing Monroe Streets. impaired. Call the Box Office for LOST AND FOUND dates and performance times. PURCHASING TICKETS Please call 602-254-7399 x0 regarding items left at the Tickets can be purchased LATECOMER SEATING POLICY Herberger Theater Center. in person at the Box Office, Depending on the performing by calling 602-252-8497 or company’s policy, patrons EMERGENCY TELEPHONE CALLS through our website at arriving after a performance has Please leave your name and seat www.HerbergerTheater.org. begun may be asked to wait in location with our Patron Services All tickets are subject to a the lobby. At the appropriate Manager if you are expecting facility fee. time, latecomers will be escorted emergency calls during the to available seating near the back PAYMENT METHODS ACCEPTED performance, and leave the of the orchestra or to the balcony, phone number 602-254-7399 x0 The Herberger Theater Center and may proceed to their ticketed with your telephone service. accepts cash, personal checks, seats at intermission. American Express, Discover, TOURS MasterCard and Visa. CELL PHONES AND PAGERS The Herberger Theater Center Please turn off all cell phones, REFUND POLICY provides free tours of the facility pagers and watch alarms before by appointment. Call 602-254- Refunds are offered for cancelled entering the theater. 7399 x197. performances only. LOBBY REFRESHMENTS PARKING PASSES GROUP & DISCOUNT INFO Put A Fork In It Catering sells Purchase your parking pass from Please contact the performing beverages as well as light and the Herberger Theater’s Box company for group discounts. delicious food items 90 minutes Office or online prior to the prior to performances and during performance and park at the FACILITY INFORMATION intermission. Bottled water is Arizona Center Parking Garage the only refreshment permitted for only $3.00. CHILDREN in the theater. During certain Located at 5th Street & Fillmore. Children under 3 years of age are performances, additional Valid Monday - Friday from 5pm not permitted in the theaters, beverages may also be permitted. to 4am and all day on Saturday unless otherwise specified by the Please inquire when purchasing and Sunday. performing company. beverages to determine if they will be permitted in the theater EMERGENCY EXIT NOTICE for your performance. HTC CONTACT INFORMATION Emergency exits are indicated by To avoid intermission lines, you the red Exit signs located above can pre-purchase your food certain doors. Please check the 222 E. Monroe Street and drinks and have it ready Phoenix, AZ 85004 location of the nearest exit after when intermission begins. you have taken your seat. It may ADMINISTRATIVE OFFICES not be the same way you entered. SMOKING 602-254-7399 Smoking is prohibited in the RESTROOMS Herberger Theater Center. In the BOX OFFICE Restrooms are located in the first event of smoking onstage, 602-252-8497 and second floor lobbies between non-nicotine electronic cigarettes Fax 602-258-9521 Center Stage and Stage West. or non-nicotine herbal substitutes will be used, and a sign will be www.HerbergerTheater.org posted in the lobby.
47 GET CONNECTED TO ATC
BECOME AN ATC CIRCLES MEMBER AND EXPERIENCE THE POWER OF THEATRE
WHEN YOU’RE A CIRCLES MEMBER: You go behind the scenes. You enjoy the highest level of customer service. You interact with theatre patrons such as yourself. Through your generous support, you’ll help ATC produce thrilling and engaging work and continue our Learning & Education programs.
ANGELS $25,000 AND ABOVE
PLAYWRIGHT’S GUILD $10,000 – $24,999
PRODUCER’S CIRCLE $5,500 – $9,999
DESIGNER’S CIRCLE $3,500 – $5,499
DIRECTOR’S CIRCLE $1,750 – $3,499
FOR MORE INFORMATION, VISIT DONATE.ARIZONATHEATRE.ORG CORPORATE AND FOUNDATION DONORS
ATC is proud to acknowledge the following donors who made contributions from July 1, 2013 through June 30, 2014.
