APRIL 2014 WELCOME

Since its New York premiere in 1938, J.B. Priestley’s Time and the Conways has been produced on Ameri- can stages only a handful of times. The Old Globe is delighted to usher this rare and striking gem back a

G into the American repertoire. To bring Priestley’s g u o

D tes rich, multilayered play to life today, the Globe need- Managing Director Michael G. Murphy and Artistic Director Barry Edelstein. ed a director with an understanding of its emotion- al complexities, a strong visual style, and a modern sensibility, so we’re extremely pleased to welcome director Rebecca Taichman; she’s making her Globe debut with this production.

Rebecca’s artistic collaborators on Time and the Conways include some familiar names: scenic designer Neil Patel (The Rainmaker) and costume designer David Reynoso (Double Indemnity, Be a Good Little Widow). This production also intro- duces some major American designers to the Globe whom we’ve never had the opportunity to work with before: lighting designer Scott Zielinski and sound designer Matt Hubbs. And all but one of these 10 gifted actors are making their Globe debuts in this production. We hope you enjoy your first encounter with this talented team!

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

United has been supporting The Old Globe for Denver, Guam, Houston, Los Angeles, Newark Lib- more than 25 years, and it is proud to provide erty, San Francisco, Tokyo, and Washington, D.C. artists round-trip flights between San Diego and United is committed to the communities it serves Newark Liberty International Airport, its New and supports numerous charitable organizations York area hub and JFK. United serves over 370 across the country. The Old Globe salutes United destinations with more than 5,300 flights per day for its many years of support and for caring for to 62 countries. Hubs include Chicago, Cleveland, theatre artists and staff year-round.

CONRAD PREBYS AND DEBRA TURNER

A native of South Bend, Indiana and a San serves on the Board Executive Committee, Diego resident since 1965, Conrad Prebys and Debra serves as Co-Chair of the Devel- Wells Fargo’s core vision arts and its vitality. Wells Fargo believes in giving is CEO of Progress Construction. Debra opment Committee. As part of the Globe’s and values have always back to not-for-profits and educational institu- Turner hails from Phoenix and for more Capital Campaign for facilities, Conrad been committed to the tions that address important community needs, than 20 years has been involved in real donated $10.4 million for the new com- communities it serves, and and it understands the arts are an important tool estate in Southern California. Conrad and plex bearing his name, and he has been a for decades The Old Globe to create a livable and exciting city. The Bank sup- Debra share a love of the arts and gener- Season Sponsor for several years, support- has been a recipient of the ports more than 19,000 charitable institutions ously support San Diego not-for-profits in- ing Dirty Rotten Scoundrels, Ace, Romeo and Bank’s generosity and in- throughout the country and is especially delighted cluding Scripps Mercy Hospital, San Diego Juliet, August: Osage County, Allegiance — terest in supporting arts and culture. The Bank’s to be part of The Old Globe’s history and efforts to Hospice, Sanford/Burnham Medical Re- A New American Musical, and Other Desert charitable giving and volunteering have played an shape its future by supporting education and ar- search Institute, San Diego Zoo, Boys and Cities. In 2014 they serve as Production important role in San Diego’s future and have pro- tistic programming year after year. Girls Club of East County, and UC San Diego Sponsors of both Time and the Conways and vided an outstanding opportunity to celebrate the Theatre & Dance. At The Old Globe, Conrad Into the Woods.

GLOBE GUILDERS IN MEMORIAM Founded by Craig Noel and Irma MacPherson in Globe/University of San Diego Graduate Theatre 1955 as a volunteer auxiliary, the Globe Guilders Program; coordination of December Nights activi- ELAINE HIRSCH 1931 - 2014 are an essential part of the Globe family. Hundreds ties on the Globe’s Copley Plaza; involvement in the The Old Globe is deeply saddened by the loss of Elaine Hirsch, a lover of theatre of dedicated members provide invaluable assis- community; and annual Celebrating Couture Fash- and an ardent supporter of the Globe and many performing arts organizations tance to the Globe through their hosting of com- ion Show, featuring the fall line from internation- throughout San Diego. Growing up in New York, Elaine quickly developed a love pany calls; connection with the students in The Old ally acclaimed designer Naeem Khan. for theatre, as did her husband, Leonard. They lived with their two sons in New Jer- sey and regularly attended productions in Manhattan before moving to Coronado Globe Guilders and Neiman Marcus present in the 1990s. Len continues to support the theatres they began attending upon their arrival, including the Globe, North Coast Repertory Theatre, San Diego Op- era, Lamb’s Players Theatre, and Cygnet Theatre Company. Together at the Globe the couple sponsored productions such as Life of Riley, God of Carnage, and Double Friday, May 9, 2014 | Hilton San Diego Bayfront Hotel Indemnity. They were also Globe Ambassadors, members of the Craig Noel League CHAMPAGNE RECEPTION | SILENT AND LIVE AUCTIONS | LUNCHEON | FASHION SHOW Planned Giving Society, and regulars at opening nights and special events. Elaine greeted everyone with a warm smile and a hug, and her lovely presence was a plea- Underwriters at $500 and above can attend an exclusive Patron Party with sure at every occasion. She will be tremendously missed by all who knew her, and Naeem Khan at the Rancho Del Arte Estate of Iris and Matthew Strauss we at the Globe will always remember her as a patron and friend. LOIS LEWIS Chair • SANDY REDMAN Honorary Chair For reservations, contact Barbara Bolt at (619) 889-7121 or visit www.GlobeGuilders.org.

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

rol Ca Conway...... Leanne Agmon A lAN CoNWAy...... Jonathan Fielding d Ma ge Conway...... Morgan Hallett Hazel Conway...... Rose Hemingway J loAN He ford...... Sarah Manton TIME AND gERALD Thornton...... Leo Marks s Mr . Conway...... Kim Martin-Cotten Ernest Beevers...... Max Gordon Moore Kay Conway...... Amanda Quaid THE CONWAYS RCobin onway...... Lee Aaron Rosen

STAGE MANAGEMENT

by Stage Manager...... Diana Moser AsSISTANT Stage Manager...... Jennifer Wheeler Kahn J. B. PRIESTLEY .

SETTING

Neil Patel David Israel Reynoso Scott Zielinski Matt Hubbs The play takes place in 1919 and 1937. SCENIC DESIGN COSTUME DESIGN Lg i htING Design S ouND Design

There will be one 15-minute intermission.

Jan Gist Caparelliotis Casting Diana Moser VO cal AND DIALECT COACH Ca sTING STAGE MANAGER

PRODUCTION STAFF

AsSISTANT Director...... Stephanie Ward AsSISTANT Scenic Design...... Sean Fanning DIRECTED by AsSISTANT Costume Design...... Michelle Hunt Souza s As ISTANT LIGHTING Design...... Wen-Ling Liao RE BECCA TAICHMAN M USIC CONSULTATION...... Elan McMahan F IGHT CONSULTATION...... George Yé Sa t ge MaNAgement intern...... Rebecca Sharpe

Time and the Conways is presented by special arrangement with Samuel French, Inc.

Donald and Darlene Shiley Stage Old Globe Theatre 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. 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. March 29 - May 4, 2014 If you would like a synopsis of this production in English or Spanish, please request it from an usher.

4 PERFORMANCES MAGAZINe PErFORMANCEs MAGAZINE 5 WELCOME THE PLAY LEADERSHIP GIFTS The Old Globe recognizes and thanks At any theatre, the Artistic Di- mist, committed in play after play to the notion the following generous individuals FROM THE rector’s most important duty that the basic assumptions of his culture demand who have made extraordinary gifts is the selection of the season’s constant reexamination, and that the stage is the of $1 million or more. These major ARTISTIC programming. To find great and best instrument with which to conduct the pro- Thank you for joining us for J.B. Priestley’s poi- contributions have been designated worthy material, every Artis- cedure. I felt a restlessness in Priestley, a sense gnant drama Time and the Conways, set in Britain for artistic, endowment and facilities DIRECTOR tic Director I know reads plays that the status quo was not enough, that human- between the wars. You’re certain to be fascinated projects, and help The Old Globe voraciously, goes to the theatre ity is capable of more, if only it would give itself by the comings and goings of the Conway family. remain one of our country’s great constantly, and consults friends permission. This was bracing to me, hopeful, en- theatre institutions. and confidantes in cities around the country and ergizing. I knew I wanted to work on his plays, As your new Globe Board Chair and a firm be- even the world to learn of new and exciting tal- and I’m so grateful now to have the chance at last. liever in the restorative powers of the arts, I am $20,000,000 or greater ents. As I write this, for example, my iPad has on Donald† and Darlene Shiley pleased to represent and support this amazing in- it more than 20 scripts awaiting perusal, my cal- Time and the Conways is quintessential Priest- stitution alongside our valued sponsors Conrad Prebys and Debra $10,000,000 or greater endar has in it about a dozen theatregoing eve- ley. On its surface it’s an English drawing-room Turner, the Globe Guilders, Wells Fargo and United. As always, your Conrad Prebys nings over the next six weeks, in San Diego, Los play, all urbanity and wit, all upholstery and lush philanthropy can make a difference. Your financial support for the $5,000,000 or greater Angeles, and New York, and my spies the world costumes. Those qualities alone make it an ideal Globe, San Diego’s largest not-for-profit performing arts organiza- Sheryl and Harvey White over are emailing scouting reports into my inbox. piece for The Old Globe, because opulent period tion, helps close the funding gap between the costs of presenting Kathryn Hattox production is one of our specialties. But beneath each show and ticket sales. We are grateful for our audiences, our Karen and Donald Cohn But all the Artistic Directors I know also rely on the velvet and the lace, and underneath the supporters, and everything you do including purchasing tickets, at- something else: a long list of plays they already cushions of the overstuffed sofa, there’s some- tending performances, and spreading the word about our produc- $2,000,000 or greater know and yearn to do. I have quite a few lists, in thing else. The Conways and their turbulent lives tions and education programs with your friends. Viterbi Family Foundation fact. There’s a “small cast comedy” list of plays for confer on us an almost spiritual understanding $1,000,000 or greater our smallest stage, and a “big American bomber” of the driving forces in human existence: love, We have a great season ahead of us. Please enjoy Priestley’s gor- California Cultural and list of those huge early 20th-century works that ambition, and most of all, time. Priestley sees geous settings and fabulous period costumes—and the profession- Historical Endowment only a place like The Old Globe, with its great time as a helix in which past, present, and future al artistry for which The Old Globe is celebrated. Again, thank you Estate of Dorothy S. Prough production resources and corps of M.F.A. actors are inextricably intertwined. He taps us on the for your presence and all that you do for the Globe family. The Rivkin Family in residence, could even attempt. I have a list of shoulder with the small decisions we made years Estate of Beatrice Lynds brand-new plays I’d love to premiere here, and a ago and shows us how they still resonate in our Audrey S. Geisel/Dr. Seuss Fund list of Shakespeares I want still to explore. And I every breath today. And he urges us to consider at the San Diego Foundation also have a list of neglected classics, masterworks how our actions today will similarly resound Mr. and Mrs. Victor H.† Ottenstein by great writers of the past that are awaiting re- years and decades and even centuries from now. Mrs. Helen Edison† imagination and rediscovery for a new genera- The Stephen & Mary Birch Foundation tion of audiences. It’s highly gratifying to me that one decision I Elaine Bennett Darwin The Kresge Foundation made in my past—to someday do this play—has Chair, Board of Directors †In Memoriam Time and the Conways has been at the top of my come to fruition now. It’s equally wonderful that rediscovered classics list for over two decades. I I’ve been able to share my passion for this piece first came across it in the early 1990s, when J.B. with a visionary artist who has found a contem- BOARD OF DIRECTORS Priestley’s other masterpiece, An Inspector Calls, porary theatrical language that brings Priestley Elaine Bennett Darwin* Harold W. Fuson, Jr.* Anthony S. Thornley* Vicki L. Zeiger* Harvey P. White* was revived in London and later New York by thrillingly to life. The director Rebecca Taichman, CHAIR IMMEDIATE PAST CHAIR VICE CHAIR, FINANCE & TREASURER VICE CHAIR, NOMINATING SECRETARY the visionary director Stephen Daldry. That pro- my colleague and friend, is an ideal interpreter DIRECTORS Patricia A. Hodgkin Evelyn Mack Truitt Gordon Luce (1925-2006) duction redeemed Priestley from what was then for this play. Like its author she is a master of Mary Beth Adderley* Daphne H. Jameson Debra Turner Dolly Poet (1921-2007) near-total obscurity, restored to him the dignity craft with a real wit and a deep soul, and like Elizabeth Altman Jo Ann Kilty Linda Van Vark Deborah Szekely and prominence he’d enjoyed in his lifetime, and Priestley, she views the theatre as a kind of cru- Pamela Cesak Sheila Lipinsky Stacey LeVasseur Vasquez Hon. Pete Wilson reminded the English-speaking theatre of a gi- cible in which story and emotion and humor and Nicole A. Clay Mitzi Lizárraga Jordine Von Wantoch gantic achievement in playwriting. metaphor meld together to reveal new and illu- Joseph J. Cohen Ramin Pourteymour Pamela J. Wagner EMERITUS DIRECTORS minating truths. I’m so happy she’s here, and so Donald L. Cohn* Paula Powers* Lynne Wheeler Garet B. Clark It also sent me to the library. There I devoured delighted that her production, like Daldry’s An Conrad Prebys* Debbie Wilson Peter J. Cooper* J. Dallas Clark (1913–2005) Priestley’s plays and found in them enormous Inspector Calls all those years ago, will acquaint a Valerie S. Cooper* Tim Rafalovich Karin Winner* Bea Epsten elegance and great emotional power. I found a new generation of theatregoers with a great voice Ann Davies David L. Reagan June Yoder Sally Furay, R.S.C.J. Silvija Devine Sandra Redman Bernard Lipinsky (1914-2001) sense of the theatrical that was bold and even that deserves to be better known. Stephen P. Embry Crystal Sargent HONORARY DIRECTORS Delza Martin (1915–2005) daring, coupled to a deep humanity that made it Pamela A. Farr Jean Shekhter Mrs. Richard C. Adams Darlene Marcos Shiley easy for me to care about characters from anoth- Thanks for coming. Enjoy the show. Karen Fox Ann Steck* (1912–2005) Patsy Shumway er country at another time. Most of all, I found a Robert Foxworth Steven J. Stuckey Clair Burgener (1921-2006) Carolyn Yorston-Wellcome scintillating and searching intelligence. Priestley Jack Galloway Daniel L. Sullivan, Ph.D. Mrs. John H. Fox (1908–2003) struck me as an explorer, perhaps even an anato- Victor P. Gálvez Karen Tanz Audrey S. Geisel Kathryn Hattox* Rhona Thompson Paul Harter *Executive Committee Member

