at the OLD GLOBE THEATRE MARCH/APRIL 2011 Welcome to

THE GLOBE AT A GLANCE

The sixth-largest regional Our main stage season theatre in the country, is about families. From The Old Globe offers more Brighton Beach to Osage programming and a greater County and in between, repertoire than any theatre Bolton, England. These plays of its size. reveal what we know — that • • • J. KATARZYNA WORONOWICZ families have the same basic As a not-for-profit theatre concerns and needs despite with an annual budget their geographic and cultural averaging $20 million, the differences. In Rafta, Rafta… Globe earns $10 million in we are introduced to an ticket sales and must raise an immigrant Indian family whose relationships between parents and additional $10 million from children and husband and wife will feel all too familiar to many of us. individual and institutional tax-deductible donations. Ayub Khan–Din, one of the most prominent playwrights working in England, based his play on All in Good Time by Bill Naughton (author • • • of Alfie). Ayub smartly saw the similarities between working class The Globe provides more English families of the 1960s and modern Indian families in Britain. than 20 different community and education programs Director Jonathan Silverstein’s productions in New York have been to nearly 50,000 people hailed, and I’m pleased to bring him back to San Diego. Joining annually. him in realizing the world of Rafta, Rafta… are designers whose work has enlivened past productions: Alexander Dodge for sets, • • • Christal Weatherly (who was a classmate of Jonathan’s at UCSD) for The Old Globe has sent 20 costumes, Lap Chi Chu for lights and Paul Peterson for sound. productions to Broadway since 1987. So welcome to the world of Rafta, Rafta…, exotic yet totally familiar. • • • In 1987, The Old Globe/ University of San Diego Master of Fine Arts program was established to provide the highest caliber in training Louis G. Spisto of young classical actors. Executive Producer

PERFORMANCES MAGAZINE 1 PRESENTS

RAFTA, RAFTA...

BY AYUB KHAN-DIN

Based on the play All in Good Time by Bill Naughton

Alexander Dodge Christal Weatherly Lap Chi Chu Paul Peterson SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN

Gillian Lane-Plescia Reetu Patel Mark Danisovszky Diana Moser DIALECT COACH MOVEMENT CONSULTANT MUSIC CONSULTANT STAGE MANAGER

DIRECTED BY JONATHAN SILVERSTEIN

Casting by Samantha Barrie, CSA

Rafta, Rafta... is produced by special arrangement with The Agency (London) Ltd, 24 Pottery Lane, London W11 4LZ e-mail: [email protected] —————————————————— Old Globe Theatre Donald and Darlene Shiley Stage Conrad Prebys Theatre Center March 19 - April 24, 2011

2 PERFORMANCES MAGAZINE THE CAST

EESHWAR DUTT...... Kamal Marayati LOPA DUTT...... Geeta Citygirl Chopra ATUL DUTT...... Rachid Sabitri JAI DUTT...... Ariya Ghahramani

LAXMAN PATEL...... Nasser Faris LATA PATEL...... Gita Reddy VINA PATEL...... Mahira Kakkar

JIVAJ BHATT...... Amir Darvish MOLLY BHATT...... Caralyn Kozlowski ETASH TAILOR...... Shalin Agarwal

Stage Manager...... Diana Moser Assistant Stage Manager...... Jess Slocum

SETTING

Bolton, England. Present day. The home of Eeshwar and Lopa Dutt and their sons.

There will be one 15-minute intermission.

PRODUCTION STAFF Assistant Director...... Carlenne Lacosta Assistant Scenic Design...... Sean Fanning Associate Costume Design...... Charlotte Devaux Assistant Lighting Design...... Sherrice Kelly Production Intern...... Tricia-Rae Armstrong

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

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

PERFORMANCES MAGAZINE 3 Board of Directors

As The Old Globe’s 2011-2012 Board Chair, I am privileged to address you in this space as you prepare to experience a performance of the extraordinarily high quality you expect from the Globe. You may laugh or cry, be stirred or disturbed, but throughout you will marvel at the magic of stagecraft. You will forget routine pressures and be transported to different worlds. If all goes well, you’ll emerge more empowered with understanding and a clearer fix on your place in the world.

While you savor your experience, remember that the price you paid covered only about half the cost of delivering the Globe’s theatrical magic. The Globe is a not-for-profit organization. which means that all who enjoy our performances owe a profound debt to our generous donors who contribute over $5 million annually. And that doesn’t count much larger contributions over the years to construct theatres like the amazing Sheryl and Harvey White Theatre, which opened last year, that make our new Conrad Prebys Theatre Center the envy of other great theatre companies.

Enjoy the performance and consider joining other patrons whose generosity will preserve and advance The Old Globe for many generations to come.

Sincerely,

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

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

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

4 PERFORMANCES MAGAZINE LEADERSHIP Production Sponsors GIFTS Mary Ann Blair Mary Ann Blair is an avid supporter of theatre in The Old Globe recognizes and thanks San Diego and getting children involved in theatre. the following generous individuals She has been a patron of The Old Globe for the who have made extraordinary gifts past 13 years. Through her commitment to the of $1 million or more. These major Globe’s education and community programs, Mary contributions have been designated Ann has helped make it possible for thousands of for artistic, endowment and facilities children to experience the magic of live theatre. She often attends the student matinees and projects, and help The Old Globe interacts with the students whenever possible. remain one of our country’s great She delights in seeing their reactions to a theatre institutions. performance. Mary Ann believes the arts are an important and essential part of a well-rounded education and that theatre needs $20,000,000 or greater to be a part of the lives of children of all ages.

Donald* and Darlene Shiley Globe Guilders As The Old Globe’s volunteer auxiliary, the Globe Guilders have been an $10,000,000 or greater essential part of The Old Globe family for more than 50 years. Hundreds of dedicated members provide invaluable assistance to the Globe through their Conrad Prebys gracious hosting of Company Calls, involvement in the community and many fundraising activities, including the annual Fashion Show. $5,000,000 or greater CELEBRATING COUTURE 2011 Thursday, July 14, 2011 | Hilton San Diego Bayfront Sheryl and Harvey White Champagne Reception | Luncheon | Silent and Live Auctions Kathryn Hattox Fashion Show presented by Neiman Marcus, featuring the Fall 2011 line by world famous designer Naeem Khan. Karen and Donald Cohn Proceeds benefit the Globe’s artistic and education programs. $2,000,000 or greater For information about the fashion show or about becoming a Globe Guilder please contact Jill Holmes at (858) 454-0014 or [email protected]. Viterbi Family Foundation Become a Circle Patron by making a gift to The Old Globe $1,000,000 or greater Enjoy our VIP Donor Lounge and Opening Night Celebrations California Cultural and Circle Patrons are donors who contribute Historical Endowment annually to the Globe with a tax- deductible gift of $2,500 or more and Estate of Dorothy S. Prough receive special, personal benefits including VIP ticketing and subscription services The Rivkin Family and unlimited access to the Lipinsky DOUGLAS GATES Family Suite, our VIP donor lounge, which Estate of Beatrice Lynds features comfortable sofas, a hosted bar and private restroom facilities for pre- (l. to r.) Circle Patrons and Production Sponsors Phyllis Cohn and Arthur Audrey S. Geisel/ show and intermission amenities. Brody with Old Globe Associate Artist Tovah Feldshuh at the Opening San Diego Foundation Night Dinner for the Globe’s 2010 production of Golda’s Balcony. Dr. Seuss Fund Along with many other special benefits that increase with the level of giving, Circle Patrons receive exclusive invitations to Opening Night Dinners and Receptions. Mr. and Mrs. Victor H.* Ottenstein Additional highlights of Circle Patron membership include: $2,500 – Craig Noel Circle Mrs. Helen Edison* • VIP ticketing and subscription services • Unlimited access to the Lipinsky Family Suite $5,000 – Founder Circle The Stephen & • Annual Founders Dinner • Access to Broadway theatre house seats Mary Birch Foundation $10,000 – Director Circle The Kresge Foundation • VIP valet parking for Globe performances • Access to London theatre house seats For further information about becoming a Circle Patron, please contact Major Gifts Director *In Memoriam Marilyn McAvoy at (619) 231-1941 x2309 or [email protected].

PERFORMANCES MAGAZINE 5 Ayub Khan-Din ON RAFTA, RAFTA...

Ayub Khan-Din is most famous for his play East is East, which was made into a successful film in 1999. A sequel, entitled West is West, was recently released. Khan-Din first wrote Rafta, Rafta… for England’s National Theatre and its extraordinary success in London led to a national tour. Here he talks about his experiences writing Rafta, Rafta… and the legacy of Bill Naughton.

RAFTA, RAFTA... IS BASED ON RAFTA, RAFTA... WAS FIRST PERFORMED IN LONDON FOR THE BILL NAUGHTON’S PLAY NATIONAL THEATRE. EXPLAIN HOW YOU FELT WHEN YOU SAW IT ALL IN GOOD TIME. HOW DID ON STAGE FOR THE FIRST TIME? THAT COME ABOUT? It was incredibly exciting. Even through rehearsals I wasn’t sure I came across In the Family Way whether an audience would see what I saw in the play. It wasn’t (the film version of All in Good until the first preview and the audience’s reaction that I relaxed. Time) one wet afternoon in Salford. It was a family tradition YOU STARTED AS A WRITER WHEN YOU FIRST WROTE EAST IS EAST to sit and watch the Saturday FOR TAMASHA THEATRE COMPANY, AND SINCE THEN YOUR CAREER 3:30 matinee on BBC 2. The HAS EVOLVED. AT THE START OF YOUR CAREER WHAT CHALLENGES images and emotions I felt on DID YOU COME ACROSS? that first viewing have never left The challenge I still face after East is East is that people want me, and later, when I saw Spring me to write funny plays about big Asian families — though Rafta, and Port Wine, I realized why Rafta... was my idea, so I shouldn’t grumble. both films were such popular viewing with my siblings. There was no getting away from the fact that there were so many aspects of WEST IS WEST IS THE SEQUEL TO EAST IS EAST. CAN YOU TELL US A the fathers that resembled our own. Bill Naughton had perfectly LITTLE BIT ABOUT THIS AND HOW THE STORY/IDEA CAME ABOUT? captured that patriarchal tyrant of our family. My Dad laughed West is West is based on my experience of being sent to Pakistan along with the rest of us, though I think the irony was lost on him. as a twelve year old in 1974 for being a naughty boy. I also It was not until many years later, having become an actor and wanted to explore the relationship with George (the protagonist) then a writer myself, that I came across the film again. I was a and his other family in Pakistan and thought this a wonderful member of the BAFTA film committee and it was during an event opportunity to combine both stories. George’s other family is celebrating the work of Sir John Mills. Amongst the clips there only talked about in East is East. I always thought that if I were to was In the Family Way, the scene with the parents discussing do another film then it’s important to address this part of his life. their plans. Suddenly I was transported back to a terraced house on a wet afternoon in Salford. Though now in the plush AS WELL AS A WRITER YOU ALSO WORK AS AN ACTOR. IF YOU HAD TO CHOOSE TO PLAY A PART IN ONE OF YOUR PLAYS, WHAT WOULD surroundings of BAFTA’s Princess Anne Theatre on Piccadilly, IT BE AND WHY? the clip was producing exactly the same reaction: people laughed uproariously at the antics on screen. The sign of great I would like to play Eeshwar in Rafta, Rafta..., he is great fun writing. and you get some great laughs!