$25,000 AND UP $5,500 – $9,999 $1,000 – $1,749 APS City of Tempe Actors’ Equity Foundation, Inc. Community Finance Cox Communications Boeing Co. Corporation Frances Chapin Foundation Flagstaff Community Jewish Community Gammage & Burnham Foundation Foundation of Southern Lewis Roca Rothgerber, LLP. Margaret Mellon Hitchcock Arizona The David C. and Lura M. Foundation Jim Click Automotive Team Lovell Foundation Nextrio, LLC Phoenix Magazine Zuckerman Family Foundation Phoenix New Times Phoenix Office of Arts PICOR Charitable Foundation and Culture $3,500 – $5,499 Samloff Family Fund Salt River Project The Molly and Joseph Herman The Diamond Foundation Anonymous Foundation The Margaret E. Mooney Break-Away Tours The Phoebe R. and John D. Foundation George Brazil Lewis Foundation The Shubert Foundation Joseph and May Winston Tim Fuller Studio The Stonewall Foundation Foundation Zazu Pannee Park Regent Kinder Morgan Foundation $500 – $999 Kohl Family Foundation The Harold and Jean $10,000 – $24,999 Providence Service Corporation Grossman Family American Express Shapiro Family Philanthropic Foundation Arizona Commission Foundation Kathy Haun,The Haun on the Arts The Maurice and Meta Gross Family Trust Arizona Community Foundation The Learning Curve/ Foundation University of Arizona Susan and Barclay Dick BMO Harris Bank Foundation Russ and Carolyn Russo Community Foundation Foundation for Southern Arizona $1,750 – $3,499 Diamond Family $250 – $499 Philanthropies Desert Diamond Casino Kaizen Education Foundation Holsclaw Advisory Enterprise Holdings Gordon and Betty Moore Endowment Fund Foundation Foundation PICOR Commercial Real Evo-Ora Foundation Roth Family Foundation Estate Services GeoFund The Stocker Foundation Raytheon Systems Company The Virginia G. Piper Scottsdale Cultural Council Charitable Trust Scottsdale League for the Arts Tucson Pima Arts Council The Donald Pitt Family Foundation The Torosian Foundation University Medical Center
49 INDIVIDUAL DONORS
ATC is proud to acknowledge the following donors who made contributions from July 1, 2013 through June 30, 2014.
ANGELS Elyce and Mark Metzner DIRECTOR’S CIRCLE Jack and Becky Moseley $25,000 AND UP $1,750 – $3,499 Slobodan Popovic and Paul and Alice Baker Janie Shapiro Anonymous Jim and Vicki Click Jeffrey, Susan, Sara, and Roberta Aidem Donald and Joan Diamond James Rein Affinity Eye Care/ Shirley Estes Jennifer A. Roberts Dr. Robert Mulgrew Mr. and Mrs. I. Michael Kasser Herschel and Jill Rosenzweig Mary and Todd Anderson Jim and Dolly Moran Drs. Helen and John Schaefer Alan and Char Augenstein Marilyn Papp James Wezelman Christine and John R. Augustine Michael Willoughby Mr. A. Frederick Banfield and PLAYWRIGHT’S Linda Wurzelbacher Ms. Eileen M. Fitzmaurice Betsy Bolding held at the GUILD DESIGNER’S CIRCLE Community Foundation $10,000 – $24,999 of Southern Arizona $3,500 – $5,499 Dr. Jose M. and Anonymous Mrs. Frances A. Burruel Darryl and Mary Ann Dobras Mary and Cameron Artigue Frank and Barbara Bennett Robert and Nancy Clark Downtown Kitchen + Cocktails Ginny Clements Bruce and Katie Dusenberry/ Bruce and Jane Cole Bruce L. and Lynne Jacklyn Connoy and Horizon Moving Systems William Maguire Joanie Flatt Wood Dusenberry Ms. Deanna Evenchik Len and Doris