6 PERFORMANCES MAGAZINe PErFORMANCEs MAGAZINE 7 THE PLAY ly, play with form and struc- ture in an attempt to capture PLAYING and explore the simultane- ous existence of past, pres- ent and future. In plays like Time and the Conways, An In- An Astounding WITH TIME spector Calls, I Have Been Here By Danielle Mages Amato Before, and Dangerous Corner, Priestley loops time; he stops Director Rebecca Taichman and starts it; he creates re- on Time and the Conways sets and do-overs. Indeed, Story to Tell: Priestley used the theatre as a laboratory in which he could Interview by Danielle Mages Amato conduct experiments with time. As audience members watching his plays, we exist outside the linear experience Were you familiar with Time and the entwined. I find this a powerful spiri- of his characters. Priestley Conways—or with J.B. Priestley’s other tual principle, the idea that life swings transforms us into dreamers, work—before the Globe approached you between opposites and must encom- Observers who have access to to direct this play? pass both great grief and great joy. the characters’ past, present, I knew and greatly admired other They can, and should, coexist. They and future all at once. of Priestley’s plays, but I hadn’t read need not cancel each other out. Time and the Conways. Barry intro- For Priestley, these were duced me to it—a tremendous gift. Would you talk a bit about your style as more than theatrical experi- The play is astonishing. Somehow a director? How does this production fit ments. He fervently believed it has become a lost treasure, in this into your larger body of work? Throughout his writing life, In his thinking on time, that “much of the evil of our country at least. I love to direct opera, classics, new J.B. Priestley found himself Priestley was particularly age comes from the notion As a work of art, it remains deeply plays, musicals…everything really. I haunted by the question of captivated by the theories of that we have merely so much resonant today. The fluidity of time in like to do projects that are tonally and time. He invested countless J.W. Dunne. Dunne was an time before oblivion over- the play is theatrical in the extreme. stylistically different from each other. hours researching theories engineer and mathematician takes us.” He hoped that by The expansion and contraction of I am story-driven, so no matter the about how time works, how whose essay “An Experiment transforming our perception time lends itself to theatrical imagi- genre I am always seeking the most human beings perceive it, with Time” also influenced of time, we could transform nation, and as soon as you get actors powerful way to release any given and how our understanding writers like H.G. Wells and ourselves and our societies. speaking Priestley’s language, his story. I hope I don’t have one signa- of time shapes our personal, Graham Greene. According He especially wanted Eng- characters leap to life. ture style that gets stamped onto each social, and even political to Dunne, in our conscious land to turn away from the work but rather am led by the play. lives. lives, time functions in a dehumanizing Fascism that What do you find so moving about That said, I do tend to think visually, linear manner, moving in- loomed across Europe and re- the play? so my work usually has a central, vi- Priestley compared his ob- exorably from past to pres- discover “the seriousness of REBECCA Priestley draws a portrait of a family sual organizing principle. session with time to the al- ent to future, giving us access the moment, bringing a cre- captured in a moment of great hope, coholic father of a childhood only to the present. He called ative responsibility, as well TAICHMAN and then he invites us to see that mo- How would you describe the visual style friend, who would occasion- this a “lop-sided” perception server 1 may be trapped in as zest, into a man’s outlook ment through a very different lens. of this production? linear time, but Observer 2 and conduct.” I find the different perspectives on I don’t want to give away any of is free to exist in past, pres- time that the play explores very pro- our surprises, but we wanted to make EVERY FEW YEARS I FEEL COMPELLED ent, and future simultane- Through these experiments vocative. In a sense, Priestley is ask- transparent the movement of time in TO VANISH INTO THE MAZES OF THE ously. Dunne argued that as with time, Priestley hoped ing: what is time? Does it ravage and the play. That urge is at the center of long as we remain conscious, that the theatres of the world destroy? Or is there perhaps a more the design. TIME PROBLEM, RETURNING, RATHER we are limited to the percep- would become “outposts for Buddhist view of time in which ev- With a play as wonderful as Time WORN, WITH A PLAY OR A STORY.” tions of Observer 1, but in the army of the citizens of erything is concurrent, in which time and the Conways, Priestley has an as- dreams—and other extreme tomorrow, demanding to live is collapsible? In this view, all of life tounding story to tell, and we have ally disappear for weeks on a of time, “with the ‘future’ states—we could have access a life at once more ardent is happening simultaneously, rather just been looking for the most theat- drinking binge. “I myself am part unaccountably miss- to Observer 2, and to other and imaginative and more than existing only in the present mo- rical, beautiful, true way that we can the victim of a similar habit,” ing, cut off from the growing moments in time. thoughtful than their fathers ment. Past, present, and future are all imagine to tell Priestley’s story. he wrote. “Every few years I ‘past’ by a traveling ‘pres- and mothers ever knew.” unfolding simultaneously. feel compelled to vanish into ent moment.’” But Dunne Priestley embraced this Priestley is also proposing that, by the mazes of the time prob- believed that we have other idea of “multiple time” and (above left) J.B. Priestley, actress Jean Forbes Robinson, and J.W. Dunne at its very nature, life is a constant set of lem, returning, rather worn, selves—he called these mul- brought it into his fiction Dunne’s meeting with the London cast of contradictions, that grief and joy are with a play or a story.” tiple selves “Observers.” Ob- writing. His dramas, especial- Time and the Conways in 1937.

8 PERFORMANCES MAGAZINe PErFORMANCEs MAGAZINE 9 THE PLAY but it was the novel The describing in detail the physi- The Man Good Companions in 1929 cal and emotional changes that catapulted him into the of a nation at war, he also Behind the public eye. In 1932, Priestley lifted the national morale, turned to playwriting, which especially during the London EnglandBy Danielle Mages AmatoBetween the Wars Writing he considered his favorite Blitz. The broadcasts made medium. His first play, Dan- Priestley a household name, By Danielle Mages Amato gerous Corner, premiered on and their international popu- Time and the Conways takes place in two different time periods: in 1919, at the end of World War I, and in 1937, as England the West End in 1932, and larity led novelist Graham teeters on the brink of World War II. The change in the political and social landscape of England during those 16 years forms an J.B. Priestley was both a ver- in 1937, three of his plays Greene to call Priestley “a essential backdrop for the events of the play. satile writer and a polarizing were produced in London in leader second in importance public figure, one of Eng- the same year: Time and the only to Mr. Churchill.” land’s best known authors Conways, I Have Been Here Be- of the mid-20th century. His J.B. PRIESTLEY fore, and Music at Night. His In his later years, Priestley biographer and colleague, the best known play, An Inspec- found domestic happiness English actress Dulcie Gray, for most of his life, North- tor Calls (1945), premiered with his third wife, archaeol- described him as “light on his ern England—and Yorkshire in Moscow before its London ogist Jacquetta Hawkes, and feet, both physically and in in particular—loomed large and New York productions. he was a founding member conversation. He had many in both his life and work. In of the Campaign for Nuclear of the attributes of Falstaff— 1914, at the age of 20, he In 1940, as World War II be- Disarmament. He continued gusto, patriotism, a delight joined the British Army and gan, the successful essayist, his prolific literary output, in good living, and in spite of served on the front line in novelist, and playwright took and by the time of his death a face like a ‘glowering pud- France during World War I. on yet another medium: ra- in 1984, he had written an ding’ (his description), con- He was demobilized and re- dio. For six months, Priest- astonishing 43 plays, 32 siderable success with other turned home in 1919 (just ley wrote and broadcast a novels, and 61 works of non- men’s wives.” like the character of Robin in 10-minute Sunday night fiction, including essays and Time and the Conways). His program on BBC Radio called collections of poetry. He was Priestley was born in 1894 in first published work was a “Postscripts.” In these 19 ra- awarded the Order of Merit Bradford, just outside Leeds. collection of essays—Brief Di- dio essays, Priestley not only in 1977. Although he lived in London versions, published in 1922— captured the national mood,

