SEPTEMBER 2011 Welcome to

THE GLOBE AT A GLANCE We are indeed fortunate to have Matthew Lopez as The Old The sixth-largest regional Globe’s Playwright-in-Residence. theatre in the country, He is an emerging voice in the The Old Globe offers more American theatre, a fresh talent programming and a greater whose unique perspective and repertoire than any theatre memorable characters have caught of its size. the attention of audiences here • • • and across the country. In 2010, the Globe’s acclaimed production As a not-for-profit theatre of The Whipping Man paved the with an annual budget way for the play’s success in New averaging $20 million, the J. KATARZYNA WORONOWICZ KATARZYNA J. York and across the country. Globe earns $10 million in ticket sales and must raise an To create Somewhere, Lopez has drawn on his own family history. In additional $10 million from 1958, the City of New York knocked down a 17-block region of the West individual and institutional Side to make way for Lincoln Center. Demolition was delayed so that tax-deductible donations. choreographer Jerome Robbins could use those same streets to film the opening sequence of the great American musical West Side Story. For the • • • Candelaria family in Somewhere, who love Broadway musicals and long to The Globe provides more step into the spotlight, this moment brings together their greatest dreams than 20 different community and their worst fears. and education programs Just like the Candelaria children, Matthew’s own father, aunt and to nearly 50,000 people uncle were extras on the set of West Side Story. Although the family in annually. Somewhere is not based directly on Matthew’s family, when writing the • • • role of Inez, he was inspired by his aunt, Broadway actress and dancer The Old Globe has sent 20 Priscilla Lopez, who created the role of Diana Morales in the original productions to Broadway production of A Chorus Line. We are thrilled that Priscilla is here at the since 1987. Globe in this world premiere production. • • • Somewhere is a love letter to musical theatre: the way it can spark the imagination, break through our defenses and connect us to our dreams. In In 1987, The Old Globe/ West Side Story, as Tony looks forward to seeing his Maria he sings, “The University of San Diego air is humming, and something great is coming!” Master of Fine Arts program was established to provide the highest caliber in training of young classical actors.

Louis G. Spisto Executive Producer

PERFORMANCES MAGAZINE 1 PRESENTS SOMEWHERE

BY MATTHEW LOPEZ

Campbell Baird Charlotte Devaux Lap Chi Chu Jeremy J. Lee Elizabeth Stephens SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN STAGE MANAGER

CHOREOGRAPHER GREG GRAHAM

DIRECTED BY GIOVANNA SARDELLI

Casting by Samantha Barrie, CSA

Originally presented at the Summer Play Festival in association with The Public Theater. —————————————————— SHERYL AND HARVEY WHITE THEATRE Conrad Prebys Theatre Center September 24 - October 30, 2011

2 PERFORMANCES MAGAZINE THE CAST (in order of appearance)

ALEJANDRO CANDELARIA...... Jon Rua FRANCISCO CANDELARIA...... Juan Javier Cardenas INEZ CANDELARIA...... Priscilla Lopez REBECCA CANDELARIA...... Benita Robledo JAMIE MACRAE...... Leo Ash Evens

Stage Manager...... Elizabeth Stephens

SETTING

ACT I Summer, 1959 A tenement on West 66th Street in New York.

ACT II Summer, 1960 An apartment in the Van Dyke Housing Projects in the Brownsville section of Brooklyn.

There will be one 15-minute intermission.

PRODUCTION STAFF Voice and Speech Coach...... Micha Espinosa Fight Director...... George Yé Assistant Director...... J. Scott Lapp Assistant Scenic Design...... Sean Fanning Assistant Costume Design...... Michelle Hunt Souza Production Assistant...... Amanda Salmons Stage Management Interns...... Lauren Dougharty, Zach Kennedy

The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States.

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

PERFORMANCES MAGAZINE 3 Board of Directors

With a new season comes a new opportunity for greater involvement with The Old Globe—one of helping to expand the number of businesses and corporations supporting our artistic and education programs.

This year, the Globe introduced its Corporate Partners Program in an effort to attract and retain critical charitable contributions from local and national companies. Corporations that support the Globe receive specially tailored benefits packages that include prominent logo recognition, valuable employee discounts to Globe productions and networking and client entertainment opportunities.

As the Globe works to grow our corporate donor base, we rely upon you, our audience of subscribers, ticket buyers and donors. Each of you is involved with many businesses in San Diego as an employee, a customer or an owner.

We urge you to think about connecting the Globe to your contacts who would be interested in supporting our programs and enjoying the membership benefits. Please call the Globe’s Development Department today to learn more about the Corporate Partners Program.

Once again, I extend our gratitude to all of you who so generously continue to support The Old Globe.

Enjoy the show!

Sincerely,

Harold W. Fuson, Jr. Chair, Board of Directors

BOARD OF DIRECTORS Harold W. Fuson, Jr.* Donald L. Cohn* Anthony S. Thornley* Elaine Bennett Darwin* Harvey P. White* Chair Immediate Past Chair Vice Chair, Vice Chair, Nominating Secretary Finance & Treasurer

DIRECTORS Daphne Jameson Crystal Watkins Deborah Szekely Mary Beth Adderley Jo Ann Kilty Karin Winner Hon. Pete Wilson Elizabeth Altman Susan Major June Yoder Joseph Benoit Paula Powers Carolyn Yorston-Wellcome EMERITUS DIRECTORS Pamela Cesak Conrad Prebys* Vicki Zeiger Garet B. Clark Nicole A. Clay David Reagan J. Dallas Clark (1913–2005) *Executive Committee Member Peter J. Cooper* Sandra Redman* Bea Epsten Valerie S. Cooper Reneé Schatz HONORARY DIRECTORS Sally Furay, R.S.C.J. Pamela A. Farr Jean Shekhter Mr s. Richard C. Adams Bernard Lipinsky (1914-2001) Karen Fox Louis G. Spisto* (1912–2005) Delza Martin (1915–2005) Victor P. Gálvez Ann Steck Clair Burgener (1921-2006) Darlene Shiley Jean-Marie Hamel, Ph.D. Daniel L. Sullivan, Ph.D. Mrs. John H. Fox (1908–2003) Patsy Shumway Kathryn Hattox* Julie H. Sullivan, Ph.D. Audrey Geisel Elizabeth Helming Dean Thorp Paul Harter Nanci Hull Evelyn Mack Truitt Gordon Luce (1925-2006) Viviana Ibañez Debra Turner Dolly Poet (1921-2007) Deni Jacobs Stacey LeVasseur Vasquez

4 PERFORMANCES MAGAZINE LEADERSHIP Production Sponsors

GIFTS Elaine and Dave Darwin The Old Globe recognizes and thanks Elaine and her husband, Dave, reside in Rancho Santa Fe. At the Globe, the following generous individuals Elaine is Chair of the Board Nominating Committee and an active who have made extraordinary gifts fundraiser. Elaine was involved in the implementation of the first Head of $1 million or more. These major Start Program in the United States, and while the couple lived in Palm contributions have been designated Beach, Dave chaired the Save the Dunes Committee as an environmental for artistic, endowment and facilities activist. Currently, Elaine serves on the Board of the La Jolla Music projects, and help The Old Globe Society, and Dave has always been a major supporter of arts and culture remain one of our country’s great and enjoys spending his time at classic car events around the country. theatre institutions.

$20,000,000 or greater

Donald* and Darlene Shiley Mandell Weiss Charitable Trust Mandell Weiss’ plan to pursue an acting career was interrupted by World $10,000,000 or greater War I, but he became one of San Diego’s most successful entrepreneurs and a generous philanthropist actively supporting the arts during his Conrad Prebys remarkable 102 years of life. His legacy continues today with recent $5,000,000 or greater awards to the Globe including funding for the Sheryl and Harvey White Theatre and numerous production sponsorships. The Globe appreciates Sheryl and Harvey White Mandell Weiss Charitable Trust’s sponsorship of Playwright-in Residence Matthew Lopez’s second Globe production. Kathryn Hattox

Karen and Donald Cohn

$2,000,000 or greater Paula and Brian Powers Viterbi Family Foundation New Board member Paula Powers and her husband, Brian, have made Rancho Santa Fe their primary residence after living in New York, $1,000,000 or greater Hong Kong, Australia and the Bay Area. Paula earned her J.D. from the University of Michigan and specialized in Trusts and Estates. Brian’s J.D. California Cultural and Historical Endowment comes from the University of Virginia, and he is currently Chairman of Hellman & Friedman LLC. Paula is a member of the Advisory Board of Estate of Dorothy S. Prough ODC, a San Francisco-based modern dance company. The Rivkin Family

Estate of Beatrice Lynds

Audrey S. Geisel/ U.S. Bank San Diego Foundation For more than a decade, U.S. Bank has consistently supported The Old Dr. Seuss Fund Globe’s education and community programs, including the Summer Shakespeare Intensive for high school students and the Grinch Literacy Mr. and Mrs. Victor H.* Ottenstein Initiatives for elementary school students in Title One schools. U.S. Mrs. Helen Edison* Bank strengthens communities through contributions to nonprofit organizations to improve the educational and economic opportunities of The Stephen & low- and moderate-income individuals and families thereby enhancing Mary Birch Foundation the cultural and artistic life in communities across the country. The Kresge Foundation

*In Memoriam

PERFORMANCES MAGAZINE 5 Talking with PLAYWRIGHT Matthew Lopez

Tell us a little bit about the genesis of this play. Where did important thing ever in the history of the world. That should the idea and these characters come from? It stemmed be stated first and foremost. It’s part of my upbringing, I think. primarily from this family legend about the experiences my It was instilled in me by my parents, who had it instilled in them father and his siblings had working as extras on the set of West by theirs, that there was no higher form of artistic expression Side Story in 1960. Everything else was filmed on a soundstage than an 11 o’clock number. I had no idea who Simon and in Los Angeles, but the prologue, which has some of the most Garfunkel were; I did not know who the Beatles were for a iconic Jerome Robbins choreography in it, was all shot on the very long time. I doubt my parents did either. It was all musical streets of New York. And my dad and two of his three siblings, theatre being played in the house. But I have often said that including Priscilla, were there, hanging out, waiting to be used these characters are not based on my family, they’re based as extras. I’d always just loved that they had that experience. on my love for my family, and to emphasize that point I put my You can see my father very clearly in one of the shots of the family, the Lopezes, as offstage characters. film. For the Candelarias, musical theatre is their That’s sort of the micro side, and then on the macro side, I’d entire lives. It is what fuels their dreams, fills always been fascinated by Robert Moses; I’d always been their evenings. For the briefest time, it was fascinated by that tremendously fertile period in New York what paid the bills—but certainly not enough history right after World War II, when the city just shot up. or long enough to sustain a life in that field. There was this tremendous energy. It seemed as if the most And one thing that was really tantalizing amazing place you could ever hope to be was New York in about this era was that West Side Story was the 50s. But with each of the things Robert Moses created, he on Broadway, The Music Man was on destroyed twice as much. And there was nothing that would Broadway, Gypsy was just about stand in Robert Moses’ way, even families. I wanted to take one to open on Broadway. I could of the great achievements of that period, Lincoln Center, which not think of a better time to is indisputably a tremendous good—on the scale of 0 to 100, it go back and live in terms comes as close to 100 in terms of pure goodness as any public of being a theatre geek. I endeavor ever has—and look at how even that came at a great took particular pleasure in price. No one stopped to ask, “Whose lives are we dramatically allowing this family to geek altering in order to accomplish this?” So the goal in some ways out during the heyday of was to marry my very fond memories of these stories from that period. So musicals my father’s childhood with this investigation into the cost of are the most important progress and the people who get caught under the wheels. creation in the history of the world. They’re more What makes musicals so important to the characters in important than fire. Than the play? Oh my God, well, first of all, musicals are the most the printing press. Than the wheel. I’d put them number one, and everything else can fight for second place, as far as I’m concerned.

