P L A P Finks by Joe Gilford featuring DANIEL DORR, THOMAS FISCELLA, MATT GOTTLIEB, STEPHEN TYLER HOWELL, ADAM LEBOWITZ-LOCKARD, RICHARD LEVINSON, BRUCE NOZICK, VANESSA CLAIRE STEWART AND FRENCH STEWART S D C D STEPHANIE KERLEY SCHWARTZ HALEI PARKER L D S D MATT RICHTER CHRISTOPHER MOSCATIELLO P D C NICHOLAS E. SANTIAGO MARWA BERNSTEIN M D A D RICHARD LEVINSON CECILIA FAIRCHILD A C D S M TAYLOR DECKER RAMóN VALDEZ P M T D AMANDA BIERBAUER DAVID A. MAUER C VICTORIA HOFFMAN P JOHN PERRIN FLYNN D M P FINKS is presented by special arrangement with Dramatists Play Service, Inc., New York. FINKS received its New York premiere at e Ensemble Studio eatre on March 28, 2013. Originally presented by New York Stage and Film Company and e Powerhouse eater at Vassar on July 23, 2008. Special thanks to Bob Breech and Arvin Brown for sponsoring the opening night of this production at Rogue Machine. Rogue Machine at the Electric Lodge, 1416 Electric Avenue, Venice, CA 90291 A Letter From the Artistic Director
I was telling Michael Pressman, my friend, colleague and the director of Joe Gilford’s Finks, just after I watched the first run-through, how disturbing I found Finks to be and how relevant it was. Michael reminded me that Joe wrote the play and it was first performed in New York during the years Obama was in office. Michael said: “It’s a different play.” This caused me to think. Theatre is a fascinating and often frustrating art form because it seeks to imitate life, the multiplicity of experience. The academic word for this is mimesis, which Plato defined not as narrative but as a correspondence to the world understood as a model for beauty, truth and the good. I am always saying art, theatre as art, should create an internal dialogue with the audience. The playwright and then the collaborating artists seek to find the intention of the work. What human experience, what truths, do we seek to illuminate so we can, with the audience, explore and consider who we are and how we should live. If the work is truly good, there is a multiplicity of meaning, intended or not. We are, of course, significantly influenced by the world in which we live. The way art corresponds to the world changes as the world changes. The art changes. The art becomes. Because the world has changed Finks is both the play it was and something utterly new. It was perhaps a celebration of human courage in the face of seemingly insurmountable odds. Now, the past the play portrays echoes in our everyday world. Once again, leaders around the world and here in the United States trumpet nationalism and homogeneity as a virtue. Finks, which is the same play it always was, is now no long just that play. It has become an urgent cautionary tale. Finks plays in repertory with Tom Morton-Smith’s Oppenheimer. These two plays about America in the ‘40s and ‘50s were chosen to play together because we think they speak to one another and very much to the time in which we live. See them both. Explore with us. You will be glad you did.
Morton-Smith’s Oppenheimer says: “Life is nothing if not a constant re- evaluation of what we believe to be correct, and a constant reassessment of the ways we gauge that correctness. What was true yesterday can be less true today, because we have learnt... and will learn... better.” Here’s hoping we all can still learn. Here’s hoping we all can find beauty, truth and the good. — John Flynn T S C ’ G O W Y
Dear eatre Patrons, Welcome to Rogue Machine eatre at the Electric Lodge! is is our second production at our new location, and we are thrilled to be a part of the Venice community and the greater westside community... and we are crossing our ngers that those of you who followed us from Pico to Western and now to Electric Avenue will nd your way back to us here, time and time again. is has been an exceptional year for RMT: we were awarded LA Stage Alliance’s Ovation Award for Best Season of 2017 among ALL Los Angeles theatres, followed by Stage Raw’s recognition of Les Blancs as the best production of the 2017 LA season, and the extraordinary invitation by Electric Lodge for us to become their resident theatre company. For those of you who are new to our work, we pride ourselves on the presentation of meaningful and challenging theatre, carefully selected original writing, stellar acting, and evenings that leave you asking questions that matter. We continue to pick dicult plays, focusing on family function and dysfunction (Pocatello, El Niño), on racism national and local (Les Blancs, Mexican Day), on histories told and hidden (100 Aprils, Gunshot Medley). We focus on writers who tackle the complex questions that need the kind of platform that live theatre can provide. Our 2018 season continues here at the Electric Lodge with two provocative plays that highlight some of the darkest chapters in 20th century American history: Oppenheimer, laying bare the struggles of the Father of the Atomic Bomb; and Finks, examining the fallout of the House Un-American Activities Committee. We hope you will see both of these powerful productions, as each speaks to some of the basic questions raised today about who we are as a nation, what our history really tells us. If this is your rst experience at Rogue Machine, we invite you to become part of a family that is committed to seasons of great plays. If you’re already a member of the Rogue Machine family, as an artist, a patron, a donor, an audience member, you’re the reason we make this work... and we can’t do it without you. Welcome to e Rogue!
