Mark Taper Forum 45th Season 2012

FIRST SEASON PRODUCTION Clybourne Park By Bruce Norris Directed by Pam MacKinnon January 11 – February 26, 2012

SECOND SEASON PRODUCTION Waiting for Godot By Samuel Beckett Directed by Michael Arabian March 14 – April 22, 2012

THIRD SEASON PRODUCTION Los Otros Book and lyrics by Ellen Fitzhugh Music by Michael John LaChiusa Directed by Graciela Daniele May 23 – July 1, 2012

FOURTH SEASON PRODUCTION Red By John Logan Directed by Michael Grandage August 1 – September 9, 2012

FIFTH SEASON PRODUCTION November By David Mamet Directed by Scott Zigler September 26 – November 4, 2012

SIXTH SEASON PRODUCTION Other Desert Cities By Jon Robin Baitz Directed by Joe Mantello November 20 – December 30, 2012 CENTER THEATRE GROUP BOARD OF DIRECTORS 2011/2012 OFFICERS honorary chairman emeritus Lew R. Wasserman† Harold Applebaum Ronald J. Arnault chairman Gordon Davidson Martin Massman Phyllis Hennigan president Leonard Hirshan William H. Ahmanson Richard Kagan Samuel X. Kaplan† vice president Nancy Olson Livingston Ava Fries O. Kit Lokey Diane Morton secretary Lawrence J. Ramer Amy R. Forbes Martin C. Washton assistant secretary Susan Grode past presidents Lew R. Wasserman† † treasurer Marshall Berges l to r: Barry McGovern, Alan Mandell, James Cromwell, LJ Benet, Hugo Armstrong. Dr. Steven Nagelberg Armand S. Deutsch† Walter Mirisch board members Henry C. Rogers† Dean V. Ambrose Richard E. Sherwood† Pamela Beck J. David Haft† Judith Beckmen Lawrence J. Ramer Norris J. Bishton, Jr. Stephen F. Hinchliffe, Jr. Dannielle Campos Ramirez Phyllis Hennigan Joseph C. Carieri Richard Kagan Marcy Carsey Martin Massman Cástulo de la Rocha Vin Di Bona Frances Flanagan Barbara Fodor Eric R. Garen David I. Gindler Patricia Glaser Brindell Roberts Gottlieb Timothy G. Hanlon photos by craig schwartz craig by photos Brian Hargrove Stephen F. Hinchliffe, Jr. Darell L. Krasnoff Lucy M. Labruzzo Jennifer Altfeld Landau Carol Mancino Antonio Manning Dale S. Miller Walter Mirisch Jo Muse Michael Arabian Edward B. Nahmias Edward L. Rada Bill Resnick Michael Ritchie Laura Rosenwald Eva Stern Louise Taper Rosalind Zane

†Deceased

P2 PERFORMANCES MAGAZINE Presents

BY Samuel Beckett

WITH Alan Mandell Barry McGovern James Cromwell Hugo Armstrong LJ Benet

SET DESIGN COSTUME DESIGN LIGHTING AND PROJECTION DESIGN John Iacovelli Christopher Acebo Brian Gale

CASTING DRAMATURG ASSOCIATE PRODUCTION Erika Sellin Joy Meads ARTISTIC DIRECTOR STAGE MANAGER Neel Keller David S. Franklin

DIRECTED BY Michael Arabian

Waiting for Godot is presented by special arrangement with Samuel French, Inc. March 14 – April 22, 2012 Mark Taper Forum

Please turn off all electronic devices such as cellular phones, PDAs, beepers and watch alarms. The use of any recording device, either audio or video, and the taking of photographs, with or without flash, is strictly prohibited.

PERFORMANCES MAGAZINE P3 CAST (In order of speaking)

Estragon ...... Alan Mandell Vladimir ...... Barry McGovern Pozzo ...... James Cromwell Lucky ...... Hugo Armstrong Boy ...... LJ Benet

UNDERSTUDIES Understudies never substitute for listed performers unless a specific announcement is made at the time of the performance. For Estragon, Pozzo, Lucky — Mark Bramhall For Vladimir — Jan Munroe For Boy — Jarid Root

STAGE MANAGER Susie Walsh

There will be one 15-minute intermission.

CONSULTANT TO THE PRODUCTION Rick Cluchey

Barry McGovern is appearing with the permission of Actors’ Equity Association.

Center Theatre Group notes the passing of Barney Rosset (1922-2012). Mr. Rosset was the founder of Grove Press and a champion of the writings of provocative writers such as Jack Kerouac, William S. Burroughs, Henry Miller, D.H. Lawrence, Eugene Ionesco, Jean Genet and many others of the political and literary vanguard, sometimes waging legal battles against censorship of their work. He met with Samuel Beckett in Paris in 1953 and obtained the American publishing rights to Waiting for Godot which became his first success, eventually selling more than 2.5 million copies for Grove Press. Beckett became one of Rosset’s closest friends.

P4 PERFORMANCES MAGAZINE Children of Godot By Christopher Breyer

It is today as difficult to imagine what theatre would be like without Waiting for Godot as it is to imagine popular music without Elvis Presley’s first recordings or fiction without James Joyce’s Ulysses. Within two years after its world premiere at Paris’ small Théâtre de Babylone on January 5, 1953, Waiting for Godot had become a pop culture as well as high culture phenomenon and it has become familiar to tens of millions who have never seen or read the play. Today, it is such a classic and Beckett’s influence so pervasive, working not only directly but indirectly through the many, many artists he has inspired, that, as with Hamlet, we take the play for granted. At least, we do until we actually encounter it.

In country after country, Waiting for Godot provoked in its first audiences a set of reactions that became cliche: irritation, outrage (“Waves of hostility came whirling over the footlights,” “Waves of hostility came recalled Peter Bull, who played Pozzo in the first British production. “And the mass exodus, which was to form a feature of the run whirling over the footlights… of the piece, started soon after the curtain had risen…”), bored confusion, excited confusion, wildly mixed reviews, and earnest And the mass exodus... debates as to the play’s “meaning” (debates in which Beckett, disliking publicity and determined to keep the play from being started soon after the reduced to a symbol or metaphor, conspicuously refused curtain had risen …” to participate). This was true even in Paris, despite it being the world capital of the avant garde and home to a number of playwrights (including Eugene Ionesco, Jean Genet and Arthur Adamov) whose work shared with Godot the general concerns, traits and attitudes that the critic Martin Esslin would much later label, “Theatre of the Absurd”: a disdain for traditional realism, an enthusiasm for mixing high forms with low, comedy with tragedy, and an interest in the “existential” themes of skepticism about language, communication, Barry McGovern in Dublin’s Gate Theatre knowledge, meaning and identity. production of Waiting for Godot. Photo by John Haynes.

PERFORMANCES MAGAZINE P5 “Godot is a masterpiece that will cause despair for men and for playwrights in particular.”

Alan Mandell as Lucky in the San Quentin Drama Workshop film of Waiting for Godot.

