MAY 2015 RICH GIRL WELCOME

Welcome to Rich Girl! With this production, we celebrate the Globe debut of a talented playwright whose star is on the rise: Victoria Stewart. Her adaptation of Henry James’s novel Washington Square reimagines and reinvigorates a classic story for a new generation. Using the same source material that inspired Ruth and Augustus Goetz’s play The Heiress, she spins a thoroughly modern story about money, family, and how we define “worth” in present-day America. It’s a pleasure to DOUGLAS GATES welcome her work to the Globe. Managing Director Michael G. Murphy and Artistic Director Barry Edelstein.

Rich Girl also initiates a new phase in The Old Globe’s relationship with director James Vásquez. James is among San Diego’s best and brightest theatrical talents—no mean feat, given the incredible artists in our local community. In addition to directing award-winning productions at theatres across the region, he runs his own independent film production company. Since 2010, James has directed the Globe’s annual production of Dr. Seuss’ How the Grinch Stole Christmas!, and he helmed Richard O’Brien’s The Rocky Horror Show here in 2011. With Rich Girl, James steps up to direct his first non- musical at the Globe. We’re thrilled to have him at the head of this moving, funny, and memorable production. And we’re delighted that his creative team is chock full of other local artists: costume designer Shirley Pierson, lighting designer Amanda Zieve, and video designer Mark Holmes (all of whom are making their Globe debuts), as well as the Globe’s very own Paul Peterson.

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

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

PERFORMANCES MAGAZINE 1 PRODUCTION SPONSORS PRODUCTION SPONSORS EXTRAORDINARY LEADERSHIP

Since the founding of The Old Globe in 1935, heroic leadership has made The following individuals and organizations, recognized for their the theatre a cultural icon in San Diego and a forerunner in the American tremendous cumulative giving, comprise a special group of friends theatre. Many individuals have paved that way and enabled the theatre’s who have played leading “behind-the-scenes” roles, helping create the LEONARD HIRSCH, extraordinary success, and the Globe would like to recognize and honor productions on the three stages, programs in the community, and our IN MEMORY OF ELAINE HIRSCH its most generous and committed philanthropists who have helped make influence beyond this region. Leonard Hirsch has been an enthusiastic Globe supporter since moving to Coronado that possible. from New Jersey in 1993, where he enjoyed a long career as a securities analyst, — $25 million and higher — serving as Executive Vice President of General American Investors and on the Donald* and Darlene Shiley Franklin Township and Somerset County Boards of Education. He and Elaine, his wife of 60 years, supported many San Diego theatres, museums, and charities that — $11 million and higher — help the disadvantaged, and they volunteered at multiple local organizations. At Conrad Prebys | San Diego Commission for Arts and Culture the Globe they were Circle Patrons for several years and founding members of Globe Ambassadors, and they supported the Globe as generous Production Sponsors for — $8 million and higher — Life of Riley, God of Carnage, and Double Indemnity. Elaine passed away in 2014, Karen and Donald Cohn | Sheryl and Harvey White and it is in her memory that Len has sponsored Rich Girl and last year’s Quartet. — $7 million and higher — Kathryn Hattox

— $3 million and higher — Helen K. and James S. Copley Foundation | Audrey S. Geisel | County of San Diego SHEILA AND JEFFREY LIPINSKY For more than 25 years, San Diego natives Sheila and Jeffrey Lipinsky have — $2 million and higher — been integral members of the Old Globe family. Sheila serves on the Board of The James Irvine Foundation | The Shubert Foundation | Viterbi Family Foundation Directors and its Development and Nominating Committees. The couple supports organizations throughout the community, including Jewish Family Service, — $1 million and higher — Playwrights Project, San Diego Food Bank, San Diego Youth Symphony, and San The Lipinsky Family The Kresge Foundation J. Dallas and Mary Clark* Diego State University’s President’s Advisory Council. Jeffrey serves on the boards Carolyn Yorston-Wellcome Estate of Dorothy S. Prough Qualcomm Foundation of Moores Cancer Center and Seacrest Retirement Homes, and Sheila currently California Cultural & Historical Endowment National Endowment for the Arts Bank of America serves on the Patient Advisory Board for Moores Cancer Center and on the Board Stephen & Mary Birch Foundation, Inc. Helen Edison* Mary Beth Adderley of the USC School of Dramatic Arts, as well as others. Sheila and Jeffrey have Jeannie and Arthur Rivkin Estate of Beatrice Lynds* Anonymous sponsored many productions at the Globe and are a vital part of the Lipinsky Wells Fargo Victor H.* and Jane Ottenstein *In Memoriam family’s long and fruitful relationship with the Globe. 2015 Globe Gala Celebrating 80 Years of Extraordinary Theatre Co-Chairs: Pamela Cesak, Jo Ann Kilty, Vicki Zeiger

For more than 21 years, US Bank has been a stalwart supporter of The Old Globe’s Saturday, July 25, 2015 artistic, education, and community programming, including the Grinch Initiatives for elementary school students in Title One schools, School in the Park, and 6:00 p.m. Cocktail reception in the San Diego Museum of Art Sculpture Garden Insights Seminars. Additionally, US Bank has long been a production sponsor for many plays, including last fall’s hit production The Royale, Sight Unseen, Robin and 7:00 p.m. Exclusive, one-night-only cabaret performance by Carmen Cusack the 7 Hoods, Somewhere, Good People, and A Doll’s House. US Bank’s philanthropy (Bright Star) on the Donald and Darlene Shiley Stage in the Old Globe is found in priority areas of education, economic opportunity, and artistic and Theatre, part of the Conrad Prebys Theatre Center cultural enrichment. Music, art, sports, and educational opportunities all enrich a community, and US Bancorp proudly supports many such organizations, which in 8:30 p.m. Post-performance dinner and dancing on the Globe’s Copley Plaza to the turn strengthen communities and enhance the quality of life across America. The swing music of the Cab Calloway Orchestra starring Calloway Brooks. Old Globe thanks US Bank for its generous and steadfast support. All proceeds benefit The Old Globe’s educational and artistic programming. Individual tickets, tables, and underwriting opportunities available.

JOAN MARCUSJOAN Contact Eileen Prisby, Events Director, at (619) 684-4146 Carmen Cusack in Bright Star. or [email protected] for more information.

2 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 3 OUR THANKS In 1995, the Season Sponsor program was initiated by Globe Board members to secure a foundation of support for artistic Season Sponsors ($60,000 and higher) and education programs. Since that time, Season Sponsors have contributed millions of dollars collectively to underwrite the annual operating budget, and The Old Globe is pleased to acknowledge the following Season Sponsors who have generously supported the 2014-2015 season.

Leading Season Sponsors ($75,000 and higher)

JOAN AND IRWIN JACOBS VALERIE AND HARRY COOPER GILLIAN AND TONY THORNLEY Sponsors since 2002 Sponsors since 2005 Sponsors since 2009 U-T SAN DIEGO EDUARDO CONTRERAS / T CHARLES ERICKSON KAREN AND DONALD COHN DARLENE MARCOS SHILEY GLOBE GUILDERS AUDREY S. GEISEL Charter Sponsors since 1995 In memory of Donald Shiley Charter Sponsor since 1995 Sponsor since 1998 Charter Sponsor since 1995 JUNE E. YODER PAM FARR AND BUFORD ALEXANDER GLORIA RASMUSSEN Sponsor since 2010 Sponsors since 2011 Sponsor since 2012

KATHRYN HATTOX SHERYL AND HARVEY WHITE CONRAD PREBYS AND MARY BETH ADDERLEY Sponsor since 1998 Sponsors since 2000 DEBRA TURNER Sponsor since 2004 RHONA AND RICK THOMPSON HAL AND PAM FUSON VICKI AND CARL ZEIGER Sponsors since 2004 Sponsors since 2013 Sponsors since 2013 Sponsors since 2014

Charter Sponsor since 1995 Sponsor since 2007

JOAN MARCUSJOAN SUSAN AND JOHN MAJOR PETER COOPER AND EDGERTON FOUNDATION ELAINE AND DAVE DARWIN BRIAN AND SILVIJA DEVINE Sponsors since 2014 NORMAN BLACHFORD Sponsor since 2008 Sponsors since 2011 Sponsors since 2012 Sponsors since 2008 Leading Production Sponsors ($50,000 and higher)

Sponsor since 2000 JIM COX DIANE AND JOHN BEROL ELAINE LIPINSKY JEAN AND GARY SHEKHTER PAULA AND BRIAN POWERS ANN DAVIES Sponsors since 1996 FAMILY FOUNDATION Sponsors since 2014 Sponsors since 2012 Sponsor since 2013 Sponsor since 2012