What are you most excited about in this world premiere production? I’m so excited about this cast. I know that these characters are not just in good hands but in loving, gentle hands. These people care very deeply about the characters they’re playing, which doesn’t happen all the time, and it’s such a blessing for a writer when it does. (circled) Francisco Lopez, Matthew’s father, as an extra in West Side Story.

6 PERFORMANCES MAGAZINE All in the Family Playwright Matthew Lopez interviews his aunt, renowned Broadway actress and dancer Priscilla Lopez.

Matthew Lopez: So, I’m interviewing you. Priscilla Lopez: You are? Matthew Lopez (age 4) with his aunt, Priscilla Lopez, backstage at the Broadway production of A Day in Hollywood/A Night in the Ukraine, ML: Yes! You’re at the Globe to do my play. for which she won a Tony Award. PL: Who are you? ML: I’m Tony Kushner. ML: Your career, from your very first audition, has been at the PL: Oh my gosh, I’ve got the wrong play. dead center of all the good stuff. You worked for Bob Fosse ML: (laughs) Well, to start, and tell me if you in Pippin, you worked for Michael Kidd. And to have been in don’t want to answer this question… Stephen Sondheim and Hal Prince’s original production of Company! And then, of course, there was A Chorus Line. So PL: Uh oh, how old I am? much has been said about it, but looking back on it, could you ML: Well, yes. How it all started. Could you in any way boil down what A Chorus Line means 35 years later talk a bit about your very first Broadway and what it means to you? audition? PL: One word: gift. The greatest gift. First, a) having PL: My first Broadway audition was for this participated in a groundbreaking way of working, then b) having little show called Gypsy. my own story told and c) once that story went out into the ML: With Tyne Daly? (laughs) world, having it affect so many people. Then the most recent gift I guess would be d) not only inspiring people in general PL: No, Ethel Merman. I am trying to who wanted to be in the business, but also this whole wave in remember how my mother knew about the Latino world that I had no idea I was affecting at all. And that audition. Maybe she read about it in why? Because I had that “z” at the end of my name, which I had the paper. But she told me about it, and been told to get rid of! The most recent tale I heard, when I was there I was, at the Broadway Theatre, and working on In the Heights, was from Mandy Gonzalez. She said, they lined you up in the alley—back when the “When I saw that ‘z’ in your name, I knew I was going to be OK.” theatre had an alley. They put us in groups of So it affected that whole generation. And now I’m playing all 15 or 20 kids. You’d line up, and they would their mothers. I can’t tell you how many Latino mothers I have come by and point at you and say, “You, you played. And I am grateful to play them, and I will be happy to and you: stay. The rest of you: thank you.” continue to play that role, and then become the grandmother, That was it. So I had already waited three and then probably the bag lady on the street. hours in the rain… ML: Speaking of that role, you are playing a Latino mother in ML: It always rains in these kinds of Somewhere. At the risk of fishing for a complement or spoiling stories. for a fight, what does this play mean to you and your personal PL: And the group before me, one little journey? girl just burst into tears, and I thought, “If PL: It’s a gift as well. It’s a beautiful play, written so beautifully. they don’t pick me, I’m not crying.” And I All the characters are so fully developed and real and honest go in, and they line us up and say, “You, and funny and touching. And it’s written by a very talented you and you stay. The rest of you, thank young playwright, who I happen to know! And I am so happy for you.” And my heart is in my throat, and him. I see it as a new story but, I think, with the old heart. I’m just I’m one of the “thank yous.” And I went so happy that it’s being told. For my mother, it’s a way of, in my into the alley and burst into tears. And head at least, putting her up on stage and saying, “You can do it. that was the last time I cried until I got This one is yours.” my first Broadway show.

Playwright Matthew Lopez and his aunt, actress Priscilla Lopez. PERFORMANCES MAGAZINE 7 Stories from THE WEST SIDE “You cannot rebuild a city without moving people. You cannot make an omelet without breaking eggs.” –Robert Moses, at the groundbreaking for Lincoln Center, 1959

atthew Lopez sets his play Somewhere in New York 14 blocks (almost 50 acres) of the West Side to build a new City at the close of the 1950s, an incredibly vibrant campus for Fordham University, a new headquarters for the Mperiod in the city’s civic and artistic history. Theatri- American Red Cross and two middle-class housing towers. cally, Broadway was enjoying the heyday of musical theatre. But the project’s centerpiece was to be Lincoln Center, a During 1959 and 1960, musical junkies like Lopez’s Candelar- temple to the arts that would house the New York Philhar- ia family could see the original Broadway productions of My monic, the Metropolitan Opera and The Juilliard School. Fair Lady, Camelot, Gypsy, The Sound of Music, The Music Man and, of course, West Side Story. As the head of New York City’s Committee on Slum Clear- ance, Moses took full advantage of the opportunities created But the Candelarias also have the misfortune of living on by the Federal Housing Act of 1949. Moses designated the West 66th Street in an area of the city targeted by urban Lincoln Center site a slum and acquired the land through em- planner Robert Moses in his inent domain in 1958, reselling great restructuring of New it to his hand-picked project York City. Moses was a con- sponsors. Residents protest- troversial figure often credited ed, especially with the loss (and blamed) for reworking the of low-income housing, and very fabric of New York over a case was taken as far as the the course of the 20th cen- Supreme Court, but Moses’ vi- tury. Moses imagined a New sion was triumphant. Resident York of highways, high-rises, Aramis Gomez summed up the soaring bridges and civic build- conflict when he said, “Who ings, but his methods were cut- cares for the little shopkeeper throat, and he had little inter- so long as we have culture? est in people’s day-to-day life Who cares whether we have on the ground. Mayor Fiorello a home as long as the Philhar- LaGuardia once said of Moses, monic and the Metropolitan “No law, no regulation, no bud- Opera have one?” Moses re- get stops Bob Moses in his ap- sponded to his critics by say- pointed task.” ing, “You can draw any kind of pictures you like on a clean In 1955, Robert Moses pro- slate, but when you operate posed a major redevelopment in an overbuilt metropolis you project designed to secure have to hack your way with a New York’s reputation as an meat ax.” international center of cul- ture and the arts. The Lincoln In 1958, the city began relo- Square Urban Renewal Project cating over 16,000 residents proposed the demolition of and more than 600 businesses

Russ Tamblyn, who played Riff, on the set of West Side Story, 1960.

8 PERFORMANCES MAGAZINE (clockwise from right) The Metropolitan Opera in Lincoln Center today; Lincoln Center during construction; rehearsal on the set of West Side Story in 1960.

from the project site. Like Matthew Lopez’s fictional Cande- laria family, 24% of those displaced were Puerto Ricans, many of whom stayed in the condemned buildings as long as pos- sible because they had no other options. Only 10% of the dis- placed residents made it into promised public housing. Many did not even apply because they would have been forced to relocate far from their original homes wherever the city could find room for them – like the Candelarias, who are moved to a housing project in the Brownsville section of Brooklyn.

Demolition began in August 1959, but not before the site had been targeted for another major cultural project: the filming of the movie version of the musical West Side Story, which had just closed on Broadway. The film was being co-directed by Robert Wise and choreographer Jerome Robbins, and shooting the prologue on location in New York was Wise’s idea. He slipped Lincoln Center contractors $5,000 to hold off demolition on 67th and 68th Streets so that in August 1960 the cast and crew of West Side Story could come to New York and shoot the opening of the film. The filmmakers not only used New Yorkers as extras, they even enlisted them as security guards. When rocks were thrown at the cast from the rooftops of nearby abandoned buildings, the studio hired a real local street gang to keep the set safe.

Stories of Robbins’ demanding behavior on the film set are legendary. He pushed the actors to the point of physical breakdown: their bodies exhausted in the August heat, their skin blistering from lying on hot concrete. He shot scenes Matthew Lopez’s Somewhere takes advantage of the pow- over and over, trying to capture every angle, using cranes for erful convergence of art, politics and personality that sur- overhead shots and digging trenches in the streets to capture rounded this West Side neighborhood in the late 1950s. At foot-level views. The actors resorted to doing mock rain danc- its heart, Somewhere is about the ties that bind mothers and es, hoping inclement weather would give them a break from their sons, families and their homes, artists and their art. Lo- shooting. Midway through the film, Robbins was fired from pez blends humor and heartbreak to create a vivid snapshot the project, and Wise completed West Side Story on his own. of a family in conflict and a city in transition. The Candelarias Robbins never directed another film. By the time West Side are bound together by love and sacrifice just as their neigh- Story opened in 1961, the entire neighborhood captured on borhood is pulled apart by a vision of progress—progress in film in the prologue had been completely demolished. the shape of a wrecking ball.