Waiting for Godot was something different of the most powerful figures in world “children of Godot,” to use Martin and, not surprisingly, playwrights were theatre) clarifies the issue: Esslin’s term, would include the most quick to recognize it as such. One of important playwrights of the subsequent the play’s first advocates was Jean “[The play] summoned the music- half century. The most preeminent are Anouilh, France’s preeminent playwright hall and the parable to present a certainly Edward Albee and the late and an artist of international renown, view of life which banished the Harold Pinter, the formative and primary who pointedly declared, “Godot is a sentimentality of the music-hall figures of the “new” play movements masterpiece that will cause despair for and the parable’s fulsome uplift. in, respectively, the U.S. and Britain. men and for playwrights in particular.” It forced me to re-examine the Famously (or infamously) independent At Godot’s legendary 1956 American rules which have hitherto governed and tough-minded, both men regarded debut (described with bleak delight by the drama; and, having done so, (and Albee continues to do so) Beckett Beckett as “a glorious fiasco”), the two to pronounce them not elastic with an unreserved reverence which figures shouting “Bravo!” in Miami’s enough.” is all the more surprising when one empty Coconut Grove Playhouse at the considers the ambivalence, anxiety and end of the evening were Pulitzer Prize- Waiting for Godot challenged “rules” competitiveness great artists tend to feel winning Broadway playwrights Tennessee concerning the nature of human toward those by whom they are most Williams, then at the height of his power, experience and what constituted dramatic influenced. But as Albee bluntly puts and William Saroyan, who said of the play, time, action and subject matter — which it, “If a playwright is uninfluenced by “It will make it easier for me and everyone well might provoke despair in those Samuel Beckett, then he is a damn fool or to write freely in the theatre.” whose world-view or identity or art was irresponsible.” based upon the “rules.” Despair and freedom? In the final lines Tom Stoppard is another of the great of his highly influential review of Godot’s Many others found that being liberated playwrights who gladly acknowledges British premiere, Kenneth Tynan (who as from the old rules, the old certainties Beckett’s central role in his development Literary Manager of the Royal National and formulae, was inspiring if sometimes as a writer. He explains the dislocating Theatre in the 1960s would become one frightening. As it happened, these power of Waiting for Godot (which

P6 PERFORMANCES MAGAZINE “immobilized” him for weeks after he first accounts of the Nuremberg trials — or and influential … It’s a voice that saw it in 1956) and Harold Pinter’s 1958 else they were at Sharpeville, or were changes your own voice. It just Godot-influenced The Birthday Party by first in at Auschwitz. Choose your horror completely overwhelms you … contrasting their effect on him with that — they know all about it.” In his diary, Also, he started out writing the two of another controversial play of 1956, John Fugard wrote, greatest plays of the 20th century, Osborne’s landmark “angry young man” Waiting for Godot and Endgame. realistic drama, Look Back in Anger. “Moved? Horrified? Depressed? I mean, they’re perfect. They’re Elated? Yes, and excited. bottomless. They’re like Hamlet. “After I saw Look Back in Anger I ...Beckett’s greatness doesn’t And that kind of perfection is started trying to write a play like it intimidate me. I don’t know how always discouraging for a writer.” … I could see what Osborne was it works — but he makes me want up to and how it might be done. to work. Everything of his I have But Paula Vogel, whose plays include The read has done this — I suppose Baltimore Waltz and the 1998 Pulitzer “But with Godot and The Birthday it’s because I really understand, Prize winner How I Learned to Drive, feels Party the case was entirely emotionally, and this cannot but more inspired than limited by Beckett. different. I couldn’t see how it was give me power, energy His innovative ideas of dramatic time done. I couldn’t see what exactly and faith.” and action and his ability to portray was done, either. Each play was interior experience give her a crucial simultaneously inspiring and Ten thousand miles away a California dramaturgical model and, indeed, baffling. It broke a contract which a teenager who “hardly knew anything “enabled women to become playwrights.” up to that era had been thought about the theatre” was given a play. “It “In the 1960s, women experimental to exist between a play and its was like nothing I’d ever read before — it writers were criticized for being static,” audience ... [that a play] had certain was Waiting for Godot,” he recalled. “And says Vogel. “But they actually would obligations toward you, such as I thought, what’s this guy talking about? have stayed away from drama without the obligation to give you the What is this? And I read it with a very keen Beckett’s model.” And indeed, one minimum information you needed interest but I didn’t know anything about sees the influence, often though not to make sense of the whole. what it was.” Sam Shepard soon dropped always acknowledged, of Beckett out of junior college and into a life in in the most preeminent and daring “Waiting for Godot redefined the theatre. Eight years later, he was the women playwrights of the last decades, the minimum, for all time, or multi-Obie Award-winning doyen of off-off particularly Caryl Churchill, Suzan-Lori at least up to the present time Broadway, on the verge of writing some of Parks and Sarah Kane. … The narrative line was pure, the greatest of American plays (including so pure that you lost sight of Buried Child, Curse of the Starving Class It is impossible to know what people will it some of the time, pure as a and True West) and, according to his think of Waiting for Godot in 50 or one spider’s thread: when it seemed companion, the singer-songwriter and hundred years. But the legendary director to be broken, a small shift poet Patti Smith, never going anywhere and theorist, Peter Brook sums up what showed it still there. These plays, without a copy of a Beckett play. the play means for us today: so unlike Shakespeare, did the thing that makes Shakespeare It is inevitable that the direct influence of “Can we define a work of art as breathtaking and defines poetry Beckett’s plays would diminish as they something that brings a new — the simultaneous compression became established works, styles changed ‘thing’ into the world — something of language and expansion of and new generations of playwrights we may like or reject, but which meaning.” resisted and wrestled with the burden of annoyingly continues to be, and so Beckett’s achievement (just as Beckett for better or worse becomes part Stoppard’s experience was far from and his generation struggled with the of our field of reference? If so, this unique. Directing a production of Godot “overwhelming” achievement of Beckett’s brings us back to Beckett. He did with a black cast in apartheid South Africa friend and mentor, James Joyce). As Tony just this with two tramps under in 1962, Athol Fugard felt he “had made Kushner puts it, a tree. The whole world found contact with the rare moment of truth something they made visible in in theatre … truth at the level where it is “Beckett is like Shakespeare. He’s that absurd and awful picture.” ● Beauty.” He told his actors that Godot’s very dangerous, because his voice Vladimir and Estragon “must have read is so overwhelmingly persuasive —Christopher Breyer is an L.A. based writer and Dramaturg of the Ojai Playwrights Conference.

PERFORMANCES MAGAZINE P7 Alan Mandell as Nagg in the San Quentin Drama Workshop production of Endgame directed by Samuel Beckett. Photo by William Gilcher. Living in Beckett’s World By Jim Farber

The plays of Samuel Beckett depict a landscape of bleak existential absurdity, individual isolation, desperate codependence and a quiet sense of humor. It is a world that Beckett envisioned down to the most minute detail, whether it’s the sound of slippers scuttling across the floor inKrapp’s Last Tape; the crashing clang of a dustbin lid in Endgame, or the specific choice of whether an actor inWaiting for Godot must say “It is” rather than “it’s.”

P8 PERFORMANCES MAGAZINE “When you are doing the plays having a sense of rhythm and poetry is essential, otherwise you can’t do them. There isn’t a single word or sound that isn’t there for a reason.”

For Alan Mandell and Barry McGovern, who “Herb Blau had been to Paris and he sent the have spent a major portion of their on-stage script to me with a note saying: ‘Hold on to lives immersed in the world of Samuel Beckett, this. We’re going to stage this when I get back,’” these subtle nuances and distinctions represent Mandell recalls. “This was around 1956. Well, I the quintessence of Beckett’s genius. read it and was totally baffled by it. I remember how when we were two weeks into rehearsal the “There are unique challenges to doing Becket,” actor playing Vladimir gave up and quit. He said says Mandell, who for years played the role of he had no idea what he was saying or what the Lucky, and now at 84 is taking on the role of play was about. It began to make much more Estragon for the first time in Center Theatre sense as we went along, mostly because Herb Group’s new production of Waiting for Godot Blau understood the play so well. (Which by the way, is correctly pronounced “God O.”). Even so, Mandell says with a chuckle, there were real doubts about the play’s accessibility. “The basic acting process is the same, but you have to place yourself inside Beckett’s world. “When we were finally ready to open, I told Herb When you are doing the plays having a sense of we can’t give this play to our subscribers! They rhythm and poetry is essential, otherwise you won’t know what it’s about. He was reluctant, can’t do them. There isn’t a single word or sound but in the end we decided to do the play one that isn’t there for a reason.” night a week and offer it to the subscribers as a bonus.” It was Herbert Blau, the founder of The Actor’s Workshop in San Francisco, and the director Then, in an attempt to make the play more of the famous November 19, 1957, production understandable, Mandell says, The Actor’s of Waiting for Godot that was performed inside Workshop would hold a panel discussion after San Quentin Prison, who told the inmates each performance. they should listen to Godot the same way they listened to music. That too produced unexpected consequences.

