PRIDE PRE&JUDICE About Theatreworks Silicon Valley December 2019 | Volume 51, No

DECEMBER 2019

PRIDE PRE&JUDICE About TheatreWorks Silicon Valley December 2019 | Volume 51, No. 4 Welcome to TheatreWorks Silicon Valley and our 50th season of award-winning theatre! Led by Founding Artistic Director Robert Kelley and Executive Director Phil Santora, TheatreWorks Silicon Valley presents a wide range of productions and programming throughout the region. Tim Bond will become TheatreWorks’ second-ever Artistic Director following Robert Kelley’s retirement in June 2020. Founded in 1970, we continue to celebrate the human spirit and the diversity of our community, presenting contemporary plays and musicals, revitalizing great works of the past, championing arts education, and nurturing new works for the American theatre. TheatreWorks has produced 70 world premieres and over 160 US and regional premieres. In June 2019, TheatreWorks received the highest honor for a theatre not on Broadway— the American Theatre Wing’s 2019 Regional Theatre Tony Award®. TheatreWorks’ 2018/19 season included the world premiere of Hershey Felder: A Paris Love Story, the West Coast premiere of Marie and Rosetta, and regional premieres of Hold These Truths, Native Gardens, Tuck Everlasting, and Archduke. Our 2017 world premiere, The Prince of Egypt, is slated to open on London’s West End in February 2020. With an annual operating budget of $11 million, TheatreWorks produces eight mainstage productions at the Lucie Stern Theatre in Palo Alto and the Mountain View Center for the Performing Arts. Eighteen years ago, we launched the New Works Initiative, dedicating ourselves to the development of new plays and musicals. The Initiative has since supported over 160 new ENCORE works through retreats, workshops, staged readings, developmental PAUL HEPPNER President productions, and the annual New Works Festival, inspiring The Mercury MIKE HATHAWAY Senior Vice President News to call us ”a premiere breeding ground for new musicals, which has KAJSA PUCKETT Vice President, put the company on the national map.” Sales & Marketing GENAY GENEREUX Accounting & TheatreWorks believes in making theatre accessible to the entire Silicon Valley Office Manager community. Our Education Department reaches on average 15,000 students Production from 70 schools in 7 counties annually. It sponsors outreach programs that SUSAN PETERSON Vice President, Production include the Children’s Healing Project at Lucile Packard Children’s Hospital, JENNIFER SUGDEN Assistant Production Manager the Young Playwrights Project, specially-priced student matinees, extensive ANA ALVIRA, STEVIE VANBRONKHORST school tours, post-show discussions, theatre camps, and programs for youth. Production Artists and Graphic Designers For more information on our 2019/20 season, New Works Initiative, and Sales MARILYN KALLINS, TERRI REED Education programs, please visit theatreworks.org or call 650.463.1960. San Francisco/Bay Area Account Executives BRIEANNA HANSEN, AMELIA HEPPNER, SHERRI JARVEY, ANN MANNING TheatreWorks Silicon Valley is a member of the League of Resident Theatres (LORT) and AFFILIATIONS— Seattle Area Account Executives operates under agreement between LORT and Actors’ Equity Association (AEA), the union of professional actors and stage managers in the United States. TheatreWorks is a constituent member of Theatre Communications CAROL YIP Sales Coordinator Group, Inc., the national organization for the nonprofit professional theatre. TheatreWorks is a member of the National Alliance for Musical Theatre, a national service organization for musical theatre. In addition, Marketing TheatreWorks is a member of Theatre Bay Area, the Palo Alto Chamber of Commerce, the Mountain View SHAUN SWICK Brand & Creative Manager Chamber of Commerce, and the Los Altos Chamber of Commerce. TheatreWorks’ 2019/20 Season is presented CIARA CAYA Marketing Coordinator in cooperation with the City of Mountain View and the City of Palo Alto, Community Services Department, Division of Arts and Sciences.

P H O T K E V I N B R Encore Media Group / The director is a member of the Society of 425 North 85th Street • Seattle, WA 98103 Stage Directors and Choreographers, Inc., 800.308.2898 • 206.443.0445 an independent national labor union. The T I S O N costume, lighting, and sound designers [email protected] are members of United Scenic Artists. Y M A encoremediagroup.com M A R

This season is supported in part by awards & from the National Endowment for the Arts Encore Arts Programs and Encore Stages are published and the California Arts Council, a state monthly by Encore Media Group to serve performing arts agency: www.arts.ca.gov T E L I events in the San Francisco Bay Area and Greater Seattle

Garden Court is the official J. Lohr is the official wine J U S T I N Center for the Performing Arts. TheatreWorks’ 2019/20 J. Lohr is the official wine hotel of TheatreWorks. of TheatreWorks. Season Media Sponsor of TheatreWorks. The Mercury News is TheatreWorks’ 2017/18 Season Media Sponsor. Hengehold Trucks is the official trucking provider of TheatreWorks. Hengehold Trucks is the official trucking provider of TheatreWorks. F R O N T C V E :

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encorespotlight.com 3

Untitled-3 1 4/30/19 12:16 PM In this Issue From the Board Chair

2 About TheatreWorks We’ve all experienced Jane Austen’s Pride and Prejudice Silicon Valley many times, in many different ways. There’s the book of course, and plays, and a series of movies that often spark 7 Gift Subscriptions debates about the merits of the Colin Firth version vs. the Keira Knightley version vs. whatever other version is out 9 TheatreWorks, Paul Gordon, there. IMDB.com lists nine film versions, the oldest of which and Magical Premieres was produced in 1938. It’s a classic love story and deserves

P E T R C H N O the wide audience it has found.

10 Jane Austen Now, thanks to Paul Gordon, Pride and Prejudice has become a musical. TheatreWorks has long been involved in developing new plays and musicals 11 The Regency Period and this World Premiere of Pride and Prejudice is a direct outgrowth of our 2018 New Works Festival, where it was one of the highlights. Paul has 13 Director’s Notes written wonderful songs that bring this well-known story new richness and vibrancy. Pride and Prejudice is TheatreWorks’ 70th world premiere, a truly amazing feat for a company that is only 50 years young.

TheatreWorks’ 50th season has been a great success so far. I hope you enjoyed Mark Twain’s River of Song as much as we did. In January, we’ll have the music-filled drama The Pianist of Willesden Lane, created by TheatreWorks favorite Hershey Felder and performed by renowned concert pianist Mona Golabek. It is followed by another hit from our New Works Festival, They Promised Her the Moon, the story of a prize-winning aviatrix who hoped to become the first woman in space. Please join us for all these great productions.

Jane Austen Enjoy the show.

15 TheatreWorks Silicon Valley presents Roy Johnson PRIDE AND PREJUDICE

17 WHO’S WHO BOARD OF TRUSTEES Roy Johnson, Chair 21 Austen’s Independent Woman Patricia Bresee Anne Hambly Ellice Papp Denise Brosseau Rose Hau Phil Santora Cabell Chinnis Ron Hayden Barbara Shapiro 25 Spotlight on Education Bill Coughran Judy Heyboer Nancy Ginsburg Stern Sarah Donaldson Charlotte Jacobs Lynn Szekely-Goode 26 Season of Giving Susan Fairbrook Derry Kabcenell Mark Vershel Peggy Woodford Forbes Michael Kahn Kristina Vetter Matt Fuller Julie Kaufman Holly Ward 27 TWSV Contributors Ciro Giammona Robert Kelley Lisa Webster Mark Greenstein Donald Matsuda Jane Weston 30 TWSV Staff BOARD EMERITUS Nancy Meyer, Founder • William F. Adler • Edward T. Anderson, MD • Doug Barry • Lauren Berman • 31 TWSV General Information Chuck Bernstein • Jayne Booker • Sharon Anthony Bower • Michael Braun • Polly W. Bredt • Bruce C. Cozadd • Jeff Crowe • Peggy Dalal • Yogen Dalal • Jenny Dearborn • Susan Fairbrook • Michael R. Flicker • Dan Garber • Doug Garland • Aaron Gershenberg • Marcia Goldman • Emeri Handler • Larry Horton • Susan M. Huch • Perry A. Irvine • Nancy Lee Jalonen • Lisa Jones • Gina Jorasch • Roberta Continue the conversation online! R. Katz • Tom Kelley • Robin Kennedy • Michael Kwatinetz • Dick Maltzman • Suzanne Martin • Patti McClung • Don McDougall • Bruce McLeod • Cynthia S. Miller • Leslie Murphy-Chutorian • Eileen Nelson • Karen Nierenberg • Carrie Perzow • Carey Pickus • Margot Mailliard Rawlins • John Reis • Eddie Reynolds • Sandi Risser • Lynn Wilson Roberts • Ray A. Rothrock • Loren Saxe • Denise Stanford • Debra Summers • Rosina Lo Sun • James Sweeney • Cathie Thermond • Ewart Thomas • Helaina @TheatreWorksSV Titus • Tzipor Ulman • Robert J. Van der Leest, MD • Ronni Watson • Elissa Wellikson • Gayla Lorthridge Wood

4 THEATREWORKS In this Issue From the Board Chair

P E T R C H N O the wide audience it has found.

Jane Austen Enjoy the show.

15 TheatreWorks Silicon Valley presents Roy Johnson PRIDE AND PREJUDICE

Skip the shopping rush this year and save up to 50% OFF the single ticket price.

FIVE SHOWS FOR $200 Pride and Prejudice The Pianist of Willesden Lane They Promised Her the Moon Palo Alto’s best address. Ragtime The Book of Will Located steps from downtown Palo Alto and University Avenue and just blocks from Stanford, Webster House offers you world-class community living. The area is perfect for exploring by foot with museums, FOUR SHOWS FOR $160 performances, dining, shopping, and galleries all close at hand. The Pianist of Willesden Lane They Promised Her the Moon An intimate Life Plan Community, Webster House makes it easy for you to Ragtime stay connected to the culture, academia, and vibrancy of Palo Alto while The Book of Will enjoying convenient services and security for the future.

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With prices this low, you can get one for everyone on your list—including yourself! covia.org/webster-house 401 Webster St, Palo Alto, CA 94301 theatreworks.org 650.463.1960 [email protected] * Seating in Gold and Silver zones only; Platinum seats not eligible for this offer. A not-for-profit community owned and operated by Covia. License No. 435202504 COA# 328 Prices valid for new subscription purchases only; cannot be applied to current or previously purchased subscriptions. Gift Subscriptions have arrived!

Skip the shopping rush this year and save up to 50% OFF the single ticket price.

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theatreworks.org 650.463.1960 [email protected] * Seating in Gold and Silver zones only; Platinum seats not eligible for this offer. Prices valid for new subscription purchases only; cannot be applied to current or previously purchased subscriptions.

encorespotlight.com 7 TheatreWorks, Paul Gordon, and Magical Premieres The Top 5 Reasons People Love TheatreWorks audiences first Carnaby Street in 1960s London, retaining much of their Avenidas Village Membership! became acquainted with composer Wilde’s text but inserting original, ‘60s inspired music. Paul Gordon’s work when we Though markedly different from the previous period produced the West Coast Premiere musicals we’d seen from him before, Being Earnest was of Jane Eyre in 2003, following its close to Gordon’s roots. In his “former life” (before he I depend on my I appreciate the seven-month run on Broadway. began writing for the theatre), Gordon was a song- Avenidas Village I love the vast network of With music and lyrics by Gordon writer for major music publishing companies, with “Med-Pal” volunteer to I feel safer transportation vetted vendors and and book by Tony Award winner several hits on the Billboard Pop Charts. Clearly, Paul take notes for me at my because of assistance and the pre-negotiated John Caird, the Broadway produc- Gordon’s music and talent transcend traditional genres. doctors’ appointments! I enjoy all the 24/7 free rides to discounts! tion garnered five Tony Award nominations, including Avenidas! the social TheatreWorks audiences then celebrated two consecu- assistance! Best Musical and Best Original Score. TheatreWorks’ activities! production was a much-acclaimed hit, and established tive holiday seasons with revivals of Gordon’s beloved what would become a very special relationship between works—Emma returned in 2015 and Daddy Long Legs Gordon and the TheatreWorks community. in 2016. This year we have even greater cause for celebration—a brand new Paul Gordon World Premiere. Following Jane Eyre, Gordon turned his attention to Jane Austen’s Emma, this time writing both the music and the Pride and Prejudice got its start at TheatreWorks’ book for his adaptation. Emma first graced TheatreWorks’ 2018 New Works Festival. Gordon’s most devoted fans stage during the New Works Festival in 2006, directed by packed the house during each of the show’s develop- Artistic Director Robert Kelley. Even in its infancy it was mental readings—clearly, TheatreWorks audiences clear that Emma was destined to become an audience were eager for more of his work. Pride and Prejudice favorite. TheatreWorks’ World Premiere production opened in August 2007, marking the company’s 50th “...in this piece, the music gets a more world premiere. It was a momentous occasion, made all contemporary feel, including a the better by the fact that the show was TheatreWorks born and bred. Emma became one of the biggest hits in percussionist in the orchestra to give TheatreWorks history, smashing box office records and the songs a more modern flavor...” drawing more patrons than any previous production. It has We’ve added a new benefit to the Avenidas Village membership program. since gone on to productions across the country. continues Gordon’s tradition of adapting classic works Come learn more about all these benefits, along with our newest of literature, but for this piece the music gets a more In the years that followed, TheatreWorks’ audiences offering of free & discounted rides, at a Coffee Chat. contemporary feel, including a percussionist in the continued to enjoy Gordon’s new works. In 2007 he wrote Over a cup of coffee, you’ll hear from members how Avenidas Village enriches their lives. orchestra to give the songs a more modern flavor, a the music for our “summer of love” production of first for Gordon’s Austen adaptations. Though the play Shakespeare’s Twelfth Night. Then in 2010 TheatreWorks is still set in Jane Austen’s time, with costuming from To find out more about Avenidas Village, DECEMBER JANUARY teamed up with Ventura’s Rubicon Theater to co-produce England’s Regency period, certain characters have feel free to call, stop by or attend one of Tuesday, 12/3 at 2pm Thursday, 1/9 at 2pm the World Premiere of Daddy Long Legs, another what director Robert Kelley describes as “modern our monthly Coffee Chats. Tuesday, 12/17 at 2pm Tuesday, 1/21 at 2pm collaboration with book writer John Caird. Another elements included in their look.” instant classic, Daddy Long Legs has since been produced To register, call (650) 289-5405 or visit www.avenidasvillage.org throughout the United States as well as in Canada, Tokyo, A marvelous, musical retelling of one of literature’s Seoul, and London’s West End. In 2015, Daddy Long most beloved tales, Pride and Prejudice marks another Legs became the first Off-Broadway production to be momentous occasion in TheatreWorks’ history—a dozen broadcast live online for free, watched by over 150,000 years after Emma became our 50th World Premiere, people in 135 countries. Pride and Prejudice becomes our 70th. As we celebrate this milestone, in the midst of a milestone 50th Season, TheatreWorks audiences saw a somewhat different side of we are thankful for the terrific artists and wonderful Gordon with the 2013 World Premiere of Being Earnest, relationships that have made TheatreWorks a place written with Jay Gruska. This new musical reimagined 450 Bryant Street, Palo Alto, CA 94301 where new works thrive. – KATIE DAI Oscar Wilde’s The Importance of Being Earnest on TheatreWorks, Paul Gordon, and Magical Premieres