PERFORMANCES MAGAZINE 9 Profiles

JUAN JAVIER include P.J. in Wanda’s World directed Tina’s Wedding, The Miracle of CARDENAS (Francisco by Lynne Taylor Corbett, But I’m a Spanish Harlem and Musical Chairs. Candelaria) is an Cheerleader, Going Down Swingin’, alumnus of the Florida The Taxi Cabaret and most recently BENITA ROBLEDO State University/Asolo starring in the new tap musical Fingers (Rebecca Candelaria) is Conservatory for Actor and Toes (New York Musical Theatre a graduate of the Acting Training. His recent Festival). His tours include Billy Lawlor Conservatory at theatrical credits include Mickey in in 42nd Street (Moscow), Disney’s On Purchase College, Evenings All Afternoon and Paul in the Record and Casper: The Musical SUNY. Some of her AliceGraceAnon (New Georges), with Chita Rivera. His regional credits favorite television roles Reynaldo in Havana Journal, 2004 include Mark in Rent (Weston include the ambitious airhead Amalia (INTAR Theatre), Raul in Back, Back, Playhouse), Will Parker in Oklahoma! on The CW’s “Gossip Girl,” the Back (Dallas Theater Center), (Pittsburgh Civic Light Opera and backpacking druggie Dreads on NBC’s Manuelo in Boleros for the Casa Mañana) and Jimmy in “Kings” and the foul-mouthed kid Disenchanted (Huntington Theatre Thoroughly Modern Millie (Arvada sister Charlene on Comedy Central’s Company, IRNE Award nomination) Center). He received his B.F.A. from “Michael & Michael Have Issues.” Her and Alan Strang in Equus and Albert Carnegie Mellon University. In films include Going the Distance, Adam in The Play’s the Thing (Asolo addition to acting, Mr. Evens coaches What Happens in Vegas and Every Repertory Theatre). He has toured for Musical Theatre College Auditions Day. Her theatre credits include Russia (Lysander in A Midsummer (MTCA) and career coaches for Rebecca Candelaria in Tio Pepe Night’s Dream) and Greece (Corin and professional actors. (Summer Play Festival at The Public LeBeau in As You Like It), as well as www.leoashevens.com. Theater), Viola in Twelfth Night (The the southern U.S. (Bazman in the Storm Theatre) and the title role in world premiere of Lavender Lizards PRISCILLA LOPEZ (Inez Linnea. and Lilac Landmines: Layla’s Dream). Candelaria) was last JON RUA (Alejandro He has appeared on television in seen on Broadway in the Candelaria) and his programs such as “Blue Bloods,” Tony Award-winning commitment, versatility, “Law & Order: Special Victims Unit” musical In the Heights. perseverance and talent and “The Good Wife,” as well as She previously appeared have accelerated his numerous independent films and in Nilo Cruz’s Pulitzer well-rounded career. He commercials. www.juancardenas.com. Prize-winning play Anna in the Tropics. She received a Tony Award as Best most recently originated LEO ASH EVENS (Jamie Featured Actress in a Musical for her the role of Twig in the world premiere MacRae) is honored to portrayal as Harpo Marx in Broadway’s of the new musical Bring It On: The make his Old Globe A Day in Hollywood/A Night in the Musical (Alliance Theatre). His debut. Mr. Evens has Ukraine. Her performance as the Broadway credits include Sonny in In worked in two of Jerome original Diana Morales in A Chorus the Heights. Mr. Rua has performed Robbins’ legacy musicals Line led to an OBIE Award and a Tony with the likes of Sean Hayes, Jane throughout his career, nomination and introduced the songs Krakowski, Anthony Anderson, playing Riff in West Side Story in “Nothing” and “What I Did for Love.” Lin-Manuel Miranda, Norbert Leo London’s West End, The 50th Her Broadway credits include The Butz, Tyne Daly and Jordin Sparks. His Anniversary U.S. Tour, Barrington Sisters Rosensweig, Lysistrata, Pippin, additional theatre credits include The Stage Company, Theatre Under The Company, Her First Roman, Henry, Elaborate Entrance of Chad Deity Stars and North Carolina Theatre. Mr. Sweet Henry and Breakfast at (Second Stage Theatre, Pulitzer Prize Evens received critical acclaim as Tiffany’s. Her Off Broadway credits Finalist) and Damn Yankees (Encores!). Tulsa in Gypsy directed by Lonny include Beauty of the Father, The His workshops include Hands on a Price and starring Patti LuPone Oldest Profession, newyorkers, Class Hard Body (La Jolla Playhouse), (Ravinia Festival). He had the privilege Mothers ‘68 (Drama Desk Award Sundance Theatre Lab 2011 at The of learning these shows from two of nomination), The Passion of Frida Banff Centre, Pan, Bare, Queen of the Jerome Robbins’ assistants: Alan Kahlo, Antigone in New York, Other Stardust Ballroom and All Fall Down Johnson and Bonnie Walker, both People’s Money, Extremities, Buck and (INTAR Theatre) and Kingdom (The recreating original choreography. Your Own Thing. She has appeared in Public Theater). His television credits Recently, Mr. Evens won Best Actor in Los Angeles and regionally in Irma la include “Law & Order.” Mr. Rua has the Houston Excellence Awards for his Douce, Vanities and Death and the danced for recording artists such as performance of the Emcee in Cabaret Maiden. Her film credits include Maid Don Omar, Soulja Boy and more. As a at Theatre Under The Stars and in Manhattan as Jennifer Lopez’s choreographer, his work has been reprised the role at the Arvada mother, Center Stage, Revenge of the seen on NCAA/NBA dance teams, Center. His Off Broadway credits Nerds II: Nerds in Paradise, Tony N’ CBS, MTV, Chaos Theory and

10 PERFORMANCES MAGAZINE Broadway Bares. Mr. Rua has assisted Moon, all of whom were instrumental and Tio Pepe, a play at The Public as a choreographer on such projects to this play’s development. Theater’s Summer Play Festival. For as In the Heights, The Wiz (Encores!), the last three years he has been with Bring It On: The Musical and Insanity. GIOVANNA SARDELLI (Director) the Broadway production of Billy Elliot Currently he is on faculty at Broadway directed the West Coast Premiere as the Resident Choreographer as well Dance Center in New York and has of The Whipping Man by Matthew as the Associate Choreographer for over seven years of experience Lopez at the Globe (NAACP Theatre the national companies. teaching internationally. I dedicate this Award nomination for Best Director). experience to God, Mom, Dad and my She has directed the World Premieres CAMPBELL BAIRD (Scenic Design) Gabrielle. God bless and make history. of Rajiv Joseph’s plays The North has designed for Broadway, Merrimack www.JonRua.net. Pool (TheatreWorks), Animals Out Repertory Theatre, North Shore of Paper (Joe A. Callaway Award for Music Theatre, Roundabout Theatre MATTHEW LOPEZ (Playwright) Outstanding Director) and All This Company, Texas Ballet Theater, is currently the Playwright-in- Intimacy (Second Stage Theatre), Huntington Theatre Company, Residence at The Old Globe. His play The Leopard and the Fox (AlterEgo Nashville Ballet and companies as far The Whipping Man received its West Theatre Company), Huck & Holden afield as Bogota, Columbia and Seoul, Coast Premiere here last season in (Cherry Lane Theatre), the New York South Korea. A career high point was a production directed by Giovanna Premiere of Lynn Rosen’s Apple Cove Sonya with Julie Harris. He supervised Sardelli. Prior to that, the play had (Women’s Project), James McLindon’s numerous productions for his mentors been seen at Luna Stage in Montclair, Salvation (Hudson Stage Company), Oliver Smith (including Fall River New Jersey and Penumbra Theatre Christopher Wall’s Dreams of the Legend at Covent Garden) and in St. Paul, Minnesota. The Whipping Washer King (The Playwrights Realm), Desmond Heeley (this past season’s Man opened in New York earlier this Lila Rose Kaplan’s Wildflower (Second award-winning The Importance of year at Manhattan Theatre Club under Stage Theatre), Zoe Kazan’s Absalom Being Earnest). He has designed five the direction of Doug Hughes and (Actors Theatre of Louisville Humana national and international productions starring Andre Braugher. Mr. Lopez Festival) and Adriana Sevan’s Taking of West Side Story, three of them was recently honored with the John Flight, which was developed at the personally supervised by Jerome Gassner Playwrighting Award from Sundance Institute Theatre Lab and Robbins, giving him extra insight into the New York Outer Critics Circle had its World Premiere at Center the script for Somewhere. He was for The Whipping Man. It has become Theater Group. She spent two seasons resident designer for Joffrey Ballet one of the more regularly-produced as Director of the Shakespeare in New York City and was a scenic new American plays this season with Sedona Institute and two seasons as artist at The Metropolitan Opera for productions planned at over a dozen the Artistic Director of Studio Tisch. 15 seasons. He is an Associate Arts theatres across the country. He is Ms. Sardelli received her M.F.A. in Professor at New York University’s a contributing writer to Headlong Acting from the Graduate Acting Tisch School of the Arts, starting his Theatre’s Decade project, a collection Program at New York University and 20th year teaching classes in theatre of short plays commemorating the is a graduate of their Director’s Lab. and film history, costume drawing 10th anniversary of September 11th, She is on the faculty of the Graduate and presentation and scenic painting, now running in London. He holds new Acting Program and the Department among others. He served as a trustee play commissions from the Globe and of Dance at NYU. Her upcoming for USA Local 829 and exam judge in from Roundabout Theatre Company, projects include God of Carnage scenic and costume design and scenic is a New York Theatre Workshop (Hudson Stage Company) and the painting. He lives in New York City and Usual Suspect and is a recent world premiere of Dead Accounts by Phillipsburg, New Jersey. member of the Ars Nova Play Group. Theresa Rebeck (Cincinnati Playhouse Somewhere was initially presented in the Park). CHARLOTTE DEVAUX (Costume in a workshop production at Summer Design) designed the Globe Play Festival at The Public Theater GREG GRAHAM (Choreographer) productions of Welcome to Arroyo’s, and fully developed at the Globe. His spent 12 years performing in The Last Romance, I Do! I Do!, The other plays include Reverberation Broadway productions such as Fosse, Price, Kingdom, Since Africa, Who’s and Zoey’s Perfect Wedding. He is Chicago, Dirty Rotten Scoundrels and Afraid of Virginia Woolf?, Trying, A currently developing a musical version Hairspray and decided it was time to Body of Water, The Prince of LA, I Just of the film Mad Hot Ballroom to be try his own venture into choreography. Stopped by to See the Man, Fiction, directed and choreographed by Jerry Following a successful showcase of Two Sisters and a Piano, Blue/Orange, Mitchell. He lives in Brooklyn with his his own choreography at New York Splendour, All My Sons, Betrayal, partner, Brandon. Mr. Lopez owes a City Center, he had the pleasure of The Santaland Diaries and Da. Her debt of gratitude to the generosity creating works on ABC’s “Ugly Betty,” other credits include Miami Libre, and wisdom of Lou Spisto, Jack VH1’s “Celebrity Fit Club,” a Universal Cuban Dance Musical, Adrienne Arsht DePalma, Jerry Patch and Caitlin Pictures film entitled State of Play Center for Performing Arts, Cabaret