“He described the play to them as a work of “People would get up and talk about the jazz,” Mandell (who was managing the company play, and particularly the character of Lucky at the time) recalls. “He told them there are who is in a master/slave relationship with his themes that run through the play. And there master, Pozzo. People started revealing things are riffs than run off of them. But the themes about themselves that were so personal and always return.” embarrassing we had to cancel the discussions. That’s the power the play had on them.” The inmates dug it! (See related story.) If anyone understood what it meant to “wait,” they did. Barry McGovern, who has played the role of Vladimir more than any living actor, also likes to Mandell, however, admits that when he first read describe Waiting for Godot in musical terms. what was certainly the first script of Waiting for Godot to make its way to the West Coast, he was “When it first came out it was so avant-garde fascinated by it, but couldn’t make heads or tails people didn’t know what to make of it. It wasn’t of what he was reading. the kind of well-made-play they were used to. The problem is, Waiting for Godot is like Mozart: too easy for children and too difficult for adults.” Barry McGovern appeared in Dublin’s Gate Theatre’s I’ll Go On.

PERFORMANCES MAGAZINE P9 McGovern, who is a generation “The last time I was on stage younger than Mandell, says I performed in the American he came to Beckett by way of premiere of Tom Stoppard’s The television. Invention of Love at ACT in 1999,” says Cromwell. “So, I’m really “It was 1961 and I was 12,” he says. looking forward to getting back “There was a production to the theatre.” of Waiting for Godot on BBC television that had Jack “Any trepidation,” I asked? MacGowran as Vladimir and Peter Woodthorpe as Estragon. I was “Is there trepidation?” He fascinated by it. I didn’t know what paused. “I prefer to think of it it was. I’d never heard of Samuel as excitement. I need to get my Beckett. I just remember being stage chops back because I’m fascinated by the style and planning to do King Lear. Plus, the language. the fact that I’m going to be on stage with Alan and Barry means Samuel Beckett directs Waiting for Godot in 1974. “Later, when I was in my final year I’m going to have a chance to be at boarding school (what we call with the best.” ‘sixth year’) a group of us went to see it down at the Gate Theatre (in Dublin). That was the first For director, Michael Arabian, the process of coming to Godot time I ever saw Waiting for Godot on stage.” And as fate would has been something of a revelation, especially for an auteur have it, years later McGovern found himself on stage at the Gate director whose creations are known for making big, bold Theatre starring in Waiting for Godot. statements. Making a big bold statement with Waiting for Godot, could cause real problems and would certainly raise the “[This] play’s been with me throughout my life. It’s followed me hackles of Beckett aficionados. around like a friendly dog. I’ve played Estragon, Vladimir and Lucky. The problem is keeping it fresh when you’ve been doing “All my work has been very political and conscious of social it for that long a time. To tell the truth, I’d actually decided never issues,” says Arabian. “My original idea was to have the set filled to do it again. But when the idea of being in it with Alan came with debris inspired by the recent storms in the Midwest, where up, I thought it would be a wonderful new chance to explore entire communities were leveled. I saw it as a metaphor for the the play.” fate of mankind and what we are doing to the planet.”

After so many years these two great Beckett actors are about Beckett, however, describes the setting for Waiting for Godot as to be on stage together for the first time, bringing with them a simply as a country road with a rock and a tree. wealth of experience and knowledge. This is particularly true in the case of Mandell, who is one of the few living actors to have “The more I worked on it, the more I realized the play works maintained a working relationship with Beckett. on a metaphorical level,” Arabian explains. “If you specify the context you lose the metaphor. If I had done what I had “Beckett didn’t direct in a conventional way,” Mandell explains. originally intended the play would have been about tornadoes in “He conducted. He had these bent fingers that were almost the Midwest. Our production will be set on a country road with arthritic. And at the end of a beat the hands would come up, a rock and a tree. It’s taken me a while to come to terms with just like a conductor. I remember I always used to call him that, but now I’m really happy. Mr. Beckett. And he would say, ‘No. Just call me Sam.’ And I would say, ‘Yes, Mr. Beckett.’ ‘No Alan. Just Sam. I don’t call you “We’re also working from Beckett’s final revised script for Mr. Mandell. We’re colleagues.’ It was hard, but eventually Waiting for Godot, with all his notes — from the production I got used to calling him Sam.” he directed in Paris in 1987.”

Unlike Mandell and McGovern, James Cromwell, who plays That was the production, incidentally, that starred the role of the dictatorial Pozzo, has spent the lion’s share Alan Mandell. ● of his acting career on film sets, from Babe to Space Cowboys to The Artist.

P10 PERFORMANCES MAGAZINE Beckett

San Quentin Drama Workshop on a break from in Prison rehearsal in London, l to r: David Hare, Alan Mandell, Samuel Beckett and friend. By Jim Farber

It was December 1974 — one of those monochromatic winter “There were about 1,500 inmates there,” Mandell remembers. days in Paris when the sky, the streets and the river all seem to “So the play began and it was amazing; you could hear a pin turn the same shade of gray. drop. Herb Blau (the company’s principal director) had explained to them that the play was about what we do while we’re waiting Rick Cluchey (the founder of the San Quentin Drama Workshop) — waiting for Godot — which for some people represents the and I, a longtime friend of the company, were on a mission. Our end and nothingness; for others it may be God and salvation. goal was to find 38 Rue Saint Jacques in the Luxembourg district Well, these guys really understood what waiting was about. At — the home of Samuel Beckett. Our mission was to deliver the end there were screams and shouts and applause. It was an invitation to Beckett to attend the company’s production of astounding.” Endgame that would be performed that night. Locked in his cell, Cluchey was unable to see the performance, but With a certain amount of fumbling we found the apartment and he could hear it piped in over the prison’s P.A. system. The effect left the invitation. And although Beckett chose not to attend, he it had on him was palpable. And in the months that followed did send a representative who reported back that the production Cluchey and a small group of inmates formed the San Quentin was certainly worthy of his attention. Drama Workshop. They asked Alan Mandell if he would coach them, which he did on Monday nights from 1958 until 1965. The Cluchey and Beckett had never met. But Beckett was well aware of first play staged by the fledgling company was Waiting for Godot. the San Quentin Drama Workshop and its unusual relationship to his plays. The delivery of that invitation set in motion a chain of With the aid of Mandell and Blau, Cluchey’s case came under events that resulted in Beckett personally directing Rick in Krapp’s review, and with due consideration he was released on parole. Last Tape in Berlin in 1977, and then the famous San Quentin In its new incarnation, outside the walls of San Quentin, the Drama Workshop productions in Paris of Krapp’s Last Tape, company flourished and gained particular notoriety for its Endgame and Waiting for Godot a decade later — the only time productions of the plays of Samuel Beckett. Beckett directed an American theatre company. It was at this time that Mandell became a formal member of the company, which toured extensively around the U.S. performing Flashback: principally on college campuses. In addition to the plays of On the night of November 19, 1957, Rick Cluchey was locked in Beckett, the company also gave performances of Cluchey’s a cell in San Quentin Prison serving a life sentence for armed hard-hitting prison drama, The Cage. robbery and kidnapping (though the circumstances had been questionable). In the early 1970s, in an attempt to expand its audience, the company moved to Europe and based itself in Edinburgh, At that same time members of the Actor’s Workshop from San Scotland. December of 1974 found them in Berlin, where after Francisco were preparing to perform Samuel Beckett’s Waiting performances of Endgame they boarded the train to Paris. And for Godot in the prison’s massive dining hall, their stage erected, that brings this story full circle, back to that gray day when ironically, on the spot where the prison’s gallows once stood. Samuel Beckett and the San Quentin Drama Workshop crossed paths for the first time. ● Alan Mandell, then a lanky young man in his late 20s, was the company’s manager. —Following a long career as an arts feature writer and critic for the Copley Newspapers and Media News, Jim Farber is now a contributing theatre, music and travel writer for Creators Syndicate and SanFranciscoClassicalVoice.com, He is also curating the Autry National Center’s 2014 exhibition: “Route 66 and the Way West.”

