Programming; Providing an Environment for the Growth and Education of Theatre Professionals, Audiences and the Community at Large

Home , Brooklyn Babylon, Catherine Adler, Princeton Summer Theater

MAY 2014 WELCOME

A few weeks ago, on April 30, 2014, the American theatre lost a giant, and The Old Globe lost one of its most valued friends. Nicholas Martin’s relationship with this institution began when he acted here in King Lear in 1957, and it continues to this day as we present Vanya and Sonia and Masha and Spike in a production based on his original Broadway direction. The fifty seven year span of his Globe career saw him act in eighteen additional productions and direct six, most recently his acclaimed 2013 staging of Shaw’s Pygmalion. On the opening night of that production the Globe named him an Associate

DOUG GATES Artist, an honor that he was as proud to earn as we were Managing Director Michael G. Murphy and Artistic Director Barry Edelstein. to bestow.

Nicky, as he was known, loved San Diego and adored the Globe, but the Globe loved him more. At every level of the institution, from artists to staff to Board, he was cherished. He was an uproari- ously funny man with a room-filling laugh and a bright twinkle in his eye. His wit was scintillat- ing, and although it could be withering, too, it was never, ever mean-spirited. Nicky was a man of the theatre in the deepest sense: every single part of the process of making theatre thrilled him. His manner in rehearsal was always gentle and open-hearted, and he was fiercely devoted to his artistic collaborators and their work. He was a generous mentor of emerging talent and a loyal supporter of longtime colleagues.

As a director he was a true servant of the play. His insights as a reader of drama were keen, and his interpretive skills were at an extremely high level. These he coupled to a theatrical imagination that reveled in color, energy, and flair. The result—the Nicky Martin touch—was a theatre that combined virtuosic showmanship with a thoroughgoing sense of humanity and truth.

We speak not only for ourselves but also for all the constituencies of the Globe when we say that Nicky will be deeply, sorely missed. It was our great good fortune to have had him and his brilliant talent in our lives and we will celebrate his memory in all the work we do.

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

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

PERFORMANCES MAGAZINE 1 PRODUCTION SPONSORS EXTRAORDINARY LEADERSHIP

PETER COOPER AND NORMAN BLACHFORD Since the founding of The Old Globe in 1935, heroic leadership has The following individuals and organizations, recognized for Peter and Norman are longtime supporters of The Old Globe and are well known made the theatre a cultural icon in San Diego and a forerunner in their tremendous cumulative giving, comprise a special group of for their major philanthropic activities and community activism. Norman serves the American theatre. Many individuals have paved that way and friends who have played leading “behind-the-scenes” roles, help- on the Board of the Mingei International Museum and is on the Founders Council enabled the theatre’s extraordinary success, and the Globe would ing to create the productions on the three stages, programs in the of the Williams Institute at the UCLA School of Law. A native of Montreal, like recognize and honor its most generous and committed phi- community and our influence beyond this region. Norman founded a manufacturing firm that produces noise control materials lanthropists who have helped make that possible. for the transportation industry and many international corporations. In 1981, — $25 million and higher — Blachford and Louis Stankiewicz were awarded a Technical Achievement Award Donald* and Darlene Shiley (stage operations) by the Academy of Motion Picture Arts and Sciences. Peter, now a retired businessman, is a member of the Globe’s Board of Directors, chairs — $11 million and higher — the Education Committee and also serves on the Executive, Development, and Conrad Prebys | San Diego Commission for Arts and Culture Nominating Committees. — $8 million and higher — Karen and Donald Cohn | Sheryl and Harvey White

— $7 million and higher — Kathy Hattox VALERIE AND HARRY COOPER — $3 million and higher — Valerie Cooper has served on the Globe Board of Directors for many years, Helen K. and James S. Copley Foundation | Audrey S. Geisel | County of San Diego including as Secretary, a member of the Executive Committee, and currently a member of the Nominating and Development Committees. Valerie and her — $2 million and higher — husband, Harry, have played many other important roles at the Globe, and both The James Irvine Foundation | The Shubert Foundation | Viterbi Family Foundation have co-chaired extremely successful Globe Galas (Valerie in 2004, 2006, and 2010 and Harry in 2005). The Coopers’s previous sponsorships have includedA — $1 million and higher — Gentleman’s Guide to Love and Murder, currently running on Broadway, The Women, The Lipinsky Family Estate of Dorothy S. Prough Qualcomm and the world premieres of A Catered Affair and Cornelia, as well as the 2012 West Carolyn Yorston-Wellcome National Endowment for the Arts Bank of America Coast premiere of Divine Rivalry. Valerie and Harry are active throughout the California Cultural & Historical Endowment Helen Edison* Anonymous San Diego community, supporting the San Diego Museum of Art, Museum of Stephen & Mary Birch Foundation, Inc. Estate of Beatrice Lynds Contemporary Art San Diego, Vista Hill Foundation, and Patrons of the Prado, Jeannie and Arthur RivkinWells Fargo Victor H.* and Jane Ottenstein and they are also International patrons to the American Friends of the Louvre. The Kresge Foundation J. Dallas and Mary Clark* *In Memoriam

SPOTLIGHT ON A MAJOR OLD GLOBE BENEFACTOR 2014 GLOBE GALA – A SUMMER SIZZLER

Mark your calendars for Saturday, July 26 to attend the 2014 Globe Gala! Co-Chairs Nina Doede, Deni Jacobs, and Sheryl White have planned an amazing night filled with great music, delicious A Globe supporter since 1985, The Shu- theatres. At the height of their careers, the ful theatre producers. Dedicated to sustain- food and drink, and hundreds of Old Globe supporters. bert Foundation deserves a hearty round of Shuberts owned, operated, booked, or man- ing and advancing not-for-profit, profes- applause from our audiences and artists. To aged nearly 1,000 houses throughout the sional resident theatre and dance companies Set on the Globe plaza, the cocktail reception will begin at 6:00 date, The Old Globe has received grants total- United States. To this day, The Shubert Or- throughout the United States, the Founda- p.m., followed by an exclusive, one-night-only concert by Tony and ing more than $2.4 million. ganization remains at the forefront of Ameri- tion’s Board of Directors believes that “the Drama Desk Award winner Laura Benanti. A dinner dance on the The Old Globe receives one of its most gen- can theatre under the leadership of Chair- most effective way to encourage the artistic Globe’s Copley Plaza completes this amazing evening. This annual erous annual grants—for general operating man/Co-CEO Philip J. Smith and President/ process is by providing the general operating black-tie fundraiser has consistently raised over $1 million to support—thanks to the legacy of Sam, Lee, Co-CEO Robert E. Wankel. support that nurtures its development.” The support The Old Globe’s education and artistic programs. and Jacob J. Shubert. At the end of the 19th The Shubert Foundation was established Old Globe gratefully acknowledges The Shu- century, the three brothers launched their by Lee and J.J. Shubert in 1945 to honor bert Foundation’s steadfast support, which Individual tickets are $750 and $1,000 per person; underwriting careers in professional theatre and eventually the memory of their brother Sam, who died has helped this theatre produce high quality Laura Benanti and table opportunities are also available. For additional built the nation’s largest theatre empire, in- in a tragic railroad accident in 1905, just as work year after year. information, please contact Events Manager Eileen Prisby at cluding many of Broadway’s most important they were becoming New York’s most power- (619) 231-1941 x2303 or [email protected].

2 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 3 PRESENTS THE CAST (in alphabetical order)

ASHA M ...... Candy Buckley* SONIA...... Marcia DeBonis* VANYA AND SONIA SPIKE...... Tyler Lansing Weaks* NINA...... Allison Laymanb VANYA...... Martin Moran* AND MASHA AND SPIKE SSANDRACA ...... Haneefah Wood*

STAGE MANAGEMENT STAGE MANAGER...... Annette Yé* BY ASSISTANT STAGE MANAGER...... Amanda Salmons* CHRISTOPHER DURANG

SETTING David Korins Gabriel Berry David Weiner Mark Bennett Set in the present, a lovely farm house in Bucks County. SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINAL MUSIC AND SOUND DESIGN

Caparelliotis Casting Bryan Hunt Annette Yé CASTING ASSOCIATE DIRECTOR STAGE MANAGER There will be one 15-minute intermission.

DIRECTED BY PRODUCTION STAFF JESSICA STONE ASSOCIATE SCENIC DESIGN...... Sarah Wreede ASSOCIATE COSTUME DESIGN...... Charlotte Devaux ASSOCIATE SOUND DESIGN...... Charles Coes BASED ON THE BROADWAY DIRECTION OF Nicholas Martin† ASSISTANT SCENIC DESIGN...... Sean Fanning ASSISTANT LIGHTING DESIGN...... Jason Bieber DIALECT COACH...... Jan Gist STAGE MANAGEMENT INTERN...... Savannah Abel

Original Broadway Production Produced by: Joey Parnes, Larry Hirschhorn, Joan Raffe/Jhett Tolentino, Martin Platt & David Elliot, Pat Flicker Addiss, Catherine Adler, John O’Boyle, Joshua Goodman, Jamie DeRoy/Richard Winkler, Cricket Hooper, Jiranek/Michael Palitz, Mark S. Golub & David S. Golub, Radio Mouse Entertainment, Shadowcatcher Entertainment, Mary Cossette/Barbara Mancherian, Megan Savage/Meredith Lynsey Schade, Hugh Hysell/Richard Jordan, Cheryl Wiesenfeld/Ron Simons, S.D. Wagner, John Johnson in association with McCarter Theater Center and Lincoln Center Theater Originally commissioned and produced by McCarter Theater, Princeton, N.J. Emily Mann, Artistic Director, Timothy J. Shields, Managing Director; Mara Isaacs, Producing Director. And produced by Lincoln Center Theater, New York City under the direction of Andre Bishop and Bernard Gersten in 2012 “Here Comes the Sun” Written by George Harrison Published by Harrisongs, Ltd. (ASCAP) Used by Permission. All Rights Reserved. Vanya and Sonia and Masha and Spike is presented by special arrangement with Dramatists Play Service, Inc., New York. *Member of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States.