ank you and welcome,
Paula Holt Chair, Rogue Machine eatre Board of Directors A Note From the Playwright
THE BLACKLIST From 1948-1951, Senator Joseph McCarthy’s “Red Scare” and senate hearings on Communist subversion in the U.S. government had spawned more action to investigate U.S. citizens’ political affiliation through the House Un-American Activities Committee (HUAC) under Chairman Congressman Parnell Thomas. The committee passed through Hollywood and jailed a group of progressive screenwriters for contempt of congress, the “Hollywood 10,” including Dalton Trumbo and Ring Lardner, Jr. All spent at least one year in jail. The committee continued to victimize scores of other actors, directors and writers in Hollywood. In 1952, the committee moved to New York under Hon. Francis Walter intent on exposing progressive and subversive influence in radio and TV. HUAC found virulent support from the three major television networks and their sponsors, including Proctor & Gamble, Ford Motor Co., Kellogg’s, Goodyear, and Laurence Johnson, a supermarket magnate in Syracuse, NY. It was through Red Channels, an independent publication from Aware, inc., which listed these artists and their progressive affiliations. Once a name surfaced in Red Channels, it was published by newspaper columnists like Dorothy Killgallen, Ed Sullivan, Jack O’Brien and Walter Winchell. This usually resulted in a subpoena from the committee. As actors, directors, writers and others were paraded before the committee, their testimony was divided into two categories. A “Friendly” witness would name the names of those they knew to be politically progressive. Among the most famous friendly witnesses who named names was director Elia Kazan, screenwriter Budd Schulberg and actor Lee J. Cobb. They were considered informers by those that were named and branded “finks.” Their actual testimony or published statements are used in this play. “Unfriendly” witnesses maintained their right to silence and would not name names under the Fifth Amendment. But they were effectively “blacklisted” — barred from working in their profession. In fact an actual “blacklist” never really existed. Although there were secret lists maintained by advertisers and broadcasters in which actors were “cleared” to work, an actual blacklist would have been illegal. These conditions continued until the early 1960s when the industry gave way to a kind of political fatigue. A victorious lawsuit in 1962 by TV and radio host John Henry Falk against Red Channels and Laurence Johnson finally exposed the witch hunt methods of these self-proclaimed “investigators” and brought the dark power of blacklisting to a close.
— Joe Gilford A N F D e Red Scare of the 1950’s was a terrifying time for artists in America. Under the leadership of Senator Joe McCarthy e House Un-American Activities Committee systematically destroyed the careers and lives of countless writers, actors and directors, accusing them of the “crime” of their left-leaning political beliefs. If they were willing to “name names” — implicate others — they might be spared. If not, they were blacklisted. ose who named names were called FINKS. Joe Gilford’s parents Jack and Madeline Gilford were among those who were blacklisted. My father, the director David Pressman, was also blacklisted. Joe and I have been friends since childhood, sharing the legacy of our parents’ struggles to rebuild their lives and careers against those odds. My father was a decorated WWII veteran who believed in socialized medicine, equal voting rights for all, civil rights and a social safety net. For those beliefs, he and so many of his colleagues were persecuted. Finks has great resonance for me, of course, because it shines a light on this period and brings to life the struggles of young artists everywhere. But in today’s highly charged political environment, it’s hard not to see the parallels and wonder if this is a cautionary tale for our times. But it is also a story of hope and courage — a reminder that we do, indeed, have the ability to ght the good ght. — Michael Pressman
e director wishes to thank his wife, Maia Danziger, for introducing him to Rogue Machine and encouraging his return to the theater, and Ceci Fairchild, who stood by him and assisted him during the rehearsal process.
ALSO PLAYING AT ROGUE MACHINE CAST AND CHARACTERS in order of appearance Stephen Tyler Howell...... Sgt. at Arms, Bartender, Announcer, Leading Man Richard Levinson...... Dickie Lewis (the Piano Man) French Stewart*...... Mickey Dobbs Matt Gottlieb*...... Rep. Walter Bruce Nozick*...... Fred Lang Vanessa Claire Stewart*...... Natalie Meltzer Daniel Dorr...... Victor Lynch, Stanley, Elia Kazan omas Fiscella*...... Martin Berkeley, Carl Brody, Budd Schulberg, Lee J. Cobb, Phil Larsen Adam Lebowitz-Lockard*...... Bobby Gerard * Member of Actors’ Equity Association, e Union of Professional Actors and Stage Managers in the United States.