PERFORMANCES MAGAZINE P11 Who’s Who

ALAN MANDELL Godot, Endgame, Happy Days and Krapp’s UCLA Live in Medea. (Estragon), a Beckett Last Tape. On radio he directed All That Armstrong received scholar, has had a Fall and played opposite Billie Whitelaw in an Ovation Award distinguished 75-year Embers for National Public Radio. He has for Bleed Rail at acting career and also lectured and written extensively on Theatre at Boston is an accomplished Beckett. In October 2011 he toured with Court and received voice-over actor. Dublin’s Gate Theatre to the U.S. with both the L.A. Drama He is a founding Endgame and his new one-man Beckett Critics Circle Award member of the show Watt. He has also played major roles and the Ovation famed San Francisco Actor’s Workshop, in the works of Shakespeare, Arthur Miller, Award for Land of the Tigers with Burglars and co-founder of the San Quentin Sean O’Casey, Tennessee Williams, Harold of Hamm. Film credits include Stephen Drama Workshop, which started in 1957 Pinter, Sam Shepard, Tom Stoppard, Frears’ Lay the Favorite, Voice on the with a performance of Waiting for Godot Stephen Sondheim and originated the Line, Nanking, Weak Species, Political inside the prison. Mandell toured Europe role of Father Jack in Brian Friel’s Dancing Disasters and Ok, Good which he co- with original productions of Godot and at Lughnasa. His most recent television wrote and produced with filmmaker Endgame directed by Beckett. He re- series was The Tudors, and his film credits Daniel Martinico. He is also executive created Beckett’s direction for the filming include Joe Versus the Volcano, Braveheart, producer for the acclaimed documentary of Endgame, in which he played the role Far and Away, Billy Bathgate and the role of Char-ac-ter. Artist collaborations include of Nagg. He also performed in Endgame Vladimir in the Beckett on Film production Catherine Sullivan in Five Economies/ at Dublin’s Abbey Theatre and in London of Waiting for Godot. Armand Hammer Museum, Brody Condon and Italy. On Broadway, Mandell appeared in Death Animations/Machine Project, and in Impossible Marriage and off-Broadway JAMES CROMWELL Daniel Martinico in The Safeway/MOCA’s in The Beard of Avon and Godot. He also (Pozzo) has Geffen Contemporary. Television includes toured with Twelve Angry Men (presented performed in many Monk, Criminal Minds, Mystery ER and the at the CTG/Ahmanson Theatre in the revered plays, pilot for The Honorable. Armstrong is a 2006-2007 season). Regionally his credits including Hamlet, graduate of Cal Arts. include No Man’s Land (Ovation Award Terra Nova, Made in – Odyssey Theatre), Restoration (La Bangkok, The Iceman LJ BENET (Boy), 15, Jolla Playhouse, New York Theatre Cometh, Devil’s is thrilled to join the Workshop), The Cherry Orchard (Mark Disciple, All’s Well cast of Waiting for Taper Forum); Trying (Ovation Award – That Ends Well, Beckett and Othello in Godot. He was most Colony Theatre Company). His films many of the country’s most distinguished recently seen as Jem include The Marrying Man, Midnight theatres, including South Coast Repertory, in The Production Witness, John Cameron Mitchell’s Hedwig Goodman Theatre, Mark Taper Forum, Company’s To Kill and the Angry Inch and Shortbus, and the American Shakespeare Festival, Center A Mockingbird. Mr. Coen Brothers’ A Serious Man. Stage, Long Wharf Theatre and the Benet’s other theatre Old Globe. He was recently seen in the credits include Young Sydney in the world BARRY McGOVERN American premiere of Tom Stoppard’s premiere of Limelight: The Story of Charlie (Vladimir) is a The Invention of Love at A.C.T. Selected Chaplin (La Jolla Playhouse); Fleance leading figure in Irish Film: Babe (Best Supporting Actor Oscar in Macbeth and Young Pip in the world theatre and is widely nomination), The Longest Yard, I, Robot, premiere of Great Expectations (both at regarded as one of Space Cowboys, The Green Mile, The the Utah Shakespeare Festival); JoJo in the finest interpreters General’s Daughter, Snow Falling on Cedars, Seussical the Musical (South Bay Civic Light of the work of Samuel The Bachelor, The Sum of All Fears, Star Opera); Young Josh in Big: The Musical Beckett. A former Trek: First Contact, The People vs. Larry (West Coast Ensemble); and Young member of the Flynt, Spirit: Stallion of The Cimarron, The Tommy in The Who’s Tommy (Flicker Abbey Theatre Company, he has played Queen, Becoming Jane, The Education of House). Notable film and television numerous roles in many of Beckett’s Little Tree, Secretariat, Spider-Man 3, L.A. credits include Diary of a Wimpy Kid, You plays on stage, radio and film. His one- Confidential. He currently has a pivotal Again, Bones, Wizards of Waverly Place, man show, I’ll Go On, drawn from the role in the award-winning The Artist. The Mentalist, Breaking In, The Legend of Beckett novels Molloy, Malone Dies and Selected TV: 24, Six Feet Under (multiple Beaver Dam and a recurring role as Zeke The Unnamable (produced by Dublin’s Emmy nominations), RKO 281, ER. on The Jadagrace Show. LJ attends the Gate Theatre with Beckett’s blessing), Valley Academy of the Arts and Sciences in has toured worldwide, including Lincoln HUGO ARMSTRONG (Lucky). Theatre Granada Hills. Special thanks to KSR and Center Theater in 1988, and returned in credits include plays at The Geffen, Sacred Beverly Strong. www.ljbenet.com. 2008 to critical acclaim. He recorded Fools, the Kirk Douglas Theatre, Electric these three novels for CD (produced by Lodge, REDCAT, Ghost Road, Ahmanson RTE and the Lannan Foundation) for Theatre (u/s God of Carnage), Theatre of the Beckett Centenary in 2006. He has Note, The Powerhouse, Quantum Theatre, performed internationally in Waiting for The Kitchen, The Kennedy Center, and