†Associate Artist of The Old Globe. Donald and Darlene Shiley Stage b Old Globe Theatre Student in The Old Globe/University of San Diego Graduate Theatre Program. Conrad Prebys Theatre Center Si desea una sinopsis de esta obra en Español o en Inglés, favor de pedírsela al acomodador que le entregó este programa. May 17 - June 22, 2014 If you would like a synopsis of this production in English or Spanish, please request it from an usher.

4 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 5 WELCOME As Michael Murphy and I note in our wel- Tennessee Williams, Agatha Christie, Dosto- come letter at the front of this program, evsky, Dickens, and now Chekhov. the sad passing of our dear friend and Old FROM THE Globe Associate Artist Nicholas Martin has The list of classic authors who’ve inspired him is ARTISTIC cast a shadow on this wonderful production a clue to the second thing that makes Durang’s Thank you for joining us for Christopher Durang’s hilariousVanya and So- of Vanya and Sonia and Masha and Spike. The comedy so much richer than mere Vaudeville: nia and Masha and Spike, whose 2013 Broadway production was a multiple DIRECTOR play’s hilarity still shines bright, but as we his heart. Even at his most outrageous mo- award winner for Best Play, including the Tony, Drama Desk, New York Dra- laugh, those of us who knew and adored ments, Durang is never a cynic. His plays are ma Critics’ Circle, and Drama League Awards. Nicky find that now there’s an unfamiliar full of love, and his dramatis personae compose a catch in our throats. As I try to reconcile my gallery of characters who, though perhaps quite As your new Globe Board Chair and a firm believer in the restorative pow- laughter on one hand with the loss of a friend on damaged, are never defeated. There’s a basic op- ers of the arts—and laughter—I am pleased to represent and support the other, I find myself recalling the Blake poem timism in the world of Durang, a sense that life’s this amazing institution alongside our valued sponsors: Peter Cooper and woven through Time and the Conways, the most lowest moments might actually serve to bring Norman Blachford, and Valerie and Harry Cooper. recent play performed on this stage: “Joy and us that much closer to redemption. woe are woven fine,” it reminds us, “And when Show us your commitment—your philanthropy can make a difference. Your finan- this we rightly know, / Safely through the world Certainly that’s the case in Vanya and Sonia and cial support for the Globe, San Diego’s largest not-for-profit performing arts orga- we go.” The happy and the sad commingle in this Masha and Spike. Like the Chekhovian charac- nization, helps close the funding gap between the cost of presenting each show and life; Nicky Martin knew that, and he found evi- ters who are their namesakes, Durang’s people ticket sales. We are grateful for our audiences, our supporters, and everything you dence of it even in Vanya and Sonia et. al., his ca- are spectacularly self-aware, and their acutely do including purchasing tickets, attending performances, and spreading the word reer-capping triumph. It’s a play that, like Nicky, clear understandings grant them a gift of irony about our productions and education programs with your friends. has a gleam in its eye and a warmth in its heart. that keeps despair at bay. If there’s a tempest at the heart of their every joke, then there’s also a We hope you will enjoy Durang’s wickedly wonderful Chekhovian mash-up of fam- First and foremost, as you’re about to discover, ray of sun peering from behind their every black ily dynamics and sibling bickering, envy and aspirations. Again, thank you for your Christopher Durang’s play is hilarious. Durang cloud. It’s this fundamental warmth that has presence and all that you do for the Globe family. is, after all, our greatest comic playwright and gained Christopher Durang’s work its devoted his voice is distinctive and unmistakable. (Globe following on stages across America, and it’s this Please enjoy tonight’s performance. audiences heard that voice back in 2002 when we heartbreaking hilarity that makes Vanya and So- produced Beyond Therapy on the Cassius Carter nia and Masha and Spike so delightfully worthy Centre Stage.) In Durang’s hands, silliness is of its place on our stage. a high art, and human folly a finely wrought Elaine Bennett Darwin masterwork. His understanding of farce and its When the Globe learned some months ago Chair, Board of Directors mechanisms is sophisticated and deep, and, in that Nicky Martin would be unable to come to the finest farcical tradition, he writes charac- San Diego to stage the play, we turned to his ters whose needs and wants are outsized. They friend, protégé, and immensely capable under- pursue their wants with unfettered gusto, and study Jessica Stone. She is an actress and direc- BOARD OF DIRECTORS when they collide with each other, the energies tor whose work I’ve long admired. Ironically they unleash build to crescendos of raucousness enough, she and I had already been discussing Elaine Bennett Darwin* Harold W. Fuson, Jr.* Peter J. Cooper* and glee. various projects that would bring her here, and CHAIR IMMEDIATE PAST CHAIR VICE CHAIR, EDUCATION so, despite my woe over the circumstances, I But two things make a Durang play more than find some joy in Jess making her Globe debut Anthony S. Thornley* Vicki L. Zeiger* Harvey P. White* TREASURER VICE CHAIR, NOMINATING SECRETARY just a crackling comic engine. First, his subject by contributing her own abundant talent, rich matter. Like a latter-day incarnation of Brit- humanity, and genuine daffiness to Nicky’s ish bad-boy farceur Joe Orton, Durang has original direction. I know she’ll grace us with DIRECTORS Victor P. Gálvez Ann Steck* HONORARY DIRECTORS EMERITUS DIRECTORS made comic mayhem from the unlikeliest, her spectacular good humor many times in the Mary Beth Adderley* Kathryn Hattox* Steven J. Stuckey Mrs. Richard C. Adams Garet B. Clark even most taboo, material: Roman Catholic years ahead, and I know that Nicky’s spirit will Elizabeth Altman Patricia A. Hodgkin Daniel L. Sullivan, Ph.D. (1912–2005) J. Dallas Clark (1913–2005) dogma, homophobia, terrorism, and psychi- rejoice at the peaks of hearty laughter that this Pamela Cesak Daphne H. Jameson Karen Tanz Clair Burgener (1921-2006) Bea Epsten atric disorders. In his early work, Durang is a wonderful, silly, sweet, and funny funny funny Mrs. John H. Fox Nicole A. Clay Jo Ann Kilty Rhona Thompson Sally Furay, R.S.C.J. comic subversive, using satire as a bludgeon play evoke nightly. Joseph J. Cohen Sheila Lipinsky Evelyn Mack Truitt (1908–2003) Bernard Lipinsky against ossified social structures and hypoc- Donald L. Cohn* Mitzi Lizárraga Debra Turner Audrey S. Geisel (1914-2001) risy. Alongside his cross-examinations of social Thanks for coming. Enjoy the show! Valerie S. Cooper* Ramin Pourteymour Linda Van Vark Paul Harter Delza Martin (1915–2005) Ann Davies Paula Powers* Stacey LeVasseur Vasquez Gordon Luce (1925-2006) Darlene Marcos Shiley mores, Durang has explored another rich comic Silvija Devine Conrad Prebys* Jordine Von Wantoch Dolly Poet (1921-2007) Patsy Shumway vein, mining the canon of modern drama to Stephen P. Embry Tim Rafalovich Pamela J. Wagner Deborah Szekely Carolyn Yorston-Wellcome find fuel for uproarious fun. He has upended Pamela A. Farr David L. Reagan Lynne Wheeler Hon. Pete Wilson Karen Fox Sandra Redman Debbie Wilson Robert Foxworth Crystal Sargent Karin Winner* *Executive Committee Member Jack Galloway Jean Shekhter June Yoder

6 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 7 THE PLAY ley and Blanche from A Streetcar Named Desire. In that one, Stella has gone out to get a Lemon Coke and she hasn’t been back for eight years. I did a parody of A Lie of the Mind by Sam Shepard, and a Playwright very little-known parody of Aunt Dan and Lemon, but the longest of my parodies is maybe 30 minutes. I don’t know that I’ve ever seen a parody that sustains for a full- length play. With Vanya and Sonia and Christopher Durang on Masha and Spike, I was afraid that, because of the title, people might assume it’s a parody. But the parodies I’ve written are cor- rectly called parodies. This is inspired by Vanya and Sonia and Chekhov, but it’s its own thing. Are you a person who sees the work you’ve done over the course of your Paul Michael Valley and Anna Cody in the Globe’s production of Beyond Therapy, 2002. Photo by Sandy Huffaker. career as one long trajectory, or do you Masha and Spike see it in phases? How does Vanya and When I got to Betty’s Summer Vacation, hellish, and that might be good, too— Sonia and Masha and Spike relate to your which was 1999, some kind of shift hap- it would be intense, more like Edward Interview by Danielle Mages Amato other plays? pened for me as a writer, and I think of Albee or Eugene O’Neill. But I think we Betty’s Summer Vacation, Miss Witherspoon, need both. For two years in college, I was I see it in phases, but that’s hindsight, Why Torture Is Wrong, and the People Who in a deep, deep depression—I couldn’t because I can look back on it. In high Love Them, and Vanya and Sonia and Masha function well as a student or as a person. school I wrote conventional musical com- and Spike as connected. I think most writ- During that time, I hardly ever watched Where did the idea behind this play come Even though I was now the age of edies, and our school performed them, and ers don’t ever get away from writing about comedies. I found that I had a hard time from? Why Chekhov? Chekhov’s older characters, and I it was a fun learning experience. Shortly families, but none of those plays were real- responding to things if they weren’t tragic, lived in a place in the country, I real- before I applied to college, I got more seri- ly triggered by specifics of my family—at and I liked seeing very depressing movies I lived in New York for 22 years, and in ized that I didn’t feel bitter in the way ous about reading plays and seeing for- that point I’d gotten old enough that I’d because they made me feel less alone. But 1996, with my partner John Augustine, that the Chekhov characters did—I’d eign movies, and I was very inspired by the had my own experiences—and instead, that was a short period in my life. I moved to Bucks County, Pennsylvania. been in the city, and I actually wanted phrase: “Theatre of the Absurd.” So until they all seemed to focus around a central DURANG We live on a little hill, overlooking a pond, to get out of the city. But I thought to maybe the middle of my years at Yale Dra- theme. In Betty’s Summer Vacation, the What are the things that make you and a blue heron does come there. My myself: what if I had only gone away ma School, I wrote absurdist plays, very theme became this weird American inter- laugh? house, it’s a farmhouse, pretty and a little from home briefly, and I hadn’t pur- non-realistic comedies. est in watching distressing things on tele- quaint, and it made me think of the Chek- sued the things that interested me? vision: Anita Hill and Clarence Thomas, Oh, Monty Python. Old screwball come- hov plays, like The Seagull and Uncle Vanya, What if my fictional sister and I had I think Sister Mary Ignatius Explains It All the Menendez Brothers’s trial—anything dies. I like that show “Little Britain” with