Coris/ Rodger G. Ford Watermill Financial Norma and Stanley G. Feldman Bruce and Edythe Gissing Bob and Vanne Cowie Catherine “Rusty” Foley Scott Kendall Haun Mark and Julie Deatherage Kate Garner Helen Dyar King Fund Dino and Elizabeth Peggy and Emerson Knowles Dr. Mary Jo Ghory Murfee DeConcini Mr. and Mrs. Richard Lehmann Rob and Laurie Glaser Michael and Geri DeMuro Dr. and Mrs. Robert G. Maxfield Paulette and Joe Gootter Martha Durkin Enid and Michael Seiden Michael and Lauren Gordon Marc and Margaret Erpenbeck Janos and Rebecca Wilder Daniel Hagerty and Fractured Earth Tile & Stone/ Michael Cook Elizabeth Miller Donald Henke PRODUCER’S CIRCLE Leslie Freed Bob and JoAnne Hungate Ellis F. Friedman and $5,500 – $9,999 Rebecca and Sid Johnson Irene Stern Friedman Jessica L. Andrews and Drs. Steven and Marta Ketchel Gail and Patric Giclas Timothy W. Toothman Kevin and Jill Madden Davina Glaser Bill and Donna Dehn Allan and Alfie Norville Ellyn and Jeff Gold Babs and Jay Glaser Matthew and Mary Palenica Dr. Robert W. Gore David Ira Goldstein and F. William Sheppard and Jeff Guldner Michele Robins Goldstein Range P. Shaw Leslie Hall and Ted Jarvi Judith Hardes Richard P. Stahl Hazel Hare Randy Kendrick Mrs. Robert K. Swanson William and Theresa Hawgood Tandy and Gary Kippur Robert Taylor Elliott and Sandra Heiman Bill Lewis and James Wezelman Dan Hennessee Rick Underwood Allan and Diana Winston Jeanne and Gary Herberger Humberto and Czarina Lopez Gary Wolff and Sandy Gibson Joseph Huang and Karen Rigby David Mackstaller and Enid and Mel Zuckerman Kay Juhan Lyn Papanikolas Don Klomp
50 Printer’s Ad Printer’s Ad Printer’s Ad INDIVIDUAL DONORS
DIRECTOR’S CIRCLE Ed and Arlene Cohen PATRONS Jan Copeland CONTINUED $500 – $999 Judie Cosentino $1,750 – $3,499 Pamela Frame Anonymous (5) George and Maria Knecht Todd Franks and Nancy Bodinet Sandra L. Abbey Ruth and Ronald Kolker Drs. Margot W. and J.D. Garcia Dwight and Amy Adams Drs. Paul and Mary Koss Becky and Dave Gaspar Peter Akmajian and Toby and Matt Lehrman Mr. and Mrs. James J. Glasser Colleen Cacy Stacy and Susan Litvak Laurie and Chuck Goldstein Corbett and Pat Alley Lori Mackstaller, M.D. Jon and Erika Grasse Kate and Dabney Altaffer Nora and Phil Mazur Ms. Pamela Grissom Arlene and Morton Scult Richard and Yvonne Morris Jennifer H. Gross and Philanthropic Fund Ms. Deborah Moss Jerry LeFevre Susan and Gregory Ash Helen and John Murphey Jeff Guldner Lee and Gay Ashton Linda and Fred A. Nachman Sarajean Harwood Bob and Judy Atwell Don and Peg Nickerson Stephen and Amanda Heitz Mary Ellen and Emery Bartle Dr. and Mrs. Charles W. Otto Peggy M. Hitchcock Richard and Ann Bates Mr. Sydney Pearl and Ed and Sandra Holland Mr. and Mrs. Edwin L. Biggers Dr. Judy Balan Pearl Nathan Joseph Denice Blake and Ben and Sally Perks Robyn Kessler and Jeff Timan John Blackwell Linda “Mac” and Russ Perlich Carol and Foster Kivel Kay Bouma Toby and Michael Rozen Janice and Al Kivel Shirley and Roland Calhoun Ken and Judy Ryan Carole and Rich Kraemer Mrs. Susan Call Dina Scalone-Romero Eileen and John Lamse Tyna Callahan and Dimitri Voulgaropoulos Lewis and Suzanne Schorr Rob and Jenni Leinbach Neal and Sally Cash Susan P. Segal Helaine Levy and Steve Alley Paul and Vicki Chandler Steve and