P12 PERFORMANCES MAGAZINE MARK BRAMHALL JARID ROOT (u/s French Resistance. Following the war, he (u/s Estragon/Pozzo/ Boy). Off-Broadway: wrote a trilogy of novels, Malloy, Malone Lucky). Los Angeles: Oliver and The King Dies and The Unnamable. His landmark as a Resident Artist and I (Lincoln Trail play, Waiting for Godot, was completed in at A Noise Within: College Theatre). 1950 and premiered in Paris in 1953. He Waiting For Godot Film: Jerry Powell went on to write many others, including (LADCC nomination), & the Delusions of Endgame and Happy Days. Until his death Volpone (LADCC Grandeur, Paulie, in 1989, he continued to write short plays Award), The Miser Nuclear Family, including Not I, Footfalls, Ghost Trio, (Ovation nomination), The Misanthrope Unconditional, The Wooden Horse, Heroine, Rockaby, Catastrophe and What Where. His (Garland nomination), The Learned Pas De Restes, Lieland, Tell Me a Memory, later works of fiction includeWorstward Ladies (Drama-Logue Award), Tartuffe Napkins, Ben, Wait Your Turn, The Director Ho and Stirrings Still. In 1969, Beckett was (LA Weekly Award, Odyssey Theatre, and the Oasis, Never the Last Journey, awarded the Nobel Prize for Literature. Circus Theatricals), The Master Builder Enchanting Hands, Looking Glass, Talking (LADCC Award, Pacific Resident Theatre). Trees and My Angel. Television: Got Home JOHN IACOVELLI (Scenic Design). Emmy Regional: American Conservatory Theater Alive, I Didn’t Know I Was Pregnant and Award for Peter Pan starring Cathy Rigby (member, original company, 1966-71); The End. (on A&E). Other Broadway: The Twilight La Jolla Playhouse (Twelfth Night, Des of The Golds. National Tour: Camelot. MacAnuff, director, Time Magazine, one MICHAEL ARABIAN (Director) is excited Regional: over 300 productions: Geffen of top 10 productions of 1990); Portland to be again directing at the Taper Playhouse, South Coast Repertory, Center Stage; Arizona Theatre Company; (Samuel Beckett’s Krapp’s Last Tape, Pasadena Playhouse, Berkeley Rep, Colorado Shakespeare Company. Film: Edward Albee’s The Sandbox, Harold Magic, Oregon Shakespeare Festival, Star Trek, Vanilla Sky, Sliver, Underdogs, Pinter’s A Slight Ache and workshops of Syracuse Stage and GeVa. Center Theatre others. TV: Nip/Tuck, Weeds, 24, Alias, new works). Michael has directed and Group: Temptation at the Taper and That ‘70s Show, others. Off-Broadway: produced numerous world, West Coast, Largo Desolato, The Dream Coast and Our Town (1968; George, opposite Henry Los Angeles and New York premieres. His Making Noise Quietly at Taper, Too. Film: Fonda, Estelle Parsons, Jo Van Fleet, site-specific company, Theatre InSite, Production Designer on Ruby in Paradise Robert Ryan). Numerous audiobook formed a partnership with CBS (Radford) starring Ashley Judd in her film debut. Art awards, VO, animation and motion- Studios, a first for L.A. theatre, to produce Director on Honey, I Shrunk the Kids. TV: capture credits. live TV pilots and inventive, large-scale Beckett Directs Beckett: Endgame with The productions (an updated Romeo & Juliet San Quentin Drama Workshop, The Old JAN MUNROE (u/s where audiences followed scenes and car Settler starring Phylicia Rashad and Debbie Vladimir) has been chases through the backlot’s suburban Allen, The Gin Game starring Mary Tyler involved with the streets and The Trojan Women [starring Moore and Dick Van Dyke, Babylon 5, Ed, creation of new Mariette Hartley] set during the Gulf War Resurrection Blvd., Lincoln Heights. Awards: theatre/performance and staged at the old Gilligan’s Island LADCC for Lifetime Achievement. Website work in California Lagoon with an amphibious Humvee from portfolio: www.iacovelli.com. since early studies the Marine Corps). Locally, John Patrick with Marcel Marceau Shanley’s Danny and the Deep Blue Sea, CHRISTOPHER ACEBO (Costume Design). and Etienne Decroux. (14 critics’ choices), The Laramie Project, Center Theatre Group: world premiere Founding Member: Mystic Knights of Ten Years Later by Moisés Kaufman productions of Water & Power the Oingo-Boingo (L.A.), Theatah of starring Barbara Bain for the Tectonic (costumes), Living Out (set), Chavez the Apres-Garde (Bay Area). Original Theater Project in one of 150 presentations Ravine (costumes), Breakfast, Lunch and work includes Alligator Tails, Notes: On around the world, and an unknown play Dinner (set), Electricidad (costumes), Performance, Wood Would, Wouldn’t It?, by Arthur Miller, Some Kind of Love Story, Palestine, New Mexico (costumes). Nothing Human Disgusts Me. Originated produced by Martin Landau and Mark Also, Lydia (sets). Oregon Shakespeare roles in Thomas Babe’s Demon Wine Rydell. His productions have garnered Festival: Equivocation, Throne of Blood (LATC), The Modern Artists Company’s over 50 awards. Up next is a feature film (world premieres), Cat on a Hot Tin Roof, Plato’s Symposium, Bart DeLorenzo’s Hard titled The Custodian and an updated King Language Archive, Imaginary Invalid, Times (Evidence Room), Michael Sargent’s Lear starring James Cromwell. Hamlet, among others. Mr. Acebo has also Black Leather (Unknown Theater), Rick designed productions for many regional Pagano’s Treat Yourself Like Cary Grant. SAMUEL BECKETT (Playwright) was theatres including the world premieres of Theatrical Awards: 2 NEA Theatre born in 1906 near Dublin. In 1927, he The Clean House (Yale Repertory Theatre); Fellowships, Rockefellers Playwrights graduated from Trinity College, where Zorro in Hell (Berkeley Repertory Theatre, Fellowship, CAC New Genre Fellowship, he eventually taught. His early work La Jolla Playhouse); My Wandering Boy, The 11 LA Weekly and Drama-Logue Awards. includes the long poem Whoroscope and Further Adventures of Hedda Gabler, The Film: The Forbidden Zone, The Grifters, A essay Proust, followed by short stories Beard of Avon, Hold Please (South Coast Few Good Men, Catch Me If You Can. TV: collected in More Pricks Than Kicks and Repertory Theatre); Electricidad (Goodman Lawyer/Doctor in just about everything. Echo’s Bones, a collection of verse. During Theatre) and the upcoming new musical WWII, he played an active part in the Cloudlands at SCR. Mr. Acebo’s designs