TheatreWorks audiences first Carnaby Street in 1960s London, retaining much of became acquainted with composer Wilde’s text but inserting original, ‘60s inspired music. Paul Gordon’s work when we Though markedly different from the previous period produced the West Coast Premiere musicals we’d seen from him before, Being Earnest was of Jane Eyre in 2003, following its close to Gordon’s roots. In his “former life” (before he seven-month run on Broadway. began writing for the theatre), Gordon was a song- With music and lyrics by Gordon writer for major music publishing companies, with and book by Tony Award winner several hits on the Billboard Pop Charts. Clearly, Paul John Caird, the Broadway produc- Gordon’s music and talent transcend traditional genres. tion garnered five Tony Award nominations, including Best Musical and Best Original Score. TheatreWorks’ TheatreWorks audiences then celebrated two consecu- production was a much-acclaimed hit, and established tive holiday seasons with revivals of Gordon’s beloved what would become a very special relationship between works—Emma returned in 2015 and Daddy Long Legs Gordon and the TheatreWorks community. in 2016. This year we have even greater cause for celebration—a brand new Paul Gordon World Premiere. Following Jane Eyre, Gordon turned his attention to Jane Austen’s Emma, this time writing both the music and the Pride and Prejudice got its start at TheatreWorks’ book for his adaptation. Emma first graced TheatreWorks’ 2018 New Works Festival. Gordon’s most devoted fans stage during the New Works Festival in 2006, directed by packed the house during each of the show’s develop- Artistic Director Robert Kelley. Even in its infancy it was mental readings—clearly, TheatreWorks audiences clear that Emma was destined to become an audience were eager for more of his work. Pride and Prejudice favorite. TheatreWorks’ World Premiere production opened in August 2007, marking the company’s 50th “...in this piece, the music gets a more world premiere. It was a momentous occasion, made all contemporary feel, including a the better by the fact that the show was TheatreWorks born and bred. Emma became one of the biggest hits in percussionist in the orchestra to give TheatreWorks history, smashing box office records and the songs a more modern flavor...” drawing more patrons than any previous production. It has since gone on to productions across the country. continues Gordon’s tradition of adapting classic works of literature, but for this piece the music gets a more In the years that followed, TheatreWorks’ audiences contemporary feel, including a percussionist in the continued to enjoy Gordon’s new works. In 2007 he wrote orchestra to give the songs a more modern flavor, a the music for our “summer of love” production of first for Gordon’s Austen adaptations. Though the play Shakespeare’s Twelfth Night. Then in 2010 TheatreWorks is still set in Jane Austen’s time, with costuming from teamed up with Ventura’s Rubicon Theater to co-produce England’s Regency period, certain characters have the World Premiere of Daddy Long Legs, another what director Robert Kelley describes as “modern collaboration with book writer John Caird. Another elements included in their look.” instant classic, Daddy Long Legs has since been produced throughout the United States as well as in Canada, Tokyo, A marvelous, musical retelling of one of literature’s Seoul, and London’s West End. In 2015, Daddy Long most beloved tales, Pride and Prejudice marks another Legs became the first Off-Broadway production to be momentous occasion in TheatreWorks’ history—a dozen broadcast live online for free, watched by over 150,000 years after Emma became our 50th World Premiere, people in 135 countries. Pride and Prejudice becomes our 70th. As we celebrate this milestone, in the midst of a milestone 50th Season, TheatreWorks audiences saw a somewhat different side of we are thankful for the terrific artists and wonderful Gordon with the 2013 World Premiere of Being Earnest, relationships that have made TheatreWorks a place written with Jay Gruska. This new musical reimagined where new works thrive. – KATIE DAI Oscar Wilde’s The Importance of Being Earnest on

encorespotlight.com 9 The RegencyPeriod On December 16, 1775, Jane Austen In 1802 Austen received a The Regency is best remembered for being a period Men and women would greet each other using formal was born to George and Cassandra marriage proposal from Harris of great elegance and social refinement—contempo- titles that acknowledged age, birth rank, and aristo- Austen, the seventh of eight Big-Wither, the brother of an old rary depictions of the Regency highlight the vibrant cratic class. To disregard these rules—to refer to children. The family was part of friend. The match would have balls, delicate styles of dress, and the intricate systems someone to whom one was not related or engaged by the lower echelon of the landed secured her family’s future, and of courtship. Surprisingly, this era lasted only nine their first name, for example—would be an act of gentry, residing in Steventon, for that reason she accepted. years—from 1811 to 1820—after King George III was impropriety. Hampshire, where George Austen The next day, however, she declared insane and his son, George IV, became The hours of the day were also decided by social was rector. To supplement their recanted. It seems she simply Prince Regent. Yet, within that short time, a series of convention: there were hours for paying social calls, income, George also farmed and felt no affection for the man. social practices and rules of propriety developed that hours for tea, hours for letter writing, and hours for tutored. Austen’s father fell ill and would become iconic in British history. evening visitors. The procession through these events While she was growing up, died January 21, 1805. This threw During these years, British society was dominated followed a specific order and rhythm. The family Austen’s family valued creativity the family into turmoil—the Austen by the aristocracy, which was comprised of about 200 dinner, for example, which was the largest and most and learning. Though she spent women were now entirely depend- families. These families could trace their nobility back important meal of the day, was served with as many some time at boarding school study- ent on Jane’s brothers to support for generations and were often exceptionally wealthy courses and on the finest china and silver plate that ing French, music, and dancing, the them. For four years they lived an because of their large historic land holdings. The next the house could afford. After dinner, the women majority of Austen’s education came from unsettled life, moving frequently until 1809 tier of society was made up of the landed gentry— would retire to the drawing room while the men reading from her father’s vast library. She was when Jane’s brother Edward, who had been non-titled families whose wealth was derived from stayed in the dining room to smoke and drink. The encouraged to read, write, and draw, and the family adopted by wealthy cousins, offered them a cottage rents charged on their land holdings. These families men would later join the women and all would partake frequently staged plays in their home. It was in this in Chawton village. In this setting, Austen was finally were often also very wealthy, but their legacies were of tea. The members of the family would then enter- nurturing environment that one of England’s greatest able to return to her writing. more uncertain, as contemporary rules of inheritance tain themselves with talk, cards, live performances at literary minds was formed. In 1811, with the help of her brother Henry, left the whole of the family estate to the eldest son. the piano, and occasionally impromptu dances. Around the age of twelve, Austen began filling Austen found a publisher for Elinor and Marianne, Younger sons had to either find work in a respectable Dancing most often took place, however, at the volumes with poems and fiction. She tried out various retitled Sense and Sensibility. The novel was printed profession—the army, the clergy, or the law—or ball—the most structured and yet the most liberating forms, parodying popular literature in her original anonymously—the title page indicated only that it marry into an aristocratic family in order to make a liv- social event in the Regency world. It was structured in stories and poems. These works would be published was penned by “a lady.” Popular with readers and ing. Most upper class women had little financial secu- the sense that the dances were British country dances under the title Juvenilia years after her death. critics, it was followed in 1813 by the publication of rity except through their husbands, which is why many where couples moved in pre-established In 1795, Austen completed Lady Susan, a short First Impressions, now called Pride and Prejudice. spent the majority of their youths cultivating skills patterns. Yet it was liberating in that the intimacy of epistolary novel which marked a turning point in her With the public hungry for more works by the anony- that would make them more eligible for a good a dance provided a unique opportunity for private writing. She then began work on her first full-length mous “lady,” Mansfield Park was printed in 1814. marriage to a wealthy, landed gentleman. conversation between men and women. In the general novel, Elinor and Marianne. Though little is known of Sales of Austen’s works were so strong, she moved Society women during the Regency would be hubbub and whirl of a quadrille, two people could her personal life, her letters indicate that a relation- to a larger publishing house. taught skills such as painting, embroidery, and musical talk without being clearly overheard by the masses ship bloomed between Austen and Thomas Lefroy in Emma was published in 1815, and Mansfield Park performance. A gentleman’s daughter would have around them. Those who were not inclined to dance December, 1795. Lefroy was the nephew of a neighbor received a second printing soon after. Though Emma been literate and potentially have learned one or two could also find a ball enjoyable, as there were often who relied on external financial support while he did well, sales of Mansfield Park’s reprint did not. elegant foreign languages like French or Italian, but rooms adjacent to the ballroom in which one could studied. Lefroy’s family took note of the flirtation and Financial problems in the family prevented publica- would have received little other education. Some play cards, drink tea, and make light conversation. sent him away, as Austen’s financial prospects weren’t tion of her next novel, The Elliots. women did work as governesses or as teachers, but a Regency society was not very kind to Jane any better than his. The two were kept apart for the In 1816, Austen’s health began to decline. She woman working was regarded unfavorably and it was Austen, an unmarried female supporting herself remainder of their lives. continued to work for some time, revising The Elliots assumed that one would only do so out of necessity. through literary work. Though her works were The period that followed was a productive one. and beginning another novel, but by the spring of Most women were married by the age of 25, though widely read during her lifetime, they did not bear her The first draft of her second novel, which she called 1817 she was confined to a bed, and in May she many married in their teens. The essential importance name—she published anonymously. Austen was not First Impressions, was completed by 1797. She also travelled to Winchester for medical treatment. of developing one’s refinements and of making a personally accepted into the highest circles of society revised Elinor and Marianne, and drafted a third novel She died there on July 18, 1817, and is buried in good match, for the sake of one’s family’s livelihood and experienced a fair degree of social judgment. titled Susan. Winchester Cathedral. as well as that of the individual, is a common theme Ironically, the social world of the Regency became In 1800, George Austen surprised everyone by After her death, Austen’s family arranged to throughout all of Jane Austen’s novels. immortalized through the descriptions of one whom retiring and moving the family to Bath. Jane did not have her remaining unpublished works printed. Women and men met in a highly regulated social that world rejected as a social deviant. – HOLLY DAYTON welcome the change, as it meant leaving the only Northanger Abbey and Persuasion, formerly known world, in which each interaction occurred under a home she’d ever known. She wrote little—making a as Susan and The Elliots, respectively, were published clearly established code of manners and behaviors. few revisions to Susan, starting and then abandoning as a set collection, along with a biographical note another novel. finally identifying Austen as the author. – KATIE DAI

10 THEATREWORKS The RegencyPeriod On December 16, 1775, Jane Austen In 1802 Austen received a The Regency is best remembered for being a period Men and women would greet each other using formal was born to George and Cassandra marriage proposal from Harris of great elegance and social refinement—contempo- titles that acknowledged age, birth rank, and aristo- Austen, the seventh of eight Big-Wither, the brother of an old rary depictions of the Regency highlight the vibrant cratic class. To disregard these rules—to refer to children. The family was part of friend. The match would have balls, delicate styles of dress, and the intricate systems someone to whom one was not related or engaged by the lower echelon of the landed secured her family’s future, and of courtship. Surprisingly, this era lasted only nine their first name, for example—would be an act of gentry, residing in Steventon, for that reason she accepted. years—from 1811 to 1820—after King George III was impropriety. Hampshire, where George Austen The next day, however, she declared insane and his son, George IV, became The hours of the day were also decided by social was rector. To supplement their recanted. It seems she simply Prince Regent. Yet, within that short time, a series of convention: there were hours for paying social calls, income, George also farmed and felt no affection for the man. social practices and rules of propriety developed that hours for tea, hours for letter writing, and hours for tutored. Austen’s father fell ill and would become iconic in British history. evening visitors. The procession through these events While she was growing up, died January 21, 1805. This threw During these years, British society was dominated followed a specific order and rhythm. The family Austen’s family valued creativity the family into turmoil—the Austen by the aristocracy, which was comprised of about 200 dinner, for example, which was the largest and most and learning. Though she spent women were now entirely depend- families. These families could trace their nobility back important meal of the day, was served with as many some time at boarding school study- ent on Jane’s brothers to support for generations and were often exceptionally wealthy courses and on the finest china and silver plate that ing French, music, and dancing, the them. For four years they lived an because of their large historic land holdings. The next the house could afford. After dinner, the women majority of Austen’s education came from unsettled life, moving frequently until 1809 tier of society was made up of the landed gentry— would retire to the drawing room while the men reading from her father’s vast library. She was when Jane’s brother Edward, who had been non-titled families whose wealth was derived from stayed in the dining room to smoke and drink. The encouraged to read, write, and draw, and the family adopted by wealthy cousins, offered them a cottage rents charged on their land holdings. These families men would later join the women and all would partake frequently staged plays in their home. It was in this in Chawton village. In this setting, Austen was finally were often also very wealthy, but their legacies were of tea. The members of the family would then enter- nurturing environment that one of England’s greatest able to return to her writing. more uncertain, as contemporary rules of inheritance tain themselves with talk, cards, live performances at literary minds was formed. In 1811, with the help of her brother Henry, left the whole of the family estate to the eldest son. the piano, and occasionally impromptu dances. Around the age of twelve, Austen began filling Austen found a publisher for Elinor and Marianne, Younger sons had to either find work in a respectable Dancing most often took place, however, at the volumes with poems and fiction. She tried out various retitled Sense and Sensibility. The novel was printed profession—the army, the clergy, or the law—or ball—the most structured and yet the most liberating forms, parodying popular literature in her original anonymously—the title page indicated only that it marry into an aristocratic family in order to make a liv- social event in the Regency world. It was structured in stories and poems. These works would be published was penned by “a lady.” Popular with readers and ing. Most upper class women had little financial secu- the sense that the dances were British country dances under the title Juvenilia years after her death. critics, it was followed in 1813 by the publication of rity except through their husbands, which is why many where couples moved in pre-established In 1795, Austen completed Lady Susan, a short First Impressions, now called Pride and Prejudice. spent the majority of their youths cultivating skills patterns. Yet it was liberating in that the intimacy of epistolary novel which marked a turning point in her With the public hungry for more works by the anony- that would make them more eligible for a good a dance provided a unique opportunity for private writing. She then began work on her first full-length mous “lady,” Mansfield Park was printed in 1814. marriage to a wealthy, landed gentleman. conversation between men and women. In the general novel, Elinor and Marianne. Though little is known of Sales of Austen’s works were so strong, she moved Society women during the Regency would be hubbub and whirl of a quadrille, two people could her personal life, her letters indicate that a relation- to a larger publishing house. taught skills such as painting, embroidery, and musical talk without being clearly overheard by the masses ship bloomed between Austen and Thomas Lefroy in Emma was published in 1815, and Mansfield Park performance. A gentleman’s daughter would have around them. Those who were not inclined to dance December, 1795. Lefroy was the nephew of a neighbor received a second printing soon after. Though Emma been literate and potentially have learned one or two could also find a ball enjoyable, as there were often who relied on external financial support while he did well, sales of Mansfield Park’s reprint did not. elegant foreign languages like French or Italian, but rooms adjacent to the ballroom in which one could studied. Lefroy’s family took note of the flirtation and Financial problems in the family prevented publica- would have received little other education. Some play cards, drink tea, and make light conversation. sent him away, as Austen’s financial prospects weren’t tion of her next novel, The Elliots. women did work as governesses or as teachers, but a Regency society was not very kind to Jane any better than his. The two were kept apart for the In 1816, Austen’s health began to decline. She woman working was regarded unfavorably and it was Austen, an unmarried female supporting herself remainder of their lives. continued to work for some time, revising The Elliots assumed that one would only do so out of necessity. through literary work. Though her works were The period that followed was a productive one. and beginning another novel, but by the spring of Most women were married by the age of 25, though widely read during her lifetime, they did not bear her The first draft of her second novel, which she called 1817 she was confined to a bed, and in May she many married in their teens. The essential importance name—she published anonymously. Austen was not First Impressions, was completed by 1797. She also travelled to Winchester for medical treatment. of developing one’s refinements and of making a personally accepted into the highest circles of society revised Elinor and Marianne, and drafted a third novel She died there on July 18, 1817, and is buried in good match, for the sake of one’s family’s livelihood and experienced a fair degree of social judgment. titled Susan. Winchester Cathedral. as well as that of the individual, is a common theme Ironically, the social world of the Regency became In 1800, George Austen surprised everyone by After her death, Austen’s family arranged to throughout all of Jane Austen’s novels. immortalized through the descriptions of one whom retiring and moving the family to Bath. Jane did not have her remaining unpublished works printed. Women and men met in a highly regulated social that world rejected as a social deviant. – HOLLY DAYTON welcome the change, as it meant leaving the only Northanger Abbey and Persuasion, formerly known world, in which each interaction occurred under a home she’d ever known. She wrote little—making a as Susan and The Elliots, respectively, were published clearly established code of manners and behaviors. few revisions to Susan, starting and then abandoning as a set collection, along with a biographical note another novel. finally identifying Austen as the author. – KATIE DAI

encorespotlight.com 11 Director’s Notes by Artistic Director Robert Kelley

I’m headstrong, finding my own way, Not afraid to say the things I feel And I don’t care what they reveal. – Elizabeth Bennet in TheatreWorks’ Pride and Prejudice

At TheatreWorks we consider our holiday shows a special gift to our community, a chance to share the joy, energy, and good will of the season with our friends throughout the Bay Area. This year’s gift is a beloved novel turned musical, a Pride and Prejudice overflowing with romance, laughter, and resonant themes. It centers on a family navigating a sea of possibilities as five daughters begin to explore their own futures. Written over two centuries ago in an era burdened with

K E V I N B R limited possibilities for women, its heroine is the magnificently modern Elizabeth Bennet, determined to make her own choices in a world of rigid social conventions. Enlivened with insightful and wonderfully lyrical songs, Paul Gordon’s adaptation asks us a timeless question that has defined the battle of the sexes since time began: “What is the secret to happiness in life—and love?”

When Pride and Prejudice was published in 1813, Jane Austen turned a satirical eye on society, Our future. Your legacy. discovering both pride and prejudice in the complex dance of courtship and marriage that dominated it. As her heroine Lizzy Bennet contemplates her place in such a world, she fights to You can create a personal legacy for the ocean. With a gift from your estate plan, maintain her independence, wondering if equality could ever even the equation of the sexes. you will support our conservation work to protect the ocean for future generations. But she must balance her own mixed feelings for the perplexing Mr. Darcy, whose wealth and prominence have drawn the attention of all. He, too, is caught in a world of social expectations “We are tackling the gravest threats to ocean health. well defined in the novel’s first sentence: “It is a truth universally acknowledged, that a single One of the most important things we can do is inspire man in possession of a large fortune, must be in want of a wife.” His defensive response has led people to become leaders in creating a bright future —— to a life empty of love. for the ocean and for all who depend on it.” Begun in our New Works Festival and now highlighting my final season as Artistic Director, Pride —— Julie Packard, Executive Director and Prejudice is my sixth show in collaboration with Paul Gordon, its brilliant creator. I can’t thank him enough for his faith in the company and the joy he has brought us all. This is our 70th World Premiere—what better way to celebrate TheatreWorks and the innovative Silicon Valley from which Please contact Mary Mullen in our Gift Planning Ofﬁ ce at 831.648.4913 it grew. or [email protected] to learn more about the many ways you can support the Monterey Bay Aquarium. To the warmth of this holiday season, we add the love of music, the ring of laughter, and the mystery of romance. We offer a festive toast to everyone in our extended theatre family: forego pride, overcome prejudice, then fall in love.

Robert Kelley The Monterey Bay Aquarium is a 501(c)3 non-proﬁ t organization. Tax ID# 94-2487469. Director’s Notes by Artistic Director Robert Kelley

I’m headstrong, finding my own way, Not afraid to say the things I feel And I don’t care what they reveal. – Elizabeth Bennet in TheatreWorks’ Pride and Prejudice

When Pride and Prejudice was published in 1813, Jane Austen turned a satirical eye on society, discovering both pride and prejudice in the complex dance of courtship and marriage that dominated it. As her heroine Lizzy Bennet contemplates her place in such a world, she fights to maintain her independence, wondering if equality could ever even the equation of the sexes. But she must balance her own mixed feelings for the perplexing Mr. Darcy, whose wealth and prominence have drawn the attention of all. He, too, is caught in a world of social expectations well defined in the novel’s first sentence: “It is a truth universally acknowledged, that a single man in possession of a large fortune, must be in want of a wife.” His defensive response has led to a life empty of love.