PERFORMANCES MAGAZINE 11 Profiles

Dances, Nyumbani Project, Trolley JEREMY J. LEE (Sound Design) LOUIS G. SPISTO (Executive Dances, San Diego Dance Theatre and previously designed the Globe Producer) directs both the artistic 9 Parts of Desire (Mo’olelo Performing production of Death of a Salesman. and administrative activities of Arts Company). Her international His international credits include The Old Globe. During his tenure, credits include Dr. Livingstone, I designing Continental Divide (London Mr. Spisto spearheaded the return Presume, London, Linnaeus and and Birmingham), associate designing of the Shakespeare Repertory Prince of Flowers (Botanic Gardens, Bridge Project 2010 World Tour and Company, revitalized the Globe’s Christchurch, New Zealand and Sydney, assistant designing Tarzan (Holland) new works program, resulting in 12 Australia), Suburb and Twelfth Night and 42nd Street (Moscow). His world premiere plays and 10 world (Christchurch Repertory Theatre) Broadway credits include associate premiere musicals, and produced and Hopes, Dreams and Perditions designer for Mary Stuart and Talk more than 100 productions. Under (Court Theatre). She was the Associate Radio. He has designed for the Mr. Spisto’s leadership, ticket Designer at the Christchurch Drama Off Broadway productions of The sales and contributions have Theatre and former costume designer Ohmies, Into the Hazard [Henry 5] increased substantially, and the and stylist for TV Zealand’s children’s and Dance Dance Revolution (Les fiscal health of the organization has programming. As Resident Associate Freres Corbusier), The Thugs (Soho been strengthened to support the Costume Designer, she has assisted Repertory Theater), Song for New York expanded artistic vision. Mr. Spisto on over 35 productions including (Mabou Mines), All the Wrong Reasons has successfully led the Globe’s Robin and the 7 Hoods, Chita Rivera: (New York Theatre Workshop) and $75 million Capital Campaign and The Dancer’s Life, A Catered Affair, Pretty Chin Up (LAByrinth Theater managed the development of the The Times They Are A-Changin’, Company). Mr. Lee’s regional credits Conrad Prebys Theatre Center, Dirty Rotten Scoundrels, Lucky Duck, include American Conservatory which includes a state-of-the-art Imaginary Friends, Dr. Seuss’ How Theater, Oregon Shakespeare Festival, arena theatre and education center. The Grinch Stole Christmas! and the Berkeley Repertory Theatre, La An advocate of arts education, Mr. Summer Shakespeare Festival. Jolla Playhouse, Signature Theatre Spisto created a number of new Company, 5th Avenue Theatre and programs that serve tens of thousands LAP CHI CHU (Lighting Design) Sundance Institute. His awards include of young San Diegans each year. recently designed the Globe the Bay Area Theatre Critics Circle These programs include a summer productions of Rafta, Rafta… and The Award, Austin Critics’ Table Award and Shakespeare intensive, a major Whipping Man. His New York City a Helen Hayes Award nomination. He initiative in southeastern San Diego design credits include The Public also teaches at New York University’s which includes the development of Theater, New York Theatre Workshop, Tisch School of the Arts. new works for younger and more Second Stage Theatre, Dance Theater diverse audiences, and free student Workshop, Performance Space 122, ELIZABETH STEPHENS (Stage matinees of the Globe’s regular The Kitchen, Danspace Project, Manager) recently stage managed productions. Mr. Spisto holds a Primary Stages and Juilliard Opera. the Globe’s productions of Life of Master’s degree from the University His regional designs include work at Riley and Plaid Tidings – A Special of Wisconsin and a Bachelor’s degree Mark Taper Forum, Geffen Playhouse, Holiday Edition of Forever Plaid. She from the University of Notre Dame. Oregon Shakespeare Festival, has stage managed locally for North He has served as chief executive Berkeley Repertory Theatre, La Jolla Coast Repertory Theatre, La Jolla for the Pacific Symphony, Detroit Playhouse, South Coast Repertory, Playhouse and Mo’olelo Performing Symphony and American Ballet Arena Stage, The Shakespeare Arts Company. Ms. Stephens was the Theatre. Theatre Company, Hartford Stage, Production Stage Manager for the San Huntington Theatre Company, Dallas Diego Symphony for four years. She JACK O’BRIEN (Artistic Director Theater Center and Portland Center has also stage managed for Pasadena Emeritus) served as the Artistic Stage. Mr. Chu is the lighting designer Playhouse, Seattle Repertory Theatre, Director of The Old Globe from for ChameckiLerner (Visible Content, Tennessee Repertory Theatre, Arizona 1982 through 2007. Recent Globe Hidden Forms, I Mutantes Seras and Theatre Company and The Acting productions: Dirty Rotten Scoundrels, Please Don’t Leave Me), performed in Company. Imaginary Friends, Twelfth Night, The the United States and Brazil. He has Full Monty, The Seagull, The Magic received multiple Bay Area Theatre Fire, Dr. Seuss’ How the Grinch Stole Critics Circle Awards and a Drammy Christmas! West End: Love Never Dies Award for Best Lighting. He holds SPECIAL THANKS (sequel to Andrew Lloyd Webber’s degrees from Northwestern University The Phantom of the Opera), Hairspray and New York University. He teaches Aaron Acosta (Olivier Award for Best Musical, Best lighting design at California Institute Liam Brandt Director nomination). Broadway: of the Arts. Andrew Hutchinson Catch Me If You Can, Impressionism (Creator/ Supervisor), Dr. Seuss’

12 PERFORMANCES MAGAZINE How the Grinch Stole Christmas!, CRAIG NOEL (Founding Director) from American Conservatory Theater; The Coast of Utopia (2007 Tony was first appointed director in the San Diego Press Club Headliner Award for Best Direction of a Play, 1939, directing 15 productions Award; San Diego Gentleman of which won a total of seven Tony prior to World War II. Since then he Distinction Award; and a combined Awards, including Best Play), Dirty directed more than 200 plays of all tribute from the Public Arts Advisory Rotten Scoundrels (Tony nominations: styles and periods and produced an Council and the San Diego County Best Director and Musical), Henry additional 270 productions. His vision Board of Supervisors. Mr. Noel was IV (Tony Award), Hairspray (Tony for The Old Globe resulted in the particularly proud of the following Award), The Invention of Love (Tony establishment of the Shakespeare three honors representing education nominations: Best Director and Play), Festival and the San Diego Junior and theatre: Honorary Doctorate of The Full Monty (Tony nominations: Theatre in the late ‘40s, the expansion Humane Letters, University of San Best Director and Musical), More to to two theatres in the ‘50s, Globe Diego, Honorary Doctorate in Fine Love, Labor Day, St. Louis Woman, Educational Tours in the ‘70s and Arts, San Diego State University and Pride’s Crossing, The Little Foxes, Teatro Meta and the Old Globe/ the annual Awards for Excellence in Hapgood (Lucille Lortel Award for University of San Diego MFA program Theatre named in his honor by the Direction, 1995), Damn Yankees (Tony in the ‘80s. During the 1940s, Mr. San Diego Theatre Critics Circle. In nomination Best Musical Revival), Noel served as dialogue director for 2007, he received the National Medal Two Shakespearean Actors (Tony the 20th Century Fox Studios and of Arts – the nation’s highest honor for nominations: Best Director and was the former director of the Ernie artistic excellence – in a ceremony at Play), Porgy and Bess for Houston Pyle Theatre in Tokyo. Described the White House. Craig Noel died on Grand Opera and Broadway (Tony by Variety as the eminence grise of April 3, 2010 at the age of 94. Award), as well as Radio City Music San Diego theatre, Mr. Noel is one of Hall, Il Trittico, Metropolitan Opera. the few San Diegans to have had an RECENT AWARDS: 2008 Theatre entire year (1987) proclaimed in his Hall of Fame Inductee, 2004 Thomas honor, and to be named one of San Degaetani Award (USITT), 2002 “Mr. Diego’s “Living Treasures.” He was This theatre operates under an agreement between the League of Resident Theatres Abbott” Award (SDCF), 2001 Joan a founder of the California Theatre and Actors’ Equity Association, the union of professional actors and stage managers in the Cullman Award for Extraordinary Council and a former vice president United States. Creativity, 2001 Joe A. Callaway of the California Confederation of the Award (SDCF), the Drama League’s Arts. His numerous honors include The Directors are members of the Society Julia Hansen Award for Excellence in The San Diego Union-Tribune list of of Stage Directors and Choreographers, an Directing, 2001. Honorary Doctorate, 25 persons who shaped the city’s independent national labor union. University of Michigan. Honorary history; the Governor’s Award for the This Theatre operates under an Agreement with Doctor of Humane Letters, University Arts; University of Arizona Alumni the International Alliance of Theatrical Stage of San Diego. Recipient of ArtServe Association’s Outstanding Citizen, Employees Local No. 122. Michigan’s 2008 International for his contribution to their Fine

Achievement Award. Mr. O’Brien is a Arts department; San Diego State The Scenic, Costume, Lighting and Sound member of the College of Fellows of University’s Outstanding Alumnus; Designers in LORT Theatres are represented by the American Theatre. Conservator of American Arts Award United Scenic Artists Local USA-826, IATSE.