1918 – On November 11, the 1926 Allied Powers and Germany sign an WE INHERITED TWO WORLDS – THE ONE OF HOPE and wrote English Journey: part armistice, ending hostilities on the TO WHICH WE HAD BEEN BRED; THE ONE OF DISIL- travelogue, part sociopolitical Western Front. LUSION WHICH WE HAD DISCOVERED EARLY FOR documentary. In it, Priestley OURSELVES. AND THAT FIRST WORLD WAS GROWING recounts in detail the effects of June 1919 – The Treaty of AS REMOTE AS ANOTHER COUNTRY, HOWEVER CLOSE the Great Slump on the industrial Versailles is signed, officially ending and rural towns of Yorkshire— war between Germany and the IN TIME.” —F. Scott Fitzgerald, 1939 the very backdrop he explores Allied Powers. in Time and the Conways three Even as soldiers return to with the owners of Britain’s sets off a worldwide economic years later. celebratory parades, Britain finds coal mines, over 3 million men depression. itself £900 million in debt to from every industry around the During Britain’s “Great Slump” 1935 – Germany violates the Treaty the U.S. for war loans, and with nation refused to work. But by of the 1930s, the demand for of Versailles by introducing a draft a significant number of lost and May 12, the strike was over. British products collapsed, and and rebuilding its military forces. wounded soldiers. The unions were unsuccessful unemployment soared, reaching in negotiating solid promises of 70% in some areas. Northern 1936 – The Spanish Civil War 1924 – Vladimir Lenin dies; Joseph change, leaving workers feeling England was hit hardest and took begins. Germany reoccupies Stalin takes control of the Soviet betrayed and disillusioned longest to recover. the demilitarized zone in the government. and undermining the cause of Rhineland. workers’s rights. 1933 – Adolf Hitler is appointed From 1936-1938, Britain 1927 1926 – On May 3 (Red Friday), the Chancellor of Germany. followed a policy of Britains ignored their country’s Treaty of Versailles by occupying Trade Union Council organized a 1927 – All women over the age of “appeasement” and non- stance and went to Spain to fight and annexing Austria. General Strike. 21 are given the right to vote in 1934 – J.B. Priestley’s English intervention, choosing to remain against the Nationalists and To support mineworkers who Britain. Journey is published. neutral on Spain and avoid Francisco Franco. 1939 – Britain and France declare were locked in a battle over In 1933, Priestley traveled conflict with Hitler in the hopes war on Germany. wages and standard of living 1929 – The Wall Street crash through Northern England of averting war. Over 4,000 1938 – Germany again violates the

10 PERFORMANCES MAGAZINe PErFORMANCEs MAGAZINE 11 EDUCATION ARTISTS Ln ean e Agmon television and film credits include “All Shara Manton (Carol Conway), original- My Children,” “Guiding Light,” the 2014 (Joan Helford) has Listen— ly from London, is elated NBC pilot “The Odyssey,” and Miyuki. He appeared in One Man, Two to return to her English received his M.F.A. from the Mason Gross Guvnors (Broadway), The It’s the Sound of the Future of Theatre roots with the Con- School of the Arts at Rutgers. Coast of Utopia and South way family! She recent- Pacific (National Theatre, ly starred alongside Paul M organ Hallett London), Baby in Dirty Sorvino and Carolyn Hennesy in the (Madge Conway) has Dancing (West End), Einstein and Mileva One afternoon last Octo- upcoming feature film Hybrids, a com- appeared on Broadway (Theatre Row, New York), and Major Bar- ber, 600 students and their edy about a family of vampire/witches. in Translations direct- bara, The Madras House, Village Wooing, teachers were seated in the Her other film credits include Every Word ed by Garry Hynes and and O’Flaherty V.C. (Orange Tree The- Old Globe Theatre watching Handwritten (featured in Rolling Stone Long Day’s Journey Into atre, London). She has toured the U.K. a matinee. At the end, they and on VH1), Acabonac Sunrise, and the Night directed by Rob- as Alison in Look Back in Anger, Juliet in burst into thunderous ap- Stanley Kubrick biopic Fidelio. She made ert Falls, and her Off Broadway credits Romeo and Juliet, and Lucy in The Rivals. plause that a passerby might her network television debut on CBS’ include When the Rain Stops Falling (Lin- Her regional theatre credits include The mistake for the response to a “Blue Bloods.” Her favorite stage cred- coln Center Theater) and Rebel Voices (Cul- Champion of Paribanou directed by Alan rock concert. But this was for its include Irina in Three Sisters (Atlantic ture Project). Her regional credits include Ayckbourn, Owners (Yale Repertory The- The Last Goodbye, the musi- Theater Conservatory), Diana in All’s Well Quartermaine’s Terms (Williamstown atre), When We Are Married (Denver Cen- calized take on Shakespeare’s That Ends Well (Royal Academy of Dra- Theatre Festival), Translations (McCarter ter Theatre Company), Time of My Life Romeo and Juliet. The cheer- matic Art), Rivkele in God of Vengeance Theatre Center), Love, Janis (Actors The- (Pittsburgh Public Theater), and Villette ing, the shouting, the foot and Ilse in Spring’s Awakening (Marvell atre of Louisville, Cincinnati Playhouse (Frantic Assembly/Steven Hoggett). Her stomping—stunning to our Rep). A graduate of Tisch School of the in the Park, Marines’ Memorial Theatre), television and film credits include “Casu- staff, cast, and crew – was not Arts at New York University, Ms. Agmon The Ladies Man (Indiana Repertory The- alty” and “Doctors” for BBC, various so shocking to our education trained with the Atlantic Theater Com- atre, Geva Theatre), Vincent in Brixton short films, and the lead in Ayckbourn’s team. We’ve seen it before. pany, where she received the presti- (Virginia Stage Company), and A Death in “Whenever” for BBC Radio 4. Ms. Manton Young people, captivated and gious Outstanding Achievement Award. the House (Alliance Theatre). Ms. Hallett trained at Guildford School of Acting in engaged in a play that many She was also classically trained at the spent five seasons at Denver Center The- London. think would simply not in- Royal Academy of Dramatic Art, U.K. atre Company, where her credits included terest them. Shakespeare? audience end up at the Globe are about to see. Students with unexpected tears at a www.leanneagmon.org. Noises Off, Love’s Labour’s Lost, The Lone- Lkeo Mar s Come on, what teenager that day? speak lines from the plays, moment of aching tender- some West, Pierre, Hamlet, Much Ado About (Gerald Thornton) is (aside from a future English Every September, San Diego create tableaus to physical- ness. Their raucous laughter, Jona ath n Fielding Nothing, The Cripple of Inishmaan, and delighted to be back at major) wants to sit through teachers and principals open ize plot points, wrestle with so freely given, rings out at (Alan Conway) is thrilled Tantalus directed by Sir Peter Hall. Her The Old Globe, where he Shakespeare? their emails to find an invi- challenging vocabulary, and comic moments that jaded to be making his Globe television and film credits include “Law appeared previously as Admittedly, this iteration tation from The Old Globe’s visualize how they might adults find only mildly amus- debut. On Broadway he & Order: Criminal Intent,” “The Good Leo in the world premiere of the Bard was infused with education department. They direct a scene themselves ing. These teen audiences are appeared in Pygmalion Wife,” “Deception,” “Unforgettable,” Pop- of John Strand’s Lincol- rock music and a slimmed- spring into action to be on before seeing how we do it. the most generous, engaged, with Roundabout Theatre ulation 436, and The Reader. She holds an nesque. Other world premieres include down script that cut right to the list of applicants for our When students are given thoughtful, and responsive Company and The Seagull M.F.A. from the National Theatre Conser- Noah Haidle’s Smokefall and Julia Cho’s the chase. But experience has Student Matinee program. the opportunity to prepare group you’ll ever have the at the Walter Kerr Theatre. He has also vatory and is a regular reader for Record- The Language Archive (South Coast Reper- shown that teenagers long to It’s the best deal in town— in advance for an adult-level honor to welcome into the worked Off Broadway at Manhattan The- ed Books. tory, Los Angeles Times Culture Monster’s be treated like adults. They thousands of dollars worth experience, they behave like theatre. atre Club, Atlantic Theater Company, year-end “Top Flight Performances”), Bill want to reach deeply into of tickets at absolutely no adults. They arrive ready to Their applause is a most sin- 59E59 Theaters, Dixon Place, and Ohio Rose Hemingway Cain’s How to Write a New Book for the Bible their souls and discover who charge to the school—the show the world that they are cere thank you, reminding Theatre and regionally with Penguin Rep, (Hazel Conway) is elated (Berkeley Repertory Theatre, Seattle Rep- they are. They are willing to Globe’s way of investing in worthy of respect and willing actors why they have cho- Ivoryton Playhouse, American Stage The- to be making her debut ertory Theatre, San Francisco Bay Area be moved—if only we ap- San Diego’s youth and the to earn their warm welcome. sen this path. It’s a wake-up atre Company, and The Public Theatre in at The Old Globe. Most Theatre Critics Circle Award nomination proach them with respect. theatre’s future. They pay us back for the free call for every stagehand who Maine. In 2008 Mr. Fielding performed in recently she could be seen for Drama – Featured Male), Heather Those teens were a cross But we provide more than tickets and free workshops struggled to get up early for Washington, D.C. for the grand reopen- on the Broadway stage Woodbury’s Tale of 2 Cities: An American section of the San Diego just tickets to matinees. Each by embracing the work and a student matinee. It’s the ing of Ford’s Theatre in The Heavens are playing Rosemary Pilk- Joyride on Multiple Tracks (Obie Award for community, from a wide va- class gets a free in-school applauding our efforts. future standing before us, Hung in Black, commemorating the 200th ington opposite Daniel Radcliffe in the Performance – Ensemble), Charles Mee’s riety of backgrounds and ex- workshop with one of our Once the students take their cheering and clapping and anniversary of Abraham Lincoln’s birth. 50th anniversary revival of How to Suc- A Perfect Wedding (Kirk Douglas Theatre), periences. They were not all talented Teaching Artists— seats and the lights go down, showing us that theatre is for Mr. Fielding is an artistic associate of ceed in Business Without Really Trying. Her and Neal Bell’s Somewhere in the Pacific theatre students. Many had professional actors who love our team breathes in the joy all of us, now and for a very Amphibian Stage Productions in Texas other stage roles include Sophie Sheridan (Playwrights Horizons). He has also per- never seen a play. They came teaching young people their of that moment. We are priv- long time to come. and a founding member of the Harbor in the National Tour of Mamma Mia! and formed at The Shakespeare Theatre Com- for a field trip and they left craft. These hour-long work- ileged to be in the room as Stage Company in Wellfleet, Massachu- Mary Phagan in Parade (Donmar Ware- pany, in Rebecca Taichman’s production having had the experience of shops are designed to get first time theatregoers gasp (above) Students take part in a post-show setts, where he spends his summers. Dur- house/Mark Taper Forum). Her televi- of Cymbeline, Geffen Playhouse, Pasadena discussion with the cast after a matinee a lifetime. students actively involved in at a shocking moment on- performance of The Last Goodbye. ing the winters, he teaches acting at New sion credits include “The Mob Doctor” Playhouse, Intiman Theatre, Ahmanson So how did this rollicking learning about the show they stage, or surprise themselves York University’s Steinhardt School. His and “Blue Bloods.” Theatre, La MaMa Experimental Theatre

