FEBRUARY 2014 WELCOME

Welcome to a new year and a new lineup of plays at The Old Globe! As we look ahead to 2014, we also celebrate the end of a successful and groundbreaking year. In 2013, the Globe produced 14 shows, which earned a to- tal of 33 Craig Noel Award nominations. Two of those productions—Pygmalion, directed by Nicholas Martin, and Other Desert Cities, directed by Richard Seer—

DOUG GATES had second lives at other regional theatres across the Managing Director Michael G. Murphy and Artistic Director Barry Edelstein. country, and another—A Gentleman’s Guide to Love and Murder, directed by Darko Tresnjak—is now running on Broadway. In 2013, we also marked the beginning of Artistic Director Barry Edelstein’s tenure at The Old Globe, and we are delighted to start 2014 with his Globe directorial debut.

The Winter’s Tale brings together a mix of artists both new and familiar to the Globe. We’re pleased to have in the cast seven current students from The Old Globe/Uni- versity of San Diego M.F.A. Program in classical acting. Also among the actors, Globe audiences may recognize Billy Campbell (The Comedy of Errors, Much Ado About Nothing), Angel Desai (Double Indemnity), Paul Michael Valley (Beyond Thera- py), and Jordi Bertran (Dr. Seuss’ How the Grinch Stole Christmas!). We welcome the rest to the Globe for the first time. It’s a special honor to have renowned composer Michael Torke, a major name in contemporary classical music, making his Globe debut with this production. Along with an A-list design team, these gifted artists stylishly shepherd Shakespeare back onto the Globe stage after a dozen-year gap. We’re pleased to see him again.

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 -ex periences 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 JOHN A. BEROL Having enjoyed Shakespeare over the years both at school and on stage, John A. Berol was delighted to discover San Diego’s enthusiasm for Shakespeare in Balboa Park upon moving to the city in 1977. Aware of the fragile dependence of artistically driven the- atre upon charitable support from individuals, John joyfully joined in with contribu- tions, including sponsorship of numerous productions like Dancing at Lughnasa, Voir Dire, Labor Day, Twelfth Night (2001), Pericles, Much Ado About Nothing, The Two Noble Kinsmen, The Winter’s Tale, Titus Andronicus, Measure for Measure, The Merry Wives of The Qualcomm Foundation was established in 2010 by Qualcomm Incorporated and is Windsor, Twelfth Night (2009), The Taming of the Shrew, The Tempest, As You Like It, and dedicated to strengthening communities worldwide. Most importantly, the Foundation last year’s A Midsummer Night’s Dream. aims to create and support educated, healthy, culturally vibrant communities, focusing (left) The cast of A Midsummer Night’s Dream.

on geographic regions where the company has a business presence. Through its sup- JIM COX port of arts education and outreach programs, it helps young people develop innovative minds and expand cultural enrichment opportunities to in-need populations. The Qual- comm Foundation has supported The Old Globe’s Shakespeare Festival and its many as- KAREN AND DONALD COHN sociated education programs for several years, including the 2013 touring production of Karen and Donald Cohn have served in leadership roles at The Old Globe for nearly 20 Twelfth Night that recently reached more than 5,000 students at 20 schools throughout years. Karen, a graduate of USD law school, is involved with numerous major arts and San Diego County. The theatre is pleased to honor the Qualcomm Foundation with this cultural institutions and is currently President of the Board of San Diego Opera. Don production of Shakespeare’s The Winter’s Tale, Artistic Director Barry Edelstein’s directo- is the founder and former CEO of Dataquick Information Systems, Inc. and is owner rial debut at The Old Globe. of Ballena Vista Farms in Ramona, one of Southern California’s largest thoroughbred racing, breeding, and training facilities. Don has served as Board Chair at the Globe and continues his work on the Executive and other committees. Karen first joined the Globe Board in 1992, serving two terms as Chair. The Cohns have supported several produc- tions, most recently Rosencrantz and Guildenstern Are Dead, Inherit the Wind, and The Tempest. Karen and Don helped launch the Globe’s Capital Campaign in 2006 with a significant gift, and, in recognition, the Education Center is named in their honor.

ELAINE AND DAVE DARWIN Before moving to Rancho Santa Fe, Elaine and Dave lived in Palm Beach and Aspen where Dave served on the corporate board of the Aspen Music Festival and School. In Palm Beach, Dave, an environmental activist, was Chair of the Save the Dunes Com- mittee. Elaine served on the board of the Community Foundation for Palm Beach and THANK YOU, funding for arts and culture is group of Commissioners and Martin Counties and was a Director of the West Palm Beach Downtown Development primarily derived from the Tran- community volunteers evaluates Authority. Elaine is serving her first term as Chair of the Globe’s Board of Directors. CITY OF sient Occupancy Tax, paid by funding applications using crite- She has served as Vice Chair on the Executive Committee and chaired the Nominating tourists and other visitors when ria related to artistic program- Committee and the Search Committee for a new Artistic Director. She also serves on staying at hotels. In 2012, the ming, educational activities, the board of the La Jolla Music Society. Globe productions Elaine and Dave have spon- SAN DIEGO City Council voted unanimously administrative stability, board sored include Somewhere, Inherit the Wind, Be a Good Little Widow, and the sensory- The Old Globe is grateful that to support the “Penny for the leadership, cultural tourism, friendly performance of Dr. Seuss’ How the Grinch Stole Christmas! Elaine and Dave are the City of San Diego values not- Arts Five-Year Blueprint,” which and programs for underserved proud to sponsor The Winter’s Tale. for-profit arts and culture orga- outlines a plan to gradually in- populations. For FY 2014, just nizations for their capacity to crease funding for the Commis- over $7 million was allocat- foster creativity and innovation sion for Arts and Culture by al- ed to support contracts with KATHRYN HATTOX while also stimulating the local locating one cent of every 10.5 83 organizations through the Kathryn Hattox is a native San Diegan who has attended Globe productions for over 50 economy. cents collected in TOT funds. Organizational Support Pro- years, often taking her children and grandchildren to performances with her husband, gram and another 43 organiza- John. She has long been a strong advocate of the theatre and joined the Globe’s Board of The Commission for Arts and The City of San Diego estab- tions through the Creative Com- Directors in 1997. She served as Board Chair for two years and remains an active mem- Culture was established in 1988 lishes contracts for services munities San Diego Program. ber of the Executive, Finance, Craig Noel League, Investment, and Nominating Commit- to support the region’s cultural with local arts and culture not- The Old Globe is proud to have tees. In recognition of her leadership gift to the Globe’s historic Capital Campaign, the assets, integrate arts and culture for-profits through a rigorous received the highest possible multi-purpose performance and event room located in the Education Center carries the into community life, and show- application process managed by score in the Commission’s four- name of Hattox Hall. Kathryn has generously supported the Globe each year as a Pro- case San Diego as an interna- the Commission for Arts and point scoring system during the duction or Season Sponsor for such plays as Lucky Duck, Rough Crossing, All My Sons, The tional tourist destination. City Culture. Each year, a diverse FY 2014 funding cycle. Boswell Sisters, Measure for Measure, Cyrano de Bergerac, King Lear, Amadeus, As You Like It, and last year’s The Merchant of Venice.

2 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 3 THE CAST LEONTES, King of Sicilia Billy Campbell* HERMIONE, his wife Natacha Roi* PRESENTS MAMILLIUS, their son Jordi Bertran PERDITA, their daughter Maya Kazan*

POLIXENES, King of Bohemia Paul Michael Valley* FLORIZEL, his son A.Z. Kelsey*

CAMILLO Cornell Womack* THE WINTER’S TALE ANTIGONUS Mark Nelson* PAULINA , his wife Courtiers of Sicilia Angel Desai* EMILIA Meaghan Boeingb CLEOMENES Kushtrim Hoxhab DION Robbie Simpsonb BY AUTOLYCUS, a rogue Paul Kandel* WILLIAM SHAKESPEARE OLD SHEPHERD Mark Nelson* CLOWN, his son Brendan Spieth*

MOPSA Lindsay Brillb Shepherdesses DORCAS } Erin Elizabeth Adamsb ARCHIDAMUS, courtier of Bohemia Paul Kandel* JAILER Patrick Zellerb Wilson Chin Judith Dolan Russell H. Champa Fitz Patton b SCENIC DESIGN COSTUME DESIGN LIGHTING DESIGN SOUND DESIGN MARINER Jamal Douglas

TIME Chorus

LORDS, LADIES, SERVANTS, MESSENGERS, SHEPHERDS Erin Elizabeth Adamsb, Meaghan Boeingb, Lindsay Brillb, Jamal Douglasb, Michael Torke Taylor Peckham Brian Byrnes Jan Gist Nadia Guevara, Kushtrim Hoxhab, Albert Park, Robbie Simpsonb, Patrick Zellerb ORIGINAL MUSIC MUSIC DIRECTOR FIGHT DIRECTOR VOICE AND DIALECT COACH

STAGE MANAGEMENT STAGE MANAGER...... Anjee Nero* Caparelliotis Casting Anjee Nero ASSISTANT STAGE MANAGER...... Jess Slocum* CASTING STAGE MANAGER STAGE MANAGEMENT INTERNS...... Drew Jarrett, Kelsey Somerville

SETTING Sicilia and Bohemia

DIRECTED BY There will be one 15-minute intermission. BARRY EDELSTEIN PRODUCTION STAFF ASSISTANT DIRECTOR/MOVEMENT...... Annette Yé ASSISTANT SCENIC DESIGN...... Sean Fanning ASSOCIATE COSTUME DESIGN...... Charlotte Devaux ASSISTANT LIGHTING DESIGN...... Luke Olson STUDIO TEACHER...... Judy Ridgeway

Music by Arrangement with Adjustable Music, publisher *Member of Actors’ Equity Association, the union of Professional Actors and Stage Managers in the United States. and copyright holder. Bill Holab Music: Sole Agent. bStudent in The Old Globe/University of San Diego Graduate Theatre Program.

Donald and Darlene Shiley Stage Erin Elizabeth Adams, Meaghan Boeing, and Patrick Zeller Old Globe Theatre appear in this production courtesy of Actors’ Equity Association. 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. February 8 - March 16, 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 I’m asked all the time about how I came course. There’s sunshine, lots of it. But the following generous individuals FROM THE by my love of Shakespeare, a love that the trees are palms not oaks, and the who have made extraordinary gifts has enriched my life in countless ways flocks beside the road are zoological, not of $1 million or more. These major ARTISTIC for decades. I wish I could point to some agricultural. The radio plays the kids’ contributions have been designated specific moment when my Bardolatry channel on Sirius XM that I never both- for artistic, endowment and facilities DIRECTOR took hold: a Complete Works falling on er to change after dropping my daugh- Welcome to The Old Globe and thank you for projects, and help The Old Globe my head as a baby, say, or an adolescent ter at school. And these mornings the joining us for Artistic Director Barry Edelstein’s remain one of our country’s great encounter with a pair of pumpkin pants lines—those amazing lines!—are from San Diego directorial debut. The Winter’s Tale is a theatre institutions. that rocked my world. Alas, no such a Shakespeare play of endless mystery favorite of many and one of the most moving of lightning bolt ever struck me. Instead and surprising spirituality. The lines are Shakespeare’s romances. $20,000,000 or greater my affair with the bald, bearded, and be- those of a master nearing the end of his Donald† and Darlene Shiley ruffed one developed slowly: an image career, and they gleam with the polish of As your new Globe Board Chair, I, along with my husband, Dave, am $10,000,000 or greater that moved me here, an exciting teacher a lifetime of craft. Sometimes they shat- pleased to co-sponsor The Winter’s Tale with John A. Berol, Karen and Conrad Prebys there, a production of a play someplace ter into shards, limning psyches fractur- Donald Cohn, and Kathryn Hattox, along with longtime Shakespeare $5,000,000 or greater else. Perhaps that’s how all addictions ing under immense emotional duress. sponsor Qualcomm Foundation. Financial support from donors is vital Sheryl and Harvey White unfold: gradually the doses build and Sometimes they flex and curl into great to advancing projects that help make the Globe meaningful to as large Kathryn Hattox then one day you’re a goner. soaring arcs of metaphor that settle just and diverse an audience as possible. Karen and Donald Cohn barely on this side of comprehensibility. I do, however, recall the very moment And sometimes they devolve into a sim- Each year we produce 14 productions on three stages with over 600 an- $2,000,000 or greater when I decided that a life directing plicity so distilled as to become almost nual performances, and your attendance today helps us maintain our Viterbi Family Foundation Shakespeare’s plays would be my goal. I childlike: is there another work of world position as the largest performing arts institution in San Diego. Your $1,000,000 or greater was a graduate student in England when literature whose emotional climax is ex- philanthropy is just as important in helping maintain the high level of California Cultural and I listened one day to a BBC interview pressed in monosyllables as unadorned quality in our theatres. Historical Endowment with Nicholas Hytner, then a busy direc- as these three: “O, she’s warm”? Estate of Dorothy S. Prough tor at regional theatres around the U.K., On behalf of the Board of Directors, we thank you for making the Globe The Rivkin Family and later to become the most successful- My first production as Artistic Direc- a part of your life and hope to see you often in the year to come. Estate of Beatrice Lynds ever head of Britain’s National Theatre. tor of The Old Globe is important. My Audrey S. Geisel/Dr. Seuss Fund He was about to open some Shakespeare decision to place Shakespeare front and Enjoy the production! at the San Diego Foundation play at the Royal Shakespeare Company center in our indoor season for the first Mr. and Mrs. Victor H.† Ottenstein in Stratford-upon-Avon, and he de- time in a dozen years is important, too. Mrs. Helen Edison† scribed his typical commute: a beautiful In choosing to vest that importance in The Stephen & Mary Birch Foundation drive through the pastoral and pictur- The Winter’s Tale, I choose to express Elaine Bennett Darwin The Kresge Foundation esque Cotswolds; on the radio, Mozart; some things deeply personal. It’s my fa- Chair, Board of Directors †In Memoriam on his mind, the lines to be rehearsed vorite play, by the writer who has been that day. “That sounds like a sweet life,” I the North Star of my career. It talks remember thinking. “I wonder if I could about new beginnings—a subject of BOARD OF DIRECTORS do that.” Maybe 15 years later I was driv- some consequence to me for obvious Elaine Bennett Darwin* Harold W. Fuson, Jr.* Anthony S. Thornley* Vicki L. Zeiger* Harvey P. White* ing on Route 43 in the Massachusetts reasons—but it argues for continuity, CHAIR IMMEDIATE PAST CHAIR VICE CHAIR, FINANCE & TREASURER VICE CHAIR, NOMINATING SECRETARY Berkshires, en route to a rehearsal of As too, and for embracing our histories as DIRECTORS Daphne H. Jameson Linda Van Vark Deborah Szekely You Like It at the Williamstown Theatre guides to our futures. And it reminds me Mary Beth Adderley* Jo Ann Kilty Stacey LeVasseur Vasquez Hon. Pete Wilson Festival. A benign morning sun floated of a dream I once had of a sweet way I Elizabeth Altman Sheila Lipinsky Jordine Von Wantoch in a blue sky flecked with puffs of white might live. That dream has become real Pamela Cesak Mitzi Lizárraga Pamela J. Wagner EMERITUS DIRECTORS cloud. Sheep grazed on rolling hills car- for me, and by way of offering thanks to Nicole A. Clay Ramin Pourteymour Lynne Wheeler Garet B. Clark peted in green. Garrison Keillor read po- all the Globe constituencies who made Joseph J. Cohen Paula Powers* Debbie Wilson J. Dallas Clark (1913–2005) etry on NPR as “All the world’s a stage” that happen, I want simply to say: here’s Donald L. Cohn* Conrad Prebys* Karin Winner* Bea Epsten turned around in my brain. Suddenly, who I am. This is my work, this is my Tim Rafalovich June Yoder Peter J. Cooper* Sally Furay, R.S.C.J. weirdly, I cried, “Hytner!” I pulled over, sense of humor, this is the beat of my Valerie S. Cooper* David L. Reagan Bernard Lipinsky (1914-2001) got out of my car, and said—to nobody, heart. This is what I think of the art of Ann Davies Sandra Redman HONORARY DIRECTORS Delza Martin (1915–2005) Silvija Devine Crystal Sargent Mrs. Richard C. Adams Darlene Marcos Shiley or perhaps to a quizzical sheep—“That theatre. I hope you like it. Stephen P. Embry Jean Shekhter (1912–2005) Patsy Shumway sweet life! It’s mine!” Pamela A. Farr Ann Steck Clair Burgener (1921-2006) Carolyn Yorston-Wellcome Thanks for coming. Enjoy the show. Karen Fox Steven J. Stuckey Mrs. John H. Fox (1908–2003) These mornings I savor that sweetness Jack Galloway Daniel L. Sullivan, Ph.D. Audrey S. Geisel again. The scenery I pass on my way to Victor P. Gálvez Rhona Thompson Paul Harter *Executive Committee Member work in Balboa Park is different from Kathryn Hattox* Evelyn Mack Truitt Gordon Luce (1925-2006) that in the Cotswolds or Berkshires, of Patricia A. Hodgkin Debra Turner Dolly Poet (1921-2007)