PERFORMANCES MAGAZINE P13 have also been presented at Lincoln JOY MEADS (Dramaturg). Joy recently ACTORS’ EQUITY ASSOCIATION (AEA), Center Theater, BAM, Guthrie Theater, joined the staff at CTG as Literary founded in 1913, represents more than Denver Center Theatre Company, The Associate. Previously, Joy was the 49,000 actors and stage managers in the Kennedy Center, Seattle Rep, Arena Stage, Literary Manager at Steppenwolf Theatre United States. Equity seeks to advance, among others. He is the Associate Artistic Company, where, most recently, she promote and foster the art of live theatre Director of the Oregon Shakespeare served as production dramaturg for as an essential component of our society. Festival where this season he is designing Jason Wells’ The North Plan. Prior to Equity negotiates wages and working the world premiere production of Pulitzer Steppenwolf, Joy served as the Associate conditions, providing a wide range of Prize winning Robert Schenkkan’s All Artistic Director of California Shakespeare benefits, including health and pension The Way. He was an ensemble member Theater, where, as director of the theatre’s plans. AEA is a member of the AFL-CIO, of Cornerstone Theater Company (1999- New Works/New Communities program, and is affiliated with FIA, an international 2006) and received his MFA at UCSD. she oversaw multi-year community-based organization of performing arts unions. www.christopheracebodesign.com processes of new play creation with The Equity emblem is our mark of such writers as Naomi Iizuka, Roberto excellence. www.actorsequity.org BRIAN GALE (Lighting and Projection Aguirre-Sacasa and Octavio Solis. Joy Design). Recently: Wagner’s Ring Cycle, has developed plays at theatres including MICHAEL RITCHIE Jenufa, Don Giovanni, La Bohème, Judas Steppenwolf, Portland Center Stage, (Artistic Director) is Macabeaus, Noyes Fludde – LA Opera; the O’Neill, Cal Shakes, Campo Santo + in his seventh season The Lieutenant Of Inishmore, Harps and Intersection for the Arts, and Chicago’s as Center Theatre Angels – Mark Taper Forum; Fantasmic! – Dog and Pony Theatre Co. and Pavement Group’s Artistic Disneyland; Gods and Marionettes, Value Group. Joy received a B.A. in Dramatic Director, and has led System – L.A. Contemporary Dance. All Literature and Theatre History from NYU. over 100 productions My Sons – Matrix Theatre. Previously: to the Ahmanson, Drumline Live - World Tour; Sondhiem DAVID S. FRANKLIN (Production Stage Taper and Douglas 75th - Hollywood Bowl; Substance of Fire- Manager). Center Theatre Group: stages since his arrival in 2005. From Seattle Repertory; Sight Unseen – Berkeley Highlights – An Enemy of the People, Baz 1996 to 2004 Michael was the Producer Repertory; Brooklyn Laundry (co-design) Luhrmann’s La Bohème, Art, A Perfect of the Williamstown Theatre Festival and – Coronet Theatre; Macbeth directed by Wedding, Romance, The Cherry Orchard, prior to that he was a Production Stage Richard Jordan with Raul Julia – New York Curtains, Nightingale, The History Boys, Manager in NYC. At CTG, he premiered Shakespeare Festival; Pick Up Ax, Frankie Bloody Bloody Andrew Jackson, Two five musicals that moved to Broadway – and Johnny in the Clair de Lune, Dog Unrelated Plays by David Mamet, Kirk The Drowsy Chaperone (which won 13 Tony Logic – South Coast Repertory; The Dance Douglas in his solo show, Before I Forget, Award nominations), Curtains (eight Tony of Death – Los Angeles Theatre Center; Ain’t Misbehavin’, Parade, The Subject nominations) 13, 9 to 5: The Musical and numerous productions for Center Theatre Was Roses, Bengal Tiger at the Baghdad Bloody Bloody Andrew Jackson. He has Group’s Mark Taper Forum including Zoo, The Lieutenant of Inishmore, Randy produced 26 world premieres including Largo Desolato, Talking With and the world Newman’s Harps and Angels, God of the musicals Minsky’s, Leap of Faith, premiere of Angels in America (co-design). Carnage and Vigil. Other Los Angeles: Los Venice and Sleeping Beauty Wakes, and Mr. Gale is a member of United Scenic Angeles Theatre Center in its heyday from the plays Bengal Tiger at the Baghdad Artists and is a Principal and co-owner of 1985- 1990, Pasadena Playhouse, Geffen Zoo (a Pulitzer Prize finalist that also NyxDesign. Playhouse. Regional: Seattle Rep, Intiman moved to Broadway), Water & Power and Theatre. New York: Public Theater. Tours: Yellow Face, and he presented a broad ERIKA SELLIN, CSA (Casting) is delighted Europe – Quotations from a Ruined City, range of plays and musicals ranging from to begin her tenth season at CTG with Law of Remains (with Reza Abdoh’s Dar Dead End to The Black Rider to Edward Waiting for Godot. CTG credits include 13, a Luz company); North America – Ann Scissorhands to blockbusters such as God Black Rider, The Lieutenant of Inishmore, Magnuson’s You Could Be Home Now. of Carnage, Mary Poppins, Jersey Boys This, Water & Power and more. Other and August: Osage County. In addition, casting credits include the Goodman, The SUSIE WALSH (Stage Manager). In Los Michael inaugurated CTG’s New Play Actors’ Gang, the University of Southern Angeles Susie has stage-managed over Production Program, designed to foster California, the Los Angeles Philharmonic, 100 shows at theatres such as the Mark the development and production of TheatreWorks, Children’s Theatre Taper Forum, the Ahmanson Theatre, the new work. Company and Mixed Blood Theatre. Geffen Playhouse, LATC and the Pasadena Film credits include Crash (directed by Playhouse. Favorites are The Royal Family, EDWARD L. RADA Paul Haggis), A Cinderella Story and My Romeo and Juliet, A Midsummer Night’s (Managing Director) Lunch with Larry. She received the Artios Dream, Measure for Measure, The Heiress, returned to Center Award for Outstanding Achievement in Flower Drum Song, Living Out, Stuff Theatre Group last Casting for The History Boys and Parade. Happens, Arcadia, The Drowsy Chaperone year after previously She is a member of the Casting Society of and Minsky’s. In New York, Susie stage- serving as CTG’s America, Actors’ Equity Association and managed Putting it Together with Carol Chief Financial the Stage Managers’ Association. MFA/ Burnett. Love to Ken. Officer for 12 years University of California, San Diego. (1996–2008). Rada

P14 PERFORMANCES MAGAZINE spent the past three years as President Legends! starring GORDON of the Music Center Foundation, a non- Mary Martin and DAVIDSON profit corporation that holds and invests Carol Channing (Founding Artistic the endowment and reserve funds for the which premiered Director) led the Music Center and its resident companies at the Ahmanson Taper throughout (including CTG). Prior to his years at Theatre in 1986. its first 38 seasons, CTG, he was the Director of Finance at Baker is a graduate guiding over 300 The Old Globe in San Diego and principal of Albion College, is productions to its of Rada & Associates, an accounting an active member of stage and winning firm that specialized in entertainment- the Broadway League, the Independent countless awards for himself and the related non-profit organizations and Presenters Network and is a proud theatre — including the Tony Award for theatrical productions. He is a graduate member of the Association of Theatrical theatrical excellence, Margo Jones Award, of Occidental College in Los Angeles with Press Agents and Managers. The Governor’s Award for the Arts and numerous post-graduate coursework and a Guggenheim fellowship. The Kentucky credentials. He currently serves on the NEEL KELLER Cycle and Angels in America (Part One) board of trustees for the pension, health (Associate Artistic won the Pulitzer in consecutive years and, and welfare and 401(k) plans of I.A.T.S.E. Director). For CTG in 1994, three of the four plays nominated Local 33 Stagehands Union, on the board Neel has directed for the Tony Award for Best Play were from of directors of Theatre@Boston Court, Pyrenees, Stones in the Taper (Angels in America won). In 1989 and on the board of United Support of His Pockets and Good Gordon took over the Ahmanson and, in Artists for Africa/USA for Africa, among Thing. He has also 2004, he produced the inaugural season other affiliations. directed and produced in the Kirk Douglas Theatre. plays and musicals at DOUGLAS C. BAKER (Producing Director) theatres across the country and served, in is now in his 22nd season at CTG. wildly varying capacities, on the staffs of Previously, he managed Broadway and La Jolla Playhouse, Williamstown Theatre touring productions including Tru, Born Festival, Remains Theatre, Lincoln Center Yesterday, The Gospel at Colonus, Annie, Theater, the American National Theatre A Chorus Line, Working, The Wiz and and Jerome Robbins’ Broadway.