12 PERFORMANCES MAGAZINe PErFORMANCEs MAGAZINE 13 ARTISTS Club, Soho Repertory Theater, Pittsburgh by Ethan Coen, Elaine May, and Woody HB Studio in addition to other teaching enced by the theories of J.W. Dunne; his Off Broadway and in regional theatres ki’s dance credits include American Ballet Irish and Classical Theatre, and Actors Allen. His other credits include Jack Tan- artist work throughout New York City. psychological mystery drama An Inspector and opera houses in the U.S. and abroad. Theatre, American Dance Festival, Boston Theatre of Louisville. Mr. Marks’s other ner in Man and Superman and George Calls; and his farce When We Are Married. His film and television credits include Ballet, Centre National de la Danse, Hous- awards include Pittsburgh Post-Gazette Bailey in It’s A Wonderful Life (Irish Reper- Le e Aaron Rosen Although more naturally a playwright, “In Treatment” (HBO) and Neil LaBute’s ton Ballet, The Joyce Theater, The Kenne- Performer of the Year in 2012, Pittsburgh tory Theatre), The Master Builder (Brook- (Robin Conway) has he is also well-remembered for his many Some Velvet Morning (TriBeCa Films). dy Center, The National Ballet of Canada, Post-Gazette’s Top 10 Leading Men in lyn Academy of Music), TRAGEDY: a appeared regionally novels, including Black-Out in Gretley, www. neilpateldesign.com. and San Francisco Ballet. His opera work 2010 and 2011, and several L.A. Weekly tragedy (Berkeley Repertory Theatre), The in Suddenly, Last Sum- Daylight on Saturday, Three Men in New includes Arizona Opera, Bregenzer Fest- Theater Awards and nominations. He is Seagull (Cleveland Play House), Richard mer and Mary’s Wedding Suits (springing from his observations of David Israel Reynoso spiele, Brooklyn Academy of Music, Cana- a member of The Antaeus Company and III, As You Like It, and The Merchant of Ven- (Westport Country Play- wartime life in Britain), and Angel Pave- (Costume Design) recently designed the dian Opera Company, English National Evidence Room and a founder of Elevator ice (California Shakespeare Theater), Bach house), All My Sons (Hun- ment, a romantic novel. Satirist, philoso- Globe’s productions of Water by the Spoon- Opera, Gotham Chamber Opera, Hous- Repair Service. He also has many televi- at Leipzig (A Contemporary Theatre), John tington Theatre Company), Barefoot in pher, humorist, time-theorist, political ful, Double Indemnity and Be a Good Little ton Grand Opera, Lithuanian Nation- sion credits. Bull’s Other Island (Geva Theatre), Pleasure the Park (Actors Theatre of Louisville, pundit, and entertainer, he was made a Widow. Mr. Reynoso is the Obie Award- al Opera and Ballet Theatre, Minnesota and Pain (Magic Theatre), Private Jokes, Bucks County Playhouse), The Match- member of the Order of Merit in 1977. winning costume designer of Sleep No Opera, De Nederlandse Opera, New York K im Martin-Cotten Public Places (Aurora Theatre Company), maker (Center Stage), The Member of the More (Punchdrunk/Emursive). His scenic City Opera, Opera Colorado, Pittsburgh (Mrs. Conway) is delight- Learned Ladies and The Two Gentlemen of Wedding (Ford’s Theatre), The Game (Bar- Rebecca Taichman and costume design credits include Chas- Opera, Royal Opera House, San Francisco ed to be making her Globe Verona (Texas Shakespeare Festival), The rington Stage Company), and Once in a (Director) has directed Off Broadway ing the Song workshop (La Jolla Playhouse), Opera, and Spoleto Festival USA. debut. Her recent acting American Song Project (The Flea Theater), Lifetime, Loot, and God of Vengeance (Wil- productions of Sarah Ruhl’s Stage Kiss Futurity, Cabaret, The Snow Queen, Alice vs. www. scottzielinski.com. work includes Paulina in and Family Alchemy (A Traveling Jew- liamstown Theatre Festival). His Broad- (Playwrights Horizons), David Adjmi’s Wonderland, Trojan Barbie, Copenhagen, No The Winter’s Tale (Hang ish Theatre). Mr. Moore’s film and televi- way credits include The Big Knife and The Marie Antoinette (Soho Rep), Kirsten Man’s Land, Hamletmachine, Ajax in Iraq, Matt Hubbs a Tale Productions) and sion credits include Gods Behaving Badly, Normal Heart, and his Off Broadway cred- Greenidge’s Milk Like Sugar (Playwrights and Abigail’s Party (American Repertory (Sound Design) has designed Stage Kiss The Guide in Not What Happened (Brook- Terrors of Basketweaving, and “The Good its include Gabriel (Atlantic Theater Com- Horizons), Ms. Greenidge’s Luck of the Irish Theater), The Comedy of Errors and Othel- and 100 Saints You Should Know (Play- lyn Academy of Music’s Next Wave Festi- Wife.” He received an M.F.A. at Yale Uni- pany), The Lady from Dubuque (Signature (LCT3), Ms. Ruhl’s Orlando (Classic Stage lo (Commonwealth Shakespeare Compa- wrights Horizons), Natasha, Pierre and the val). She was also recently nominated for versity School of Drama. Theatre Company), and A Contemporary Company), Dark Sisters by Nico Muh- ny), The Woman in Black (Gloucester Stage Great Comet of 1812 (Kazino, Ars Nova), a Drama Desk Award for her portrayal of American’s Guide to a Successful Marriage ly and Stephen Karam (MTG/Gotham Company), and Dead Man’s Cell Phone (The Marie Antoinette (Soho Repertory Theater, Josie Hogan in A Moon for the Misbegot- Ama and Quaid c. 1959 (Cherry Lane Theatre/Soho Play- Opera), Telemann’s Orpheus (New York Lyric Stage Company). His upcoming American Repertory Theater, Yale Reper- ten (The Pearl Theatre Company) and had (Kay Conway) is mak- house). On television, he has appeared in City Opera), Theresa Rebeck’s The Scene work includes Healing Wars directed by tory Theatre), How We Got On, Death Tax, the pleasure of covering Portia opposite ing her Globe debut in “The Big C,” “Nurse Jackie,” “Damages,” (Second Stage), Menopausal Gentleman Liz Lerman (Arena Stage). His other work and A Devil at Noon (Humana Festival of Al Pacino in Merchant of Venice (Broad- Time and the Conways. She “Person of Interest,” “Law & Order: Crim- (Ohio Theatre), andRappaccini’s Daughter includes Amanda Palmer’s “Down Under” New American Plays), Three Pianos (New way). Her other work includes Goneril appeared Off Broadway at inal Intent,” and “Guiding Light.” His film (Gotham Opera). Ms. Taichman’s region- tour, Juan Son’s “Mermaid Sashimi” tour, York Theatre Workshop, American Rep- in King Lear with Stacy Keach (Goodman Lincoln Center Theater/ credits include Saving Private Ryan, Com- al credits include Mr. Adjmi’s Marie Antoi- and Gallow Green at The McKittrick Hotel. ertory Theater), The Human Scale (The Theatre, The Shakespeare Theatre Com- LCT3 in Luck of the Irish, pany K, the short film Lawn Care, and the nette (Yale Rep/ART), Milk Like Sugar and www. davidreynoso.com. Public Theater), Telephone (The Foundry pany), the premiere of Naomi Iizuka’s also directed by Rebecca Taichman, for upcoming features Sidewalk Traffic and Sleeping Beauty Wakes by Rachel Sheink- Theatre), Hammock, The Matter of Origins: Ghostwritten (Goodman), and perform- which she was nominated for a Lucille The Girl in the Book. Mr. Rosen is featured en and GrooveLily (La Jolla Playhouse), Scott Zielinski Tea, Blueprints of Relentless Nature, and ing all three sisters while covering the Lortel Award. Her other New York cred- in the award-winning web series “80/20,” She Loves Me (Oregon Shakespeare Festi- (Lighting Design) is based in New York 613 Radical Acts of Prayer (Liz Lerman’s Broadway National Tour of August: Osage its include Equus (Broadway), the U.S. pre- and his voice can be heard in several val), The Winter’s Tale, Cymbeline, Twelfth and has created lighting designs for over Dance Exchange), and the National Play- County. Ms. Martin-Cotten is also a direc- miere of Cock (The Duke on 42nd Street), Rockstar Games titles as well as in the Night, and The Taming of the Shrew (Shake- 300 productions of theatre, dance, and wrights Conference (The Eugene O’Neill tor and recently directed productions of The (curious case of the) Watson Intelli- PBS documentary series “Superheroes: speare Theatre Company), The Winter’s opera throughout the world. His New Theater Center). Mr. Hubbs is a company Death of a Salesman, Cabaret, The Taming gence (Playwrights Horizons), The Seagull A Never-Ending Battle.” He received his Tale and Twelfth Night (McCarter), Ms. York credits include Topdog/Underdog member of the TEAM: RoosevElvis, Mis- of the Shrew, and The Dumb Waiter as well directed by Max Stafford-Clark (Culture M.F.A. from New York University’s Grad- Ruhl’s Dead Man’s Cell Phone and The Clean (Broadway), Atlantic Theater Company, sion Drift, Architecting, Particularly in the as assisting Anna Deavere Smith with Project), A Public Reading of an Unproduced uate Acting Program and is a proud vol- House (Woolly Mammoth), and Mr. Adj- Classic Stage Company, Lincoln Center Heartland, and A Thousand Natural Shocks. her production of House Arrest: First Edi- Screenplay About the Death of Walt Disney unteer at New York’s 52nd Street Project. mi’s Evildoers (Yale Rep). Ms. Taichman is Festival, Manhattan Theatre Club, New He received his B.A. in Philosophy as a tion (Arena Stage). She is also one of the (Soho Repertory Theater), Galileo opposite currently co-creating the new piece Ven- York Theatre Workshop, Playwrights University Scholar at Xavier University. founding producers of Hang A Tale Pro- F. Murray Abraham (Classic Stage Com- J.B. Priestley geance with Paula Vogel for La Jolla Play- Horizons, The Public Theater, Signa- ductions in New York City. Her upcoming pany), The Illusion directed by Michael (Playwright, 1894-1984), born in Brad- house, Yale Rep, and Oregon Shakespeare ture Theatre Company, and Theatre for a Jan Gist projects include Antony and Cleopatra with Mayer (Signature Theatre Company), the ford, England, was the son of a school- Festival, and she will be directing Sarah New Audience, among others. Regional- (Vocal and Dialect Coach) has been Voice, John Douglas Thompson and Orpheus world premiere of Ethan Coen’s Happy master. He served in the British Army Ruhl’s new play, The Oldest Boy, at Lincoln ly he has designed at numerous theatres Speech, and Dialect Coach for Old Globe Descending. Hour (Atlantic Theater Company), The until 1919, when he went to Trinity Hall, Center this fall. throughout the U.S. Internationally he productions since 2002. She has coached Witch of Edmonton (Red Bull Theater), and Cambridge. Mr. Priestley was a wartime has designed in Adelaide, Amsterdam, at theatres around the country including Mar x Go don Moore The Yeats Project and Banished Children of broadcaster, second only to Winston Neil Patel Avignon, Berlin, Bregenz, Edinburgh, Ahmanson Theatre, La Jolla Playhouse, (Ernest Beevers) is pleased Eve (Irish Repertory Theatre). Ms. Quaid’s Churchill as spokesman for England’s (Scenic Design) recently designed The Fukuoka, Gennevilliers, Hamburg, Hong Oregon Shakespeare Festival, The Shake- to make his debut at The regional work includes Vivie in Mrs. War- self-determination and faith. He wrote Old Globe’s production of The Rainmak- Kong, Istanbul, Linz, London, Lyon, Mel- speare Theatre Company, The American Old Globe. He has per- ren’s Profession opposite Elizabeth Ashley some 50 plays and dramatic adaptations; er. This season in New York he designed bourne, Orleans, Oslo, Ottawa, Paris, Shakespeare Center, Utah Shakespeare formed on Broadway in (The Shakespeare Theatre Company) and among the best known are his “Time” Sarah Ruhl’s Stage Kiss directed by Rebec- Reykjavik, Rouen, St. Gallen, Singapore, Festival, Alabama Shakespeare Festi- Relatively Speaking, three Rosalind in As You Like It (Folger Theatre). plays (Dangerous Corner, I Have Been Here ca Taichman (Playwrights Horizons). Stockholm, Stuttgart, Tokyo, Toronto, val, Arena Stage, San Diego Repertory one-act plays written Ms. Quaid teaches accents and dialects at Before, and Time and the Conways), influ- Mr. Patel’s work is well known on and Vienna, Vilnius, and Zurich. Mr. Zielins- Theatre, Milwaukee Repertory Theater,