6 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 7 THE PLAY These productions downplayed the his- Hose and torical settings of Shakespeare’s plays in favor of recreating the original look and feel of Shakespeare’s own stagecraft. Doublet or Poel built a reproduction of an Eliza- bethan stage within the proscenium of an existing theatre, staging the plays Jeans and without scenery and in 17th-century costume. “AWAKE YOUR FAITH:” T-Shirt? In the 20th century, tastes changed Barry Edelstein on The Winter’s Tale yet again. Some directors, like Harley A Brief History of Granville-Barker, removed the plays from any specific period or setting, mak- Barry directed The Winter’s Tale in New York City in 2003 in a production The New York Times said was Shakespearean Costume ing them highly stylized and impres- “stirring and imaginative” and presented a “joyous and melancholy tableau that looks a lot like life.” Here he sionistic. Ralph Berry is credited as the develops some of the ideas in that production and explores new ones. He sat down before rehearsal began to By Danielle Mages Amato first English director to self-consciously discuss the play. set Shakespeare’s plays in modern dress, In Shakespeare’s day, actors per- culminating in his infamous 1925 Ham- formed primarily in Elizabethan cloth- let “in plus fours.” Berry’s productions ing, whether the play was set in Medi- caused a minor furor. “A joke’s a joke,” What makes The Winter’s Tale your What’s it like to return to a play that horrible violence that descended eval Scotland or Ancient Athens. The Granville-Barker said of Berry’s ap- favorite Shakespeare play? you last directed a decade ago? out of the clear blue sky—and I only surviving illustration of one of proach, “and our medicine taken, it can turned to art, to my art, to Shake- Shakespeare’s plays in performance, go back to its cupboard till next time.” The four “late plays”—Pericles, It’s very thrilling. Parts of the play speare. I saw Leontes’s violence, the “Peacham drawing,” shows a scene The Winter’s Tale, Kean attempted to re- But that cupboard door has re- Cymbeline, The Winter’s Tale, and feel very familiar, but other parts also a bolt out of the clear blue, from Titus Andronicus with actors wear- move the historical contradictions and mained resolutely open for nearly 100 The Tempest—represent for me I don’t even remember from the as a kind of metaphor for the at- ing clothing from a mixture of periods. anachronisms that mark the play—and years. Twenty-first-century directors, the culmination of Shakespeare’s last time I did it. And, of course, tacks. I saw the disbelief, the in- This practice continued throughout the indeed, all of Shakespeare’s plays. Kean less strictly bound by convention than entire writing life. Over the course I’m 10 years older. The last time I comprehension, of his victims as 17th and 18th centuries. Shakespeare’s set the play firmly in Ancient Greece, be- their theatrical forebears, can—and of his 20 years of writing, we can directed The Winter’s Tale, I wasn’t a metaphor for what I was feeling plays were staged according to the con- cause the characters consult the Oracle do—draw upon all these different ap- see him attacking certain problems married, I didn’t have kids. Those as a New Yorker. And I saw the vention of the time, which meant actors of Delphi. He changed the name of Po- proaches to bring Shakespeare’s work to again and again, returning over and two things are so essential to the play’s ending as a really useful way most often wore modern dress—cloth- over to what’s actually a surprising- story. What does it mean to have to think about how we could begin ing contemporary to the actors and au- ly finite set of ideas. And the fact children—and, God forbid, to lose to move forward from what had dience—regardless of the setting of the that he quit writing four years be- a child? What is the commitment happened. This production isn’t play or when it was originally written. fore he died suggests that he found of marriage—how does it sustain about New York anymore, and the A major shift came in the early 1800s, the answers he was looking for—at over time, and in the face of power- events of 9/11, which were in the when actor-managers like Charles Kem- least sufficiently enough to relieve ful forces like grief and loss? These background 10 years ago, are now ble and Charles Kean began to strive himself of the need to write any things were abstractions to me the nowhere to be seen. But the play’s for historically accurate productions more. The Winter’s Tale is in many last time I did the play, and now most compelling theme, how you of Shakespeare’s work. For his ground- ways the perfect Shakespeare play. they are very concrete. The great collect your life and move on after breaking production of King John, Kem- It brings together everything that thing about Shakespeare’s mas- an act of catastrophic violence— ble meticulously researched and repro- he does so well: mixing genres, ask- terpieces is that they reveal new that’s still something that strikes duced the clothing and armor of 13th ing extremely profound questions things on repeated visits. They also me as very much worth thinking century England. He staged the play, as about the things that matter in life. have an uncanny way of speaking about. How do you put the pieces the playbill proudly announced: He comes up with this formula at directly to your own life circum- together after a calamity? What’s with an attention to COSTUME never the very end of the play: “It is re- stances, even as they change and required in order to move on? And before equaled on the English Stage. Ev- quired you do awake your faith.” you grow. Shakespeare’s great line remains ery character will appear in the precise lixenes’ country, removed as many men- the stage. When today’s directors stage That’s for me one of the central so eloquent: “It is required you do HABIT OF THE PERIOD. tions of Christianity as possible, and Shakespeare, they do so in conversa- lines of his entire literary output. What are the things that feel fresh awake your faith.” You have to have With this approach, as scholar Richard changed the play’s recognizable English tion—not only with his original text, A big word in The Winter’s Tale is and modern to you about this faith, you have to find a way to be- Halpern notes, “Shakespeare’s plays sheep-shearing celebration to a Festival staging, and historical period, but also “wonder”—and that’s the great 400-year-old play? lieve in some set of values that are were treated as historically transparent of Bacchus. Kean’s costumes may have with the rich history of theatrical per- subject of Shakespeare’s entire can- worth investing in, and that’s how windows onto still older locales which been meticulous, but his Shakespeare formance that has grown up around his on: how we feel in the face of the When I directed the play in New you put the shards back together attracted all the archaeological interest.” was not. plays. mysteries life presents us, how we York, I conceived it very much with and continue living. Charles Kean built upon Kemble’s At the end of the 19th century, the- come to know the things we know, the still-fresh September 11 terror success, but unfortunately for both atres exchanged the historical pageant- (above, from top) F. Murray Abraham in the Royal Shake- speare Company/Theatre for a New Audience’s produc- how we process the crazy things attacks in mind. I was desperate to Interview by Danielle Mages Amato actor-managers, Shakespeare was less ry of Kemble and Kean’s productions for tion of The Merchant of Venice, directed by Darko Tresnjak. the world throws at us. process what had happened—this interested in historical accuracy than a wave of Elizabethan revivals, orches- Henry Peacham’s sketch of Titus Andronicus. they were. For his 1856 production of trated by managers like William Poel.

8 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 9 THE PLAY These questions may express modern Polixenes would have chosen as his son’s critical concerns, but for the history wife, the one bride who can heal the of the play on the stage, they are not wounds of the previous generation. at all new. From the time The Winter’s Tale was first revived in the mid-18th It is to the point, too, that the happy century, revisers and performers have ending depends on the manipulations set to work to diminish the play’s tragic of both the rogue Autolycus and the aspects, to soften and rationalize Le- stern and moral Paulina, but most of ontes’s jealousy, to focus the play more all it depends on an egregious piece of clearly on the pastoral scenes and the theatrical artistry. In this case, the line young lovers (David Garrick’s adapta- between the artist and the con artist is a tion was even called Florizel and Perdita). very fine one. At the same time, the statue scene has always been the play’s emotional center: The faith that Paulina demands from however illogical or frankly incredible, Leontes for her tableau is only a courtly the conclusion has always been theatri- version of the gullibility Autolycus’s SPOILER ALERT! cally foolproof. ballads exact from his rural clientele. If you’re not Hermione’s statue itself is invented out Hermione’s death is one of Shakespeare’s of old tales, Vasari’s Life of Giulio Roma- familiar with the plot most daring pieces of stagecraft. There no, which seems to imply (erroneously) of The Winter’s Tale, is no question that, at the end of Act III, that this painter, renowned for the life- save this article to the queen is dead—as dead as Mamil- like quality of his work, was also a sculp- read after you’ve lius. The evidence for both deaths is the tor, and Ovid’s account of the sculptor seen the play! same—the report of an eyewitness— Pygmalion, whose statue of the perfect but Shakespeare does not leave the mat- wife answered his prayers by coming to ter there. Leontes not only demands life. to view the bodies, but says he will see them buried together in the same grave. The catharsis engineered by Paulina de- Shakespeare could have left Leontes in pends on 16 years of suffering and pen- silence, or sent him into seclusion, un- ance on Leontes’s part. Nothing is said, able to face the evidence of his crimes, however, of what Hermione has under- STEPHEN ORGEL but we are allowed no doubt about the gone during the 16 years, and indeed, reality of the deaths. What this means is the play’s stagecraft renders the ques- that if at the play’s end Leontes is being tion irrelevant: she has been dead. deceived by Paulina about the reality of death, so by the same token are we being For modern audiences, the reunion of On The Winter’s Tale deceived by Shakespeare. husband and wife is an essential element in what is, theatrically, an overwhelm- Stephen Orgel is one of the America’s preeminent Shakespeare scholars. He is Professor of English at Stanford The move to pastoral and the young ing conclusion, but this is probably an University, and in addition to editing The Winter’s Tale and The Tempest in The Oxford Shakespeare, he lovers, and that geographical figment, anachronistic reaction: Leontes’s court- is the author of Imagining Shakespeare, The Authentic Shakespeare, and numerous other works on the the seacoast of Bohemia, comes via the iers continually urge him to remarry, political and historical aspects of Renaissance literature, theatre, art history and the history of the book. We most notorious of Shakespearean gim- and Paulina prevents him from doing so asked him to share his thoughts on The Winter’s Tale and we are honored to include them here. micks: the bear that devours Antigonus, precisely because Hermione could have an impossible problem for directors, a been produced at any time, the royal tragic moment that always gets a laugh. family reconstituted, new heirs born. The tragedy becomes comedy—black The oracle would not thereby have been For modern audiences, The Winter’s Tale But why, then, the change of direction Most puzzling of all, why does Shake- comedy initially, though as Act IV con- fulfilled, but clearly no one at court ex- is a strangely discordant play. The title for the conclusion? Why does Shake- speare—quite uncharacteristically, if tinues, it is clear that even within the god of the Underworld carried her off cept Paulina believes that it needs to be. declares it a fable—a “winter’s tale” is a speare set up the tragic momentum of one thinks of his earlier plays about bad world of shepherds and romance there to an enforced marriage in Hades. Po- For Shakespeare’s age, the restoration of trifle, a fairy tale to enliven long winter the first three acts, only to disarm it kings—preserve and finally exonerate is a great deal that is threatening. lixenes’ fury at his son’s wish to choose Perdita, the finding of the heir, the con- nights. Yet the first half presents, in the with fantasy and magic? And if the trag- Leontes? Why not let him atone for his his own bride would have seemed less ir- tinuance of the royal line, is the crucial depiction of Leontes’s jealousy, one of edy is to be disarmed, why is the happy crimes by dying, and resolve the tragic Indeed, the very presence of aristocrats rational to Shakespeare’s audience than element. In this society, grace and won- Shakespeare’s most brilliant studies of ending so partial—why is Mamillius not issues through the succession of a new in the world of pastoral is ominous and it does to us—princes’ marriages were der inhere in kingship. The Winter’s Tale human psychology, uncompromising restored along with Hermione and Per- and innocent generation, on the mod- disruptive. Florizel woos Perdita by matters of state—but even so, the play is very much a royalist, patriarchal vi- in its intensity. It is also a pointed and dita? Why, indeed, is the death of Leon- els of Henry IV, Macbeth, and King Lear? comparing himself to a series of divine has little to say in favor of romance. The sion, and the extent to which it succeeds powerful dramatization of the dangers tes’s young son, the heir to the throne, Reconciliations are the stuff of Shake- lovers bent on the rape of their mortal only reason the elopement constitutes a for modern audiences and readers is a and responsibilities of monarchy, a logi- so much less of an issue dramatically spearean comedy; but why does Shake- mistresses; Perdita invokes the flowers happy ending is that Perdita is not only measure of the extent to which we still cal corollary to King Lear. than the loss of his infant daughter? speare want this play to be a comedy? that fell from Proserpina’s arms as the not a shepherdess, but the very princess respond to that ideology.