ADDITIONAL STAFF AND CREDITS FOR WAITING FOR GODOT

Producing Associate...... Lindsay Allbaugh Center Theatre Group is a member Assistant Director...... Aaron Henne of the American Arts Alliance, the Assistant Lighting Designers. . . . .Jenna Pletcher, Broadway League, Independent Heather Graff Producers’ Network (IPN), LA Production Assistant...... Brooke Baldwin The Actors and Stage Managers Stage Alliance, League of Resident Theatres (LORT), Dresser...... Cheryl Milo employed in this production are National Alliance for Musical Theatre (NAMT) and Prop Artisan...... Sarah Sowell members of Actors’ Equity Association, the Theatre Communications Group (TCG). Prop Shopper...... Kis Knekt the Union of Professional Actors and Stage Managers in the United States. Latecomers will be seated at the discretion of the Credits This Theatre operates under an agreement between management. Patrons with disabilities: wheelchair Set Construction by F&D Scene Changes, Ltd. the League Of Resident Theatres and Actors’ Equity seating is available in a variety of theatre locations. Costumes provided by the Center Theatre Group Association, the Union of Professional Actors and When ordering your tickets, please indicate any Costume Shop and additional staff: First Hand - Stage Managers in the United States. special needs. For our hearing-impaired guests, the Camilla Hansen; Stitchers – Ophelia Brown; Crafts theatre is equipped with listening devices; please – Cybele Moon, Margarita Witherspoon; Shop The following employees are represented contact an usher for assistance. Assistant/Crafts – Elizabeth A. Cox; USC Intern – by the International Alliance of Theatrical Ellen Choi; Wig for Mr. Armstrong by Carol F. Doran. Stage Employees, Moving Picture Machine Assistant to Christopher Acebo – Alison Axland. Operators, Artists and Allied Crafts of the Projection systems by Chaos Visual Productions; United States, its Territories and Canada, AFL-CIO, Associate Projection Designer – Trevor Stirlin Burk; CLC: Stage Crew Local 33; Local Treasurers and Illumination Dynamics. Rehearsal and production Ticket Sellers Local 857; Wardrobe Crew Local 768; photography by Craig Schwartz. Make-up Artists and Hair Stylists Local 706. The manager and press agent of this theatre are mem- Special Thanks bers of the Association of Theatrical Press Agents Bob Blackburn for special assistance and Managers. with preshow music. United Scenic Artists represents the Website designers and scenic painters for the CenterTheatreGroup.org American theatre. Facebook.com/CTGLA Twitter.com/CTGLA The Director is a member of the Stage Directors and Choreographers Society, a national theatrical labor union.

PERFORMANCES MAGAZINE P15 CENTER THEATRE GROUP L.A.’s Theatre Company MICHAEL RITCHIE, Artistic Director EDWARD L. RADA, Managing Director DOUGLAS C. BAKER, Producing Director