After some research I discovered the film was based on Bill’s WHO DO YOU MOST ADMIRE AS A WRITER AND WHY? play All in Good Time, and when I was approached to write There are far too many great writers out there to choose something for the National Theatre I suggested an Asian version from but Bill Naughton is up there, as are Sheila Delaney, of the play. As a writer you sometimes come across a piece of Jack Rosenthal and most other Northwest writers. work that leaves such an indelible mark on your life that it makes you think, "God, I wish I’d written that.” Well luckily for me, in I like writers who aren’t afraid to write about emotions. I like getting to adapt this great piece of work, it’s allowed me to have writers who are honest and fearless in their work. Writers done so. whose plays I might not like but still engage me and make me want to write. WHAT PROCESS DID YOU GO THROUGH WHEN ADAPTING THE PLAY? WHAT IS YOUR FAVORITE PLAY AND WHY? There was no particular process, I just thought here was a great Again, far too many to choose from. I’ve quite an eclectic taste opportunity to show an ordinary Asian family going through a from Shakespeare to Samuel Beckett to Joe Orton and all stops difficult period in their lives. To give a sense of the difficulties in between! faced by those early immigrants and the effect their decisions would later have on the lives of their children.

6 PERFORMANCES MAGAZINE A NOTE FROM DIRECTOR Jonathan Silverstein

hen I was first approached to direct It is the epic themes of the play plus the minutely Rafta, Rafta... I was faced with an exciting observed details of the family that make me realize that Wchallenge: what on Earth would I, a nice Rafta, Rafta... is indeed a universal story. Its themes Jewish boy from Rhode Island, have to say about Indians are familiar to any family: can one ever truly cross the living in Britain? As a director you are often called upon generational divide between parents and their children: to delve into unfamiliar topics, yet I feared a play about what does one do when traditional paths conflict with such a foreign culture might prove difficult for me a very different modern reality; can one move beyond to connect with. Yet with every scene, I found problems in a marriage, whether it be six weeks or 20 myself drawn into its quite familiar threads. years old; how can one break free of being different, both within a family and the world at large? In our story, we meet the Dutts and the Patels, two Indian families living in Bolton, a The title of Rafta, Rafta... translates in Hindi as working-class suburb of Greater Manchester, “slowly, slowly.” Mr. Khan-Din suggests that the answers UK, as they come together after the wedding to these big questions in life may only be gleaned from of their children. As in any family, the longer patience. As in any relationship, it takes some time to get we spend with them, the more we discover their to know one another. This is a lesson to which anyone, no complex histories: Atul, the groom, and his father matter what culture they are from, can connect. cannot seem to get along; Vina, the bride, is much closer to her father, much to the dismay of Vina’s mother; and both sets of parents share awkward histories that are revealed as they grapple with their children’s marriage.

In the small, well-observed and often comical details of family life, I began to see parts of my own boisterous and loving family in the ways the Dutts and Patels interacted. Like Eeshwar, my father often got in trouble for saying inappropriate things at the kitchen table; Lopa’s disdain for chilli pickle, a popular Indian condiment, mirrors my mother’s aversion to my own overuse of ketchup on any available food; and Lopa and Lata’s use of guilt is familiar to any Jewish family.

Perhaps most potently, the issues everyone in this play faces as “outsiders” resonated with me emotionally. Within their daily lives, Atul feels different from his father (and also the British Asians of his generation) and Vina’s mother feels her marriage is out of step with others she observes. But even in a larger sense, the general dislocation of immigrants living in Britain represents these characters’ feelings of being out of the mainstream, a common thread to which I am drawn.

Ayub Khan-Din adapted Rafta, Rafta... from Bill

Naughton’s 1965 work All in Good Time, a play with J. KATARZYNA WORONOWICZ the same story, yet focusing on working-class, white families in Bolton. It is quite astonishing how easily the story translates from 1965 to present day. The emotional themes of the plays are exactly the same, despite the different communities shown.

(rear) Ranjit Chowdhry, Geeta Citygirl Chopra; (front) Rachid Sabitri and Mahira Kakkar. PERFORMANCES MAGAZINE 7 Britain inin India

1700s BRITAIN ASSUMES THE UPPER HAND The Mogul Empire was in a state of collapse by the 1720s. European powers were competing for control in India and sought alliances with the shaky states that inherited the Mogul territories. The British East India Company, a private trading company founded a century earlier, established its own army in India that was composed of British troops as well as native soldiers called sepoys. The British interests in India gained military victories from the 1740s onward, and the company gradually strengthened its hold, even instituting a court system.

1800s THE RAJ ENTERS THE LANGUAGE The British rule in India became known as The Raj, which was derived from the Sanskrit term raja, A Parsee Ladies’ stall at a bazaar held at Bombay in aid of Lady Minto’s fund for the meaning king. Incidentally, a number of other terms provision of medical women in India. The Graphic, 1889. came into English usage during The Raj: bangle, dungaree, khaki, pundit, seersucker, jodhpurs, cushy, tolerance of religion and the recruitment of Indians into pajamas and many more. the civil service. While the reforms sought to avoid further rebellions through conciliation, the British military in India 1857 RESENTMENT SPILLS OVER was also strengthened. The symbol of the new British rule in Resentment toward the British had been building for some India was the office of the Viceroy, a royal official appointed time, and new policies that allowed the British to annex to run India on behalf of the British monarchy. some areas of India exacerbated tensions. Culture and religious clashes also played a part in the deepening rift. For 1885 INDIAN NATIONAL CONGRESS example, sepoys objected to newly-issued rifle cartridges Although the British succeeded in suppressing the 1857 that were greased with pig and cow fat, thus making them Rebellion, they could not stop the growth of political unacceptable for both Hindu and Muslim soldiers. By early awareness in India. The Indian National Congress was 1857 things had reached a breaking point. founded in December 1885 and became the embodiment of the national awakening in the country. The aims of the 1857-1858 THE INDIAN REBELLION Congress were promotion of friendship and cooperation The Indian Rebellion of 1857 was a turning point in the amongst nationalist political workers; eradication of racial, history of Britain in India. It erupted in May 1857 when creed or provincial prejudices; formulation of popular sepoys rose up against the British in Meerut and then demands and their presentation before the government; massacred all the British they could find in Delhi. Uprisings and, most important of all, the training and organization of spread throughout British India. It was estimated that less public opinion in the country. than 8,000 of nearly 140,000 sepoys remained loyal to the British. The British dispatched more troops to India 1918-1947 THE GANDHIAN ERA and eventually succeeded in putting down the mutiny, Mahatma Gandhi dominated the Indian political scene resorting to harsh tactics to restore order. The large city of from 1918 to 1947. It was the most intense and eventful Delhi, however, was left in ruins, and many sepoys who had phase of India's freedom struggle. Gandhi provided the surrendered were executed by British troops. leadership of the highest order and his philosophy of non- violent Satyagraha became the most potent weapon to drive 1858 CALM IS RESTORED IN BRITISH INDIA out the British from Indian soil. The nationalist movement Following the Indian Rebellion, the British East India developed over decades, and India finally achieved its Company was abolished and the British crown assumed independence in 1947. full rule of India. Reforms were instituted, which included

8 PERFORMANCES MAGAZINE India inin Britain

1600s A NEW HOME 1900s IMMIGRANT NUMBERS GROW Following the establishment of the British East India By the early 20th century, there were around 70,000 Indians Company, officials in the company recruited lascars, or in Britain. As the number of these new Britons increased, Indian sailors and militiamen, to replace vacancies in their they began to subdivide themselves according to their crews while on voyages in India. Many of these lascars were linguistic and religious backgrounds. Prior to World War II, then refused passage back to their homeland and were many of these immigrants worked in unskilled jobs for low forced to remain in London. There were also some ayahs, wages, but an increase in educated, skilled Indian immigrants domestic servants and nannies of wealthy British families, and the many jobs left open by departing British soldiers led who accompanied their employers back to Britain when to new opportunities. their stay in Asia came to an end. Young Indians from the Malabar Coast were being recruited as servants at the end 1940s-1960s WORLD WAR II AND AFTER of the 17th century, and Indo-Portuguese cooks from Goa Following World War II and the breakup of the British were retained by captains from voyage to voyage. Empire, immigration to Britain greatly increased. Manual workers were recruited to fulfill the labor shortage that resulted from the war. These included Indians who were recruited to work on the railways as they had done in India. Many immigrants from the Punjab region worked in the foundries of the English Midlands, and a large number of Sikhs worked at Heathrow Airport in West London. A large number of people left India to join their families in Britain, creating larger and more tightly-knit communities.

1962-1971 RESTRICTIONS ARE ENACTED Spurred by this new pressure on national resources, the British government passed the Commonwealth Immigrants Act 1962 and Immigration Act 1971, which largely restricted further primary immigration, although family members of already-settled migrants were still allowed to come over. During the 1960s and 1970s, large numbers of East African Indians, who already held British passports, entered the UK after they were expelled from Kenya, Uganda and Zanzibar as a result of the emergence of African Nationalism. Many of these people had been storekeepers in Africa and opened Sometimes known as Little India, Southall is a lively and diverse community in shops when they arrived in the UK. Higher wages for labor the London Borough of Ealing, West London. and good health care and welfare systems were also an attractive draw for new Britons, despite the laws enacted by the government. 1700s-1800s COMMUNITIES BEGIN TO FORM Because the majority of early Asian immigrants were lascar 2000s THE BRITISH INDIANS OF TODAY seamen, the earliest Indian communities were found in port towns. One of the most famous early Bengali immigrants By the early 21st century, the British Indian community to Britain was Sake Dean Mahomet, a captain of the British had grown to number over one million, and the union of East India Company. In 1810, he founded London's first traditional and modern practices is evident even today. The Indian restaurant, the Hindoostane Coffee House. By the custom of arranged marriages was brought over to Britain, mid-19th century, there were thousands of Indian seamen, but has been slowly waning during the last three decades. diplomats, scholars, soldiers, tourists, businessmen and The emergence of Indian businesses such as food shops, students in Britain. cinemas, video stores, insurance firms and building societies has helped newer generations of British Indians to identify with their origins and long history both in Britain and India.