10 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 11 ARTISTS

ERIN ELIZABETH four. When he is not on stage perform- pendent films and web series including for the second time after his New York holds a B.F.A. in Acting from Arcadia His film and television credits include ADAMS ing, he enjoys cooking, reading, and the feature film Dragonchaser and the production at Classic Stage Compa- University. Human Zoo, I Need You, and “Familja (Dorcas, Ensemble) was writing short stories. new web series Annie and Brie. Ms. Brill ny. Her other New York productions Moderne.” Mr. Hoxha studied Acting recently seen in the holds a B.A. in Dramatic Arts from include the 2006 Broadway revival of NADIA GUEVARA at the Academy of Dramatic Arts at the Globe’s productions of MEAGHAN BOEING Washington University in St. Louis. Company, The Tempest (Classic Stage (Ensemble) is very University of Prishtina in Kosovo and A Midsummer Night’s (Emilia, Ensemble) was lindsaybrill.com. Company), Manic Flight Reaction and pleased to be mak- received a B.A. in Theater Performance Dream, The Merchant recently seen in the The Bubbly Black Girl Sheds Her Cha- ing her Globe debut. from Greensboro College. of Venice, Rosencrantz and Guilden- 2013 Old Globe Shake- BILLY CAMPBELL meleon Skin (Playwrights Horizons), She was most recently stern Are Dead, and Pygmalion, the Old speare Festival. She has (Leontes), perhaps best The Architecture of Loss(New York The- seen in the play Prom: PAUL KANDEL Globe/USD M.F.A. program produc- also appeared in the Old known for the beloved atre Workshop), The Antigone Project Time Out as part of The (Autolycus, Archida- tions of Much Ado About Nothing and Globe/USD M.F.A. Pro- ABC drama “Once and and Gum (Women’s Project), This End Car Plays (La Jolla Playhouse/Moving mus) has appeared on Measure for Measure, and a reading gram productions of Much Ado About Again” (Golden Globe Up: A User’s Manual for Lovers of Asians Arts), featured as part of the With- Broadway as King Herod of Once in a Lifetime. She has worked Nothing, Measure for Measure, and Award nomination for (Ma-Yi Theater Company), and Stop out Walls Festival. Her credits include in Jesus Christ Superstar, in New York City on Gated (Midtown Tartuffe. Her regional credits include Best Actor), current- Kiss and Henry VIII (The Public The- Mimi in Rent (Flat Seven Productions), Uncle Ernie in The Who’s International Theatre Festival) and Imagine (South Coast Repertory), ly stars on Syfy’s new series, “Helix.” ater). Her regional credits include Pha- Wendla in Spring Awakening (American Tommy (Tony Award regionally on Heist!, A Midsummer Master Class (The Will Geer Theatri- He recently appeared in Lifetime’s edra Backwards and A Christmas Carol Rose Theatre), Claudia Meets Fulano nomination), Ismay in Titanic, Jacob Night’s Dream, and Post Wave Spec- cum Botanicum), Man of La Mancha (A Lizzie Borden Took an Axe, DirecTV’s (McCarter Theatre Center), Company Colorado (Carlsbad Playreaders), Miss Marley in A Christmas Carol, and The tacular (Actors Theatre of Louisville), Noise Within), Surf Orpheus (Getty Vil- “Full Circle,” and National Geograph- (Cincinnati Playhouse in the Park), the Saigon (Moonlight Stage Productions), Visit. Off Broadway he has been seen Henry IV Parts I and II (Actors’ Shake- la), and various productions with The ic Channel’s Killing Lincoln as Abra- world premieres of Riceboy (Yale Rep- and Summer and Smoke (New Village in Shockheaded Peter, Silence! The Musi- speare Project), and Done (Providence Antaeus Company, as well as King Lear, ham Lincoln. His other television ertory Theatre) and An Infinite Ache Arts). cal, One Flea Spare (New York Shake- Black Repertory Company). She is a The Two Gentlemen of Verona, As You Like credits include “The Killing,” “The (Long Wharf Theatre), Uncle Vanya speare and Festival, Obie Award for former Acting Apprentice with the It, The Misanthrope, Sunday in the Park 4400,” “Crime Story,” and “Dynas- (Arena Stage), Sundance Institute The- KUSHTRIM HOXHA Best Play), La Divina Caricatura and Actors Theatre of Louisville. Ms. with George, The Pirates of Penzance, The ty.” His feature film credits include atre Lab, New York Stage and Film, The (Cleomenes, Ensemble) Lucia’s Chapters of Coming Forth by Day Adams received her B.A. in Theatre Sound of Music, and a world premiere Gettysburg, The Night We Never Met, Eugene O’Neill Theater Center, and the was recently seen in (Mabou Mines), Earth and Sky (Second and Literary Arts from Brown Univer- translation of Don Juan. Ms. Boeing Dracula, Enough, and Disney’s cult hit Cape Cod Theatre Project. Her televi- A Midsummer Night’s Stage Theatre), Twenty Fingers, Twenty sity. has appeared in national commer- The Rocketeer. Among his stage cred- sion credits include recurring roles on Dream, Rosencrantz and Toes (WPA Theatre), Lucky Stiff(Play - cials and independent films, performs its, Mr. Campbell played Laertes in “Damages,” “The Event,” “Dollhouse,” Guildenstern Are Dead, wrights Horizons), The Taming of the JORDI BERTRAN vocal music of various styles, and is a Roundabout Theatre Company’s 1992 “Kings,” and all three “Law & Order” and The Merchant of Ven- Shrew (Theatre for a New Audience), (Mamillius) previously teacher of piano and voice. Ms. Boe- production of Hamlet and the title series, guest spots on “Nurse Jackie,” ice in The Old Globe’s 2013 Shakespeare and Scrambled Feet and Nightclub Can- appeared at the Globe in ing received her Bachelor of Music in character in Fortinbras, for which he “Elementary,” “Being Mary Jane,” “Do Festival, as well as Much Ado About tata (The Village Gate). His television Dr. Seuss’ How the Grin- Voice Performance from Ithaca Col- received the 1996 LA Stage Alliance No Harm,” “The Good Wife,” and more. Nothing, Tartuffe, and Measure for Mea- credits include Sally Hemings: An Amer- ch Stole Christmas! He is lege. meaghanboeing.com. Ovation Award for Lead Actor. The Her film credits includeThe Clique, The sure with the Old Globe/USD M.F.A. ican Scandal, “The Client,” Fool’s Fire, a 12-year-old boy who Winter’s Tale marks his gleeful return, War Within, Heights, Black Knight, and Program. He has appeared in Rock ‘n’ and “Law & Order,” and his film credits loves singing and danc- LINDSAY BRILL after nearly 10 years, not only to the- Robot Stories. She is a 52nd Street Proj- Roll, King Lear, Sun Monkey, The Glass include Clopin in Disney’s The Hunch- ing. He recently played Gavroche in the (Mopsa, Ensemble) most atre but to The Old Globe, where he ect volunteer and holds an M.F.A. in Menagerie, and Hamlet (National The- back of Notre Dame and its sequel. California Youth Conservatory pro- recently appeared in had two of the best times of his career, Acting from New York University. ater of Kosovo), Senior Carrar’s Rifles duction of Les Misérables, winner of the Much Ado About Nothing if not life, first in John Rando’s 1997 and Scapin’s Deceits (Professional The- MAYA KAZAN 2013 Bravo San Diego Award for Best with the Old Globe/USD The Comedy of Errors as Antipholus of JAMAL DOUGLAS ater of Gjakova), Patriotic Hypermarket (Perdita) is thrilled to Musical. Mr. Bertran’s other theatre M.F.A. Program. In New Ephesus, and then Brendan Fox’s 2003 (Mariner, Ensemble) (Bitef Theater, Belgrade), Yue Madeline be making her Globe credits include Young Shrek and Peter York, she has originat- Much Ado About Nothing as Benedick. recently made his debut Yue (Multimedia Center, Kosovo, and debut in The Winter’s Pan in Shrek The Musical (California ed roles in several plays including The Mr. Campbell splits his time between with the Old Globe/ Volkstheater, Vienna), and Hamlet Tale. She was last seen Youth Conservatory), Jojo in Seussical Bear (Theatre Row), The Big Not Know- Pacific Palisades, California, and Van- USD M.F.A. Program in (Children’s Theatre of Charlotte). He in Noah Baumbach’s and Zebulun in Joseph and the Amaz- ing and Doppelganger (The Actors Stu- couver, Canada, as well as the barque Much Ado About Noth- has performed in numerous theatre Frances Ha and can be ing Technicolor Dreamcoat (Broadway dio), and Four Better or Worse (Theatre Picton Castle, at this moment plying ing. His previous credits festivals such as Festival Iberoameri- seen this year on Steven Soderbergh’s Bound Youth Theatre), and Troy in Dis- for the New City). She has also worked the South Pacific Seas without him. include The Lysistrata Project (Simpa- cano in Columbia, Mess Festival in new television series “The Knick” on ney’s High School Musical Jr. and Doody at such theatres as The Ensemble Stu- tico Theatre Project), A Midsummer Bosnia and Herzegovina, Ex-Ponto Cinemax. Her upcoming projects also in Grease (Kids Theatre Network). He dio Theatre, Prospect Theater Compa- ANGEL DESAI Night’s Dream (Delaware Shakespeare Festival in Slovenia, VIE Scena Con- include two indie features: Blood Moon plays the lead role in Cinequest’s inspi- ny, Nora’s Playhouse, and New York (Paulina) is very happy Festival), Joe Turner’s Come and Gone temporanea Festival in Italy, ASSITEJ and Prism. Her theatre credits include rational short film Birdboy, which pre- Theatre Workshop. Ms. Brill recently to return to the Globe (Plays & Players), Superior Donuts Festival in Sweden, Dezire Festival The Future Is Not What It Was (Walker- mieres at the 24th annual Cinequest appeared in the New Jersey premiere after playing Phyl- (Arden Theatre Company), Living in Serbia, Durban Theatre Festival in space) and Pierre Corneille’s The Liar Film Festival in March 2014. Mr. Ber- of Font of Knowledge (Art House Pro- lis Nirlinger in Double News (National Constitution Center), South Africa, Skupi Festin Macedonia, (The Shakespeare Theatre of New Jer- tran is a competitive-level-six gym- ductions), and last year she performed Indemnity and even hap- and others. He also teaches with Our and SKENA UP Festival in Kosovo. He sey). mayakazan.com. nast, is fluent in English and Spanish, in the Chicago Women’s Funny Festi- pier to be directed by Time Theatre Company, for youths is the cofounder of Teatri Urban The- and has played the piano since he was val. She has appeared in several inde- Barry Edelstein in The Winter’s Tale who stutter, in New York City. He ater Company in Prishtina, Kosovo.