ARTISTIC YUEN KI “ANNIE” LAW ...... Payroll Manager NEEL KELLER ...... Associate Artistic Director MARIANA GONZALEZ ...... Payroll Specialist KELLEY KIRKPATRICK ...... Associate Artistic Director DIANE RODRIGUEZ ...... Associate Producer/Director of New Play Production DAVE ALTON ...... Chief Information Officer PIER CARLO TALENTI ...... Resident Dramaturg/Literary Manager STAN GRUSHESKY ...... Director of Information Systems LINDSAY ALLBAUGH ...... Producing Associate SEAN PINTO ...... Patron Database Administrator MALCOLM K. DARRELL ...... New Play Production Associate SCOTT LANDES ...... Information Systems Analyst JOY MEADS ...... Literary Associate ERIKA SELLIN ...... Director of Casting MICHELLE MACGAFFEY ...... Director of Human Resources MARK B. SIMON ...... Casting Director MADRIO FLEEKS ...... Interim Senior Human Resources Generalist ANDY CROCKER ...... Casting Associate DAMON JOSEPH ...... Office Services SUZANNE FRANCINE MILLER ...... Casting Administrator SINGER LEWAK, LLP ...... Auditor STEVEN PIESZCHALSKI ...... Casting Intern MICHAEL C. DONALDSON, LISA A. CALLIF ...... Legal Counsel GIBSON, DUNN & CRUTCHER ...... Legal Counsel THE BURGLARS OF HAMM, TANYA BARFIELD, THE CIVILIANS, STEVE CUIFFO, KRISTOFFER DIAZ, STEVEN EPP, ELLEN FITZHUGH, GINA GIONFRIDDO, DEVELOPMENT SAM GOLD, DANAI GURIRA, JOE HORTUA, NICK JONES, RAJIV JOSEPH, YVONNE CARLSON BELL ...... Director of Development MICHAEL JOHN LACHIUSA, TREY LYFORD, DAVE MALLOY, LAURAL MEADE, PATRICK OWEN ...... Deputy Director of Development JULIE MARIE MYATT (FADIMAN), DAN O’BRIEN, EVANGELINE ORDAZ, WILL POWER, NATALIE BERGESON ...... Director of Donor Contributions MATT SAX, DOMINIQUE SERRAND, GEOFF SOBELLE ...... Commissioned Artists JEAN KLING ...... Director of Institutional Support LIZ LIN ...... Director of Donor Communications PADRAIC DUFFY, LARISSA FASTHORSE, SIGRID GILMER, PRINCE GOMOLVILAS, CHARITY WU ...... Director of Individual Giving JENNIFER HALEY, MATT SAX, STEVEN YOCKEY . . . . . CTG Writers’ Workshop Members BECKY BIRDSONG ...... Associate Director of Donor Relations SANDRA EBEJER ...... Institutional Giving Officer EDUCATION AND COMMUNITY PARTNERSHIPS KIM LA TOUR ...... Corporate Giving Officer LESLIE K. JOHNSON ...... Director of Education and Community Partnerships MANDY RATLIFF ...... Development Database Manager DEBRA PIVER ...... Associate Director of Education and Community Partnerships RICK LEE ...... Donor Contributions Supervisor TRACI CHO ...... Director of School Partnerships ANA ROSE O’HALLORAN ...... Donor Marketing Manager PATRICIA GARZA ...... Senior Manager for Education and Community Partnership JENNIFER RYEN ...... Special Gifts Manager CARLA CORONA ...... Educational Programs Associate JAMIE CATALDO ...... Grants Writer DAN HARPER ...... Educational Programs Associate JENNIFER CHAN ...... Development Assistant ASHLEY OPSTAD ...... Educational Programs Associate DONALD JOLLY ...... Donor Relations Associate for the Inner Circle KELLY CHRIST ...... Educational Communications Coordinator MANDI OR ...... Special Events Coordinator VICTOR VAZQUEZ ...... Educational Services Coordinator HELEN H. OTA ...... Executive Assistant to the Development Director SHANNON WINSTON . . Assistant to the Director of Education and Community Partnerships MARIA PAREDES ...... Donor Relations Associate for the Guild MANAGEMENT & ADMINISTRATION COURTNEY ROBERTSON ...... Institutional Giving Associate NAUSICA STERGIOU ...... General Manager (Mark Taper Forum, Kirk Douglas Theatre) ERIN SCHLABACH ...... Donor Contributions Associate JEFFREY UPAH ...... General Manager (Ahmanson Theatre) ELIZABETH WACHTEL ...... Special Gifts Assistant SUZANNE HEE MAYBERRY ...... Assistant General Manager (Mark Taper Forum) JASON BASS, AL BERMAN, JOHN CARDELLO, ANN CAVOTO, KATIE BRUNER SOFF . Assistant General Manager (Kirk Douglas Theatre, New Play Production) GINA EAST, KEVIN MCDEVITT, JESSICA NASH, HOLLY RAMOS, ALANA BEIDELMAN ...... Executive Assistant to Managing Director NICOLE SCIPIONE, BILL WALTON ...... Donor Advisors HUNTER BIRD ...... Interim Assistant to Producing Director ADAM BURCH, KARLA GALVEZ ...... Donor Services Associates ERIC SIMS ...... Operations Manager (Kirk Douglas Theatre) ANNE BRUNER, JULIE NADAL, LUCY TEW ...... Development Volunteers TOM BURMESTER ...... Performance Manager (Kirk Douglas Theatre) MARKETING & COMMUNICATIONS LAUREN BAXA ...... Assistant Performance Manager (Kirk Douglas Theatre) JIM ROYCE ...... Director of Marketing and Communications MIKE KINDLE ...... Facilities Assistant (Kirk Douglas Theatre) SONDRA MAYER ...... Concessions Manager (Kirk Douglas Theatre) NANCY HEREFORD ...... Director of Media and Communications PHYLLIS MOBERLY ...... Media and Communications Associate PRODUCTION JASON MARTIN ...... Media and Communications Associate ALYS E. HOLDEN ...... Director of Production TAYLOR RAE JOHNSON, SHANNON SMITH . . . . Media and Communications Assistants JONATHAN BARLOW LEE ...... Production Manager (Mark Taper Forum) CHRISTOPHER KOMURO KELSEY MARTINEZ ...... Assistant Production Manager(Mark Taper Forum) ...... Art Director IRENE KANESHIRO, NISHITA DOSHI EMMET KAISER ...... Master Carpenter(Mark Taper Forum) ...... Senior Designers HARUKA HAYAKAWA ROBERT RUBY ...... Master Propertyman (Mark Taper Forum) ...... Graphic Designer TERESA ENGLISH WILLIAM MORNER ...... Master Electrician (Mark Taper Forum) ...... Junior Graphic Designer BONES MALONE ...... Master Soundman (Mark Taper Forum) MICHAEL ANDERSON ...... Advertising & Promotions Director DENNIS SEETOO ...... Wardrobe Supervisor (Mark Taper Forum) ANDREW DARCEY ...... Advertising Associate RICK GEYER ...... Hair & Make-up Supervisor (Mark Taper Forum) AMELIA HEAPE ...... Associate Director of Marketing LINDA WALKER ...... House Manager (Mark Taper Forum) JOEY OLIVA ...... Interactive Production Manager MARA HOLLAND ...... Stage Door (Mark Taper Forum) ROSE POIRIER ...... Webmaster KIM VARHOLA JOE HAMLIN ...... Technical Director ...... Marketing Manager, Events & Partnerships (on leave) KAREN VOCK RYAN CHRISTOPHER HALES ...... Assistant Technical Director ...... Interim Marketing Manager, Events & Partnerships JIM HALLORAN CHAD SMITH ...... Assistant Technical Director ...... Marketing Coordinator DAWN HOLISKI ...... Shop Director TICKET SALES AND SERVICES SHAWN ROBERTSON ANDREW THIELS ...... Prop Manager ...... Ticket Sales Director SKYPP CABANAS ...... Ticket Operations Coordinator MERRIANNE NEDREBERG ...... Prop Lead SARAH KRAININ ...... Prop Shopper SANDY CZUBIAK ...... Audience and Subscriber Services Manager CANDICE CAIN ...... Costume Shop Director JENNIFER BAKER, CHERYL HAWKER, RICHARD RAGSDALE . . Audience Services Supervisors DIAN CAMARILLO ...... Costume Shop Coordinator ALICE CHEN ...... Audience Services Asst. Supervisor KATHY CHRISTIANSEN ...... Draper SAM AARON ...... Audience Services Sales Associate DIANNE K. GRAEBNER ...... Assistant Costume Designer ELIZABETH LEONARD ...... Production Operations Manager JEREMIE ARENCIBIA, RJ CANTU, CARLOS D. CHAVEZ, JR., PETER COLBURN, JULIO A. CUELLAR ...... Driver/Custodian HESPER COLOHAN, DONALD CRANDALL, EMIL LIN, KAY LOCHARD, JUSTINE PEREZ, DEBORAH REED, LEX SAVKO, DANNY SCHMITZ, MELODY MATTOS ...... Production Business Manager CRIS SPACCA, TRAVIS WOOD ...... Audience Services Representatives JENNIFER ACHTERBERG ...... Production and Facilities Manager AMANDA CAMPBELL ...... Production Administrator DANUTA SIEMAK ...... Subscriber Services Supervisor CHRISTINA GUTIERREZ ...... Subscriber Services Asst. Supervisor SHAWN ANDERSON ...... Master Carpenter (Ahmanson Theatre) LIGIA PISTE, CELIA RIVAS ...... Subscriber Services Senior Representatives ANDREW W. ARNOLD ...... Flyman (Ahmanson Theatre) IRENE CHUANG, PETER STALOCH ...... Subscriber Services Representatives JIM BERGER ...... Master Electrician (Ahmanson Theatre) STAN STEELMON ...... Master Propertyman (Ahmanson Theatre) SARAH K. GONTA ...... Box Office Treasurer ROBERT SMITH ...... Master Soundman (Ahmanson Theatre) KISHISA ROSS, GISELE FRAZEUR ...... Assistant Treasurers MICHAEL GARDNER ...... Wardrobe Supervisor (Ahmanson Theatre) YULIZA BARRAZA, ANGELICA CARBAJAL, MICHAEL KEMPISTY, PATRICE MIRANDA ...... Hair Supervisor (Ahmanson Theatre) LEROY PAWLOWSKI, MICHAEL SALTZMAN, GEORGE SOVIAK ...... Box Office Staff CHRISTINE L. COX ...... House Manager (Ahmanson Theatre) MICHAEL ZOLDESSY ...... Account Sales Manager CELESTE SANTAMASSINO ...... Production Manager (Kirk Douglas Theatre) KERRY KORF ...... Priority Services Director JAMIE THOMA ...... Assistant Production Manager (Kirk Douglas Theatre) SUSAN F. TULLER RICHARD PETERSON ...... Master Electrician (Kirk Douglas Theatre) ...... Priority Services Operations Manager JAY BURNS ADAM PHALEN ...... Head Audio (Kirk Douglas Theatre) ...... Priority Services Sales Manager PAUL CUEN ...... Priority Services Manager FINANCE, INFORMATION SYSTEMS AND HUMAN RESOURCES MICHAEL F. THOMPSON ...... Chief Financial Officer HOWARD ASKENASE, CAROLE BAXTER, DEREK BIDDLE, STEVE BRIAN, RUSTY COLLINS, SUZANNE “MAGGIE” DODD, MARC “BYRON” DROTMAN, LOU GEORGE, KATE HALL, JERRY DANA KELLY ...... Controller JOHNSTON, LISA KESSLER, SHEP KOSTER, LES KUYKENDALL, CANDICE McDOWELL, JANIS BOWBEER ...... Assistant Controller ELENA MOSLAR, EDWARD “MAX” RAZOR, JASMINE REGALA, KEN SALLEY, BOBBI LYNNE FELICISIMA LAPID ...... Accounts Payable Supervisor SCOTT, DAVE SHALANSKY, MICHAEL SMITH, JEFFREY STUBBLEFIELD, QUINN SULLIVAN, ALEGRIA SENA ...... Staff Accountant KATHRYN TABB, DIANE WARD, JIM WATERMAN DANNY LAMPSON ...... Staff Accountant ...... Representatives

P16 PERFORMANCES MAGAZINE