PERFORMANCES MAGAZINE 9 Profiles

SHALIN AGARWAL Citygirl Chopra’s television credits Angeles. His other credits include a (Etash Tailor) is thrilled to include “The Good Wife,” “Rescue Me,” recurring guest role on “24” and guest star be making his Old Globe “Law & Order: Special Victims Unit” roles on “The Cleaner,” “The Unit,” debut with this production and “Law & Order: Criminal Intent.” “Brothers & Sisters,” “The Shield,” of Rafta, Rafta.... He www.imdb.me/citygirl and “Sleeper Cell,” “JAG,” “NYPD Blue” and recently starred in two [email protected]. “Malcolm in the Middle.” He starred in the productions of Kristoffer television movies Saving Jessica Lynch Diaz’s Pulitzer Prize finalist play, The AMIR DARVISH and Homeland Security. Mr. Faris’ feature Elaborate Entrance of Chad Deity, at the (Jivaj Bhatt) is the winner film credits include David Mamet’s Mixed Blood Theatre in Minneapolis and of the 2010 New York Spartan, Vadim Perelman’s House of Sand InterAct Theatre Company in Innovative Theatre Award and Fog, Sam Mendes’ Jarhead and Philadelphia. His other New York and for Outstanding Actor in a Steven Soderbergh’s Ocean’s Twelve. His regional theatre credits include There or Featured Role in Psych recent stage credits include the world Here (Hypothetical Theatre Company), and a New York Midtown premiere of Benedictus in San Francisco subUrbia (PossEble Theatre Company), International Theatre Festival nominee and Los Angeles and Akhmed in Moscow Breakroom (Manhattan Repertory for Outstanding Lead Actor in a Play for Arts Theatre’s The Shelter at Odyssey Theatre), Antony and Cleopatra (Hudson The Higher Education of Khalid Amir. His Theatre Ensemble in Los Angeles (five Shakespeare Company), King Lear previous New York Theatre credits Ovation Award nominations, including (Kitchen Dog Theater) and The Tale of the include Taxi to Janna, Falling, Homeland, Ensemble Performance). Allergist’s Wife (Penobscot Theatre Shoes, Dinner with Ahmed, Mona’s Dream, Company). Mr. Agarwal has appeared on subUrbia 1001 and the critically ARIYA GHAHRAMANI television in “30 Rock,” “Cupid,” “One acclaimed Off Broadway one-man show (Jai Dutt) is proud and Life to Live,” “As the World Turns” and in about Freddie Mercury titled Mercury: humbled to join the the films Homeland, A Dangerous Place The Afterlife and Times of a Rock God. In historic Old Globe for the and Bronx Paradise. Mr. Agarwal is a addition to voice-over and commercial first time in Rafta, Rafta.... graduate of the B.F.A. Theatre program at work, Mr. Darvish has appeared in He has recently Southern Methodist University and numerous film and television productions completed work on a resides in Los Angeles. including Month to Month, Charlie staged reading of Urge for Going at the Wilson’s War, Confessions, The Pink Public Theater and The Kite Runner at GEETA CITYGIRL Panther, “Running Wilde,” “The Colbert Actors Theatre of Louisville and CHOPRA Report,” “Law & Order,” “The Daily Show Cleveland Play House, as well as his first (Lopa Dutt) is a proud with Jon Stewart,” “Human Giant,” “Late feature film, Ken Kushner's When the native New Yorker and is Show with David Letterman,” “Spin City,” Devil Comes, and the Twentieth Century overjoyed to be making “Law & Order: Special Victims Unit,” Fox television series “New Amsterdam.” her Old Globe debut. “The Unusuals,” “NYPD Blue” and most Mr. Ghahramani’s most recent theatre Hailed as the "South Asian recently the new series “Bar Karma.” credits include the North American theater's grand diva" by AsianWeek, her www.AmirDarvish.com. premiere of Camille, Seven Against credits span a glitteringly dissimilar array Thebes, The Good Woman of Setzuan, of thematic elements and inspired NASSER FARIS The Tempest, The Laramie Project, Once energies. With a mission to connect all (Laxman Patel) most Upon a Mattress, Honk!, The Waltz of the people and link all the arts in the spirit of recently played the role of Toreadors, The Shadow Box, Oklahoma!, progressive solidarity, Ms. Citygirl Chopra Baba in the theatrical A Midsummer Night's Dream and The started SALAAM Theatre (the first production of The Kite Wild Party. He is a graduate of Hofstra professional South Asian theatre/arts Runner at Actors Theatre University (Bachelor of Fine Arts), The company in the USA). For over 10 years as of Louisville and Cleveland New York Conservatory for Dramatic Arts Artistic Director of SALAAM, she has had Play House, directed by Marc Masterson. and London Drama School. the opportunity to express her personal He also portrayed Emad Al-Bayit in the and creative ideals. She is a graduate of world premiere of Michele Lowe’s play MAHIRA KAKKAR the American Academy of Dramatic Arts Inana, directed by Michael Pressman at (Vina Patel) is happy to be and the City College of New York. Her the Ricketson Theatre in Denver, about making her Old Globe stage credits include Charles Mee’s the looting of Iraq’s national treasures debut. Her Off Broadway Queens Boulevard (the Musical) from museums during the U.S. invasion of and New York credits (Signature Theatre Company), Serendib Iraq. He costarred in the indie feature include All's Well That (The Ensemble Studio Theatre), The AmericanEast (Best Picture at the 2008 Ends Well (The Public Wound (La MaMa E.T.C.), Democracy in Madrid International Film Festival and Theater), Sophistry (The Beckett Islam and Trail of Tears (Theater for the First Time Film Festival in Los Angeles) Theatre), Miss Witherspoon (Playwrights New City), Kalighat (Baruch Performing with Tony Shalhoub and Sarah Shahi, a Horizons), The Cave Dwellers (The Pearl Arts Center) and Gallathea and Law timely, poignant drama about Arab- Theater), Opus (Primary Stages) and Against Lovers (Aaron Davis Hall). Ms. Americans living in post-9/11 Los Betrothed (Ohio Theatre). She has

10 PERFORMANCES MAGAZINE appeared regionally in Three Sisters and (Circle in the Square Theatre), SubUrbia credits include 13P, Culture Project, Lady Windermere's Fan (Triad Stage) and 27 Wagons Full of Young Jean Lee’s Theater Company, New (CENTERSTAGE), Romeo and Juliet Cotton (78th Street Theatre Lab). His Bay Georges and AlterEgo. Her training and (Arden Theatre Company and Virginia Area credits include The Taming of the fellowships include Shakespeare Lab (The Stage Company), Our Town and Shrew, All’s Well That Ends Well, The Public Theater), Performance/Multi- Coriolanus (Oregon Shakespeare Merchant of Venice and Extremities. Mr. Disciplinary Arts Fellowship (New York Festival), Seven (Skirball Cultural Center Marayati has appeared in the films After Foundation for the Arts), Artistic and international), Around the World the Sunset, The Terminal, Over the Fellowship (New York Theatre Workshop) (Florida Studio Theatre) and Inana Mountains and Power Hungry. His and UCSD. (Denver Center Theatre Company). Her television credits include “Undercovers,” film and television credits include A Night “Day Break” (recurring), “Desire” RACHID SABITRI in the Hill, “Blue Bloods” and “Law & (recurring), “7th Heaven” (recurring), (Atul Dutt) is delighted to Order: Criminal Intent.” Ms. Kakkar has “Invasion,” “Desperate Housewives,” be joining The Old Globe trained at Juilliard, The Public Theater’s “Windfall,” Homeland Security, “Family after his recent U.S. Shakespeare Lab, SITI Company and Affair,” “Alias,” “Law & Order” and “Law & theatrical debut, The Tale Guthrie Theater. Order: Special Victims Unit.” Mr. Marayati of the Allergist’s Wife at La is a graduate of the Actors Studio Drama Mirada Theatre. His CARALYN KOZLOWSKI School and a member of The Actors previous U.K. credits include the West (Molly Bhatt) is thrilled to Studio. End production of Romeo and Juliet and return to The Old Globe, the National Tours of Rafta, Rafta… having previously played GITA REDDY (directed by Nicholas Hytner), Bloodtide Gretchen in Boeing- (Lata Patel) is overjoyed to and Beyond Midnight. His regional credits Boeing and Amanda in be back in San Diego and include Twelfth Night (Royal & Derngate Amy Freed's Restoration making her Old Globe Theatre in Northampton), Beautiful Thing Comedy, a role she created at Seattle Debut. Her theatre credits (York Theatre Royal) and Tangier Tattoo Repertory Theatre. Her New York theatre include When January (Glyndebourne). Mr. Sabitri’s television credits include I Hate Hamlet, Flygirls, Feels Like Summer (City credits include Generation Kill (HBO), Mrs. Warren's Profession, Secrets of a Theatre and Sundance Institute Theatre “The Odds” (pilot, CBS), “Doctor Who,” Soccer Mom, Fair Game, Murdering Lab), The Moth and The Flame and “Casualty,” Wannabes and “Family Marlowe, The Milliner and The Odyssey. Tamburlaine (Target Margin Theater), Business” (BBC), The Walk and “Blue In eight seasons with The Shakespeare Staying Afloat (Ice Factory, directed by Murder” (Granada TV) and “The Bill” Theatre of New Jersey, her favorites have Lenora Champagne), Slavey (Clubbed (Thames Television). He has also had an included Beatrice in The Servant of Two Thumb, directed by Robert O’Hara), Ariel extensive voice-over career including the Masters, Amanda in Private Lives, Ilona in Dorfman's Widows (Reverie Theatre recent motion pictures The Prince of The Play’s the Thing, Gwendolen in The Company, directed by Hal Brooks), Rajiv Persia: The Sands of Time and The Wild Importance of Being Earnest, Desdemona Joseph's The Leopard and the Fox Swans and the radio soaps Silver Street in Othello, Olivia in Twelfth Night and (AlterEgo Theatre Company), Betrothed and Together for the BBC. Irina in Three Sisters. Ms. Kozlowski’s (Ripe Time), Peter Gil-Sheridan's Topsy www.rachidsabitri.com. other credits include Rosalind in As You Turvy Mouse (Cherry Lane Theatre Like It (Connecticut Repertory Theatre) Mentor Project, directed by Daniella AYUB KHAN-DIN (Playwright) was and Mac in Three Viewings and Evelyn in Topol), Han Ong's The Suitcase Trilogy born in 1961 and grew up in Salford, The Shape of Things (Barrington Stage (Ma-Yi Writer’s Lab workshop, directed by Manchester. After leaving school he Company). Her television and film credits Ron Daniels), Queen of the Remote worked briefly as a hairdresser before include “Law & Order,” “Numb3rs,” “Six Control (Mixed Blood Theatre) and Air enrolling in drama school, where he wrote Degrees,” “Law & Order: Special Victims Raid (National Asian American Theatre his first stage play, East is East (1997), for Unit,” “Guiding Light,” “All My Children,” Company). Ms. Reddy’s film and television Tamasha, a theatre company in London. “Third Watch” and Practical Magic. She credits include Eat Pray Love, “Law & An autobiographical story of a mixed-race holds a B.F.A. from Purchase College, Order,” “Possible Side Effects” (Tim family growing up in an overcrowded SUNY. Robbins’ pilot for Showtime), “Numb3rs,” terraced house in a white, working-class “Where Are You Going, Elena?” (SXSW area of Salford in the early 1970s, it was KAMAL MARAYATI music video) and Prana with Danny first staged at the Royal Court Theatre in (Eeshwar Dutt) is making Glover. Her solo-ish performance work London and subsequently adapted (by his Globe debut. His includes Secret M.U.T.A.N.T. (published in himself) into a highly successful feature theatre credits include Tokens: The NYC Asian American film. His second play, Last Dance at Dum Homebody/Kabul (Mark Experience on Stage, Temple University Dum (1999), concerns the septuagenarian Taper Forum and Brooklyn Press). Her theatre directing credits members of the dwindling Anglo-Indian Academy of Music), The include Turning Tables (Coffee Cup) and community in Calcutta, still clinging Color of Justice (Second Stage Theatre), 7Eleven: Franchised (Desipina & tightly to their old imperial past. Notes on Amadeus and Much Ado About Nothing Company). Her theatre casting director Falling Leaves (2004) was first performed