12 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 13 ARTISTS

A.Z. KELSEY ALBERT PARK “Ed,” “Law & Order,” and “Law & (New York University Graduate The- Among his voiceover acting credits, he Wright for Shakespeare in the Park (Florizel) has appeared (Ensemble) can’t believe Order: Special Victims Unit,” to name atre). He is the co-creator of Those Lost has narrated the series “Skeleton Sto- and The Merchant of Venicefeaturing in the New York produc- his luck. Most recently a few. natacharoi.com. Boys: 10 Year Reunion and a company ries,” “Find Our Missing,” and most Ron Leibman’s Obie Award-winning tions of Much Ado About he played multiple roles member of Lesser America. Mr. Spieth currently “Gangsters: America’s Most portrayal of Shylock. He was also Asso- Nothing (The Public The- in An Evening of Com- ROBBIE SIMPSON is a graduate of The Juilliard School Wanted.” Mr. Womack studied at The ciate Producer of The Public’s Broad- ater) and Dead Letter munity Voices at The Old (Dion, Ensemble) was (Group 39). Juilliard School and continues with way production of The Merchant of Office (HERE Arts Cen- Globe and was directed recently seen in The Old private teachers in New York and Los Venice starring Al Pacino. From 1998- ter). His regional credits include Ship- by Christopher Ashley in The Car Plays Globe’s 2013 Shake- PAUL MICHAEL Angeles. 2003 he was Artistic Director of Clas- wrecked! (Triad Stage), As Much As You at La Jolla Playhouse. His other fea- speare Festival produc- VALLEY sic Stage Company, where he produced Can (Celebration Theatre), Good Boys tured roles include Sopoan in Extraor- tions of A Midsummer (Polixenes) is a New PATRICK ZELLER and directed some of New York’s most and True (The Eugene O’Neill Theater dinary Chambers and HYH in Yellow Night’s Dream, The Mer- York-based teacher/art- (Jailer, Ensemble) pre- memorable classical productions. Mr. Center), The Automata Pieta (Magic Face (Mo’olelo Performing Arts Com- chant of Venice, and Rosencrantz and ist. His Broadway and viously appeared at the Edelstein’s Shakespearean directorial Theatre), Time on Fire (Magic Theatre/ pany), Roy in The Odd Couple and Bell- Guildenstern Are Dead, the latter two Off Broadway credits Globe in Richard Green- credits include productions of The Win- Royal National Theatre), The Rose Tat- hop in Lend Me a Tenor (North Coast directed by Adrian Noble. His other include Talley’s Folly, berg’s The American ter’s Tale with David Strathairn, Timon too (American Conservatory Theater), Repertory Theatre), Gabe in A Man, Globe credits include Freddy Eynsford 1776, Hurrah at Last, Arms and the Man, Plan in 2008, as well as of Athens with Richard Thomas, As You and The Tempest and Rose Mark’d Queen his Wife, and his Hat (MOXIE Theatre), Hill in the 100th anniversary produc- Silence! The Musical, and Any Given in the Old Globe/USD Like It with Gwyneth Paltrow and Rich- (Yale Summer Cabaret Shakespeare Tieng-Bin in Golden Child (Chinese tion of Pygmalion directed by 2013 Monday. Regionally, he has worked at M.F.A. production of Much Ado About ard III with John Turturro. His addi- Festival). He received his M.F.A. from Pirate Productions), and Chi-Yang in Tony Award nominee Nicholas Martin. Goodspeed Musicals, The Shakespeare Nothing. Mr. Zeller’s classical theatre tional credits include the Lucille Lortel Yale School of Drama. Flower Drum Song and Lefty in BFE Mr. Simpson’s Old Globe/USD M.F.A. Theatre Company, Denver Center The- credits include The Mysteries (Shake- Award-winning revival of Arthur Mill- (San Diego Asian American Repertory Program credits include Benedick in atre Company, Cleveland Play House, speare & Company), The Comedy of er’s All My Sons; the world premiere of MARK NELSON Theater). Mr. Park has been a teach- Much Ado About Nothing and Measure and, 11 years ago, at The Old Globe in Errors (New York Classical Theatre), Steve Martin’s The Underpants, which (Antigonus, Old Shep- ing artist for Playwrights Project, for Measure. His U.K. and New York Beyond Therapy. Mr. Valley’s television Edward II (Pet Brick Productions), he commissioned; Molière’s The Mis- herd) has appeared in Write Out Loud, Christian Youth The- credits include Orlando in As You Like credits include “Elementary,” “Law & Hamlet (Maine Shakespeare Festival), anthrope starring Uma Thurman in her New York in Timon of ater, and San Diego Public Library. He It (Shakespeare’s Globe), A Class Act Order: Special Victims Unit,” “Third and Romeo and Juliet and Midsum- stage debut; and the world premiere Athens directed by Bar- is grateful to Barry Edelstein and the directed by Bob Moss (Playwrights Watch,” “Ed,” “Guiding Light,” “One mer Night’s Dream (Shakespeare Now! of novelist Nathan Englander’s play ry Edelstein (The Pub- cast and crew of The Winter’s Tale for a Horizons), and Hanschen in Spring Life to Live,” and “Another World.” He Theatre Company). Mr. Zeller has The Twenty-Seventh Man. He has also lic Theater), My Name is most memorable experience. He loves Awakening (Roy Arias). Mr. Simp- teaches privately but has also taught appeared on “Law & Order,” “Medi- directed new and classical work exten- Asher Lev, Steve Martin’s Picasso at the his wonderful wife, Jenny, and new son’s selected regional credits include at many institutions as well. Mr. Val- um,” “All My Children,” “One Life to sively at regional theatres around Lapin Agile (Obie Award), The Inven- baby boy, Felix, very much. A Class Act (Berkshire Theatre Festi- ley attended The Juilliard School, Vir- Live,” and “The Young and the Rest- the USA. Mr. Edelstein has taught tion of Love (Lincoln Center Theater), val), Rent and Almost, Maine (Paper- ginia Commonwealth University, and less.” He also co-starred in the award- Shakespearean acting at The Juilliard After the Fall and Three Sisters (Round- NATACHA ROI mill Theatre), The Sisters Rosensweig American University. winning feature film Virgin Alexander. School, NYU’s Graduate Acting Pro- about Theatre Company), A Few Good (Hermione) is pleased and The House of Blue Leaves (New Cen- His other film credits include No Res- gram and the University of Southern Men and four plays by Neil Simon. He to be joining the Globe tury Theatre), and Miss Saigon, Inherit CORNELL WOMACK ervations, End of the Spear, and A Total- California. He has lectured on theatre performed in six countries with Sam family in this produc- the Wind, The Sunshine Boys, and Lost in (Camillo) is making ly Minor Motion Picture. Most recently around the USA and the world and has Mendes’ company The Bridge Proj- tion of The Winter’s Tale. Yonkers (The Majestic Theatre). He has his debut at the Globe. Mr. Zeller has worked as a mentor and written on the subject for The New York ect. His other favorite credits include She was last seen on appeared on television in NBC’s “30 His Broadway cred- teaching artist with The Unusual Sus- Times, The Washington Post, The New Shylock in The Merchant of Venice stage at Geffen Play- Rock,” “Smash,” and Syfy’s “Can You its include On Golden pects Theatre Company in Los Angeles. Republic and American Theatre. His (The Shakespeare Theatre Company, house as Marie Curie and Marguerite Survive a Horror Movie?” Mr. Simpson Pond with James Earl patrickzeller.com. book Thinking Shakespeare (called by Emery Battis Award), Vanya in Uncle Borel in Radiance: The Passion of Marie holds a B.F.A. in Acting from Syracuse Jones and Talk Radio. New York magazine “a must-read for Vanya directed by Bartlett Sher (Inti- Curie and as Mara in Extraordinary University. @MrRobbieSimpson on He has appeared Off Broadway in Yel- BARRY EDELSTEIN actors”) was published in 2007 and is man Theatre), Matt in Talley’s Folly Chambers. Some of her other theatre Twitter and Instagram. lowman, Thunder Knocking at the Door, (Director, Old Globe Artistic Director) now the standard text on American (Berkshire Theatre Festival), and two credits include Juno in Hercules (Not The Merchant of Venice, and The Odys- is a stage director, producer, author and Shakespearean acting. He is also the one-man shows: Underneath the Lin- Man Apart), Aphra Behn in Or, (Mag- BRENDAN SPIETH sey. On television he is best known educator. Widely recognized as one of author of Bardisms: Shakespeare for All tel (Long Wharf Theatre) andI Am ic Theatre), and Emilie, The Real Thing, (Clown) has previously for his role as Ritchie on the FX series the leading authorities on the works of Occasions. Mr. Edelstein is a graduate My Own Wife (Cleveland Play House/ and Vesuvius (South Coast Repertory). appeared in American “Rescue Me,” as well as numerous Shakespeare in the United States, he of Oxford University, where he studied George Street Playhouse). His televi- Her Broadway credits include Sixteen River (Lesser America), guest appearances on shows includ- has directed nearly half of the Bard’s as a Rhodes Scholar. sion credits include “Unforgettable,” Wounded, Closer, and Wait Until Dark. Common Hall Village 20: ing “The Newsroom, “Body of Proof,” works. As Director of the Shakespeare “Law & Order,” “Criminal Intent,” and Ms. Roi has also performed many an OZET Performance “Criminal Minds,” “Medium,” “Bos- Initiative at The Public Theater (2008- WILSON CHIN “Spin City.” Mr. Nelson is the recipient more productions Off Broadway and (Ontological-Hyster- ton Legal,” “CSI: Miami,” “Numb3rs,” 2012), he oversaw all of the company’s (Scenic Design) returns to The Old of a 2013 Lunt-Fontanne Fellowship. in regional theatres across the coun- ic Theater), and The Aliens (Weston “Law & Order,” “Warehouse 13,” “The Shakespearean productions, as well Globe after designing Anna Chris- try. Her television credits include “The Playhouse). His creative team proj- Black Donnellys, and even “Hannah as its extensive educational, commu- tie (Craig Noel Award nomination), Young and the Restless,” “Castle,” “The ects include Balm in Gilead (with Brian Montana.” He has appeared in the nity outreach and artist-training pro- Engaging Shaw, and The American Plan. Beast,” “Journeyman,” “ER,” “Bones,” Mertes, Alex Harvey, and Beau Wil- films Transformers: Revenge of the Fall- grams. At The Public, Mr. Edelstein His New York credits include Next Fall “The Unit,” “Without a Trace,” “Hack,” limon) and The Humans are in Trouble en, State of Play, and The Happening. staged Julius Caesar starring Jeffrey (Broadway, Naked Angels); Too Much,

14 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 15 ARTISTS

Too Much, Too Many (Roundabout The- in Houston and is the recipient of the orchestra, was completed in January cal director, Mr. Peckham is also an Makers Repertory Company, Indiana ANJEE NERO atre Company), The Jammer (Atlantic 2014 League of Professional Theatre of this year, and he is the founder of accomplished arranger, orchestrator, Repertory Theatre, American Players (Stage Manager) has previously Theater Company), Len, Asleep in Vinyl Women’s Ruth Morley Design Award. Chance Magazine, a new theatre design and composer, having written and/or Theatre and Mo’olelo Performing Arts worked on the Old Globe productions (Second Stage Theatre), Dark Mat- magazine that debuted in May. arranged pieces for various universi- Company. Ms. Gist has been a guest on of Be a Good Little Widow, Allegiance – ters (Rattlestick Playwrights Theatre), RUSSELL H. CHAMPA ties, theatre groups, orchestras, and KPBS radio’s “A Way with Words,” nar- A New American Musical, A Room with Boom (Ars Nova), As You Like it (Poor- (Lighting Design) previously designed MICHAEL TORKE choral ensembles around the country. rated San Diego Museum of Art doc- a View, Richard O’Brien’s The Rocky tom Productions), and King of Shadows The Old Globe’s productions of Ground- (Original Music) has been commis- Following the closing of The Winter’s umentaries, coached dialects for the Horror Show, The Savannah Disputa- (Working Theater). His opera designs swell, Back Back Back, and The Four of Us. sioned to write concert music, operas, Tale, Mr. Peckham will be joining the film The Rosa Parks Story and record- tion, Cornelia, Kingdom, and the 2007 include Lucia di Lammermoor (Lyric His current and recent projects include and ballets from organizations around national touring company of Jersey ed dozens of Books To Listen To. She is Shakespeare Festival. Her selected La Opera of Chicago), Eine Florentinische The House that will not Stand (Berkeley the world, such as the Metropolitan Boys as Associate Conductor and Key- a founding member of The Voice and Jolla Playhouse credits include Side- Tragodie and Gianni Schicchi (Canadi- Repertory Theatre), Intimacy (The New Opera, New York City Opera, New York boardist. Speech Trainers Association and has ways directed by Des McAnuff, Chas- an Opera Company, Dora Award), The Group), The Patron Saint of Sea Mon- City Ballet, New York Philharmonic, presented at many national and inter- ing the Song workshop with the writers Saint of Bleecker Street (Central City sters (Playwrights Horizons), Water San Francisco Symphony, National BRIAN BYRNES national conference workshops for of Memphis, Ruined directed by Liesl Opera), and Don Giovanni (San Francis- by the Spoonful and Modern Terrorism Ballet of Canada, Netherlands Radio (Fight Director) has worked with them and for The Voice Foundation. Tommy, A Midsummer Night’s Dream co Opera Merola). Regionally, he has (Second Stage Theatre), The Twenty- Philharmonic Orchestra, English New York theatres, regional theatres, She has taught workshops at London’s directed by Christopher Ashley, Her- designed at American Conservatory Seventh Man (The Public Theater), and National Opera, Munich Philharmon- Shakespeare festivals, colleges, univer- Central School of Speech and Drama ringbone starring BD Wong, and The Theater, Barrington Stage Company, The Grand Manner (Lincoln Center ic, Théâtre du Châtelet in Paris, and sities, and motion-capture animation and the International Voice Teachers Seven. Ms. Nero has worked with sev- Cincinnati Playhouse in the Park, Gef- Theater). On Broadway, Mr. Champa the National Centre for the Perform- companies in the U.S. and Sweden. His Exchange at The Moscow Art Theatre. eral prominent regional theatres fen Playhouse, Guthrie Theater, Hart- has designed In the Next Room, or the ing Arts in Beijing. He was Composer credits include Alley Theatre, Hous- She has been published in VASTA Jour- including Center Theatre Group, SITI ford Stage, The Shakespeare Theatre vibrator play and Julia Sweeney’s God in Residence with the Royal Scottish ton Grand Opera, Stages Repertory nals, and chapters in books include The Company, Huntington Theatre Com- Company, Signature Theatre Compa- Said “Ha!”, both at the Lyceum. Other National Orchestra (1998-2002). In Theatre, Ensemble Theatre Company, Complete Vocal Warm-Up, More Stage pany, Berkeley Repertory Theatre, ny, Westport Country Playhouse, and New York theatres Mr. Champa has 1999 Michael Eisner and the Walt Dis- Dallas Theater Center, Houston Ballet, Dialects and an interview in Voice and and more. Her other selected credits Yale Repertory Theatre. Mr. Wilson designed for include Manhattan The- ney Company commissioned a Millen- Houston Shakespeare Festival, Texas Speech Training in the New Millennium: include Schick Machine (Paul Dresher is a graduate of UC Berkeley and Yale atre Club, Classic Stage Company, New nium Symphony, which was premiered Ballet Theater, Dominic Walsh Dance Conversations with Master Teachers. Ensemble), which has toured national- School of Drama. wilsonchin.com. York Stage and Film, and La MaMa at Lincoln Center. Mr. Torke has col- Theater, Prague Shakespeare Compa- She is a professor in The Old Globe/ ly and internationally for the past six Experimental Theatre Club. Region- laborated with Barry Edelstein previ- ny, American Players Theatre, John USD Graduate Theatre Program. years, multiple corporate events with JUDITH DOLAN ally, Mr. Champa has designed for ously on The Merchant of Venice at The Houseman Theater, Lucille Lortel The- jangistspeaking.com. MSI Production Services, Inc., Dream (Costume Design) last designed cos- American Conservatory Theater, The Public Theater and The Misanthrope atre, Westbeth Theatre Center, and Report (Allyson Green Dance featur- tumes for The Old Globe’s A Room with Wilma Theater, Arena Stage, Califor- and The Winter’s Tale at Classic Stage many other companies over the past CAPARELLIOTIS CASTING ing Lux Borreal), and Garden of Forbid- a View. Ms. Dolan is a Tony Award nia Shakespeare Theater, Trinity Rep- Company. He lives and works in both 25 years. He is a longtime member of (Casting) recently cast the Globe pro- den Loves and Garden of Deadly Sound winner (Candide) who also earned a ertory Company, Mark Taper Forum, New York City and Las Vegas. the Society of American Fight Direc- ductions of Bethany, The Few, Double (IMAGOmoves), which toured to the Lucille Lortel Award for The Petri- and The Kennedy Center. Thanks J + tors and holds the SAFD credentials of Indemnity, The Rainmaker, Other Desert International Hungarian Theatre Fes- fied Prince (The Public Theater) and J. Peace. TAYLOR PECKHAM Certified Teacher, Fight Director, and Cities, Be a Good Little Widow, A Doll’s tival in Cluj, Romania. Proud member two Drama Desk Award nominations. (Music Director) has previously Fight Master within the organization. House, The Brothers Size, Pygmalion, of Actors’ Equity. Her other Broadway credits include FITZ PATTON worked on the Globe productions of He is an AEA actor, has worked as a and Good People. Their Broadway cast- LoveMusik and Parade. Her numer- (Sound Design) previously designed Dr. Seuss’s How the Grinch Stole Christ- director for theatre and opera, and has ing credits include The Snow Geese, Lyle JESS SLOCUM ous regional credits range from The the Globe productions of Good Peo- mas, The Last Goodbye, Pygmalion, and written several plays that have been Kessler’s Orphans, The Trip to Bountiful, (Assistant Stage Manager) has previ- Seafarer (Alley Theatre) to Travesties ple and August: Osage County. He has Nobody Loves You. His other region- professionally produced. Mr. Byrnes Grace, Dead Accounts, The Other Place, ously worked at The Old Globe on A (Williamstown Theatre Festival). Her designed and scored more than 300 al credits include Yoshimi Battles the is an Associate Professor with the Old Seminar, The Columnist, Stick Fly, Good Doll’s House, Pygmalion, A Room with a opera designs include Idomeneo (Wolf productions in 20 cities across the Pink Robots (La Jolla Playhouse), Young Globe/USD M.F.A. in Dramatic Arts. People, Bengal Tiger at the Baghdad Zoo, View, Richard O’Brien’s The Rocky Horror Trap Opera Company), Willie Stark U.S. and was the designer for I’ll Eat Frankenstein (Moonlight Stage Produc- The House of Blue Leaves, Fences, Lend Show, the 2011-2013 Shakespeare Fes- (Houston Grand Opera), and The Mag- You Last featuring Bette Midler at the tions), RESPECT: A Musical Celebration JAN GIST Me a Tenor, and The Royal Family. They tivals, Rafta, Rafta…, Robin and the 7 ic Flute (Cleveland Orchestra). Ms. Booth Theatre on Broadway. In 2010 of Women (Herberger Theater Center, (Voice and Dialect Coach) has been also cast for Manhattan Theatre Club, Hoods, Alive and Well, Sammy, Cornelia, Dolan has designed for a number of he was awarded both Lucille Lortel and Phoenix), A Midsummer Night’s Dream, Voice, Speech and Dialect Coach for Old Second Stage Theatre, Atlantic Theater Since Africa, Dr. Seuss’ How the Grinch other companies, including Dublin’s Drama Desk Awards for his design for the Musical (Intrepid Shakespeare Globe productions since 2002. She has Company, LCT3, Ars Nova, Goodman Stole Christmas!, and The Glass Menag- Abbey Theatre, Clwyd Theatr Cym- When the Rain Stops Falling at Lincoln Company), Cinderella (African-Ameri- coached at theatres around the country Theatre, Arena Stage, Ford’s The- erie. Her Broadway credits include ru in Wales, Brooklyn Academy of Center’s Mitzi E. Newhouse Theater, can Shakespeare Company), The Music including Ahmanson Theatre, La Jolla atre, and three seasons with William- In the Heights. Her regional credits Music, The Shakespeare Theatre Com- and he was nominated again in 2011 Man, An American Christmas, miXtape, Playhouse, Oregon Shakespeare Festi- stown Theatre Festival. Their recent include Side Show, Ruined, The Third pany, and Goodman Theatre. She has a for his work on The Other Place at MCC Guys and Dolls, and Joe vs The Volcano val, The Shakespeare Theatre Compa- film and television credits include Story, Memphis, and Most Wanted (La Ph.D. in Directing/Design from Stan- Theater, which completed its Broadway (Lamb’s Players Theatre), Little Shop ny in DC, The American Shakespeare HairBrained with Brendan Fraser, Jolla Playhouse), Post Office (Center ford University and is Professor in the run last winter at the Samuel J. Fried- of Horrors (Cygnet Theatre Company), Center, Utah Shakespeare Festival, “Ironside” (NBC), and Steel Magnolias Theatre Group), and Tranquility Woods Department of Theatre & Dance at UC man Theatre. Mr. Patton’s symphony, and Xanadu (New Conservatory The- Alabama Shakespeare Festival, Arena (Sony for Lifetime). (Steppenwolf Theatre Company). Her San Diego. Ms. Dolan is currently an The Holy Land, a 45-minute work for atre Center, San Francisco). In addition Stage, San Diego Repertory Theatre, San Diego credits include Mo’olelo Per- Associate Artist with Alley Theatre baritone, tenor, mezzo-soprano, and to his work as an award-winning musi- Milwaukee Repertory Theater, Play- forming Arts Company, North Coast