where the people who live in the country ended up taking care of our parents CHRISTOPHER for You was my first play that included any- on Court TV. Why Torture Is Wrong was a David Walliams and Matt Lucas. are rather unhappy. They feel that their through a very prolonged illness, and thing unabashedly serious. There’s a sec- reaction to the Bush years and the redef- lives are boring; there’s no stimulation for so on. I realized it was a “what if” play. a theme that isn’t unique to Chekhov. And tion where Diane (the one who tries to kill inition of torture that happened during Do you have advice for the young writ- them. Then there are characters like the it doesn’t sound like a comedy at all. But it Sister) talks about the death of her moth- that time. That might sound pretty seri- ers you mentor at Juilliard about how to glamorous actress Madame Arkadina in What if you, yourself, had been a charac- is a comedy! er. It was actually based on the death of ous, but to the audience, the plays come off make a life in the theatre today? The Seagull, who are wandering about liv- ter in a Chekhov play? my mother, which had happened maybe a as funny. ing in cities and being in plays and having Could you tell us a bit about the parodies year before. And I remember when I was Don’t try to write a great play, just try affairs. I suddenly realized that I was now Yes—what if my real life had been like you’ve written? writing it, thinking, “Oh dear, will the From your perspective, as someone who to write a good one. If someone else decides the age of the older characters in Chek- one of those Chekhov characters. Chek- audience want to hear this?” When I was writes almost exclusively comedies, do it’s great later, that’s fine, but don’t try hov. I’d mostly seen and read the plays in hov was a definite jumping-off point for Well, I wrote For Whom the Southern Belle writing all those absurdist things, I didn’t you think that comedy is something that to write a great one. Write about some- my 20s and 30s, and I certainly had empa- the play, but it’s very much not a parody Tolls, which is a parody of The Glass Menag- realize I was writing about my family. But we need? As human beings, as a society? thing you feel really strongly about, even thy for the older characters, but they felt of Chekhov. I’ve done parodies in the past, erie. It follows the original play very close- when I looked back, I saw the connections. if it’s a comedy. Don’t write from a mild very distant from my experience. And now and this is much more its own thing. And ly, except that Laura has become Laurence, The Marriage of Bette and Boo (1985) was Oh yes, absolutely. Comedies give you plea- impulse. And tenacity: just keep going, I thought, “Oh my gosh, I’m the same age I did my very best to write it so that you who is a hypochondriac, which drives based on my parents’s marriage, and the sure. And over the course of my life, when keep writing. as Uncle Vanya.” (Actually, I went back and don’t have to know Chekhov to respond to his mother crazy, and instead of having character of Matt is pretty much me. I fic- I’ve gotten down, I’ve often put on a com- looked up how old Vanya is in the play, and it. I thought I was going to have much more a glass menagerie, he has a collection of tionalized some of the relatives, but some edy to help me get through. There’s also he’s 47! I’m a lot older than that. But aging about unrequited love, which is a theme glass cocktail stirrers, and he gives them of them are not entirely fictionalized! Hav- something about laughter that comes from was different back then, and most of the that comes up in Chekhov so much. But all different names. There’s another one, ing written that play, I felt like I’d finished things that you recognize. For instance, great actors who’ve played that role are it became much more about disappoint- less well known, called Desire, Desire, with that. It wasn’t a conscious thought— the bickering of the siblings in my play is older.) ment with how your life has gone. That’s Desire, which was mostly about Stan- but I was able to move on. funny. You could write it so it would be

8 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 9 THE PLAY Let the things that happen onstage be just as com- plex and yet just as simple as they are in life. For instance, people are having a meal at a table, just having a meal, but at the same time their happiness is being cre- BRUSH UP YOUR ated, or their lives are being smashed up.” —Anton Chekhov CHEKHOV By Danielle Mages Amato

Christopher Durang’s Vanya and Sonia and Masha and Spike is riddled with Chekhovian jokes and references. “It takes Chekhov’s themes and characters and mixes them all up,” Durang says, “as if I’ve put them into a comic blender.” You don’t need to know Chekhov to understand the play, but if you’re looking for a refresher, look no further.

VANYA Seagull who is obsessed with the local lake and The central character of the play Uncle Van- the birds that flock to it—although Nina sees 2 ya, Chekhov’s Vanya runs his brother-in-law herself as a seagull, while Sonia is more of a Serebryakov’s country estate, keeping the wild turkey. home fires burning after the death of his sister. Thanks to Vanya’s labor, Serebryakov lives MASHA a glamorous city life with his gorgeous new Chekhov actually wrote two Mashas: one in wife, Yelena. When Serebryakov and Yelena The Seagull and another in Three Sisters. But visit the country, they throw Vanya’s entire while Masha of The Seagull famously wears life into chaos. Not only does Vanya fall in love black because she is “in mourning for [her] with Yelena, but Serebryakov threatens to sell life” and Masha of Three Sisters famously longs the estate, leaving Vanya with nowhere to go. to go to Moscow, Durang’s Masha owes more 1 to the grande dame of The Seagull, Arkadina. Durang’s Vanya also contains elements of A successful actress accustomed to attention VANYA: I hope you’re not going to make Chekhov’s character Konstantin from The and flattery, Arkadina’s visit to her brother’s Seagull. Like Konstantin, Durang’s Vanya is country estate—with her lover in tow—sets Chekhov references all day. related to a famous actress whose achieve- off the action of The Seagull. ments overshadow his own. Like Konstantin, SONIA: If they come up, I may. Vanya writes a dense, experimental play and — BONUS BRUSH-UP! GREEK TRAGEDY — arranges for it to be performed for his fami- —Vanya and Sonia and Masha and Spike ly—with similar results. CASSANDRA In Aeschylus’s great tragedy Agamemnon, the SONIA seer Cassandra, cursed to see the future but Chekhov’s Sonya is niece to Uncle Vanya, his never to be believed, frequently takes the dutiful, hard-working helpmate on the estate stage to spout page after page of bloody, poet- who has long been unlucky in love. She is ic prophecy. She invokes the furies; she sees hyper-conscious of being “plain” and unat- visions of lions and eagles and hellhounds; tractive, and her gentle, quiet spirit is both a her entire body is possessed and shaken by the strength and a failing. visions that Apollo sends her. Durang’s Cas- CHEKHOV AT THE OLD GLOBE: 1. Megan Follows and John Getz in The Seagull, 2000. Photo by Craig Schwartz. sandra also makes a mean tuna sandwich. 2. Richard Easton and Carolyn McCormick in Uncle Van- Durang’s Sonia also combines elements of ya, 1990. 3. John Getz and Erika Rolfsrud in The Seagull, 3 Chekhov’s Nina, the doomed actress from The 2000. Photo by Craig Schwartz.