Photo for Globe Guilders: Tanya Thai McBride and Amy Kim Waschke in the McCarter Theatre Center production ofThe White Snake, 2014; for For additional information on how you may become a Season Sponsor, please contact Edgerton Foundation: Carmen Cusack and Wayne Alan Wilcox in the world premiere of Bright Star, 2014; for Diane and John Berol: the cast of A Keely Tidrow or Rachel Plummer, at (619) 231-1941. Midsummer Night’s Dream, 2013. 4 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 5 OUR THANKS THE PLAY Welcome to the Globe! US Bank. We would also like to salute the 60th anniversary of the Globe Guilders in their support of the Globe and their 25th Annual Old friends and new discoveries are Fashion Show, Celebrating Couture 2015. FROM THE in store with the West Coast premiere of this exciting new American play Your philanthropy makes a difference. We ask you to invest in the ARTISTIC about money and power, mothers and Globe and help San Diego’s largest not-for-profit performing arts daughters, and claiming your own right organization close the 45% funding gap between the total cost of DIRECTOR to happiness. Acclaimed playwright producing each show and earned income from ticket sales. We are Victoria Stewart makes her Globe debut, grateful to our audiences and supporters for everything you do, In art scholarship there’s something called the pentimento same thing now. In their good intentions they sometimes with her production guided by our own beloved director James including purchasing tickets, attending performances, and spreading effect. It’s when the top layers of paint on a canvas fade overstepped, just as they do now. And children, yesterday Vásquez and a design team of local talent with widespread acclaim. the word about our productions and other programs with your with time, revealing older layers of paint underneath. as today, veer clumsily back and forth between being Our money guru mom, Meg Gibson, was last seen here in 1985 in friends. And we are grateful for your adventurous and open-minded These older layers record the painter’s revisions. Artists the people their parents want them to be and their own A Midsummer’s Night Dream (directed by Jack O’Brien) and Painting spirit, which encourages us to produce the best in entertaining and change their minds as they paint, trying an idea and then authentic selves. But Rich Girl’s buried layers show us that Churches. She is joined by a trio of powerhouse actors new to the rewarding theatre. covering it up, placing an object in one spot only to move which in our culture has evolved away from what came Globe, but familiar faces from film, the stage, and television. it to another as work on the composition continues. Some before. Women today and women in James’s America, Thank you for being here, and for being part of the Globe family. past layers of paint are visible to the naked eye; others or in the America of William Wyler’s 1949 film of the As your Globe Board Chair and a firm believer in the transformative require X-rays or other modern technologies to see. But story, couldn’t be more different. The mother-daughter powers of the arts, I am pleased to represent and support this amazing all the pentimenti represent the same thing: the buried relationship in Rich Girl, circling around money and power institution. We are grateful to the production sponsors, Leonard history beneath the surface of a work of art. and job prospects and public influence, couldn’t even be Hirsch (in memory of Elaine Hirsch), Sheila and Jeffrey Lipinsky, and Elaine Bennett Darwin imagined by Wyler or James, let alone credibly dramatized. Chair, Board of Directors I’ve always thought that the theatre has its own pentimento effect. It’s at work whenever an old play is revived anew, The world stays the same; the world moves ahead. Plays BOARD OF DIRECTORS for example. Look hard at a production of Shakespeare, that look at the present by refracting the past are my Elaine Bennett Darwin* Vicki L. Zeiger* Ann Davies* say, staged in 2015, and you’ll see just beneath its surface favorite works of theatre because they remind me why CHAIR INCOMING CHAIR VICE CHAIR, EDUCATION ideas from previous revivals, the influence of important the theatre is such a powerfully instructive medium. In Peter J. Cooper* Anthony S. Thornley* Harvey P. White* scholarly exegeses, even traces of famous performances the hands of a creative artist blessed with an imagination VICE CHAIR, NOMINATING TREASURER SECRETARY in major roles. Eventually your gaze will penetrate all the as fertile as Victoria Stewart’s, the theatre tells us a vivid DIRECTORS Sue Sanderson HONORARY DIRECTORS EMERITUS DIRECTORS way back to the play’s moment of composition hundreds and fresh story even as it tells us things about our past we Mary Beth Adderley* Harold W. Fuson, Jr.* Crystal Sargent Mrs. Richard C. Adams Garet B. Clark of years ago. Works of theatre accrete meaning over time, didn’t know, or hadn’t seen. Stewart X-rays our own world Elizabeth Altman Jack Galloway Marguerite Sargis (1912–2005) J. Dallas Clark (1913–2005) and each subsequent production adds a new layer of paint and reveals its origins; she turns inside-out a work we Terry Atkinson Victor P. Gálvez Jean Shekhter Clair Burgener (1921-2006) Bea Epsten to the original. thought we knew and shows us, via its past, our present. Marla Black Kathryn Hattox* Ann Steck* Mrs. John H. Fox Sally Furay, R.S.C.J. Pamela Cesak Patricia A. Hodgkin Steven J. Stuckey (1908–2003) (1926-2015) Nicole A. Clay Daphne H. Jameson Daniel L. Sullivan, Ph.D. Audrey S. Geisel Bernard Lipinsky We can also see the theatre’s pentimento effect at work I’m delighted to have Rich Girl on our stage, and I look Joseph J. Cohen Jo Ann Kilty Karen Tanz Paul Harter (1914-2001) in a new adaptation of older source material. Rich Girl is forward to welcoming its gifted playwright back to the Donald L. Cohn* Sheila Lipinsky Rhona Thompson Gordon Luce (1925-2006) Delza Martin (1915–2005) one instance. Beneath the slick contemporary surface of Globe again and again. I’m also beyond pleased to welcome Valerie S. Cooper* Keven Lippert Evelyn Mack Truitt Dolly Poet (1921-2007) Darlene Marcos Shiley Victoria Stewart’s very entertaining modern comic drama director James Vásquez into our subscription season Silvija Devine Ramin Pourteymour Debra Turner Deborah Szekely Patsy Shumway is a previous version: the play (and later the movie) The after his many years shepherding our holiday mainstay, Elizabeth Dewberry Paula Powers* Stacey LeVasseur Vasquez Hon. Pete Wilson Carolyn Yorston-Wellcome Heiress. And beneath that is Henry James’s great 19th- Dr. Seuss’ How the Grinch Stole Christmas!, to great success. Stephen P. Embry* Conrad Prebys* Jordine Von Wantoch century novel of New York Washington Square. Each layer It’s important that the Globe nurture San Diego talent, Pamela A. Farr Tim Rafalovich Pamela J. Wagner *Executive Committee Member comes from the pen of a different artist at a different time, and it’s crucial that we build our own family of theatre Karen Fox Adam Ratner Lynne Wheeler and each deploys the story and its characters in different artists of vision and skill. And James is family. Robert Foxworth Sandra Redman Karin Winner* ways. The separate layers reverberate in their own terms ASSOCIATE ARTISTS OF THE OLD GLOBE even as they combine with each other to lend to the story’s Thanks for coming. Enjoy the show. essential themes more and more power. That is, what we In recognition of their unique contribution to the growth of The Old Globe and their special talent, we take great pride and pleasure in see on stage are Victoria Stewart’s new variations on the acknowledging as Associate Artists the following individuals who have repeatedly demonstrated, by their active presence on our stages and source—the domineering wealthy parent is a mother, in our shops, that wherever else they may work, they remain the heart and soul of the Globe. not a father; the meek daughter finds her voice in a post- William Anton Tim Donoghue Mark Harelik John McLain Steven Rubin Deborah Taylor Feminist reality, not a Gilded Age one—but what we sense Gregg Barnes Richard Easton Bob James Jonathan McMurtry Ken Ruta Irene Tedrow* as we watch are the pentimenti underneath, all the way Jacqueline Brookes* Tovah Feldshuh Charles Janasz Stephen Metcalfe Douglas W. Schmidt Sada Thompson* back to Henry James’s world of parentally sanctioned Lewis Brown* Monique Fowler Peggy Kellner* Robert Morgan Seret Scott Paxton Whitehead marriages, servants’ quarters, and horse-drawn carriages. Victor Buono* Robert Foxworth Tom Lacy Patrick Page David F. Segal James Winker Wayland Capwell* Ralph Funicello Diana Maddox Ellis Rabb* Richard Seger* Robert Wojewodski The pentimento effect at work inRich Girl—a new work Kandis Chappell Lillian Garrett-Groag Nicholas Martin* Steve Rankin Diane Sinor* G. Wood* Eric Christmas* Harry Groener Dakin Matthews William Roesch Don Sparks based on a classic—collapses time. The layers it reveals Patricia Conolly A.R. Gurney Deborah May Robin Pearson Rose David Ogden Stiers *In Memoriam show us all that has remained unchanged in human George Deloy Joseph Hardy Katherine McGrath Marion Ross Conrad Susa* society since the original was composed. Parents wanted the best for their children in the 1880s and they want the 6 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 7 PRESENTS

CAST (in alphabetical order) CLAUDINE...... Lauren Blumenfeld EVE...... Meg Gibson MAGGIE...... Carolyn Michelle Smith RICH GIRL HENRY...... JD Taylor PRODUCTION STAGE MANAGER...... Diana Moser BY VICTORIA STEWART

There will be one 15–minute intermission.

PRODUCTION STAFF Wilson Chin Shirley Pierson Amanda Zieve Lindsay Jones Assistant Director...... Chrissy Burns SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN ORIGINAL MUSIC Assistant Scenic Design...... Eileen McCann AND SOUND DESIGN Assistant Costume Design...... Corrine Roache Production Assistant...... Hannah May

Mark Holmes Caparelliotis Casting Diana Moser Paul Peterson CASTING PRODUCTION STAGE MANAGER VIDEO DESIGN

DIRECTED BY JAMES VÁSQUEZ

RICH GIRL was made possible by Tennessee Rep’s 2008-2009 Martha R. Ingram Artist-in-Residence: New Work for Theatre Fellowship, the McKnight Advancement Grant and The Ruth Easton Reading Series at the Playwrights’ Center.

RICH GIRL has had readings at Tennessee Rep, Broken Watch Productions, City Theater and at the Ruth Easton Lab at the Playwrights’ Center.

The world premiere of RICH GIRL was presented by George Street Playhouse (David Saint, Artistic Director; Norma Kaplan, Managing Director) and Cleveland Play House (Michael Bloom, Artistic Director; Kevin Moore, Managing Director).

The Actors and Stage Manager employed in this production are members of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States. Sheryl and Harvey White Theatre Conrad Prebys Theatre Center Si desea una sinopsis de esta obra en Español o en Inglés, favor de pedírsela al acomodador que le entregó este programa. May 23 – June 21, 2015 If you would like a synopsis of this production in English or Spanish, please request it from an usher.

8 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 9 THE PLAY STANDING ON HER HOPE AND RISK: OWN TWO FEET FINDING OUR OWN PLACE IN LIFE Playwright Victoria Stewart on Rich Girl Director James Vásquez on Rich Girl

Interview by Danielle Mages Amato Interview by Danielle Mages Amato

Where did the idea behind Rich Girl What aspects of Rich Girl most come from? resonate with you?

I think every writer starts with a subject What really draws me to it is the idea or topic that they are personally really of hope—and risk. I think we can all interested in. As a freelance artist, I’m relate to Claudine: we’ve all got our always trying to figure out my place in insecurities; we’re all faced with growing Victoria Stewart. the world of money. I was fascinated up and finding our own place in life. And by Suze Orman, the financial guru, like you have to give it away. She talks way. What’s been interesting about I think a lot of grandmothers have given I think that even in the most serious, because she has this straight-talker about how women feel uncomfortable doing this modern version is there is a that advice. My grandmother was an dramatic moments of life—life is funny. image, and she is often specifically with money, and therefore they third way now. But still, I think people Irish immigrant who came to the U.S. in I really appreciate that in Tory’s play. talking to women. I have at least two don’t know how to talk about it, and like seeing this person who has always the 1930s, and my parents worked their Even in the ugly moments, we get to other plays that have very strong, even therefore they don’t know how to save. been in her mother’s shadow figure way up the ladder in a very American- laugh a little bit. JIM COX James Vásquez. difficult women at the center. And I have out, through falling in love, that she Dream kind of way. That’s something a friend who jokingly said, “You should So the father figure inWashington is her own person. She finds herself. that is definitely inRich Girl: that sense What were the driving ideas behind Even when I’m not doing musicals, I’m write a third play with a difficult female Square became a mother figure in Sticks up for herself for the first time. that anybody can make it in America, so the physical production? drawn to pieces that have a rhythm to character—make it a trilogy.” I was Rich Girl. It’s a really fascinating She learns how to be an individual if you don’t have money, somehow you them, a forward movement, and Tory’s telling him about my obsession with relationship, especially as it relates because she has something to fight for. have failed. As an artist living in this We had to find a scenic design that play definitely has that. There’s great Suze Orman, and he said, “There it is! to money and power. country, so often living hand-to-mouth, could transform into a lot of different musicality to it; there’s even a feeling Your third play!” What were your inspirations for you think: “Have I failed? I haven’t locations, but that could also let us of dance to it, in the way the characters It’s a really complicated, far-from- the character of Maggie, Eve’s made any money.” It’s not an original live in Eve’s spacious, grand penthouse battle with each other. I’m excited to I’m also a huge fan of Washington Square, perfect relationship. I do think there assistant? idea from my grandmother, but I think apartment. Wilson Chin has created bring that sensibility to this production. and I love Henry James in general—I is an underrepresentation of mother- it is something that a lot of people are this very beautiful, pristine white world. had already done an adaptation of daughter relationships on stage. You I’ve always been interested in that constantly thinking about: how do I In one sense, it feels really fragile, but As a San Diego-based theatre The Bostonians. For the time, James either get the perfect mother or the assistant relationship because often, fit into this American world, especially there’s also a certain danger to it. You artist, what would you say are the was writing really complex female absolutely evil mother. I like to think not only is the person picking up the when it comes to money? want to tread lightly—you walk on strengths of our community? characters, and a lot of the time he was that I tried to find a balance: she does dry cleaning, they are also being paid eggshells. I think it really helps tell the writing about why women give power some horrible things, but she learns to be a friend. I think that goes hand- In other words, how do you prove story: this is Eve’s brittle world, and There’s a huge amount of opportunity away. Often his female characters have from them and tries to figure what she’s in-hand with a conversation about your worth in terms of the bottom Claudine definitely doesn’t fit in. to create art here. I’m a San Diego money or power and they don’t know done wrong. But she still can’t apologize money and how it affects relationships. line? native, and I grew up going to what to do with it. They kind of freak because she thinks she’s right. Maggie is Eve’s closest friend—and You direct at theatres across San poetry readings, independent dance out, and they find a man to take their ends up being Claudine’s closest Yes, how do you define worth? In Diego, but Old Globe audiences performances, and art gallery shows. money or their power away from them. What do you think has made Henry friend—but she’s also a paid employee. financial terms? In the case of Claudine, may know you best for your work It’s always been a home base for James’s Catherine—in Rich Girl It starts with a working relationship, she has to prove her worth in another on Dr. Seuss’ How the Grinch Stole artists. And what I’ve experienced is That’s an interesting idea in relation she’s called Claudine—such an but actually becomes very deep. Maggie way. She has all this money but she Christmas! How does your expertise that the theatre community here really to Suze Orman. appealing and enduring character? is also an outside perspective, she has doesn’t feel like she is anything until in musicals influence you when you wants to hear your voice. They want to strong opinions and can talk back. she finds love. When you let someone direct straight plays? know what you, as an individual and Yes, that’s often what she’s saying: There’s something lovely about else—whether it’s your mother or an artist, have to offer. San Diego is women need to own their money and watching someone finally stand on In the script, you include a quote your boyfriend—define your worth, I grew up as a drama geek with a home, and it will always be home. the power that comes with it. I watched her own two feet. At the time of from your grandmother: “It’s just as you can’t live fully. So how do your passion for musicals, so I live in a kind a lot of her videos where she speaks Washington Square, women had a choice easy to fall in love with a rich man choices change when you’re the one of heightened, theatrical world on a live to an audience. She’s often saying: between their father’s house and their as it is a poor one.” Is there a story who’s defining your own worth? That’s daily basis. It’s not uncommon for it’s okay to have money; don’t feel husband’s house. There was no third behind that quote? one of the big questions of the play. me to walk along and burst into song. 10 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 11 THE PLAY WASHINGTON SQUARE: 5 STEPS TO BECOMING A THEN AND NOW FINANCIAL GURU