Begun in our New Works Festival and now highlighting my final season as Artistic Director, Pride and Prejudice is my sixth show in collaboration with Paul Gordon, its brilliant creator. I can’t thank him enough for his faith in the company and the joy he has brought us all. This is our 70th World Premiere—what better way to celebrate TheatreWorks and the innovative Silicon Valley from which it grew.

To the warmth of this holiday season, we add the love of music, the ring of laughter, and the mystery of romance. We offer a festive toast to everyone in our extended theatre family: forego pride, overcome prejudice, then fall in love.

Robert Kelley

encorespotlight.com 13 Robert Kelley, Artistic Director Phil Santora, Executive Director present THE WORLD PREMIERE OF PRIDE PREJUDICE Book, music, and lyrics by Paul Gordon Base&d on the novel by Jane Austen Directed by Robert Kelley Musical Director William Liberatore Music Supervisor/Orchestrations & Arrangements Conor Keelan Scenic Designer Joe Ragey Costume Designer Fumiko Bielefeldt Lighting Designer Pamila Z. Gray Sound Designer Brendan Aanes Choreographer Dottie Lester White Dialect Coach Kimberly Mohne Hill Associate Director Brandon Jackson A TRIUMPHANT TOUR DE FORCE Casting Director Jeffrey Lo New York Casting Director Alan Filderman Hershey Felder presents Stage Manager Randall K. Lum* Mona Golabek in Assistant Stage Managers Amy Smith Goodman* Emily Anderson Wolf* PRIDE AND PREJUDICE is the recipient of a TheatreWorks Silicon Valley Kurjan/Butler Commission The Pianist of and was developed as a part of TheatreWorks’ New Works Festival. VISIONARY PRODUCERS Willesden Lane Becky & Jim Morgan EXECUTIVE PRODUCERS Adapted and Directed by Hershey Felder Marsha & Bill Adler • Phil Kurjan & Noel Butler Based on the book The Children of Willesden Lane by Mona Golabek and Lee Cohen PRODUCERS Polly & Tom Bredt • Wynne & John Dobyns • Rose Hau & Jim Heslin Jan 15–Feb 9, 2020 Charlotte Jacobs & Roderick Young • Leigh & Roy Johnson • Tom & Sharon Kelley • Dorothy Saxe Mountain View Center for the Performing Arts SEASON SPONSORS J. Lohr Vineyards & Wines • San Francisco Chronicle • Sobrato Philanthropies theatreworks.org 650.463.1960 VIDEOTAPING OR OTHER VIDEO OR AUDIO RECORDING OF THIS PRODUCTION IS STRICTLY PROHIBITED. PRIDE AND PREJUDICE PLAYS DECEMBER 4, 2019–JANUARY 4, 2020.

14 THEATREWORKS Robert Kelley, Artistic Director Phil Santora, Executive Director present THE WORLD PREMIERE OF PRIDE PREJUDICE Book, music, and lyrics by Paul Gordon Base&d on the novel by Jane Austen Directed by Robert Kelley Musical Director William Liberatore Music Supervisor/Orchestrations & Arrangements Conor Keelan Scenic Designer Joe Ragey Costume Designer Fumiko Bielefeldt Lighting Designer Pamila Z. Gray Sound Designer Brendan Aanes Choreographer Dottie Lester White Dialect Coach Kimberly Mohne Hill Associate Director Brandon Jackson A TRIUMPHANT TOUR DE FORCE Casting Director Jeffrey Lo New York Casting Director Alan Filderman Hershey Felder presents Stage Manager Randall K. Lum* Mona Golabek in Assistant Stage Managers Amy Smith Goodman* Emily Anderson Wolf* PRIDE AND PREJUDICE is the recipient of a TheatreWorks Silicon Valley Kurjan/Butler Commission The Pianist of and was developed as a part of TheatreWorks’ New Works Festival. VISIONARY PRODUCERS Willesden Lane Becky & Jim Morgan EXECUTIVE PRODUCERS Adapted and Directed by Hershey Felder Marsha & Bill Adler • Phil Kurjan & Noel Butler Based on the book The Children of Willesden Lane by Mona Golabek and Lee Cohen PRODUCERS Polly & Tom Bredt • Wynne & John Dobyns • Rose Hau & Jim Heslin Jan 15–Feb 9, 2020 Charlotte Jacobs & Roderick Young • Leigh & Roy Johnson • Tom & Sharon Kelley • Dorothy Saxe Mountain View Center for the Performing Arts SEASON SPONSORS J. Lohr Vineyards & Wines • San Francisco Chronicle • Sobrato Philanthropies theatreworks.org 650.463.1960 VIDEOTAPING OR OTHER VIDEO OR AUDIO RECORDING OF THIS PRODUCTION IS STRICTLY PROHIBITED. PRIDE AND PREJUDICE PLAYS DECEMBER 4, 2019–JANUARY 4, 2020.

encorespotlight.com 15 TIME & PLACE The English countryside, 1810

PRIDE AND PREJUDICE WILL BE PERFORMED WITH ONE 15-MINUTE INTERMISSION.

THE CAST In order of appearance Elizabeth Bennet Mary Mattison* Charlotte Lucas/Georgiana Darcy Dani Marcus* Mary Bennet Melissa WolfKlain* Mrs. Bennet Heather Orth Mr. Bennet/Pemberley Steward Christopher Vettel* Jane Bennet Sharon Rietkerk* Lydia Bennet Tara Kostmayer* Kitty Bennet Chanel Tilghman Mr. Bingley Travis Leland* Mr. Darcy Justin Mortelliti* Miss Caroline Bingley/Ann De Bourgh Monique Hafen Adams* Mr. Collins/Mr. Gardiner Brian Herndon* Mr. Wickham Taylor Crousore* Captain Denny/Colonel Fitzwilliam Sean Fenton* Lady Catherine De Bourgh/Mrs. Gardiner Lucinda Hitchcock Cone* Lady’s Maids Samantha Ayoob Michelle Skinner Heather Mae Steffen Footman Seton Chiang

* M e m b e r s o f A c t o rs ’ E q u it y A s s o c i a t i o n , t h e U n i o n o f P r ofessional Actors and Stage Managers in the United States.

THE BAND Violin Christina Mok Cello Lucas Chen Horn Diane Ryan Bass Sascha Jacobsen Guitar Schuyler McFadden Percussion Artie Storch

Contractor Diane Ryan Music Preparation Jonathan Bauerfeld All musicians are members of the American Federation of Musicians of the United States and Canada.

SPECIAL THANKS

B. Modern, Santa Cruz Shakespeare • Pam Lampkin, Hillbarn Theatre Audrey Walker, CSU Sacramento • Alyssa Oania, Opera San José • Kathy Griffith, Berkeley Rep

16 THEATREWORKS TIME & PLACE LUCINDA SEAN FENTON Who’s Who HITCHCOCK CONE (Captain Denny/ The English countryside, 1810 (Lady Catherine Colonel Fitzwilliam) MONIQUE HAFEN De Bourgh/Mrs. has performed with ADAMS (Miss PRIDE AND PREJUDICE WILL BE PERFORMED WITH ONE 15-MINUTE INTERMISSION. Gardiner) appeared at TheatreWorks in The Caroline Bingley) is TheatreWorks in Tuck Four Immigrants: An thrilled to make her Everlasting, Outside American Musical THE CAST TheatreWorks main- Mullingar, Big River, Manga (Fred), The In order of appearance stage debut! She was Clean House, Ragtime, and Cabaret. She Bridges of Madison County (Paulo), and last seen at TW in the Elizabeth Bennet appeared in the National Tour of Big A Little Night Music. Other credits Mary Mattison* 2017 and 2018 New River, and played Linda Loman in Death include: Fiorello! (Neil) at 42nd Street Charlotte Lucas/Georgiana Darcy Dani Marcus* Works Festivals. Other Bay Area credits of a Salesman at San Jose Stage Co. Moon; Two Mile Hollow (Christopher) at include American Conservatory Theater Mary Bennet Melissa WolfKlain* Other regional credits: Hartford Stage, Ferocious Lotus Theatre Co.; James (Top Girls, A Walk on the Moon); SF Mrs. Bennet Arizona Theatre Co., Indiana Rep, and the Giant Peach (Ladahlord) for Bay Heather Orth Playhouse (Harper Regan, My Fair Lady, Mr. Bennet/Pemberley Steward Christopher Vettel* Camelot, Company, Into the Woods, Portland Stage, Syracuse Stage, Geva Area Children’s Theatre and Shanghai M. Butterfly City of Angels, She Loves Me, Noises Theatre Center, St. Louis Rep, Folger Children’s Art Theatre; Jane Bennet Sharon Rietkerk* Theatre, American Conservatory Theater, (Song Liling) for Custom Made Theatre Off); San Jose Stage Co. (Sweeney Todd, Lydia Bennet Berkeley Rep, San Jose Rep, Sacramento Co. and Nevada Theatre; You’re a Tara Kostmayer* The Threepenny Opera, Avenue Q); Music Circus, Capital Stage, B Street Good Man, Charlie Brown (Linus) for Kitty Bennet Chanel Tilghman Center REP (The Liar, The Storytelling Theatre, Aurora Theatre, Marin Theatre Willows Theatre Co.; and Where the Ability of a Boy); and San Jose Rep Mr. Bingley Travis Leland* Co., American Musical Theater of San Mountain Meets the Moon (Old Man of (Spring Awakening), among others. She Mr. Darcy Jose, 42nd Street Moon, Pacific the Moon) for Bay Area Children’s Justin Mortelliti* is a humble recipient of a TBA Award Conservatory of the Performing Arts, Theatre, for which he won a Theatre Miss Caroline Bingley/Ann De Bourgh Monique Hafen Adams* and several Bay Area Theatre Critics and Coconut Grove Playhouse, among Bay Area Award. Mr. Fenton earned his Circle Awards, and is a graduate of Mr. Collins/Mr. Gardiner Brian Herndon* others. She has four Bay Area Critics BA from Stanford University. Santa Clara University’s Theatre Mr. Wickham Circle Awards and a Drama-Logue Taylor Crousore* Department. Captain Denny/Colonel Fitzwilliam Sean Fenton* Award. She studied mime in Paris with BRIAN HERNDON Étienne Decroux. (Mr. Collins/Mr. SAMANTHA AYOOB Lady Catherine De Bourgh/Mrs. Gardiner Lucinda Hitchcock Cone* Gardiner) joyously (Lady’s Maid) is Lady’s Maids TAYLOR CROUSORE returns to Samantha Ayoob performing in her (Mr. Wickham) is mak- TheatreWorks for his Michelle Skinner first production with ing his TheatreWorks third Paul Gordon TheatreWorks. She Heather Mae Steffen debut in Pride and World Premiere, has performed locally Footman Prejudice. He recently having originated Seton Chiang with Hillbarn Theatre, appeared Off-Broadway roles in Emma and Being Earnest. * M e m b e r s o f A c t o rs ’ E q u it y A s s o c i a t i o n , t h e U n i o n o f P r ofessional Actors and Stage Managers in the United States. Broadway by the Bay, playing himself (Taylor) Other productions at TW include Rags, Woodside Community Theatre, and in the new musical The Elephant Man, A Little Princess, North Star Academy. Some past shows comedy A Musical About Star Wars, for and many New Works Festival appear- THE BAND include Beauty and the Beast (Belle), which he co-wrote the book. Other Off- ances. Mr. Herndon has also performed Violin Christina Mok Aladdin (Jasmine), Into the Woods Broadway credits include NEWSical The recently in Oslo at Marin Theatre Co., (Cinderella), Urinetown (Hope), and Cello Lucas Chen Musical, Forbidden Broadway, and the Waiting for Godot at Pacific Rep, and Mamma Mia! (Lisa). Horn Diane Ryan revival of When Pigs Fly. Regional credits Eurydice and Cabaret at City Lights include North Shore Music Theatre– Theater Co. He holds an MFA from the Bass Sascha Jacobsen SETON CHIANG Beauty and the Beast (Gaston); Rocky Alabama Shakespeare Festival and runs (Footman) is honored Guitar Schuyler McFadden Mountain Rep–Peter Pan (Captain Hook); marathons when he has time to train. to be making his Percussion and Indiana Festival Theatre–The Music Artie Storch TheatreWorks debut Man (Harold Hill). He was awarded TARA KOSTMAYER with this powerfully Contractor Diane Ryan National Best Comedy at the CMF Film (Lydia Bennet) is talented cast. Recent Festival for the comedy short, thrilled to be making Music Preparation Jonathan Bauerfeld credits include SheetWOW, which he wrote and starred her TheatreWorks All musicians are members of the American Federation of Musicians of the United States and Canada. Urinetown (Sunnyvale in, and which was screened at the debut! Off-Broadway: Community Players), The White Snake Cannes Film Festival. He earned his BFA A Chorus Line (Diana) (Silicon Valley Shakespeare) and The from Indiana University. at New York City SPECIAL THANKS Grapes of Wrath (Los Altos Stage Co.). Center Encores! Mr. Chiang earned his BA from UC Regional credits include: In the Heights Irvine and has taught English in South (Vanessa) at Park Playhouse, Disney Korea for four years. Cruise Line, Ojo (Fakira) at La Jolla B. Modern, Santa Cruz Shakespeare • Pam Lampkin, Hillbarn Theatre Playhouse’s WOW Festival, and West Audrey Walker, CSU Sacramento • Alyssa Oania, Opera San José • Kathy Griffith, Berkeley Rep Side Story (Rosalia/Anita u/s) at Lamb’s

encorespotlight.com 17 MARY MATTISON Playhouse in Sister Act (TBA Award), Who’s Who (Elizabeth Bennet) is Custom Made Theatre in Passion and Who’s Who thrilled to be making Grey Gardens Players Theatre. Proud UCSD graduate. (BATCC Award), Ray of next in Evil Dead The Musical: The HD her TheatreWorks Carrie Jesus Christ She’d like to thank God, her family, the Light Theatre in and National Tour (Cheryl). Ms. Steffen stud- debut! She was most Superstar girls, FSE, DCL, Muir Musical and Leo. (BATCC Award), and Broadway ied Theater Arts at Foothill College. recently seen at Casa by the Bay in Cats and Gypsy. Find her Mañana in Grease on social media: @missheatherorth TRAVIS LELAND (Mr. CHANEL TILGHMAN (Sandy) and has made Bingley) was last seen (Kitty Bennet) is elated several appearances at North Carolina at TheatreWorks as SHARON RIETKERK to be making her Theatre including Mamma Mia! (Sophie) Miles Tuck in Tuck (Jane Bennet) was last TheatreWorks debut. and Gypsy (Louise). TV credits include TBA AD Everlasting, and prior seen at TheatreWorks Recent Bay Area Blue Bloods and upcoming web series, Emma to that appeared in in (Theater Bay credits include Mamma Side Work The Prince of Egypt, . Ms. Mattison graduated from Area Award nom.), Mia! (Sophie), University of North Carolina School of Marry Me a Little Rags, and Emma as Dreamgirls (Michelle), the Arts with a BFA in acting. Frank Churchill. Other credits include: (TBA Award Winner), and Ragtime (Ensemble) with Berkeley Cyrano, Little Women, Merrily We Roll Along (Wallis Playhouse; Hairspray (Dynamite/ The Secret Garden Triangle Annenberg Center, dir. Michael Arden); JUSTIN MORTELLITI , and Detention Kid) with Bay Area Musicals; (Mr. Darcy) Broadway: The Hunchback of Notre Dame (Capital (TheatreWorks, Lyric Theatre of and Matilda (Acrobat/ Ensemble) with Escape to Margaritaville Sense City Theatre, Madison, WI); Frozen: Live Oklahoma). Other regional credits: Contra Costa Musical Theatre, as well (Original Cast). Off- and Sensibility at the Hyperion (Disney’s California (Chicago Shakespeare as additional appearances with Contra Broadway: Clueless, A Adventure); The Secret Garden (3-D Theater, The Old Globe San Diego); Costa Civic Theatre, Pacific Coast Rep, The Musical (Christian); Minister’s Wife How the Theatricals); Beast on the Moon and (San Jose Rep); Altarena Playhouse, Woodminster The Columbine Project Other Half Loves, The Illusion Forever Plaid, (both at International (North Summer Musicals, and Plethos Produc- (Dylan Klebold). Las The Secret Garden City Theatre); Joe Hardy in Damn Coast Rep); (42nd tions. A Bay Area native, she received Vegas: Rock of Ages (Drew, Original Communicating Doors, Yankees (Cabrillo Music Theatre); Street Moon); a BA in Communication and minors in Vegas Cast). Regional: Escape to The Liar, Born Yesterday Nightmare Alley (Geffen Playhouse); (TBA Award Theatre and Music Industry from the Margaritaville (La Jolla Playhouse), For Mary Stuart, On the and Jamie in The Last Five Years at Winner) (Center REP); University of Southern California, and is the Record: Scorsese–American Crime 20th Century After Hours Theatre Co. He is also a (Davis Shakespeare currently an educator at Bay Area Requiem (Wallis Annenberg Center), The Music Man writer, and his film Bury Me in Armor Festival); Marian in (South Children’s Theatre. Oswald (The Firehouse Theatre), Rent recently wrapped filming in Richmond, Coast Symphony), and in concert with (The California Theatre), For the Record: San Francisco Symphony and South VA. Graduate of UCLA and AMDA. IG: CHRISTOPHER Boogie Nights (Rockwell), The Bedroom Coast Symphony. @tleland20, www.travisleland.com VETTEL (Mr. Bennet) Window (Odyssey Theatre Ensemble), is happy to be back at Happy Days (Falcon Theatre), Expecting DANI MARCUS MICHELLE SKINNER TheatreWorks where to Fly (Elephant Theatre). TV/Film: (Charlotte Lucas) is (Lady’s Maid) is excited he appeared as Prof. Manhunt: Lone Wolf; Turn: Washington’s delighted to return to to be back with Bhaer in Little Women Spies (recurring); Orange is the New Black; TheatreWorks where TheatreWorks, having and in New Works Numb3rs; Victorious; The Collection; PINEWOOD she originated the understudied in Festival readings of Dog Tags. He received his BFA in acting Tuck Everlasting role of Harriet Smith last The Disappearing Man and Mrs. Hughes. from Rutgers University, Mason Gross in the World Premiere Christmas. She performs Broadway/National Tours: Annie–30th School of the Arts and the London production of Paul locally around the Bay Anniversary Tour (Bert Healy), Sunset Academy of Theater. His original music Gordon’s Emma. She played Miss Area, most recently seen as Margo in Boulevard–2nd National Tour (Cliff, Joe is available on iTunes. @justmort Bright Star Barley in the First National Tour of (Palo Alto Players). Other u/s). Bay Area credits: A Minister’s Wife Carrie: The Musical The Liar A Gentleman’s Guide to Love and www.justinmortelliti.com credits: and at San Jose Rep (Morell–BATCC nom.), Noises Off Murder, and she has performed (Western Stage), (Hillbarn Sweeney Todd at San Jose Stage Co. (Mrs. One Man, Two Guvnors Off-Broadway with The National Yiddish HEATHER ORTH Theatre), (Palo (Judge Turpin), Man of La Mancha at Bennet) is positively The 1940’s Radio Hour Theatre Folksbiene in several shows Alto Players), (Los Sacramento Theatre Co. (Cervantes/ chuffed to be making including the Drama Desk-nominated Altos Stage Co.). michelleskinner.com Quixote). For more info visit her TheatreWorks Amerike–The Golden Land and The www.chrisvettel.com or Chris Vettel mainstage debut, after Pirates of Penzance. Beloved regional HEATHER MAE Actor-Singer on Facebook. having originated this credits include Indecent (Chana) at STEFFEN (Lady’s Maid) role in the 2018 New is performing with Palm Beach Dramaworks, Lucky Stiff MELISSA Works Festival. A Bay TheatreWorks for the (Annabel) with Center REP, and Beach WOLFKLAIN (Mary Area native, she has been seen at 42nd Blanket Babylon (Snow White). Ms. first time. She was last Bennet) is so excited Street Moon in The Secret Garden (Bay Marcus reprised her role as Harriet in seen with 3Below to be returning to this Area Theatre Critics Circle Award) and NINE The the film, Emma–The Musical which can Theaters in fabulous production The Boys From Syracuse (Theatre Bay Area Musical be found at streamingmusicals.com. (Lina Darling), after originating Award), Hillbarn Theatre in Sweeney Todd Smokey Joe’s Café For media, production photos, and fun and (DeLee) at West Mary Bennet in (TBA Award) and Noises Off, Berkeley facts, please visit danimarcus.net Valley Light Opera. She is performing