PERFORMANCES MAGAZINE 11 Profiles at the Royal Court Theatre, and Rafta, Out 100, Out Magazine’s annual list of the Repertory Theatre, Deaf West Theatre and Rafta… (2007), a comic adaptation of most outstanding and inspiring men and American Southwest Theatre Company. Bill Naughton’s 1960s story All in Good women of the year. He is a graduate of the Her New York credits include work at Time, won a Laurence Olivier Award M.F.A. directing program at UCSD and an Signature Theatre Company, Playwrights for Best New Comedy in 2008. His new alumnus of The Drama League Directors Horizons, Human Company, The Acting film,West is West (a follow-up to East is Project. Member, SDC. Company, Apparition Off-Broadway, LLC East), will open soon and the film version www.jonnysilver.com. and Summer Play Festival. Ms. Weatherly of Rafta, Rafta… will follow in June. He has an M.F.A. from University of California, recently delivered his commissioned ALEXANDER DODGE (Scenic Design) San Diego and a B.A. from New Mexico play, Fauzi, based on Marlow’s Doctor has previously designed The Old Globe State University. Faustus, to Lincoln Center Theater. Mr. productions of The Last Romance, www.christalweatherly.com. Khan-Din’s latest play, All the Way Home, Sammy, The Pleasure of His Company, will premiere in Manchester, England, and Bell, Book and Candle, The Sisters LAP CHI CHU (Lighting Design) recently he is currently working on a musical for Rosensweig and Moonlight and Magnolias. designed the Globe production of The the Royal National Theatre called Bunty His Broadway credits include Present Whipping Man. His New York City design Berman Presents…. Mr. Khan-Din Laughter (2010 Tony nomination), Old credits include The Public Theater, New also works as an actor and has Acquaintance, Butley and Hedda Gabler. York Theatre Workshop, Second Stage appeared in many films including My His Off Broadway credits include Trust Theatre, Dance Theater Workshop, Beautiful Laundrette and Sammy and and The Water’s Edge (Second Stage), Performance Space 122, The Kitchen, Rosie Get Laid. The Understudy (Roundabout Theatre Danspace Project, Primary Stages and Company), Paris Commune and Measure Juilliard Opera. His regional designs JONATHAN SILVERSTEIN (Director) for Pleasure (The Public Theater), include work at Mark Taper Forum, directed the acclaimed Off Broadway Antony and Cleopatra (Theatre for a Geffen Playhouse, Oregon Shakespeare world premiere of The Temperamentals New Audience), Observe the Sons of Festival, Arena Stage, Hartford Stage, by Jon Marans, produced by Daryl Roth, Ulster Marching Towards the Somme Dallas Theater Center, San Jose Repertory Stacy Shane and Martian Entertainment (Lucille Lortel Award) and Chaucer in Theatre, Intiman Theatre, Portland Stage, (Drama Desk Award for Outstanding Rome (Lincoln Center for the Performing Shakespeare & Company, Cleveland Play Ensemble). Other Off Broadway credits Arts) and Force Continuum and Sexual House, Evidence Room, Virginia Opera include revivals of A.R. Gurney’s The Perversity in Chicago (Atlantic Theater and Ordway Center for the Performing Dining Room (Drama Desk nomination Company). Mr. Dodge’s regional credits Arts. Mr. Chu is the lighting designer for for Outstanding Director, Drama Desk include work at Alley Theatre, Arena ChameckiLerner (Visible Content, Hidden Award for Outstanding Ensemble), Stage, CENTERSTAGE, Hartford Stage, Forms, I Mutantes Seras and Please Don’t Robert Anderson’s classics Tea and Huntington Theatre Company, Gate Leave Me), performed in the United States Sympathy and I Never Sang for My Father Theatre in Dublin, Geffen Playhouse, and Brazil. He has received multiple Bay and John Patrick’s The Hasty Heart, all Guthrie Theater, La Jolla Playhouse, Long Area Theatre Critics Circle Awards and a for Keen Company, where he serves Wharf Theatre, Mark Taper Forum, Paper Drammy Award for Best Lighting. He holds as Resident Director. Other New York Mill Playhouse, The Shakespeare Theatre degrees from Northwestern University credits include Red Herring by Michael Company, Stratford Festival of Canada, and New York University. He teaches Albanese (New York International Fringe Triad Stage, Williamstown Theatre Festival lighting design at California Institute Festival, Outstanding Direction Award), and Yale Repertory Theatre. His opera of the Arts. Blueprint by Bixby Elliot (Summer Play credits include Il Trittico (Deutsche Oper Festival), Cocteau’s Indiscretions and Berlin), Der Waffenschmied (Munich), PAUL PETERSON (Sound Design) has A Perfect Analysis Given by a Parrot The Flying Dutchman (Würzburg) and designed over 90 productions at The (Phoenix Theatre Ensemble), The Rats Are Lohengrin (Budapest). Mr. Dodge trained Old Globe, including Plaid Tidings – A Getting Bigger (New York International at the Yale School of Drama. Special Holiday Edition of Forever Plaid, Fringe Festival and The Public Theater’s Welcome to Arroyo’s, Brighton Beach New Work Now! festival), Greater CHRISTAL WEATHERLY (Costume Memoirs, Broadway Bound, The Last Messapia (Queens Theatre in the Park) Design) has designed regionally for Romance, Boeing-Boeing, Alive and and The Train Play (Clubbed Thumb). Oregon Shakespeare Festival, rainpan 43, Well, Lost in Yonkers, I Do! I Do!, The Regional credits include The Fantasticks California Shakespeare Theater, American Savannah Disputation, The Mystery of (Merrimack Repertory Theatre), Merton of Repertory Theater, Mark Taper Forum, Irma Vep, Cornelia, The Price, Kingdom, the Movies and Marry Me a Little (Dorset Kirk Douglas Theatre, The Old Globe, Long Six Degrees of Separation, Since Africa, Theatre Festival), The Triumph of Love Wharf Theatre, The Studio Theatre, Arden The Women, Sight Unseen, The Pleasure (Cleveland Play House), Urinetown and Theatre Company, Denver Center Theatre of His Company, Dr. Seuss’ How the tick, tick… BOOM! (Cape Rep Theatre), Company, Williamstown Theatre Festival, Grinch Stole Christmas!, Bell, Book Much Ado About Nothing and Cymbeline Berkeley Repertory Theatre, Hartford and Candle, Who’s Afraid of Virginia (The Theatre at Monmouth) and Ionesco’s Stage, Actors Theatre of Louisville, East Woolf?, Two Trains Running, Hold Please, The Chairs (Sledgehammer Theatre). Mr. West Players, The Children's Theatre Restoration Comedy, Pig Farm, The Silverstein was featured as one of 2009’s Company, La Jolla Playhouse, Madison Sisters Rosensweig, Trying, Moonlight