By Danielle Mages Amato (IF YOU ARE A WOMAN)

By Jacqueline Kim

2.) Get a Ph.D. in economics. Many of the most outstanding female financial advisors and women in high finance today hold doctorates in economics. But for women aspiring to make a career in finance, the many years spent in graduate school and the ever-increasing pile of debt accrued from student Henry James’s Washington Square remains one of the great loans is just the tip of the iceberg. Higher education has novelist’s most popular and enduring works. First published in traditionally been predominantly male, and nowhere is that serial form in 1880, the novel was inspired by a bit of dinner- truer than in economics departments—a study conducted by table gossip told to James by the actress Fanny Kemble: a the Federal Reserve Bank of San Francisco found that in the story about her brother Henry’s ill-fated engagement. As nation’s top schools of economics, only 23% of the doctoral James recalled in his journal, Kemble described her brother students are women. as “a young ensign in a marching regiment, very handsome… but very luxurious and selfish, and without a penny to his 3.) Become a CFP. After seven years of graduate school, name.” His intended was “a dull, plain, common-place girl… women of finance planning to take the advising route can who had a handsome private fortune (£4000 a year).” Her become Certified Financial Planners (CFPs). But these future father opposed the match and threatened advisors face yet another hurdle in their path: a grueling six- disinheritance. Despite Henry’s insistence hour examination, which, until 2014, had been an excruciating that her father would eventually relent and 10 hours long! Once officially certified, female CFPs will give them the money, his own sisters advised still find themselves massively outnumbered by their male the young woman not to marry him. colleagues.