Alternates/Understudies: Actors never substitute for the listed players unless a speci c announcement is made at the time of the performance. Setting: New York City and Philadelphia, early 1950s. Various locations. is performance will run approximately two hours with one 15-minute intermission
PRODUCTION STAFF Publicity...... Judith Borne Social Media...... Corryn Cummins Key Art Design...... Michelle Hanzelova S T Joel Shapiro and Patrick Varon at our new residence, the Electric Lodge!
Center eatre Group, UCLA, Adam Meyer and Antaeus eatre
#FinksLA #RMT11 @RogueMachineLA W’ W
JOE GILFORD (Playwright) Finks was nominated for a NY Drama Desk award and an O-Broadway Alliance award for Best New Play and is now in development as a TV series. Joe has received Alfred P. Sloan Foundation grants for his plays Danny’s Brain and e Radio Boys. Films include Apalachin, about the famous meeting of Maa leaders in upstate NY, to be released in 2019. He is a New York Emmy award winner as producer for PBS’s City Arts series. He is the writer of the PBS documentaries e Great American Songbook and Beyond Wiseguys: Italian Americans and the Movies. He is the author of Why Does the Screenwriter Cross the Road?...and other screenwriting secrets (Michael Wiese Books). He has taught screenwriting at NYU’s Tisch Undergraduate Film program since 1999.
MICHAEL PRESSMAN (Director) Finks marks Michael’s return to Los Angeles theatre. He is known primarily as a lm and television producer and director. Film direction: ose Lips ose Eyes, Some Kind of Hero, and To Gillian on Her 37th Birthday. Television credits include directing Law and Order: SVU, Blue Bloods, In Treatment, and Damages, producing and directing the Emmy-winning series Picket Fences and the pilot of Chicago Hope, as well as directing the Hallmark Hall of Fame lm of Ann Tyler’s Saint Maybe. Michael is a two time Emmy-winning producer for Picket Fences and won the NAACP award for directing Come Back Little Sheba at the Kirk Douglas, which later moved to Broadway.
JOHN PERRIN FLYNN (Artistic Director/Producer) John is Rogue Machine’s founding Artistic Director and he has produced all of our mainstage productions. For RMT, he has directed the World Premieres of John Pollono’s Lost Girls and Henry Murray’s Treefall; Enda Walsh’s e New Electric Ballroom and Penelope; Samuel D. Hunter’s Pocatello, A Permanent Image and A Bright New Boise; e Sunset Limited; Oppenheimer; and our inaugural production, Compleat Female Stage Beauty. John was the Executive Producer and Director of Lifetime’s long-running series Strong Medicine and has produced two other series and 14 television movies or miniseries including the Emmy-nominated Burden of Proof. In 2012, he received the Career Achievement Award for eatre from the LA Weekly. John is a proud member of the Chickasaw Nation.
CAST
DANIEL DORR (Victor Lynch, Stanley, Elia Kazan) Most recently seen in Murray Mednick’s Mayakovsky and Stalin and as Romeo in Romeo + Juliet at Hollywood Fringe Festival 2018 (dir. Tim Venable). Other theater credits include: Meghan Brown’s e Kill-or-Dies directed by Darin Anthony; Viral by Mac Rogers at Bootleg eater. With the Antaeus eatre Company: As You Like It, e Crucible, and Macbeth. Film/ TV: Mike Mills’ 20th Century Women, FURY with Brad Pitt, StartUp on Crackle #FinksLA TV and Counterpart for STARZ. Daniel is a member of the #RMT11 Antaeus eater Company and Moving Arts and is thrilled to be @RogueMachineLA making his Rogue Machine debut. Big thank you to Victoria Homan. THOMAS FISCELLA (Martin Berkeley, Carl Brody, Budd Schulberg, Lee J. Cobb, Phil Larsen) Tom returns to L.A. after six seasons on the National Broadway Tour of Jersey Boys. Regional credits include the world premiere stage adaptation of e Kite Runner. In SoCal, he’s worked on and o stage for the Laguna and Geen Playhouses, CLO South Bay, the Road, Circle X, Reprise, and International City eatres, among others. Recent AFI lms: Fishnet, Weight of the World. TV: 24. Webseries: Meet Me At the Barre. Tom thanks the team of Finks for this Rogue Machine debut, with gratitude, admiration and love for his wife Jenny Rainwater. Member: SAG-AFTRA & AEA. Web: omasFiscella.com; FB/Tw/Insta: @MisterFiscella
MATT GOTTLIEB (Rep. Walter) Street theater in the ‘60s and ‘70s, Brecht in Berkeley with R.G. Davis. NY: Circle Rep, Soho Rep, the New York Shakespeare Festival. Regional eaters: Long Wharf, A.C.T., Berkeley Rep, Mark Taper Forum, Intiman (Seattle). In LA: e Odyssey, e Road, e Fountain, A Noise Within, PRT, e Colony etc. Directed Pinter’s e Caretaker at e Zephyr. Film/TV: e Luckiest Man in the World, Transparent, CSI, Shameless, etc. Recently Rothko in Red at Ensemble Santa Barbara, Tennessee Williams’ producer in God Looked Away at the Pasadena Playhouse with Al Pacino. Enjoys playing his Fender. Love to G.