18 THEATREWORKS MARY MATTISON Playhouse in Sister Act (TBA Award), Who’s Who (Elizabeth Bennet) is Custom Made Theatre in Passion and Who’s Who I just moved back to the Bay Area ... the TBA thrilled to be making Grey Gardens Players Theatre. Proud UCSD graduate. (BATCC Award), Ray of next in Evil Dead The Musical: The HD membership was the ﬁ rst her TheatreWorks Carrie Jesus Christ She’d like to thank God, her family, the Light Theatre in and National Tour (Cheryl). Ms. Steffen stud- thing I got to reacquaint debut! She was most Superstar myself with the Bay Area girls, FSE, DCL, Muir Musical and Leo. (BATCC Award), and Broadway ied Theater Arts at Foothill College. recently seen at Casa by the Bay in Cats and Gypsy. Find her “community.” Mañana in Grease on social media: @missheatherorth Actor Melissa WolfKlain TRAVIS LELAND (Mr. CHANEL TILGHMAN Currently playing “Mary Bennett” in (Sandy) and has made TheatreWorks’ Pride and Prejudice Bingley) was last seen (Kitty Bennet) is elated several appearances at North Carolina at TheatreWorks as SHARON RIETKERK to be making her Theatre including Mamma Mia! (Sophie) Miles Tuck in Tuck (Jane Bennet) was last TheatreWorks debut. and Gypsy (Louise). TV credits include TBA AD Everlasting, and prior seen at TheatreWorks Recent Bay Area Gift a TBA membership to your theatremaker. Blue Bloods and upcoming web series, Emma to that appeared in in (Theater Bay credits include Mamma Use promo code TBAGIFT for $10 off any individual membership. Side Work The Prince of Egypt, . Ms. Mattison graduated from Area Award nom.), Mia! (Sophie), Visit theatrebayarea.org/IndividualMembership to learn more. University of North Carolina School of Marry Me a Little Rags, and Emma as Dreamgirls (Michelle), the Arts with a BFA in acting. Frank Churchill. Other credits include: (TBA Award Winner), and Ragtime (Ensemble) with Berkeley Cyrano, Little Women, Merrily We Roll Along (Wallis Playhouse; Hairspray (Dynamite/ The Secret Garden Triangle Annenberg Center, dir. Michael Arden); JUSTIN MORTELLITI , and Detention Kid) with Bay Area Musicals; (Mr. Darcy) Broadway: The Hunchback of Notre Dame (Capital (TheatreWorks, Lyric Theatre of and Matilda (Acrobat/ Ensemble) with Escape to Margaritaville Sense City Theatre, Madison, WI); Frozen: Live Oklahoma). Other regional credits: Contra Costa Musical Theatre, as well (Original Cast). Off- and Sensibility at the Hyperion (Disney’s California (Chicago Shakespeare as additional appearances with Contra Broadway: Clueless, A Adventure); The Secret Garden (3-D Theater, The Old Globe San Diego); Costa Civic Theatre, Pacific Coast Rep, The Musical (Christian); Minister’s Wife How the Theatricals); Beast on the Moon and (San Jose Rep); Altarena Playhouse, Woodminster The Columbine Project Other Half Loves, The Illusion Forever Plaid, (both at International (North Summer Musicals, and Plethos Produc- (Dylan Klebold). Las The Secret Garden City Theatre); Joe Hardy in Damn Coast Rep); (42nd tions. A Bay Area native, she received Vegas: Rock of Ages (Drew, Original Communicating Doors, Yankees (Cabrillo Music Theatre); Street Moon); a BA in Communication and minors in Vegas Cast). Regional: Escape to The Liar, Born Yesterday Nightmare Alley (Geffen Playhouse); (TBA Award Theatre and Music Industry from the Margaritaville (La Jolla Playhouse), For Mary Stuart, On the and Jamie in The Last Five Years at Winner) (Center REP); University of Southern California, and is the Record: Scorsese–American Crime 20th Century After Hours Theatre Co. He is also a (Davis Shakespeare currently an educator at Bay Area Requiem (Wallis Annenberg Center), The Music Man writer, and his film Bury Me in Armor Festival); Marian in (South Children’s Theatre. Oswald (The Firehouse Theatre), Rent recently wrapped filming in Richmond, Coast Symphony), and in concert with (The California Theatre), For the Record: San Francisco Symphony and South VA. Graduate of UCLA and AMDA. IG: CHRISTOPHER Boogie Nights (Rockwell), The Bedroom Coast Symphony. @tleland20, www.travisleland.com VETTEL (Mr. Bennet) Window (Odyssey Theatre Ensemble), is happy to be back at Happy Days (Falcon Theatre), Expecting DANI MARCUS MICHELLE SKINNER TheatreWorks where to Fly (Elephant Theatre). TV/Film: (Charlotte Lucas) is (Lady’s Maid) is excited he appeared as Prof. Manhunt: Lone Wolf; Turn: Washington’s delighted to return to to be back with Bhaer in Little Women Spies (recurring); Orange is the New Black; TheatreWorks where TheatreWorks, having and in New Works Numb3rs; Victorious; The Collection; PINEWOOD she originated the understudied in Festival readings of INSPIRING THE BEST IN OUR K-12 STUDENTS Dog Tags. He received his BFA in acting Tuck Everlasting role of Harriet Smith last The Disappearing Man and Mrs. Hughes. from Rutgers University, Mason Gross in the World Premiere Christmas. She performs Broadway/National Tours: Annie–30th School of the Arts and the London Lower Campus Middle Campus Upper Campus production of Paul locally around the Bay Anniversary Tour (Bert Healy), Sunset Academy of Theater. His original music 477 Fremont Avenue 327 Fremont Avenue 26800 Fremont Road Gordon’s Emma. She played Miss Area, most recently seen as Margo in Boulevard–2nd National Tour (Cliff, Joe is available on iTunes. @justmort Bright Star Los Altos, CA 94024 Los Altos, CA 94024 Los Altos Hills, CA 94022 Barley in the First National Tour of (Palo Alto Players). Other u/s). Bay Area credits: A Minister’s Wife Carrie: The Musical The Liar A Gentleman’s Guide to Love and www.justinmortelliti.com credits: and at San Jose Rep (Morell–BATCC nom.), Noises Off Murder, and she has performed (Western Stage), (Hillbarn Sweeney Todd at San Jose Stage Co. (Mrs. One Man, Two Guvnors For more information, please visit our website at: Off-Broadway with The National Yiddish HEATHER ORTH Theatre), (Palo (Judge Turpin), Man of La Mancha at Bennet) is positively The 1940’s Radio Hour WWW.PINEWOOD.EDU Theatre Folksbiene in several shows Alto Players), (Los Sacramento Theatre Co. (Cervantes/ chuffed to be making including the Drama Desk-nominated Altos Stage Co.). michelleskinner.com Quixote). For more info visit her TheatreWorks Amerike–The Golden Land and The www.chrisvettel.com or Chris Vettel mainstage debut, after Pirates of Penzance. Beloved regional HEATHER MAE Actor-Singer on Facebook. having originated this credits include Indecent (Chana) at STEFFEN (Lady’s Maid) role in the 2018 New is performing with Palm Beach Dramaworks, Lucky Stiff MELISSA Works Festival. A Bay TheatreWorks for the (Annabel) with Center REP, and Beach WOLFKLAIN (Mary Area native, she has been seen at 42nd Blanket Babylon (Snow White). Ms. first time. She was last Bennet) is so excited Street Moon in The Secret Garden (Bay Marcus reprised her role as Harriet in seen with 3Below to be returning to this Area Theatre Critics Circle Award) and NINE The the film, Emma–The Musical which can Theaters in fabulous production The Boys From Syracuse (Theatre Bay Area Musical be found at streamingmusicals.com. (Lina Darling), after originating Award), Hillbarn Theatre in Sweeney Todd Smokey Joe’s Café For media, production photos, and fun and (DeLee) at West Mary Bennet in (TBA Award) and Noises Off, Berkeley facts, please visit danimarcus.net Valley Light Opera. She is performing

encorespotlight.com 19 Who’s Who Christmas, both choreographed by and Murder at 42nd Street Moon. Randy Skinner. Some favorites: Dames @melissawolfklain www.melissawolfk- TheatreWorks’ New Works Festival. She at Sea (Joan–Theatre Bay Area Award), lain.com. Thanks Mom, Dad, sibs and was last seen on TW’s mainstage in Cabaret (Sally Bowles), Funny Girl Shaun for your continuing love and Tinyard Hill for which she was nominated (Fanny Brice), Shrek (Fiona), Peter Pan support! AustPridee annd P’resjudiIce ndependentWoman It’s easy to see as a straight- her lifelong stability in lieu of affection, she refuses for a Bay Area Theatre Critics Circle (Peter Pan), and Singin’ in the Rain forward romantic comedy about five sisters to compromise. She rejects him even without the Award. She appeared in the National (Kathy Selden–BATCC Award). Up next: PAUL GORDON (Book, Music, and searching for husbands, but, as a shrewd satirist of confidence that another offer of marriage will come 42nd Street White A Gentleman’s Guide to Love Tours of and Phoebe in Lyrics) was nominated for a 2001 Tony social mores and human nature, Jane Austen wrote her way. Award for music and lyrics to Jane Eyre a far more complicated work. If we consider the (TW West Coast Premiere 2003). He has circumstances in which protagonist Elizabeth Bennet Jane Austen’s original title for this story was First developed and premiered multiple Impressions shows at TW including Emma (2007 and her sisters found themselves in England of the . The most important first impressions BATCC Award, TW productions in 2007 Regency era, a fortunate marriage seemed the of the novel are Lizzy’s assessment of Mr. Darcy, and 2015), Daddy Long Legs (2009 only reasonable and socially acceptable option for and his view of her. How those impressions evolve Ovation Award winner, TW productions maintaining their way of life. is the heart of our story. Mr. Darcy will demonstrate in 2010 and 2016), and Being Earnest his underlying integrity and Lizzy her growing (TW 2013). He won the 2015 Jeff Award The world of the Bennets around 1810 afforded maturity. If she initially finds him haughty and pride- for Best New Work for his book, music, women only a fraction of the independence they ful, she will eventually learn much more of his and lyrics for Sense and Sensibility, have today. As the story begins, the family lives a character, and he more of hers. Both will discover commissioned by Chicago Shakespeare comfortable life on a modest estate, but the that first impressions may not be final ones, and Theater. His works have been per- circumstances of mother and daughters will change that a partner coequal to themselves offers the formed all over the country and interna- drastically once their husband and father, Mr. Bennet, greatest love. – CAMERON WELLS tionally. Other works include Knight’s Tale, Analog and Vinyl, Little Miss dies. Under gender-discriminatory property laws, COSTUME RENDERNGS BY FUMIKO BIELEFELDT Scrooge, No One Called Ahead, The Mr. Bennet’s estate is entailed, or willed, to his Front, Juliet and Romeo, Sleepy Hollow, nearest male relation. Because the Bennets have The Circle, and The Sportswriter. no son to inherit their property, distant cousin Mr. Collins is next in line. Once he becomes owner of ROBERT KELLEY (Director) Please see the property, he may turn out the surviving Bennets FILOLI bio on page 25. at his sole discretion.

BRENDAN AANES (Sound Designer) The estate produces a healthy income each year, Previously at TheatreWorks: Triangle but should the unwed sisters be turned out, they (TBA Award for Outstanding Sound would be hard-pressed to support themselves. As Design), The Velocity of Autumn, The members of the landed gentry, working was out of Country House, and The Lake Effect. the question for the Bennets—it would dramatically Regional: Everybody at Shakespeare Theatre Co. DC, Unreliable at Kansas lower their social status. Moreover, average wages City Rep, The Good Person of Szechwan were extremely low at the time, so it would be and War of the Roses at California impossible to maintain anything resembling their Shakespeare Theater, Seascape, current lifestyle. As the Bennet sisters have no Heisenberg, The Hard Problem, and significant inheritance, marriage to a wealthy man The Unfortunates at American offers the greatest chance for security. Conservatory Theater. Off-Broadway: Fire in Dreamland at The Public Theater Moreover, marriage was not a decision to be taken (sound design and original music), lightly. Marriage was, practically speaking, an Balls with One Year Lease NOVEMBER 23 – DECEMBER 30 DAILY, 10:00AM – 4:00PM (Drama Desk immutable decision. Only by a private act of nom.), Catch as Catch Can (Page 73), PLUS THURSDAYS – SUNDAYS, 10:00AM – 8:00PM Parliament could a couple obtain a divorce, and the You Never Touched The Dirt (Clubbed church rarely granted annulments. Even if a couple Thumb), The Enigmatist (Highline Garden Lights Santa Saturdays Holiday Teas Hotel), Wild Abandon (Irish Rep), could bear the high financial expense of separation, Artisan Market Solstice Celebration Zurich (Colt Coeur), my lingerie play they would still have to endure the major social (Rattlestick Playwrights Theater). Other: scandal and gossip that would ensue. Use code pride to get $2 OFF Admission. Restrictions apply. Beep Boop at the Edinburgh Fringe and international tour. Lizzy Bennet becomes all the more remarkable a character in light of these circumstances. She www.filoli.org | 650-364-8300 FUMIKO BIELEFELDT (Costume refuses to marry for convenience, determined to Designer) has designed over 60 only marry a husband whom she could love and productions (garnering over 25 awards) respect. When the self-involved Mr. Collins offers

20 THEATREWORKS AustPridee annd P’resjudiIce ndependentWoman It’s easy to see as a straight- her lifelong stability in lieu of affection, she refuses forward romantic comedy about five sisters to compromise. She rejects him even without the searching for husbands, but, as a shrewd satirist of confidence that another offer of marriage will come social mores and human nature, Jane Austen wrote her way. a far more complicated work. If we consider the circumstances in which protagonist Elizabeth Bennet Jane Austen’s original title for this story was First and her sisters found themselves in England of the Impressions. The most important first impressions Regency era, a fortunate marriage seemed the of the novel are Lizzy’s assessment of Mr. Darcy, only reasonable and socially acceptable option for and his view of her. How those impressions evolve maintaining their way of life. is the heart of our story. Mr. Darcy will demonstrate his underlying integrity and Lizzy her growing The world of the Bennets around 1810 afforded maturity. If she initially finds him haughty and pride- women only a fraction of the independence they ful, she will eventually learn much more of his have today. As the story begins, the family lives a character, and he more of hers. Both will discover comfortable life on a modest estate, but the that first impressions may not be final ones, and circumstances of mother and daughters will change that a partner coequal to themselves offers the drastically once their husband and father, Mr. Bennet, greatest love. – CAMERON WELLS dies. Under gender-discriminatory property laws, COSTUME RENDERNGS BY FUMIKO BIELEFELDT Mr. Bennet’s estate is entailed, or willed, to his nearest male relation. Because the Bennets have no son to inherit their property, distant cousin Mr. Collins is next in line. Once he becomes owner of the property, he may turn out the surviving Bennets at his sole discretion.