16 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 17 ARTISTS ASSOCIATE ARTISTS OF THE OLD GLOBE Repertory Theatre, and Lamb’s Players Award), Hairspray (Tony Award), Imagi- include the San Diego Union-Tribune list In recognition of their unique contribution to the growth of The Old Globe and their special talent, we take great pride and Theatre. She is a graduate of Vander- nary Friends, The Invention of Love (Tony of 25 persons who shaped the city’s his- pleasure in acknowledging as Associate Artists the following individuals who have repeatedly demonstrated by their active bilt University. Proud member of nomination, Drama Desk Award), The tory; the Governor’s Award for the Arts; presence on our stages and in our shops, that wherever else they may work, they remain the heart and soul of the Globe. Actors’ Equity. Full Monty (Tony nomination), More University of Arizona Alumni Associa- to Love, Getting Away with Murder, tion’s Outstanding Citizen, for his con- MICHAEL G. MURPHY Pride’s Crossing, The Little Foxes, Hap- tribution to their Fine Arts department; William Anton Tim Donoghue Mark Harelik John McLain Steven Rubin Deborah Taylor (Old Globe Managing Director) served good (Lucille Lortel Award, Best Direc- San Diego State University’s Outstand- Gregg Barnes Richard Easton Bob James Jonathan McMurtry Ken Ruta Irene Tedrow* as General Manager of The Old Globe tor), Damn Yankees, Two Shakespearean ing Alumnus; Conservator of American Jacqueline Brookes* Tovah Feldshuh Charles Janasz Stephen Metcalfe Douglas W. Schmidt Sada Thompson* from 2003 to 2012, overseeing the Pro- Actors (Tony nomination), Porgy and Arts Award from American Conserva- Lewis Brown* Monique Fowler Peggy Kellner* Robert Morgan Seret Scott Paxton Whitehead duction, Education, Human Resources, Bess (Tony Award). Metropolitan Opera: tory Theater; the San Diego Press Club Victor Buono* Robert Foxworth Tom Lacy Patrick Page David F. Segal James Winker Information Technology, and Facilities II Trittico. London: Love Never Dies, Hair- Headliner Award; San Diego Gentleman Wayland Capwell* Ralph Funicello Diana Maddox Ellis Rabb* Richard Seger* Robert Wojewodski Departments, as well as Front of House spray (Olivier nomination). National of Distinction Award; and a combined Kandis Chappell Lillian Garrett-Groag Nicholas Martin Steve Rankin Diane Sinor* G Wood* operations. He also managed the con- Theatre: His Girl Friday. Six movies for tribute from the Public Arts Adviso- Eric Christmas* Harry Groener Dakin Matthews William Roesch Don Sparks struction of the Globe’s new theatre and PBS’s “American Playhouse.” Awards: ry Council and the San Diego County Patricia Conolly A.R. Gurney Deborah May Robin Pearson Rose David Ogden Stiers * In Memoriam education facilities. Prior to the Globe, 2008 Theatre Hall of Fame Inductee, Board of Supervisors. Mr. Noel was par- George Deloy Joseph Hardy Katherine McGrath Marion Ross Conrad Susa* he was the Managing Director of Austin 2005 John Houseman Award, ArtServe ticularly proud of the following three Lyric Opera in Austin, Texas; Director Michigan 2008 International Achieve- honors representing education and the- of Administration of San Diego Opera; ment Award, Honorary Doctorate, Uni- atre: Honorary Doctorate of Humane and General Manager of San Diego Rep- versity of Michigan. Honorary Doctor Letters, University of San Diego; Hon- Travel to London and New York This Spring! ertory Theatre. Before relocating to San of Humane Letters, University of San orary Doctorate in Fine Arts, San Diego Diego from New York, he held similar Diego. Film (actor): Sex and the City 2. State University; and the annual Awards positions at Theatre for a New Audience Jack Be Nimble: The Accidental Education for Excellence in Theatre named in his and the Joyce Theater Foundation’s of an Unintentional Director, his memoir honor by the San Diego Theatre Critics American Theater Exchange. He also about the early years of his career, was Circle. In 2007, he received the Nation- served as negotiating assistant for the released in the summer of 2013 by Far- al Medal of Arts—the nation’s highest League of Resident Theatres and sales rar, Straus and Giroux. honor for artistic excellence—in a cer- representative for Columbia Artists emony at the White House. Craig Noel Theatricals Corporation. Mr. Murphy CRAIG NOEL died on April 3, 2010 at the age of 94. LONDON: April 27 − May 4, 2014 has served on the Board of Directors of (Old Globe Founding Director) was first plus a three-day optional excursion to Stratford-upon-Avon the San Diego Performing Arts League appointed director in 1939, directing 15 Join the Globe’s Managing Director, Michael G. Murphy and serves as a Management Trustee productions prior to World War II. Since CASTING for San Diego County Theatrical Trusts, then he directed more than 200 plays • Round-trip air from San Diego CAPARELLIOTIS CASTING • 7 days/6 nights at the Millennium Gloucester Hotel the pension and welfare trust for IATSE of all styles and periods and produced David Caparelliotis • 4 theatre productions including: stagehands in the San Diego region. He an additional 270 productions. His • Stephen Ward, world premiere of the new musical Lauren Port was also an adjunct faculty member of vision for The Old Globe resulted in the by Andrew Lloyd Webber the Music Department at the Univer- establishment of the Shakespeare Fes- • Blithe Spirit, starring Angela Lansbury • Guided walking tours sity of San Diego. Mr. Murphy earned tival and the San Diego Junior Theatre This theatre operates under an agreement • Theatre talk between the League of Resident Theatres his B.F.A. degree in Stage Management in the late ’40s, the expansion to two and Actors’ Equity Association, the union of • Behind-the-scenes experiences from Webster University in St. Louis, theatres in the ’50s, Globe Educational professional actors and stage managers in the • Popular attractions and MUCH MORE! United States. Missouri, and his M.F.A. in Performing Tours in the ’70s, and Teatro Meta and Arts Management from Brooklyn Col- the Old Globe/University of San Diego NEW YORK: May 23 − 29, 2014 The Directors are members of the Society Experience The Big Apple and Its Fantastic Theatre lege of the City University of New York. Graduate Theatre Program in the ’80s. of Stage Directors and Choreographers, an independent national labor union. During the 1940s, Mr. Noel served as • Round-trip Air from San Diego • 7 days/6 nights at the Millennium Broadway Hotel JACK O’BRIEN dialogue director for the 20th Century • 3 Broadway productions including: This Theatre operates under an Agreement (Artistic Director Emeritus) served as Fox Studios and was the director of the with the International Alliance of Theatrical • A Raisin in the Sun starring Denzel Washington the Artistic Director of The Old Globe Ernie Pyle Theatre in Tokyo. Described Stage Employees Local No. 122. • The Bridges of Madison County from 1982 through 2007. Mr. O’Brien by Variety as the eminence grise of San • Harbor cruise and guided walking tours most recently directed Ethan Hawke Diego theatre, Mr. Noel is one of the • Breakfast theatre talk The Scenic, Costume, Lighting and Sound • Lunch at Pete’s Tavern in Macbeth on Broadway this season. few San Diegans to have had an entire Designers in LORT Theatres are represented by • Unique tours and MUCH MORE! His Broadway credits also include: The year (1987) proclaimed in his honor,and United Scenic Artists Local USA-829, IATSE. 2013 London and Paris trip participants at Shakespeare’s Globe. Nance, Dead Accounts, Catch Me If You to be named one of San Diego’s “Living Can, Impressionism, The Coast of Utopia Treasures.” He was a founder of the Cali- The price of each tour is $3,495 plus airline taxes and fuel surcharges. (Tony Award), Dr. Seuss’ How the Grin- fornia Theatre Council and a former vice SPECIAL THANKS Optional three day excursion to Stratford-upon-Avon is $795. ch Stole Christmas!, Dirty Rotten Scoun- president of the California Confedera- Alan Oscar Johnson drels (Tony nomination), Henry IV (Tony tion of the Arts. His numerous honors For more information, contact The Old Globe at (619) 231-1941 x2317 or [email protected]. We look forward to traveling with you! 18 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 19 AT THE GLOBE On Sunday, October 6, 2013, The Old Globe celebrated the start of a new season with the opening of The Last Goodbye, a musical adaptation of Shakespeare’s Romeo and Juliet featuring the music and lyrics of Jeff Buckley. Circle Patrons gathered in Hattox Hall before the show for dinner with director Alex Timbers and other members of the creative team and later mingled with cast members under the stars during the cast party on beautiful Copley Plaza.

1 2 JIM COX The cast of A Midsummer Night’s Dream, 2013. Relax in Style in the New and 3 4 Improved Private Donor Lounge!

Circle Patrons are vital supporters of The Old Globe. Their gifts allow the theatre to produce a wide array of productions and offer essential education and community programs to participants countywide.

When you join the Circle Patron family of donors, you will embark on a new level of theatrical enjoyment as you support the Globe’s mission and partake in a bevy of benefits, such as:

5 Craig Noel Circle ($2,500) Founder Circle ($5,000) Director Circle (10,000) All benefits of Craig Noel Circle plus All benefits of Founder Circle plus • Complimentary admission 6 to the new and improved • Admission for two to the • Complimentary Globe valet Lipinsky Family Suite private complimentary Founder Circle parking for one performance donor lounge. Dinner in the fall. of each production. • Personal VIP ticketing and • Invitation for two to the • Personal VIP ticketing for subscription services. Annual Meeting Dinner. productions at participating theatres in London. • Invitations to Circle Patron • Personal VIP ticketing for events and behind-the-scenes productions at participating • Access to Globe facilities for experiences with Globe artists. theatres in New York. private meetings or events. • Complimentary admission for • Voucher for one use of the two to the opening night event Globe VIP valet parking of your choice. service. 7

1. Artistic Director Barry Edelstein, Board member Harvey White, Sheryl White, and director Alex Timbers. 2. Ron and Ruth Leonardi, Board member Kathryn Hattox, and John Hattox. 3. Production Sponsors and former Board Chairs Harvey and Sheryl White (far right) and cast members of The Last Goodbye. 4. David and Solveig Bassham. 5. Board To learn more about the Globe’s Circle Patron program, contact Major Gifts Officers Rachel members Conrad Prebys and Debra Turner and Managing Director Michael G. Murphy. 6. Production Sponsor Gloria Rasmussen and cast member Brandon Gill. 7. Mike and Suzie Plummer or Keely Tidrow at (619) 231-1941. Turner, Immediate Past Board Chair Hal Fuson, and Pam Fuson. Photos by Doug Gates.