STEPHEN TYLER HOWELL (Sgt. at Arms, Bartender, Announcer, Leading Man) Stephen Tyler Howell is an LA local, Texan, and is delighted to make his Rogue Machine debut. eatre credits include: Red Speedo (alt. cast) and A Delicate Ship (alt. cast) both at e Road eatre, the title role in Macbeth x 5 at e Odyssey, and Hot N’ robbing with Illyrian Players. His BFA in eatre is from UT Arlington and studied in the MFA Acting program at Cal State Fullerton. e feature Sometimes Our Friends Come Over will be screened this fall at NFMLA and the Tampa Bay Underground Film Festival amongst others. www.stephentylerhowell.com
ADAM LEBOWITZ-LOCKARD (Bobby Gerard) Adam is thrilled to be making his Rogue Machine debut, and thrilled that these shows are on the westside. Recent LA credits include: How We’re Di erent From Animals (Skylight eatre), e Immigrant (Sierra Madre Playhouse), As You Like It (Fountain eater), Fortunate Son (Coin & Ghost). NYC credits include: e Whitney Museum, Primary Stages, e Flea eater, e Brick, NY Fringe Festival, Soho Playhouse, and Smith St. Stage. TV: e Pine Tar Incident on FS1. Adam earned his MFA from USC. RICHARD LEVINSON (Piano Man Dickie Lewis/Music Director) After penning “Let’s Do Something Cheap and Supercial” for Burt Reynolds ages ago, Richard spent years producing commercial jingles. To atone, he writes satiric songs, some of which have appeared in productions for MTV, National Lampoon, and Fred Willard’s “Mohos” sketch group. Other songs have been heard in many TV shows and movies, including Good Girls Revolt and True Blood, and he co-wrote the musicals Savin’ Up for Saturday Night, Priscilla’s Perfect Day, and anks A Lot — My Gratitusical! LA theater performances include the award-winning Louis and Keely: Live at the Sahara! and Peace in Our Time.
BRUCE NOZICK (Fred Lang) Bruce is thrilled to be back onstage with Rogue Machine since appearing in Rogue’s hit production of Honky. Bruce will appear on the upcoming season of Showtime’s Big Little Lies. Hundreds of TV appearances include e Last Ship, Weeds, and playing Stanley Levison in the HBO lm All e Way. Bruce has worked extensively in theatre — in the O-Broadway hit A Shayna Maidel, touring with the First National Company of Neil Simon’s Lost in Yonkers as Uncle Louis, and appearing at dozens of Regional eatres around the country. He is also a member of Pacic Resident eatre Company.
VANESSA CLAIRE STEWART (Natalie Meltzer) Vanessa co-wrote and starred as Keely Smith in Louis and Keely: Live at the Sahara for Sacred Fools (Ovation Award for best actress and best musical). Louis and Keely later moved to the Geen Playhouse, Laguna Playhouse and Royal George eater in Chicago. She also penned Stoneface starring French Stewart (Sacred Fools, Pasadena Playhouse) Favorite roles: Alex, A Clockwork Orange (LA Weekly award for best actress); Laura, e Glass Menagerie; Louise, Gypsy; Olivia, Twelfth Night; Gwendolen, Importance of Being Earnest. Film/TV: Rules of Engagement, Wanda Sykes Show, e List, Chase the Slut (Edinburgh Film Fest)
FRENCH STEWART (Mickey Dobbs) For the past 30 years, Mr Stewart has been a proud participant in LA theater. Recent credits include Voice Lessons (with Laurie Metcalf at the Steppenwolf and O-Broadway), Tesla (Laguna Playhouse), Stoneface (Pasadena Playhouse), Watson (Sacred Fools) and last summer’s Forever Bound (Atwater). He’s proud to be a longtime member of Justin Tanner’s company, as well as a xture at the Sacred Fools. TV credits include 3rd Rock, Mom, Roseanne, NCIS, e Middle, Pushing Daisies, Trial and Error, and Community. He can be seen next year as Scorpio Slasher in Deadly Class. French is thrilled to work at Rogue Machine with his lovely wife. rilled. DESIGN & CREATIVE TEAM:
Cecilia Fairchild (Assistant Director) Cecilia is a playwright, director, and actress. Her short plays Talking Blues premiered at the L.A. LGBT Center in 2017. Her play Fortunate Son, an adaptation of Faust set in post-Vietnam New Orleans, premiered with Coin & Ghost in Los Angeles last October. She co-directed the 2016 L.A. production of Sam Shepard’s Fool for Love. This spring she co-directed, produced and performed in Shepard and Patti Smith’s Cowboy Mouth at Thymele Arts. She assistant-directed 100 Aprils at Rogue Machine this summer and is excited to be back, in RMT’s new incarnation at Electric Lodge.