14 PERFORMANCES MAGAZINe PErFORMANCEs MAGAZINE 15 ARTISTS PlayMakers Repertory Company, Indi- 2004 she has worked on over 25 shows at oversaw all of the company’s Shakespear- managed the construction of the Globe’s Michigan 2008 International Achievement annual Awards for Excellence in Theatre ana Repertory Theatre, American Players the Globe including August: Osage Coun- ean productions, as well as its extensive new theatre and education facilities. Prior Award, Honorary Doctorate, University of named in his honor by the San Diego The- Theatre, and Mo’olelo Performing Arts ty, The Recommendation, Brighton Beach educational, community outreach, and to the Globe, he was the Managing Direc- Michigan. Honorary Doctor of Humane atre Critics Circle. In 2007, he received the Company. Ms. Gist has been a guest on Memoirs and Broadway Bound, The Whip- artist-training programs. At The Public, tor of Austin Lyric Opera in Austin, Texas; Letters, University of San Diego. Film National Medal of Arts—the nation’s high- KPBS radio’s “A Way with Words,” narrat- ping Man, I Do! I Do!, Opus, Six Degrees of Mr. Edelstein staged Julius Caesar star- Director of Administration of San Diego (actor): Sex and the City 2. Jack Be Nimble: est honor for artistic excellence—in a cer- ed San Diego Museum of Art documenta- Separation, The Pleasure of His Company, ring Jeffrey Wright for Shakespeare in Opera; and General Manager of San Diego The Accidental Education of an Unintentional emony at the White House. Craig Noel died ries, coached dialects for the film The Rosa In This Corner, the 2007 Summer Shake- the Park, Timon of Athens with Richard Repertory Theatre. Before relocating to Director, his memoir about the early years on April 3, 2010 at the age of 94. Parks Story, and recorded dozens of Books speare Festival, Restoration Comedy, and Thomas, and The Merchant of Venice fea- San Diego from New York, he held similar of his career, was released in the summer of To Listen To. She is an originating member The Intelligent Design of Jenny Chow. Ms. turing Ron Leibman’s Obie Award-win- positions at Theatre for a New Audience 2013 by Farrar, Straus and Giroux. of The Voice and Speech Trainers Associa- Moser’s regional credits include La Jolla ning portrayal of Shylock. He was also and the Joyce Theater Foundation’s Ameri- tion and has presented at many national Playhouse, San Diego Repertory Theatre, Associate Producer of The Public’s Broad- can Theater Exchange. He also served as CRAIG NOEL and international conference workshops Arena Stage, The Repertory Theatre of St. way production of The Merchant of Ven- negotiating assistant for the League of (Founding Director) was first appointed CASTING for them and for The Voice Foundation. Louis, New York Theatre Workshop, Berk- ice starring Al Pacino. From 1998-2003 Resident Theatres and sales representative director in 1939, directing 15 productions CAPARELLIOTIS CASTING She has taught workshops at London’s shire Theatre Festival, Children’s Theatre he was Artistic Director of Classic Stage for Columbia Artists Theatricals Corpora- prior to World War II. Since then he direct- David Caparelliotis Central School of Speech and Drama Company in Minneapolis, and Arizona Company, where he produced and direct- tion. Mr. Murphy has served on the Board ed more than 200 plays of all styles and Lauren Port and the International Voice Teachers Theatre Company. Ms. Moser received her ed some of New York’s most memorable of Directors of the San Diego Performing periods and produced an additional 270 Exchange at The Moscow Art Theatre. She B.A. from Bard College and her M.F.A. in classical productions. Mr. Edelstein’s Arts League and serves as a Management productions. His vision for The Old Globe This theatre operates under an agreement has been published in VASTA Journals, Directing from Purdue. She lives in Nova Shakespearean directorial credits include Trustee for San Diego County Theatrical resulted in the establishment of the Shake- between the League of Resident Theatres and chapters in books include The Com- Scotia, Canada and sails on the classic The Winter’s Tale with David Strathairn, Trusts, the pension and welfare trust for speare Festival and the San Diego Junior and Actors’ Equity Association, the union of professional actors and stage managers in the plete Vocal Warm-Up, More Stage Dialects, wooden sailboat, Simba I. This marks her As You Like It with Gwyneth Paltrow, and IATSE stagehands in the San Diego region. Theatre in the late ’40s, the expansion to United States. and an interview in Voice and Speech Train- 25th year as a proud member of Actors’ Richard III with John Turturro. His addi- He was also an adjunct faculty member of two theatres in the ’50s, Globe Educational ing in the New Millennium: Conversations Equity. tional credits include the Lucille Lortel the Music Department at the University of Tours in the ’70s, and Teatro Meta and the The Directors are members of the Society of Stage Directors and Choreographers, with Master Teachers. She is a professor Award-winning revival of Arthur Miller’s San Diego. Mr. Murphy earned his B.F.A. Old Globe/University of San Diego Gradu- an independent national labor union. in The Old Globe/USD Graduate Theatre Jennifer Wheeler Kahn All My Sons; the world premiere of Steve degree in Stage Management from Webster ate Theatre Program in the ’80s. During the Program. www. jangistspeaking.com. (Assistant Stage Manager) has her B.F.A. Martin’s The Underpants, which he com- University in St. Louis, Missouri, and his 1940s, Mr. Noel served as dialogue direc- This Theatre operates under an Agreement in Stage Management from USC and is a missioned; Molière’s The Misanthrope M.F.A. in Performing Arts Management tor for the 20th Century Fox Studios and with the International Alliance of Theatrical Caparelliotis Casting proud member of Actors’ Equity Associa- starring Uma Thurman in her stage from Brooklyn College of the City Univer- was the director of the Ernie Pyle Theatre Stage Employees Local No. 122. (Casting) recently cast the Globe produc- tion. Some of her career highlights include debut; and the world premiere of novelist sity of New York. in Tokyo. Described by Variety as the emi-

tions of Water by the Spoonful, Bethany, the National Tour of In the Heights, the Off Nathan Englander’s play The Twenty-Sev- nence grise of San Diego theatre, Mr. Noel The Scenic, Costume, Lighting and Sound Designers in LORT Theatres are represented by The Winter’s Tale, The Few, Double Indem- Broadway production of Clara’s Christmas enth Man. He has also directed new and Jack O’Brien is one of the few San Diegans to have had an United Scenic Artists Local USA-829, IATSE. nity, The Rainmaker, Other Desert Cities, Dreams and regional productions of Other classical work extensively at regional the- (Artistic Director Emeritus) served as the entire year (1987) proclaimed in his honor, Be a Good Little Widow, A Doll’s House, The Desert Cities, Allegiance – A New American atres around the USA. Mr. Edelstein has Artistic Director of The Old Globe from and to be named one of San Diego’s “Living Brothers Size, Pygmalion, and Good People. Musical, the 2012 Summer Shakespeare taught Shakespearean acting at The Juil- 1982 through 2007. Mr. O’Brien most Treasures.” He was a founder of the Califor- Their Broadway casting credits include Festival, Some Lovers, Twelfth Night, Cori- liard School, New York University’s Grad- recently directed Ethan Hawke in Mac- nia Theatre Council and a former vice pres- Casa Valentina, The Snow Geese, Lyle Kes- olanus, Cyrano de Bergerac, Working, and uate Acting Program and the University beth on Broadway this season. His Broad- ident of the California Confederation of sler’s Orphans, The Trip to Bountiful, Grace, Six Degrees of Separation (The Old Globe), of Southern California. He has lectured way credits also include: The Nance, Dead the Arts. His numerous honors include the Dead Accounts, The Other Place, Seminar, Sideways, DNA New Work Series, Little on theatre around the USA and the world Accounts, Catch Me If You Can, Impression- San Diego Union-Tribune list of 25 persons The Columnist, Stick Fly, Good People, Ben- Miss Sunshine, Surf Report, and Creditors and has written on the subject for The ism, The Coast of Utopia (Tony Award), Dr. who shaped the city’s history; the Gover- gal Tiger at the Baghdad Zoo, The House of (La Jolla Playhouse), Los Angeles Philhar- New York Times, The Washington Post, The Seuss’ How the Grinch Stole Christmas!, nor’s Award for the Arts; University of Ari- Blue Leaves, Fences, Lend Me a Tenor, and monic (Walt Disney Concert Hall), Urinet- New Republic, and American Theatre. His Dirty Rotten Scoundrels (Tony nomination), zona Alumni Association’s Outstanding The Royal Family. They also cast for Man- own, Ragtime, and Nine (Starlight Musical book Thinking Shakespeare was published Henry IV (Tony Award), Hairspray (Tony Citizen, for his contribution to their Fine hattan Theatre Club, Second Stage The- Theatre),The Who’s Tommy (Ricardo Mon- in 2007 and is now the standard text on Award), Imaginary Friends, The Invention Arts department; San Diego State Univer- atre, Atlantic Theater Company, LCT3, talbán Theatre), and many others. American Shakespearean acting. He is of Love (Tony nomination, Drama Desk sity’s Outstanding Alumnus; Conservator Ars Nova, Goodman Theatre, Arena also the author of Bardisms: Shakespeare Award), The Full Monty (Tony nomination), of American Arts Award from American Stage, Ford’s Theatre, and three seasons Barry Edelstein for All Occasions. Mr. Edelstein is a gradu- More to Love, Getting Away with Murder, Conservatory Theater; the San Diego Press with Williamstown Theatre Festival. (Old Globe Artistic Director) is a stage ate of Oxford University, where he stud- Pride’s Crossing, The Little Foxes, Hapgood Club Headliner Award; San Diego Gentle- Their recent film and television credits director, producer, author, and educator. ied as a Rhodes Scholar. (Lucille Lortel Award, Best Director), Damn man of Distinction Award; and a combined include HairBrained with Brendan Fraser, Widely recognized as one of the leading Yankees, Two Shakespearean Actors (Tony tribute from the Public Arts Advisory “Odyssey” (NBC pilot), “Ironside” (NBC), authorities on the works of Shakespeare MICHAEL G. MURPHY nomination), Porgy and Bess (Tony Award). Council and the San Diego County Board and Steel Magnolias (Sony for Lifetime). in the United States, he has directed near- (Managing Director) served as General Metropolitan Opera: II Trittico. London: of Supervisors. Mr. Noel was particularly ly half of the Bard’s works. Most recently Manager of The Old Globe from 2003 to Love Never Dies, Hairspray (Olivier nomi- proud of the following three honors repre- Diana Moser Mr. Edelstein made his directorial debut 2012, overseeing the Production, Educa- nation). National Theatre: His Girl Friday. senting education and theatre: Honorary (Stage Manager) recently stage man- at The Old Globe with The Winter’s Tale. tion, Human Resources, Information Tech- Six movies for PBS’s “American Playhouse.” Doctorate of Humane Letters, University aged Bethany, Other Desert Cities, and As Director of the Shakespeare Initia- nology, and Facilities Departments, as Awards: 2008 Theatre Hall of Fame Induct- of San Diego; Honorary Doctorate in Fine The Brothers Size at The Old Globe. Since tive at The Public Theater (2008-2012), he well as Front of House operations. He also ee, 2005 John Houseman Award, ArtServe Arts, San Diego State University; and the