Henry James transformed this sketch of a 4.) Join a national association. Many women of finance join story into a layered, multifaceted look at the novel in most respects, although (clockwise from top left) Female financial gurus Mellody Hobson, Suze Orman, a professional guild, such as National Association of Personal the thwarted desire for love. He spins a tale the Goetzes give Catherine a more Farnoosh Torabi, and Jean Chatzky. Finance Advisors (NAPFA), one of the most prominent about the wealthy Dr. Sloper and his quiet, dramatic—even vengeful—rejection of financial networking organizations. But even in such a unassuming daughter Catherine. Tormented her once-beloved Morris at the end, in How did Suze Orman become, well, Suze Orman? What concentrated group where working women could potentially by the loss of his beloved wife, Dr. Sloper un- contrast to the quiet resolve of Henry obstacles did she and other women like her have to overcome help each other’s careers, such associations still lack an equal dermines his daughter’s engagement to the James’s novel. to reach such success? Rich Girl lifts the veil on the singular balance between the sexes. The issue is strongly pertinent in poor—and in Dr. Sloper’s assessment, un- experience of women in finance who, aside from their great NAPFA, which hosted a speaker at its 2014 conference who worthy—Morris Townsend. Encouraged by Following its Broadway success, The accomplishments, endure just as many—if not more— discussed the slim numbers of women advisors in larger her aunt, Catherine attempts to hold strong Heiress was made into a 1949 film struggles to flourish. The raw truth is that in the world of high corporations. against her father for the first time in her life, but Dr. Sloper starring Olivia de Havilland and Montgomery Clift. Once finance, few women succeed like Eve, despite the fact that emerges triumphant. In so doing, however, he destroys not again, the story shifted slightly, this time due to pressure experts, including those at Forbes magazine, have suggested 5.) And if you can manage all that, become your only his relationship to his daughter, but perhaps her ability from producers to make the Morris character more likeable, that women clients actively seek out female advisors to guide own boss. À la Eve, of course! U.S. News & World Report to love at all. Years later, after her father’s death, Morris re- in keeping with Clift’s romantic-hero image. them. Women of finance face many barriers, and Eve certainly calls the job increasingly flexible for successful women turns, but Catherine quietly sends him away. would have tackled them with all her tenacious gusto. in the field. So women of finance can still carry on a The Heiresshas seen numerous Broadway revivals, most successful career, even with a daughter to manage, a TV Henry James himself was not a fan of Washington Square. He recently in 2012, and the film became a true classic. Henry 1.) Take another path first. Although it may sound show to run, and a potential son-in-law to chase away… called it “poorish” and an “unhappy accident,” and he did not James’s original novel has also been adapted for film (most backward, few of the most successful financial advisors choose to include it the definitive New York Editions of his memorably in Agnieszka Holland’s 1997 version) and for plan their career trajectory to end in their current field. A work. For over a century, however, his readers have disagreed. opera. Barron’s feature on the 100 most powerful female financial Jacqueline Kim is the Artistic/Literary Intern at The Old Globe, as The novel has inspired many adaptations, including most advisors recognized the fact that many of the women who well as a Literatures of the World major at UC San Diego and the famously the play The Heiress by Ruth and Augustus Goetz. In Rich Girl, Victoria Stewart brings new life to this enduring made the publication’s list started out in jobs as varied as Arts and Entertainment Editor of the UCSD Guardian. story. Rich Girl may reimagine James’s original plot for a new human resources and sales. Despite the rich diversity in work The Heiress opened on Broadway in 1947 and ran for 410 era and give its characters modern goals and aspirations, but it experience, only 25% of personal financial advisors today are Photos on opposite page: (top) Washington Square, 1880s; (middle) Olivia de performances, starring Dame Wendy Hiller as Catherine remains fundamentally true to the deep, human investigation women. Havilland in The Heiress, 1949; (lower) Olivia de Havilland and Sir Ralph Richardson and Basil Rathbone as her father. The play hews closely to of the heart that marked Henry James’s original novel. in The Heiress, 1949. 12 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 13 ARTISTS LAUREN Festival, Westport Country Playhouse, ertory Theater, Lark Play Development Harmony, Kansas and the West Coast Diversionary Theatre, and New Vil- clude Guthrie Theater, Hartford Stage, BLUMENFELD National Playwrights Conference at Center’s Playwrights’ Workshop, and premiere of [title of show] (Diversion- lage Arts. Among her show credits are Alliance Theatre, Goodman Theatre, (Claudine) is thrilled to The Eugene O’Neill Theater Center, Theatreworks USA. Mr. Taylor’s televi- ary Theatre), and he won the award in Parade (2012 Craig Noel Award for Out- American Conservatory Theater, Chi- be making her Globe and Sundance Institute Theatre Lab. sion and film credits include “Elemen- 2010 for Sweeney Todd (Cygnet Theatre standing Costume Design), Spring Awak- cago Shakespeare Theater, Steppenwolf debut. She has played For television she has appeared in tary,” “The Good Wife,” The Mend (SXSW Company). His other recent directing/ ening, The Importance of Being Earnest Theatre Company, La Jolla Playhouse, an eclectic array of “Treme,” “The Americans,” “Rubicon,” Grand Jury Award nomination for Nar- choreography credits include West Side (2013 Craig Noel Award nomination), Arena Stage, and many others. His in- characters, ranging “Zero Hour,” “Blue Bloods,” “Sex and the rative Feature), Therefore I Am, Welcome Story and Cats (San Diego Musical The- Assassins, The Glass Menagerie, Little ternational work includes Stratford from Olive Oyl to Jesus City,” and all versions of “Law & Order.” to New York, and Lewis Black Drama atre), Marry Me a Little, Birds of a Feath- Shop of Horrors, Cabaret, Sweeney Todd, Shakespeare Festival in Canada and to Barack Obama. Ms. Blumenfeld Ms. Gibson’s film credits include Che, Queen. He received his M.F.A. from New er, Pippin, and Next Fall (Diversionary), Private Lives, The History Boys, Pippin, Royal Shakespeare Company in Eng- appeared on Broadway in Manhattan Dust, Amira and Sam, The Night Listener, York University’s Graduate Acting pro- and Hedwig and the Angry Inch and Lit- Harmony, Kansas, Next Fall, Sea Scape, land, as well as productions in Austria, Theatre Club’s The Assembled Parties by Picture Perfect, and Dottie. gram. tle Shop of Horrors (Cygnet), as well as and the Old Globe/USD M.F.A. produc- Zimbabwe, South Africa, and Scotland. Richard Greenberg. Her Off Broadway developmental workshops at La Jolla tion of Richard III. Ms. Pierson has also Mr. Jones has received seven Joseph credits include Soho Repertory CAROLYN VICTORIA STEWART Playhouse and Goodspeed Musicals. designed costumes and puppets for Kai- Jefferson Awards and 21 nominations, Theater’s We Are Proud to Present... MICHELLE SMITH (Playwright) graduated from the Play- In 2004, Mr. Vásquez founded Daisy 3 ser Permanente’s Educational Theatre two Ovation Awards and three nomina- by Jackie Sibblies Drury, Exit Carolyn (Maggie) recently wrights Workshop at The University of Pictures with Mark Holmes and Carrie Program, which tours schools through- tions, and a Los Angeles Drama Critics (New York Innovative Theatre Award appeared on Broadway Iowa. Since then, she has received the Preston. Their first two feature films, out Southern California and focuses on Circle Award, as well as three Drama nomination), and Sailor Man (Fringe in Romeo and Juliet Francesca Primus Award, a McKnight 29th and Gay (TLA Releasing, Here TV) issues of literacy, nutrition, and conflict Desk Award nominations, two Helen Excellence Award). At Ars Nova, she directed by David Advancement Grant, the Helen Mer- and Ready? OK! (Wolfe Video, LOGO), management. Her credits include assis- Hayes Award nominations, and nomi- co-conceived and performed two one- Leveaux. Her other New rill Award, the Susan Smith Blackburn have played national and international tant designer as well, aiding Linda Cho, nations for the Barrymore Awards, woman shows: We Are Not Birds (Enjoy York credits include Hit Prize (finalist), and the Jerome Fellow- film festivals, withReady? OK! winning Robert Morgan, and Charlotte Devaux Henry Hewes Design Awards, and many Your Flight!) by Bekah Brunstetter the Wall by Ike Holter and Soldier X (O ff ship as well as residencies at the Sun- Best Feature Film awards in Seattle, on several past productions at The Old others. His film scoring credits include and Let Me Collect Myself by Nikole Broadway). Her regional credits include dance Institute Playwright’s Retreat at North Carolina, and San Diego. Their Globe. Prior to entering the world of Magnolia Pictures’ The Brass Teapot and Beckwith. Ms. Blumenfeld’s regional WHADDABLOODCLOT!!! by Katori Ucross Foundation, Hedgebrook, Tofte latest feature film,That’s What She Said, costume design, Ms. Pierson had a HBO Films’ A Note of Triumph: The Gold- credits include Six Degrees of Separation, Hall at Williamstown Theatre Festival Lake Center, and Donmar Warehouse. starring Anne Heche, made its world successful career as a buyer for several en Age of Norman Corwin (2006 Acade- After the Revolution, Egg-Layers, and productions at Actors Theatre Her plays include Rich Girl (Cleveland premiere at the 2012 Sundance Film major department stores, as well as a my Award for Best Documentary, Short Chopin’s Preludes, and A Midsummer of Louisville, Seattle Shakespeare Play House, George Street Playhouse, Festival. Mr. Vásquez is a graduate of textile merchandiser for several major Subjects). lindsayjones.com. Night’s Dream (Williamstown Theatre Company, and Princeton Rep The Lyric Stage Company of Boston), The Juilliard School. sportswear manufacturers in the fash- Festival), Circle Mirror Transformation Shakespeare Festival. Her television Mercy Watson to the Rescue! (The Magik ion industry. She is a faculty member MARK HOLMES (Pittsburgh Public Theater), and credits include “Codes of Conduct” Theatre, Bay Area Children’s Theatre/ WILSON CHIN of the Performing Arts Department at (Video Design), along with James Tigers Be Still (TheatreSquared in directed by Steve McQueen (HBO) and Marin Theatre Company, Children’s (Scenic Design) returns to The Old Palomar College and received her M.F.A. Vásquez and Carrie Preston, is the co- Arkansas). Her television and film “House of Cards” (Netflix), playing the Theatre Company), Hardball (Live Girls! Globe after designing Othello, The Win- in Theatre Design from San Diego State founder of Daisy 3 Pictures. He served credits include “Deadbeat” (Hulu), role of Willa, Chief of Staff to Claire Theater, Summer Play Festival),Fissures ter’s Tale, Anna Christie (Craig Noel University. shirleypiersondesigns.com. as executive producer on 29th and Gay “Unforgettable” (CBS), Black Dog Red Underwood. Her film credits include (lost and found) (Actors Theatre of Lou- Award nomination), Engaging Shaw, (TLA Releasing), Ready? OK! (Wolfe Dog, The Rebound, and A Little Princess. Full-Windsor, directed by Faraday isville), Clandestino (Mixed Blood The- and The American Plan. His New York AMANDA ZIEVE Releasing), and their latest film,That’s She is a proud volunteer and smart Okoro, Portraits in Dramatic Time by atre), LIVE GIRLS (Urban Stages, Well- credits include Next Fall (Broadway, Na- (Lighting Design) is thrilled to be mak- What She Said (Phase 4 Films). He also partner at The 52nd Street Project. David Michalek, and He’s Way More fleet Harbor Actors Theater, Stage Left ked Angels), By the Water (Manhattan ing her design debut for The Old Globe. provides technical, editorial, and pro- Laurenblumenfeld.com. Famous Than You, directed by Michael Theatre), 800 Words: The Transmigration Theatre Club),Too Much, Too Much, Too Her recent San Diego credits include duction consultation on most Daisy Urie. Ms. Smith trained at Fordham of Philip K. Dick (Live Girls! Theater, Many (Roundabout Theatre Company), Designer for West Side Story (San Diego 3 Pictures work. In San Diego, he has MEG GIBSON University at Lincoln Center (where Workhaus Collective, Caravan Theatre Pericles, Prince of Tyre and Macbeth (The Musical Theatre), Associate Lighting De- provided video and film work for Cyg- (Eve) was last seen she received a B.A.), British American of Pittsburgh), and an adaptation of Public Theater), The Jammer (Atlantic signer for Bright Star and Allegiance – A net Theatre Company, Diversionary at the Globe in 1985 Drama Academy’s Midsummer in Henry James’s The Bostonians. She is a Theater Company), Len, Asleep in Vinyl New American Musical (The Old Globe), Theatre, the Theatre Arts School of San in A Midsummer’s Oxford, and The Juilliard School. member of Workhaus Collective, The (Second Stage Theatre), Dark Matters and The Hunchback of Notre Dame and Diego, San Diego Musical Theatre, and Night Dream directed Playwrights Union of Los Angeles, The (Rattlestick Playwrights Theatre), and Chasing the Song (La Jolla Playhouse). other clients. He is happy to be making by Jack O’Brien and JD TAYLOR Playwrights’ Center (affiliated writer), Boom (Ars Nova). His opera designs in- She will be taking part in her 12th his debut at The Old Globe. Painting Churches. (Henry) is making his and Writers Guild of America, West. Re- clude Lucia di Lammermoor (Lyric Opera Broadway production soon as Assistant Her New York credits Globe debut. His recent cently, she wrote a screenplay for HBO of Chicago), Eine Florentinische Tragodie Lighting Designer for Hamilton. She re- PAUL PETERSON include, for The Public Theater, Talking theatre credits include and is developing several projects for and Gianni Schicchi (Canadian Opera ceived her B.A. in Theatre from Califor- (Video Design) has designed over 100 About Race (Public Forum, The Aspen The Understudy by The- television. Company, Dora Award), I Am Harvey nia State University Northridge. She is productions at The Old Globe, includ- Institute), Measure for Measure (Mobile resa Rebeck (McCarter Milk (Avery Fisher Hall), and The Ghosts very thankful for her supportive family ing Other Desert Cities, The Brothers Size, Shakespeare Unit), King Lear, The Ride Theatre Center), Ed in JAMES VÁSQUEZ of Versailles (Wolf Trap Opera). Region- and friends. amandazieve.com. God of Carnage, Nobody Loves You, Odys- Down Mt. Morgan, Casanova, Fen, and the world premiere of (Director) has previously worked at ally, he has designed at American Con- sey, Engaging Shaw, Life of Riley, Plaid Temptation. Her other Off Broadway Ed, Downloaded (Denver Center Theatre The Old Globe directingDr. Seuss’ How servatory Theater, Barrington Stage LINDSAY JONES Tidings – A Special Holiday Edition of For- credits are Human Error (Atlantic Company), Leslye Headland’s Bachelor- the Grinch Stole Christmas! and Richard Company, Cincinnati Playhouse in the (Original Music and Sound Design) pre- ever Plaid, Welcome to Arroyo’s, Brighton Theater Company), Slipping (Rattlestick ette (The Studio Theatre),Red (Asolo O’Brien’s The Rocky Horror Show, serving Park, Geffen Playhouse, Guthrie The- viously worked on the Globe produc- Beach Memoirs, Broadway Bound, The Playwrights Theater),Roman Fever (The Repertory Theatre, Maltz Jupiter The- as Associate Director of Jane Austen’s ater, Hartford Stage, The Shakespeare tions of Buyer & Cellar, Richard III, As You Last Romance, Lost in Yonkers, I Do! I Ensemble Studio Theatre),Lapis Blue, atre), She Stoops to Conquer (William- Emma – A Musical Romantic Comedy, and Theatre Company, Signature Theatre Like It, Inherit the Wind, The Recommen- Do!, The Mystery of Irma Vep, Kingdom, Blood Red (HERE Arts Center), From stown Theatre Festival), Missed Connec- providing musical staging for Boeing- Company, Westport Country Play- dation, Groundswell, Opus, The Glass Me- Six Degrees of Separation, The Women, Above (Playwrights Horizons), Messiah tion (Samuel French Off Off Broadway Boeing and the 2013 Shakespeare Festi- house, and Yale Repertory Theatre. Mr. nagerie, In This Corner, Oscar and the Pink Dr. Seuss’ How the Grinch Stole Christ- (Manhattan Theatre Club), and The Short Play Festival winner), Ground UP val production of A Midsummer Night’s Chin is a graduate of UC Berkeley and Lady, Lincolnesque, Sky Girls, and Beyond mas!, Bell, Book and Candle, Two Trains Games (Brooklyn Academy of Music’s Production’s world premieres of Rubber Dream. Most recently, he directed the Yale School of Drama. wilsonchin.com. Therapy,among others. He designed and Running, Hold Please, Restoration Com- Next Wave Festival), and she was an Ducks and Sunsets (Gene Frankel The- Globe/University of San Diego Gradu- composed for the Broadway productions edy, Pig Farm, Moonlight and Magno- Artist-in-Residence at Mabou Mines. atre) and Letter from Algeria (Abingdon ate Theatre Program’sClybourne Park, SHIRLEY PIERSON of Bronx Bombers and A Time to Kill. His lias, Vincent in Brixton, Lucky Duck, The Her regional work includes Mark Taper Theatre Company), and many develop- and will work with Scott Ellis this sum- (Costume Design), a San Diego-based, Off Broadway credits include Bootycandy Intelligent Design of Jenny Chow, Blue/ Forum, American Repertory Theater, ment workshops and readings with mer as movement consultant for The award-winning costume designer, (Playwrights Horizons), Mr. Joy (LCT3), Orange, Time Flies, Pentecost, Compleat Yale Repertory Theatre, Long Wharf The Eugene O’Neill Theater Center’s Comedy of Errors. He received San Di- marks her Globe design debut with Wild with Happy (The Public Theater), Female Stage Beauty, The Boswell Sisters, Theatre, Hartford Stage, Actors Theatre National Playwrights Conference, Sun- ego Theatre Critics Circle Award nomi- Rich Girl. Her work has been featured Top Secret (New York Theatre Crumbs from the Table of Joy, and many of Louisville, Huntington Theatre dance Institute Theatre Lab, Classic nations for Outstanding Direction of on stages throughout San Diego Coun- Workshop), Rx (Primary Stages), and more. His regional credits include de- Company, Williamstown TheatreStage Company, Ars Nova, Soho Rep- a Musical for the world premiere of ty, such as Cygnet Theatre Company, many others. His regional credits in- signs for Milwaukee Repertory Theater,