10 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 11 THE PLAY EDUCATION FUNNY Mixed with PAIN A Learning Space Upstairs Director Jessica Stone on Vanya and Sonia and Masha and Spike The Old Globe Education Department is active year-round, providing programming for Interview by Danielle Mages Amato students, audience members, and community partners. We welcome fifth-, sixth- and What’s your history with Vanya and Sonia material that demands we look at ourselves seventh-grade students to our campus for 16 and Masha and Spike? squarely and laugh as a result. weeks throughout the course of the school year for an introduction to the works of My history with the play was from the side- The old adage goes that comedy is harder Shakespeare (School in the Park). We train lines; Nicholas Martin was like a second fa- to do than tragedy—as both an actor and middle school students in acting, movement, ther to me. I spent many evenings listening to director, do you find that to be true? What stage combat, and audition skills every sum- Nicky over dinner in his living room as he de- about a play that mixes together a bit of mer (Middle School Conservatory). We audi- scribed with excitement the reading of Chris both, as this one does? tion nervous high school students and then Durang’s new (and maybe best) play for the welcome them to four weeks of intense train- first time. Nicky had a long fruitful, collab- I don’t think comedy is harder than tragedy ing and rehearsal of two of Shakespeare’s orative relationship with Chris over the years but that’s only because I happen to use it as a plays (Summer Shakespeare Intensive). We so I really took note of his delight. Over the tool, weapon, or coping mechanism frequent- invite community organizations to present next year I watched and listened as he went ly throughout a day. It does require specific and participate in forums and lectures about through the classic trials and tribula- skills in terms of execution but the rest is the our plays and the issues and ideas those plays tions of scheduling, casting, rehearsing, same. Tell the truth. The truth is almost al- explore (Community Matters). We invite di- opening, closing, re-opening in New ways funny mixed with pain. rectors, playwrights, cast members, and de- York etc. I witnessed the excitement signers to talk about their work (Audience teachers and Balboa Park organizations, with dedicated space for our education pro- around wonderful reviews and the What skills do you think this play requires? Matters). We conduct professional develop- training sessions and seminars of all kinds. grams and have allowed us to develop new award season zaniness. It was a thrill to ment workshops with elementary school programming and welcome an even greater watch so many talented friends—direc- An understanding of what makes us tick and teachers before they bring their students All of those events have something in com- number of people than we ever could before. tor, playwright, actors, designers—get the lengths we go to get what we want. And to see a show (Seussabration). We conduct mon. They all take place in the wonderful accolades for their work. Most memo- the ability to land a joke so cleanly it stops pre-show workshops with students right be- Karen and Donald Cohn Education Center Thousands of children and adults have taken rable, however, was experiencing the traffic. fore they go into the theatre to watch a per- located directly above the Sheryl and Harvey advantage of the programs that take place play for myself, amidst the boisterous formance (Production Guides). We present White Theatre, which make up part of the in our Education Center. The rooms are flex- crowd on Broadway. It’s a sweet, pain- Durang is using Chekhov’s work here as readings of short plays written by individuals Conrad Prebys Theatre Center here at The ible and accommodate our many needs with ful, funny yarn about hope and regret a jumping-off point for a very modern from all over San Diego County (Community Old Globe. There’s a lot going on upstairs! The ease, making it simple to say yes to another and family and a life lived. I’m very hon- story—what’s your own background with Voices). We host meetings and events with Seuss classroom and Hattox Hall provide us great idea for an audience engagement activ- ored to bring Nicky’s spirit to San Diego with Chekhov’s plays? Do you see similarities be- ity such as our recent art exhibit featuring this wonderful play. tween this piece and Chekhov’s own work? works created by veterans in the Combat Arts project. The exhibit supported a deeper Your background is in both acting and di- My own history with Chekhov is fairly lim- exploration of issues raised in our produc- recting. Have you worked on any of Du- ited. I was Dunyasha in Michael Greif’s beau- tion of Water by the Spoonful. Hattox Hall was rang’s other plays in the past? How would tiful production of A Cherry Orchard. Frankly, the perfect venue for respectfully displaying you describe his work? I didn’t think I was any good. If I weren’t so these important works of art in a beautiful long in the tooth I might want another crack and welcoming environment. I have worked on Durang’s plays as an actor. at it...I might... I’ve certainly read almost all of I played Betty in Betty’s Summer Vacation, di- Chekhov’s plays and adore them, but I made The doors to our education facility are open rected by Nicky. It’s like playing on a jungle the mistake of many and assumed they were to you to explore and learn with us about gym! tragic tales about unhappy people. It wasn’t our plays and our world. Join us for a future until fairly recently that I realized they are in event and see what’s going on upstairs. What do you think has made this play so fact poking fun at humanity, which is much hugely successful? What about it resonates more interesting to me. There are of course (above) Students taking part in the 2013 Middle School most for you? some similarities between Durang’s play and Conservatory. (left) 2012 Summer Shakespeare Intensive Chekhov’s—on purpose. Chris really plays participants. I think Chris has managed to make middle- with absurdity and pain all in one moment or aged despair hilarious. I’m typically drawn to exchange which is such a delight.

12 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 13 ARTISTS CANDY BUCKLEY ing member. Her regional credits include Ms. Layman was a two-year company HANEEFAH WOOD film, for the last 20 years. Her Broadway Masha and Spike, Present Laughter, But- (Masha) finished a run in Long Wharf Theatre, Berkshire Theatre member of The Shakespeare Theatre of (Cassandra) is thrilled to credits include Anything Goes with Sut- ley, Match, Hedda Gabler, The Rehearsal, the fall of The Patron Saint Festival, and Chautauqua Theater Com- New Jersey, where her credits include be a part of this amaz- ton Foster, Butley with Nathan Lane, The and You Never Can Tell. His Off Broadway of Sea Monsters at Play- pany, among others. Her films include The Comedy of Errors, Timon of Athens, A ingly smart and funny Odd Couple with Nathan Lane and Mat- credits include Saturn Returns, The New wrights Horizons. Her the Sundance Film Festival entry That’s Midsummer Night’s Dream, Julius Caesar, play and to be making her thew Broderick, The Smell of the Kill with Century, Observe the Sons of Ulster March- Broadway credits include What She Said co-starring Anne Heche and Macbeth. Her other regional work Globe debut. Her Broad- Claudia Shear, Design for Living with ing Towards the Somme (Drama Desk Cabaret, Scandalous, Thor- and Alia Shawkat, Woody Allen’s What- includes Petra in An Enemy of the People way credits include Rent, Alan Cumming and Dominic West, How Award nomination), and The Time of the oughly Modern Millie, After the Fall, and ever Works, Bride Wars, 12 and Hold- at Playhouse on Park in Hartford, Con- Avenue Q, and Brooklyn. Her television to Succeed in Business Without Really Try- Cuckoo (Lincoln Center Theater), Chau- Ring Round the Moon. Her select Off Broad- ing, 13 Going on 30, The Devil’s Advocate, necticut, and a wide range of roles in and film credits include “White Collar,” ing with John Stamos, and Grease with cer in Rome and Why Torture Is Wrong, way credits include Shockheaded Peter, The Truman Show, and many more. She productions at the Monomoy Theatre in “Nurse Jackie,” “NYC 22,” “Law & Order: Rosie O’Donnell. Her Off Broadway cred- and the People Who Love Them (The Pub- Defying Gravity, The Petrified Prince (Dra- has appeared on television in “Babylon Chatham, Massachusetts. Ms. Layman Criminal Intent,” “Days of Our Lives,” its include Crimes of the Heart directed by lic Theater), Fully Committed (Vineyard ma Desk Award nomination), Bernarda Fields” (NBC pilot, 2014), “Homeland,” studied with Bill Esper at his studio in “Strong Medicine,” and Freedomland. A Kathleen Turner, Krisit, The Country Club, Theatre, Cherry Lane Theatre), Full Gal- Alba, Valhalla, Communicating Doors, Wise “The Big C,” “Curb Your Enthusiasm,” New York and received her B.A. in French recent Los Angeles transplant, Ms. Wood June Moon, Tenderloin, and Babes in Arms. lop (Manhattan Theatre Club, Westside Guys, View of the Dome, The Two Noble “Lipstick Jungle” (recurring), “Law & Language and Literature from Wesleyan was a standout in the 2014 CBS Diversity She has performed in regional theatres Theatre), Betty’s Summer Vacation (Obie Kinsmen, and Make Me. As a company Order,” and “Spin City.” She received her University in Connecticut. Ms. Layman Showcase. across the country including Huntington Award, Drama Desk nomination), Soph- member for four years at American Rep- B.A. in Theater Arts from UCLA. is in her final year of training in the Old Theatre Company, Mark Taper Forum, istry (Playwrights Horizons), and Bosoms ertory Theater, she has appeared in Hed- Globe/USD M.F.A Program. CHRISTOPHER DURANG Geva Theatre, McCarter Theatre Center, and Neglect (Signature Theatre Company). da Gabler, Macbeth, The Caucasian Chalk TYLER LANSING WEAKS (Playwright) Mr. Durang’s plays include and six seasons at Williamstown The- Mr. Martin’s regional credits include She Circle, King Lear, and Misalliance, among (Spike) most recently MARTIN MORAN Vanya and Sonia and Masha and Spike atre Festival. Her favorite productions Stoops to Conquer (McCarter Theatre Cen- others. As a company member of 11 made his Broadway debut (Vanya) Mr. Moran’s most (currently running on Broadway), The include She Stoops to Conquer, She Loves ter), The House of Blue Leaves (Mark Taper years at Dallas Theater Center, her cred- in Jack O’Brien’s Mac- recent New York work Idiots Karamazov, co-authored with Me, Springtime for Henry, Betty’s Summer Forum), Dead End (Ahmanson Theatre), its include Next Fall, The Cherry Orchard, beth. Some of his other includes the Off Broadway Albert Innaurato, A History of the Ameri- Vacation, A Midsummer Night’s Dream, and The Verizon Play (Humana Festival of New All the King’s Men, Lady Audley’s Secret, New York performances run of his one-man play, can Film (Tony Award nomination), Sis- The Cherry Orchard. Concurrently, she was American Plays), The Circle and A Cheever and Masha in The Three Sisters, among include Take Ten (Theatre All the Rage (Lucille Lor- ter Mary Ignatius Explains It All for You an assistant/associate director on and Evening (Westport Country Playhouse), others. Regionally she has appeared in Row), Over the Horizon (MCC Theater), tel Award, Outer Critics (Obie Award), Beyond Therapy (on and Off Broadway to Nicholas Martin, Joe and My Wonderful Day (Two River Theater The Little Dog Laughed (Hartford Theater- and Nature’s Trace (Planet Connections Circle Award nomination), The Cradle Will Off Broadway), Baby with the Bathwa- Mantello, David Warren, and Christo- Company). He was the former Artistic Works), Autumn Sonata (Yale Repertory Theatre Festivity). Regionally he has Rock (City Center Encores!), and Brecht’s ter, The Marriage of Bette and Boo (Obies pher Ashley. Ms. Stone’s directing career Director of Williamstown Theatre Fes- Theatre), A Delicate Balance (Guthrie The- starred in shows including the world pre- A Man’s a Man (Classic Stage Company). for Playwriting, Direction for Jerry Zaks began in earnest with her 2010 produc- tival and Huntington Theatre Company. ater), Cat on a Hot Tin Roof (Chautauqua miere of Sparrowgrass (Trinity Reperto- His Broadway performances include Spa- and Ensemble Performance, Dramatists tion of A Funny Thing Happened on the Way Nicholas Martin died on April 30, 2014 at Theater Company), Barefoot in the Park ry Company) and as Ken Talley in Fifth malot, Cabaret, Titanic, Bells Are Ringing, Guild of America’s Hull-Warriner Award), to the Forum for the Williamstown The- the age of 75. (Bucks County Playhouse), Doctor Cer- of July and Peter Patrone in The Heidi How to Succeed in Business Without Real- Laughing Wild, For Whom the Southern ater Festival’s Main Stage, which was met berus (South Coast Repertory), Traves- Chronicles (Princeton Summer Theater). ly Trying, and Big River. He has appeared Belle Tolls, Betty’s Summer Vacation (Obies with critical acclaim. Her directing cred- DAVID KORINS ties (Williamstown Theatre Festival),All Some of his other favorite past roles are Off Broadway in Fun Home (The Pub- for Playwriting, Direction for Nicholas its now include Neil Simon’s Last of the (Scenic Design) has designed the Broad- the King’s Men (Arena Stage, Helen Hayes Horatio in Hamlet, Slim in Cowboy Mouth, lic Theater), Floyd Collins (Playwrights Martin and Performance for Kristine Red Hot Lovers (Williamstown) and Char- way productions of Vanya and Sonia and Award nomination), Charles Busch’s The Demetrius in A Midsummer Night’s Dream, Horizons), A Man of No Importance (Lin- Nielsen), Miss Witherspoon (2006 Pulitzer lotte’s Web (TheatreworksUSA). Her work- Masha and Spike, Motown The Musical, Lady in Question (Bay Street Theatre), Christy Mahon in The Playboy of the West- coln Center Theater), and The Cider House Prize finalist) and Why Torture Is Wrong, shops and readings include Huntington Annie, Bring It On The Musical, Chinglish, Sweeney Todd (Casa Mañana), and Whis- ern World, and Frankie Epps in Parade. He Rules and 3 Kinds of Exile (Atlantic The- and the People Who Love Them. His caba- Theatre Company’s Breaking Ground An Evening with Patti LuPone and Man- tle Down the Wind (National Theatre). She has also appeared on television in “The ater Company). He received an Obie ret credits include Das Lusitania Songspiel, Festival, Hourglass Group Ltd.’s Hot But- dy Patinkin, Magic/Bird, Godspell, The is a recipient of the Princess Grace Stat- Good Wife” (CBS) and as Scott in the pilot Award and two Drama Desk Award nomi- co-authored and performed by Sigourney tons: A Political Vaudeville, and collabora- Pee-wee Herman Show, Lombardi, Passing ue Award for outstanding achievement “Scott Free” (Paramount). He is a gradu- nations for his 2004 solo play The Tricky Weaver and Mr. Durang (Drama Desk tions with artists such as Joy Behar and Strange, and Bridge & Tunnel. Mr. Korins in theatre. Her television credits include ate of Brown University/Trinity Reperto- Part, based upon his memoir of the same Award nominations for both performers) Claudia Shear. Ms. Stone’s upcoming pro- has worked extensively both Off Broad- “Gossip Girl,” “Law & Order: Criminal ry Company’s M.F.A. Program. title. His regional work includes La Jolla and Chris Durang & Dawne (Bistro Award ductions include Kaufman and Lardner’s way and regionally. His opera credits Intent,” and a recurring role on HBO’s Playhouse, Long Wharf Theatre, William- for Mr. Durang and cohorts John Augus- June Moon for Williamstown (2014) and include the world premieres of The Gospel “Treme.” Her recent film credits include ALLISON LAYMAN stown Theatre Festival, Trinity Reperto- tine and Sherry Anderson). He has won Molière’s Abusrd Person Singular for Two of Mary Magdalene at San Francisco Opera Bachelorette. (Nina) made her Globe ry Company, and Intiman Theatre. He has the Harvard Arts Medal and the PEN/ River Theater Company. She currently and Oscar at Santa Fe Opera. He served as debut in Pygmalion direct- appeared on film and television in “The Laura Pels Award for a Master American lives in Brooklyn with her husband and Kanye West’s creative director, designing MARCIA DEBONIS ed by Nicholas Martin, Newsroom,” “The Big C,” Possible Side Dramatist, and he was recently induct- two sons. This one is for Nicky. several concerts in the U.S. and abroad. (Sonia) has appeared in and she appeared in the Effects, Private Parts, “Law & Order,” “Law ed into the Theater Hall of Fame. For 18 He has received a Drama Desk Award, New York at Ars Nova, 2013 Shakespeare Festi- & Order: Criminal Intent,” “Dellaventu- years he and Marsha Norman have been NICHOLAS MARTIN Lucille Lortel Award, three Henry Hew- Playwrights Horizons, val productions of A Mid- ra,” and Mary and Rhoda. He wrote the co-chairs of The Juilliard School’s Play- (Original Direction) was an Associate es Design Awards, and an Obie Award for New York Shakespeare summer Night’s Dream, The Merchant of book and lyrics for the 2012 Inner Voic- writing Program. He is a member of the Artist of The Old Globe and previously Sustained Excellence of Design. davidko- Festival, Lincoln Center Venice, and Rosencrantz and Guildenstern es musical Borrowed Dust with compos- Dramatists Guild Council. directed the Globe productions of Pyg- rinsdesign.com. Theater Lab, and numer- Are Dead. Her Old Globe/USD M.F.A. er Joseph Thalken. His new memoir, All malion, Later Life, Full Gallop, Overtime, ous productions with the Drama Desk Program credits include the title role in the Rage, will be released by Beacon Press JESSICA STONE Macbeth, and The Mask of Moriarty. His GABRIEL BERRY Award-winning theatre company The Antigone, Hero in Much Ado About Noth- next year. alltherageplay.com. (Director) has worked as an actress on Broadway credits include Christopher (Costume Design) designs costumes for Barrow Group, of which she is a founding, and Francisca in Measure for Measure. and Off Broadway, and in television and Durang’s smash hit Vanya and Sonia and theatre, dance, and opera. Specializ-