16 PERFORMANCES MAGAZINe PErFORMANCEs MAGAZINE 17 OUR THANKS $50,000 and higher Season Sponsors In 1995, the Season Sponsor program was initiated by Globe Board members to secure a foundation of support for artistic and education programs. Since that time, Season Sponsors have contributed millions of dollars collectively to underwrite the annual operating budget, and The Old Globe is grateful to acknowledge the following Season Sponsors who have generously supported the 2013-2014 season.

Lead Season Sponsors $75,000 and higher cco o R i x D o C enry im H J Globe Guilders John A. Berol Kathryn Hattox Charter Sponsor since 1995 Sponsor since 1996 Sponsor since 1998

Karen and Donald Cohn Darlene Marcos Shiley Charter Sponsor since 1995 Charter Sponsors since 1995 In memory of Donald Shiley Charter Sponsors since 1995 Joan and Irwin Jacobs Mary Beth Adderley Valerie and Harry Cooper Sponsors since 2002 Sponsors since 2004 Sponsors since 2005

Mickey Stern June E. Yoder Elaine and Dave Darwin Audrey S. Geisel Sheryl and Harvey White Conrad Prebys and Sponsor since 2009 Sponsor since 2010 Sponsors since 2011 Sponsor since 1998 Sponsors since 2000 Debra Turner Sponsors since 2004

Brian and Silvija Devine Rhona and Rick Thompson Hal and Pam Fuson Sponsors since 2012 Sponsors since 2013 Sponsors since 2013

Mary Ann Blair Peter Cooper and Paula and Brian Powers Sponsor since 2007 Norman Blachford Sponsors since 2012 Sponsors since 2008 Charter Sponsor since 1995 Sponsor since 2004

Sponsor since 2000 Vicki and Carl Zeiger Sponsors since 2014 Sponsor since 2005 Sponsor since 2007

For additional information on how you may become a Season Sponsor, please contact Todd Schultz, Director of Development, at (619) 231-1941 x2310. Photo for Globe Guilders: Charlotte Parry and Robert Sean Leonard in Pygmalion, 2013; for John A. Berol: the cast of A Midsummer Night’s Dream, 2013.