Christopher Moscatiello (Sound Design) Christopher is a sound designer, composer and music director, with 2018 LADCC and 2015 Stage Raw Awards, and multiple Ovation nominations for Sound Design. Theater highlights: The Kennedy Center, Folger Shakespeare Theatre, Antaeus, Odyssey Theatre Ensemble, Rogue Machine, Fountain Theatre, Skylight Theatre, assistant conductor for the national tour of Phantom of the Opera. TV highlights: The Walking Dead, Psych, Eureka, Human Target, The Cape, Caprica, Trauma. He has scored series, specials and promos for NBC, HBO, BBC, Discovery, National Geographic and others, and he wrote a ballet commissioned by the Kirov Ballet Academy that had its world premier in Washington, DC.
Halei Parker (Costume Design) Halei is thrilled to be returning to Rogue Machine. Her designs were most recently seen at RMT in El Niño. She was a 2016 Ovation Nominated costume designer for The Hairy Ape at Odyssey Theatre Ensemble and the designer of the off-Broadway premier of Allegiance the Musical. Upcoming and recent credits include: Death and Cockroaches with Chalk Repertory Theatre, A Year Without A Santana Claus with the Troubies, and Tempest at LA Philharmonic (associate designer). Halei is a Rogue Machine company member and Chalk Repertory Theatre Artistic Circle Member. She holds an MFA in Theatre Design from UC San Diego. HaleiParker.com
Matt Richter (Lighting Design) Matt is an award-winning designer based in Los Angeles. He is the resident designer for the LA LGBT Center, where he also works full time. Recent productions include I’m Not a Comedian, I’m Lenny Bruce (Off-Broadway), Jeckyll and Hyde, Exit Strategy, and Sell/Buy/Date (for the LA LGBT Center), Marian for Theatre of Note, and Mr. Burns for Sacred Fools. Matt also serves as half of the experimental ambient folk duo Lanfair Field (lanfairfield.com). For more information, please visit mattrichter.net.
Nicholas E. Santiago (Projection Design) Nicholas has worked for numerous universities and theatre companies including Skylight Theatre (Forever House, Church & State, Obama-Ology), Rogue Machine (A Permanent Image, Luka’s Room, Honky, Oppenheimer), USC (Trojan Women, On the Town), Theatre Planners (PEMDAS, The Red Dress L.O.V.E.R.), the Chance Theatre (Tribes, Middletown, Big Fish), Pasadena Playhouse (Ham), LA LGBT Center (The Search for Signs of Intelligent Life Revisited), and the Fountain Theatre (Arrival & Departure). He received an Ovation nomination and a LA Drama Critics Circle award for his work on Rogue Machine’s A Permanent Image. www.nsantiagodesign.com
Stephanie Kerley Schwartz (Scenic Design) Stephanie is the Resident Designer at Rogue Machine where she has designed many productions, most recently Oppenheimer, Les Blancs, The Super Variety Match Bonus Round!, Honky, and Pocatello. Other recent credits include costume design for The Untranslatable Secrets of Nikki Corona at The Geffen Playhouse; scene design for Magellanica at Artists Repertory in Portland Oregon, and Paradise, A Bluegrass Musical at The Ruskin Theatre. Her designs have been seen all over Southern California, in theatres large and small. She was the 2017 recipient of the LADCC/ Kinetic Award for Career Achievement in Design. kerleydesign.com
Ramón Valdez (Stage Manager) Ramón received his BA from the USC School of Theatre where he emphasized in stage management. At Rogue Machine, Ramón has stage managed Three Views of the Same Object, Monkey Adored, The New Electric Ballroom, A Bright New Boise, Falling, Lost Girls, Gruesome Playground Injuries, Penelope, Cock, A Permanent Image, Pocatello, Dutch Masters, Les Blancs, bled for the household truth, Mexican Day, and 100 Aprils. He is also partly responsible for the “...Gone Rogue” fundraiser series.