14 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 15 ARTISTS San Jose Repertory Theatre, Center Theatre Workshop, Berkshire Theatre Departments, as well as Front of House ment Award, Honorary Doctorate, Uni- Fox Studios and was the director of the for Excellence in Theatre named in his Stage, La Jolla Playhouse, Sledgeham- Festival, Children’s Theatre Company operations. He also managed the con- versity of Michigan. Honorary Doctor Ernie Pyle Theatre in Tokyo. Described honor by the San Diego Theatre Critics mer Theatre (Associate Artist), Mo’olelo of Minneapolis, and Arizona Theatre struction of the Globe’s new theatre and of Humane Letters, University of San by Variety as the éminence grise of San Circle. In 2007, he received the National Performing Arts Company, San Diego Company. Ms. Moser received her B.A. education facilities. Prior to the Globe, Diego. Film (actor): Sex and the City 2. Diego theatre, Mr. Noel is one of the few Medal of Arts—the nation’s highest Repertory Theatre, North Coast Rep- from Bard College and her M.F.A. in di- he was the Managing Director of Austin Jack Be Nimble: The Accidental Education San Diegans to have had an entire year honor for artistic excellence—in a cer- ertory Theatre, Diversionary Theatre, recting from Purdue. She lives in Nova Lyric Opera in Austin, Texas; Director of an Unintentional Director, his memoir (1987) proclaimed in his honor, and to emony at the White House. Craig Noel TheatreWorks Silicon Valley, Malashock Scotia, Canada with her husband, pho- of Administration of San Diego Opera; about the early years of his career, was be named one of San Diego’s “Living died on April 3, 2010 at the age of 94. Dance, University of San Diego, San Di- tographer Paul H. Williams. Ms. Moser and General Manager of San Diego released in the summer of 2013 by Far- Treasures.” He was a founder of the Cali- ego State University, and UCLA. Mr. Pe- is a proud member of Actors’ Equity. Repertory Theatre. Before relocating rar, Straus and Giroux. fornia Theatre Council and a former vice terson received his B.F.A. in Drama with HaresignPhotoWorks.com. to San Diego from New York, he held president of the California Confedera- CASTING an emphasis in Technical Design from similar positions at Theatre for a New CRAIG NOEL tion of the Arts. His numerous honors CAPARELLIOTIS CASTING San Diego State University. BARRY EDELSTEIN Audience and the Joyce Theater Foun- (Founding Director) was born on Au- include the San Diego Union-Tribune list David Caparelliotis, CSA (Artistic Director) is a stage direc- dation’s American Theater Exchange. gust 25, 1915, and in 2015 The Old of 25 persons who shaped the city’s his- Lauren Port, CSA CAPARELLIOTIS CASTING tor, producer, author, and educator. He also served as negotiating assistant Globe celebrates the 100th birthday tory; the Governor’s Award for the Arts; (Casting) recently cast the Globe pro- Widely recognized as one of the lead- for the League of Resident Theatres of this theatre legend who was instru- University of Arizona Alumni Associa- ductions of Arms and the Man, Buyer ing American authorities on the works and sales representative for Colum- mental in cultivating the San Diego arts tion’s Outstanding Citizen, for his con- This theatre operates under an agreement & Cellar, The White Snake, The Twenty- of Shakespeare, he has directed near- bia Artists Theatricals Corporation. community. Noel was first appointed tribution to their Fine Arts department; between the League of Resident Theatres seventh Man, Dr. Seuss’ How the Grinch ly half of the Bard’s plays. His Globe Mr. Murphy serves on the Board of San Diego State University’s Outstand- and Actors’ Equity Association, the union of director in 1939, directing 15 produc- professional actors and stage managers in the Stole Christmas!, The Royale, Vanya and directing credits include The Winter’s Directors of the National Alliance of tions prior to World War II. Since then ing Alumnus; Conservator of American United States. Sonia and Masha and Spike, Water by the Tale; Othello; and the West Coast pre- Musical Theatre, the National Corpo- he directed more than 200 plays of all Arts Award from American Conserva- Spoonful, Time and the Conways, Beth- miere of novelist Nathan Englander’s rate Theatre Fund, and the Balboa Park styles and periods and produced an tory Theater; the San Diego Press Club The Directors are members of the Society any, The Winter’s Tale, The Few, Double play The Twenty-seventh Man. He also Cultural Partnership and serves as a additional 270 productions. His vi- Headliner Award; San Diego Gentleman of Stage Directors and Choreographers, Indemnity, The Rainmaker, Other Desert directed All’s Well That Ends Well as the Management Trustee for San Diego sion for The Old Globe resulted in the of Distinc­tion Award; and a combined an independent national labor union. Cities, Be a Good Little Widow, A Doll’s inaugural production of Globe for All, a County Theatrical Trusts, the pen- establishment of the Shakespeare Fes- tribute from the Public Arts Advisory House, The Brothers Size, Pygmalion, new producing platform that tours the sion and welfare trust for IATSE stage- tival and the San Diego Junior Theatre Council and the San Diego County and Good People. Their Broadway cast- works of Shakespeare to diverse com- hands in the San Diego region. He was in the late ’40s, the expansion to two Board of Supervisors. Mr. Noel was par- This Theatre operates under an Agreement ing credits include Fish in the Dark, It’s munities throughout San Diego County. also an adjunct faculty member of the ticularly proud of the following three with the International Alliance of Theatrical theatres in the ’50s, Globe Educational Stage Employees Local No. 122. Only a Play, Disgraced, Holler If Ya Hear As Director of the Shakespeare Initia- Music Department at the University Tours in the ’70s, and Teatro Meta and honors representing edu­cation and the- Me, Casa Valentina, The Snow Geese, Lyle tive at The Public Theater (2008-2012), of San Diego. Mr. Murphy earned his the Old Globe/University of San Diego atre: Honorary Doctorate of Humane Kessler’s Orphans, The Trip to Bountiful, Edelstein oversaw all of the company’s B.F.A. degree in Stage Management Letters, University of San Diego; Hon- Graduate Theatre Program in the ’80s. The Scenic, Costume, Lighting and Sound Grace, Dead Accounts, The Other Place, Shakespearean productions, as well as from Webster University in St. Louis, During the 1940s, Mr. Noel served as orary Doctorate in Fine Arts, San Diego Designers in LORT Theatres are represented by Seminar, The Columnist, Stick Fly, Good its extensive educational, community Missouri, and his M.F.A. in Performing dialogue director for the 20th Century State University; and the annual Awards United Scenic Artists Local USA-829, IATSE. People, Bengal Tiger at the Baghdad Zoo, outreach, and artist-training programs. Arts Management from Brooklyn Col-

The House of Blue Leaves, Fences, Lend At The Public, he staged the world pre- lege of the City University of New York. Me a Tenor, and The Royal Family. They miere of The Twenty-seventh Man, Julius also cast for Manhattan Theatre Club, Caesar, The Merchant of Venice, Timon of JACK O’BRIEN FREE SCREENINGS Second Stage Theatre, Atlantic Theater Athens, and Steve Martin’s WASP and (Artistic Director Emeritus) served as Company, LCT3, Ars Nova, Goodman Other Plays. He was also Associate Pro- the Artistic Director of The Old Globe Theatre, Arena Stage, Ford’s Theatre, ducer of The Public’s Broadway produc- from 1981 through 2007. Mr. O’Brien and three seasons with Williamstown tion of The Merchant of Venice starring Al directed the 2014 Broadway reviv- FOUR OF THE BEST SHAKESPEARE FILMS EVER MADE, Theatre Festival. Their recent film and Pacino. From 1998-2003 he was Artis- al of It’s Only a Play starring F. Mur- television credits include HairBrained tic Director of Classic Stage Company. ray Abraham, Matthew Broderick, RIGHT IN OUR OWN THEATRES! with Brendan Fraser, “Odyssey” (up- Edelstein’s other Shakespearean direc- Nathan Lane, Stockard Channing, and coming, NBC series), “How to Get Away torial credits include The Winter’s Tale Megan Mullally. His Broadway cred- with Murder” (ABC pilot), “Ironside” at Classic Stage Company; As You Like It its also include: Macbeth with Ethan Henry V Chimes at Much Ado About West Side (NBC), and Steel Magnolias (Sony for starring Gwyneth Paltrow, and Richard Hawke, The Nance, Dead Accounts, Lifetime). III starring John Turturro. Additional Catch Me If You Can, Impressionism, (1944) Midnight (1965) Nothing (2012) Story (1961) credits include the Lucille Lortel Award- The Coast of Utopia (Tony Award), DIANA MOSER winning revival of Arthur Miller’s All My Dr. Seuss’ How the Grinch Stole Christ- June 29, 8:15 p.m. July 13, 7:00 p.m. August 3, 7:00 p.m. August 24, 8:00 p.m. (Production Stage Manager) recently Sons; the world premiere of Steve Mar- mas!, Dirty Rotten Scoundrels (Tony stage managed the Globe productions tin’s The Underpants, which he commis- nomination), Henry IV (Tony Award), of Time and the Conways and All’s Well sioned; and Molière’s The Misanthrope Hairspray (Tony Award), Imaginary RSVP BY CALLING (619) 23-GLOBE (234-5623) That Ends Well, the inaugural touring starring Uma Thurman in her stage Friends, The Invention of Love (Tony ADMISSION IS FREE. Limit 2 per person. Seating is by general admission. production of Globe for All. Since 2004 debut. Edelstein has taught Shake- nomination, Drama Desk Award), The she has worked on over 25 shows at the spearean acting at The Juilliard School, Full Monty (Tony nomination), More to Globe including Other Desert Cities, The NYU’s Graduate Acting Program, and Love, Getting Away with Murder, Pride’s Brothers Size, August: Osage County, The the University of Southern Califor- Crossing, The Little Foxes, Hapgood IN CELEBRATION OF Recommendation, Brighton Beach Mem- nia. His book Thinking Shakespeareis (Lucille Lortel Award, Best Director), oirs and Broadway Bound, The Whipping the standard text on American Shake- Damn Yankees, Two Shakespearean Actors BALBOA PARK’S CENTENNIAL AND Man, I Do! I Do!, Opus, Six Degrees of spearean acting. He is also the author of (Tony nomination), Porgy and Bess Separation, The Pleasure of His Company, Bardisms: Shakespeare for All Occasions. (Tony Award). Metropolitan Opera: II THE GLOBE’S 80TH ANNIVERSARY In This Corner, the 2007 Summer Shake- Trittico. London: Love Never Dies, Hair- speare Festival, Restoration Comedy, and MICHAEL G. MURPHY spray (Olivier nomination). National The Intelligent Design of Jenny Chow. (Managing Director) served as Gen- Theatre: His Girl Friday. Six movies for Ms. Moser’s regional credits include Orson Welles and Tony Beckley in eral Manager of The Old Globe from PBS’s “American Playhouse.” Awards: Chimes at Midnight (1965). La Jolla Playhouse, San Diego Reper- 2003 to 2012, overseeing the Produc- 2008 Theatre Hall of Fame Inductee, tory Theatre, Arena Stage, The Reper- tion, Education, Human Resources, 2005 John Houseman Award, ArtServe (619) 23-GLOBE (234-5623) www.TheOldGlobe.org tory Theatre of St. Louis, New York Information Technology, and Facilities Michigan 2008 International Achieve-

16 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 17 EDUCATION 80 YEARS IN THE THEATRE A LOOK BACK: GOING PRO

As Balboa Park celebrates its centennial in 2015, The Old Globe also AND IN THE SCHOOLS marks a major milestone: our 80th Anniversary. Throughout the year, our programs will feature articles and photo essays looking back over eight decades of Globe history.