12 PERFORMANCES MAGAZINE and Magnolias, Vincent in Brixton, I Just REETU PATEL (Movement Consultant) Twentieth Century at Cygnet Theatre Stopped By to See the Man, Lucky Duck, was born and raised in Bombay, India—the Company. He also musical directed The The Intelligent Design of Jenny Chow, birthplace of Indian cinema, or Bollywood Threepenny Opera with the M.F.A. acting Blue/Orange, Time Flies, Pentecost, as it's more popularly known. Growing up program at UC San Diego. As accordionist, Compleat Female Stage Beauty, The she was trained in various styles of Indian he has appeared with Atlanta Symphony, Boswell Sisters and Crumbs from the Table folk and traditional dance forms. She took San Diego Symphony and Hilton Head of Joy. His regional credits include designs training in the classical dancing style of Orchestra where he was the soloist for for Milwaukee Repertory Theater, San Kathak at Legendary Gopi Krishna's Dance Alan Hovhaness’ “Rubaiyat of Omar Jose Repertory Theatre, CENTERSTAGE, Academy, in different styles of Bollywood Khayyam.” He also appeared onstage La Jolla Playhouse, Sledgehammer dance with the best living choreographer with San Diego Opera in Samuel Barber’s Theatre (Associate Artist), Mo’olelo Bollywood has, Saroj Khan, and in Indian Vanessa and Alban Berg’s Wozzeck. Mr. Performing Arts Company, The Wilma contemporary dance at Terence Lewis Danisovszky was musical director for Theater, L.A. Theatre Works, San Diego Dance Academy. As a result, she firmly Rip Van Winkle and accompanist for the Repertory Theatre, Florida Studio Theatre, believed that she wanted to become a Artist in Residence program for San Diego Lorraine Hansberry Theatre, North Coast choreographer. She turned her dream Opera’s education department. Repertory Theatre, Diversionary Theatre, into reality when she moved to the U.S. Cape Fear Regional Theatre, Hope way back in 2006 and began dance DIANA MOSER (Stage Manager) recently Summer Repertory Theatre, Malashock training classes for a few students initially. stage managed Brighton Beach Memoirs, Dance, University of San Diego, San Diego Over the past four years, through sheer Broadway Bound and The Whipping Man State University and Freud Playhouse at determination and perseverance, she grew at The Old Globe. Her additional credits UCLA. Mr. Peterson received his B.F.A. her academy from teaching Bollywood at the Globe include Lost in Yonkers, I in Drama with an emphasis in Technical dance to a handful of students to now Do! I Do!, The Price, Opus, Six Degrees of Design from San Diego State University. a huge number of students. Today she Separation, The Pleasure of His Company, lives her dream and is a well-established The Glass Menagerie, In This Corner, GILLIAN LANE-PLESCIA (Dialect Coach) choreographer in Orange County, 2007 Summer Shakespeare Festival, was born and brought up in England and California and is the founder of MAD Restoration Comedy, Christmas on Mars, trained in Theatre at The Royal Academy Bollywood Dance Company Inc. and the A Body of Water, Lobby Hero, Fiction and of Music. She received her M.A. in Theatre Artistic Director and Principal Instructor The Intelligent Design of Jenny Chow. Ms. from Florida State University. Her dialect for Bollywood Dance at MAD Studios. Moser's regional credits include La Jolla coaching credits include the Broadway Currently she is working on the artistic Playhouse, San Diego Repertory Theatre, productions of War Horse, Priscilla Queen direction and choreography for a 2011 Arena Stage, The Repertory Theatre of of the Desert and The Philanthropist. Her production called Jashan. St. Louis, New York Theatre Workshop, Off Broadway credits include The Milk Berkshire Theatre Festival, The Children's Train Doesn’t Stop Here Anymore, Kit MARK DANISOVSZKY (Music Theatre Company and Arizona Theatre Marlowe and The Misanthrope. Regionally Consultant) has had a long interest in Company. Ms. Moser received her M.F.A. she has coached for Actors Theatre of Indian music and culture, sparked initially in Directing from Purdue University. Louisville, American Players Theatre, by seeing Ravi Shankar perform in George When not doing theatre, she splits her Arena Stage, Alley Theatre, The Banff Harrison’s The Concert for Bangladesh. time between Nova Scotia and the classic Centre, CENTERSTAGE, Goodman Mr. Danisovszky studied with Aloke wooden sailboat Simba I. Theatre, Guthrie Theater, Hartford Dasgupta and attended Indian vocal Stage, Huntington Theatre Company, seminars with Ustad Ali Akbar Khan. He JESS SLOCUM (Assistant Stage Manager) Long Wharf Theatre, McCarter Theatre, began his theatre career at San Diego has previously worked on the Globe Milwaukee Repertory Theater, New Repertory Theatre where he performed productions of Robin and the 7 Hoods, Jersey Shakespeare Festival, PlayMakers as Mark Blitzstein and pianist for A Cradle Alive and Well, Sammy, Cornelia, Since Repertory Company, Seattle Repertory Will Rock. His other credits at the Rep Africa, Dr. Seuss’ How the Grinch Stole Theatre, The Shakespeare Theatre include The Dybbuk, Red Noses, Six Christmas! (’07-‘09) and The Glass Company, Steppenwolf Theatre Company, Women with Brain Death, Long Story Menagerie. Her Broadway credits include Trinity Repertory Company and Yale Short and The Threepenny Opera, for In the Heights. Regional credits include Repertory Theatre. Ms. Lane-Plescia’s which He won the 2009 Craig Noel Award Ruined, The Third Story, Memphis and opera credits include eight seasons for Outstanding Musical Direction. His Most Wanted (La Jolla Playhouse), Post as diction coach with Lyric Opera of La Jolla Playhouse credits include solo Office (Center Theater Group), Yellow Chicago. She has been on the faculty of pianist for James Lapine’s Luck , Pluck Face (Mo`olelo Performing Arts Company) The Juilliard School since 2000 and was & Virtue, accordionist and Oronte in and Tranquility Woods (Steppenwolf formerly Director of Theatre Voice for School for Wives and Mother Courage Theatre Company). She is a graduate of the M.F.A. programs of the Universities and her Children in co-production with Vanderbilt University. Proud member of of North Carolina and Michigan. She has Berkeley Repertory Theatre. Recently, Actors’ Equity Association. published 20 self-teaching dialect CDs for Mr. Danisovszky was the musical director actors. www.dialectresource.com. and accompanist for Stephen Sondheim’s Passion and Cy Coleman’s On the

PERFORMANCES MAGAZINE 13 Profiles

LOUIS G. SPISTO (Executive Award), The Invention of Love (Tony Award for the Arts; University of Arizona Producer) directs both the artistic nominations: Best Director and Play), Alumni Association’s Outstanding Citizen, and administrative activities of The The Full Monty (Tony nominations: Best for his contribution to their Fine Arts Old Globe. During his tenure, Mr. Director and Musical), More to Love, department; San Diego State University’s Spisto spearheaded the return of the Labor Day, St. Louis Woman, Pride’s Outstanding Alumnus; Conservator of Shakespeare Repertory Company, Crossing, The Little Foxes, Hapgood American Arts Award from American revitalized the Globe’s new works (Lucille Lortel Award for Direction, 1995), Conservatory Theater; the San Diego program, resulting in 12 world premiere Damn Yankees (Tony nomination Best Press Club Headliner Award; San Diego plays and 10 world premiere musicals, and Musical Revival), Two Shakespearean Gentleman of Distinction Award; and a produced more than 100 productions. Actors (Tony nominations: Best Director combined tribute from the Public Arts Under Mr. Spisto’s leadership, ticket and Play), Porgy and Bess for Houston Advisory Council and the San Diego sales and contributions have increased Grand Opera and Broadway (Tony County Board of Supervisors. Mr. Noel substantially, and the fiscal health of the Award), as well as Radio City Music Hall, was particularly proud of the following organization has been strengthened to Il Trittico, Metropolitan Opera. RECENT three honors representing education and support the expanded artistic vision. AWARDS: 2008 Theatre Hall of Fame theatre: Honorary Doctorate of Humane Mr. Spisto has successfully led the Inductee, 2004 Thomas Degaetani Letters, University of San Diego, Honorary Globe’s $75 million Capital Campaign Award (USITT), 2002 “Mr. Abbott” Doctorate in Fine Arts, San Diego State and managed the development of the Award (SDCF), 2001 Joan Cullman University and the annual Awards for Conrad Prebys Theatre Center, which Award for Extraordinary Creativity, 2001 Excellence in Theatre named in his honor includes a state-of-the-art arena theatre Joe A. Callaway Award (SDCF), the by the San Diego Theatre Critics Circle. and education center. An advocate of Drama League’s Julia Hansen Award for In 2007, he received the National Medal arts education, Mr. Spisto created a Excellence in Directing, 2001. Honorary of Arts – the nation’s highest honor for number of new programs that serve tens Doctorate, University of Michigan. artistic excellence – in a ceremony at the of thousands of young San Diegans each Honorary Doctor of Humane Letters, White House. Craig Noel died on April 3, year. These programs include a bilingual University of San Diego. Recipient of 2010 at the age of 94. summer Shakespeare intensive, a major ArtServe Michigan’s 2008 International initiative in southeastern San Diego which Achievement Award. Mr. O’Brien is a includes the development of new works member of the College of Fellows of the for younger and more diverse audiences, American Theatre. SPECIAL THANKS and free student matinees of the Globe’s CRAIG NOEL (Founding Director) regular productions. Mr. Spisto holds Priti Gandhi a Master’s degree from the University was first appointed director in 1939, of Wisconsin and a Bachelor’s degree directing 15 productions prior to World Bombay Fashions from the University of Notre Dame. He War II. Since then he directed more than has served as chief executive for the 200 plays of all styles and periods and Sudakshina Alagia Pacific Symphony, Detroit Symphony and produced an additional 270 productions. American Ballet Theatre. His vision for The Old Globe resulted in The curtain of flowers was made the establishment of the Shakespeare possible through hours of work by JACK O’BRIEN (Artistic Director Festival and the San Diego Junior Theatre a dedicated group of Globe Guilders Emeritus) served as the Artistic Director in the late ‘40s, the expansion to two and other volunteers. of The Old Globe from 1982 through theatres in the ‘50s, Globe Educational 2007. Recent Globe productions: Dirty Tours in the ‘70s and Teatro Meta and the Rotten Scoundrels, Imaginary Friends, Old Globe/University of San Diego MFA Twelfth Night, The Full Monty, The program in the ‘80s. During the 1940s, Seagull, The Magic Fire, Dr. Seuss’ How Mr. Noel served as dialogue director for This theatre operates under an agreement the Grinch Stole Christmas! West End: the 20th Century Fox Studios and was between the League of Resident Theatres Love Never Dies (sequel to Andrew the former director of the Ernie Pyle and Actors’ Equity Association, the union of professional actors and stage managers in the Lloyd Webber’s The Phantom of the Theatre in Tokyo. Described by Variety as United States. Opera), Hairspray (Olivier Award for the eminence grise of San Diego theatre, Best Musical, Best Director nomination). Mr. Noel is one of the few San Diegans to The Directors are members of the Society Broadway: Catch Me If You Can, have had an entire year (1987) proclaimed of Stage Directors and Choreographers, an Impressionism (Creator/ Supervisor), Dr. in his honor, and to be named one of independent national labor union. Seuss’ How the Grinch Stole Christmas!, San Diego’s “Living Treasures.” He was a This Theatre operates under an Agreement with The Coast of Utopia (2007 Tony Award founder of the California Theatre Council the International Alliance of Theatrical Stage for Best Direction of a Play, which won and a former vice president of the Employees Local No. 122. a total of seven Tony Awards, including California Confederation of the Arts. His Best Play), Dirty Rotten Scoundrels (Tony numerous honors include The San Diego The Scenic, Costume, Lighting and Sound nominations: Best Director and Musical), Union-Tribune list of 25 persons who Designers in LORT Theatres are represented by Henry IV (Tony Award), Hairspray (Tony shaped the city’s history; the Governor’s United Scenic Artists Local USA-826, IATSE.

14 PERFORMANCES MAGAZINE The Old Globe is deeply grateful to its Season Sponsors, each of whom has made an annual donation of $50,000 or greater. 75th Anniversary Sponsors

Karen and Donald Cohn Joan and Irwin Jacobs Conrad Prebys and Debra Turner Donald* and Darlene Shiley

Season Sponsors

The Legler Benbough Foundation John A. Berol Mary Ann Blair Peter Cooper and Norman Blachford Valerie and Harry Cooper David C. Copley The County of San Diego at the recommendation of Supervisor Pam Slater-Price Audrey S. Geisel Lonnie Gettman - Designer Fabric Globe Guilders Kathryn and John Hattox The Lipinsky Family Patrons of the Prado Sheryl and Harvey White

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

PERFORMANCES MAGAZINE 15 High school students get in on the act!

3RD ANNUAL GLOBE HONORS! The Old Globe welcomes high school actors and actresses to audition for Globe Honors. Talented teens compete for scholarships and the chance to participate in national-level competition in New York City! Globe Honors is open to any high school student in San Diego County.

PRELIMINARY AUDITIONS: Saturday, May 7; Sunday, May 8; and Monday, May 9

SEMIFINALS: Monday, May 16, 4:00 PM

FINALS: Monday, May 16, 8:00 PM

CATEGORIES: • Technical Theatre — portfolio and interview • Spoken Theatre — any role in any production (school, community, professional theatres) • Musical Theatre — any role in any production (school, community, professional theatres) • Musical Theatre — leading role in a school production

HIGH SCHOOL SUMMER SHAKESPEARE INTENSIVE Students immerse themselves in classical acting technique and rehearsals for a production of Shakespeare’s plays. This year, students will take to the Lowell Davies Festival Theatre to perform in short versions of The Comedy of Errors and The Merry Wives of Windsor. Students will participate in workshops with actors from our professional Shakespeare repertory company, receive instruction from industry professionals and perform on The Old Globe’s famous outdoor stage.