Victoria Hoffman (Casting Director) Victoria is a proud member of Rogue Machine, where she is the resident Casting Director. Productions include Finks, Les Blancs, In the Valley of the Shadow, Dutch Masters, Honky, bled for the household truth, and more. For A Noise Within: Select casting for A Picture of Dorian Gray and Othello. For Boston Court: A Streetcar Named Desire. Other casting projects include the USC Thesis Films Falling (official selection at last year’s Slamdance Film Festival) and Goldfish. Currently Manager of Cycle and Campus wide Casting at the AFI Conservatory. Acting credits include two installments of Rant & Rave, and Regional Theaters like The Kodak, South Coast Repertory, Kansas City Rep, and Theatricum Botanicum. www.victoriahoffman.com
Amanda Bierbauer (Production Manager) Amanda is a founding member of Rogue Machine and its long-standing Production Manager. She has worked, in some capacity, on every show in RMT’s 11-year history. She recently produced Rogue Machine’s multi-award-winning production of Lorraine Hansberry’s Les Blancs and Greg Kalleres’ Honky. Her alter ego is a singer- songwriter who performed at the 2018 Hollywood Fringe in Birdie & The Fresnels.
David Mauer (Technical Director) For Rogue Machine: Scenic Design for Dutch Masters, A Permanent Image (also produced) and Rajiv Joseph’s Gruesome Playground Injuries, which he later produced at the Edinburgh International Fringe Festival in August, 2015. David was awarded the 2013 LA Weekly Award for the scenic design of Rob Mersola’s Dirty Filthy Love Story at Rogue Machine. He also designed the sets for John Pollono’s Small Engine Repair and Lost Girls, and Samuel D. Hunter’s A Bright New Boise.
Elina de Santos (Co-Artistic Director) Directing credits include World Premieres of In the Valley of the Shadow, Dirty Filthy Love Story, Yard Sale Signs, Razorback and Nice Things, as well as Daytona, Falling, Stop Kiss and Bhutan, all at Rogue Machine. For West Coast Jewish Theatre:New Jerusalem and Broken Glass. For PRT: a workshop of Galileo, Death of a Salesman, Orpheus Descending (LADCC Award for Direction). At the Odyssey: Awake and Sing!, The Blue Room and Misalliance. She has directed at the Pasadena Playhouse and regionally at the Berkshire Theatre Festival, the Pittsburgh Public, and others. In 2013, Elina received the LADCC Award for Career Achievement in Directing. Rogue Machine Donors Thank You to Our Supporters! Contributions from July 1st, 2017 - October 30th, 2018
Grant & Foundation Support
Annenberg Foundation Los Angeles County Arts Commission Attias Family Foundation Nancy E. Barton Foundation Bloomberg Philanthropies Rosalinde and Arthur Gilbert Foundation Chaspen Foundation for the Arts The Rosenthal Family Foundation Moses J. and Sylvia Dilman Firestone Charitable Trust Sachs Family Fund City of Los Angeles Cultural Affairs Department The Shapiro Foundation George Lichter Family Fund The Shubert Foundation Hamilton Street Foundation The Parsons Foundation Richard Munroe Foundation The Caplin Foundation Henry Murray Fund for New Plays The Joelson Foundation The David Lee Foundation
Founder Circle
Platinum Circle ($5,000+ Annually) Silver Level ($1000+ Annually) Anonymous (2) Marni Ayers Jean Craig Dr. Joanna Lipari Irving & Gail Weintraub The Rosenthal Family Foundation (Rick Rosenthal & Nancy Stephens)
Individual Donations