Shelly Silverman Sam and Judy Linhart Shirley J. Chann Daniel J. and Evelyn G. Simon Edith E. Luty Paul and Susan Charlton Dawnelle and Ronald Spaulding Anne and Ed Lyman Kris and Earl Cohen Rica and Harvey Spivack Phil and Carol Lyons Steven Cohen and Phyllis and Richard Stern Courtney Mc Eniry Michael Godnick Robert and Shoshana Tancer/ Ms. Elsa McTavish David and Susan Cone Tancer Law Firm, P.L.C. Dorothy and Roy Mayeske Mr. and Mrs. Duane Cote Mr. and Mrs. Don Underwood Jeffrey and Barbara Minker Harlan and Gayla Crossman Dr. Richard and Rosanna Miller Alicia and Jon Crumpton Madeleine Wachter Dr. James E. Nation Mr. and Mrs. William Cullen Russell and Kay Weed Shelley Jo Pozez and Richard and Nancy Weiss Bill Holmes Marjorie and George Cunningham Nancy and Jeff Werner Mr. Bruce Raskin and Dr. and Mrs. William H. Dantzler Mark and Taryn Westergaard Ms. Carol Fink Drs. Adib and Vivi Sabbagh Gail E. Dunlap Dennis Emond BACKERS Marc and Deborah Sandroff John Usher Sands Annette Everlove and Michael Johnson $1,000 – $1,749 Claire and Henry Sargent Ronna Fickbohm and Jeff Willis Anonymous (4) Cathy Shell Dr. and Mrs. John H. Finley Loren and Darla Acker Mary P. Sullivan Helen V. Fisher Judy and Rory Albert Mollie Trivers and Shelley Cohn John and Louise Francesconi Ms. Kathy Alexander and D. Rae Turley Wendy Gamble and Carl Kuehn Mr. Paul Lindsey David and Dawn Veldhuizen Ann and Arthur Goldberg Becky and Doug Pruitt Mr. Richard K. Walker Jerome and Anita Gutkin Family Fund Ronald and Diane Weintraub Andy and Sara Gyorke Susan Berg Mary and Robert Wolk Rita C. Hagel Bill and Barbara Bickel Ruth Zales and Allan & Barbara Bowermaster Kenneth Greenfield Ms. Athia Hardt
54 INDIVIDUAL DONORS
PATRONS Jerusha and Marc Schmalzel Mr. and Mrs. John Carhart CONTINUED Dr. Frances Schulter-Ellis Ms. Joyce Cohen Paul and Jacqueline Schulz Ms. Cheryl Convery $500 – $999 Dr. and Mrs. Fred Schwartz Mr. and Mrs. James Coyle Drs. John M. and Robin B. Mr. and Mrs. Marc Schwimmer Ronald & Vic Crowe Harris Dr. and Mrs. J. F. Seeger William and Saucy Cutlip Michael and Phyllis Hawkins Dr. William and Joanne Sibley Susan Dale John L. Hay and Drs. David Siegel and Mr. Philip G. Derkum Ruth M. Murphy Linda Riordan Peter DeLuca Les and Suzanne Hayt Raj Sivananthan Stephen and Ruth Dickstein Tom and Sandy Hicks Richard Snodgrass and Mr. Tom Dinwiddie Sharon and Jesse Hise Merrie Brucks William DiVito and Mary Jo David and Lori Iaconis Lin and Bob Spangler Sheldon-DiVito Abe J. Jacob Darryl and Helen Stern Jan and Leo Dressel Karen and Chuck Jonaitis Dan and Jill Stevenson James Eichman Valerian and Mira Kaplan Doug and Jean Stuart Michael R. Elert and Gary and Lee Ana Kains Mrs. Susan and Dr. Honora A. Norton Mr. and Mrs. Joseph Mr. Glyn Thickett Lee and Spencer Elliott Kendhammer Hugh and Allyn Thompson Ms. Susie Ernst Raymond Kemp and Stephen and Susan Thompson Mario and Elaine Espericueta Rick Douglas Bruce and Catherine Uhl Nancy and Richard Fintzy Mr. Robert Knopf David and Nancy Ulmer Ms. Mary Jo Fitzgerald Bill and Linda Knox Barbra Vogen Ms. Tay Fitzgerald Jami Kozemczak Steve and Linda Wegener Sarilyn and Sherman Fogel Linda Lambert Maggie White Cindy Foley Bob and Sherrie Lane Denise Andre Ford Anne Leary and Bill Hemelt FRIENDS Drs. David