20 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 21 AT THE GLOBE ENHANCE YOUR THEATRE EXPERIENCE Become a Member of the Globe’s Annual Fund! Globe Board member and Season Sponsor MARY BETH ADDERLEY Even with strong ticket sales, income from the box of- “The talent that comes to the Globe because of its fice only accounts for approximately 50% of the the- artistic reputation is above the norm—not just ac- atre’s $20 million operating budget. As a not-for-profit tors, but also playwrights, lyricists, musicians, and theatre, The Old Globe primarily relies on the generous many people behind the scenes. Giving the oppor- support of patrons like you to contribute the rest. An- tunity to these wonderful artists is a very important nual Fund donations support artistic work and educa- reason to support The Old Globe.” tional programs that the Globe offers to the San Diego Board member Mary Beth Adderley (center) with The Few playwright community. Annual Fund members also receive ben- Samuel D. Hunter (right), director Davis McCallum (center), and cast members (from left) Gideon Glick, Eva Kaminsky, and Michael Laurence efits that enhance the theatregoing experience. Check on opening night. to see if your company has a matching gift policy, which can double the impact of your donation. JEFFREY WEISER Old Globe Technical Director Ben Thoron leads a VIP backstage tour.

DOUG GATES Annual Fund Benefits(by membership level): Globe Board member, Partner, PricewaterhouseCoopers • Complimentary backstage tour ($125) • Three complimentary blanket rentals ($500) LLP, Director Circle Corporate Member • Subscription seating upgrade priority (commensurate with • Invitations to selected opening night receptions ($1,000) STEVE EMBRY giving level) • Voucher for one complimentary admission for two to the WHAT • Discounts at participating restaurants ($250) Lipinsky Family Suite ($1,000) “The Old Globe is a unique meeting place that • Opportunity to purchase tickets before the general public ($250) • Invitations to all opening night dinners ($1,500) THE GLOBE enriches the community of San Diego. With • Listing as an Annual Fund donor in all programs for one year ($500) • Gift from the Helen Edison Gift Shop ($1,500) today’s fast paced, technologically infused life- • Invitations to attend Meet the Artist events ($500) style, PwC is proud to support this wonderful MEANS institution that creates an environment that To learn more about Annual Fund giving and benefits, contact Jessica Burger, Development Manager of Individual Annual enables each of us to pause, share, imagine, Giving, at (619) 231-1941 x2311. TO US and explore.” Board member Steve Embry and wife Laura at the 2013 Globe Gala. ENDOWMENT DOUG GATES For Long-Term Stability of Your Old Globe Gold Level Members, Globe Guilders, and Docents CAROL AND DON GREEN As a not-for-profit performing arts orga- To buffer against a wavering economy, the nization, The Old Globe balances its bud- Globe must create a robust endowment to “The life and work of The Old Globe has been a treasured get primarily through ticket revenue and ensure longterm artistic and financial sta- part of our lives for over 30 years, both as audience mem- contributed income. You, as our loyal au- bility. An endowment is a trust that gener- bers and as volunteers. To be a part of such life affirming dience, provide that income through your ates reliable income to cover a portion of and enriching work is a great joy and privilege.” attendance and your generous contribu- operating expenses and helps protect the (from left) Don and Carol Green with actor Jefferson Mays at A Gentleman’s Guide to Love and Murder Meet the Artist event. tions, without which we could not produce institution against inevitable economic the level of productions that San Diego shifts. has come to expect. NOWELL WISCH The Old Globe Board of Directors has im- In not-for-profit organizations, a fre- plemented strategies to create an appro- Craig Noel Circle Patrons quent gap exists between reliable annual priate endowment for the future, and we JERRI-ANN AND GARY JACOBS revenue and funds necessary to cover encourage you to consider playing a role. “We appreciate the Globe’s educational outreach as it is expenses, and that gap is closed through Your support—through a cash or planned very important to develop appreciation for the arts among cost controls, box office sales and extraor- gift—can ensure that generations to come K-12 students. We also enjoy meeting the actors, backstage dinary gifts from individuals. However, will continue to learn about and experi- crew, directors, and playwrights along with all the others an unreliable economy and fluctuations in ence the works of Shakespeare, Shaw, and responsible for putting on the Globe’s amazing plays.” revenue can leave the Globe in a precari- O’Neill, along with the many new voices in ous position. American theatre. Jerri-Ann and Gary Jacobs with choreographer Sonya Tayeh (center) on opening

night of The Last Goodbye. JIM COX Angel Desai and Michael Hayden in Double Indem- nity, 2013.

DOUG GATES To learn more about the Globe’s planned giving program or ways to support the Endowment, please contact Todd Schultz, Director of Development, at (619) 231-1941 x2310.

22 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 23 AT THE GLOBE SUBSCRIBE TODAY TO THE SUBSCRIBE ONLINE OR 2014 SUMMER SEASON! THROUGH THE Join the CRAIG NOEL LEAGUE Today BOX OFFICE! Ensure a Stronger Future for The Old Globe! 2014 SHAKESPEARE FESTIVAL The McCarter Theatre Center OTHELLO in association with Fiasco Theater The Old Globe is very dear to us, and to enjoy production of live theatre is an important part of our lives. We By WILLIAM SHAKESPEARE Directed by BARRY EDELSTEIN INTO THE WOODS are happy that we are able to experience it and JUNE 22 – JULY 27, 2014 Music and Lyrics by STEPHEN SONDHEIM would like others to do the same. We try to help, Book by JAMES LAPINE within our ability, to support the theatre’s work Originally directed on Broadway by JAMES LAPINE and productions not only for us but for the fu- THE TWO As reimagined by FIASCO THEATER ture. With that in mind, we decided to do some- Directed by NOAH BRODY and BEN STEINFELD thing that would help the ongoing success of The GENTLEMEN OF JULY 12 – AUGUST 10, 2014 Old Globe: we chose to name the Globe as the VERONA beneficiary of an insurance policy we drafted in Ruth Wikberg-Leonardi and Ron Leonardi. By WILLIAM SHAKESPEARE QUARTET 2012. This is a gift that will keep on giving long Directed by MARK LAMOS after we have passed. Presently, we fund the insurance policy with a tax-deductible annual By RONALD HARWOOD AUGUST 10 – SEPTEMBER 14, 2014 Directed by RICHARD SEER contribution until the contract is paid off. Upon our passing the benefit will go directly to The JULY 25 – AUGUST 24, 2014 Old Globe and help ensure that great live theatre will continue in San Diego for years to come.” —Ruth Wikberg-Leonardi and Ron Leonardi, Craig Noel League members www.TheOldGlobe.org/Subscriptions | (619) 234-5623

In Memoriam and Endowment Gifts

Craig Noel League Members Donors to the Endowment Margaret Armbruster Betty Crates Dennis Tom Howell Maggie Mazur Diane Sinor John A. Berol William Armbruster Barney DeSelm David Huffman Bob McGlade John Sinor Anonymous (19) Mr. Alan Gary & Shirley Mulcahy Eric Leighton Swenson Ronald Brown Colonel Albert A. Arnhym Jean DeSelm Helena Ingrum Cora Inez McGlade Mary Sisskind Ms. Joanee Udelf Ava Carmichael Leni Arnhym Chris Dimolias Barbara Iredale David McIntyre Anne Smith Diana Barliant* Laurie Dale Munday Anne C. Taubman Harry & Valerie Cooper Lois L. Bailey Trust Edith Dolnick Judge T. Bruce Iredale Paul Michael Larry Spear Jan Bart Nancy Reed Gibson Stanley Nadel & Cecilia Carrick Randy Tidmore Maria Correia Grace Barbey Dozoretz Family Estate Thelma Irwin Eleanor Mikkelsen Marje Spear Nancine Belfiore Robert Gleason & Marc Matys Alice B. Nesnow Cherie Halladay Tirschwell Jane Cowgill Diana Barliant Mary Suzanne “Sue” Drew Bob Jamieson Elsa Mikkelsen Denise Spooner Alan Benaroya Marcy Goldstone Arthur & Marilyn Neumann Evelyn Mack Truitt Darlene G. Davies Lillie Mae Barr Bill Eaton Rudy Jarabek Judy Miller Andrew Stewart Danah Fayman Chester K. Barta, MD Jessica Eaton Donald Jenkins Francis M. Millican Jane Stillman Carol & Don Green Ronald J. Newell Barbara Bolt Ginny Unanue Mr. & Mrs. Feldman F. William Bartels, LS Helen Edison Mary Jermanok Richard C. Mitchell Charles E. Stoll Nancy Brock Betsy Hamblin Greg & Polly Noel Jordine Von Wantoch Ellis Construction Joseph Basquez John Ellsworth Joseph E. Jessop, Jr. Dr. Francis Montalbano Cora Sweet Ronald Brown Bernard & June Harland PACEM (Pacific Academy of Merle Wahl* Kathryn Hattox Katherine Black Anne Enoch Barbara Johnson Jack Mosher Kay Taylor-Hopkins

CRAIG NOEL, 1957 Dr. & Mrs. Edgar D. Canada Kathryn Hattox Ecclesiastical Music) Holly J. B. Ward The Hollis Foundation Frank Bowers Montague Enoch Gram Jones Jim Mulvaney Hie Thompson David & Debbie Hawkins Sarah B. Marsh-Rebelo & James and Jan LaGrone Patricia Wynand Brandon Pauline Evans Dana Juhl Josiah L. Neeper Marilyn Thompson Sandra & Harry Carter Sarah Woodruff Watkins The Mr. Isaac C. Malamud Dorothy Brown Dennis Farmer Steve Kaster Rita Neeper Peg Thornton Garet & Wendy Clark Jill Denison Holmes John Rebelo Sheryl & Harvey P. White and Mrs. Agustina R. Lewis Brown Chuck Farr Anne M. Kay Kenneth Newton Martha Tingler Joseph J. Cohen & Craig & Mary Hunter Esther Rodriguez Mrs. Jack Galen Whitney Malamud Foundation Vincent Buckley Bunny Feldman Hank Kelley Craig Noel Howard Tirschwell Martha P. Farish Grace Johnston Darlene Marcos Shiley Julie Meier Wright The Mission Valley Victor Buono Betsy Flannagan Peggy Kellner The Teresa A. Nugent Marian Trevor R. Patrick & Sharon Connell Gladys H. King Patsy & Forrest* Shumway Community Fund Clair Burgener Annette Ford Luther Kennett Memorial Fund Walter Trevor Carolyn Yorston-Wellcome Mr. Stephen B. Nielander & Louis Yager Cantwell Mrs. John H. Fox Bill King Martin B. Ortlieb Burton & Valeda Turner Jane Cowgill Marilyn Kneeland B. Sy & Ruth Ann Silver Ms. Dominique K. Alessio C. Wayland Capwell Robert Friedenberg J. Robert King Victor Ottenstein Walter Varner Gigi Cramer Jean & David Laing Dee E. Silver, M.D. *In Memoriam La Nona Royalty Funds Mary Delafield Carter Dorothea Gales Agnes Kinsella Dr. Ralph W. Otterstrom Patti Vars Patricia W. Crigler. Ph. D., James & Janice LaGrone Stephen M. Silverman National Endowment for Whitfield Case Dessie Galland Richard Kneeland Douglas Pagliotti Dick Viertel CAPT/USN/Ret. Dr. Ronald & Roberta Simpson the Arts Jack Cecil Dorothy Garland Tony Kopas Margaret F. Peninger Ann C. Vojtko Jeannie Polinsky Rivkin J. Dallas & Mary Clark Sheldon Gero Jack Krill William F. Penny, Sr. Phil Wahl Carlos & Patricia Cuellar Mrs. Ruth W. Leonardi Jen Sisskind Artistic Fund Gordon Frank Cleator Shirley Gillespie Rose Ruth Kuntz Clive Nelson Pillsbury Merle G. Wahl Darlene Gould Davies Jerry Lester Foundation Dolores & Rod Smith The San Diego Foundation Marian Colby Tony Gillson Jeff Larsen Dolly & James Poet Harvey Von Wantoch Mrs. Philip H. Dickinson Robin J. Lipman Marisa SorBello & Peter Czipott Pat Thomas Hazel Goes Cook Dr. Viola Granstaff John David Lentz Sheila Potiker Rusty Walker Doug Druley & Becky Young Heather Manion John & Cindy Sorensen San Diego Trust & Savings David C. Copley Gracie Knudsen Gray Georgie Leslie Dorothy S. Prough Tim Ward Celeste & Gene Trepte Dudley R. Cooper Mike Gubitosi Marguerite “Peg” Lewis Anne Ratner Jim Webre Bernard J. Eggertsen & Chris & Jill Metcalf Nancy A. Spector & Pat and Christopher Weil Tom Corcoran Peg Graybill Nim Lindsey Allen Redman Alma Webster Florence Nemkov Paul I. & Margaret W. Meyer Alan R. Spector Tim & Ellen Zinn Geraldine Corda Sam L. Hall Bernard Lipinsky Hadley & Hester Richardson Robert West Dr. & Mrs. Robert Epsten Steve Miller Jeanette Stevens Clif Cowgill Dr. Winston Hall Dorris Lipinsky Will Roberson Jack Whitney Frank A. Frye, III Dr. Robert W. Miner Peter Stovin & Marilyn Johns In Memoriam Gifts Kay Crick Patricia E. Hanft Elaine Lipinsky Nancy Rondebush Hal Williams to the Endowment Josephine Crum Connie Hedges Gordon Luce Eleanor Rose Dr. Stanley E. Willis II or Annual Fund Warren Currier James Hempstead Dr. Fraser L. Machpherson Serena Sams Dick Wilson Jack Aaronson Francis Cushing Kerry Hogan-Bean Irma Macpherson Margaret E. Schultz Dolores M. Wilson Mary Adams Ethelind Davies Nina Hoke Marie Manning Rose Schweitzer Victor Wulff To become a member of the Craig Noel League or to tell us of a gift you have already made, please contact Bridget Cantu Wear, Richard Croxton Adams John Davies Chuck Hollinquest Bini Vincent Marquez Marilyn Shaw John Robert Agajeenian Lowell Davies Bettie Holloway Minerva Marquiz R. Ernest Sheperd Associate Director of Development, Planned Giving, at (619) 231-1941 x2312 or [email protected]. Helen Albritton Lyn Ann Deems Violetta Horton Delza Martin Forrest N. Shumway

24 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 25 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 HENRY DIROCCO HENRY JIM COX 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 Elaine and Dave Darwin Brian and Silvija Devine Audrey S. Geisel Sheryl and Harvey White Conrad Prebys and Sponsor since 2009 Sponsors since 2011 Sponsors since 2012 Sponsor since 1998 Sponsors since 2000 Debra Turner Sponsors since 2004

Rhona and Rick Thompson Hal and Pam Fuson Vicki and Carl Zeiger Sponsors since 2013 Sponsors since 2013 Sponsors since 2014

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 Sponsor since 2007 Sponsor since 2005

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.