In the 1950s and 1960s, The Old Globe went through a series of major changes that would mark its transition from a be- loved community institution to a nationally renowned profes- sional theatre. The first came in 1953 with director Craig Noel’s landmark production of Mister Roberts. Thomas Heggen and Joshua Logan’s Broadway hit evoked life on a Navy cargo ship during WWII. San Diego was a Navy town, and Noel jumped at the opportunity to stage the show. He held auditions at The Old Globe’s Free Student Matinee program has inspired To that end, we create in-school workshops that serve as a military bases across the county, assembling a final cast that tens of thousands of students and their teachers for over a pathway to understanding our art form and the specific shows included many active-duty Navy personnel. Several roles were decade. Students emerge from our theatres filled with new that the students will see. Just like our Insights Seminars, double-cast to accommodate the servicemen’s other duties. ideas, new thoughts, and new outlooks. Their worldviews Post-Show Forums, Subject Matters, and In Conversation may shift. Their dreams may get bigger. Their visions of their events serve our adult ticket-buyers, our in-school workshops The show was a smash. It ran for 13 weeks, and attendance futures may change in the space of one or two hours in a reach our student audiences. exceeded 27,000. In a 1985 interview with Beth Mohr, theatre. Craig Noel recalled, “The success of Mister Roberts was the A few days before students come to the theatre, our Teaching turning point in the history of the theatre. We cleared Theatre, from its very beginnings in ancient cultures, has Artists visit each class to deliver highly participatory $70,000—more money than we had ever had at one time… always served as a way to teach, comment, communicate, and experiences that teach directly about the shows. Students The Globe was never, ever again in danger of going under expand our thinking. It entertains us and makes our minds speak lines from the plays, create improvisational scenes or fearing it would be unable to produce a next season.” Henry Zeiba (center) in the title role of Mister Roberts, 1953. work at the same time. It is ancient and new. It changes and that align with the plots, consider themes that relate to their stays the same. It embraces our sensibilities and pushes own lives and experiences, and grapple with ideas that may The theatre built on that phenomenal success. In 1959, the our beliefs. It surprises us and comforts us. It awakens our differ from their own. They see images of costumes, scenic summer Shakespeare productions began to use professional humanity. designs, and actors from the shows and learn about how actors, members of the Actors’ Equity Association. For nearly the designers and directors come together to tell a story. By 25 years, the theatre operated as a professional company in Here in the Globe’s Education Department, we know that learning about the show ahead of time, they can ignore the the summer, with a winter season produced by the communi- students are touched and strengthened by the experience distraction of what, for many, is a new experience of attending ty theatre organization—a practice that continued until 1982. of seeing our plays. We believe in the power of our art and live theatre. They become informed audiences who can take in we believe in young people. We also believe that we have a the fullness of the spectacle of the performance with deeper The theatre grew in other ways responsibility to explore our art with them, to provide them understanding. as well. As early as 1950, the a full and rich experience of theatre when they come to see Globe began staging produc- our shows. We take our responsibility to these students seriously and, tions outside of its main the- though the shows and workshops are given freely to them, atre space. Falstaff Tavern, they repay us with their unbridled enthusiasm and their originally a restaurant, was thoughtful reflections on the shows. We see our productions used throughout the 1950s as through their eyes and are changed and pushed and surprised a second stage. In the 1960s, and awakened by their way of seeing and understanding. bleacher-style seats were ar- ranged around a central stage in the Tavern, and in 1969, the Cassius Carter Centre Stage officially opened. (In 2009 the Carter was replaced by a new state-of-the art theatre, the Sheryl and Harvey White Theatre.) And a third stage Stephen Joyce and Joyce Ebert in Romeo and Juliet, directed by was just over the horizon… Craig Noel auditioning servicemen for Mister Roberts, 1953. Allen Fletcher, 1959.

For more information, contact our Education Department at [email protected].

18 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 19 OUR THANKS CORPORATE DONORS ANNUAL FUND DONORS

Lead Season Sponsors ($75,000 or more) Season Sponsors ($60,000 - $74,999) The Old Globe’s ability to maintain the highest standard of excellence, while keeping ticket prices affordable, is due in large part to the financial support of more than 2,000 individuals, businesses, foundations, and government agencies. Please join us in giving warm thanks and recognition to these leaders who have made tonight and our other performances possible. The Old Globe appreciates the support of those who have stepped into the spotlight.

Benefactors ($100,000 and above) Mary Beth Adderley Edgerton Foundation Microsoft Anonymous Audrey S. Geisel/Dr. Seuss Fund at Paula & Brian Powers City of San Diego Commission for Arts & Culture The San Diego Foundation Conrad Prebys & Debra Turner Karen & Donald Cohn Globe Guilders Qualcomm Foundation Elaine & Dave Darwin Kathryn & John Hattox Darlene Marcos Shiley, in memory of Donald Shiley Mr. & Mrs. Brian K. Devine The James Irvine Foundation The Shubert Foundation Sheryl & Harvey White Foundation Season Sponsors ($60,000 to $99,999) Production Sponsors (30,000 - $59,999) The Legler Benbough Foundation Hal & Pam Fuson Gillian & Tony Thornley Peter Cooper & Norman Blachford Joan & Irwin Jacobs Fund of the United Valerie & Harry Cooper Jewish Community Foundation June E. Yoder Ann Davies Gloria Rasmussen Vicki & Carl Zeiger Pamela Farr & Buford Alexander Rhona & Rick Thompson

Production Sponsors ($30,000 to $59,999) Artist Circle (20,000 - $29,999) Alan Benaroya The Hull Family Ms. Jeanette Stevens Diane & John Berol Las Patronas S. Mark Taper Foundation California Bank & Trust Elaine Lipinsky Family Foundation Evelyn Mack Truitt The County of San Diego Jeffrey & Sheila Lipinsky Family Foundation Union Bank Nina & Robert Doede National Corporate Theatre Fund U.S. Bank Hervey Family Non-endowment Fund Patrons of the Prado Viterbi Family Fund of the Jewish at The San Diego Foundation The Prado at Balboa Park Community Foundation Leonard Hirsch, in memory of Elaine Hirsch Price Philanthropies Foundation Pamela J. Wagner HM Electronics, Inc. Jean & Gary Shekhter Wells Fargo

Artist Circle ($20,000 to $29,999)