William and Marianne and Bill Leedy Virginia Ramos Foster Dr. Alan Levenson $250 – $499 M. Fowler Dr. and Mrs. Marc Levison Anonymous (7) David and Cathy Freedman Tracy and Michael Levy Daniel and Audrey Abrams Carol and Paul Gerlach Herb and Nancy Lienenbrugger Vicki and Jerry Alpert Gary and Gini Gethmann Elaine Litvack Lee and Gay Ashton Mrs. Linda G. Golburgh Roy Loewenstein Eva and Martin Bacal Muriel and Marc Goldfeder Peter and Suzan Makaus Emery and Jackie Barker Dr. Gerald Golner Gregory and Emma Melikian Mr. and Mrs. Robert Barnes Steven Gottlieb Richard and Kathryn Merkel Bret and Mary Batchelor Robert and Judi Gottschalk Mr. Thomas Merryweather Char and Gerry Bates Nancy and Thomas Green Darrel and Ann Merwin Trip Batten and Bill Henry Alan and Ann Grove Mr. Gary Molenda Mathis and Barbara Becker Donita Gross Essie and George Nadler Dr. Cash and Susanne Beechler Diane Haller and Steve Betts Pat and Wayne Needham Tony Beram Michael Hamant, M.D., and Jordan and Jean Nerenberg Bill and Kathleen Bethel Lynnell Gardner, M.D. Mr. and Mrs. Michael Ore Ms. Elizabeth Beyrer Kenneth and Marian Handy Bill and Kathie Peterson Phylis and Gary Bolno Monica and Jim Hart Marilyn M. Prince David and Bonnie Bickford Mr. and Mrs. Jerrold Hatcher Will Rapp and Kathy Kolbe Chuck and Sandy Bonstelle Susan B. Hazan and Mr. Paul Rathjen Carla and Chuck Borkan Michael T. Burns Lynda and Ed Rogoff John Bowers Frederick C. Henning David and Sonja Saar Diane and Donald Bristow Dr. and Mrs. Arthur L. Herbst Suzanne Samuels Ms. Martha Brumfield Susan E. Hetherington Vance, Louise, and Vivian Bruns Sherry Heyman Camille Sanders Gene and Jeanne Bryan Greg and Marcia Hilliard Dr. J.M. Santiago and Herb and Sylvia Burton Ms. Michele Himovitz Ms. Janice Catt Ralph H. Byerly Harriet and Robert Hirsch
55 INDIVIDUAL DONORS
FRIENDS Rudy and Maria Mathews Bart and Marcella Schannep CONTINUED Mr. and Mrs. Stanley Matlick Alfred and Doris Schiller Alan S. and Judi E. Max Dr. and Mrs. Harry Schlosser $250 – $499 Andy McKnight Mr. and Mrs. S.L. Schorr Ms. Marsha Hirsch Delos D. McKnight Trisa and Andy Schorr Marjorie Hoffman Lynda Menis Lyle and Gail Schultz Dr. Arnold and Carol Hollander Jean and Walt Merkel Susan and Ford Schumann Ms. Pamela Horner Debra and Jeffrey Messing Edward and Robyn Schwager Ms. Nancy Howell Fred and Joyanne Mills John and Maria Schwarz David Hoyt Johnson Joe and Michelle Millstone Jim and Hazel Shuttleworth Mr. Robert Huber Mr. and Mrs. George Mink Marvin Siegel and Eileen Bloom J. Hufford-Jensen and Jacque L. Montrose Steve and Anita Slaughter G. Kroening Ms. Frances Moore John and Phyllis Smiley John Irby and Norizan Osman Phyllis and Harold Morgan Lois and Lowell Sorenson Gary Israel Melvin E. Mounts Mark and Gloria Spies Helen and Robert Jennette Shirley G. Muney Linda Staubitz Kim Johnson Mr. and Mrs. Chuck Munson Claire Steigerwald Mr. Bill Jones Mrs. Connie Myren Mr. and Mrs. David J. Sterle Ms. Leianne Jones Dana and Rick Naimark Richard and Marie Stewart Marcia Jones Carl and Carolyn Nau Ms. Dana Stout Hy Kaplan and Sue Vardon Susan and James Navran Teri and Don Sullivan Mr. and Mrs. Gerald Karches Caren and Thomas Newman Morton and Nina Susman Ms. Julianna Kasper Dr. Janko Nikolich-Zugich Mr. Matthew Sweger