$5,000+ $1,000 - $4,999 (continued) $250 - $999 (continued) Anonymous (2) Edgar Landa Jon Caren Jean Craig James Parriott & Diane Cary Marcy Carsey John Flynn & Ann Bronston Michael Peretzian Diane Cary Paula Holt Bob Pinzler Steve Connell Annie Potts & Jim Hayman Tony Rasmussen Chris Craig Rick Rosenthal & Nancy Stephens Patricia C. Richardson Elina de Santos RT Charitable Julie Dretzin Tom Safran Bryan Ellickson $1,000 - $4,999 Deirdre Shipstead Andrew Hawtrey Orson Bean Tucker Smallwood Gregg Henry & Lisa James Black Dahlia Theatre Neely & Larry Swanson Anna Khaja Bob Breech Harriet Zaretsky Ken Larson Arvin Brown Meg Liberman Maureen Craig & Glenn Patrick & Eva Mauer Goldberg $250 - $999 David McFadzean Leigh Crawford April Alexander Myron Meisel Maia Danziger Samuel Anderson Joanne Mogy Kerry English Andrea Ayvazian Christopher Monger Stephen Fife Leslie Ayvazian Miriam Muscarolas & Grant Patricia Glaser Dylan L. Baquet Abramson Rosa & Larry Goldstein Michael & Barbara Bierbauer Justin Okin Jean Himmelstein Stephen Burleigh Penny Orloff Perla Karney Anne Gee Byrd Penny Peyser Richard Katz Bonnie Cacavas Fred Porter Brooke Knapp Capital Group Jennifer Rowland $250 - $999 (continued) $100 - $249 (continued) $10 - $99 (continued) Josephine Shokrian Dan Lazarovits Linda Feldman Joel Swetow Paul Lazarus Mona Field Mark & Judy Taylor Brian Letscher Nora Gilbert Judith & Stuart Vida-Spence Paul Linke Arye Gross Laura Wernette Michael Mantell Doris Haims Mary Westerman Lillah McCarthy Toni Johnson Chase Winton Michael Myers Greg Kalleres Jill Wright & Tony Boyd Allan Miller & Laura Zucker Joe Lawton Douglas Morton Adam Leipzig $100 - $249 Mike Napoli Ann Leland Frawley Becker Lisa Pelikan Mark James Maccora Jay Bevan David Roman Peter Mavromates Harriet Borson Felicia Rosenfeld Nan McNamara Mark Bramhall Jefferson Schierbeek Carol Meckler Jacqueline Cahn Carol Schoen Robert Mettam K Callan Michael & Stephanie Kerley Alicia Millikan Michael Cohen Schwartz Anna Nicholas Cynthia Comsky Ronald & Nanci Slayen Daniel O’Connor Elizabeth Desoto Doug Stevenson Rhoda Pell Martha Demson Tyson & Angela Turrou Sandra Powazek Ron DiCostanzo David Warren Jody Rogers Paul DiVito Alice West Jeanne Rosenberg Kate Zentall & Bill Forward Judith White Jefferson Schierbeek James Freed Susan Wilder Matthew Shapiro Mark Freund & Trice Mark & Susan Yackley Susan Siering Koopman Sara Sluss Richard Hirsch $10 - $99 Hollace Starr Dan Hoskins Tony Amendola David Swann Sylvie Drake Jurras Julie Anderson Kat Talley-Jones Barbara Kallir & Tom Shima Patricia Belcher Joy Toomer Denise Kast Michael Barr Vincent Waller Marvin Klein Barbara Bond Michele Young Steven & Kristine Penner Katherine Burton Klein Patricia Chevalier
Become a Founder Circle Member Rogue Machine is establishing a group to advance our vision to create and produce the most relevant, engaging, and exceptional regional theatre today. For theatre to survive and thrive, we must develop and nurture the diverse voices of a new generation, who will speak to and for the emergent audience of the 21st century. As a Founder, you will support the most remarkable theatre being produced today. This work speaks to the lives we live now and makes the art of theatre vibrant and necessary. With a range of exclusive benefits at various giving levels, we invite you to participate, bringing enhanced stability to Rogue Machine and bringing you unparalleled advantages. By joining the Founder Circle, you have access to intimate and exclusive events year-round, as well as other special benefits for your five-year commitment. We enthusiastically look forward to your reply, and to welcoming you as a member of our Founder Circle.
To join the Rogue Machine Founder Circle or to learn more, please email [email protected]. Rogue Machine gratefully acknowledges these contributions that help cover the day-to-day expenses of a professional, non-pro t theatre company.
Shop at Ralphs!
ank you for your ongoing support of Ralphs and Rogue Machine! Continue to shop and donate to Rogue Machine for FREE. Ralphs is committed to helping communities grow and prosper by contributing more than $220 million annually to support local communities, including Rogue Machine. Step-by- step registration instructions can be found online at Ralphs.com – just click Register. If you are already a member, you must register annually, starting this September 1. Jabberwocky eatre Co DBA Rogue Machine (NPO # JD886) will then receive the benets of your shopping!