The estate produces a healthy income each year, but should the unwed sisters be turned out, they would be hard-pressed to support themselves. As members of the landed gentry, working was out of the question for the Bennets—it would dramatically lower their social status. Moreover, average wages were extremely low at the time, so it would be impossible to maintain anything resembling their current lifestyle. As the Bennet sisters have no significant inheritance, marriage to a wealthy man offers the greatest chance for security.

Moreover, marriage was not a decision to be taken lightly. Marriage was, practically speaking, an immutable decision. Only by a private act of Parliament could a couple obtain a divorce, and the church rarely granted annulments. Even if a couple could bear the high financial expense of separation, they would still have to endure the major social scandal and gossip that would ensue.

Lizzy Bennet becomes all the more remarkable a character in light of these circumstances. She refuses to marry for convenience, determined to only marry a husband whom she could love and respect. When the self-involved Mr. Collins offers garnered a Bay Area Drama-Logue Paul Gordon’s A Knight’s Tale in Tokyo, Who’s Who (Singin’ in the Rain, The Sound of Music, Follies, Funny Girl, Hello Dolly, Miss Who’s Who Award. She has won four Dean several world premieres in Chicago Phantom of the Opera, Fiddler on the Saigon, My Fair Lady, Oliver!, A Goodman Awards, including Ragtime including October Sky at The Marriott Roof, Children of Eden, and The Three Christmas Carol, and Guys and Dolls). for TheatreWorks—including Archduke, JEFFREY LO (Casting Director) The Cripple of Inishmaan Encore! Musketeers Ug Tuck Everlasting, The Bridges of and at Theatre and the upcoming on directed TheatreWorks’ productions of ); San Jose Stage Co. ( The Musical, Urinetown, Beehive, Altar Madison County, Rags, Daddy Long TheatreWorks. Ms. Gray is a graduate Disney+. He is a proud alumnus of the The Language Archive and The EMILY ANDERSON WOLF (Assistant Boyz, The Great American Trailer Park Legs, Cyrano, Fallen Angels, Sweeney of Northwestern University. Bienen School of Music at Northwestern Santaland Diaries. A Filipino-American Stage Manager) has been the Assistant Musical South Todd, Silent Sky, Little Women, 33 University. Mr. Keelan is also a producer director and playwright, his additional ); and PEG Productions ( Stage Manager for TheatreWorks’ Pacific, Showboat, The Will Rogers Archduke, Frost/Nixon, Fun Home, Variations, Sense and Sensibility, The KIMBERLY MOHNE HILL (Dialect for rock and folk bands as well as the directing credits include Vietgone at Light in the Piazza, Caroline, or Change, Coach) has served as Dialect Coach for orchestrator for the American Pops Capital Stage, Between Riverside and M. Butterfly, and Emma, among others. over 20 years at TheatreWorks, working Orchestra. www.cmkeelan.com Crazy at San Jose Stage Co., and Around the World in She has designed extensively through- on such shows as Noises Off and Peter and the 80 Days, Rags, Constellations, Triangle, out the Bay Area and regionally. She RANDALL K. LUM (Stage Manager) has Starcatcher at Hillbarn Theatre. He is Sweeney Todd, Water by the Spoonful, stage managed TheatreWorks’ The 39 holds a BA in Economics from Waseda the recipient of the Leigh Weimers 33 Variations, The Pitmen Painters, Steps, Archduke, Fun Home, Hold University (Tokyo) and studied costume Emerging Artist Award, the Arts Council Snow Falling on Cedars, The North Pool, These Truths, New Works Festival 2018, design at Stanford. Design awards Silicon Valley Emerging Artist Laureate, Doubt, Theophilus North, Arcadia, Jane Finks, Skeleton Crew, Around the World include: 2004 Barbara Bladen Porter and Theatre Bay Area Director’s TITAN Eyre, Baby Taj, and Anna in the Tropics. in 80 Days, The Prince of Egypt, Special Award, Bay Area Theatre Critics Award. In addition to his work on stage, An Associa Constellations, Rags, Outside Mullingar, Circle Awards, Dean Goodman Choice te Professor in Acting at Mr. Lo does work nationally promoting Confederates, The Velocity of Autumn, Awards, and Back Stage West Garland Santa Clara University, she continues to equity, diversity, and inclusion in the Jane Austen’s EMMA, The Country Award. direct and coach throughout the Bay arts. He is a graduate of the Multi- The House, Fallen Angels, The Lake Effect, Area. Most recently, she directed cultural Arts Leadership Institute and a Wolves at City Lights in San Jose. She Peter and the Starcatcher, Time Stands AMY SMITH GOODMAN (Assistant proud alumnus of the UC Irvine Drama Still, Other Desert Cities, Once on This Stage Manager) is happy to be back at has published three books with Smith & Department. JeffreyWritesAPlay.com Great Scenes in Dialect for Young Island, Little Women TheatreWorks after working on Native Kraus: and . Other credits Actors Monologues in Dialect for Gardens and Fun Home. Credits and include Oregon Shakespeare Festival, JOE RAGEY (Scenic Designer) has Young Actors include: Head Over Heels at the , Volumes I and II. Denver Center Theatre Co., La Jolla designed over 60 shows since 1985. His Playhouse, Center Theatre Group, Curran, the Off-Broadway productions favorite TheatreWorks designs include (Associate The Old Globe, American Conservatory of The Whirligig and Mercury Fur at BRANDON JACKSON Around The World in 80 Days, Peter Director) has previously served as Theater, Berkeley Rep, California The New Group, workshop of War Paint and the Starcatcher, Daddy Long Legs, Associate Director for Marie and Shak with Patti LuPone, Discover: New espeare Theater, Seattle Rep, Little Women, Big River, Sense and Rosetta Once on This Island OPEN ENCORE Musicals at The National Asian Artists and for Laguna Playhouse, Pasadena Playhouse, Sensibility, The 39 Steps, A Christmas Project and the first college production TheatreWorks. He also was Assistant and 18 seasons and over 90 productions Memory, Merrily We Roll Along, Baby of A Chorus Line directed by Baayork Director for the company’s production as Resident Stage Manager at South Taj, My Ántonia, Jane Eyre, Peter Pan, The Mountain-top Lee at The Schimmel Center. Ms. Smith of . Recent Bay Area Coast Rep. Triumph of Love, You Can’t Take It With Goodman is an alumnus of Pace directing credits include directing You, Equus, Conversations With My Smokey Joe’s Cafe Cabaret University School of Performing Arts and at WILLIAM LIBERATORE (Musical Father, Nagasaki Dust, Honor Song for The Columnist where she received her BA in Stage Broadway by the Bay; at Director) is TheatreWorks’ Resident Crazy Horse, La Bete, and Pacific Management. Dragon Productions Theatre Co.; and Musical Director and has conducted over Overtures. Joe received over a dozen The Color Purple, A Raisin in the Sun, Marie and Rosetta, 40 shows, including Bay Area Theatre Critics Circle Awards, and Fabulation at Stanford University. Tuck Everlasting, Fun Home, The Prince PAMILA Z. GRAY (Lighting Designer) LA Drama-Logue Awards and Dean Notable acting credits include starri of Egypt, Rags, Sweeney Todd, Once on designed TheatreWorks’ Tuck ng Goodman Choice Awards for his Take This Island (2014 TBA Award), Little Everlasting. Previous designs for in Dragon Theatre’s production of TheatreWorks stage designs. Me Out Women, Crowns, Ragtime, Pacific TheatreWorks includes Bridges of (Darren) and Pear Theatre’s and Superior Donuts Overtures Madison County, Confederates, production of (Franco). . He was Musical Director at DOTTIE LESTER WHITE Cyrano, Once on This Island, Sense and Mr. Jackson holds a BA in Drama, with American Musical Theatre of San Jose, (Choreographer) choreographed Sensibility, The Light in the Piazza, honors, and Political Science from conducting over 30 shows including TheatreWorks’ Fun Home, The Four Tinyard Hill, Baby Taj, My Ántonia, Stanford University. Flower Drum Song, Gypsy, A Chorus Immigrants, Rags, Peter and the Line, 42nd Street, Follies, Children Kept, and A Civil War Christmas. Her and Starcatcher, Marry Me a Little, Finks, of Eden. work on Bingo! The Winning Musical CONOR KEELAN (Music Supervisor/ He has won Bay Area Theatre and The Bridges of Madison County. A Little Night was seen in Chicago, Ft. Lauderdale, Orchestrations & Arrangements) is an Critics Circle Awards for She choreographed The Music Man in Music, South Pacific, Damn Yankees and the Bay Area’s Center REP. Her award-winning orchestrator, arranger, Concert for Showtune Productions in music director, and guitarist. His (AMTSJ), and Bat Boy: The Musical; Into designs have also been seen in Los Arizona. She performed on Broadway in arrangements have been sung by Jon the Woods; Emma; Caroline, or Change; Angeles, Portland, Sacramento, Katharine Hepburn’s Coco; Ruby Batiste, Jessie Mueller, The Light in the Piazza, The Four Houston, Dallas, and Washington, DC. Alice Ripley, and Keeler’s No, No, Nanette; and New Immigrants; The Bridges of Madison She has won 7 Bay Area Theatre Patti LaBelle, among others. Select and York City Center’s production of A Bronx County Critics Circle Awards including her credits include: (Broadway) (TheatreWorks). He is also the Carnival. National Tours include Hello Tale The Pout-Pout TheatreWorks designs for Grey , (Off-Broadway) director of the award-winning Gunn High Dolly; Cabaret; and No, No, Nanette. Fish, Merrily We Roll Along, Painted Gardens, Floyd Collins, Cabaret, and School Choirs. Ms. Lester White choreographed for Alice, The Lilliput Troupe Almost September, which also and as well as American Musical Theatre of San Jose

22 THEATREWORKS garnered a Bay Area Drama-Logue Paul Gordon’s A Knight’s Tale in Tokyo, Who’s Who (Singin’ in the Rain, The Sound of Music, Follies, Funny Girl, Hello Dolly, Miss Who’s Who Award. She has won four Dean several world premieres in Chicago Phantom of the Opera, Fiddler on the Saigon, My Fair Lady, Oliver!, A Goodman Awards, including Ragtime including October Sky at The Marriott Roof, Children of Eden, and The Three Christmas Carol, and Guys and Dolls). for TheatreWorks—including Archduke, JEFFREY LO (Casting Director) The Cripple of Inishmaan Encore! Musketeers Ug Tuck Everlasting, The Bridges of and at Theatre and the upcoming on directed TheatreWorks’ productions of ); San Jose Stage Co. ( The Musical, Urinetown, Beehive, Altar Madison County, Rags, Daddy Long TheatreWorks. Ms. Gray is a graduate Disney+. He is a proud alumnus of the The Language Archive and The EMILY ANDERSON WOLF (Assistant Boyz, The Great American Trailer Park Legs, Cyrano, Fallen Angels, Sweeney of Northwestern University. Bienen School of Music at Northwestern Santaland Diaries. A Filipino-American Stage Manager) has been the Assistant Musical South Todd, Silent Sky, Little Women, 33 University. Mr. Keelan is also a producer director and playwright, his additional ); and PEG Productions ( Stage Manager for TheatreWorks’ Pacific, Showboat, The Will Rogers Archduke, Frost/Nixon, Fun Home, Variations, Sense and Sensibility, The KIMBERLY MOHNE HILL (Dialect for rock and folk bands as well as the directing credits include Vietgone at Light in the Piazza, Caroline, or Change, Coach) has served as Dialect Coach for orchestrator for the American Pops Capital Stage, Between Riverside and M. Butterfly, and Emma, among others. over 20 years at TheatreWorks, working Orchestra. www.cmkeelan.com Crazy at San Jose Stage Co., and Around the World in She has designed extensively through- on such shows as Noises Off and Peter and the 80 Days, Rags, Constellations, Triangle, out the Bay Area and regionally. She RANDALL K. LUM (Stage Manager) has Starcatcher at Hillbarn Theatre. He is Sweeney Todd, Water by the Spoonful, stage managed TheatreWorks’ The 39 holds a BA in Economics from Waseda the recipient of the Leigh Weimers 33 Variations, The Pitmen Painters, Steps, Archduke, Fun Home, Hold University (Tokyo) and studied costume Emerging Artist Award, the Arts Council Snow Falling on Cedars, The North Pool, These Truths, New Works Festival 2018, design at Stanford. Design awards Silicon Valley Emerging Artist Laureate, Doubt, Theophilus North, Arcadia, Jane Finks, Skeleton Crew, Around the World include: 2004 Barbara Bladen Porter and Theatre Bay Area Director’s TITAN Eyre, Baby Taj, and Anna in the Tropics. in 80 Days, The Prince of Egypt, Special Award, Bay Area Theatre Critics Award. In addition to his work on stage, An Associa Constellations, Rags, Outside Mullingar, Circle Awards, Dean Goodman Choice te Professor in Acting at Mr. Lo does work nationally promoting Confederates, The Velocity of Autumn, Awards, and Back Stage West Garland Santa Clara University, she continues to equity, diversity, and inclusion in the Jane Austen’s EMMA, The Country Award. direct and coach throughout the Bay arts. He is a graduate of the Multi- The House, Fallen Angels, The Lake Effect, Area. Most recently, she directed cultural Arts Leadership Institute and a Wolves at City Lights in San Jose. She Peter and the Starcatcher, Time Stands AMY SMITH GOODMAN (Assistant proud alumnus of the UC Irvine Drama Still, Other Desert Cities, Once on This Stage Manager) is happy to be back at has published three books with Smith & Department. JeffreyWritesAPlay.com Great Scenes in Dialect for Young Island, Little Women TheatreWorks after working on Native Kraus: and . Other credits Actors Monologues in Dialect for Gardens and Fun Home. Credits and include Oregon Shakespeare Festival, JOE RAGEY (Scenic Designer) has Young Actors include: Head Over Heels at the , Volumes I and II. Denver Center Theatre Co., La Jolla designed over 60 shows since 1985. His Playhouse, Center Theatre Group, Curran, the Off-Broadway productions favorite TheatreWorks designs include (Associate The Old Globe, American Conservatory of The Whirligig and Mercury Fur at BRANDON JACKSON Around The World in 80 Days, Peter Director) has previously served as Theater, Berkeley Rep, California The New Group, workshop of War Paint and the Starcatcher, Daddy Long Legs, Associate Director for Marie and Shak with Patti LuPone, Discover: New espeare Theater, Seattle Rep, Little Women, Big River, Sense and Rosetta Once on This Island OPEN ENCORE Musicals at The National Asian Artists and for Laguna Playhouse, Pasadena Playhouse, Sensibility, The 39 Steps, A Christmas Project and the first college production TheatreWorks. He also was Assistant and 18 seasons and over 90 productions Memory, Merrily We Roll Along, Baby of A Chorus Line directed by Baayork Director for the company’s production as Resident Stage Manager at South Taj, My Ántonia, Jane Eyre, Peter Pan, The Mountain-top Lee at The Schimmel Center. Ms. Smith of . Recent Bay Area Coast Rep. Triumph of Love, You Can’t Take It With Goodman is an alumnus of Pace directing credits include directing You, Equus, Conversations With My Smokey Joe’s Cafe Cabaret University School of Performing Arts and at WILLIAM LIBERATORE (Musical Father, Nagasaki Dust, Honor Song for The Columnist Broadway by the Bay; at Director) is TheatreWorks’ Resident Crazy Horse, La Bete, and Pacific At the show where she received her BA in Stage Management. Dragon Productions Theatre Co.; and Musical Director and has conducted over Overtures. Joe received over a dozen The Color Purple, A Raisin in the Sun, Marie and Rosetta, 40 shows, including Bay Area Theatre Critics Circle Awards, and Fabulation at Stanford University. Tuck Everlasting, Fun Home, The Prince PAMILA Z. GRAY (Lighting Designer) LA Drama-Logue Awards and Dean Notable acting credits include starri of Egypt, Rags, Sweeney Todd, Once on designed TheatreWorks’ Tuck ng Goodman Choice Awards for his Take This Island (2014 TBA Award), Little Everlasting. Previous designs for in Dragon Theatre’s production of TheatreWorks stage designs. Me Out Women, Crowns, Ragtime, Pacific or on the go TheatreWorks includes Bridges of (Darren) and Pear Theatre’s and Superior Donuts Overtures Madison County, Confederates, production of (Franco). . He was Musical Director at DOTTIE LESTER WHITE Cyrano, Once on This Island, Sense and Mr. Jackson holds a BA in Drama, with American Musical Theatre of San Jose, (Choreographer) choreographed Sensibility, The Light in the Piazza, honors, and Political Science from conducting over 30 shows including TheatreWorks’ Fun Home, The Four Encore is your companion to Tinyard Hill, Baby Taj, My Ántonia, Stanford University. Flower Drum Song, Gypsy, A Chorus Immigrants, Rags, Peter and the Line, 42nd Street, Follies, Children Kept, and A Civil War Christmas. Her and Starcatcher, Marry Me a Little, Finks, the Bay Area’s performing arts. of Eden. work on Bingo! The Winning Musical CONOR KEELAN (Music Supervisor/ He has won Bay Area Theatre and The Bridges of Madison County. A Little Night was seen in Chicago, Ft. Lauderdale, Orchestrations & Arrangements) is an Critics Circle Awards for She choreographed The Music Man in Music, South Pacific, Damn Yankees and the Bay Area’s Center REP. Her award-winning orchestrator, arranger, Concert for Showtune Productions in music director, and guitarist. His (AMTSJ), and Bat Boy: The Musical; Into designs have also been seen in Los Arizona. She performed on Broadway in arrangements have been sung by Jon the Woods; Emma; Caroline, or Change; Angeles, Portland, Sacramento, Katharine Hepburn’s Coco; Ruby Batiste, Jessie Mueller, The Light in the Piazza, The Four Houston, Dallas, and Washington, DC. Alice Ripley, and Keeler’s No, No, Nanette; and New Immigrants; The Bridges of Madison She has won 7 Bay Area Theatre Patti LaBelle, among others. Select and York City Center’s production of A Bronx County Critics Circle Awards including her credits include: (Broadway) (TheatreWorks). He is also the Carnival. National Tours include Hello Tale The Pout-Pout encorespotlight.com TheatreWorks designs for Grey , (Off-Broadway) director of the award-winning Gunn High Dolly; Cabaret; and No, No, Nanette. Fish, Merrily We Roll Along, Painted Gardens, Floyd Collins, Cabaret, and School Choirs. Ms. Lester White choreographed for Alice, The Lilliput Troupe Almost September, which also and as well as American Musical Theatre of San Jose