Sandra B. Katz, MD, JD and Ms. Leslie O’Hara Jay Sykes D. Stephenson Marilyn V. Olander, Ph.D. Philip and Mary Taylor Pam and Charles Katzenberg Paula and Carl Olson Robert and Beth Taylor David and Lisa Keene Betty Olwin Anne and Steve Thomas Darrell and Susan Kidd Mr. Jones Osborn, II Neil and Marge Thornton Ms. Susan Kidd John Parente Mr. and Mrs. Richard Tofel Susan and Carlton King Roger and Lori Peck Nina Trasoff and Rodney Jilg Jay and Barbara Kittle Martha and Terry Allen Perl Tony and Rita Vickers Donald and Marsha Klein Julia Pernet Bob and Emily Vincent Susan Knowlton and Jeanne Pickering and Barbara and John Walker Don Bourque Mike Andrew Linn and Karen Wallace Karen and Sherwin Koopmans Ms. Linda Piele John and Connie Jessica and Steve Kozloff Mr. Herbert C. Ploch Nygaard Wareing Bobbie and Ted Kraver Robert and Sheila Press Bernie and Libby Weiner Mr. and Mrs. Donald Laidlaw Robert Davis and Mrs. Virginia A. Weise Sally Lanyon Lourdes Ramonet Richard and Stephanie Weiss Drs. Arlyn and Joyce Larson Sandra L. Rausch Jan Wezelman Lynne C. Larson John and Jennifer Reid Mr. and Mrs. Preston Whitt Leslie Latham and Lou Kahn Mr. and Mrs. Eugene R. Rice Ms. Karin Williams Philip and Ellen Leavitt Mrs. Joan C. Roberts Mr. and Mrs. Peter Woods Mr. and Mrs. Robert Lebby Roger and Janet Robinson Pennie DeHoff and Larry Wurst Mr. John Leonardo Bill and Eileen Roeske Bertie Levkowitz and Jeanne and Tom Rogers Thomas Herz Mr. and Mrs. James Ronstadt Mr. and Mrs. Matthew Madonna Herbert and Laura Roskind Martin Mannlein and Kent and Barbara Rossman Barbara Stern Mannlein Arnold and Carol Rudoff Mr. and Mrs. Thom Mansur Mr. and Mrs. Richard Rundle Mike Martin Jennifer and Charles Sands Alice Mason Kirk Saunders
56 INDIVIDUAL DONORS
GIFTS IN Bob Hegyi by Raymond Kemp GIFTS IN MEMORY OF and Rick Douglas HONOR OF Chris and Joel Hatfield sons of Gertrude “Trudy” Shapiro by Don and Sandy Hatfield by Clyde Kunz and Brian Jessica L. Andrews and Norma and Stanley G. Feldman Arthur’s marriage by Timothy W. Toothman, Jessica L. Andrews and Dr. Arnold I. Hollander by Slobodan Popovic and Timothy W. Toothman Mrs. Carol Hollander Janie Shapiro Anne Raymond by Elayne Miller by Jan Wezelman Allan Glaser by Jessica L. Ms. Ann Baldwin Karl Haytcher by Jessica L. Andrews and Timothy W. Karen Scates by Betsy Bolding Toothman, Alice and Andrews and Timothy W. Toothman, Claudia Vazquez Tucson Gala – Fund the Future Paul Baker, Holualoa in honor of Ann Lovell by Ms. Larry Smith by Frank Davis Arizona, Inc., Robyn Judith Braun Mollie Hughes by Diane Tweedy Kessler and Jeff Timan, Ruthie Zales by Ms. Marsha PICOR Commercial Real Ms. Beryl Beville by Mr. and Cohen, Judy and Jay Feldstein Estate Services, Lynn and Mrs. Matthew Madonna Asha and Jason Ricci’s Mark Thomas Rick Call by Ms. Susan Call wedding by Len and Doris Anna Jolivet by Jessica L. Richard Segal by Jessica L. Coris/Watermill Financial Andrews and Timothy Andrews and Timothy W. David Ira Goldstein by Karen W. Toothman Toothman, Betsey Bayless, and Lionel Faitelson Bob Cauthorn by The Alice Laura and Terry Bercovitz, John and Helen Schaefer’s and Paul Baker Philanthropic Michael Parrish and Susan Shelley Award by Norma and Fund, Laura and John Davis, Mr. and Mrs. Rick Stanley G. Feldman