AUDITION DATES: Saturday, March 19 and Sunday, March 20 REHEARSAL DATES: Monday – Friday, July 18 – August 15 PERFORMANCE DATE: Monday, August 15 FEE: $600 J. KATARZYNA WORONOWICZ

For more information please visit www.TheOldGlobe.org or16 emailPERFORMANCES [email protected]. MAGAZINE Younger childre n can join the fun, too!

MIDDLE SCHOOL SUMMER CONSERVATORY Middle school-aged students join us in the summer for two weeks of intense acting study with our professional teaching staff plus actors from the professional Shakespeare repertory company. These enthusiastic young people delve into scene study, stage combat, theatre games, improvisation, movement and specialty workshops that build their skills as they mature as actors. No audition necessary but a passion for theatre and acting is important for this program. DATES: Monday – Friday, July 11 – 22 | TIME: 10:00 AM – 3:00 PM daily | FEE: $450 ($400 for Globe subscribers)

THEATRE TOTS Does your preschooler dramatize every story he reads? Is your five year old acting out dramas in the garage? Send that tiny thespian to Theatre Tots at The Old Globe. This fun creative dramatics program builds literacy skills while teaching basics of acting to children ages 4, 5 and 6. DATES: Saturdays, May 14 and 28; June 11 and 25; and July 9 and 23 TIME: 10:00 AM – 11:30 AM FEE: $25 per session

PERFORMANCES MAGAZINE 17 Annual Fund Donors

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

Benefactors ($100,000 and above)

The Legler Benbough Foundation Globe Guilders The Shubert Foundation City of San Diego Commission for The James Irvine Foundation The County of San Diego at Arts & Culture The Parker Foundation the recommendation of Audrey S. Geisel/The San Diego (Gerald & Inez Grant Parker) Supervisor Pam Slater-Price Foundation Dr. Seuss Fund Donald* & Darlene Shiley

Season Sponsors ($50,000 to $99,999)

John A. Berol Valerie & Harry Cooper Las Patronas Mary Ann Blair David C. Copley The Bernard & Dorris Lipinsky Fund of California Bank & Trust Lonnie Gettman - Designer Fabric the Jewish Community Foundation Karen & Donald Cohn Kathryn & John Hattox Patrons of the Prado Cohn Restaurant Group/ William Randolph Hearst Foundation Conrad Prebys & Debra Turner Prado Restaurant HM Electronics, Inc. Qualcomm, Inc. Continental Airlines Joan & Irwin Jacobs Fund of the U.S. Bank Peter Cooper & Norman Blachford Jewish Community Foundation Wells Fargo Advised Fund at the San Diego Sheryl & Harvey White Foundation Human Dignity Foundation

Production Sponsors ($25,000 to $49,999)

Bank of America Higgs Fletcher & Mack, LLP Sheraton San Diego Hotel & Marina Alan Benaroya Leonard & Elaine Hirsch Mickey Stern Richard & Kathy Binford Jo Ann Kilty Gillian & Tony Thornley Arthur & Sophie Brody Fund of the Barbara Kjos Union Bank Jewish Community Foundation National Corporate Theatre Fund Erna & Andrew Viterbi Elaine & Dave Darwin The San Diego Foundation, Mandell Weiss Charitable Trust Mr. & Mrs. Brian Devine a grant made possible by the Pamela & Marty Wygod Pamela A. Farr Ariel W. Coggeshall Fund June E. Yoder Danah H. Fayman SDG&E

Director Circle ($10,000 to $24,999)

Mary Beth Adderley & Tim Haidinger Patsy & Forrest Shumway Elizabeth Adderley Jean-Marie Hamel, Ph.D. Ms. Jeanette Stevens Jane Smisor Bastien The Hull Family Iris & Matthew Strauss BJH Foundation Deni & Jeff Jacobs Anne Taubman & David Boyle Barbara Bloom Daphne H. & James D. Jameson Evelyn Mack Truitt Pamela & Jerry Cesak Sue & John Major Brent V. Woods & Laurie C. Mitchell Nina & Robert Doede National Endowment for the Arts Carolyn Yorston-Wellcome Dr. & Mrs. Robert Epsten Allison & Robert Price Hal & Pam Fuson Price Family Charitable Fund Robert Gleason & Marc Matys Reneé Schatz Lee & Frank Goldberg Jean & Gary Shekhter

18 PERFORMANCES MAGAZINE FOUNDER CIRCLE Samuel I. & John Henry Fox Drs. Joseph & Gloria Shurman Holly McGrath & David Bruce ($5,000 to $9,999) Foundation at Union Bank Dee E. Silver, M.D. Dr. & Mrs. M. Joseph McGreevy Lawrence G. Alldredge & Dawn Moore of California Herbert & Elene Solomon Rena Minisi & Rich Paul The Louis Yager Cantwell Chuck Freebern Nancy & Alan Spector and Family Virginia Oliver Private Foundation Charles & Millicent Froehlich Nancy Steinhart & Ben & Joan Pollard Nikki & Ben Clay Deede Gales Rebecca Goodpasture Dr. Julie Prazich & Dr. Sara Rosenthal Clifford & Carolyn Colwell Elaine & Murray Galinson Hannah & Eugene Step Robert & Doris Reed Ms. Heidi Conlan/The Sahan Victor & Jill Galvez Pat & Jack Thomas Jeffrey & Vivien Ressler Daywi Foundation Barbara & Albert Garlinghouse Cherie Halladay Tirschwell Dr. Joseph & Carol Sabatini R. Patrick & Sharon Connell Bill & Judy Garrett Carol Vassiliadis Marilies Schoepflin, PhD. Bernard J. Eggertsen & Drs. Thomas H. & Jane D. Gawronski Doris & Lou Vettese Nancy & George Stassinopoulos Florence Nemkov Nancy Reed Gibson Mary R. Warkentin Jack & Louise Strecker Marion Eggertsen Wendy Gillespie Jan Harden Webster & Raul Ortega Celeste & Gene Trepte Barbara & Dick Enberg Mark & Hanna Gleiberman Chris & Pat Weil Stan & Anita Ulrich Carol Spielman-Ewan & Joel Ewan Sheila & Tom Gorey James & Kathryn Whistler Rosetta & Michael Volkov Diane & Elliot Feuerstein Dr. & Mrs. William Gott Christian Winther Brendan M. & Kaye I. Wynne Martha & George Gafford Ms. Cheryl Haimsohn Alice M. Young M.J. Zahnle Mary Ann & Arnold Ginnow Norm Hapke & Valerie Jacobs Hapke Christy & Howard Zatkin Alexa Kirkwood Hirsch Patricia & Richard Harmetz ($1,500 to $2,499) Dr. & Mrs. Harry F. Hixson, Jr. Drs. Patrick Harrison & Eleanor Lynch Anonymous GOLD William Karatz Susan & Dr. Ronald Heller Anita Busquets & William Ladd ($500 to $999) Carol & George Lattimer Dr. & Mrs. Peter K. Hellwig Lisa & David Casey Elaine & Bob Algeo Peter & Inge* Manes Fund of the Rhonda Heth & Thomas Mabie Devora & Ron Eisenberg Anonymous (6) Jewish Community Foundation Richard & Janet Hunter of Great News! George Amerault Paul I. & Margaret W. Meyer Hutcheson Family Fund at Joy & Dr. Fred Frye Drs. Michael & Gabriela Antos Money/Arenz Foundation, Inc. The San Diego Foundation Gary & Carrie Huckell Earl Asbury Harle Garth Montgomery* Andrew & Sonia Israel Fund of the William & Edythe Kenton Alicia Atun & Elaine Rendon* Tom & Lisa Pierce Jewish Community Foundation Sherry & Larry Kline The Backman Family Brian & Paula Powers Jerri-Ann & Gary Jacobs Christopher & Cheryl Lee Beverly Bartlett & Barbara Sailors John & Marcia Price Al* & Pat JaCoby Robin J. Lipman & Miro Stano Richard & Linda Basinger Family Foundation Mary & Russell Johnson Elizabeth Meyer Deron & Toni Bear James E. Riley Trust Jackie Johnston Akiko Charlene Morimoto & Bruce & Patricia Becker Rivkin Family Fund I at Katleman Family Fund of the Hubert Frank Hamilton,Jr. Amnon & Lee Ben-Yehuda The San Diego Foundation Jewish Community Foundation Nancy & James Mullen Bob & Joyce Blumberg Paul Scott Silvera Bob* & Gladys King Dolly* & Jim* Poet Ruth Mary Picard Campbell Julie & Bob Sullivan Ken & Sheryl King Marie & Don Prisby Greg & Loretta Cass Deborah Szekely Webster & Helen Kinnaird Marisa SorBello & Peter Czipott Luc Cayet & Anne Marie Pleska Dixie & Ken Unruh Cindy & John Klinedinst Pamela J. Wagner Lynne Champagne & Wilfred Kearse Jordine Skoff Von Wantoch Jane & Ray Klofkorn Z.J. Waxenberg Fund of the Alan L. & Frances E. Cornell Judy & Jack White Curt & Nancy Koch Jewish Community Foundation Ken Crouch Brooke & Dan Koehler James & Ellen Weil Ronald D. Culbertson CRAIG NOEL CIRCLE Betty & Leonard Kornreich Shirli Fabbri Weiss Dr. Donald & Eilene Dose As of July 2008, the Craig Noel Circle Regina Kurtz & Al Isenberg Dr. Steve & Lynne Wheeler Jackie & Stan Drosch includes gifts of $2,500 - $4,999. For Bob & Laura Kyle Elisabeth K. Ecke donors who contributed to the Paver Dr. Eric Lasley & Judith Bachner DIAMOND Bill Eiffert & Leslie Hodge Campaign, the phase-in period for the Terry & Mary Lehr ($1,500 to $2,499) Pauline Forman & Jack Burke new gift level runs through 2012. Ms. Sherrill Leist Anonymous Susan & Steven Garfin Dr. & Mrs. Wayne Akeson James & Pamela Lester Jeff & Donna Applestein Arthur Getis Gail, John & Jennifer Andrade Jerry Lester, M.D./Rosarito, Mexico Mrs. Lazare F. Bernhard Norman & Patricia Gillespie Anonymous (2) Levinson Family Fund of the Steve G. Bjorg Louise & Doug Goodman Mr. & Mrs. Richard Baldwin Jewish Community Foundation Enid & Martin Gleich Edry & Robert Goot Diana J. Barliant & Nowell Wisch Barbara & Mathew Loonin Joy & Ronald Mankoff Drs. Barbara & Leonard Gosink Melissa Garfield Bartell & Merriel F. Mandell, Ph.D. Elspeth & Jim Myer Chris Graham & Michael Albo Michael Bartell Charlie & Jackie Mann Parker & Crosland LLP Carol & Don Green Joan & Jeremy Berg Elizabeth & Edward McIntyre Serenity Grace Foundation George C. Guerra Charlotte & Charles Bird Harold O. McNeil, Esq. Margery & John Swanson Richard & Candace Haden Paul Black Scott & Grace Miller WD-40 Company Mrs. Helen M. Hammond Dr. Herman & Irene Boschken Rebecca Moores Mr. & Mrs. Arnold Hess The Brigantine Family of Restaurants Mr. & Mrs. David Mulliken PLATINUM Stephen Hopkins & Dr. Carey Pratt Dr. & Mrs. Edgar D. Canada Ruth & Jim* Mulvaney ($1,000 to $1,499) Dr. & Mrs. Clyde W. Jones George & Ellen Casey Joyce & Martin Nash Edward Anderson Kathy & Rob Jones Rudy & Carol Ceseña Arthur & Marilyn Neumann Anonymous Mr. & Mrs. Henry P. Kagey Marsha & Bill Chandler Lawrence Newmark Gary & Barbara Blake Family Fund of Patricia & Alexander Kelley Carol & Jeff Chang Matthew & Judith Pollack the Jewish Community Foundation Gerald & Phyllis Kelly Garet & Wendy Clark Mo & Bill Popp Nancy Brock Bill & Linda Kolb Richard & Stephanie Coutts Dr. & Mrs. Daniel Porte Mary-Kay Butler Marvin Kripps, M.D. Susan B. Cowell Joanne Powers Sandra & Harry Carter LABS, Inc./Silvia Dreyfuss Gigi & Ed Cramer The Arthur & Jeanette Pratt Dorothy Dring Sherry & Rick Levin Ann & John Davies Memorial Fund Paul & Clare Friedman Marshall & Judy Lewis Fund of the Darlene G. Davies in memory Joseph & Jane Rascoff Mr. & Mrs. Arthur A. Greenberg Jewish Community Foundation of Lowell Davies Sarah B. Marsh-Rebelo & Leo S. Guthman Fund Mrs. Victor Y. Lindblade Pat & Dan Derbes John G. Rebelo Kaaren Henderson Edward & Nancy Lyon Mrs. Philip H. Dickinson Mrs. Charlotte Rees Kenneth & Marilyn Jones Carl Maguire & Margaret Sheehan Jim & Sally Ditto Roger & Christine Roberts Louis & Mary Beth Kelly Sally & Luis Maizel Mr. & Mrs. Ira S. Epstein Nancy J. Robertson Jerome & Gayle Klusky Steve & Yvonne Maloney Carol Fink Carole Sachs Dr. & Mrs. James E. Lasry Jeanne Maltese Mary & David Fitz Warren & Beverly Sanborn Don & Mary Jane Lincoln Drs. Betty Joan Maly & John Meyers Susanna & Michael Flaster Sanderson Family Donor Advised Dr. Robert & Marcia Malkus Ron & Mercy Mandelbaum Jean & Sid Fox Fund at the Rancho Santa Fe Jasna Markovac & Gary Miller Russell Mangerie Karen Fox & Harvey Ruben Foundation Marcia Mattson Martin & Joanne Marugg Jay & Julie Sarno Valorie McClelland Rev. Stephen J. Mather