14 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 15 ARTISTS ing in the creation of new work, she has Theatre Festival, and Berkeley Reper- CAPARELLIOTIS CASTING ANNETTE YÉ Ron Leibman’s Obie Award-winning por- atre for a New Audience and the Joyce designed premieres of the works of art- tory Theatre. Mr. Weiner has received (Casting) recently cast the Globe produc- (Stage Manager) served as stage man- trayal of Shylock. He was also Associate Theater Foundation’s American Theater ists including John Adams, David Adjmi, Lucille Lortel Awards for Through a Glass tions of Water by the Spoonful, Time and ager for The Old Globe’s The Few, Pyg- Producer of The Public’s Broadway pro- Exchange. He also served as negotiating Samuel Beckett, Charles Ludlam, Caryl Darkly and Rodney’s Wife; a Drama Desk the Conways, Bethany, The Winter’s Tale, malion, God of Carnage, Anna Christie, duction of The Merchant of Venice star- assistant for the League of Resident The- Churchill, Christopher Durang, Ethyl Award nomination for Small Fire; and The Few, Double Indemnity, The Rainmaker, Groundswell and the 2010 production of ring Al Pacino. From 1998-2003 he was atres and sales representative for Colum- Eichelberger, Richard Foreman, The Five American Theatre Wing Henry Hewes Other Desert Cities, Be a Good Little Wid- Dr. Seuss’ How The Grinch Stole Christmas! Artistic Director of Classic Stage Compa- bia Artists Theatricals Corporation. Lesbian Brothers, Maria Irene Fornes, Design Award nominations for Reasons ow, A Doll’s House, The Brothers Size, Pyg- Her other Globe credits include A Gentle- ny, where he produced and directed some Mr. Murphy has served on the Board of John Guare, Lameece Issaq, Nick Jones, to Be Pretty, This Beautiful City, Pump- malion, and Good People. Their Broadway man’s Guide to Love and Murder, Dr. Seuss’ of New York’s most memorable classical Directors of the San Diego Performing Craig Lucas, Naomi Wallace, Kia Cor- girl, The Overwhelming, and The Seven. casting credits include Casa Valentina, How the Grinch Stole Christmas! (2011- productions. Mr. Edelstein’s Shakespear- Arts League and serves as a Manage- thron, Will Power, Marcus Gardley, Scott DavidWeinerDesign.com. The Snow Geese, Lyle Kessler’s Orphans, 2013), Boeing-Boeing, The First Wives Club, ean directorial credits include The Win- ment Trustee for San Diego County The- Z. Burns, Meredith Monk, Charles Mee, The Trip to Bountiful, Grace, Dead Accounts, Opus, Dancing in the Dark, Hay Fever and ter’s Tale with David Strathairn, As You atrical Trusts, the pension and welfare Tony Kushner, Peter Sellars, Philip Glass, MARK BENNETT The Other Place, Seminar, The Columnist, the Summer Shakespeare Festivals 2008 Like It with Gwyneth Paltrow, and Rich- trust for IATSE stagehands in the San Reinaldo Povod, Mabou Mines, Tennes- (Original Music and Sound Design) pre- Stick Fly, Good People, Bengal Tiger at the and 2010-2013. ard III with John Turturro. His additional Diego region. He was also an adjunct fac- see Williams, and Branden Jacob Jen- viously composed and/or sound designed Baghdad Zoo, The House of Blue Leaves, credits include the Lucille Lortel Award- ulty member of the Music Department at kins. Her notable honors include Obie, the Globe productions of Twelfth Night Fences, Lend Me a Tenor, and The Royal AMANDA SALMONS winning revival of Arthur Miller’s All My the University of San Diego. Mr. Murphy Bessie, and Lucille Lortel Awards and a directed by Jack O’Brien, Golda’s Balco- Family. They also cast for Manhattan The- (Assistant Stage Manager) has worked Sons; the world premiere of Steve Martin’s earned his B.F.A. degree in Stage Man- silver medal from the Prague Quadren- ny directed by Scott Schwartz, and Pyg- atre Club, Second Stage Theatre, Atlan- previously at The Old Globe on The Last The Underpants, which he commissioned; agement from Webster University in St. nial for her contribution to experimental malion directed by Nicholas Martin. His tic Theater Company, LCT3, Ars Nova, Goodbye, the Shakespeare Festival (2011- Molière’s The Misanthrope starring Rog- Louis, Missouri, and his M.F.A. in Per- theatre. Her upcoming projects include A recent Broadway scores include Macbeth Goodman Theatre, Arena Stage, Ford’s 2013), Anna Christie, Dr. Seuss’ How er Rees and Uma Thurman in her stage forming Arts Management from Brook- Midsummer Night’s Dream for the Strat- directed by O’Brien, Vanya and Sonia and Theatre, and three seasons with William- the Grinch Stole Christmas!, Somewhere, debut; and the world premiere of novelist lyn College of the City University of New ford Festival, John Adam and Peter Sel- Masha and Spike, Dead Accounts, Driv- stown Theatre Festival. Their recent film Groundswell, Welcome to Arroyo’s, Lost in Nathan Englander’s play The Twenty-Sev- York. lars’s The Gospel According to the Other ing Miss Daisy, A Steady Rain, The Coast and television credits include HairBrained Yonkers, I Do! I Do!, The Savannah Disputa- enth Man. He has also directed new and Mary for the English National Opera, and of Utopia (2007 Drama Desk Award for with Brendan Fraser, “Odyssey” (NBC tion, and The Price. In addition, she stage classical work extensively at regional the- JACK O’BRIEN Stew and Heidi Rodewald’s The Total Bent Outstanding Music in a Play), Henry IV, pilot), “How to Get Away with Murder” managed for the Summer Shakespeare atres around the USA. Mr. Edelstein has (Artistic Director Emeritus) served as the for The Public Theater. Golda’s Balcony, and The Goat, or Who Is (ABC pilot), “Ironside” (NBC), and Steel Intensive through the Globe’s education taught Shakespearean acting at The Juil- Artistic Director of The Old Globe from Sylvia?, among others. Mr. Bennett’s Off Magnolias (Sony for Lifetime). department, working with high school liard School, New York University’s Grad- 1982 through 2007. Mr. O’Brien most DAVID WEINER Broadway credits include The City of Con- students on Love’s Labour’s Lost, As You uate Acting Program and the University recently directed Ethan Hawke in Mac- (Lighting Design) makes his Old Globe versation, The New Century, Chaucer in BRYAN HUNT Like It, and Pericles. Her other San Diego of Southern California. He has lectured beth on Broadway this season. His Broad- debut with Vanya and Sonia and Masha and Rome, and The Time of the Cuckoo (Lincoln (Associate Director) was the assistant credits include The Foreigner, miXtape, See on theatre around the USA and the world way credits also include: The Nance, Dead Spike. His other recent work on the West Center Theater), An Iliad (Obie Award), director for the world premiere of Vanya How They Run, The Music Man, and The and has written on the subject for The Accounts, Catch Me If You Can, Impression- Coast includes Vanya and Sonia and Masha Valhalla, Mad Forest, and My Children! My and Sonia and Masha and Spike at McCart- Rivalry (Lamb’s Players Theatre), The Gon- New York Times, The Washington Post, The ism, The Coast of Utopia (Tony Award), Dr. and Spike, American Night: The Ballad of Africa! (New York Theatre Workshop), er Theatre Center, Lincoln Center Theater, doliers, The Pirates of Penzance, Candide, New Republic, and American Theatre. His Seuss’ How the Grinch Stole Christmas!, Juan Jose, Venice (2011 Ovation Award), and original scores for eight Shakespeare and on Broadway, as well as the associ- Trial by Jury, and Rumpelstiltskin (Lyric book Thinking Shakespeare was published Dirty Rotten Scoundrels (Tony nomina- and This Beautiful City (Center Theatre in the Park productions as well as The ate director at the Mark Taper Forum in Opera San Diego), and SummerFest (La in 2007 and is now the standard text on tion), Henry IV (Tony Award), Hairspray Group). His Broadway credits include Seagull and Dogeaters (The Public Theater). Los Angeles. His directing credits include Jolla Music Society). Ms. Salmons holds a American Shakespearean acting. He is (Tony Award), Imaginary Friends, The Romeo and Juliet, Dead Accounts, Grace, His scores for La Jolla Playhouse include Watson: The Musical (The King’s College), B.A. in Theatre from UC San Diego. also the author of Bardisms: Shakespeare Invention of Love (Tony nomination, Dra- Godspell, The Normal Heart, Reasons to A Midsummer Night’s Dream directed by Alien Sex Comedy (New Light Theater Proj- for All Occasions. Mr. Edelstein is a gradu- ma Desk Award), The Full Monty (Tony Be Pretty, Butley, Dinner at Eight (Lincoln Christopher Ashley (Craig Noel Award), ect), As You Like It and Caroling Through BARRY EDELSTEIN ate of Oxford University, where he stud- nomination), More to Love, Getting Away Center Theater), Betrayal (Roundabout An Iliad (Craig Noel Award), His Gal Fri- the Woods (Theatre-Hikes Colorado), (Old Globe Artistic Director) is a stage ied as a Rhodes Scholar. with Murder, Pride’s Crossing, The Little Theatre Company), and The Real Thing. O ff day, and, as composer and co-lyricist, the Pretty, Smart, Poetic (Westport Country director, producer, author, and educator. Foxes, Hapgood (Lucille Lortel Award, Best Broadway, Mr. Weiner’s work has been musical Most Wanted. His other regional Playhouse), Henry V (Great River Shake- Widely recognized as one of the leading MICHAEL G. MURPHY Director), Damn Yankees, Two Shakespear- seen at MCC Theater, Manhattan The- theatre productions include As You Like speare Festival’s Shakespeare for Young authorities on the works of Shakespeare (Managing Director) served as General ean Actors (Tony nomination), Porgy and atre Club, Second Stage Theatre, Play- It directed by Barry Edelstein (William- Actors), and Urinetown, The Musical (Mar- in the United States, he has directed near- Manager of The Old Globe from 2003 to Bess (Tony Award). Metropolitan Opera: wrights Horizons, The Public Theater, stown Theatre Festival),Dead End, With- go Jones Theatre). He has served as assis- ly half of the Bard’s works. Most recently 2012, overseeing the Production, Edu- II Trittico. London: Love Never Dies, Hair- New York Theatre Workshop, Theatre for out Walls, and The House of Bernarda Alba tant director at several regional theaters Mr. Edelstein made his directorial debut cation, Human Resources, Information spray (Olivier nomination). National The- a New Audience, Vineyard Theatre, and (Center Theatre Group), and Plato’s Sym- including Westport Country Playhouse, at The Old Globe withThe Winter’s Tale. As Technology, and Facilities Departments, atre: His Girl Friday. Six movies for PBS’s Atlantic Theater Company. Mr. Weiner posium (Getty). Mr. Bennett was the com- Arena Stage, Center Stage in Baltimore, Director of the Shakespeare Initiative at as well as Front of House operations. He “American Playhouse.” Awards: 2008 The- has worked at theatres across the Unit- poser for Sam Mendes’s The Bridge Project, Goodman Theatre, and Dallas Theater The Public Theater (2008-2012), he over- also managed the construction of the atre Hall of Fame Inductee, 2005 John ed States, including Steppenwolf Theatre 2009-2012 (Brooklyn Academy of Music, Center, as well as Red Bull Theater and saw all of the company’s Shakespearean Globe’s new theatre and education facili- Houseman Award, ArtServe Michigan Company, Goodman Theatre, Oregon The Old Vic). He is the recipient of a 1998 92nd Street Y in New York. He is cur- productions, as well as its extensive edu- ties. Prior to the Globe, he was the Man- 2008 International Achievement Award, Shakespeare Festival, South Coast Rep- Obie Award for Sustained Excellence of rently Producing Director of Iron Curtain cational, community outreach, and art- aging Director of Austin Lyric Opera in Honorary Doctorate, University of Michi- ertory, Guthrie Theater, La Jolla Play- Sound Design, 1998 Bessie Award, Ova- Theater Company in New York City and a ist-training programs. At The Public, Mr. Austin, Texas; Director of Administra- gan. Honorary Doctor of Humane Letters, house, Alley Theatre, McCarter Theatre tion Award, American Theatre Wing founding member of Island Theater Com- Edelstein staged Julius Caesar starring tion of San Diego Opera; and General University of San Diego. Film (actor): Sex Center, Huntington Theatre Company, Award and 14 Drama Desk Award nomi- pany in Chicago. Mr. Hunt holds a B.F.A. Jeffrey Wright for Shakespeare in the Manager of San Diego Repertory Theatre. and the City 2. Jack Be Nimble: The Acci- American Repertory Theater, Kansas nations. in Theatre from Southern Methodist Uni- Park, Timon of Athens with Richard Thom- Before relocating to San Diego from New dental Education of an Unintentional Direc- City Repertory Theatre, Williamstown versity. as, and The Merchant of Venice featuring York, he held similar positions at The- tor, his memoir about the early years of