18 PERFORMANCES MAGAZINe PErFORMANCEs MAGAZINE 19 OUR THANKS Jim & Sally Ditto The Arthur & Jeanette Pratt Louis & Mary Beth Kelly Jeff & Judy Handler Devora & Ron Eisenberg of Great News! Memorial Fund Robert Kilian & Kathleen Slayton James & Ruth Harris Fund of the Mr. & Mrs. Ira S. Epstein Joseph & Jane Rascoff Gayle & Jerry Klusky Jewish Community Foundation Annual Fund Donors Diane & Elliot Feuerstein Sarah B. Marsh-Rebelo & John G. Rebelo Bill & Linda Kolb Virginia Hawkins Mary & David Fitz Nancy J. Robertson Dr. & Mrs. James E. Lasry Kaaren Henderson The Old Globe’s ability to maintain the highest standard of excellence, while keeping ticket prices affordable, is due in large Jean & Sid Fox Cathy & Larry Robinson Thomas D. Lookabaugh Foundation Jamie Henson & Robert Houskeeper part to the financial support of more than 2,000 individuals, businesses, foundations and government agencies. Please join Chuck Freebern Carole Sachs Edward & Nancy Lyon Bruce & Jane Hopkins Charles & Millicent Froehlich Beverly & Warren Sanborn Joy & Ronald Mankoff Joseph & Donna Hynes us in giving a warm thanks and recognition to these leaders who have made tonight and our other performances possible. The Joy & Dr. Fred Frye Sue & Duff Sanderson Jasna Markovac & Gary Miller Ed & Linda Janon Old Globe appreciates the support of those who have stepped into the spotlight. Elaine Galinson Sherry & C.A. Sheppard Marcia A. Mattson Tony & Nancy Janus Barbara & Albert Garlinghouse Drs. Joseph & Gloria Shurman Jim & Ruth Mulvaney Foundation at Dr. & Mrs. Clyde W. Jones Bill & Judy Garrett Dee E. Silver, MD The San Diego Foundation Anthony & Joyce Joseph Benefactors ($100,000 and above) Teresa George Beth & Kevin Smith Mark Niblack, MD Bob & Janice Kayler Wendy Gillespie Elene & Herb Solomon Virginia Oliver Dr. Marvin M. Kripps Anonymous The James Irvine Foundation Darlene Marcos Shiley, in memory of Donald Shiley Robert Gleason & Marc Matys Marisa SorBello & Peter Czipott Barbara B. Oswalt La Farfalla Cafe City of San Diego Commission for Arts & Culture Microsoft The Shubert Foundation Sheila & Tom Gorey Nancy & Alan Spector and Family Christopher & Susan Pantaleoni LABS, Inc./Silvia Dreyfuss Globe Guilders Paula & Brian Powers Sheryl & Harvey White Foundation George C. Guerra Barbie & Dan Spinazzola Robert & Doris Reed Rick & Sherry Levin Ms. Cheryl Haimsohn Nancy Steinhart & Rebecca Goodpasture John & Josette Rekettye Marshall & Judy Lewis Fund of the Guy & Laura Halgren Hannah & Gene Step Jordan Ressler Charitable Fund of the Jewish Community Foundation Season Sponsors ($50,000 to $99,999) Pat & Rick Harmetz Karen & Don Tartre Jewish Community Foundation Carl Maguire & Margaret Sheehan Mary Beth Adderley Mr. & Mrs. Brian K. Devine The Parker Foundation (Gerald & Inez Grant Parker) Patrick Harrison & Eleanor Lynch Suzanne Poet Turner & Michael Turner Esther Rodriguez Sally & Luis Maizel The Legler Benbough Foundation Edgerton Foundation Conrad Prebys & Debra Turner Liz & Gary Helming Mary R. Warkentin Dr. Sara Rosenthal & Dr. Julie Prazich Drs. Betty Joan Maly & John Meyers John A. Berol Hal & Pam Fuson Qualcomm Foundation Rhonda Heth & Thomas Mabie Jan Harden Webster & Raul Ortega Crystal A. Rubin Mercy & Ron Mandelbaum Gary & Carrie Huckell The Patricia and Christopher Weil Ryan Family Charitable Foundation Rev. Stephen J. Mather Mary Ann Blair Audrey S. Geisel/Dr. Seuss Fund Mickey Stern Richard & Janet Hunter Family Foundation Sabuku Sushi Ronald McCaskill & Robyn Rogers California Bank & Trust at The San Diego Foundation Rhona & Rick Thompson Hutcheson Family Fund at Shirli, Damien and Justin Weiss Richard Seer & Douglas Wallingford Mr. & Mrs. William M. McKenzie Karen & Donald Cohn Kathy & John Hattox United The San Diego Foundation Mary Kay West Dave & Phyllis Snyder Mr. & Mrs. Paul E. Michelson Peter Cooper & Norman Blachford HM Electronics, Inc. Wells Fargo Drs. Sonia & Andy Israel Pat & Bob Whalen Margery & John Swanson James & Estelle Milch Fund of the Valerie & Harry Cooper Joan & Irwin Jacobs Fund of the June E. Yoder Jerri-Ann & Gary Jacobs James E. & Kathryn A. Whistler Greta & Steve Treadgold Jewish Community Foundation Elaine & Dave Darwin Jewish Community Foundation Vicki & Carl Zeiger Pat JaCoby Stan & Anita Ulrich Rena Minisi & Rich Paul Mary & Russell Johnson DIAMOND Karen Walker Charles & Ilene Mittman Jackie Johnston ($1,500 to $2,499) James & Ellen Weil Dr. Robert & Anne Morrison Production Sponsors ($25,000 to $49,999) Katleman Family Fund of the Anonymous (2) David & Irene Weinrieb Charles & Susan Muha Jewish Community Foundation Jeff & Donna Applestein Judith Wenker Shirley Mulcahy Bank of America Elaine & Leonard Hirsch San Diego Gas & Electric® Dr. Gerald & Barbara Kent Mrs. Lazare F. Bernhard Ms. Sandy Wichelecki & Marsha J. Netzer Alan Benaroya The Hull Family Sheraton San Diego Hotel & Marina Edythe Kenton Greg & Loretta Cass Ms. Suzanne Dukes Evy & Ed Newton Richard & Kathy Binford Jo Ann Kilty Ms. Jeanette Stevens Gladys H. King Jane Cowgill Howard & Christy Zatkin William & Carla Nolan Pamela & Jerry Cesak Barbara G. Kjos Gillian & Tony Thornley Ken & Sheryl King Holly & David Bruce Rod & Barbara Orth Cohn Restaurant Group/Prado Restaurant Elaine Lipinsky Family Foundation Torrey Pines Bank Webster & Helen Kinnaird Bill & Nancy Homeyer GOLD Dr. David & Elizabeth Ostrander Ann Davies Jeffrey & Sheila Lipinsky Family Foundation Evelyn Mack Truitt Jane & Ray* Klofkorn Dr. & Mrs. M. Joseph McGreevy ($500 to $999) Lori Partrick Curt & Nancy Koch Judith & Neil* Morgan George Amerault Julius J. Peal Fund at Nina & Robert Doede National Corporate Theatre Fund Union Bank Rosalie Kostanzer & Michael Keefe Akiko Charlene Morimoto & Anonymous (3) The San Diego Foundation Pamela A. Farr Neiman Marcus U.S. Bank Regina Kurtz, in fond memory Hubert Frank Hamilton, Jr. Earl Asbury In Memory of Margaret Peninger GEN7 Wines Random House Children’s Books Mandell Weiss Charitable Trust of Al Isenberg Elspeth & Jim Myer Alicia Atun & Elaine Rendon* Clifford T. Pentrack & Higgs Fletcher & Mack, LLP Gloria & Dick* Rasmussen Bob & Laura Kyle Susan C. Parker Bruce & Patricia Becker Mary E. Giovaniello Jean & David Laing Shearn & Linda Platt Amnon & Lee Ben-Yehuda Rowling Family Charitable Fund of the ($10,000 to $24,999) Terry & Mary Lehr Ryde Family Memorial Foundation at Drs. John & Karen Berger Jewish Community Foundation Director Circle Ms. Sherrill Leist The San Diego Foundation Jay Biskupski & Catherine Imrie Frank Ruyak Jane Smisor Bastien Lee & Frank Goldberg Price Family Charitable Fund Ronald & Ruth W. Leonardi Ann & Robert Steck Barbara Bolt San Diego Branch of Bjorg Family Dr. & Mrs. Harry F. Hixson, Jr. Jean & Gary Shekhter James & Pamela Lester Jack & Louise Strecker Deb & Brand Brickman The English-Speaking Union The Anthony Cerami & Ann Dunne Daphne H. & James D. Jameson Ben & Karen Sherwood Paul Levin Ms. C. Anne Turhollow & Ruth Bunn Jay & Julie Sarno Foundation for World Health Brooke & Dan Koehler Nita & Henk van der Werff Sandy & Arthur Levinson Mr. Michael J. Perkins Mary-Kay Butler Simon & Ruth Sayre Nikki & Ben Clay Carol & George Lattimer Jordine Skoff Von Wantoch Robin J. Lipman Beth & Tim Cann Brigid Hom-Schnapp & Russell Schnapp Barbara & Mathew Loonin PLATINUM Luc Cayet & Anne Marie Pleska Marilies Schoepflin, Ph.D. Joseph Cohen & Martha Farish Rebecca Moores Pamela J. Wagner Susan and John Major ($1,000 to $1,499) Drs. Lynne Champagne & Wilfred Kearse Linda J. Seifert The County of San Diego National Endowment for the Arts Dr. Steve & Lynne Wheeler Donor Advised Fund at the In Memory of Freda Altschuler & Richard T. Clampitt Howard & Beverly Silldorf Dan & Phyllis Epstein Caroline & Nicolas Nierenberg Karin Winner Rancho Santa Fe Foundation Sylvia Goldin Jack & Carol Clark Mr. William D. Smith & Dr. Carol Harter Dr. & Mrs. Robert Epsten Tom & Lisa Pierce Brent Woods & Laurie Mitchell Dr. Robert & Marcia Malkus Drs. Gabriela & Mike Antos Alan L. & Frances E. Cornell Don Stanziano & Michael Sikich Karen Fox & Harvey Ruben Ramin Pourteymour Jackie & Charlie Mann Fund of the Sondra & Robert Berk Fund of the Ronald D. Culbertson Ronald & Susan Styn Diana R. Glimm Allison & Robert Price Jewish Community Foundation Jewish Community Foundation Honorable Vincent Di Figlia Mr. & Mrs. Gordon Swanson Lois Marriott Gary & Barbara Blake Family Fund of the Dr. Donald & Eilene Dose Clifford & Kay Sweet Ms. Kerri Martella Jewish Community Foundation Jacqueline & Stanley Drosch Tim & Judy Tillyer Dr. Ted & Marcy Mazer Bob & Joyce Blumberg Berit & Tom Durler Brenda & Robert Tomaras FOUNDER CIRCLE Gordon & Phyllis Harris Carol Vassiliadis Paul Black Elizabeth & Edward McIntyre Cecilia Carrick & Stan Nadel Bill Eiffert & Leslie Hodge Doris Trauner, M.D. & Richard Sanford ($5,000 to $9,999) Alexa Kirkwood Hirsch Viterbi Family Fund of the Steve & Elizabeth Bluhm Elizabeth B. Meyer Walter & Cheryl Deegan Drs. George & Susan Dersnah Fee Jeffrey & Sheila Truesdell Lawrence G. Alldredge & Dawn Moore William Karatz Jewish Community Foundation Dr. Herman & Irene H. Boschken Dr. Howard & Barbara Milstein Dorothy R. Dring Richard & Beverly Fink Natalie C. Venezia & Paul A. Sager Melissa Garfield Bartell & Michael Bartell Jennifer Lake & Donald Francis Donovan Jim & Mary Jane Wiesler Anita Busquets & William Ladd Sara F. Moser Clare & Paul Friedman Family Foundation Kathy & Jim Waring Joan & Jeremy Berg Peter Landin & Michelle Cardinal Pamela & Marty Wygod Dr. & Mrs. Edgar D. Canada Nancy & James Mullen Gay and Lesbian Fund for San Diego Pauline Forman & Jack Burke The Washkowiak Family Barbara Bloom Peter Manes & Yoko Sakaguchi Edward & Pamela Carnot Bette Nagelberg at The San Diego Foundation Steven & Susan Garfin Dennis & Carol Wilson The Louis Yager Cantwell Paul & Maggie Meyer CRAIG NOEL CIRCLE Harry & Sandra Carter Joyce & Martin Nash Geraldo & Scarrain Gomes Fund Terrie Georgi Cass Witkowski Family Private Foundation Money/Arenz Foundation, Inc. ($2,500 to $4,999) George & Ellen Casey Lyn Nelson Louise & Doug Goodman Arthur Getis & Roberta King Brendan M. & Kaye I. Wynne Carol & Jeff Chang Matthew & Judith Pollack Gail Andrade and Rudy & Carol Cesena Arthur & Marilyn Neumann Arthur & Marlene Greenberg Norman & Patricia Gillespie Colwell Family Distributable Fund at John & Marcia Price Family Foundation John & Jennifer Andrade Garet & Wendy Clark Lawrence Newmark Hexagone J. M. Gillman The San Diego Foundation Rivkin Family Fund I at Anonymous (6) Ms. Heidi Conlan/ Patrons of the Prado Joan & George Hornig Robert & Edry Goot *In Memoriam R. Patrick & Sharon Connell The San Diego Foundation Judith Bachner & Eric Lasley The Sahan Daywi Foundation Patricia Payne Isaacs Brothers Foundation at Barbara & Leonard Gosink Bernard J. Eggertsen & Florence Nemkov The Jerome Robbins Foundation Jan & Rich Baldwin Richard & Stephanie Coutts This list current as of February 19, 2014. Col. & Mrs. Ben Pollard The San Diego Foundation Chris Graham & Michael Albo Marion Eggertsen Chrissy & Roger Roberts Bobbie Ball Susan Barlow Cowell Bill & Mo Popp Jake’s on 6th A Wine Bar Carol & Don Green Barbara & Dick Enberg Patricia K. Shumway Diana J. Barliant* & Nowell Wisch Gigi & Ed Cramer Daniel Porte Jr., MD & Sally Dubois Kenneth & Marilyn Jones Richard & Candace Haden Carol Spielman-Ewan & Joel Ewan Iris & Matthew Strauss Jan Bart Carlo & Nadine Daleo Susanna & Michael Flaster Kathryn B. & Daniel L. Sullivan Family Mr. & Mrs. Bear Darlene G. Davies, in memory Martha & George Gafford Fund at The San Diego Foundation Charlotte & Charles Bird of Lowell Davies Drs. Thomas H. & Jane D. Gawronski Pat & Jack Thomas Joan Bishop, in memory Pat & Dan Derbes For additional information on how to support The Old Globe’s artistic, education, and community programs, please visit our website at Norm Hapke & Valerie Jacobs Hapke Cherie Halladay Tirschwell of Harold McNeil Dean & Mrs. Michael H. Dessent www.TheOldGlobe.org or contact Rachel Plummer, Major Gifts Officer, at (619) 231-1941 x2317 or [email protected].

20 PERFORMANCES MAGAZINe PErFORMANCEs MAGAZINE 21 OUR THANKS A sSOCIATE 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 CORPORATE DONORS 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.

Lead Season Sponsors ($75,000 or more) Season Sponsors ($50,000 - $74,999) William Anton Tim Donoghue Mark Harelik John McLain Steven Rubin Deborah Taylor Gregg Barnes Richard Easton Bob James Jonathan McMurtry Ken Ruta Irene Tedrow* Jacqueline Brookes* Tovah Feldshuh Charles Janasz Stephen Metcalfe Douglas W. Schmidt Sada Thompson* Lewis Brown* Monique Fowler Peggy Kellner* Robert Morgan Seret Scott Paxton Whitehead 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 Kandis Chappell Lillian Garrett-Groag Nicholas Martin Steve Rankin Diane Sinor* G Wood* Eric Christmas* Harry Groener Dakin Matthews William Roesch Don Sparks Patricia Conolly A.R. Gurney Deborah May Robin Pearson Rose David Ogden Stiers * In Memoriam George Deloy Joseph Hardy Katherine McGrath Marion Ross Conrad Susa*