26 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 27 OUR THANKS Charles & Millicent Froehlich Jan Harden Webster & Raul Ortega Ms. Sandy Wichelecki & Dr. Ken Pischel & Dr. Katherine Ozanich Joy & Dr. Fred Frye The Patricia and Christopher Weil Ms. Suzanne Dukes Rowling Family Charitable Fund of the Elaine Galinson Family Foundation Howard & Christy Zatkin Jewish Community Foundation ANNUAL FUND DONORS Barbara & Albert Garlinghouse Shirli, Damien and Justin Weiss Frank Ruyak Bill & Judy Garrett Mary Kay West GOLD San Diego Branch of The Old Globe’s ability to maintain the highest standard of excellence, while keeping ticket prices affordable, is due in large Teresa George Pat & Bob Whalen ($500 to $999) The English-Speaking Union Wendy Gillespie James E. & Kathryn A. Whistler George Amerault Jay & Julie Sarno part to the financial support of more than 2,000 individuals, businesses, foundations and government agencies. Please join Robert Gleason & Marc Matys Anonymous (6) Simon & Ruth Sayre us in giving a warm thanks and recognition to these leaders who have made tonight and our other performances possible. The Sheila & Tom Gorey DIAMOND Earl Asbury Brigid Hom-Schnapp & Russell Schnapp George C. Guerra ($1,500 to $2,499) Alicia Atun & Elaine Rendon* Marilies Schoepflin, Ph.D. Old Globe appreciates the support of those who have stepped into the spotlight. Ms. Cheryl Haimsohn Anonymous (2) Bruce & Patricia Becker Linda J. Seifert Guy & Laura Halgren Jeff & Donna Applestein Amnon & Lee Ben-Yehuda Howard & Beverly Silldorf Pat & Rick Harmetz Mrs. Lazare F. Bernhard Drs. John & Karen Berger Mr. William D. Smith & Dr. Carol Harter Benefactors ($100,000 and above) Patrick Harrison & Eleanor Lynch Jane Cowgill Jay Biskupski & Catherine Imrie Don Stanziano & Michael Sikich Liz & Gary Helming Holly & David Bruce Barbara Bolt Ronald & Susan Styn Anonymous The James Irvine Foundation Darlene Marcos Shiley, in memory of Donald Shiley Rhonda Heth & Thomas Mabie Bill & Nancy Homeyer Deb & Brand Brickman Mr. & Mrs. Gordon Swanson City of San Diego Commission for Arts & Culture Microsoft The Shubert Foundation Gary & Carrie Huckell Dr. & Mrs. M. Joseph McGreevy Ruth Bunn Clifford & Kay Sweet Globe Guilders Paula & Brian Powers Sheryl & Harvey White Foundation Richard & Janet Hunter Judith & Neil Morgan Mary-Kay Butler Tim & Judy Tillyer Hutcheson Family Fund at Akiko Charlene Morimoto & Beth & Tim Cann Brenda & Robert Tomaras The San Diego Foundation Hubert Frank Hamilton, Jr. Luc Cayet & Anne Marie Pleska Doris Trauner, M.D. & Richard Sanford ($50,000 to $99,999) Drs. Sonia & Andy Israel Elspeth & Jim Myer Lynne Champagne & Wilfred Kearse Jeffrey & Sheila Truesdell Season Sponsors Jerri-Ann & Gary Jacobs Susan C. Parker Richard T. Clampitt Natalie C. Venezia & Paul A. Sager Mary Beth Adderley Mr. & Mrs. Brian K. Devine The Parker Foundation (Gerald & Inez Grant Parker) Pat JaCoby Shearn & Linda Platt Jack & Carol Clark Karen Walker The Legler Benbough Foundation Edgerton Foundation Conrad Prebys & Debra Turner Mary & Russell Johnson Ryde Family Memorial Foundation at Alan L. & Frances E. Cornell Kathy & Jim Waring John A. Berol Hal & Pam Fuson Qualcomm Foundation Jackie Johnston The San Diego Foundation Ronald D. Culbertson The Washkowiak Family Katleman Family Fund of the Ann & Robert Steck Honorable Vincent Di Figlia Dennis & Carol Wilson Mary Ann Blair Audrey S. Geisel/Dr. Seuss Fund Mickey Stern Jewish Community Foundation Jack & Louise Strecker Dr. Donald & Eilene Dose Cass Witkowski Family California Bank & Trust at The San Diego Foundation Rhona & Rick Thompson Dr. Gerald & Barbara Kent Ms. C. Anne Turhollow & Jacqueline & Stanley Drosch Brendan M. & Kaye I. Wynne Karen & Donald Cohn Kathy & John Hattox United Edythe Kenton Mr. Michael J. Perkins Berit & Tom Durler Peter Cooper & Norman Blachford HM Electronics, Inc. Wells Fargo Gladys H. King Bill Eiffert & Leslie Hodge SILVER Ken & Sheryl King PLATINUM Drs. George & Susan Dersnah Fee ($250 to $499) Valerie & Harry Cooper Joan & Irwin Jacobs Fund of the Vicki and Carl Zeiger Webster & Helen Kinnaird ($1,000 to $1,499) Richard & Beverly Fink Margaret Acampora Elaine & Dave Darwin Jewish Community Foundation Jane & Ray* Klofkorn In Memory of Freda Altschuler & Family Foundation Karen Adam Curt & Nancy Koch Sylvia Goldin Pauline Forman & Jack Burke Diane Ambrose Rosalie Kostanzer & Michael Keefe Drs. Gabriela & Mike Antos Steven & Susan Garfin Anonymous (8) Production Sponsors ($25,000 to $49,999) Regina Kurtz, in fond memory Sondra & Robert Berk Fund of the Terrie Georgi John & Elizabeth Bagby of Al Isenberg Jewish Community Foundation Arthur Getis & Roberta King Sharon & Bill Beamer Bank of America Elaine & Leonard Hirsch San Diego Gas & Electric® Bob & Laura Kyle Gary & Barbara Blake Family Fund of the Norman & Patricia Gillespie Sally & John Berry Alan Benaroya The Hull Family Sheraton San Diego Hotel & Marina Jean & David Laing Jewish Community Foundation J. M. Gillman Nicholas B. Binkley Richard & Kathy Binford Jo Ann Kilty Ms. Jeanette Stevens Terry & Mary Lehr Bob & Joyce Blumberg Robert & Edry Goot Robert Blanton & Ann Clark Pamela & Jerry Cesak Barbara G. Kjos Gillian & Tony Thornley Ms. Sherrill Leist Cecilia Carrick & Stan Nadel Barbara & Leonard Gosink Kathleen Blossfield Cohn Restaurant Group/Prado Restaurant Elaine Lipinsky Family Foundation Torrey Pines Bank Ronald & Ruth W. Leonardi Walter & Cheryl Deegan Chris Graham & Michael Albo Gaylyn N. Boone & James R. Dorcy James & Pamela Lester Dorothy R. Dring Carol & Don Green Douglas & Helen Boyden Ann Davies Jeffrey & Sheila Lipinsky Family Foundation Evelyn Mack Truitt Sandy & Arthur Levinson Clare & Paul Friedman Richard & Candace Haden LaVerne & Blaine Briggs Nina & Robert Doede National Corporate Theatre Fund Union Bank Robin J. Lipman Gay and Lesbian Fund for San Diego Jeff & Judy Handler Donor Advised Fund at the Pamela A. Farr Neiman Marcus U.S. Bank Barbara & Mathew Loonin at The San Diego Foundation James & Ruth Harris Fund of the Rancho Santa Fe Foundation GEN7 Wines Random House Children’s Books Mandell Weiss Charitable Trust Dr. Robert & Marcia Malkus Louise & Doug Goodman Jewish Community Foundation David Burns & Diane Lischio Jackie & Charlie Mann Fund of the Arthur & Marlene Greenberg Virginia Hawkins R. Nelson & Janice Byrne Higgs Fletcher & Mack, LLP Gloria & Dick* Rasmussen Jewish Community Foundation Hexagone Kaaren Henderson Helen M. Caldwell Lois Marriott Joan & George Hornig Jamie Henson & Robert Houskeeper Brent Carey Director Circle ($10,000 to $24,999) Ms. Kerri Martella Isaacs Brothers Foundation at Bruce & Jane Hopkins Leslie & Shlomo Caspi Dr. Ted & Marcy Mazer The San Diego Foundation Joseph & Donna Hynes Elaine Chortek Jane Smisor Bastien Lee & Frank Goldberg Price Family Charitable Fund Elizabeth & Edward McIntyre Kenneth & Marilyn Jones Ed & Linda Janon Lisa Churchill Bjorg Family Dr. & Mrs. Harry F. Hixson, Jr. Jean & Gary Shekhter Elizabeth B. Meyer Louis & Mary Beth Kelly Tony & Nancy Janus K. Cline The Anthony Cerami & Ann Dunne Daphne H. & James D. Jameson Ben & Karen Sherwood Dr. Howard & Barbara Milstein Robert Kilian & Kathleen Slayton Dr. & Mrs. Clyde W. Jones James Cochran & Sue Lasbury Sara F. Moser Gayle & Jerry Klusky Anthony & Joyce Joseph Boyd & Rita Collier Foundation for World Health Brooke & Dan Koehler Nita & Henk van der Werff Nancy & James Mullen Bill & Linda Kolb Bob & Janice Kayler Michelle Conde Nikki & Ben Clay Carol & George Lattimer Jordine Skoff Von Wantoch Bette Nagelberg Dr. & Mrs. James E. Lasry Dr. Marvin M. Kripps Maryanne Cordahl Joseph Cohen & Martha Farish Rebecca Moores Pamela J. Wagner Joyce & Martin Nash Thomas D. Lookabaugh Foundation La Farfalla Cafe Florence C. De Lucia The County of San Diego National Endowment for the Arts Dr. Steve & Lynne Wheeler Lyn Nelson Edward & Nancy Lyon LABS, Inc./Silvia Dreyfuss Angie DeCaro Dan & Phyllis Epstein Caroline & Nicolas Nierenberg Karin Winner Arthur & Marilyn Neumann Joy & Ronald Mankoff Rick & Sherry Levin Caroline S. DeMar Lawrence Newmark Jasna Markovac & Gary Miller Marshall & Judy Lewis Fund of the Bethany Derrough Dr. & Mrs. Robert Epsten Tom & Lisa Pierce Brent Woods & Laurie Mitchell Patrons of the Prado Marcia A. Mattson Jewish Community Foundation The Disraeli Family Fund of the Karen Fox & Harvey Ruben Ramin Pourteymour June E. Yoder Patricia Payne Jim & Ruth Mulvaney Foundation at Carl Maguire & Margaret Sheehan Jewish Community Foundation Diana R. Glimm Allison & Robert Price Col. & Mrs. Ben Pollard The San Diego Foundation Sally & Luis Maizel Sidney Djanogly Bill & Mo Popp Mark Niblack, MD Drs. Betty Joan Maly & John Meyers Steve & Sandy Drew Daniel Porte Jr., MD & Sally Dubois Virginia Oliver Mercy & Ron Mandelbaum Victor & Louise Engleman The Arthur & Jeanette Pratt Barbara B. Oswalt Rev. Stephen J. Mather The Englunds FOUNDER CIRCLE William Karatz Pamela & Marty Wygod Edward & Pamela Carnot Memorial Fund Christopher & Susan Pantaleoni Ronald McCaskill & Robyn Rogers Joan & Milt Evangelou ($5,000 to $9,999) Jennifer Lake & Donald Francis Donovan Harry & Sandra Carter Joseph & Jane Rascoff Robert & Doris Reed Mr. & Mrs. William M. McKenzie Esther & Robert Feier Lawrence G. Alldredge & Dawn Moore Peter Landin & Michelle Cardinal CRAIG NOEL CIRCLE George & Ellen Casey Sarah B. Marsh-Rebelo & John G. Rebelo John & Josette Rekettye Mr. & Mrs. Paul E. Michelson Dr. & Mrs. Richard Friedman Melissa Garfield Bartell & Michael Bartell Peter Manes & Yoko Sakaguchi ($2,500 to $4,999) Rudy & Carol Cesena Nancy J. Robertson Jordan Ressler Charitable Fund of the James & Estelle Milch Fund of the Dr. & Mrs. Benjamin Frishberg Joan & Jeremy Berg Paul & Maggie Meyer Dr. & Mrs. Wayne Akeson Garet & Wendy Clark Cathy & Larry Robinson Jewish Community Foundation Jewish Community Foundation John & Mary Garvelink Barbara Bloom Money/Arenz Foundation, Inc. Gail Andrade and Ms. Heidi Conlan/ Carole Sachs Esther Rodriguez Rena Minisi & Rich Paul Peter & Christine Gault The Louis Yager Cantwell Matthew & Judith Pollack John & Jennifer Andrade The Sahan Daywi Foundation Beverly & Warren Sanborn The Ralph B. Rogers Foundation Charles & Ilene Mittman Rita Geisel Private Foundation John & Marcia Price Family Foundation Anonymous (6) Richard & Stephanie Coutts Sue & Duff Sanderson Dr. Sara Rosenthal & Dr. Julie Prazich Dr. Robert & Anne Morrison Mr. & Mrs. Bruce Gemberling Carol & Jeff Chang Rivkin Family Fund I at Judith Bachner & Eric Lasley Susan Barlow Cowell Sherry & C.A. Sheppard Crystal A. Rubin Charles & Susan Muha Phyllis & Morris Gold Colwell Family Distributable Fund at The San Diego Foundation Jan & Rich Baldwin Gigi & Ed Cramer Drs. Joseph & Gloria Shurman Ryan Family Charitable Foundation Shirley Mulcahy Fred & Lisa Goldberg The San Diego Foundation The Jerome Robbins Foundation Bobbie Ball Carlo & Nadine Daleo Dee E. Silver, MD Sabuku Sushi Marsha J. Netzer George & Dorothy Green R. Patrick & Sharon Connell Chrissy & Roger Roberts Diana J. Barliant* & Nowell Wisch Darlene G. Davies, in memory Beth & Kevin Smith Richard Seer & Douglas Wallingford Evy & Ed Newton Euvoughn L. Greenan Bernard J. Eggertsen & Florence Nemkov Patricia K. Shumway Jan Bart of Lowell Davies Elene & Herb Solomon Alan & Esther Siman William & Carla Nolan Craig & Catherine Greene Marion Eggertsen Iris & Matthew Strauss Mr. & Mrs. Bear Pat & Dan Derbes Marisa SorBello & Peter Czipott Dave & Phyllis Snyder Rod & Barbara Orth Gary & Anne Grim Barbara & Dick Enberg Kathryn B. & Daniel L. Sullivan Family Charlotte & Charles Bird Dean & Mrs. Michael H. Dessent Nancy & Alan Spector and Family Margery & John Swanson Dr. David & Elizabeth Ostrander Theodore Gryga Carol Spielman-Ewan & Joel Ewan Fund at The San Diego Foundation Joan Bishop, in memory Jim & Sally Ditto Barbie & Dan Spinazzola Greta & Steve Treadgold Lori Partrick Stanley C. Harazim Susanna & Michael Flaster Pat & Jack Thomas of Harold McNeil Devora & Ron Eisenberg of Great News! Nancy Steinhart & Rebecca Goodpasture Stan & Anita Ulrich Julius J. Peal Fund at George D. Hardy Martha & George Gafford Cherie Halladay Tirschwell Paul Black Mr. & Mrs. Ira S. Epstein Hannah & Gene Step James & Ellen Weil The San Diego Foundation Mark & Corrine Harvey Drs. Thomas H. & Jane D. Gawronski Carol Vassiliadis Steve & Elizabeth Bluhm Diane & Elliot Feuerstein Karen & Don Tartre David & Irene Weinrieb In Memory of Margaret Peninger Garry & Sharon Hays Norm Hapke & Valerie Jacobs Hapke Viterbi Family Fund of the Dr. Herman & Irene H. Boschken Mary & David Fitz Suzanne Poet Turner & Michael Turner Judith Wenker Clifford T. Pentrack & Gordon & Phyllis Harris Jewish Community Foundation Anita Busquets & William Ladd Jean & Sid Fox Mary R. Warkentin Mary E. Giovaniello (continued on page 31) Alexa Kirkwood Hirsch Jim & Mary Jane Wiesler Dr. & Mrs. Edgar D. Canada Chuck Freebern