16 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 17 ARTISTS AT THE GLOBE his career, was released in the summer of one of San Diego’s “Living Treasures.” honor by the San Diego Theatre Critics The Old Globe celebrated the opening of J.B. Priestley’s period drama Time and the Conways, directed by Rebecca Taichman, on Thursday, 2013 by Farrar, Straus and Giroux. He was a founder of the California The- Circle. In 2007, he received the National April 3, 2014. Production Sponsors Conrad Prebys and Debra Turner, Globe Guilders, United, and Wells Fargo were in attendance to kick off atre Council and a former vice president Medal of Arts—the nation’s highest hon- the evening. The festivities began with a pre-show dinner for Circle Patron donors, Board members, Production Sponsors, and members of the CRAIG NOEL of the California Confederation of the or for artistic excellence—in a ceremony artistic team. Following the performance, they all joined cast and crew members for an exuberant opening night cast party. (Founding Director) was first appointed Arts. His numerous honors include the at the White House. Craig Noel died on director in 1939, directing 15 produc- San Diego Union-Tribune list of 25 persons April 3, 2010 at the age of 94. tions prior to World War II. Since then who shaped the city’s history; the Gov- he directed more than 200 plays of all ernor’s Award for the Arts; University of CASTING styles and periods and produced an addi- Arizona Alumni Association’s Outstand- CAPARELLIOTIS CASTING tional 270 productions. His vision for ing Citizen, for his contribution to their David Caparelliotis The Old Globe resulted in the establish- Fine Arts department; San Diego State Lauren Port ment of the Shakespeare Festival and University’s Outstanding Alumnus; Con- the San Diego Junior Theatre in the late servator of American Arts Award from This theatre operates under an agreement between the League of Resident Theatres ’40s, the expansion to two theatres in American Conservatory Theater; the San and Actors’ Equity Association, the union of the ’50s, Globe Educational Tours in the Diego Press Club Headliner Award; San professional actors and stage managers in the United States. ’70s, and Teatro Meta and the Old Globe/ Diego Gentleman of Distinction Award; 1 2