ROCKY HORROR COSTUME BASH FRIDAY, OCTOBER 28, 2011 JOIN US FOR A SPECIAL PERFORMANCE OF RICHARD O’BRIEN’S THE ROCKY HORROR SHOW FOLLOWED BY A PARTY WITH THE CAST IN THE PRADO BALLROOM FEATURING FOOD AND DRINK, OUT-OF-THIS-WORLD D.J. & DANCING, PLUS A MONSTROUS COSTUME CONTEST! VIP Tickets $425 each | Regular Tickets $225 each

For more information | (619) 231-1941 x2308 | [email protected] PERFORMANCES Co-Chairs: Valerie Cooper and Peter Cooper MAGAZINE 13 THE OLD GLOBE/UNIVERSITY OF SAN DIEGO GRADUATE THEATRE PROGRAM PRESENTS: Twelfth Night By WILLIAM SHAKESPEARE Directed by RICHARD SEER November 6 - November 13, 2011

SHERYL AND HARVEY WHITE THEATRE Conrad Prebys Theatre Center A pair of shipwrecked twins find refuge in the magical land of Illyria. Join Viola and Sebastian as they discover a world filled with love, laughter and high jinks in Shakespeare’s romantic masterpiece. From the lovely Olivia to the pompous Malvolio, Illyria’s denizens create an enchanting landscape in which the Bard’s exquisite poetry bursts to life. Don’t miss this opportunity to see Shakespeare performed in our intimate theatre-in-the-round at The Old Globe. Sunday, November 6 at 7pm Tuesday, November 8 at 7pm Wednesday, November 9 at 7pm Thursday, November 10 at 8pm Friday, November 11 at 8pm Saturday, November 12 at 2pm and 8pm Sunday, November 13 at 2pm and 7pm Call The Old Globe Box Office for tickets at (619) 23-GLOBE (234-5623) or visit us online at www.TheOldGlobe.org Regular: $19 Student/Senior/Active Military: $16 University of San Diego Students: $8 Groups (15 or more): $12

14 PERFORMANCES MAGAZINE JOAN MARCUS JOAN The original Broadway production of A Chorus Line, 1975.

Bloody Bloody Andrew Jackson at The Public Theater, 2010. Broadway Rhythm The characters in Somewhere find inspiration, joy and freedom in the musical theatre that they love. It becomes the fuel they use to strive for their dreams of show business. We asked the cast and creative team of Somewhere about the musicals that have been most important in their own lives.

Juan Javier Cardenas (Francisco) I would play the same parts of the same songs over and over; For the way it blends political satire, pitch-black gallows to this day when I hear the album the same energy resonates humor, twisted history and an uncontrived rock ‘n’ roll musical through me. I never thought I would be in a musical, but for score, I’ve got to go with Bloody Bloody Andrew Jackson. some reason, listening to that album made me feel like I was in Leo Ash Evens (Jamie) my own musical. West Side Story! The show has it all. What tops that score, Matthew Lopez (Playwright) book and dance all in one show?! It really made me love When I was a kid, my parents took me to see Tyne Daly in musical theatre and informed the kind of artist I want to be. Gypsy and it blew my mind. It was the first time I had the I also have a love for Cabaret...dark and dirty. experience of being pinned to my seat by a performance, Priscilla Lopez (Inez) by a show. I couldn’t breathe. I don’t think I blinked once and When my sister was graduating from junior high school, we I certainly didn’t want it to ever end. By the time we got to all went to the movies to see this thing called The King and I. “Rose’s Turn,” I was just putty. Gypsy is about as flawless a And, me being the tempestuous little thing I was, I was yelling, musical as you can get. It proves you can deliver the goods “I don’t want to go! I don’t want to go!” and throwing a tantrum but not skimp on character and depth. It’s thrilling, funny and and carrying on. But when I saw The King and I, I thought I was heartbreaking. In short, it’s theatre. going to die. I just entered a world that I didn’t know could Giovanna Sardelli (Director) possibly exist. That was when I was bitten by the bug. I grew up in Las Vegas (pre-Cirque) and spent every Saturday Benita Robledo (Rebecca) watching musicals. Fred Astaire was my first crush. I lovedSilk When I was 17, I saw Hedwig and the Angry Inch with Kevin Stockings, Top Hat – all things Fred! I had posters of him in my Calhoun at the Edinburgh Festival Fringe. I can’t think of a room through high school. But the most influential musical more perfect show to see at that stage in my life. It wasn’t was A Chorus Line. I listened to that album, and my two sisters polite. It was raw and beautiful and exhilarating. It bucked and I tortured my poor mother by singing “At the Ballet” convention, and I loved that. whenever we were in the car. The national tour came to Vegas and Philip Riccobuono played Paul. Phil had gone to high Jon Rua (Alejandro) school with my older sister, and I had seen him perform since I I would have to say the first musical that I was completely was in elementary school. Seeing him in this huge musical was enamored with was The Phantom of the Opera. I saw it on a incredible! This was the moment I realized I could leave Las high school trip and then snatched the CD from my dad. Vegas, move to New York and make theatre.

PERFORMANCES MAGAZINE 15 The Old Globe is deeply grateful to its Sponsors, each of whom has made a 2011 annual donation of $50,000 or greater. Lead Season Sponsors

Mary Ann Blair Karen and Donald Cohn David C. Copley Conrad Prebys and Debra Turner Darlene Marcos Shiley Sheryl and Harvey White

Season Sponsors

Mary Beth Adderley and Elizabeth & Ryan Williams The Legler Benbough Foundation John A. Berol Peter Cooper and Norman Blachford The Family of Mary and Dallas Clark Valerie and Harry Cooper The County of San Diego Audrey S. Geisel Globe Guilders Kathryn Hattox Joan and Irwin Jacobs Elaine Lipinsky Family Foundation Patrons of the Prado

For additional information on how you may become a Season Sponsor, please contact Todd Schultz, Director of Development, at (619) 231-1941 x2310.

16 PERFORMANCES MAGAZINE Education

COMMUNITY PARTNERSHIPS Students from partner Lincoln High School visit The Old Globe’s Tech Center (above) and participate in a scenic painting workshop (below).

The Old Globe’s community of our Summer Shakespeare partnerships are an integral Intensive are SCPA students, part of our mission and and 15 students were cast in our provide an environment for upcoming production of Odyssey the growth and education after an audition process that of students, theatre left director Lear de Bessonet professionals, audiences and astonished at the talent pool at the community at large. Our the school. partnerships with San Diego schools bring thousands of Current active Old Globe partner young people through our schools include San Diego School doors each year, while the for the Creative and Performing schools benefit from a variety of enrichment activities that Arts, Freese Elementary, Valencia Park Elementary and supplement their student curriculum. Lincoln High School.

In June 2011 the San Diego Unified School District We are proud of the community relationships we have recognized the 20-year partnership between The Old built and continue to develop, and we applaud our partner Globe and the San Diego School for the Creative and schools for recognizing the value of theatre in the lives of Performing Arts (SCPA). Many of the cast members their students.

For more information about our education programs please visit our website at www.TheOldGlobe.org or contact our Education Department at [email protected].

PERFORMANCES MAGAZINE 17 Annual Fund Donors

The Old Globe’s ability to maintain the highest standard of excellence, while keeping ticket prices affordable, is due in large part to the financial support of more than 2,000 individuals, businesses, foundations and government agencies. Please join us in giving a warm thanks and recognition to these leaders who have made tonight and our 629 other performances possible. The Old Globe appreciates the support of those who have stepped into the spotlight.

Benefactors ($100,000 and above) City of San Diego Commission for Globe Guilders Darlene Marcos Shiley Arts & Culture The James Irvine Foundation in memory of Donald Shiley David C. Copley Microsoft The Shubert Foundation The County of San Diego The Parker Foundation Sheryl & Harvey White Foundation Audrey S. Geisel/The San Diego (Gerald & Inez Grant Parker) Foundation Dr. Seuss Fund

Season Sponsors ($50,000 to $99,999) Mary Beth Adderley and Peter Cooper & Norman Blachford Las Patronas Elizabeth & Ryan Williams Advised Fund at the San Diego Elaine Lipinsky Family Foundation The Legler Benbough Foundation Human Dignity Foundation Patrons of the Prado John A. Berol Valerie & Harry Cooper Conrad Prebys & Debra Turner Mary Ann Blair Edgerton Foundation Qualcomm, Inc. California Bank & Trust Kathryn & John Hattox United The Family of Mary & Dallas Clark William Randolph Hearst Foundation Wells Fargo Karen & Donald Cohn HM Electronics, Inc. Cohn Restaurant Group/ Joan & Irwin Jacobs Fund of the Prado Restaurant Jewish Community Foundation

Production Sponsors ($25,000 to $49,999) Alan Benaroya Jo Ann Kilty Mickey Stern Richard & Kathy Binford Barbara Kjos Gillian & Tony Thornley Arthur & Sophie Brody Fund of the National Corporate Theatre Fund Union Bank Jewish Community Foundation Brian & Paula Powers U.S. Bank Elaine & Dave Darwin Random House Children’s Books Mandell Weiss Charitable Trust Mr. & Mrs. Brian Devine The San Diego Foundation, Karin Winner Pamela A. Farr a grant made possible by the Pamela & Marty Wygod Danah H. Fayman Ariel W. Coggeshall Fund June E. Yoder Higgs Fletcher & Mack, LLP SDG&E Leonard & Elaine Hirsch Sheraton San Diego Hotel & Marina

Director Circle ($10,000 to $24,999) Jane Smisor Bastien Jean-Marie Hamel, PhD Price Family Charitable Fund BJH Foundation The Hull Family Reneé Schatz Pamela & Jerry Cesak Deni & Jeff Jacobs Jean & Gary Shekhter Nikki & Ben Clay Daphne H. & James D. Jameson Patsy & Forrest Shumway The Helen K. and Dr. Ronald & Mrs. Ruth Leonardi Ms. Jeanette Stevens James S. Copley Foundation Jeffrey & Sheila Lipinsky Anne Taubman & David Boyle Nina & Robert Doede Family Foundation Evelyn Mack Truitt Karen Fox & Harvey Ruben Sue & John Major Brent V. Woods & Laurie C. Mitchell Hal & Pam Fuson Rafael & Marina Pastor Carolyn Yorston-Wellcome Lee & Frank Goldberg Allison & Robert Price