encorespotlight.com 23 Who’s Who

Finks, The Prince of Egypt, Rags, Crimes over 175 TheatreWorks productions, PHIL SANTORA (Executive Director) of the Heart, Jane Austen’s EMMA, including many world and regional joined TheatreWorks in 2007. He has Triangle, Fire on the Mountain, Peter premieres. He has received a 2019 served as Managing Director of and the Starcatcher, Sweeney Todd, The Theatre Bay Area Legacy Award; Northlight Theatre (Chicago) and Hound of the Baskervilles, Little Avenidas Lifetimes of Achievement Georgia Shakespeare Festival (Atlanta), Women, and Other Desert Cities. She Award; the Silicon Valley Arts Council’s as well as Development Director for was also the Assistant Stage Manager Legacy Laureate Award; the Bay Area Great Lakes Theater Festival (Cleveland) for threesixty Entertainment’s First Theatre Critics Circle Paine Knicker- and George Street Playhouse (New National Tour of Peter Pan; Journey to bocker Award; and Jerry Friedman Brunswick). He holds an MFA in the West at the New York Musical Award for Lifetime Achievement; Theatre Administration from the Yale Theatre Festival; and with American BATCC Awards for Outstanding School of Drama and a BA in Drama Musical Theatre of San Jose. Ms. Wolf Direction for The Hound of the from Duke University. He has served as also works as a stagehand throughout Baskervilles; Into the Woods; Pacific Vice President of the National Alliance the San Francisco Bay Area and is a Overtures; Rags; Sweeney Todd; for Musical Theatre Board. Prior board proud member of the International Another Midsummer Night; Sunday in service also includes the League of Alliance of Theatrical Stage Employees. the Park with George; Jane Eyre; and Chicago Theatres, Atlanta Coalition of She holds a BA in Theatre, Cum Laude Caroline, or Change; and the Theatre Theatres, and the executive committee from Mount Holyoke College. Bay Area Award for Outstanding of the League of Resident Theatres Direction of a Musical for Daddy Long (LORT). He was named 2000’s Best Arts ROBERT KELLEY (Artistic Director) Legs. He recently directed Marie and Administrator by Atlanta Magazine and is a Bay Area native and Stanford Rosetta, Tuck Everlasting, Fun Home, received the Atlanta Arts and Business University graduate. He founded and The Bridges of Madison County. Council’s 1998 ABBY Award for Arts TheatreWorks in 1970 and has directed Administrator. The location that connects you to the best of San Francisco. SPOTLIGHT ON THEATREWORKS EDUCATION

San Francisco is known for its rich intellectual and creative culture, progressive spirit, and global outlook — and that’s just what you’ll find at San Francisco Towers, a sophisticated Life Plan Community in the heart of the city.

Everything you love is within walking distance, making it easy to stay connected to the culture and diversity San Francisco is known for plus convenient services, wonderful comforts, and security for the future.

Join the waiting list! For information, or to schedule a visit, call 415.447.5526. SUMMER CAMPS In this edition, we bring you our camps, in which grades K–6 (age minimum 5) students create their own plays in two weeks while working together. Here’s the process: • Campers have daily classes in acting, playwriting, music, and dance to make their plays • Campers have a daily class in stagecraft to create elements of their plays • Campers rehearse to bring their plays to life • Campers are taught by TheatreWorks trained Teaching Artists covia.org/san-francisco-towers • Campers present their World Premieres for family and friends 1661 Pine St, San Francisco, CA 94109 How you can find out more: • www.theatreworks.org/education/summer-camp/ • Reach us at 650.463.7146 or email [email protected] A not-for-profit community owned and operated by Covia. License No. 380540292 COA# 325 Who’s Who

SPOTLIGHT ON THEATREWORKS EDUCATION

SUMMER CAMPS In this edition, we bring you our camps, in which grades K–6 (age minimum 5) students create their own plays in two weeks while working together. Here’s the process: • Campers have daily classes in acting, playwriting, music, and dance to make their plays • Campers have a daily class in stagecraft to create elements of their plays • Campers rehearse to bring their plays to life • Campers are taught by TheatreWorks trained Teaching Artists • Campers present their World Premieres for family and friends How you can find out more: • www.theatreworks.org/education/summer-camp/ • Reach us at 650.463.7146 or email [email protected]

encorespotlight.com 25 Help TheatreWorks Produce World Premieres! TheatreWorks Silicon Valley Contributors

VISIONARY SPONSORS CORPORATE CIRCLE, FOUNDATION, & GOVERNMENT GIFTS Ciro Giammona, Chair Foundations and Corporate Circle members sponsor productions, support new works, and fund education programs for K–12 $420,000 Pride and Prejudice This Season of Giving, you can help us raise $420,000 in support students. Sponsors may host events at the theatre, receive heightened community visibility, and enjoy other hospitality benefits. of producing new productions that come to life on our mainstage, Contact Lynn Davis at 650.463.7159 or [email protected] for more information. in our New Works Festival, and in our Education programs! Visionary Sponsors Benefactors Friends ($50,000 and above) ($5,000 to $9,999) ($1,000 to $2,499) Did you know that Pride and Prejudice is TheatreWorks’ 70th World The William & Flora Hewlett Robert E. & Adele M. Boydston Babcock And Brown* Premiere? Born out of TheatreWorks’ commitment to new works, Foundation Charitable Foundation Chase VP* all of our premieres, whether featured in our New Works Festival, J. Lohr Vineyards & Wines* Chubb Insurance Goodwin Proctor* The David & Lucile Packard Dodge & Cox Investment Isla Productions, LLC* on the mainstage or even in our education programming, require Foundation Managers Nikon Precision, Inc donors who believe in nurturing artistic creativity and innovation. San Francisco Chronicle* Fenwick & West LLP We need our entire community to help us bring new stories to life! The Shubert Foundation Gleim the Jeweler* Sobrato Philanthropies* Harrell Remodeling Matching Gifts With your support, our commitment to nurturing and producing Hurlbut-Johnson Charitable Many companies will double or triple Presenting Sponsors Trusts their employees’ contributions to new works will remain steadfast. ($25,000 to $49,999) Palo Alto Weekly Holiday Fund nonprofits. It’s a great way to make City National Bank The Wilson Sonsini Goodrich & your gift to TheatreWorks go further at Join us at give.theatreworks.org/TWSeason or by mail, Koret Foundation Rosati Foundation no extra cost. Call 650.463.7135 for PO Box 50458, Palo Alto, CA 94303-0458. more information. Supporting Sponsors Supporters Amazon Smile Foundation ($15,000 to $24,999) ($2,500 to $4,999) As we work towards our goal of $420,000, we will add more Adobe Systems Carla Befera Public Relations* Avidbank productions to our lobby display so you can recall all 70 of our Agilent Technologies The Leonard C. & Mildred F. Groupware Technology* Apple World Premieres! Help us make it all the way to our goal, and Ferguson Foundation Mayer Brown LLP* $100,000 Avant! Foundation together we'll launch Paul Gordon’s Pride and Prejudice! The Harold & Mimi Steinberg The Morrison & Foerster Google Charitable Trust Foundation Hewlett-Packard Company Thank you for investing in our community this Season of Giving! National Alliance for Musical IBM Sponsors Theatre TW’S first World Premiere Popcorn Johnson & Johnson Family of ($10,000 to $14,999) Opal Events Center* Companies The Applied Materials Foundation Pillsbury Winthrop Shaw Microsoft California Arts Council Pittman LLP* Netflix PRESENTING SPONSORS Heising-Simons Foundation Rambus Inc.

* Indicates donors whose gifts include in-kind goods or services. Give the gift of Broadway! This year, treat yourself and your loved ones to FUTUREWORKS Jayne Booker, Chair TheatreWorks’ Annual Broadway Tour! FutureWorks members have made an estate gift from a will or living trust, a beneficiary designation in an IRA, a gift of life insurance, a gift that returns lifetime income, or another planned gift. Contact Ronnie Plasters at [email protected] May 20–26, 2020 for more information. See four amazing Broadway shows including Moulin Rouge! and Six. Anonymous (7) • Marc Abramson • The Estate of William C. Anderson • Ray & Carol Bacchetti • Elaine Tour historic cultural sites including One World Observatory and Ellis Island, and more! Baskin & Ken Krechmer • Pauline Berkow & Ronald Kauffman • David & Lauren Berman • Jayne Booker • Price: $4995* James & Diane Bordoni • Ann S. Bowers • Steve & Gayle Brugler • Marda Buchholz • Carol Buchser • The estate of Cathryn Z. Cannon • Eleanor W. Caughlan • Steven & Karin Chase • Jodi Corwin & Irv Duchowny Early Bird Special: Register by January 15, 2020 to receive $300 off! SPONSORS • James & Louise Dunaway • Bruce & Hala Kurdi Cozadd • George & Susan Crow • John & Wynne Dobyns * Price based on double occupancy. Optional airfare from San Jose can be added for $500/person. • Mark Duncan • John & Linda Elman • Frances Escherich • Susan Fairbrook • Harriett Ferziger • Gayle Flanagan • Carole & David Florian • Peter & Rose Friedland • Terry & Carolyn Gannon • Ed Glazier • John For more info, please contact Jake Hurwitz at [email protected] or 650.463.7110 & Marcia Goldman • Lorie Griswold • Ronald Hayden • Judy Heyboer & Brian Shally • Maureen Hoberg • Sharon Hoffman • Anne & Emma Grace Holmes • Kenny Hom • Sue Homestead • Judith & Wayne Hooper • Elaine & Samuel Housten • Susan M. Huch • Edward Hunter & Michelle Garcia • Nancy Lee Jalonen • Barry Lee Johnson • Stanley Johnson • Claiborne S. Jones • Mary Frances Jourdan • Mike & Martha Kahn • Julie Kaufman & Doug Klein • Robert Kelley & Ev Shiro • Bill & Terry Krivan • Phil Kurjan & Noel Butler • Woof Kurtzman & Liz Hertz • Mark Lewis & Barbara Shapiro • Marilyn & Robert Mangelsdorf • Steve Mannshardt • Suzanne Martin & John Doyle • Leigh Metzler & Jim McVey • Buff & Cindy Miller • Tami & Craney Ogata • Richard Partridge & Rachel Michelberg • Joe & Nancy Ragey • Doris Gottsegen-Reiner • Karen & John Reis • Eddie Reynolds & Ed Jones • Betsy Boardman Ross • Adam Samuels • Philip Santora & Cristian Asher • Dorothy Saxe • Loren & Shelley Saxe • Cynthia Sears • Joyce Reynolds Sinclair & Dr. Gerald M. Sinclair • Mindy Rauch & Carol Snell • Esther Sobel • Jim & Mary Southam • Cherrill M. Spencer • Rick Stern & Nancy Ginsburg Stern • Susanne Stevens & Monte Mansir • Laurie Waldman • Carol Watts • Karen Carlson White • Renee & Herman Winick

26 THEATREWORKS Help TheatreWorks Produce World Premieres! TheatreWorks Silicon Valley Contributors

* Indicates donors whose gifts include in-kind goods or services. Give the gift of Broadway! This year, treat yourself and your loved ones to FUTUREWORKS Jayne Booker, Chair TheatreWorks’ Annual Broadway Tour! FutureWorks members have made an estate gift from a will or living trust, a beneficiary designation in an IRA, a gift of life insurance, a gift that returns lifetime income, or another planned gift. Contact Ronnie Plasters at [email protected] May 20–26, 2020 for more information. See four amazing Broadway shows including Moulin Rouge! and Six. Anonymous (7) • Marc Abramson • The Estate of William C. Anderson • Ray & Carol Bacchetti • Elaine Tour historic cultural sites including One World Observatory and Ellis Island, and more! Baskin & Ken Krechmer • Pauline Berkow & Ronald Kauffman • David & Lauren Berman • Jayne Booker • Price: $4995* James & Diane Bordoni • Ann S. Bowers • Steve & Gayle Brugler • Marda Buchholz • Carol Buchser • The estate of Cathryn Z. Cannon • Eleanor W. Caughlan • Steven & Karin Chase • Jodi Corwin & Irv Duchowny Early Bird Special: Register by January 15, 2020 to receive $300 off! SPONSORS • James & Louise Dunaway • Bruce & Hala Kurdi Cozadd • George & Susan Crow • John & Wynne Dobyns * Price based on double occupancy. Optional airfare from San Jose can be added for $500/person. • Mark Duncan • John & Linda Elman • Frances Escherich • Susan Fairbrook • Harriett Ferziger • Gayle Flanagan • Carole & David Florian • Peter & Rose Friedland • Terry & Carolyn Gannon • Ed Glazier • John For more info, please contact Jake Hurwitz at [email protected] or 650.463.7110 & Marcia Goldman • Lorie Griswold • Ronald Hayden • Judy Heyboer & Brian Shally • Maureen Hoberg • Sharon Hoffman • Anne & Emma Grace Holmes • Kenny Hom • Sue Homestead • Judith & Wayne Hooper • Elaine & Samuel Housten • Susan M. Huch • Edward Hunter & Michelle Garcia • Nancy Lee Jalonen • Barry Lee Johnson • Stanley Johnson • Claiborne S. Jones • Mary Frances Jourdan • Mike & Martha Kahn • Julie Kaufman & Doug Klein • Robert Kelley & Ev Shiro • Bill & Terry Krivan • Phil Kurjan & Noel Butler • Woof Ku rtzman & Liz Hertz • Mark Lewis & Barbara Shapiro • Marilyn & Robert Mangelsdorf • Steve Mannshardt • Suzanne Martin & John Doyle • Leigh Metzler & Jim McVey • Buff & Cindy Miller • Tami & Craney Ogata • Richard Partridge & Rachel Michelberg • Joe & Nancy Ragey • Doris Gottsegen-Reiner • Karen & John Reis • Eddie Reynolds & Ed Jones • Betsy Boardman Ross • Adam Samuels • Philip Santora & Cristian Ash er • Dorothy Saxe • Loren & Shelley Saxe • Cynthia Sears • Joyce Reynolds Sinclair & Dr. Gerald M. Sinclair • Mindy Rauch & Carol Snell • Esther Sobel • Jim & Mary Southam • Cherrill M. Spencer • Rick Stern & Nancy Ginsburg Stern • Susanne Stevens & Monte Mansir • Laurie Waldman • Carol Watts • Karen Carlson White • Renee & Herman Winick