PERFORMANCES MAGAZINE 19 Annual Fund Donors COMING SOON

(continued) Linda Terramagra Dr. Charles & Brita Tesar Ron McCaskill & Robyn Rogers Gertrude Trebon Charles & Billie McKnight Jeffrey & Sheila Truesdell Carole S. Miller Natalie C. Venezia & Paul A. Sager Charles & Susan Muha David & Irene Weinrieb Shirley Mulcahy Katherine White Marsha J. Netzer Dennis & Carol Wilson Katherine Newton Cass Witkowski Family Mark Niblack Dr. Dolores Wozniak Barbara B. Oswalt Julius J. Pearl Fund at *In Memoriam The San Diego Foundation Dr. Ken Pischel & This list current as of March 1, 2011 Dr. Katherine Ozanich In Memory of Margaret Peninger As announced in July 2008, the names of Drs. Paul & Katherine Ponganis Annual Fund donors at the Silver level The Ralph B. Rogers Foundation are published semi-annually, once in the Simon & Ruth Sayre Shakespeare Festival program and again Linda J. Seifert in a winter Globe program. Mr. & Mrs. Randall Silvia For additional information on how you may Mr. William D. Smith & Dr. Carol Harter support The Old Globe’s artistic, education Dave & Phyllis Snyder and community programs, please visit our Gloria Penner Snyder & Bill Snyder website at www.TheOldGlobe.org Helga & Sam Strong or contact Rachel Plummer, Development Ron & Susan Styn Manager, Individual Annual Giving, at Clifford & Kay Sweet (619) 231-1941 x2317 or MAY 7 – JUNE 12, 2011 OLD GLOBE THEATRE Dr. Terry & Naomi Tanaka [email protected].

Public Support August: Osage County

BY Tracy Letts | DIRECTED BY Sam Gold

Major funding provided by the City of San Diego Commission for Arts and Culture. The Old Globe is funded by the County of San Diego at the recommendation of Supervisor Pam Slater-Price and the County of San Diego Board of Supervisors.

Stay Connected with The Old Globe APRIL 30 – JUNE 5, 2011 SHERYL AND HARVEY WHITE THEATRE

Life of Riley

BY Alan Ayckbourn | DIRECTED BY Richard Seer Visit us online at www.TheOldGlobe.org

20 PERFORMANCES MAGAZINE Globe Ambassadors

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

Corporate Donors

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

FOUNDER CIRCLE ($5,000 - $9,999) Bertrand at Mister A’s Hyatt Regency La Jolla M2000 Corporation Take A Break Service

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

National Corporate Theatre Fund is a not-for-profit corporation created to increase and strengthen support from the business community for ten of this country’s most distinguished professional theatres. The following foundations, individuals and corporations support these theatres through their contributions to NCTF: ($25,000 - $49,999) PRODUCTION SPONSORS ($10,000 or more) MetLife Bank of America Morgan Stanley Bloomberg NBC/Saturday Night Live BNY Mellon Wealth Management Pfizer, Inc. Steven Bunson Karen Pritzker & Michael Vlock Christopher Campbell/ RBC Wealth Management Palace Production Center RVM/Vincent Brunetti Cisco Systems, Inc. Sharp Electronics Citi The McGraw-Hill Companies Dorsey & Whitney Foundation James S. Turley Ernst & Young UBS Goldman, Sachs & Co. USA Today Marsh & McLennan Companies Wells Fargo McCarter & English LLP Willkie Farr & Gallagher LLP

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

PERFORMANCES MAGAZINE 21 Supporting The Old Globe Forever

Members of the Craig Noel League are ensuring a successful future for The Old Globe by contributing to the Endowment Fund or including the Globe in their Estate Plans. We thank our members for their legacy gifts and urge others to join them in the Craig Noel League.

Earnings generated from the Endowment Fund support the Theatre’s artistic and educational programming, helping sustain the Globe’s high level of artistic excellence. As future generations discover great theatre at the Globe, they will have our Craig Noel League donors to thank. Globe staff can advise how to leave a lasting gift to the Globe whether it is a cash contribution, a charitable bequest in your will or living trust, a Charitable Remainder Trust, Lead Trusts, Gift Annuities, Life Estates or a number of other available options. Craig Noel in 1957 As we celebrate the Globe’s 75th Anniversary as a local cultural landmark and national icon, it is time to build for the future. Join those listed below who have chosen to support our Theatre forever and help secure the future of The Old Globe — for the next 75 years — and beyond!  Craig Noel League  Planned Giving Society of The Old Globe

Anonymous (16) Craig & Mary Hunter Patsy & Forrest Shumway Diana Barliant Bob Jacobs B. Sy & Ruth Ann Silver Nancine Belfiore Grace Johnston Stephen M. Silverman Alan Benaroya Gladys H. King Roberta Simpson Ronald Brown Marilyn Kneeland Dolores & Rod Smith Dr. & Mrs. Edgar D. Canada Jean & David Laing Marisa SorBello & Peter Czipott Garet & Wendy Clark Jerry Lester Foundation John & Cindy Sorensen R. Patrick & Sharon Connell Heather Manion Nancy A. Spector & Alan R. Spector Patricia W. Crigler. Ph. D., CAPT/USN/Ret. Chris & Jill Metcalf Jeanette Stevens Carlos & Patricia Cuellar Paul I. & Margaret W. Meyer Eric Leighton Swenson Mrs. Philip H. Dickinson Steve Miller Anne C. Taubman Doug Druley & Becky Young Dr. Robert W. Miner Cherie Halladay Tirschwell Dr. & Mrs. Robert Epsten Shirley Mulcahy Evelyn Mack Truitt Frank A. Frye, III Laurie Dale Munday Ginny Unanue Mr. Alan Gary & Ms. Joanee Udelf Stanley Nadel & Cecilia Carrick Carol & Lawrence Veit Nancy Reed Gibson Alice B. Nesnow Jordine Von Wantoch Robert Gleason & Marc Matys Arthur & Marilyn Neumann Merle Wahl Marcy Goldstone Ronald J. Newell Holly J. B. Ward Carol & Don Green Greg & Polly Noel Sheryl & Harvey P. White Kathryn Hattox PACEM (Pacific Academy of Ecclesiastical Music) Mrs. Jack Galen Whitney David & Debbie Hawkins Sarah B. Marsh-Rebelo & John Rebelo Julie Meier Wright Jill Denison Holmes Darlene Shiley Carolyn Yorston-Wellcome

For additional information on how you may join the Planned Giving Society, please contact Bridget Cantu Wear, Associate Director of Development, Planned Giving, at (619) 231-1941 x2312 or [email protected].