Almquist, Jessica L. DeGraw, Norma and Stanley Andrews and Timothy W. G. Feldman, Jay Glaser, David Lowell and Anne Rothschild’s Toothman, Ms. Barbara Ira Goldstein and Michele 60th anniversary by Norma Atwood, Alice and Paul Robins Goldstein, Mr. and and Stanley G. Feldman Baker, Patricia Ballard, Mrs. Mark I. Harrison, In Honor of her son, Seth Robert and Deanna Bates, Henderson Engineers, Inc., Kromholz and Gilat Ben-Dor’s Jill Bishop, Betsy Bolding Luana and Dough Manning, engagement by Davina Glaser held by the Community Patricia Martin, Mr. Charles J. Jay Glaser’s election to the Foundation of Southern Muchmore, Nancy and Bruce Board of Trustees by Arizona, Neal and Sally Oyen, Mr. and Mrs. Scott Ruby, Mrs. Linda G. Goldburgh Cash, Shirley J. Chann, Len Michelle and Stand Sparrow, Beth and Michael Kasser by The and Doris Corris/Watermill Sheryl and Dale Wanek Dr. Herschel & Jill Rosenzweig Financial, The Dr. Herschel & Rose Gottlieb by Joanne M. Donor Advised Fund Jill Rosenzweig Donor Adams, James P. Erikson, Mr. Ann Lovell and the Lovell Advised Fund, Dr. and Mrs. and Mrs. Marvin Glassberg, Foundation by Clyde W. Edward Gentile, Rob and Mr. and Mrs. Ke Chiang Hsieh, Kunz and Brian L. Arthur Laurie Glaser, David Ira Mr. and Mrs. John Humenik, Jean and Jordan Nerenberg Goldstein and Michele Mr. and Mrs. Scott Hurd, Mr. 50th Wedding Anniversary Robins Goldstein, Pamela James R. Kastella and Mrs. by Elyce and Mark Metzner Grissom, Gene and Naomi Linda L. Kastella, Mr. and Mrs. Linda “Mac” Perlich by Mr. Karp, Jim and Shirley Kiser, Theodore Katz, Robert and and Mrs. Chuck Munson Trudy Kohl, Clyde W. Kunz John LaCose, Hani and Nora Stanley Feldman by and Brian L. Arthur, George Murad, Kenneth and Phyllis Lyn Papanikolas and Loesch and Friends at Myslik, Nannette and Steve David Mackstaller Interstate General Media, Pageau, Wanda and Angelo Robyn Kessler – Happy Jennifer Lohse, Robert H. Petropolis, Sonja M. Birthday by Lyn Papanikolas Marshall, Robert and Sandy Reinhardt, Lu Rodolph, and David Mackstaller Maxfield, Lyn Papanikolas Robert and Susan Shrager, and David Mackstaller, Brent Deb and Dave Solomon Geri Silvi by Slobodan Popovic and Janie Shapiro Pichler, Judith Rich, Mr. and Rudy Cosentino by Mrs. Robert A. Strauss, Lisa Judie Cosentino Ralph and Ingeborg Silberschlag Ungar, Patricia H. Waterfall, by Marilyn M. Prince Jan Wezelman, Ruth Zales Randy Kincaid’s 60th Birthday and Kenneth Greenfield, by F. William Sheppard and Zuckerman Family Range P. Shaw Foundation Bill Lewis and Rick Underwood recent marriage by F. William Sheppard and Range P. Shaw Sarah J. Wich by Barbara Wich 57 Printer’s Ad STAFF
David Ira Goldstein Matt Lehrman Jessica L. Andrews Artistic Director Interim Managing Director Managing Director Emeritus
ARTISTIC ADMINISTRATION ASSOCIATE ARTISTIC ARTISTIC & PLAYWRITING ASST. TO THE MANAGING TICKET SALES & DIRECTOR INTERN DIRECTOR/BOARD LIAISON HOUSE MANAGEMENT Stephen Wrentmore Natasha Smith Mary Bertlshofer TICKETS SERVICES MANAGER ARTISTIC ASSOCIATE PLAYWRIGHT-IN-RESIDENCE FRONT OFFICE MANAGER Geri Silvi Timothy Toothman Elaine Romero Sara Kavitch BOX OFFICE MANAGER – TUC COMPANY MANAGER RESIDENT COSTUME DESIGNER FRONT OFFICE Becca Moore Robyn Lambert Kish Finnegan Pat Boysen, Helen