encorespotlight.com 27 Joyce Reynolds Sinclair & Bill & Mary Comfort Mr. & Mrs. Abdo Kadifa Vas & Neerja Raman TheatreWorks Silicon Valley Contributors Dr. Gerald M. Sinclair Larry & Sara Condit Louise Karr Karen Recht & Richard Recht Ellen & Ed Smith Robert A. Cook Ruth Ann & David Keefer Redwood Serenity Fund THE PRODUCER CIRCLE Anne Hambly, Executive Producer Co-Chair • Ron Hayden, Executive Producer Co-Chair Jerry Strom & Marilyn Austin Jodi Corwin & Irv Duchowny in Cynthia & Bert Keely Karen & John Reis Jane Weston, Producer Chair Odette & Ewart Thomas memory of Milt, Michael, & Jack Arthur Keller Eddie Reynolds & Hernán Correa TheatreWorks Producers have made a gift of $10,000 or more. They are invited to exclusive events with visiting artists, and on special theatre trips. Producers may select a Diane & Howard Crittenden Robin & Don Kennedy Edward & Verne Rice production to follow from ”page to stage” by attending the design presentation, rehearsals, and opening nights. Producers also receive all Inner Circle benefits. Contact Thomas Vogelsang Jim & Melanie Crockard Chris Kenrick Orli & Zack Rinat Ronnie Plasters at 650.463.7135 or [email protected] for more information. Laurie Waldman in Loving Memory of June Friedberg Waldman David & Ann Crockett Liz & Rick Kniss Tom Rindfleisch & Carli Scott Jonathan & Anne Cross Bill & Terr Pau Visionary Producers Producers Jan Horn & Jane Weston Eileen Nelson & Hugh Franks Elissa Wellikson & Tim Shroyer y Krivan l & Sheri Robbins Jeff & Amy Crowe Woof Kurtzman & Liz Hertz Scott & Helen Rodde ($50,000 and above) ($10,000 to $24,999) Larry Horton & George Wilson Yvonne & Mike Nevens Linda & Joel Zizmor Ann S. Bowers Anonymous Edward Hunter & Michelle Garcia Bill & Janet Nicholls Richard & Anita Davis Eileen Landauer & Mark Michael Bob Rodert & Bev Kiltz Ron & Marion Dickel Jim & Marilyn Lattin Patricia Rohrs Dr. & Mrs. W. M. Coughran, Jr. Dr. Edward & Lois Anderson Charlotte Jacobs & Ellice & Jim Papp Assistant Directors Monica Donovan Henry Lawson & Tom & Nan Ryan Anne & Larry Hambly Paul Asente & Ron Jenks Roderick Young Richard Partridge & ($1,500 to $3,499) Pamela Dougherty Marcia Wells-Lawson Ellen & Jerry Saliman The Dirk & Charlene Kabcenell Leigh & Roy Johnson Rachel Michelberg Anonymous (6) Brigid Barton & Orrin Robison Lorry Drobnich Arlene & Jack Leslie Joseph & Sandy Santandrea Marc & Sophia Abramson Foundation Elaine Baskin & Ken Krechmer Mike & Martha Kahn Ronnie Plasters Wynne Segal Dubovoy Janet & Phil Levine Sonya Schroeder Douglas & Loretta Allred Morgan Family Foundation Lucy Berlin & Glenn Trewitt Julie Kaufman & Doug Klein Joe & Nancy Ragey Mr. & Mrs. Robert English Donald & Rachel Levy Tom & Hilary Schroeder Richard & Clarice Anderson Cynthia Sears Dr. Barbara L. Bessey in memory Robert Kelley & Ev Shiro Philip Santora & Cristian Asher Suzanne & Allan Epstein Stephen & Nancy Levy Charles G. Schulz & Claire E. Taylor Kathleen Anderson & Jeffrey Lipkin Lisa Webster & Ted Semple of Dr. Kevin J. Gilmartin Tom & Sharon Kelley Dorothy Saxe Patrick Farris Dr. & Mrs. Bernard I. Lewis Bart Sears Shirley Bailey TheatreWorks Board Emeritus Jayne Booker Hal & Iris Korol Loren & Shelley Saxe Richard & Josephine Ferrie George & Ann Limbach Perry Segal Paul & Debbie Baker Michelle & Michael Kwatinetz Leonard Shustek & Donna Dubinsky Sheldon Finkelstein & Christine Ling Pamela & Rick Shames Tom & Polly Bredt Jim Bassett & Lily Hurlimann Beatriz V. Infante Robert J. Lipshutz & Cynthia & Bob Shannon* Executive Producers Denise Brosseau Dick & Cathy Lampman Lisa & Matthew Sonsini Anne & Buz Battle Sarah Flanagan Nancy Wong, MD Peggy & Ron Shapera ($25,000 to $49,999) Steve & Gayle Brugler Mark & Debra Leslie Rick Stern & Nancy Ginsburg Stern Mr. & Mrs. David W. Beach Karen & Lorry Frankel Janet Littlefield & Sarah Shema & Neyssa Marina Anonymous Steven & Karin Chase Sue & Dick Levy Susanne Stevens & Monte Mansir Betsy & George Bechtel Diane & Bob Frankle William Coggshall Carolyn Silberman Marsha & Bill Adler Mark Lewis & Barbara Shapiro Holly & Jeff Ullman The BelleJAR Foundation Fran Codispoti Barbara Franklin & Bernie Loth Tom & Sally Logothetti Terry & Stuart Silverman Bruce & Hala Kurdi Cozadd Terry Maher & Echeyde Cubillo* Mark & Teri Vershel Don & Deborah Bennett George & Susan Crow Deborah Freehling, MD Howard Lyons in memory of Geri Sipes Yogen & Peggy Dalal David & Lauren Berman Gordon & Carolyn Davidson Dr. David Gaba & Deanna Mann Denise Watkins Jay & Joyce Friedrichs Alicia Rojas Pamela Smith Caroline Beverstock The John & Marcia Goldman John & Wynne Dobyns The Marmor Foundation/ Carol Watts Markus Fromherz & Heike Schmitz Richard & Charlene Maltzman Laura & Russ Smith Charlotte & David Biegelsen Foundation Sarah Donaldson Drs. Michael & Jane Marmor Harriet & Frank Weiss Matthew Fuller & Monica West Marilyn Manning & Todd & Sandy Smith Fumiko & Carl Bielefeldt Ron Hayden & Sherry Dusza Harriett Ferziger Gillian & Tom Moran Bart & Nancy Westcott Terry & Carolyn Gannon in honor Richard Lonergan The Sher-Right Fund Robert & Letty Block Phil Kurjan & Noel Butler Leslie & Douglas Murphy- Bill & Janne Wissel of Robert Kelley Suzanne Martin & John Doyle Jim & Valerie Stinger Dan & Catharine Garber Joan Bodenlos Dorothy Lazier Chutorian Gayla Lorthridge Marilee Gardner Bob & Kathie Maxfield Catherine & Jeff Thermond Sylvia & Ron Gerst Wood & Walt Wood Richard & Audrey Bojack Mendelsohn Family Fund Sue & Bill Gould Patrizia McCarthy & Jan Thomson & Roy Levin Renee & Mark Greenstein Cheryl Booton & Robert Mannell Beth & Charlie Perrell Kenneth & Susan Greathouse Truman Reynolds* Marilyn & Paul Tinderholt Rose Hau & Jim Heslin Rita Boren Janet Strauss & Jeff Hawkins THE INNER CIRCLE Barbara Gunther Patricia McClung & Allen Morgan Helaina Titus Dana & Tom Hayse Bob & Martha Bowden Donnie Matsuda, Co-Chair • Kristina Vetter, Co-Chair Jim Hagan in memory of Keith Amidon & Rani Menon Ted & Betty Ullman Lynn Szekely-Goode & Lauren & Darrell Boyle Judy Heyboer & Brian Shally Linda J. Hagan Gus Meyner in memory of Miriam Tzipor Ulman & Dan Rubinstein Dr. Richard Goode Members of The Inner Circle contribute a minimum of $1,500 each season and enjoy a variety Michael & Leslie Braun of benefits including priority subscription seating, VIP ticket purchases and exchanges, Kovin & Toggle Hagan Shauna Mika & Rick Callison Robert J. Van der Leest, MD Marah & Gene Brehaut access to house seats on Broadway, and invitations to Meet-the-Artists events. Contact Elaine & Eric Hahn William & Sue Miklos Mimi & Jim Van Horne James B. Brennock Julia Zarcone at 650.463.7126 or [email protected] for more information. Russell & Debbie Hall Buff & Cindy Miller Lorraine VanDeGraaf-Rodriguez & Kathy Bridgman Emeri & Brad Handler Drs. Jane Morton & Fred C. Rodriguez The Endowment Fund Directors Katie & Scott Dai* Ann Brown D & J Hodgson Family Michael Jacobs Kristina Vetter TheatreWorks Silicon Valley thanks the following lead ($6,500 to $9,999) Scott & Edie DeVine Ellen & Marc Brown Foundation Gordon Myers Gregory & Kathleen Wallace donors for their extraordinarily generous Endowment gifts. Anonymous Douglas Dexter Steve & Shelley Brown Craig & Deborah Hoffman Jan & Bob Newman Tom Wang Katherine Bazak & John Dohner John & Susan Diekman Eric Butler MD & Anne & Emma Grace Holmes The Niblock Charitable Trust Griff & Lynne Weber Marsha & Bill Adler Cabell Chinnis Dennis & Cindy Dillon Suzanne Rocca-Butler Wayne & Judith Hooper Jamie & Erin Niemasik Margaret & Curt Weil Gayle Flanagan Susan Fairbrook Bud & Judy Buttrill William C. Anderson Susan M. Huch Margo & Roy Ogus Arlene & Bruce S. White Lynda & Steve Fox Peggy Woodford Forbes & Jeff & Deborah Byron Ann S. Bowers Perry A. Irvine & Lynn & Susan Orr Karen Carlson White Peter & Rose Friedland Harry Bremond Susan Carey Polly & Tom Bredt Linda Romley-Irvine David Pasta in memory of Carolyn & Nate Wilson David E. Gold & Irene Blumenkranz Shoshana & Martin Gerstel Ron & Sally Carter Bruce Cozadd Sudhanshu & Lori Jain Gloria J.A. Guth Mark & Sheila Wolfson Linda M. Hinton & Vince Foecke Ciro & Eileen Giammona Josephine Chien & Peter & Melanie Cross Dean & Patricia Johnson Amy Peabody & Brent Ingram Bill & Sue Worthington Rob & Ann Marangell Noble & Lorraine Hancock Stephen Johnson Kim & Mike Johnson Carrie Perzow & Von Leirer Diane & Karl Wustrack Yogen & Peggy Dalal Donald Matsuda Maren Hitz Bruce & Gail Chizen Mary Louise Johnson Dean Philip & Peggy Pizzo Julia Zarcone & David Patmore Carl H. Feldman Annie Nunan Claiborne Jones in memory of Lee & Amy Christel Hardy & Jane Bryan Jones John & Valerie Poggi Dr. Vincent & Joyce Zarcone Kathryn Green Holly Ward & Scott Spector Jane Chai Nancy Mahoney Cohen Hilary Jones Susan Rabin Buchanan & The John & Marcia Goldman Foundation Lisa & Marc Jones Associate Directors John & Catharine Kristian David Buchanan Emeri & Brad Handler Advocates Sharon Hoffman ($3,500 to $6,499) Irv Lichtenwald in honor of ($1,000 to $1,499) Anonymous (3) Michelle & Michael Kwatinetz The Dirk & Charlene Kabcenell Foundation Anonymous (3) • Doug & Marie Barry • Sharon & John Brauman • Gwen Crawford • Jon & Rossella Derickson • John & Linda Elman • Tom Fawcett & Monisha Bhutani Al Babbington in loving memory Drs. John & Penny Loeb Hurlbut-Johnson Charitable Trusts • Debra Engel • Mr. & Mrs. Stephen S. Francis • Katherine Fraser & Steve Larson • Wesley & Dianne Gardiner • Ann Griffiths in honor of Gayla Lorthridge Wood • Malcolm MacNaughton Charles & Roberta Katz Family Foundation of Milt Corwin Adesh Hale • James Heeger & Daryl Messinger • Tilmin & Kelly Hudson • Kathryn & David Henry Hwang • Carl Jukkola & Desmond Lee • Thomas Kailath & Anu Carol Bacchetti Janet & Vince Martin Maitra • Michael Kalkstein & Susan English • Michael & Ina Korek • Steven Lever & Patti Sue Plumer • Cliff & Diana Lloyd • Darlene Markovich & Ron Haak • Patrick Patricia McClung & Allen Morgan Joel & Wendy Bartlett Kevin McCoy & Nan McKenna • Bruce McLeod & Carla Befera • Doug & Carol Melamed • Dianne Morton • Cathy Murphy & Michael Gagliasso • Olivier & Lynn O'Leary Pieron • The Rathmann Family Foundation Pat Bashaw & Gene Segre Judy & Brad O’Brien In memory of Bridget Ross • Tom & Pat Sanders • Emil & Barbara Sarpa • Katie & Bob Sharp in honor of Michael & Leslie Braun • Francesca Sherrill & Tony diBellis Eddie Reynolds In memory of Pearl Reimer • Barbara & David Sloss* • Denise & Jim Stanford • Donald & Miriam Teeter • Greg Underwood • Les & Judy Vadasz • Diana & Chris Walsh • Dimitri Maxwell Marda Buchholz & Marcie Brown Wentworth • Neil & Ann Wolff • Barbara Zimmer & Kevin Mayer John & Diane Savage Dean & Wilma Chu Ron & Lila Schmidt Joyce Reynolds Sinclair Edward & Jane Seaman Contributions listed were received between 10/10/2018 & 10/10/2019. Program deadlines & space limitations prevent us from listing all of our greatly appreciated patrons. Claudia & Bill Coleman For corrections, or to make a contribution, please contact Jake Hurwitz at 650.463.7110 or [email protected]. Ron & Ellen Shulman Lynn Szekely-Goode & Dr. Richard Goode Randy Curry & Kay Simon * Indicates donors whose gifts include in-kind goods or services. + Indicates members of the Encore Club, who make ongoing monthly or quarterly gifts.