National Corporate Theatre Fund is a not-for‑profit created to increase Bank of America Hyatt Regency La Jolla at Aventine San Diego Gas & Electric Director Circle ($15,000 - $19,999) and strengthen support from the business community for this country's most Pamela & Jerry Cesak Jo Ann Kilty Sanderson Family Foundation distinguished professional theatres. The following donors support these theatres Nikki & Ben Clay The Lodge at Torrey Pines Sheraton San Diego Hotel & Marina through their contributions to NCTF: Joseph Cohen & Martha Farish MetLife/TCG A-ha! Program: Think It, Do It Torrey Pines Bank Elizabeth Dewberry Neiman Marcus Jordine Skoff Von Wantoch Buford Alexander & Jonathan Maurer & Gretchen Shugart Higgs, Fletcher & Mack, LLP The Kenneth T. & Eileen Norris Foundation Mandell Weiss Charitable Trust Pamela Farr McGraw Hill Financial Holland America Line Random House Children’s Books Dr. Steve & Lynne Wheeler American Express MetLife Bank of America Morgan Stanley The San Diego Foundation (This grant was made possible by the Ariel W. Coggeshall Fund of the San Diego Foundation Malin Burnham Center for Civic Engagement) BNY Mellon Lisa Orberg Bloomberg Frank Orlowski Steven Bunson Pfizer, Inc. Director Circle ($10,000 to $19,999) Christopher Campbell/ RBC Wealth Management Terry Atkinson Karen Fox Caroline & Nicolas Nierenberg Palace Production Center Roe Green Foundation Cisco Systems, Inc. The Schloss Family Foundation Melissa Garfield Bartell & Michael Bartell Diana R. Glimm Tom & Lisa Pierce Citi Skadden, Arps, Slate, Meagher Jane Smisor Bastien Lee & Frank Goldberg Peggy & Peter Preuss ($10,000 - $14,999) CMT/ABC & Flom LLC Richard & Kathy Binford Dr. & Mrs. Harry F. Hixson, Jr. Allison & Robert Price Paula Dominick George S. Smith, Jr. Mister A’s ResMed Foundation Dorsey & Whitney Foundation Southwest Airlines Bjorg Family Daphne H. & James D. Jameson Rivkin Family Fund I at Edgerton Foundation Stoddard Family Foundation California County Superintendents Barbara G. Kjos The San Diego Foundation Epiq Systems Theatermania.com/Gretchen Shugart Educational Services Association Brooke & Dan Koehler Mickey Stern Founder Circle ($5,000 - $9,999) Ernst & Young Douglas & Janet True The Anthony Cerami & Anne Dunne Carol & George Lattimer Karen & Stuart Tanz GEN7 Wines Maxwell Technologies Ford Foundation The James S. and Lynne P. Turley Ernst Alan & Jennifer Freedman & Young Fund for Impact Creativity Foundation for World Health Susan & John Major Carol & Larry Veit Loma Media Priscilla & Keith Geeslin James S. Turley Carlo & Nadine Daleo National Endowment for the Arts Karin Winner Ruth E. Gitlin UBS Brent Woods & Laurie Mitchell Goldman, Sachs & Co. Pamela J. Wagner Dan & Phyllis Epstein Craig Noel Circle ($2,500 - $4,999) The Hearst Foundations Wells Fargo LG&E and KU Energy White & Case LLP Cubic Corporation Marsh & McLennan Companies Willkie Farr & Gallagher FOUNDER CIRCLE R. Patrick & Sharon Connell Drs. Thomas H. & J. Robert & Glady H. King ($5,000 to $9,999) Bernard J. Eggertsen & Jane D. Gawronski Family Trust PUBLIC SUPPORT Anonymous Florence Nemkov Norm Hapke & Regina Kurtz, in fond memory of Joan & Jeremy Berg Marion Eggertsen Valerie Jacobs Hapke Al Isenberg Jay Biskupski & Catherine Imrie Barbara & Dick Enberg Gordon & Phyllis Harris Peter Landin & Michelle Cardinal Major funding provided by the City of San Diego Commission for Arts and Culture. Barbara Bloom Dr. & Mrs. Robert Epsten Liz & Gary Helming Levinson Family Fund of the The Old Globe is funded by the County of San Diego. Carol & Jeff Chang Arlene & Richard Esgate Alexa Kirkwood Hirsch Jewish Community Foundation Barbara Charlton Carol Spielman-Ewan & Joel Ewan Jerri-Ann & Gary Jacobs Peter Manes & Yoko Sakaguchi Colwell Family Distributable Fund Susanna & Michael Flaster William Karatz Paul & Maggie Meyer at The San Diego Foundation Money/Arenz Foundation, Inc. 20 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 21 OUR THANKS Michael G. Murphy Pat & Rick Harmetz The Patricia and Christopher Weil Robert & Doris Reed Bruce & Jane Hopkins Drs. Betty Joan Maly & James & Judy Queenan Kathleen Steele Bernard Paul Patrick Harrison & Eleanor Lynch Family Foundation Bernard Reiter Fund of the Stephanie & Carl Hurst John Meyers Robert Reid Ronald & Susan Styn Matthew & Judith Pollack Philip & Kathy Henry Shirli Fabri Weiss and Sons Jewish Community Foundation Joseph & Donna Hynes Rev. Stephen J. Mather Stuart & Linda Robinson Clifford & Kay Sweet Chrissy & Roger Roberts Rhonda Heth & Thomas Mabie James E. & Kathryn A. Whistler Michael Robertson & Dale Johnston Mrs. Susan Inot Ronald McCaskill & Robyn Rogers Rowling Family Charitable Fund John & Gail Tauscher Patricia K. Shumway Bill & Nancy Homeyer Fund at The San Diego Foundation Esther Rodriguez Steven & Barbara Jaffe Mr. & Mrs. William M. McKenzie of the Jewish Community Doris Trauner, M.D. & Beth & Kevin Smith Gary & Carrie Huckell Nowell Wisch The Ralph B. Rogers Foundation Ed & Linda Janon Dr. & Mrs. Paul E. Michelson Foundation Richard Stanford Herb Solomon & Elaine Galinson Hutcheson Family Fund at Ellen & Tim Zinn Crystal Ann Rubin Tony & Nancy Janus Dr. Robert & Anne Morrison Mr. & Mrs. Todd Ruth Mr. & Mrs. Jeffrey C. Truesdell Iris & Matthew Strauss The San Diego Foundation Ryan Family Charitable Foundation Dr. & Mrs. Clyde W. Jones Charles & Susan Muha Frank Ruyak & Denise Graham Natalie C. Venezia & Paul A. Sager Pat & Jack Thomas Drs. Sonia & Andy Israel DIAMOND San Diego Branch of LABS, Inc./Silvia Dreyfuss Shirley Mulcahy Susan & Haddon Salt Kathy & Jim Waring Cherie Halladay Tirschwell Pat JaCoby ($1,500 to $2,499) The English-Speaking Union Michael & Katherine Lee Darrell Netherton Brigid Hom-Schnapp & Dennis & Carol Wilson Carol Vassiliadis Mary & Russell Johnson Jeff & Donna Applestein Jay & Julie Sarno Sherry & Rick Levin Jan Newmark Russell Schnapp Cass Witkowski Family Mary Kay West Jackie Johnston Gary & Barbara Blake Family Fund Marilies Schoepflin, Ph.D. Lois & Larry Lewis Evy & Ed Newton Paul Searby Joseph & Mary Witztum Jim & Mary Jane Wiesler Katleman Family Fund of the of the Jewish Community Robert & Lisa Shaw Mack Lewis & Kate Herring Rod & Barbara Orth Linda J. Seifert Brendan M. & Kaye I. Wynne Pamela & Marty Wygod Jewish Community Foundation Foundation Mr. William D. Smith & Marshall & Judy Lewis Fund of the Dr. David & Elizabeth Ostrander Tim & Luci Serlet Dr. Gerald & Barbara Kent Mary-Kay Butler Dr. Carol Harter Jewish Community Foundation Phil & Pam Palisoul Ms. Lari Sheehan *In Memoriam CRAIG NOEL CIRCLE Edythe Kenton Gay and Lesbian Fund for San Diego John & Margery Swanson Edward & Nancy Lyon Lori Partrick Beverly & Howard Silldorf ($2,500 to $4,999) Ken & Sheryl King at The San Diego Foundation Casey & Julie Tibbitts Carl Maguire & Margaret Sheehan Julius J. Pearl Fund at Anne & Ronald Simon This list current as of Dr. & Mrs. Wayne Akeson Webster & Helen Kinnaird Dr. & Mrs. M. Joseph McGreevy Tim & Judy Tillyer Sally & Luis Maizel The San Diego Foundation Norman & Judith Solomon April 15, 2015. Lawrence G. Alldredge & Sherry & Larry Kline Judith & Neil* Morgan Brenda & Robert Tomaras In Memory of Margaret Peninger Don Stanziano & Michael Sikich Dawn Moore Jane & Ray* Klofkorn The Musser Family Stan & Anita Ulrich In Memory of Freda Altschuler & Curt & Nancy Koch John & Josette Rekettye Karen Walker Sylvia Goldin Rosalie Kostanzer & Michael Keefe Dr. Sara Rosenthal & Sandy Wichelecki & Anonymous (7) Bob & Laura Kyle Dr. Julie Prazich Suzanne Dukes Judith Bachner & Eric Lasley Jean & David Laing Ryde Family Memorial Foundation Howard & Christy Zatkin Rick & Donna Baldridge Terry & Mary Lehr at The San Diego Foundation PATRON INFORMATION Jan & Rich Baldwin The Leist Family Alan & Esther Siman GOLD Bobbie Ball Ronald & Ruth W. Leonardi Dave & Phyllis Snyder ($500 to $999) Jan Bart James & Pamela Lester Jack & Louise Strecker Howard E. Abrams TICKET SERVICES HOURS SEATING OF LATECOMERS Mr. & Mrs. Bear Paul Levin Greta & Steve Treadgold Mrs. Marilyn Adams Monday: Closed Although we understand parking is often at a premium, the seating of Charlotte & Charles Bird Robin J. Lipman Judith Wenker George Amerault, Jr. Tuesday – Sunday: Noon – last curtain latecomers is extremely disruptive. Latecomers may be given alternative Paul Black Barbara & Mathew Loonin Anonymous (4) Steve & Elizabeth Bluhm Carlos Malamud PLATINUM Earl Asbury Hours subject to change. Please call ahead. seating and will be seated at an appropriate interval. Barbara Bolt Dr. Robert & Marcia Malkus ($1,000 to $1,499) Alicia Atun & Elaine Rendon* PHONE (619) 23-GLOBE (234-5623) Dr. Herman & Irene H. Boschken Jackie & Charlie Mann Anonymous Katherine Austin FAX (619) 231-6752 YOUNG CHILDREN Bea & Bill Briggs Lois I. Marriott David A. & Jill Wien Badger The Backman Family Anita Busquets & William Ladd Dr. Ted & Marcy Mazer Sondra & Robert Berk Fund of the Bruce & Patricia Becker EMAIL [email protected] or [email protected] Children under five years of age will not be admitted to performances. Dr. & Mrs. Edgar D. Canada Elizabeth & Edward McIntyre Jewish Community Foundation Amnon & Lee Ben-Yehuda WEBSITE www.TheOldGlobe.org Edward & Pamela Carnot Elizabeth B. Meyer Mrs. Lazare F. Bernhard Sally & John Berry ELECTRONIC DEVICES AND CAMERAS Cecilia Carrick & Stan Nadel Dr. Howard & Barbara Milstein Chortek Family Fund of the Bob & Joyce Blumberg Harry & Sandra Carter Akiko Charlene Morimoto & Jewish Community Foundation Deb & Brand Brickman ADMINISTRATION HOURS The video and/or audio recording of this performance by any means George & Ellen Casey Hubert Frank Hamilton, Jr. Dean & Mrs. Michael H. Dessent The Bunn Family Monday – Friday: 9:00 a.m. – 5:00 p.m. whatsoever is strictly prohibited. Please silence all digital watches, Rudy & Carol Cesena Nancy & James Mullen Dorothy R. Dring Brent Carey Garet & Wendy Clark Joyce & Martin Nash Norman & Patricia Gillespie Luc Cayet & Anne Marie Pleska PHONE (619) 231-1941 pagers, and cellular phones prior to entering the theatre. Ms. Heidi Conlan/ Lyn Nelson Joyce Glazer Drs. Lynne Champagne & WEBSITE www.TheOldGlobe.org The Sahan Daywi Foundation Arthur & Marilyn Neumann Mr. William & Dr. Susan Glockner Wilfred Kearse ADDRESS The Old Globe ASSISTED LISTENING SYSTEM Richard & Stephanie Coutts Lawrence Newmark Louise & Doug Goodman Ms. Lisa Churchill & Susan Barlow Cowell Susan C. Parker Chris Graham & Michael Albo Dr. Susan Forsburg P.O. Box 122171 For the convenience of our hard-of-hearing and hearing-impaired Jane Cowgill Mr. & Mrs. Thomas C. Pastore Heat Bar & Kitchen Richard T. Clampitt San Diego, CA 92112-2171 patrons, The Old Globe has an Assistive Listening System in all three Gigi & Ed* Cramer Patricia Payne Isaacs Brothers Foundation at Ronald D. Culbertson theatres: the Sheryl and Harvey White Theatre, the Old Globe Theatre, Darlene G. Davies, in memory Col. & Mrs. Ben Pollard The San Diego Foundation Honorable Vincent P. Di Figlia (Ret.) of Lowell Davies Bill & Mo Popp Louis & Mary Beth Kelly Dr. Donald & Eilene Dose ORDERING TICKETS/CHANGE OF ADDRESS and the Lowell Davies Festival Theatre. A limited number of the Jim & Sally Ditto Daniel Porte & Sally Dubois Robert J. Kilian & Jacqueline & Stan Drosch The Old Globe accepts Visa, Discover, MasterCard, and American lightweight headsets, as well as induction neck loops, may be obtained Devora & Ron Eisenberg of The Arthur & Jeanette Pratt Kathleen M. Slayton Berit & Tom Durler Express. Phone orders for non-subscribers are subject to a $3.50-per- from the house manager prior to performances. Great News! Memorial Fund Bill & Linda Kolb Bill Eiffert & Leslie Hodge Mr. & Mrs. Ira S. Epstein Joseph & Jane Rascoff Jennifer Lake & Georgia Ellis ticket service charge. Ticket exchanges are subject to a service charge for Mary & David Fitz Sarah B. Marsh-Rebelo & Donald Francis Donovan Drs. George & Susan Dersnah Fee non-subscribers. If you have moved, please notify the Ticket Services PUBLIC TOURS Jean & Sid Fox John G. Rebelo Susan Lane & Torrey Harmon Richard & Beverly Fink Samuel I. & John Henry Wade and Candi Rich Dr. & Mrs. James E. Lasry Family Foundation Office to update our records. Call (619) 234-5623 during Ticket Services Go behind the scenes at The Old Globe to learn about the history, three Fox Foundation Nancy J. Robertson Thomas D. Lookabaugh Foundation Pauline Forman hours, mail your change of address to the Ticket Services Office, or stages, shops and craft areas. Open tours: most Saturdays and Sundays at Union Bank of California Cathy & Larry Robinson Joy & Ronald Mankoff Robert & Stacey Foxworth email [email protected]. at 10:30 a.m. Groups by reservation. $5 adults; $3 seniors and students. Chuck Freebern Carole Sachs Jasna Markovac & Gary Miller Dr. Ben & Sue Frishberg Charles & Millicent Froehlich Beverly & Warren Sanborn Carlos Martinez & Steven Jacobson Steven & Susan Garfin Call (619) 238-0043 x2145 for information/reservations. Joy & Dr. Fred Frye Dr. Myron & Doreen Schonbrun Marcia A. Mattson J. M. Gillman UNABLE TO ATTEND? Barbara & Albert Garlinghouse Charles & Sherry Sheppard James & Estelle Milch Fund of the Morris & Phyllis Gold Fund of the If you find you are unable to use your tickets, please give them to a LOST AND FOUND Bill & Judy Garrett Drs. Joseph & Gloria Shurman Jewish Community Foundation Jewish Community Foundation Daniel & Arline Genis Dee E. Silver, MD Rena Minisi & Rich Paul Robert & Edry Goot friend, or turn them in to the Ticket Services Office and receive a tax If you have misplaced a personal item while at the theatre, please Teresa George Nancy & Alan Spector and Family Charles & Ilene Mittman Carol & Don Green receipt for your donation. Tickets must be received by show time. contact the Ticket Services Office or Security as soon as possible. If we Terrie Georgi Nancy Steinhart & Ursula & Hans Moede Richard & Candace Haden are unable to locate your item, we’ll happily take down your contact Arthur Getis & Roberta King Rebecca Goodpasture Jim & Ruth Mulvaney Foundation Jeff & Judy Handler Gilcrest Family: Andy, Karen, Miriam Summ at The San Diego Foundation James & Ruth Harris Fund of the RESTROOMS information and a description of the item and contact you if it is found. A.J. & Tommy Karen & Don Tartre Marsha J. Netzer, in memory of Jewish Community Foundation Restrooms are located in the lower lobby of the Old Globe Theatre, The Old Globe does not assume liability for items left behind on the Wendy Gillespie C. Anne Turhollow & Alice & Ray Jacobson Virginia Hawkins Carol L. Githens Michael J. Perkins Mark Niblack, MD Kaaren Henderson the lobby of the Sheryl and Harvey White Theatre, and adjacent to the premises. Robert Gleason & Marc Matys Michael T. Turner & William & Carla Nolan Jamie Henson & Lowell Davies Festival Theatre. Sheila & Tom Gorey Suzanne Poet Turner Virginia Oliver Robert Houskeeper George C. Guerra Nita & Henk van der Werff Barbara B. Oswalt Gerald M. Hermanson & Ms. Cheryl Haimsohn Mary R. Warkentin Christopher & Susan Pantaleoni Donna L. Buckner NATURAL HERB COUGH DROPS—COURTESY OF RICOLA USA, INC.—ARE AVAILABLE UPON REQUEST. PLEASE ASK AN USHER. Guy & Laura Halgren Jan Harden Webster & Raul Ortega Tim & Leslie Paul Robert & Sabine Hildebrand 22 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 23 Barry Edelstein, Artistic Director Michael G. Murphy, Managing Director