University of San Diego Graduate The- and a combined tribute from the Public The Directors are members of the Society atre Program in the ’80s. During the Arts Advisory Council and the San Diego of Stage Directors and Choreographers, an independent national labor union. 1940s, Mr. Noel served as dialogue direc- County Board of Supervisors. Mr. Noel tor for the 20th Century Fox Studios and was particularly proud of the following three honors representing education and This Theatre operates under an Agreement was the director of the Ernie Pyle The- with the International Alliance of Theatrical atre in Tokyo. Described by Variety as theatre: Honorary Doctorate of Humane Stage Employees Local No. 122. the eminence grise of San Diego theatre, Letters, University of San Diego; Hon- Mr. Noel is one of the few San Diegans orary Doctorate in Fine Arts, San Diego The Scenic, Costume, Lighting and Sound to have had an entire year (1987) pro- State University; and the annual Awards Designers in LORT Theatres are represented by claimed in his honor, and to be named for Excellence in Theatre named in his United Scenic Artists Local USA-829, IATSE. 3 4 Subscribe to the 2014-15 Old Globe Season Today!

BRIGHT STAR | September 13 - November 2 THE WHITE SNAKE | March 21 - April 26 Music by Edie Brickell and Steve Martin Written and Directed by Mary Zimmerman Lyrics by Edie Brickell Book by Steve Martin BUYER & CELLAR | April 4 - May 3 5 6 Based on an original story by Steve Martin and Edie Brickell By Jonathan Tolins Directed by Walter Bobbie Directed by Ron Lagomarsino

THE ROYALE | October 4 - November 2 ARMS AND THE MAN | May 9 - June 14 By Marco Ramirez By George Bernard Shaw

MURDER FOR TWO | January 24 - March 1 TO BE ANNOUNCED | May 23 - June 21 Book and Music by Joe Kinosian Book and Lyrics by Kellen Blair Directed by Scott Schwartz 7 8 THE TWENTY-SEVENTH MAN February 14 - March 15 SUBSCRIBE ONLINE! 1. Board Chair Elaine Darwin, Artistic Director Barry Edelstein, and Linda Van Vark, President of Globe Guilders, Production Sponsors. 2. Amber and Bob McLaughlin, Gloria By Nathan Englander Rasmussen, Bonnie Leth of Production Sponsor United, and Kimberly Leth. 3. John Major, Ron Leonardi, Rafael Pastor, and John Hattox. 4. Marion Benassi, Board member Pam Directed by Barry Edelstein www.TheOldGlobe.org/Subscriptions Farr, and Sue Major. 5. Board member Jordine Von Wantoch, Jeffrey Waggle, and Board member Pat Hodgkin. 6. Board member Tim Rafalovich of Wells Fargo, Production Sponsors, with Janet Rafalovich, Artistic Director Barry Edelstein, and costume designer David Israel Reynoso. 7. Annamarie Maricle, Peter Landin, and Michelle Cardinal. 8. Board member Harvey White, Sheryl White, Laurie Mitchell, and Brent Woods. Photos by Doug Gates.

18 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 19 OUR THANKS $50,000 and higher Season Sponsors In 1995, the Season Sponsor program was initiated by Globe Board members to secure a foundation of support for artistic and education programs. Since that time, Season Sponsors have contributed millions of dollars collectively to underwrite the annual operating budget, and The Old Globe is grateful to acknowledge the following Season Sponsors who have generously supported the 2013-2014 season.

Lead Season Sponsors $75,000 and higher JIM COX JIM COX J. KATARZYNA WORONOWICZ KATARZYNA J. Globe Guilders John A. Berol The County of San Diego Charter Sponsor since 1995 Sponsor since 1996 Sponsor since 1996

Karen and Donald Cohn Darlene Marcos Shiley Charter Sponsor since 1995 Charter Sponsors since 1995 In memory of Donald Shiley Kathryn Hattox Joan and Irwin Jacobs Mary Beth Adderley Charter Sponsors since 1995 Sponsor since 1998 Sponsors since 2002 Sponsor since 2004

Valerie and Harry Cooper Mickey Stern June E. Yoder Sponsors since 2005 Sponsor since 2009 Sponsor since 2010 Audrey S. Geisel Sheryl and Harvey White Conrad Prebys and Sponsor since 1998 Sponsors since 2000 Debra Turner Sponsors since 2004

Elaine and Dave Darwin Brian and Silvija Devine Gloria Rasmussen Sponsors since 2011 Sponsors since 2012 Sponsor since 2012

Mary Ann Blair Peter Cooper and Paula and Brian Powers Sponsor since 2007 Norman Blachford Sponsors since 2012 Sponsors since 2008

Rhona and Rick Thompson Hal and Pam Fuson Vicki and Carl Zeiger Sponsors since 2013 Sponsors since 2013 Sponsors since 2014

Sponsor since 2000

Charter Sponsor since 1995 Sponsor since 2007 Sponsor since 2005 For additional information on how you may become a Season Sponsor, please contact Sponsor since 2004 Todd Schultz, Director of Development, at (619) 231-1941 x2310. Photo for Globe Guilders: Lee Aaron Rosen and Sarah Manton in Time and the Conways, 2014; for John A. Berol: the cast of A Midsummer Night’s Dream, 2013; for The County of San Diego: Participants of the 2010 Summer Shakespeare Intensive. 20 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 21 AT THE GLOBE The Role of the BOARD OF DIRECTORS

Not-for-profit organizations like The Old Globe are an integral part of our WHAT THE GLOBE community and, as independent private entities, provide countless services and programs for children and adults MEANS TO US of all ages. By definition, each or all of these organizations must depend upon the financial support, advocacy and volunteerism of their patrons to meet their goals and must also rely greatly Production Sponsors on the leadership and governance of a KAMAYA JANE AND DIANE ZEPS dedicated Board of Directors. management and long-range planning. reaching out through personal advocacy These functions are carried out through efforts to neighbors, friends and “The Old Globe has been a part of our family’s history for more You have likely seen the lists of members regular meetings of the full Board and community, forging new relationships than 30 years. The community outreach programs provided by of the Globe’s Board of Directors many its committees. In addition, ad-hoc and partnerships. The Old Globe are unparalleled, as are the productions. From times but may not be aware that these committees are formed as needed, Shakespeare to premieres of plays and supporting new and up- individuals are generous donors and such as the Artistic Director Search We are deeply grateful to the Globe’s coming playwrights, everything the Globe does is first class. We volunteers themselves, providing Committee. Board of Directors for shepherding this are honored to be able to continue our family’s support of The invaluable time and talent in service of great institution, the largest performing Old Globe.” the mission established by the Globe’s Equally vital, Board members serve as arts organization in San Diego and the founders. The Globe’s Board currently advocates for the Theatre, enhancing sixth-largest regional theatre in the (from left) Lance Cohen, Production Sponsor Kamaya Jane, director Davis McCal- consists of 50 members, representing the organization’s public image. One nation. lum, and Production Sponsor Diane Zeps at the opening night celebration for The Few. Photo by Doug Gates. a broad range of community leaders, of the many reasons for the Globe’s educators, businesses and family 79 years of success and achievement affiliations. In addition to their own comes from a spirit of collaboration set Photo: Board Member Peter Cooper, Board generous financial support, the Board forth by Craig Noel, who greatly valued Members Debra Turner and Conrad Prebys, Board Member Sandra Redman of California Bank & provides countless hours of guidance the volunteer leadership that helped Trust, Richard Wright and Board Member Mary over fiduciary matters, institutional lift the Globe higher and higher. The Beth Adderley at the opening night celebration for A Gentleman’s Guide to Love and Murder. policy, legal concerns, administrative Globe’s Board continues this legacy, Associate Artist – Hall of Honor

The next time you attend a performance in the White Theatre at the Prebys Center, please come early and visit the Associate Artist Hall of Honor. This hidden Globe treasure is just off the Viterbi Family Lobby. (It is only open prior to performances because its location is an active passageway for actors entering and exiting the White stage.)