ALSO PLAYING AT ROGUE MACHINE
Upcoming: November 12 December 10 January 14 Rogue Machine Proudly Announces The Henry Murray Fund The Henry Murray Fund was created to honor our dear friend and Rogue Machine Theatre founding member Henry Murray, who passed away in December 2014. Henry was a talented playwright and gifted dramaturg. Rogue Machine produced three World Premieres by Henry including Treefall and Three Views of the Same Object, both of which have had significant subsequent productions. Henry was Rogue Machine’s first Literary Manager and he created the Dramaturg’s Table, Rogue Machine’s ongoing new play development program. The Henry Murray Fund was created to nurture and support playwrights and new play development, two things Henry cared about deeply. If you wish to support this mission, we invite you to make a tax-deductible contribution to the Fund today. TO DONATE ONLINE: Go to www.RogueMachineTheatre.com. Click SUPPORT US and indicate a donation amount. In the NOTES section, add “For the HENRY MURRAY Fund.” TO DONATE BY MAIL: Make check payable to ROGUE MACHINE THEATRE and add “For the HENRY MURRAY Fund” on the MEMO line and mail to: Rogue Machine Theatre 12405 Venice Blvd. #153 Los Angeles, CA 90066
HENRY MURRAY FUND CONTRIBUTORS Anonymous Jerry & Adi Greenberg Tony Pasqualini Ambrosia Knutson Associates Emily Hertzberg Gary & Fre Pokoik Mary Appleton Betsy Hall & Sandy Keaton Bruce & Linda Porter William Brady & Marni Ayers Angelica Huston Thomas Proctor Lisa Beck Martha Hertzberg James Rasmussen & David Rinehart Mitch & Danielle Bloch Jennifer Howard & Robert Schwentke Stephanie Ramer Alexandra Rebecca Borys Susan Moss Homola Lee & Susan Wertheimer Ann Buck Gary Ireland & Elizabeth Zarlengo Gail Rogers Anne Gee Byrd Amber Ireland Gary Rosen & Holly Goldberg Sloan K Callan Linda Janger Rita Rubin Marcy Carsey Manson Jones & Susan Fitzgerald David A. & Karen Richards Sachs Arline Chambers Gary & Enid Freund Tom Safran Chaspen Foundation Mark Freund & Trice Koopman Whitney Sander Christopher Craig Trevor King Carol Schoen Jean Craig Laurie Lathem Nadine Semer Michael Cohen Martin Leon of Alisal Builders Corp Patricia Shanks Ry & Susan Cooder Martin Leffler Peggy Shinner Hannah Cox Brian Letscher Gabriel Simon Elina de Santos John Lichter & Linda Stonerock Calvin J. Sloan Jeffrey & Kirsten Dermer David Linde & Felicia Rosenfeld Maxwell Sloan Joan & Tom Dunsmuir Nancy Linehan Charles Sold Out Crowd Sylvie Drake Lynn Lobban Sherry Sonnett AnnaLisa Erickson Allan Mayer & Renee Vogel Ari & Martha Swiller Jeffrey Karoff & Nora Dvosin Carol Meckler Shane Valentino John Flynn & Ann Bronston Brian Nolan & Kadee Appleton Lewin Wertheimer Ben & Anna Forkner Dottie O’Carroll Mary Westerman Steffen & Deborah Foster Penny Orloff Diane Williams & Jeff Doryland John Gray Nina Paskowitz Jack & Sandra Williams Board of Directors Paula Holt, President/Chair John Perrin Flynn Neely Swanson, Vice President Chevon Hicks Bob Pinzler, Treasurer Perla Karney Jean Craig Stephanie Kerley Schwartz Maia Danziger Lesley Brander (Emeritus) Kerry English Lewin Wertheimer (Emeritus) Advisory Board Darrell Brown, Sheldon Epps, Hany Haddad, Annie Potts, and Oz Scott Production Team John Perrin Flynn+ ...... Artistic Director Elina de Santos+ ...... Co-Artistic Director Matthew Elkins+ ...... Producing Director Guillermo Cienfuegos ...... Producing Director Amanda Bierbauer+ ...... Production Manager David A. Mauer+ ...... Technical Director Jennifer Pollono+...... Off-the-Clock Producing Director Stephanie Kerley Schwartz+ ...... Resident Designer John Pollono*+...... Rant & Rave Producer Sara Fenton...... Rant & Rave Producer Betsy Zajko...... Rant & Rave Producer Tracie Lockwood+...... Around-the-Clock Producer Ramón Valdez...... Membership Coordinator Judith Borne+...... Publicist Joshua Bitton ...... Dramaturg’s Table Director Michelle Hanzelova ...... Theatre Media Producer Corryn Cummins ...... Social Media Coordinator Sam Kofford ...... Administrative Assistant * Playwright-in-Residence + Founding Member
For a complete list of our members, visit RogueMachineTheatre.com Mission Statement Rogue Machine only produces world premieres of new plays, primarily by Los Angeles based playwrights, and plays new to Los Angeles, including American, West Coast, and Regional premieres of significant contemporary theatrical works. Rogue Machine seeks to be a theatre of ideas and imagination, a theatre which mirrors and examines contemporary culture, a theatre which nurtures contemporary playwrights, and a theatre whose work continually engages the community and creates a dialogue which resonates after the curtain closes. Rogue Machine also considers building an audience for the future to be an important part of its mission and seeks to attract and serve a younger, more diverse Los Angeles adult audience. Visit us online at RogueMachineTheatre.com