Amy E. Allison...... General Manager David Buess...... Property Master, Globe Matthew B. Williams...... Major Gifts Associate Dave Henson...... Director of Marketing and Communications Kristen Flores...... Stage and Property Master, White Diane Addis...... Membership Administrator Mark Somers...... Director of Finance Andrew Recker...... Property Master, Festival Rico Zamora...... Development Assistant Richard Seer...... Director of Professional Training Tyler Jones...... VIP Donor Ticketing Robert Drake...... Director of Production LIGHTING Derek Floyd...... Grants Assistant Roberta Wells-Famula...... Director of Education Shawna Cadence...... Lighting Director Jack Bender...... Assistant Lighting Director DONOR SERVICES ARTISTIC Ryan Osborn...... Master Electrician, Globe Silvana Burrato, Jyothi Doughman, Laura Regal, Eric Louie, Justin Waldman...... Associate Producers Jim Dodd...... Master Electrician, White Janette Jack, Barbara Lekes, Richard Navarro, Danielle Mages Amato...... Literary Manager/Dramaturg Kevin Liddell...... Master Electrician, Festival Gary Neuberg, Stephanie Reed, Suite Concierges Bernadette Hanson...... Artistic Associate Steve Schmitz...... Lighting Assistant Stephen Wade...... Karen Ann Daniels...... Community Outreach Manager Michael Anderson, Sammy Bauman-Martin, MARKETING Michelle Panek...... Irvine Grant Associate Project Manager Shawn McCombs, Sean Murray, Public Relations Director Jose Galvan, Jacqueline Kim...... Artistic Interns Michael Paolini, Bo Tindell...... Electricians Susan Chicoine...... Ed Hofmeister...... Associate Director of Marketing PRODUCTION SOUND Mike Hausberg...... Public Relations Associate Debra Pratt Ballard...... Associate Director of Production Paul Peterson...... Sound Director Andrew Waltz...... Digital and Print Publications Coordinator Ron Cooling...... Company Manager Jeremy Nelson...... Master Sound Technician, Globe Kevin Lohmann...... Interim Marketing Assistant Carol Donahue...... Production Coordinator Clayton Nicodemus...... Master Sound Technician, White Stephen Wade...... Marketing/Events Assistant Jackson Smith...... Assistant Company Manager RJ Givens...... Master Sound Technician, Festival Carolann Malley...... Distribution Staff Alex Heath...... Deck Audio, Festival STAGE MANAGEMENT SUBSCRIPTION SALES Leila Knox...... Production Stage Manager ADMINISTRATION Scott Cooke...... Subscription Sales Manager Alexandra Hisserich...... General Management Associate Arthur Faro, Stephen Jones, Janet Kavin, Pamela Malone, Yolanda Moore, Philip Patterson, TECHNICAL Carolyn Budd...... Assistant to the Artistic and Managing Directors Ken Seper, Cassandra Shepard, Jerome Tullmann, Benjamin Thoron...... Technical Director Grant Walpole...... Subscription Sales Representatives Wendy Berzansky...... Associate Technical Director Darlene Davies...... The Old Globe Historian Lucas Skoug...... Assistant Technical Director TICKET SERVICES INFORMATION TECHNOLOGY Eileen McCann...... Resident Design Assistant Bob Coddington...... Ticket Services Director Dean Yager...... Information Technology Director Eliza Korshin...... Technical Assistant/Buyer Marsi Bennion...... Ticket Operations Manager John Ralston...... Information Technology Assistant Manager Gillian Kelleher...... Master Carpenter Jordyn Patton...... Interim Group Sales Manager Brittany Summers...... Information Technology Assistant Carole Payette...... Charge Scenic Artist Stephanie Hable, Christian Thorsen...... Stage Carpenter/Flyman, Globe Caryn Morgan...... Lead Ticket Services Representatives Robert Dougherty...... Festival Master Carpenter HUMAN RESOURCES Christian Amezcua, Kari Archer, Matt Costa, Jack Hernandez...... Charge Carpenter, White Sandy Parde...... Human Resources Director Kathy Fineman, Merri Fitzpatrick, Bea Gonzalez, Daniel Capiro, Sean Chaffin, Chris Chauvet, Manny Bejarano...... Human Resources Coordinator Lauryn Greschke, Alejandro Gutierrez, Amanda King, Michael Curtis, Sloan Holly, Eszter Julian, Damon Shearer, Francisco Ramirez, Kurtis Weichers...... Carpenters MAINTENANCE John Sweeney...... Ticket Services Representatives W. Adam Bernard...... Lead Scenic Artist Ramon Juarez...... Facilities Director Jessica Amador...... Scenic Artist Mack Benjamin, Violanda Corona, Ismael Delgado, PATRON SERVICES Jason Chohon...... Automation Coordinator Roberto Gonzalez, Bernardo Holloway, Mike Callaway...... Patron Services Director Zane Whitmore, Jake Millgard...... Run Crew Reyna Huerta, John Kammerer, Jason McNabb, Juliana Johnson, Mary Taylor...... House Managers Jose Morales, Maria Rios, Leonardo Rodriguez, Angela Montague Kanish...... Front of House Assistant Vielka Smith...... Building Staff COSTUMES Nic Hagan...... Food and Beverage Manager Stacy Sutton...... Costume Director Tim Acosta, Stephanie Passera, PROFESSIONAL TRAINING Brandon Potter...... Pub Shift Supervisors Charlotte Devaux Shields...... Resident Design Associate Ray Chambers...... Interim Chair of Theatre Shelby Anderson, Carolyn Elder, Deborah Montes, Maureen Mac Niallais...... Assistant to the Director Shana Wride...... Program Coordinator Michelle Thorsen, Jennifer Van Atta, Shelly Williams...... Design Assistant/Shopper Brian Byrnes, Maria Carrera, Cynthia Caywood, Jacquelyn Weber...... Pub Staff Corrine Roache, Gerhard Gessner, Jan Gist, Fred Robinson, Linda Bahash, Jessica Piatt, Michelle Hunt Souza...... Design Assistants Abraham Stoll, James Vásquez...... M.F.A. Faculty Stephanie Rakowski...... Gift Shop Supervisors Erin Cass...... Draper Corey Johnston, Nate Parde, Wendy Miller...... Tailor Nicole Ries, Robin Roberts...... M.F.A. Production Staff SECURITY/PARKING SERVICES Anne Glidden Grace, Raquel Stewart...... Assistant Cutters Edward Camarena...... Security Supervisor Mary Miller...... Tailoring/Construction EDUCATION Sherisa Eselin...... Security Officer Heather Premo...... Stitchers Crystal Mercado...... Education Programs Manager Jonathon Ayon, Joshua Caldwell, Jeff Howell, Erin Carignan...... Craft Supervisor/Dyer/Painter Carol Green...... Speakers Bureau Coordinator Janet Larson, Robert Lowe, Alejandro Lugo, Jakey Hicks...... Wig and Makeup Supervisor Lisel Gorell-Getz, Catherine Hanna, Katherine Harroff, Anna Salgado, Jakob Schmidt...... Security Guards Kim Parker...... Assistant to Wig and Makeup Supervisor Jason Heil, Erika Malone, Heather Pauley, Alexander Thomas...... VIP Valet Attendant Beverly Boyd...... Wardrobe Supervisor Christopher Salazar, Jason Maddy, Beth Merriman...... Crew Chief, Globe Damon Shearer...... Teaching Artists Anna MacDonald...... Crew Chief, White Ana Maldanado, Noelle Van Wyk...... Run Crew, Globe FINANCE Jack O’Brien...... Artistic Director Emeritus Anna Noll...... Run Crew, White Cindy Hunt...... Senior Accountant Craig Noel...... Founding Director Marie Jezbera...... Rental Agent Trish Guidi...... Accounts Payable/Accounting Assistant Adam Latham...... Payroll Coordinator/Accounting Assistant PROPERTIES Tim Cole...... Receptionist Neil A. Holmes...... Properties Director Kristin Steva Campbell...... Assistant to the Director DEVELOPMENT M.H. Schrenkeisen...... Shop Foreman Annamarie Maricle...... Associate Director, Rory Murphy...... Lead Craftsman Institutional Grants Chris Carignan...... Craftsperson Bridget Cantu Wear...... Associate Director, Planned Giving David Medina...... Properties Buyer Eileen Prisby...... Events Director Kristine Hummel-Rosen...... Properties Assistant Rachel Plummer, Keely Tidrow...... Major Gifts Officers Trish Rutter...... Artisan Robin Hatfield...... Annual Fund Manager

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