Donors to the Endowment The Mr. Isaac C. Malamud and In Memoriam Gifts Mrs. Margaret F. Peninger John A. Berol Mrs. Agustina R. Malamud Foundation to the Endowment or Annual Fund Velda Pirtle Ronald Brown The Mission Valley Community Fund Robert S. Albritton Florence Borgeson Plunkert Ava Carmichael Mr. Stephen B. Nielander & Dorothy Brown Dolly & Jim Poet Harry & Valerie Cooper Ms. Dominique K. Alessio Joe Callaway Jessie Polinsky Maria Correia La Nona Royalty Funds J. Dallas & Mary H. Clark Donald Shiley Jane Cowgill National Endowment for the Arts Patricia & Donn DeMarce Dorothy Shorb Prough Darlene G. Davies Jeannie Polinsky Rivkin Artistic Fund Barbara Iredale Marje Spear Danah Fayman The San Diego Foundation Joseph E. Jessop, Jr. Marian Trevor Mr. & Mrs. Feldman Pat Thomas J. Robert H. King Harvey Von Wantoch Ellis Construction San Diego Trust & Savings Dr. Bernard Lipinsky Phil Wahl Kathryn Hattox Celeste & Gene Trepte Calvin Manning Stanley E. Willis II The Hollis Foundation Tim & Ellen Zinn Judy & George Miller Craig Noel

22 PERFORMANCES MAGAZINE Associate Artists of The Old Globe

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

Patron Information

TICKET SERVICES HOURS may be given alternative seating and will be seated at an Monday: Closed appropriate interval. Tuesday - Sunday: Noon – last curtain Hours subject to change. Please call ahead. YOUNG CHILDREN Phone (619) 23-GLOBE or (619) 234-5623 Children five years of age and under will not be admitted to FAX (619) 231-6752 performances. Email [email protected] ELECTRONIC DEVICES AND CAMERAS ADMINISTRATION HOURS Monday - Friday: 9am - 5pm Use of recording devices and cameras is not permitted. Phone (619) 231-1941 Please silence all digital watches, pagers and cellular Website www.TheOldGlobe.org phones prior to entering the theatre. Address The Old Globe P.O. Box 122171 ASSISTED LISTENING SYSTEM San Diego, CA 92112-2171 For the convenience of our hard of hearing and hearing- impaired, The Old Globe has an Assistive Listening System ORDERING TICKETS/CHANGE OF ADDRESS in both the Sheryl and Harvey White Theatre and the The Old Globe accepts Visa, Discover, MasterCard, or Old Globe Theatre. A limited number of the lightweight American Express. Phone orders for non-subscribers headsets, as well as induction neck loops, may be obtained are subject to a $3.50 per ticket service charge. Ticket from the house manager prior to performances. exchanges are subject to a service charge for non- subscribers. If you have moved, please notify the Ticket PUBLIC TOURS Services Office to update our records. Call (619) 234-5623 Go behind the scenes at The Old Globe to learn about the during Ticket Services hours, mail your change of address history, three stages, shop and craft areas. Open tours: most to the Ticket Services Office, or email us at Saturdays and Sundays at 10:30am. Groups by reservation. [email protected]. $5 adults; $3 seniors and students. Phone (619) 231-1941 x2142 for information/reservations. UNABLE TO ATTEND? If you find you are unable to use your tickets, please give LOST AND FOUND them to a friend, or turn them in to the Ticket Services If you have misplaced a personal item while at the theatre, Office and receive a tax receipt for your donation. Tickets please contact the Ticket Services Office or Security as must be received by show time. soon as possible. If we are unable to locate your item, we’ll happily take down your contact information and a RESTROOMS description of the item and contact you if it is found. The Restrooms are located in the lower lobby of the Old Globe Old Globe does not assume liability for items left behind on Theatre, the lobby of the White Theatre and adjacent to the premises. the Festival Theatre. Natural Herb Cough Drops - Courtesy of Ricola USA, Inc., SEATING OF LATECOMERS are available upon request. Please ask an usher. Although we understand parking is often at a premium, the seating of latecomers is extremely disruptive. Latecomers

PERFORMANCES MAGAZINE 23 Staff

Louis G. Spisto...... Executive Producer Lighting MARKETING Michael G. Murphy...... General Manager Nate Parde...... Lighting Director Jeffrey Weiser...... Public Relations Director Dave Henson...... Director of Marketing and Communications Shawna Cadence...... Lighting Assistant Mike Hausberg...... Public Relations Associate Todd Schultz...... Director of Development Tonnie Ficken...... Master Electrician, Globe Kelly Barry...... Digital and Print Publications Coordinator Mark Somers...... Director of Finance Jim Dodd...... Master Electrician, White Marissa Haywood...... Marketing Assistant Richard Seer...... Director of Professional Training Kevin Liddell...... Master Electrician, Festival Monica Jorgensen, Robert Drake...... Director of Production Jason Bieber, Mark Dewey, Kristen Flores, Susie Virgilio...... Marketing/Events Assistants Roberta Wells-Famula...... Director of Education Areta MacKelvie, Jay McNabb, Evan Ruwe, Hunter Smith, Raf Vallejo, Ramon Wenn...... Electricians Subscription Sales ARTISTIC Scott Cooke...... Subscription Sales Manager Adrian Noble...... Shakespeare Festival Artistic Director Sound Anna Bowen-Davies, Arthur Faro, Andy Fink, Matthew Lopez...... Playwright-in-Residence Paul Peterson...... Sound Director Janet Kavin, Richard Kipling, Pamela Malone, Jack DePalma...... Play Development Director Erik Carstensen...... Master Sound Technician, Globe Yolanda Moore, Jessica Morrow, Keith Perkins, Ken Seper, Cassandra Shepard, Jerome Tullmann, Samantha Barrie...... Casting Director Jeremy Siebert...... Master Sound Technician, White Grant Walpole...... Subscription Sales Representatives Bernadette Hanson...... Artistic Associate ADMINISTRATION Ticket Services PRODUCTION Brian Franko...... Assistant General Manager Bob Coddington...... Ticket Services Manager Debra Pratt Ballard...... Associate Director of Production Bryan Scott...... Executive Assistant Marsi Fisher...... Ticket Operations Manager Ron Cooling...... Company Manager Dani Meister...... Group Sales Manager Carol Donahue...... Production Coordinator Information Technology Dean Yager...... Information Technology Manager Tony Dixon, Rob Novak...... Lead Ticket Services Representatives Thad Steffen...... Information Technology Assistant Manager Stage Management Brian Abraham, Kari Archer, Brittany Bailey, John Ralston...... Information Technology Assistant Leila Knox...... Production Stage Manager Sarah Ditges, Stephen Greenhalgh, Merri Fitzpatrick, Tyler Jones, Angela Juby, Cassie Lopez, Caryn Morgan, Technical Human Resources Christopher Smith, Derek Smith, Diana Steffen, Benjamin Thoron...... Technical Director Sandra Parde...... Human Resources Director Rico Zamora...... Ticket Services Representatives Wendy Berzansky...... Associate Technical Director Sean Fanning...... Resident Design Assistant Maintenance PATRON SERVICES Eliza Korshin...... Technical Assistant/Buyer Randy McWilliams...... Facilities Manager Mike Callaway...... Theatre Manager Christian Thorsen...... Stage Carpenter/Flyman, Globe Violanda Corona, Ismael Delgado, Miguel Gaspar, Brian Davis, Jessica Talmadge...... House Managers Carole Payette...... Charge Scenic Artist Roberto Gonzalez, Reyna Huerta, Jose Morales, A. Samantha Beckhart...... Front of House Assistant Albert Rios, Maria Rios, Vielka Smith, Nicolas Torres, Edee Armand, W. Adam Bernard, Elaine Gingery...... Food and Beverage Manager Leonardo Rodriguez ...... Building Staff Victoria Erbe...... Scenic Artists Timothy Acosta, Nicole A. Patmon, Paige Plihal, Gillian Kelleher...... Master Carpenter Amanda Rhoades, Ben Salazar-Dunbar, PROFESSIONAL TRAINING Robert Dougherty...... Master Carpenter, Festival Michelle R. Witmer...... Pub Staff Llance Bower...... Program Coordinator Andrew Young...... Charge Carpenter, White Rose Espiritu, Stephanie Rakowski, Maria Carrera, Cynthia Caywood, Ray Chambers, Laura McEntyre...... Assistant Master Carpenter Stephanie Reed...... Gift Shop Supervisors Gerhard Gessner, Jan Gist, Fred Robinson, Chris Chauvet, Jason Chohon, Thomas Hawkins, Liz Shipman...... MFA Faculty Jack Hernandez, Josh Letton...... Carpenters Security/Parking Services Jeannie Marie Galioto, Ben Seibert, Rachel “Beahr” Garcia...... Security Supervisor George Yé...... MFA Production Staff Costumes Dallas Chang, Sherisa Eselin, Janet Larson, Jeffrey Neitzel...... Security Officers Stacy Sutton...... Costume Director EDUCATION Charlotte Devaux Shields...... Resident Design Associate Patricia Ceja, Andre Holmes, Kim Montelibano Heil...... Education Associate Jeff Howell...... Parking Lot Attendants Maureen Mac Niallais...... Assistant to the Director Carol Green...... Speakers Bureau Coordinator Norman Ramos, Danny Wilcox...... V.I.P. Valet Attendants Shelly Williams...... Design Assistant/Shopper David Carson, Amanda Cooley Davis, James Cota, Michelle Souza...... Design Assistant Marisela De la Parra, Jo Anne Glover, Brian Hammond, Erin Cass, Wendy Miller...... Drapers Sarah Price-Keating, Jennifer Barclay Newsham, Babs Behling, Anne Glidden Grace...... Assistant Cutters Radhika Rao...... Teaching Artists Jack O’Brien...... Artistic Director Emeritus Craig Noel...... Founding Director Mary Miller...... Costume Assistant Joanna Stypulkowska...... Stitchers FINANCE Erin Carignan...... Craft Supervisor/Dyer/Painter Carly Bennett...... Senior Accountant Molly O’Connor...... Wig and Makeup Supervisor Trish Guidi...... Accounts Payable/Accounting Assistant Kim Parker...... Assistant to Wig and Makeup Supervisor Adam Latham...... Payroll Coordinator/Accounting Assistant Beverly Boyd...... Wardrobe Supervisor Tim Cole...... Receptionist Beth Merriman...... Crew Chief Globe Anna MacDonald...... Crew Chief White DEVELOPMENT Kristin Bongiovanni, Marilyn McAvoy...... Major Gifts Director Noelle Van Wyk...... Wardrobe Crew Globe Annamarie Maricle...... Associate Director, Institutional Grants Marie Jezbera...... Rental Agent Bridget Cantu Wear...... Associate Director, Planned Giving Eileen Prisby...... Events Manager Properties Rachel Plummer...... Development Manager, Neil A. Holmes...... Properties Director Individual Annual Giving Kristin Steva Campbell...... Assistant to the Director Diane Addis...... Membership Administrator M.H. Schrenkeisen...... Shop Foreman Kacie Bluhm...... Development Assistant Rory Murphy...... Lead Craftsman Katie Dupont...... VIP Donor Ticketing Josh Camp, Patricia Rutter...... Craftspersons David Medina...... Properties Buyer Donor Services Trevor Hay...... Property Master, Globe Lee Conavay, Monica Jorgensen, Barbara Lekes, David Buess...... Property Master, White Pamela Malone, Richard Navarro, Stephanie Reed, Trevor Hay...... Property Master, Festival Judy Zimmerman...... Suite Concierges

24 PERFORMANCES MAGAZINE