Daniels, Barb Dominick-Price, Ellen CUSTOMER SERVICE ASST. COMPANY MANAGER RESIDENT LIGHTING DESIGNER REPRESENTATIVES – TUC Nicole Smith T. Greg Squires Gurewitz, Susan Tomlinson, Carrie Luker, Michi Yamasaki Linda Vogel LITERARY ASSOCIATE RESIDENT SOUND DESIGNER CUSTOMER SERVICE Katherine Monberg Brian Jerome Peterson ACCESSIBILITY REPRESENTATIVES – PHX ACCESSIBILITY COORDINATOR Pam Beitman, EDUCATION Eileen Bagnall Linda Scwartz TICKET SERVICES DIRECTOR OF EDUCATION TEACHING ARTISTS CONT. DEVELOPMENT ASSOCIATE – TUC Stephen Wrentmore Christopher Gerling, Athena DIRECTOR OF Debbie Archuleta Hagen-Krause, Russell Long, DEVELOPMENT – TUC TICKET SERVICES EDUCATION MANAGER Leslie Freed April Jackson Katherine Monberg, Brian ASSOCIATE – PHX Jerome Peterson, Andrea DEVELOPMENT Debra Field EDUCATION ASSOCIATES Pratt, Sarah Ross, Kat Seaton, COORDINATOR – TUC Bryanna Patrick, Luke Young FRONT OF HOUSE & RENTALS Amy Shuttleworth, Ashley Carley Elizabeth Preston COORDINATOR – TUC TEACHING ARTISTS Simon, Natasha Smith, Jared Don Gest Heidi Barker, Kevin Black, Strickland, Barbara Tanzillo, FINANCE Emma DeVore, Mathew DeVore, Amber Tibbitts HOUSE MANAGERS – TUC DIRECTOR OF FINANCE Bill Bethel, Sonja Reinhardt & ADMINISTRATION Carrie Toth AUDIENCE ENGAGEMENT PRODUCTION STAFF SENIOR ACCOUNTING Freda Ganem ASSOCIATE PRODUCTION MANAGER COSTUMES & WARDROBE Yvette Miranda CONSULTANTS Jennifer Smith COSTUME SHOP MANAGER ACCOUNTING ASST. ASST. PRODUCTION MANAGER Barbara Tanzillo AUDITORS Kalyn Scanlan Beach, Fleischman & Co. Christopher Gerling COSTUME DESIGN MANAGER Kish Finnegan THE TEMPLE LOUNGE MARKETING & STAGE MANAGEMENT COMMUNICATIONS MANAGER PRODUCTION STAGE MANAGER DRAPER Kate Crowley Phyllis Davies Emily Lucas Glenn Bruner GRAPHIC DESIGN ASST. MANAGER STAGE MANAGERS WARDROBE SUPERVISOR Esser Design Lisa A. Leonhardt Sara Kavitch David A. Cap, IT SUPPORT Timothy Toothman WIGMASTER & DRESSER CONCESSIONAIRES Team Logic IT Amanda Gran Angela Aldrin, Crisi Badke, ASSTS. TO THE Dawn Copps, Alison Doran, PUBLIC RELATIONS STAGE MANAGER The Kur Carr Group, Inc. Emma DeVore, Ashley Simon LIGHTING Dani Gifford, Kim Grygutis, LIGHTING SUPERVISOR Cynthia Hough, Shannon WEBSITE SUPPORT SCENERY T. Greg Squires Lempke, Mariah McCammond, Susana Diaz TECHNICAL DIRECTOR John McNiece, Rebecca MASTER ELECTRICIAN Smiley, Liz Weibler Matthew Saxton Timothy Smith ASST. TECHNICAL DIRECTOR STAFF ELECTRICIAN MARKETING Philip Blackwood Kat Seaton MARKETING & STAFF CARPENTERS LIGHT BOARD OPERATOR – PHX COMMUNICATIONS Scott Greenleaf, Jason LaFleur Alexis Raetz COORDINATOR – TUC Erin Treat OVERHIRE CARPENTERS OVERHIRE ELECTRICIANS Butch Foley, Matt Murray, Katelin Ashcraft, Daniel Black, MARKETING ASST. Arthur Potts Rick Holya, Dale Nakagawa, Gary Edwards SCENIC CHARGE ARTIST Arthur Potts Brigitte Bechtel FACILITIES – TUCSON SOUND MAINTENANCE SUPERVISOR STAGE CARPENTER – TUC Horace Ashley Russell Long SOUND SUPERVISOR Brian Jerome Peterson MAINTENANCE TECHNICIANS STAGE CARPENTER – PHX David Fitch, Dean Morgan Robert Douglass ASST. TO THE SOUND DESIGNER Kenny Erickson PROPERTIES PRODUCTION SOUND ENGINEER PROPERTIES MASTER Mathew DeVore Paul Lucas SOUND BOARD OPERATOR – PHX PROPERTIES ARTISAN Billy Lopez Katelin Ashcraft 59 Printer’s Ad Printer’s Ad Printer’s Ad