18 PERFORMANCES MAGAZINE FOUNDER CIRCLE Chuck Freebern Mrs. Charlotte Rees Jerome & Gayle Klusky ($5,000 to $9,999) Charles & Millicent Froehlich Roger & Christine Roberts Dr. & Mrs. James E. Lasry Lawrence G. Alldredge & Dawn Moore Deede Gales Nancy J. Robertson Courtney & Raymond Liddy The Louis Yager Cantwell Elaine & Murray Galinson Carole Sachs Don & Mary Jane Lincoln Private Foundation Victor & Jill Galvez Warren & Beverly Sanborn Dr. Robert & Marcia Malkus Clifford & Carolyn Colwell Barbara & Albert Garlinghouse Sanderson Family Donor Advised Jasna Markovac & Gary Miller Ms. Heidi Conlan/The Sahan Bill & Judy Garrett Fund at the Rancho Santa Fe Marcia Mattson Daywi Foundation Drs. Thomas & Jane Gawronski Foundation Valorie McClelland R. Patrick & Sharon Connell Teresa George Dee E. Silver, MD Holly McGrath & David Bruce Bernard J. Eggertsen & Nancy Reed Gibson Elene & Herb Solomon Dr. & Mrs. M. Joseph McGreevy Florence Nemkov Wendy Gillespie Nancy & Alan Spector and Family Virginia Oliver Marion Eggertsen Robert Gleason & Marc Matys Nancy Steinhart & Ben & Joan Pollard Barbara & Dick Enberg Mark & Hanna Gleiberman Rebecca Goodpasture Dr. Julie Prazich & Dr. Sara Rosenthal Dr. & Mrs. Robert Epsten Tom & Sheila Gorey Eugene & Hannah Step Robert & Doris Reed Carol Spielman-Ewan & Joel Ewan Dr. & Mrs. William Gott Pat & Jack Thomas Jeffrey & Vivien Ressler Diane & Elliot Feuerstein Walter & Lola Green Cherie Halladay Tirschwell Wade & Candi Rich Martha & George Gafford Tim Haidinger Carol Vassiliadis The Ralph B. Rogers Foundation Mary Ann & Arnold Ginnow Ms. Cheryl Haimsohn Doris & Lou Vettese Nancy & George Stassinopoulos Diana Glimm Norm Hapke & Valerie Jacobs Hapke Mary R. Warkentin Jack & Louise Strecker Alexa Kirkwood Hirsch Patricia & Richard Harmetz Zelda J. Waxenberg Celeste & Gene Trepte Dr. & Mrs. Harry F. Hixson, Jr. Gordon & Phyllis Harris Jan Harden Webster & Raul Ortega Stan & Anita Ulrich William Karatz Drs. Patrick Harrison & Eleanor Lynch The Patricia and Christopher Weil David & Irene Weinrieb Carol & George Lattimer Susan & Dr. Ronald Heller Family Foundation Brendan M. & Kaye I. Wynne Peter Manes & Yoko Sakaguchi Dr. & Mrs. Peter K. Hellwig Dr. Steve & Lynne Wheeler Christy & Howard Zatkin Paul I. & Margaret W. Meyer Rhonda Heth & Thomas Mabie James & Kathryn Whistler Money/Arenz Foundation, Inc. Richard & Janet Hunter Alice M. Young GOLD Rebecca Moores Hutcheson Family Fund at ($500 to $999) Tom & Lisa Pierce The San Diego Foundation ($1,500 to $2,499) Elaine & Bob Algeo John & Marcia Price Andrew & Sonia Israel Fund of the Anita Busquets & William Ladd Anonymous (5) Family Foundation Jewish Community Foundation Lisa & David Casey George Amerault James E. Riley Trust Jerri-Ann & Gary Jacobs Devora & Ron Eisenberg Drs. Michael & Gabriela Antos Rivkin Family Fund I at Al* & Pat JaCoby of Great News! Earl Asbury The San Diego Foundation Mary & Russell Johnson Joy & Dr. Fred Frye Alicia Atun & Elaine Rendon* Paul Scott Silvera & Todd Schultz Jackie Johnston Gary & Carrie Huckell The Backman Family Julie & Bob Sullivan Katleman Family Fund of the William & Edythe Kenton Richard & Linda Basinger Deborah Szekely Jewish Community Foundation Sherry & Larry Kline Deron & Toni Bear Dixie & Ken Unruh Dr. Gerald & Barbara Kent Robin J. Lipman & Miro Stano Bruce & Patricia Becker Jordine Skoff Von Wantoch Bob* & Gladys King Nancy & James Mullen Amnon & Lee Ben-Yehuda Pamela J. Wagner Ken & Sheryl King In Memory of Dolly & Jim Poet Bob & Joyce Blumberg Judy & Jack White Webster & Helen Kinnaird Marie & Don Prisby Ruth Mary Picard Campbell Cindy & John Klinedinst Marisa SorBello & Peter Czipott Greg & Loretta Cass CRAIG NOEL CIRCLE Jane & Ray Klofkorn James & Ellen Weil Luc Cayet & Anne Marie Pleska ($2,500 to $4,999) Curt & Nancy Koch Shirli Fabbri Weiss Lynne Champagne & Wilfred Kearse Dr. & Mrs. Wayne Akeson Brooke & Dan Koehler Alan L. & Frances E. Cornell Gail, John & Jennifer Andrade Betty & Leonard Kornreich DIAMOND Ken Crouch Anonymous (3) Rosalie Kostanzer & Michael Keefe ($1,500 to $2,499) Ronald D. Culbertson Mr. & Mrs. Richard Baldwin Regina Kurtz & Al Isenberg Anonymous Sam Dolnick in memory of Bobbie Ball Bob & Laura Kyle Jeff & Donna Applestein Edith Dolnick Diana J. Barliant & Nowell Wisch Jean & David Laing Mrs. Lazare F. Bernhard Dr. Donald & Eilene Dose Melissa Garfield Bartell & Peter Landin & Michelle Cardinal Steve G. Bjorg Jacqueline & Stanley Drosch Michael Bartell Dr. Eric Lasley & Judith Bachner Mary-Kay Butler Elisabeth K. Ecke Joan & Jeremy Berg Tadd S. Lazarus, MD Dr. & Mrs. Robert M. Callicott Bill Eiffert & Leslie Hodge Linda Birch Terry & Mary Lehr Jane Cowgill Pauline Forman & Jack Burke Charlotte & Charles Bird Ms. Sherrill Leist Enid & Martin Gleich Susan & Steven Garfin Paul Black James & Pamela Lester Paul Levin Arthur Getis Dr. Herman & Irene Boschken Jerry Lester, MD/Rosarito, Mexico Joy & Ronald Mankoff Norman & Patricia Gillespie The Brigantine Family of Restaurants Sandy & Arthur Levinson Akiko Morimoto & Louise & Doug Goodman Dr. & Mrs. Edgar D. Canada Barbara & Mathew Loonin Hubert Frank Hamilton, Jr. Edry & Robert Goot George & Ellen Casey Merriel F. Mandell, PhD Parker & Crosland LLP Drs. Barbara & Leonard Gosink Rudy & Carol Ceseña Charlie & Jackie Mann Margery & John Swanson Chris Graham & Michael Albo Carol & Jeff Chang Elizabeth & Edward McIntyre WD-40 Company Carol & Don Green Garet & Wendy Clark Harold O. McNeil, Esq. George C. Guerra Richard & Stephanie Coutts Elizabeth Meyer PLATINUM Richard & Candace Haden Susan Barlow Cowell Scott & Grace Miller ($1,000 to $1,499) Mrs. Helen M. Hammond Gigi & Ed Cramer Ruth & Jim* Mulvaney Edward Anderson Stephen Hopkins & Dr. Carey Pratt John* & Ann Davies Elspeth & Jim Myer Anonymous Dr. & Mrs. Clyde W. Jones Darlene G. Davies in memory Joyce & Martin Nash Sondra & Robert Berk Fund of the Kathy & Rob Jones of Lowell Davies National Alliance for Musical Theatre Jewish Community Foundation Mr. & Mrs. Henry P. Kagey Pat & Dan Derbes Arthur & Marilyn Neumann Gary & Barbara Blake Family Fund of Patricia & Alexander Kelley Mrs. Philip H. Dickinson Lawrence Newmark the Jewish Community Foundation Bill & Linda Kolb Jim & Sally Ditto Matthew & Judith Pollack Nancy Brock Marvin Kripps, MD Noddy & Ira Epstein Mo & Bill Popp Sandra & Harry Carter LABS, Inc./Silvia Dreyfuss Carol Fink Daniel Porte Jr., MD Ms. Dorothy R. Dring Sherry & Rick Levin Mary & David Fitz Joanne Powers Paul & Clare Friedman Marshall & Judy Lewis Fund of the Susanna & Michael Flaster The Arthur & Jeanette Pratt Mr. & Mrs. Arthur A. Greenberg Jewish Community Foundation Jean & Sid Fox Memorial Fund Leo S. Guthman Fund Edward & Nancy Lyon Samuel I. & John Henry Fox Joseph & Jane Rascoff Kaaren Henderson Carl Maguire & Margaret Sheehan Foundation at Sarah B. Marsh-Rebelo & Kenneth & Marilyn Jones Sally & Luis Maizel Union Bank of California John G. Rebelo Louis & Mary Beth Kelly Drs. Betty Joan Maly & John Meyers

PERFORMANCES MAGAZINE 19 Annual Fund Donors (continued) THEATRE Ron & Mercy Mandelbaum Dr. & Mrs. Charles B. Tesar Russell Mangerie Gertrude Trebon Martin & Joanne Marugg Jeffrey & Sheila Truesdell Rev. Stephen J. Mather Natalie C. Venezia & Paul A. Sager TOTS Ron McCaskill & Robyn Rogers Harold Walba Charles & Billie McKnight Kathy & Jim Waring Carole S. Miller Katherine White Charles & Susan Muha Ms. Sandy Wichelecki Shirley Mulcahy Dennis & Carol Wilson Marsha J. Netzer Dr. Dolores Wozniak Katherine Newton Mark Niblack *In Memoriam Rod & Barbara Orth This list current as of September 2, 2011 In Memory of Margaret Peninger Dr. Ken Pischel & As announced in July 2008, the names of Dr. Katherine Ozanich Annual Fund donors at the Silver level Drs. Paul & Katherine Ponganis are published semi-annually, once in the Simon & Ruth Sayre Shakespeare Festival program and again Linda J. Seifert in a winter Globe program. Stella Shvil Mr. & Mrs. Randall Silvia For additional information on how you may Mr. William D. Smith & Dr. Carol Harter support The Old Globe’s artistic, education Dave & Phyllis Snyder and community programs, please visit our Theatre Tots is a brand new Susan Steele & Mike Conley website at www.TheOldGlobe.org Creative Dramatics program for Helga & Sam Strong or contact Rachel Plummer, Development Ron & Susan Styn Manager, Individual Annual Giving, at children ages 4, 5 and 6. These Clifford & Kay Sweet (619) 231-1941 x2317 or [email protected]. 90-minute sessions take children Linda Terramagra from storybook to performance while they learn how to use their voices, bodies and imaginations to bring a story to life. Public Support Parents may stay for the entire class or drop them off and return for the last 20 minutes to watch their children perform a short presentation of the story of the day.