Production Sponsors ($25,000 - $49,999) P aTRON Information

TICKET SERVICES HOURS SEATING OF LATECOMERS Monday: Closed Although we understand parking is often at a premium, the seating of Tuesday – Sunday: Noon – last curtain latecomers is extremely disruptive. Latecomers may be given alterna- Hours subject to change. Please call ahead. tive seating and will be seated at an appropriate interval. PHONE (619) 23-GLOBE (234-5623) FAX (619) 231-6752 YOUNG CHILDREN EMAIL [email protected] or [email protected] Children five years of age and under will not be admitted to perfor- mances. ADMINISTRATION HOURS Monday – Friday: 9:00 a.m. – 5:00 p.m. ELECTRONIC DEVICES AND CAMERAS PHONE (619) 231-1941 The video and/or audio recording of this performance by any means WEBSITE www.TheOldGlobe.org whatsoever is strictly prohibited. Please silence all digital watches, pag- National Corporate Theatre Fund is a not-for-profit corporation created to increase ADDRESS The Old Globe Director Circle ($15,000 to $24,999) ers, and cellular phones prior to entering the theatre. and strengthen support from the business community for 10 of this country’s most P.O. Box 122171 distinguished professional theatres. The following foundations, individuals, and San Diego, CA 92112-2171 corporations support these theatres through their contributions to NCTF: ASSISTED LISTENING SYSTEM For the convenience of our hard-of-hearing and hearing-impaired pa- Acquis Consulting Group Marsh & McLennan Companies ORDERING TICKETS/CHANGE OF ADDRESS trons, The Old Globe has an Assistive Listening System in all three the- American Express Foundation The McGraw-Hill Companies The Old Globe accepts Visa, Discover, MasterCard, and American Ex- AOL MetLife atres: the Sheryl and Harvey White Theatre, the Old Globe Theatre, and Bank of America Morgan Stanley press. Phone orders for non-subscribers are subject to a $3.50-per-tick- the Lowell Davies Festival Theatre. A limited number of the lightweight Bloomberg Pfizer, Inc. et service charge. Ticket exchanges are subject to a service charge for headsets, as well as induction neck loops, may be obtained from the BNY Mellon RBC Wealth Management non-subscribers. If you have moved, please notify the Ticket Services house manager prior to performances. James E. Buckley RVM Inc. Office to update our records. Call (619) 234-5623 during Ticket Ser- Steven Bunson The Ralph and Luci Schey Foundation vices hours, mail your change of address to the Ticket Services Office, Christopher Campbell/ Sharp Electronics PUBLIC TOURS Palace Production Center Skadden, Arps, Slate, or email [email protected]. ($10,000 to $14,999) Cisco Systems, Inc. Meagher & Flom LLC Go behind the scenes at The Old Globe to learn about the history, three Citi George S. Smith, Jr. stages, shops and craft areas. Open tours: most Saturdays and Sundays Holland America Line First American Trust UNABLE TO ATTEND? Inn at the Park ResMed Foundation Clear Channel Outdoor TheaterMania.com/Gretchen Shugart at 10:30 a.m. Groups by reservation. $5 adults; $3 seniors and students. Cleveland Clinic John Thomopoulos If you find you are unable to use your tickets, please give them to a CMT/ABC The James S. and Lynne P. Turley Ernst Call (619) 238-0043 x2145 for information/reservations. Founder Circle ($5,000 - $9,999) Datacert, Inc. & Young Fund for Impact Creativity friend, or turn them in to the Ticket Services Office and receive a tax receipt for your donation. Tickets must be received by show time. Bertrand at Mister A’s Loma Media Nokia Inc. Dorsey & Whitney Foundation UBS LOST AND FOUND Epiq Systems Wells Fargo Ernst & Young Willkie Farr & Gallagher LLP If you have misplaced a personal item while at the theatre, please con- Craig Noel Circle ($2,500 - $4,999) RESTROOMS Cubic Corporation Luna Grill Goldman, Sachs & Co. tact the Ticket Services Office or Security as soon as possible. If we are Restrooms are located in the lower lobby of the Old Globe Theatre, the unable to locate your item, we’ll happily take down your contact in- lobby of the Sheryl and Harvey White Theatre, and adjacent to the Low- formation and a description of the item and contact you if it is found. PUBLIC SUPPORT ell Davies Festival Theatre. The Old Globe does not assume liability for items left behind on the premises. 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. NATURAL HERB COUGH DROPS—COURTESY OF RICOLA USA, INC.—ARE AVAILABLE UPON REQUEST. PLEASE ASK AN USHER.

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

Amy E. Allison...... General Manager David Medina...... Properties Buyer Angelique von Thun...... M ajor Gifts Associate Dave Henson...... Director of Marketing and Communications Kristine Hummel-Rosen...... Properties Assistant Diane Addis...... M embership Administrator Todd Schultz...... Director of Development David Buess...... Property Master, Globe Rico Zamora...... VIP Donor Ticketing Mark Somers...... Director of Finance Kristen Flores...... Stage & Property Master, White Richard Seer...... Director of Professional Training Andrew Recker...... Property Master, Festival Donor Services Robert Drake...... Director of Production Janette Jack, Barbara Lekes, Richard Navarro, Roberta Wells-Famula...... Director of Education Lighting Gary Neuberg, Stephanie Reed, Stephen Wade, Shawna Cadence...... Lighting Director Rico Zamora...... Suite Concierges Sarah Lawler...... Lighting Fellow ARTISTIC Tonnie Ficken...... M aster Electrician, Globe MARKETING Eric Louie, Justin Waldman...... Associate Producers Jim Dodd...... M aster Electrician, White Susan Chicoine...... Public Relations Director Danielle Mages Amato...... Literary Manager/Dramaturg Kevin Liddell...... M aster Electrician, Festival Ed Hofmeister...... Associate Director of Marketing Bernadette Hanson...... Artistic Associate Rebecca Broberg, Mark Dewey, Christian Erikson, Mike Hausberg...... Public Relations Associate Jan Gist...... R esident Vocal Coach Sam Ibrahim, Conor Mulligan, Kelly Boyle...... Digital and Print Publications Coordinator Luke Olson, Tyler Whitehead...... Electricians Laura Lothian...... Marketing Assistant PRODUCTION Stephen Wade...... Marketing/Events Assistant Debra Pratt Ballard...... Associate Director of Production Sound DeAndre Clay, Carolann Malley, Suzanne Conway...... Company Manager Paul Peterson...... Sound Director Lauren Senko...... Distribution Staff Carol Donahue...... Production Coordinator Mark Hartshorn...... M aster Sound Technician, Globe S ubSCRIPTION Sales Jackson Smith...... Assistant Company Manager Dana Pickop...... M aster Sound Technician, White Jeremy Nelson...... M aster Sound Technician, Festival Scott Cooke...... Subscription Sales Manager S tAGE Management Arthur Faro, Janet Kavin, Pamela Malone, Yolanda Moore, Jessica Morrow, Ken Seper, Leila Knox...... Production Stage Manager ADMINISTRATION Cassandra Shepard, Jerome Tullmann, Alexandra Hisserich...... O perations Assistant Grant Walpole...... Subscription Sales Representatives Technical Shana Wride...... Assistant to the Artistic and Managing Directors Benjamin Thoron...... T echnical Director Ticket Services Darlene Davies...... TheO ld Globe Historian Wendy Berzansky...... Associate Technical Director Bob Coddington...... T icket Services Director Travis Barrett...... Assistant Technical Director Information Technology Marsi Bennion...... T icket Operations Manager Sean Fanning...... R esident Design Assistant Karen Ann Daniels...... Group Sales Manager Dean Yager...... Information Technology Manager Eliza Korshin...... T echnical Assistant/Buyer Tony Dixon, John Ralston..... Information Technology Assistant Manager Gillian Kelleher...... M aster Carpenter Jordyn Patton...... Lead Ticket Services Representatives Brittany Summers...... Information Technology Assistant Carole Payette...... Charge Scenic Artist Kari Archer, Kathy Fineman, Lauryn Greschke, Christian Thorsen...... Stage Carpenter/Flyman, Globe Alejandro Gutierrez, Tyler Jones, Amanda King, Human Resources Robert Dougherty...... Festival Master Carpenter Caryn Morgan, Danielle Porath, Sandy Parde...... Human Resources Director Jack Hernandez...... Charge Carpenter, White Christopher Smith...... T icket Services Representatives Manny Bejarano...... Human Resources Coordinator Jessica Amador, Eileen McCann...... Painters Dave Atchison, Daniel Capiro, Sean Chaffin, PATRON SERVICES Chris Chauvet, Larry J. Hall, Sloan Holly, Maintenance Mike Callaway...... Theatre Manager Francisco Ramirez, John Serbian...... Carpenters Mark Gingery...... Facilities Manager Janelle Conde, Mary Taylor...... House Managers W. Adam Bernard...... Lead Scenic Artist Violanda Corona, Ismael Delgado, Frank Fields, Stephanie Hable...... Front of House Assistant Jason Chohon...... Automation Coordinator Roberto Gonzalez, Bernardo Holloway, Reyna Huerta, Elaine Gingery...... Food and Beverage Manager Jose Morales, Albert Rios, Maria Rios, Leonardo Timothy Acosta, Rodriguez, Vielka Smith, Nicolas Torres ...... Building Staff Costumes Topher Rasmussen...... Pub Shift Supervisors Stacy Sutton...... Costume Director Tanika Baptiste, Missy Bradstreet, Sondra Mejia, PROFESSIONAL TRAINING Charlotte Devaux...... R esident Design Associate Stephanie Passera, Paige Plihal, Michelle Thorsen, Llance Bower...... Program Coordinator Maureen Mac Niallais...... Assistant to the Director Paula Weil...... Pub Staff Brian Byrnes, Maria Carrera, Cynthia Caywood, Shelly Williams...... Design Assistant/Shopper Linda Bahash, Jessica Piatt, Ray Chambers, Gerhard Gessner, Jan Gist, Stephanie Rakowski...... G ift Shop Supervisors Michelle Hunt Souza...... Design Assistant Fred Robinson, Abraham Stoll...... M.F.A. Faculty Erin Cass...... Draper William Hartley, Corey Johnston, Security/Parking Services Marsha Kuligowski, Wendy Miller...... T ailors/Drapers Nate Parde, Nicole Ries...... M.F.A. Production Staff Edward Camarena...... Security Supervisor Babs Behling, Anne Glidden Grace, Sherisa Eselin...... Security Officer Raquel Stewart...... Assistant Cutters EDUCATION Mary Miller...... T ailoring/Construction Jonathon Ayon, Dallas Chang, Jeff Howell, Crystal Mercado...... Education Programs Manager Janet Larson, Guadelupe Velez...... Security Guards Allison Elsey, Judy Huntsinger, Anna MacDonlad, Carol Green...... Speakers Bureau Coordinator Tea Ninkovic, Heather Premo, Michael Prince, James Cota, Jo Anne Glover, Lisel Gorell-Getz, Alexander Thomas...... VIP Valet Attendants Alexander Zeek...... Stitchers Brian Hammond, Jason Heil, Stephen Hohman, Erin Carignan...... Craft Supervisor/Dyer/Painter Fredreka Irvine, Erika Malone, Heather Pauley, Stephanie Parker...... Crafts Artisan Erika Phillips, James Pillar, Christopher Salazar, Molly O’Connor...... Wig and Makeup Supervisor Damon Shearer, Cynthia Stokes...... T eaching Artists Kim Parker...... Assistant to Wig and Makeup Supervisor Kimberly Eddo...... Wig Assistant FINANCE Jack O’Brien...... Artistic Director Emeritus Beverly Boyd...... Wardrobe Supervisor Carly Bennett-Valle...... Senior Accountant Craig Noel...... Founding Director Beth Merriman...... Wardrobe Crew Chief, Globe Trish Guidi...... Accounts Payable/Accounting Assistant Anna MacDonald...... Wardrobe Crew Chief, White Adam Latham...... Payroll Coordinator/Accounting Assistant Ana Maldonado, Sue Noll, Tim Cole...... R eceptionist Noelle Van Wyk...... Wardrobe Crew, Globe Marie Jezbera...... R ental Agent DEVELOPMENT Annamarie Maricle...... Associate Director, Properties Institutional Grants Neil A. Holmes...... Properties Director Bridget Cantu Wear...... Associate Director, Planned Giving Kristin Steva Campbell...... Assistant to the Director Eileen Prisby...... Events Manager M.H. Schrenkeisen...... Shop Foreman Rachel Plummer, Keely Tidrow...... M ajor Gifts Officers Rory Murphy...... Lead Craftsman Jessica Burger...... Development Manager, Chris Carignan, Trish Rutter...... Craftspersons Individual Annual Giving

24 PERFORMANCES MAGAZINe