Board member, Directors Level Circle Patron Craig Noel Level Circle Patrons, Globe Guilders You’ll find on display photos of the 57 Globe Associate Artists, who have KARIN WINNER JOYCE AND MARTIN NASH shared their many talents on our stages and behind the scenes and who epitomize the heart and soul of this organization. In recognition of their “I’ve been coming to The Old Globe since I was a teenager. It’s “When we moved to San Diego 31 years ago, we began subscrip- commitment to The Old Globe, we acknowledge them as Associate Artists where I fell in love with theatre...the curtain would rise and I tions, both summer and winter, to The Old Globe, on recom- with a photo in the Hall of Honor and the title that officially recognizes their would be totally drawn into whatever glimpse of life unfolded. mendations from new friends and neighbors. The Old Globe has Globe partnership. How lucky we are to have such a storied theater to call our own. greatly enriched our cultural experience, and we know it will con- The Globe is the gold standard. When the lights dim and it all tinue to do so.” Our most recently named Associate Artist—in January 2013—was Nicholas Martin, original Broadway director of Vanya and Sonia and Masha comes together, it’s a magical experience.” and Spike, which won the 2013 Tony Award for Best Play. Another whose work was seen this season is Ralph Funicello, whose more than 75 Joyce and Martin Nash with (center) Other Desert Cities actress Dana Green at a production designs at the Globe include the set for the much-lauded Water by the Spoonful. New Globe Board member Robert Foxworth is also 2013 Meet the Artist event. Photo by Nowell Wisch. Managing Director Michael G. Murphy, Globe Board Honorary Director Deborah an Associate Artist whose recent appearances include August: Osage County and Other Desert Cities. As you walk through the Hall of Honor, you Szekely, and Board member Karin Winner at the 2013 Globe Gala. Photo by Bob Ross. will delight in recognizing many faces familiar not only from their work at the Globe but also from regular appearances in television and film.

We welcome you to visit the Hall of Honor, which was generously underwritten through a gift from Elaine and Dave Darwin.

22 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 23 Barry Edelstein, Artistic Director Michael G. Murphy, Managing Director

Amy E. Allison...... General Manager Kristen Flores...... Stage & Property Master, White DONOR SERVICES Dave Henson...... Director of Marketing and Communications Andrew Recker...... Property Master, Festival Janette Jack, Barbara Lekes, Richard Navarro, Todd Schultz...... Director of Development LIGHTING Gary Neuberg, Stephanie Reed, Stephen Wade, Mark Somers...... Director of Finance Shawna Cadence...... Lighting Director Rico Zamora...... Suite Concierges Richard Seer...... Director of Professional Training Sarah Lawler...... Lighting Fellow Robert Drake...... Director of Production Evan Page...... Interim Master Electrician, Globe MARKETING Roberta Wells-Famula...... Director of Education Jim Dodd...... Master Electrician, White Susan Chicoine...... Public Relations Director Kevin Liddell...... Master Electrician, Festival Ed Hofmeister...... Associate Director of Marketing Rebecca Broberg, Mark Dewey, Christian Erikson, Mike Hausberg...... Public Relations Associate ARTISTIC Sam Ibrahim, Conor Mulligan, Kelly Boyle...... Digital and Print Publications Coordinator Eric Louie, Justin Waldman...... Associate Producers Luke Olson, Tyler Whitehead...... Electricians Laura Lothian...... Marketing Assistant Danielle Mages Amato...... Literary Manager/Dramaturg Stephen Wade...... Marketing/Events Assistant Bernadette Hanson...... Artistic Associate SOUND DeAndre Clay, Carolann Malley, Lauren Senko...... Distribution Staff Jan Gist...... Resident Vocal Coach Paul Peterson...... Sound Director Mark Hartshorn...... Master Sound Technician, Globe PRODUCTION Dana Pickop...... Master Sound Technician, White SUBSCRIPTION SALES Scott Cooke...... Subscription Sales Manager Debra Pratt Ballard...... Associate Director of Production Jeremy Nelson...... Master Sound Technician, Festival Arthur Faro, Janet Kavin, Pamela Malone, Suzanne Conway...... Company Manager ADMINISTRATION Yolanda Moore, Jessica Morrow, Ken Seper, Carol Donahue...... Production Coordinator Cassandra Shepard, Jerome Tullmann, Alexandra Hisserich...... Operations Assistant Jackson Smith...... Assistant Company Manager Grant Walpole...... Subscription Sales Representatives Darlene Davies...... The Old Globe Historian STAGE MANAGEMENT TICKET SERVICES INFORMATION TECHNOLOGY Leila Knox...... Production Stage Manager Bob Coddington...... Ticket Services Director Dean Yager...... Information Technology Director Marsi Bennion...... Ticket Operations Manager John Ralston...... Information Technology Assistant Manager TECHNICAL Karen Ann Daniels...... Group Sales Manager Brittany Summers...... Information Technology Assistant Benjamin Thoron...... Technical Director Tony Dixon, Wendy Berzansky...... Associate Technical Director Jordyn Patton...... Lead Ticket Services Representatives Travis Barrett...... Assistant Technical Director HUMAN RESOURCES Kari Archer, Kathy Fineman, Lauryn Greschke, Sean Fanning...... Resident Design Assistant Sandy Parde...... Human Resources Director Alejandro Gutierrez, Tyler Jones, Amanda King, Eliza Korshin...... Technical Assistant/Buyer Manny Bejarano...... Human Resources Coordinator Caryn Morgan, Danielle Porath, Christopher Smith, Gillian Kelleher...... Master Carpenter Jesse Uribe...... Ticket Services Representatives Carole Payette...... Charge Scenic Artist MAINTENANCE Christian Thorsen...... Stage Carpenter/Flyman, Globe Mark Gingery...... Facilities Director PATRON SERVICES Robert Dougherty...... Festival Master Carpenter Violanda Corona, Ismael Delgado, Frank Fields, Mike Callaway...... Patron Services Director Roberto Gonzalez, Bernardo Holloway, Reyna Huerta, Jack Hernandez...... Charge Carpenter, White Janelle Conde, Mary Taylor...... House Managers Jose Morales, Albert Rios, Maria Rios, Leonardo Stephanie Hable...... Front of House Assistant Eileen McCann...... Painter Rodriguez, Vielka Smith, Nicolas Torres, Elaine Gingery...... Food and Beverage Manager Dave Atchinson, Daniel Capiro, Sean Chaffin, Will Van Atta...... Building Staff Chris Chauvet, Dave Garcia, Larry J. Hall, Sloan Holly, Timothy Acosta, Topher Rasmussen...... Pub Shift Supervisors Jay McNabb, Francisco Ramirez, Jon Serbian, PROFESSIONAL TRAINING Kurtis Wieschers...... Carpenters Tanika Baptiste, Missy Bradstreet, Shana Wride...... Program Coordinator W. Adam Bernard...... Lead Scenic Artist Sondra Mejia, Stephanie Passera, Paige Plihal, Brian Byrnes, Maria Carrera, Cynthia Caywood, Jason Chohon...... Automation Coordinator Isaac Saenz, Michelle Thorsen...... Pub Staff Ray Chambers, Gerhard Gessner, Jan Gist, Linda Bahash, Jessica Piatt, Fred Robinson, Abraham Stoll...... M.F.A. Faculty Stephanie Rakowski...... Gift Shop Supervisors COSTUMES William Hartley, Corey Johnston, Stacy Sutton...... Costume Director Nate Parde, Nicole Ries...... M.F.A. Production Staff SECURITY/PARKING SERVICES Charlotte Devaux...... Resident Design Associate Edward Camarena...... Security Supervisor Maureen Mac Niallais...... Assistant to the Director EDUCATION Sherisa Eselin...... Security Officer Shelly Williams...... Design Assistant/Shopper Crystal Mercado...... Education Programs Manager Jonathon Ayon, Dallas Chang, Jeff Howell, Michelle Hunt Souza...... Design Assistant Carol Green...... Speakers Bureau Coordinator Janet Larson, Guadelupe Velez...... Security Guards Erin Cass...... Draper James Cota, Jo Anne Glover, Lisel Gorell-Getz, Michael Prince, Wendy Miller...... Tailor/Draper Brian Hammond, Jason Heil, Stephen Hohman, Alexander Thomas...... VIP Valet Attendants Babs Behling, Anne Glidden Grace...... Assistant Cutters Erika Malone, Heather Pauley, Erika Phillips, Mary Miller...... Tailoring/Construction James Pillar, Christopher Salazar, Damon Shearer, Heather Premo...... Stitcher Cynthia Stokes...... Teaching Artists Erin Carignan...... Craft Supervisor/Dyer/Painter Molly O’Connor...... Wig and Makeup Supervisor FINANCE Kim Parker...... Assistant to Wig and Makeup Supervisor Carly Bennett-Valle...... Senior Accountant Jack O’Brien...... Artistic Director Emeritus Beverly Boyd...... Wardrobe Supervisor Janet Gray...... Interim Senior Accountant Craig Noel...... Founding Director Beth Merriman...... Wardrobe Crew Chief, Globe Trish Guidi...... Accounts Payable/Accounting Assistant Anna MacDonald...... Wardrobe Crew Chief, White Adam Latham...... Payroll Coordinator/Accounting Assistant Ana Maldonado...... Wardrobe Crew, Globe Tim Cole...... Receptionist Anna Noll...... Wardrobe Crew, White Marie Jezbera...... Rental Agent DEVELOPMENT Annamarie Maricle...... Associate Director, PROPERTIES Institutional Grants Bridget Cantu Wear...... Associate Director, Planned Giving Neil A. Holmes...... Properties Director Eileen Prisby...... Events Manager Kristin Steva Campbell...... Assistant to the Director Rachel Plummer, Keely Tidrow...... Major Gifts Officers M.H. Schrenkeisen...... Shop Foreman Jessica Burger...... Development Manager, Rory Murphy...... Lead Craftsman Individual Annual Giving Chris Carignan, Trish Rutter...... Craftspersons Matthew Williams...... Major Gifts Associate David Medina...... Properties Buyer Diane Addis...... Membership Administrator Kristine Hummel-Rosen...... Properties Assistant Rico Zamora...... Development Assistant/VIP Donor Ticketing David Buess...... Property Master, Globe

32 PERFORMANCES MAGAZINE