DATES: Saturdays, September 24, October 8 & 22

Major funding provided by the City of San Diego Commission for Arts and Culture. The Old Globe is funded by the County of San Diego. TIME: 10:00 AM – 11:30 AM

COST PER CLASS: $25 per session. A 10% discount applies for enrollment in three or Stay Connected with more classes.

The Old Globe MINIMUM CLASS SIZE: 10

MAXIMUM CLASS SIZE: 15

Contact [email protected] for more information or to sign up Visit us online at www.TheOldGlobe.org for one or more sessions.

20 PERFORMANCES MAGAZINE Globe Ambassadors

Globe Ambassadors are generous supporters Ca rol Spielman-Ewan & Joel Ewan Ms. Jeanette Stevens◆ of The Old Globe who contribute a minimum Danah H. Fayman◆ Evelyn Mack Truitt of $3,500 to the Annual Fund, attend special Susanna & Michael Flaster Dixie & Ken Unruh Globe meetings and activities and serve as Mary Ann & Arnold Ginnow Doris & Lou Vettese◆ advocates in the community for the Globe’s Alexa Kirkwood Hirsch◆ Pamela J. Wagner◆ mission and goals. As a group, Ambassadors Leonard & Elaine Hirsch◆ Jordine Von Wantoch◆ sponsor one Globe production each season. Pat Jacoby *In Memoriam Mary & Russell Johnson◆ La wrence G. Alldredge & Dawn Moore Bob* & Gladys King◆ ◆Denotes increased giving in 2010 & 2011 Paul Black◆ Bob & Laura Kyle Dr. & Mrs. Edgar D. Canada For additional information on how you may Tadd S. Lazarus, M.D. Carol & Rudy Ceseña become a Globe Ambassador, please contact James & Pamela Lester◆ Steven J. Cologne Marilyn McAvoy Bergman, Major Gifts Director, Dr. Jerry Lester◆ R. Patrick & Sharon Connell at (619) 231-1941 x2309 or Merriel F. Mandell, Ph.D.◆ Susan B. Cowell [email protected]. Peter Manes & Yoko Sakaguchi Gigi & Ed Cramer◆ Paul I. & Margaret W. Meyer Elaine & Dave Darwin◆ David & Noreen Mulliken Darlene G. Davies◆ Arthur & Marilyn Neumann Nina & Robert Doede Joanne C. Powers Marion Eggertsen◆ Jeannie & Arthur Rivkin Be rnard J. Eggertsen & Florence Nemkov◆ Donald* & Darlene Shiley◆

Corporate Donors

SEASON SPONSORS ($50,000 or more) DIRECTOR CIRCLE ($10,000 - $24,999) Bank of America City National Bank KPMG, LLP Neiman Marcus ResMed Foundation Torrey Pines Bank The Westgate Hotel

FOUNDER CIRCLE ($5,000 - $9,999) Hyatt Regency La Jolla

CRAIG NOEL CIRCLE ($2,500 - $4,999) Break-Away Tours Goldman, Sachs & Co. The Cox Kids Foundation at Ladeki Restaurant Group The San Diego Foundation – Roppongi Restaurant Cubic Corporation PRA Destination Management

National Corporate Theatre Fund is a not-for-profit corporation created to increase and strengthen support from the business community for ten of this country’s most distinguished professional theatres. The following foundations, individuals and corporations support these theatres through their contributions to NCTF:

PRODUCTION SPONSORS ($25,000 - $49,999) ($10,000 or more) Bank of America Morgan Stanley Bloomberg NBC/Saturday Night Live BNY Mellon Wealth Management Pfizer, Inc. Steven Bunson Karen Pritzker & Michael Vlock Christopher Campbell/ RBC Wealth Management Palace Production Center RVM/Vincent Brunetti Cisco Systems, Inc. Salesforce.com Citi Sharp Electronics Data cert, Inc. George S. Smith, Jr. Dorsey & Whitney Foundation The McGraw-Hill Companies Ernst & Young James S. Turley Goldman, Sachs & Co. UBS Marsh & McLennan Companies USA Today McCarter & English LLP Vernalis Systems The McGraw-Hill Companies Wells Fargo MetLife Willkie Farr & Gallagher LLP

Corporate Partners enjoy benefits and recognition, including the opportunity to entertain clients and employees with exclusive receptions at the Theatre, behind- the-scenes tours, and preferred seating at our shows. For information, please contact Todd Schultz at (619) 231-1941 x2310.

PERFORMANCES MAGAZINE 21 A Planned Gift Ensures a Strong Tomorrow for The Old Globe

Craig Noel League Members What is the Craig Noel League? Anonymous (17) Founded in 2000 and named for the Globe’s Founding Diana Barliant Director, the League is a planned giving society for the Nancine Belfiore Alan Benaroya Globe comprised of individuals who have included The Ronald Brown Old Globe in their estate plans. Through their generosity, Dr. & Mrs. Edgar D. Canada these supporters of the Theatre are helping to ensure Garet & Wendy Clark a long and bright future for San Diego’s leading cultural R. Patrick & Sharon Connell Patricia W. Crigler. Ph. D., CAPT/USN/Ret. landmark. Carlos & Patricia Cuellar Mrs. Philip H. Dickinson What is a Planned Gift? Doug Druley & Becky Young Planned giving is simply a way to support The Old Globe NOEL,CRAIG 1957 Dr. & Mrs. Robert Epsten Frank A. Frye, III through your estate plans by establishing an irrevocable bequest of property, stock Mr. Alan Gary & Ms. Joanee Udelf or cash; a charitable trust; a living estate; or some other deferred giving instrument. Nancy Reed Gibson In your estate plans, you have the ability to designate the specific use of the funds Robert Gleason & Marc Matys Marcy Goldstone given to the Globe, and to help guide your decision, The Old Globe Board of Carol & Don Green Directors has established specific giving areas that you may choose from, including Kathryn Hattox classical theatre and Shakespeare, education programs and new works. David & Debbie Hawkins Jill Denison Holmes How do I make a Planned Gift? Craig & Mary Hunter Bob Jacobs Simply call the Globe and schedule an appointment for a confidential meeting, Grace Johnston or visit with your estate planner or attorney. You may also attend one of several Gladys H. King seminars held throughout the year to become more acquainted with estate Marilyn Kneeland Jean & David Laing planning. Jerry Lester Foundation Heather Manion How can a Planned Gift help me? Chris & Jill Metcalf A planned gift can reduce your income tax, increase your yearly income, help you Paul I. & Margaret W. Meyer Steve Miller avoid capital gains tax, distribute your assets to family members at a reduced tax Dr. Robert W. Miner rate and, most importantly, support an organization you love! You will also have the Shirley Mulcahy satisfaction of knowing your gift will impact generations of future theatregoers and Laurie Dale Munday Stanley Nadel & Cecilia Carrick that The Old Globe will remain a leader in the theatre arts for decades to come! Alice B. Nesnow To become a member of the Craig Noel League or to tell us of a gift you Arthur & Marilyn Neumann Ronald J. Newell have already made, please contact Bridget Cantu Wear, Associate Director Greg & Polly Noel of Development, Planned Giving, at (619) 231-1941 x2312 or PACEM (Pacific Academy of Ecclesiastical Music) [email protected]. Sarah B. Marsh-Rebelo & John Rebelo Darlene Shiley Join us and become a part of our active community with a variety of exciting Patsy & Forrest Shumway B. Sy & Ruth Ann Silver events including an Annual Member Event, “Food for Thought” monthly lunches Stephen M. Silverman where you can meet a Globe artist or one of the many Opening Night receptions Roberta Simpson held throughout the year. Dolores & Rod Smith Marisa SorBello & Peter Czipott John & Cindy Sorensen Nancy A. Spector & Alan R. Spector Jeanette Stevens Eric Leighton Swenson Anne C. Taubman Cherie Halladay Tirschwell Evelyn Mack Truitt New Craig Noel Ginny Unanue League member Carol & Lawrence Veit and longtime Jordine Von Wantoch theatre volunteer Merle Wahl Shirley Mulcahy Holly J. B. Ward (center) visits with Sheryl & Harvey P. White actors Georgia Mrs. Jack Galen Whitney Hatzis and Jonno Julie Meier Wright Roberts at the Carolyn Yorston-Wellcome monthly luncheon series, “Food for Thought.”

22 PERFORMANCES MAGAZINE Associate Artists of The Old Globe

In recognition of their unique contribution to the growth of The Old Globe and their special talent, we take great pride and pleasure in acknowledging as Associate Artists the following individuals who have repeatedly demonstrated by their active presence on our stages and in our shops, that wherever else they may work, they remain the heart and soul of the Globe. William Anton Tim Donoghue Mark Harelik Jonathan McMurtry Ken Ruta Irene Tedrow* Gregg Barnes Richard Easton Bob James Stephen Metcalfe Douglas W. Schmidt Sada Thompson Jacqueline Brooks Tovah Feldshuh Charles Janasz Robert Morgan Seret Scott Paxton Whitehead Lewis Brown* Monique Fowler Peggy Kellner* Patrick Page David F. Segal James Winker Victor Buono* Robert Foxworth Tom Lacy Ellis Rabb* Richard Seger* Robert Wojewodski Wayland Capwell* Ralph Funicello Diana Maddox Steve Rankin Diane Sinor G Wood* Kandis Chappell Lillian Garrett-Groag Dakin Matthews William Roesch Don Sparks Eric Christmas* Harry Groener Deborah May Robin Pearson Rose David Ogden Stiers * In Memoriam Patricia Conolly A.R. Gurney Katherine McGrath Marion Ross Conrad Susa George Deloy Joseph Hardy John McLain Steven Rubin Deborah Taylor