28 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 29 (continued from page 29) Timothy S. Lucey Dr. & Mrs. Richard Perlman Jill & Evan Stone Bill Luckow Abigail Pike Dave & Jan Stormoen OUR THANKS Joan Henkelmann Neil Malmquist Drs. Paul & Katherine Ponganis Eric & Marian Suggs Gerald M. Hermanson & Deborah & Frederick Mandabach Eve Pritchard Mrs. J.B. Swedelius CORPORATE DONORS Donna L. Buckner Russell Mangerie Alex & Eileen Pue John & Gail Tauscher Mrs. Suzanne Hess Patricia Manning James & Judith Queenan Brian & Janet Taylor Blaine Hibbard The Maretz Family C. Jay & Kathleen Rains Marshall & Leila Taylor Donald J. Hickey Joseph L. Marshall & Stuart & Linda Robinson Reed & Solange Thompson Christine Hickman & Dennis Regan Dr. Rosemarie Marshall Johnson Wayne & Christine Rounsavell Keely Tidrow Lead Season Sponsors ($75,000 or more) Season Sponsors ($50,000 - $74,999) Charlotte Hockstein Mr. & Mrs. Gerald P. May, Jr. Dr. Norman & Barbara Rozansky Doug & Lynn Todd Peggy & John Holl H. G. McAvenia George & Karen Sachs Robert C. & Melesse W. Traylor Stephanie & Carl Hurst William McBride Susan Salt Capt. & Mrs. Ben Trovaten Robert Hyman Robert McCommins Samiljan Family Fund of the Barbara C. Ward Susan D. Inot Dennis A. McConnell Jewish Community Foundation Judith L. White Isabella Fund at The San Diego Oliver McElroy & Karen Delaurier Patrick Sammon & Mark Munsey Olivia & Marty Winkler Foundation Teresa McEuen Lillian Schafer Omar & Carol Winter Bob & Sylvia Johnson Charles & Billie McKnight Shari & Frederick Schenk Mr. & Mrs. John W. Witt Natasha Josefowitz, Ph.D. C. & D. Meadrus Carl Schott Caryl Lees Witte Jim & Sharon Justeson Phyllis Minick Martin & Connie Schroeder Joe & Mary Witztum Drs. Irvin & Nancy Kaufman Ursula Moede RAdm. & Mrs. James Sears Mr. & Mrs. William F. Wolff Julia Kenyon Craig & Betsey Monsell Dr. Katharine Sheehan & David A. Wood Mr. & Mrs. Robert Kucinski Terry & Sandra Moore Dr. Frederick Walker Vicky Zollweg & Michael Dunteman James & Janice LaGrone Mimi & Ernie Mortensen Glenda Allen Shekell Dr. & Mrs. Steven Landgarten Paul Nelson Alex V. Sher James Lare & Jacquelyn McCoy Darrell Netherton Curt Sherman *In Memoriam Bill & Tamara Lascurain Dr. & Mrs. Tom Neuman Stella Shvil Professional Fiduciary This list current as of January 10, 2014. Elliott & Phyllis Lasser Jan & Mark Newmark Anne & Ronald Simon Dixon & Pat Lee Katherine Newton Malcolm E. Smith Ellen & Ira Levine Thomas & Tanya O’Donnell Norman & Judith Solomon B. Leonard Levy Max & Fredda Opalsky Bill & Barbara Sperling Lois & Larry Lewis David Ortiz Susanne Stanford Fund of the ($25,000 - $49,999) Morris & Zita Liebermensch Susan & Jimmy Oxford Jewish Community Foundation Production Sponsors Eric & Lori Longstreet Phil & Pam Palisoul Ann & Robert Steiner

For additional information on how you may support The Old Globe’s artistic, education and community programs, please visit our website at www.TheOldGlobe.org or contact Rachel Plummer, Major Gifts Officer, at (619) 231-1941 x2317 or [email protected].

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

30 PERFORMANCES MAGAZINE PERFORMANCES MAGAZINE 31 Barry Edelstein, Artistic Director Michael G. Murphy, Managing Director

Amy E. Allison...... General Manager David Buess...... Property Master, Globe Kacie Bluhm...... Development Assistant Dave Henson...... Director of Marketing and Communications Seamus O’Bryan...... Stage and Property Master, White Rico Zamora...... VIP Donor Ticketing Todd Schultz...... Director of Development Andrew Recker...... Property Master, Festival Mark Somers...... Director of Finance DONOR SERVICES Richard Seer...... Director of Professional Training LIGHTING Janette Jack, Barbara Lekes, Richard Navarro, Robert Drake...... Director of Production Shawna Cadence...... Lighting Director Gary Neuberg, Frank Ramirez, Stephanie Reed, Roberta Wells-Famula...... Director of Education Sarah Lawler...... Lighting Fellow Stephen Wade, Rico Zamora...... Suite Concierges Tonnie Ficken...... Master Electrician, Globe Jim Dodd...... Master Electrician, White MARKETING ARTISTIC Kevin Liddell...... Master Electrician, Festival Susan Chicoine...... Public Relations Director Eric Louie, Justin Waldman...... Associate Producers Mark Dewey, Christian Erikson, Sam Ibrahim, Ed Hofmeister...... Associate Director of Marketing Danielle Mages Amato...... Literary Manager/Dramaturg Conor Mulligan, Luke Olson...... Electricians Mike Hausberg...... Public Relations Associate Bernadette Hanson...... Artistic Associate Kelly Boyle...... Digital and Print Publications Coordinator Jan Gist...... Resident Vocal Coach SOUND Laura Lothian...... Marketing Assistant Paul Peterson...... Sound Director Stephen Wade...... Marketing/Events Assistant PRODUCTION Mark Hartshorn...... Master Sound Technician, Globe Carol Ann Malley...... Distribution Staff Debra Pratt Ballard...... Associate Director of Production Dana Pickop...... Master Sound Technician, White Suzanne Conway...... Company Manager Jeremy Nelson...... Master Sound Technician, Festival SUBSCRIPTION SALES Carol Donahue...... Production Coordinator Scott Cooke...... Subscription Sales Manager Jackson Smith...... Assistant Company Manager ADMINISTRATION Arthur Faro, Janet Kavin, Pamela Malone, Alexandra Hisserich...... Operations Assistant Yolanda Moore, Jessica Morrow, Ken Seper, Cassandra Shepard, Jerome Tullmann, STAGE MANAGEMENT Shana Wride...... Assistant to the Artistic Grant Walpole...... Subscription Sales Representatives Leila Knox...... Production Stage Manager and Managing Directors Darlene Davies...... The Old Globe Historian TICKET SERVICES TECHNICAL Bob Coddington...... Ticket Services Manager Benjamin Thoron...... Technical Director INFORMATION TECHNOLOGY Marsi Bennion...... Ticket Operations Manager Wendy Berzansky...... Associate Technical Director Dean Yager...... Information Technology Manager Karen Ann Daniels...... Group Sales Manager Travis Barrett...... Assistant Technical Director John Ralston..... Information Technology Assistant Manager Tony Dixon, Brittany Summers...... Information Technology Assistant Sean Fanning...... Resident Design Assistant Jordyn Patton...... Lead Ticket Services Representatives Eliza Korshin...... Technical Assistant/Buyer Kari Archer, Kathy Fineman, Lauryn Greschke, HUMAN RESOURCES Gillian Kelleher...... Master Carpenter Alejandro Gutierrez, Tyler Jones, Amanda King, Carole Payette...... Charge Scenic Artist Sandy Parde...... Human Resources Director Caryn Morgan, Danielle Porath, Christian Thorsen...... Stage Carpenter/Flyman, Globe Manny Bejarano...... Human Resources Coordinator Christopher Smith...... Ticket Services Representatives Robert Dougherty...... Festival Master Carpenter Jack Hernandez...... Charge Carpenter, White MAINTENANCE PATRON SERVICES Daniel Capiro, Sean Chaffin, Chris Chauvet, Mark Gingery...... Facilities Manager Mike Callaway...... Theatre Manager Larry J. Hall...... Carpenters Violanda Corona, Ismael Delgado, Frank Fields, Janelle Conde, Mary Taylor...... House Managers W. Adam Bernard...... Lead Scenic Artist Roberto Gonzalez, Bernardo Holloway, Reyna Huerta, Elaine Gingery...... Food and Beverage Manager Jose Morales, Albert Rios, Maria Rios, Leonardo Jason Chohon...... Automation Coordinator Timothy Acosta, Rodriguez, Vielka Smith, Nicolas Torres ...... Building Staff Scarlett Monroy...... Irvine Intern Topher Rasmussen...... Pub Shift Supervisors Tanika Baptiste, Missy Bradstreet, Sondra Mejia, PROFESSIONAL TRAINING COSTUMES Benjamin A. Murrell, Stephanie Passera, Paige Plihal, Llance Bower...... Program Coordinator Stacy Sutton...... Costume Director Michelle Thorsen, Paula Weil...... Pub Staff Brian Byrnes, Maria Carrera, Cynthia Caywood, Charlotte Devaux...... Resident Design Associate Linda Bahash, Jessica Piatt, Ray Chambers, Gerhard Gessner, Jan Gist, Stephanie Rakowski...... Gift Shop Supervisors Maureen Mac Niallais...... Assistant to the Director Fred Robinson, Abraham Stoll...... M.F.A. Faculty Shelly Williams...... Design Assistant/Shopper William Hartley, Corey Johnston, SECURITY/PARKING SERVICES Michelle Hunt Souza...... Design Assistant Nate Parde, Nicole Ries...... M.F.A. Production Staff Edward Camarena...... Security Supervisor Erin Cass...... Draper Sherisa Eselin...... Security Officer Marsha Kuligowski, Wendy Miller...... Tailors/Drapers EDUCATION Jonathon Ayon, Dallas Chang, Jeff Howell, Babs Behling, Anne Glidden Grace, Crystal Mercado...... Education Programs Manager Janet Larson, Jeffrey Neitzel, Raquel Stewart...... Assistant Cutters Carol Green...... Speakers Bureau Coordinator Guadelupe Velez...... Security Guards Mary Miller...... Tailoring/Construction James Cota, Jo Anne Glover, Lisel Gorell-Getz, Michael Prince, Mark Baiza, Allison Elsey, Lisa Goering, Brian Hammond, Jason Heil, Stephen Hohman, Alexander Thomas...... VIP Valet Attendants Heather Premo...... Stitchers Fredreka Irvine, Erika Malone, Heather Pauley, Erin Carignan...... Craft Supervisor/Dyer/Painter Erika Phillips, James Pillar, Christopher Salazar, Stephanie Parker...... Crafts Artisan Damon Shearer, Cynthia Stokes...... Teaching Artists Molly O’Connor...... Wig and Makeup Supervisor Kim Parker...... Assistant to Wig and Makeup Supervisor FINANCE Ana Maldonado...... Wig Assistant Carly Bennett-Valle...... Senior Accountant Jack O’Brien...... Artistic Director Emeritus Beverly Boyd...... Wardrobe Supervisor Trish Guidi...... Accounts Payable/Accounting Assistant Craig Noel...... Founding Director Beth Merriman...... Wardrobe Crew Chief, Globe Adam Latham...... Payroll Coordinator/Accounting Assistant Anna MacDonald...... Wardrobe Crew Chief, White Tim Cole...... Receptionist Ana Maldonado, Anna Noll, Sue Noll, Noelle Van Wyk...... Wardrobe Crew, Globe DEVELOPMENT Marie Jezbera...... Rental Agent Annamarie Maricle...... Associate Director, Institutional Grants PROPERTIES Bridget Cantu Wear...... Associate Director, Planned Giving Neil A. Holmes...... Properties Director Eileen Prisby...... Events Manager Kristin Steva Campbell...... Assistant to the Director Rachel Plummer, Keely Tidrow...... Major Gifts Officers M.H. Schrenkeisen...... Shop Foreman Jessica Burger...... Development Manager, Rory Murphy...... Lead Craftsman Individual Annual Giving Trish Rutter...... Craftsperson Angelique von Thun...... Major Gifts Associate David Medina...... Properties Buyer Diane Addis...... Membership Administrator

32 PERFORMANCES MAGAZINE