28 THEATREWORKS Joyce Reynolds Sinclair & Bill & Mary Comfort Mr. & Mrs. Abdo Kadifa Vas & Neerja Raman TheatreWorks Silicon Valley Contributors Dr. Gerald M. Sinclair Larry & Sara Condit Louise Karr Karen Recht & Richard Recht Ellen & Ed Smith Robert A. Cook Ruth Ann & David Keefer Redwood Serenity Fund THE PRODUCER CIRCLE Anne Hambly, Executive Producer Co-Chair • Ron Hayden, Executive Producer Co-Chair Jerry Strom & Marilyn Austin Jodi Corwin & Irv Duchowny in Cynthia & Bert Keely Karen & John Reis Jane Weston, Producer Chair Odette & Ewart Thomas memory of Milt, Michael, & Jack Arthur Keller Eddie Reynolds & Hernán Correa TheatreWorks Producers have made a gift of $10,000 or more. They are invited to exclusive events with visiting artists, and on special theatre trips. Producers may select a Diane & Howard Crittenden Robin & Don Kennedy Edward & Verne Rice production to follow from ”page to stage” by attending the design presentation, rehearsals, and opening nights. Producers also receive all Inner Circle benefits. Contact Thomas Vogelsang Jim & Melanie Crockard Chris Kenrick Orli & Zack Rinat Ronnie Plasters at 650.463.7135 or [email protected] for more information. Laurie Waldman in Loving Memory of June Friedberg Waldman David & Ann Crockett Liz & Rick Kniss Tom Rindfleisch & Carli Scott Jonathan & Anne Cross Bill & Terr Pau Visionary Producers Producers Jan Horn & Jane Weston Eileen Nelson & Hugh Franks Elissa Wellikson & Tim Shroyer y Krivan l & Sheri Robbins Jeff & Amy Crowe Woof Kurtzman & Liz Hertz Scott & Helen Rodde ($50,000 and above) ($10,000 to $24,999) Larry Horton & George Wilson Yvonne & Mike Nevens Linda & Joel Zizmor Ann S. Bowers Anonymous Edward Hunter & Michelle Garcia Bill & Janet Nicholls Richard & Anita Davis Eileen Landauer & Mark Michael Bob Rodert & Bev Kiltz Ron & Marion Dickel Jim & Marilyn Lattin Patricia Rohrs Dr. & Mrs. W. M. Coughran, Jr. Dr. Edward & Lois Anderson Charlotte Jacobs & Ellice & Jim Papp Assistant Directors Monica Donovan Henry Lawson & Tom & Nan Ryan Anne & Larry Hambly Paul Asente & Ron Jenks Roderick Young Richard Partridge & ($1,500 to $3,499) Pamela Dougherty Marcia Wells-Lawson Ellen & Jerry Saliman The Dirk & Charlene Kabcenell Leigh & Roy Johnson Rachel Michelberg Anonymous (6) Brigid Barton & Orrin Robison Lorry Drobnich Arlene & Jack Leslie Joseph & Sandy Santandrea Marc & Sophia Abramson Foundation Elaine Baskin & Ken Krechmer Mike & Martha Kahn Ronnie Plasters Wynne Segal Dubovoy Janet & Phil Levine Sonya Schroeder Douglas & Loretta Allred Morgan Family Foundation Lucy Berlin & Glenn Trewitt Julie Kaufman & Doug Klein Joe & Nancy Ragey Mr. & Mrs. Robert English Donald & Rachel Levy Tom & Hilary Schroeder Richard & Clarice Anderson Cynthia Sears Dr. Barbara L. Bessey in memory Robert Kelley & Ev Shiro Philip Santora & Cristian Asher Suzanne & Allan Epstein Stephen & Nancy Levy Charles G. Schulz & Claire E. Taylor Kathleen Anderson & Jeffrey Lipkin Lisa Webster & Ted Semple of Dr. Kevin J. Gilmartin Tom & Sharon Kelley Dorothy Saxe Patrick Farris Dr. & Mrs. Bernard I. Lewis Bart Sears Shirley Bailey TheatreWorks Board Emeritus Jayne Booker Hal & Iris Korol Loren & Shelley Saxe Richard & Josephine Ferrie George & Ann Limbach Perry Segal Paul & Debbie Baker Michelle & Michael Kwatinetz Leonard Shustek & Donna Dubinsky Sheldon Finkelstein & Christine Ling Pamela & Rick Shames Tom & Polly Bredt Jim Bassett & Lily Hurlimann Beatriz V. Infante Robert J. Lipshutz & Cynthia & Bob Shannon* Executive Producers Denise Brosseau Dick & Cathy Lampman Lisa & Matthew Sonsini Anne & Buz Battle Sarah Flanagan Nancy Wong, MD Peggy & Ron Shapera ($25,000 to $49,999) Steve & Gayle Brugler Mark & Debra Leslie Rick Stern & Nancy Ginsburg Stern Mr. & Mrs. David W. Beach Karen & Lorry Frankel Janet Littlefield & Sarah Shema & Neyssa Marina Anonymous Steven & Karin Chase Sue & Dick Levy Susanne Stevens & Monte Mansir Betsy & George Bechtel Diane & Bob Frankle William Coggshall Carolyn Silberman Marsha & Bill Adler Mark Lewis & Barbara Shapiro Holly & Jeff Ullman The BelleJAR Foundation Fran Codispoti Barbara Franklin & Bernie Loth Tom & Sally Logothetti Terry & Stuart Silverman Bruce & Hala Kurdi Cozadd Terry Maher & Echeyde Cubillo* Mark & Teri Vershel Don & Deborah Bennett George & Susan Crow Deborah Freehling, MD Howard Lyons in memory of Geri Sipes Yogen & Peggy Dalal David & Lauren Berman Gordon & Carolyn Davidson Dr. David Gaba & Deanna Mann Denise Watkins Jay & Joyce Friedrichs Alicia Rojas Pamela Smith Caroline Beverstock The John & Marcia Goldman John & Wynne Dobyns The Marmor Foundation/ Carol Watts Markus Fromherz & Heike Schmitz Richard & Charlene Maltzman Laura & Russ Smith Charlotte & David Biegelsen Foundation Sarah Donaldson Drs. Michael & Jane Marmor Harriet & Frank Weiss Matthew Fuller & Monica West Marilyn Manning & Todd & Sandy Smith Fumiko & Carl Bielefeldt Ron Hayden & Sherry Dusza Harriett Ferziger Gillian & Tom Moran Bart & Nancy Westcott Terry & Carolyn Gannon in honor Richard Lonergan The Sher-Right Fund Robert & Letty Block Phil Kurjan & Noel Butler Leslie & Douglas Murphy- Bill & Janne Wissel of Robert Kelley Suzanne Martin & John Doyle Jim & Valerie Stinger Dan & Catharine Garber Joan Bodenlos Dorothy Lazier Chutorian Gayla Lorthridge W Marilee Gardner Bob & Kathie Maxfield Catherine & Jeff Thermond Sylvia & Ron Gerst ood & Walt Wood Richard & Audrey Bojack Mendelsohn Family Fund Sue & Bill Gould Patrizia McCarthy & Jan Thomson & Roy Levin Renee & Mark Greenstein Cheryl Booton & Robert Mannell Beth & Charlie Perrell Kenneth & Susan Greathouse Truman Reynolds* Marilyn & Paul Tinderholt Rose Hau & Jim Heslin Rita Boren Janet Strauss & Jeff Hawkins THE INNER CIRCLE Barbara Gunther Patricia McClung & Allen Morgan Helaina Titus Dana & Tom Hayse Bob & Martha Bowden Donnie Matsuda, Co-Chair • Kristina Vetter, Co-Chair Jim Hagan in memory of Keith Amidon & Rani Menon Ted & Betty Ullman Lynn Szekely-Goode & Lauren & Darrell Boyle Judy Heyboer & Brian Shally Linda J. Hagan Gus Meyner in memory of Miriam Tzipor Ulman & Dan Rubinstein Dr. Richard Goode Members of The Inner Circle contribute a minimum of $1,500 each season and enjoy a variety Michael & Leslie Braun of benefits including priority subscription seating, VIP ticket purchases and exchanges, Kovin & Toggle Hagan Shauna Mika & Rick Callison Robert J. Van der Leest, MD Marah & Gene Brehaut access to house seats on Broadway, and invitations to Meet-the-Artists events. Contact Elaine & Eric Hahn William & Sue Miklos Mimi & Jim Van Horne James B. Brennock Julia Zarcone at 650.463.7126 or [email protected] for more information. Russell & Debbie Hall Buff & Cindy Miller Lorraine VanDeGraaf-Rodriguez & Kathy Bridgman Emeri & Brad Handler Drs. Jane Morton & Fred C. Rodriguez The Endowment Fund Directors Katie & Scott Dai* Ann Brown D & J Hodgson Family Michael Jacobs Kristina Vetter TheatreWorks Silicon Valley thanks the following lead ($6,500 to $9,999) Scott & Edie DeVine Ellen & Marc Brown Foundation Gordon Myers Gregory & Kathleen Wallace donors for their extraordinarily generous Endowment gifts. Anonymous Douglas Dexter Steve & Shelley Brown Craig & Deborah Hoffman Jan & Bob Newman Tom Wang Katherine Bazak & John Dohner John & Susan Diekman Eric Butler MD & Anne & Emma Grace Holmes The Niblock Charitable Trust Griff & Lynne Weber Marsha & Bill Adler Cabell Chinnis Dennis & Cindy Dillon Suzanne Rocca-Butler Wayne & Judith Hooper Jamie & Erin Niemasik Margaret & Curt Weil Gayle Flanagan Susan Fairbrook Bud & Judy Buttrill William C. Anderson Susan M. Huch Margo & Roy Ogus Arlene & Bruce S. White Lynda & Steve Fox Peggy Woodford Forbes & Jeff & Deborah Byron Ann S. Bowers Perry A. Irvine & Lynn & Susan Orr Karen Carlson White Peter & Rose Friedland Harry Bremond Susan Carey Polly & Tom Bredt Linda Romley-Irvine David Pasta in memory of Carolyn & Nate Wilson David E. Gold & Irene Blumenkranz Shoshana & Martin Gerstel Ron & Sally Carter Bruce Cozadd Sudhanshu & Lori Jain Gloria J.A. Guth Mark & Sheila Wolfson Linda M. Hinton & Vince Foecke Ciro & Eileen Giammona Josephine Chien & Peter & Melanie Cross Dean & Patricia Johnson Amy Peabody & Brent Ingram Bill & Sue Worthington Rob & Ann Marangell Noble & Lorraine Hancock Stephen Johnson Kim & Mike Johnson Carrie Perzow & Von Leirer Diane & Karl Wustrack Yogen & Peggy Dalal Donald Matsuda Maren Hitz Bruce & Gail Chizen Mary Louise Johnson Dean Philip & Peggy Pizzo Julia Zarcone & David Patmore Carl H. Feldman Annie Nunan Claiborne Jones in memory of Lee & Amy Christel Hardy & Jane Bryan Jones John & Valerie Poggi Dr. Vincent & Joyce Zarcone Kathryn Green Holly Ward & Scott Spector Jane Chai Nancy Mahoney Cohen Hilary Jones Susan Rabin Buchanan & The John & Marcia Goldman Foundation Lisa & Marc Jones Associate Directors John & Catharine Kristian David Buchanan Emeri & Brad Handler Advocates Sharon Hoffman ($3,500 to $6,499) Irv Lichtenwald in honor of ($1,000 to $1,499) Anonymous (3) Michelle & Michael Kwatinetz The Dirk & Charlene Kabcenell Foundation Anonymous (3) • Doug & Marie Barry • Sharon & John Brauman • Gwen Crawford • Jon & Rossella Derickson • John & Linda Elman • Tom Fawcett & Monisha Bhutani Al Babbington in loving memory Drs. John & Penny Loeb Hurlbut-Johnson Charitable Trusts • Debra Engel • Mr. & Mrs. Stephen S. Francis • Katherine Fraser & Steve Larson • Wesley & Dianne Gardiner • Ann Griffiths in honor of Gayla Lorthridge Wood • Malcolm MacNaughton Charles & Roberta Katz Family Foundation of Milt Corwin Adesh Hale • James Heeger & Daryl Messinger • Tilmin & Kelly Hudson • Kathryn & David Henry Hwang • Carl Jukkola & Desmond Lee • Thomas Kailath & Anu Carol Bacchetti Janet & Vince Martin Maitra • Michael Kalkstein & Susan English • Michael & Ina Korek • Steven Lever & Patti Sue Plumer • Cliff & Diana Lloyd • Darlene Markovich & Ron Haak • Patrick Patricia McClung & Allen Morgan Joel & Wendy Bartlett Kevin McCoy & Nan McKenna • Bruce McLeod & Carla Befera • Doug & Carol Melamed • Dianne Morton • Cathy Murphy & Michael Gagliasso • Olivier & Lynn O'Leary Pieron • The Rathmann Family Foundation Pat Bashaw & Gene Segre Judy & Brad O’Brien In memory of Bridget Ross • Tom & Pat Sanders • Emil & Barbara Sarpa • Katie & Bob Sharp in honor of Michael & Leslie Braun • Francesca Sherrill & Tony diBellis Eddie Reynolds In memory of Pearl Reimer • Barbara & David Sloss* • Denise & Jim Stanford • Donald & Miriam Teeter • Greg Underwood • Les & Judy Vadasz • Diana & Chris Walsh • Dimitri Maxwell Marda Buchholz & Marcie Brown Wentworth • Neil & Ann Wolff • Barbara Zimmer & Kevin Mayer John & Diane Savage Dean & Wilma Chu Ron & Lila Schmidt Joyce Reynolds Sinclair Edward & Jane Seaman Contributions listed were received between 10/10/2018 & 10/10/2019. Program deadlines & space limitations prevent us from listing all of our greatly appreciated patrons. Claudia & Bill Coleman For corrections, or to make a contribution, please contact Jake Hurwitz at 650.463.7110 or [email protected]. Ron & Ellen Shulman Lynn Szekely-Goode & Dr. Richard Goode Randy Curry & Kay Simon * Indicates donors whose gifts include in-kind goods or services. + Indicates members of the Encore Club, who make ongoing monthly or quarterly gifts.

encorespotlight.com 29 TheatreWorks SV Staff Artistic Director Robert Kelley Executive Director Phil Santora A FIGHT TO FLY

ARTISTIC SCENERY DEVELOPMENT MARKETING

Director of New Works Technical Director Director of Development Director of Marketing Giovanna Sardelli Frank Sarmiento Ronnie Plasters Peter Chenot

Casting Director Lead Scenic Artist/Craftsman Associate Director of Development Art Director Jeffrey Lo Tom Langguth Julia Zarcone Ev Shiro They Promised Her Artistic Operations Manager/ Carpenters Associate Director of Institutional Marketing & Communications Company Manager Andrew Clark, Rodrigo Frausto, Partnerships Manager Stephen Muterspaugh Henry Ing, Patrick McKenna Lynn Davis Heather Orth the Moon Resident Musical Director Stewardship & Individual Giving Digital Media Manager William Liberatore PROPERTIES Manager Jennifer Gosk By Laurel Ollstein Jake Hurwitz FutureWorks Fellow Properties Master Systems Analyst Directed by Giovanna Sardelli Katherine Hamilton Christopher Fitzer Events Manager Andrew Skelton Jodi Corwin Artistic Assistant Properties Stock Manager Patron Services Manager NORTHERN CALIFORNIA PREMIERE Tracy Hayden Logan Baker Development Associate Elana Ron Tracy Hayden The space race, 1962. With the sky no longer the limit, astronauts circle the heavens and a world Volunteer Artist Hospitality Properties Artisan Assistant Patron Services Manager record-holding pilot stands ready to join them, forever altering the course of history. If only Brigitte Losey Development Fellow Kate Dobbins Committee America will let her. This fascinating theatrical hit from our New Works Festival chronicles the Cindi Sears, Barbara Maher, Jillian Bader Front of House Manager incredible true story of Jerrie Cobb, a woman who dreamt of stars, only to wake in a country that Terry Maher COSTUMES Telefunding Nancy Levin Melmon couldn’t see the light. Constance Gannon Costume Director Patron Services Representatives March 4–29, 2020 PRODUCTION, Jill Bowers Katherine Hamilton, Margaret Purdy, LIGHTING, & SOUND EDUCATION Cameron Wells Lucie Stern Theatre, Palo Alto theatreworks.org 650.463.1960 Assistant Costumer Production Manager Noah Marin Director of Education Graphics Assistant David A. Milligan Lisa Edsall Giglio, EdD Katie Dai Lead Cutter/Draper Assistant Production Manager Yen La Wong Associate Education Director Public Relations & Advertising Elizar Ivanov Katie Bartholomew Carla Befera & Co. Wardrobe Manager TheatreWorks SV General Information Carla Befera, Lauren Goldfarb Operations Manager/ Madison Miller Teaching Artists Master Electrician Annika Nori Ahlgrim, Video Content Producer CONTACT US ACCESSIBLE SEATING LATE ARRIVALS Costume Rentals Manager Steven B. Mannshardt Stacey Ardelean, Jake Arky, Erin Gould Mailing Address: Seating is available for wheelchair patrons. Please Latecomers will not be seated until appropriate Melissa Sanchez PO Box 50458, Palo Alto, CA 94303-0458 telephone the Ticket Office in advance so that intervals, and may not be seated in their exact Resident Lighting Designer Kimberly Braun, Nicole Bruno, Company Photographers Phone: 650.463.1950 Fax: 650.463.1963 special arrangements may be made. seat locations until intermission. Steven B. Mannshardt Assistant Cutter/First Hand Jenni Chapman, Matthew Keuter, Kevin Berne, Alessandra Mello Email: [email protected] Michelle Earney Roque Kelly Rinehart, Martin Rojas Dietrich, LISTENING SYSTEMS LOST AND FOUND Sound Supervisor TICKET SERVICES Cassie Rosenbrock, Luisa Sermol, Both theatres are equipped with listening For Mountain View Center for the Performing Dimitri Wentworth Hair Stylist Adrienne Walters ADMINISTRATIVE Tickets to all TheatreWorks Silicon Valley systems for the Deaf and Hard of Hearing. Arts lost and found, please call 650.903.6568. Jeanne Naritomi performances are sold through the TheatreWorks Please see the house manager for details. For Lucie Stern Theatre lost and found, please Production Coordinator General Manager Silicon Valley Box Office. call 650.463.1960. Karen Szpaller Costume Construction Intern AUDIO-DESCRIBED PERFORMANCES And thanks to our fabulous Scott DeVine Hours: Tuesday–Sunday, 12 noon–6pm Mariana Briskin Phone: 650.463.1960 Audio description for the visually impaired for PLEASE REMEMBER Electricians TheatreWorkers! Business Manager Tickets may also be obtained through the Pride and Prejudice: 12/27 at 8pm, 12/28 at 8pm, There is no smoking in the theatres or lobbies. Jake Bers, Justin Buchs, STAGE MANAGEMENT Jason Hyde Mountain View Center Ticket Office. 12/29 at 2pm Audio or video recording during the show is Herb Evans, Steven Fetter, Hours: Wednesday–Saturday, 12 noon–6pm The Pianist of Willisden Lane: 2/7 at 8pm, strictly prohibited. Neither food nor drink is Database Administrator Kendra Green, Steven Hennon, Resident Stage Managers Phone: 650.903.6000 2/8 at 8pm, 2/9 at 2pm permitted in the theatres. Lucie Stern Theatre Ken Maitz They Promised Her the Moon: 3/27 at 8pm, allows cold beverages contained in the TW Cosmo Hom, Anjali Jain, Randall K. Lum, Taylor McQuesten only WALK-UP TICKET SERVICES 3/28 at 8pm, 3/29 at 2pm covered cups available at concessions. Please Joe Krempetz, Kyle Langdon, Resident Assistant Staff Accountant The walk-up ticket office will open one hour For more information, please contact the box office ensure that all electronic devices are set to the Mattias Lange-McPherson, Stage Managers Barbara Sloss prior to each performance. at 650.463.1960 or [email protected]. ”off” position while you are in the theatre. Noah Listgarten, Evan Lola, Amy Smith Goodman, Front Desk Volunteers PERFORMANCE TIMES OPEN-CAPTIONED PERFORMANCES Children 5 and under are not permitted in Taylor McQuesten, Harris Meyers, Emily Anderson Wolf the theatre. Persons 14 and under must be Joan Doherty, Cindi Sears Wed, Thur, Fri Previews 8pm Open-captioned performances for accompanied by an adult. Every person, Dylan Moreland, Gary Nelson, Pride and Prejudice: Tuesday & Wednesday Eve 7:30pm 12/18 at 2pm, 12/22 at 2pm regardless of age, must have a ticket. Sean O’Connor, Darbus Oldham, Thursday–Saturday Eve 8pm & 7pm Chloe Schwitzer, Carina Swanberg, PRIDE AND PREJUDICE ADDITIONAL STAFF Sunday Eve 7pm The Pianist of Willisden Lane: 2/2 at 2pm & 7pm, Schedules, shows, casts, and ticket prices are Wednesday, Saturday, & Sunday Matinee 2pm 2/5 at 2pm subject to change. Jarku Tang, Henry Wilen, Arina Izadi Music Preparation Sound Engineer Brandie Larkin Dresser/Wig Assistant They Promised Her the Moon: Alexandra Zvargulis INDIVIDUAL TICKET PRICES 3/22 at 2pm & 7pm, Single ticket purchases are non-refundable, but Jonathan Bauerfeld Backstage Sound Rachel Katin Crafts Nina Parker 3/25 at 2pm are exchangeable for $15 per ticket. Marina Agabekov, Starting at $30 (balcony). Load-in/Strike Volunteers Additional Music Copyists Show Carpenter Lucas Hampton Drapers For more information, please contact the box office Some restrictions apply. Discounts available for Seniors, Educators, Patrons Noah Landis, Leonoor Rinke de Wit, Properties Runner Madison Reilly Sasha Vermel at 650.463.1960 or [email protected]. Rick Amerson, Ed Hunter 35 & Under, and active military. For pricing, call Charlie Savage Deck Crew Chloe Schweizer, Tailor Julie Englebrecht 650.463.1960 or visit theatreworks.org. EDUCATION Visit theatreworks.org Rehearsal Pianist Jonathan Erman Benjamin Kit Wong Stitchers Lisa Claybaugh, for detailed information or to purchase tickets. For programs in schools, communities, and camps: Light Board Operator Ryan Hubbard Wig Design Roxie Johnson Nika Cassaro GROUP SAVINGS theatreworks.org/education Follow Spot Operators Dressers Marissa Mendoza, Costume Volunteer Barbara Kossy Savings are available for groups of 10 or more. Josh Kirkbride, Yu Matsushita Samantha Helen Rasler For more information, call 650.463.1960 or email [email protected].

30 THEATREWORKS TheatreWorks SV Staff Artistic Director Robert Kelley Executive Director Phil Santora A FIGHT TO FLY

ARTISTIC SCENERY DEVELOPMENT MARKETING

Director of New Works Technical Director Director of Development Director of Marketing Giovanna Sardelli Frank Sarmiento Ronnie Plasters Peter Chenot

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