Patron Information

TICKET SERVICES HOURS may be given alternative seating and will be seated at an Monday: Closed appropriate interval. Tuesday - Sunday: Noon – last curtain Hours subject to change. Please call ahead. YOUNG CHILDREN Phone (619) 23-GLOBE or (619) 234-5623 Children five years of age and under will not be admitted to FAX (619) 231-6752 performances. Email [email protected] ELECTRONIC DEVICES AND CAMERAS ADMINISTRATION HOURS Monday - Friday: 9am - 5pm Use of recording devices and cameras is not permitted. Phone (619) 231-1941 Please silence all digital watches, pagers and cellular Website www.TheOldGlobe.org phones prior to entering the theatre. Address The Old Globe P.O. Box 122171 ASSISTED LISTENING SYSTEM San Diego, CA 92112-2171 For the convenience of our hard of hearing and hearing- impaired, The Old Globe has an Assistive Listening System ORDERING TICKETS/CHANGE OF ADDRESS in both the Sheryl and Harvey White Theatre and the The Old Globe accepts Visa, Discover, MasterCard, or Old Globe Theatre. A limited number of the lightweight American Express. Phone orders for non-subscribers headsets, as well as induction neck loops, may be obtained are subject to a $3.50 per ticket service charge. Ticket from the house manager prior to performances. exchanges are subject to a service charge for non- subscribers. If you have moved, please notify the Ticket PUBLIC TOURS Services Office to update our records. Call (619) 234-5623 Go behind the scenes at The Old Globe to learn about the during Ticket Services hours, mail your change of address history, three stages, shop and craft areas. Open tours: most to the Ticket Services Office, or email us at Saturdays and Sundays at 10:30am. Groups by reservation. [email protected]. $5 adults; $3 seniors and students. Phone (619) 238-0043 x2145 for information/reservations. UNABLE TO ATTEND? If you find you are unable to use your tickets, please give LOST AND FOUND them to a friend, or turn them in to the Ticket Services If you have misplaced a personal item while at the theatre, Office and receive a tax receipt for your donation. Tickets please contact the Ticket Services Office or Security as must be received by show time. soon as possible. If we are unable to locate your item, we’ll happily take down your contact information and a RESTROOMS description of the item and contact you if it is found. The Restrooms are located in the lower lobby of the Old Globe Old Globe does not assume liability for items left behind on Theatre, the lobby of the White Theatre and adjacent to the premises. the Festival Theatre. Natural Herb Cough Drops - Courtesy of Ricola USA, Inc., SEATING OF LATECOMERS are available upon request. Please ask an usher. Although we understand parking is often at a premium, the seating of latecomers is extremely disruptive. Latecomers

PERFORMANCES MAGAZINE 23 Staff

Louis G. Spisto...... Executive Producer DEVELOPMENT Michael G. Murphy...... General Manager Properties Marilyn McAvoy Bergman...... Major Gifts Director Dave Henson...... Director of Marketing and Communications Neil A. Holmes...... Properties Director Annamarie Maricle...... Associate Director, Institutional Grants Todd Schultz...... Director of Development Kristin Steva Campbell...... Assistant to the Director Bridget Cantu Wear...... Associate Director, Planned Giving Mark Somers...... Director of Finance M.H. Schrenkeisen...... Shop Foreman Eileen Prisby...... Events Manager Richard Seer...... Director of Professional Training Rory Murphy...... Lead Craftsman Rachel Plummer...... Development Manager, Robert Drake...... Director of Production Josh Camp, Patricia Rutter, Individual Annual Giving Roberta Wells-Famula...... Director of Education Rebecca Schlabach...... Craftspersons Diane Addis...... Membership Administrator David Medina...... Properties Buyer Kacie Bluhm...... Development Assistant ARTISTIC Trevor Hay...... Property Master, Globe Rico Zamora...... VIP Donor Ticketing Adrian Noble...... Shakespeare Festival Artistic Director Dan Klebingat...... Stage & Property Master, White Matthew Lopez...... Playwright-in-Residence David Buess...... Property Master, Festival Donor Services Danielle Mages Amato...... Literary Manager/Dramaturg Kristi Hummel-Rosen...... Prop Assistant Lee Conavay, Monica Jorgensen, Barbara Lekes, Bernadette Hanson...... Artistic Associate Pamela Malone, Richard Navarro, Stephanie Reed, Amanda Buzzell...... Artistic Assistant Lighting Judy Zimmerman...... Suite Concierges Shawna Cadence...... Lighting Director PRODUCTION Jason Bieber...... Lighting Assistant MARKETING Debra Pratt Ballard...... Associate Director of Production Tonnie Ficken...... Master Electrician, Globe Jeffrey Weiser...... Public Relations Director Ron Cooling...... Company Manager Jim Dodd...... Master Electrician, White Mike Hausberg...... Public Relations Associate Carol Donahue...... Production Coordinator Kevin Liddell...... Master Electrician, Festival Kelly Boyle...... Digital and Print Publications Coordinator Kristen Flores, Marissa Haywood...... Marketing Assistant Stage Management Steve Schmitz...... Followspot Operators, Festival Monica Jorgensen, Susie Virgilio...... Marketing/Events Assistants Leila Knox...... Production Stage Manager Areta MacKelvie, Rafael Vallejo...... Followspot Operators, Globe Subscription Sales Technical Dominic Abberhawke, Kevin Anthenill, Eric Baum, Ryan Heckel...... Electricians Scott Cooke...... Subscription Sales Manager Benjamin Thoron...... Technical Director Anna Bowen-Davies, Arthur Faro, Andy Fink, Wendy Berzansky...... Associate Technical Director Sound Janet Kavin, Pamela Malone, Yolanda Moore, Tramaine Berryhill...... Assistant Technical Director Paul Peterson...... Sound Director Jessica Morrow, Keith Perkins, Ken Seper, Sean Fanning...... Resident Design Assistant Erik Carstensen...... Master Sound Technician, Globe Cassandra Shepard, Jerome Tullmann, Eliza Korshin...... Technical Assistant/Buyer Grant Walpole...... Subscription Sales Representatives Jeremy Siebert...... Master Sound Technician, White Christian Thorsen...... Stage Carpenter/Flyman, Globe Jeremy Nelson...... Master Sound Technician, Festival Carole Payette...... Charge Scenic Artist Ticket Services Rachel Doemelt...... Mic Runner, Globe Kristina Armand, W. Adam Bernard, Bob Coddington...... Ticket Services Manager Dana Pickop...... Mic Runner, Festival Victoria Erbe, David Garcia...... Scenic Artist Marsi Fisher...... Ticket Operations Manager Gillian Kelleher...... Master Carpenter Dani Meister...... Group Sales Manager ADMINISTRATION Andrew Recker...... Master Carpenter, Festival Tony Dixon, Brian Franko...... Assistant General Manager Andrew Young...... Charge Carpenter, White Rob Novak...... Lead Ticket Services Representatives Bryan Scott...... Executive Assistant Laura McEntyre...... Automation Coordinator Brian Abraham, Kari Archer, Brittany Bailey, Fernando Avitia, Chris Chauvet, Jason Chohon, Sarah Ditges, Merri Fitzpatrick,Tyler Jones, Angela Juby, Robert Dougherty, Thomas Hawkins, Information Technology Cassie Lopez, Caryn Morgan, Christopher Smith, Jack Hernandez, Josh Letton, Stephan Lutz, Dean Yager...... Information Technology Manager Diana Steffen,...... Ticket Services Representatives Mason Petersen, Andrew Recker...... Carpenters Thad Steffen...... Information Technology Assistant Manager Eszter Julian, Jeremy Luce...... Deck Crew, Festival John Ralston...... Information Technology Assistant PATRON SERVICES Mark Jeffery Dewey, June Higginbotham, Mike Callaway...... Theatre Manager Andrew Recker...... Deck Crew, Globe Human Resources Brian Davis, Jessica Talmadge...... House Managers Sandra Parde...... Human Resources Director A. Samantha Beckhart...... Front of House Assistant Costumes Elaine Gingery...... Food and Beverage Manager Stacy Sutton...... Costume Director Maintenance Timothy Acosta, Nellie R. del Rosario, Charlotte Devaux Shields...... Resident Design Associate Randy McWilliams...... Facilities Manager Benjamin A. Murrell, Jonathan R. Orozco, Maureen Mac Niallais...... Assistant to the Director Violanda Corona, Ismael Delgado, Miguel Gaspar, June Owatari, Paige Plihal, Amanda Rhoades, Shelly Williams...... Design Assistant/Shopper Roberto Gonzalez, Reyna Huerta, Jose Morales, Michelle Thorsen, Michelle R. Witmer...... Pub Staff Michelle Souza...... Design Assistant Albert Rios, Maria Rios, Vielka Smith, Nicolas Torres, Rose Espiritu, Jasmine Morgan, Erin Cass, Marsha Kuligowski...... Drapers Leonardo Rodriguez ...... Building Staff Stephanie Rakowski...... Gift Shop Supervisors Su-Lin Chen, Wendy Miller...... Tailors Babs Behling, Jan Blankenship, PROFESSIONAL TRAINING Security/Parking Services Annie Glidden Grace, Susan Sachs...... Assistant Cutters Llance Bower...... Program Coordinator Rachel “Beahr” Garcia...... Security Supervisor Mary Miller...... Costume Assistant Maria Carrera, Cynthia Caywood, Ray Chambers, Dallas Chang, Sherisa Eselin, Veronica von Borstel, Maria De La Mora, Gerhard Gessner, Jan Gist, Fred Robinson, Janet Larson, Jeffrey Neitzel...... Security Officers Tracy Graham, Heather Premo, Liz Shipman, Abraham Stoll, George Yé...... MFA Faculty Patricia Ceja, Alberto Holloway, Joanna Stypulkowska...... Stitchers Jeff Howell...... Parking Lot Attendants Erin Carignan...... Craft Supervisor EDUCATION Norman Ramos, Danny Wilcox...... V.I.P. Valet Attendants Stephanie Parker, Sharon King...... Craft Artisans Kim Montelibano Heil...... Education Associate Molly O’Connor...... Wig and Makeup Supervisor Carol Green...... Speakers Bureau Coordinator Kim Parker...... Assistant to Wig and Makeup Supervisor David Carson, Amanda Cooley Davis, Jack O’Brien...... Artistic Director Emeritus Danielle Griffith...... Wig and Makeup Assistant James Cota, Jo Anne Glover, Brian Hammond, Craig Noel...... Founding Director Beverly Boyd...... Wardrobe Supervisor, Festival & White Sarah Price-Keating, Jennifer Barclay Newsham, Radhika Rao...... Teaching Artists Beth Merriman...... Wardrobe Supervisor, Globe Debbie Allen, Kelly Jones, Anna Noll, Heather Premo, Ksusha Vanyan...... Wardrobe Crew, Globe FINANCE Anna MacDonald...... Crew Chief White Carly Bennett-Valle...... Senior Accountant Kristin Bongiovanni, Erin Dodd, Sunny Haines, Suzanne Trish Guidi...... Accounts Payable/Accounting Assistant Noll, Suzanne Notarangelo-Arnson, Noelle van Wyk, Adam Latham...... Payroll Coordinator/Accounting Assistant Christiana Jo Nguyen...... Wardrobe Crew Festival Tim Cole...... Receptionist Marie Jezbera...... Rental Agent

24 PERFORMANCES MAGAZINE